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PBS’ ‘Masterpiece’ marks 50th year with challenges ahead

LOS ANGELES — As PBS’ “Masterpiece” marks its 50th anniversary Sunday, the drama and mystery showcase could rest on its reputation built with acclaimed programs including “I, Claudius” and “Elizabeth R” and polished anew by surprising pop-culture hits “Sherlock” and “Downton Abbey.”But “Masterpiece” executive producer Susanne Simpson says it’s positioned to thrive as it addresses the challenges posed by a changing media industry and increased calls for diversity.“’Masterpiece’ is important to the PBS system. Our viewers expect us to keep finding the best” in TV, Simpson said, even as competition from commercial platforms increases.With more streaming services and other outlets gobbling up programs, including the British-made dramas that are a “Masterpiece” staple, the public TV program is becoming more aggressive in the marketplace, Simpson said.She joined the series nearly 14 years ago and became its executive producer in 2019, only the fourth since “Masterpiece” debuted Jan. 10, 1971, with the miniseries “The First Churchills.”“We are investing earlier and we’re co-producing earlier on projects, so we’re in a position to be able to put development money into scripts,” Simpson said. “I have probably 15 projects sitting in my inbox, and I’m going to have to make a decision quickly on one of those because there is so much competition for those projects.”When “Masterpiece” was under executive producer Rebecca Eaton in the mid-1980s, she “used to be able to sit back” and mull her choice of U.K.-produced shows, Simpson said.As unlikely as it seems in the age of Netflix’s celebrated “The Crown” and its new multiethnic sensation “Bridgerton,” U.S. networks used to avoid British drama “because the general feeling was nobody could understand the accent,” Eaton recalled. Worse yet, they thought it sounded too high-brow for Americans.But in 1985, there was suddenly “somebody else in the game” besides PBS and the A&E channel, said Eaton, now executive producer at large for “Masterpiece.”“HBO pounced on doing ‘Elizabeth I’ with Helen Mirren, which was a very rude shock because we considered rather comfortably that we owned Elizabeth I,” she said. “Masterpiece” had aired “Elizabeth R,” the 1972 miniseries with Glenda Jackson as the monarch, a perceived stake that HBO blithely ignored.“Masterpiece” can’t compete with Netflix- or HBO-sized budgets, Simpson said, relying on corporate sponsors Viking and Raymond James and big and small viewer donations (specific figures were not provided). But she said it makes the most of its relationships with producers such as Colin Callender, whose “All Creatures Great and Small” reboot kicks off the new “Masterpiece” season Sunday.The Public Broadcasting Service also ensures that its programming is reaching viewers, especially younger ones, where and how they watch TV, which increasingly is anywhere but on a stuck-to-the-wall screen. While PBS may be viewed primarily as a traditional broadcaster, its programs (and educational initiatives) are available online.“Masterpiece” streams on PBS.org and the PBS Video app to an audience that skews younger than its broadcast viewership, with nearly 40 per cent under the age of 55, according to PBS.The showcase also is responding to the growing call for inclusivity in Hollywood screen projects, Simpson said. That would seem daunting when it comes to ethnic diversity, given that the series’ period dramas traditionally skew white, but she said it can and is being done.That requires the co-operation of British TV producers, whose industry has faced its own sharp criticism for long minimizing people of colour as actors and creators.“I’ve had some terrific, serious conversations in which it’s clear to me that our U.K. producers are as committed as we are” to adding diversity across the board, including in writing, directing and acting, Simpson said.Callender said the call for change is being heeded, even with “All Creatures Great and Small,” which is based on semiautobiographical books by a veterinarian practicing in a rural English community in the late 1930s.“The thrust of diversity meant several things,” Callender said, including making the female characters fully dimensional, casting actors with physical challenges and creating a role inspired by the story of the Black actor’s mother.“Masterpiece” is doing its own work, Simpson said. That includes taking an active role in fostering diversity in projects as they’re being developed, she said, and discovering authentic ways to reflect inclusivity in period dramas, among them 2019’s “Les Miserables” miniseries.David Oyelowo, the English-born Black actor who starred as the obsessed police inspector Javert, felt comfortable taking the role after he looked into 19th-century French history and found that there were Black police officers, Simpson recounted.“What I learned from him is that it’s really our obligation as the writers and the producers to look more deeply at history in terms of what people of colour were authentically, and to take more effort to find those stories,” she said.“The Long Song,” a three-part drama debuting Jan. 31 on “Masterpiece,” exemplifies what is hiding in plain sight. Based on Andrea Levy’s historical novel of the same name, a finalist for the prestigious Booker literary prize, it tells of a young Black woman’s life in the final years of slavery in Jamaica and its aftermath.Pandemic uncertainty brought it to “Masterpiece,” when taping on some of its U.K. shows paused last March and Simpson sought available programs as a safeguard. Already familiar with the late Levy’s work because “Masterpiece” had aired an adaptation of her “Small Island” novel in 2010, Simpson said she found “The Long Song” to be “powerful and moving.”Tamara Lawrance, who stars as the main character, said every generation believes “things are changing, things are different,” but sees a welcome energy in the British creative community that is building on the past.“I’m so proud of ‘The Long Song’ and being in a cast of people like that, of amazing older Black actors that I grew up watching,” Lawrance said.___Lynn Elber, The Associated Press

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Here is how to prepare your online accounts for when you die

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LONDON (AP) — Most people have accumulated a pile of data — selfies, emails, videos and more — on their social media and digital accounts over their lifetimes. What happens to it when we die?

It’s wise to draft a will spelling out who inherits your physical assets after you’re gone, but don’t forget to take care of your digital estate too. Friends and family might treasure files and posts you’ve left behind, but they could get lost in digital purgatory after you pass away unless you take some simple steps.

Here’s how you can prepare your digital life for your survivors:

Apple

The iPhone maker lets you nominate a “ legacy contact ” who can access your Apple account’s data after you die. The company says it’s a secure way to give trusted people access to photos, files and messages. To set it up you’ll need an Apple device with a fairly recent operating system — iPhones and iPads need iOS or iPadOS 15.2 and MacBooks needs macOS Monterey 12.1.

For iPhones, go to settings, tap Sign-in & Security and then Legacy Contact. You can name one or more people, and they don’t need an Apple ID or device.

You’ll have to share an access key with your contact. It can be a digital version sent electronically, or you can print a copy or save it as a screenshot or PDF.

Take note that there are some types of files you won’t be able to pass on — including digital rights-protected music, movies and passwords stored in Apple’s password manager. Legacy contacts can only access a deceased user’s account for three years before Apple deletes the account.

Google

Google takes a different approach with its Inactive Account Manager, which allows you to share your data with someone if it notices that you’ve stopped using your account.

When setting it up, you need to decide how long Google should wait — from three to 18 months — before considering your account inactive. Once that time is up, Google can notify up to 10 people.

You can write a message informing them you’ve stopped using the account, and, optionally, include a link to download your data. You can choose what types of data they can access — including emails, photos, calendar entries and YouTube videos.

There’s also an option to automatically delete your account after three months of inactivity, so your contacts will have to download any data before that deadline.

Facebook and Instagram

Some social media platforms can preserve accounts for people who have died so that friends and family can honor their memories.

When users of Facebook or Instagram die, parent company Meta says it can memorialize the account if it gets a “valid request” from a friend or family member. Requests can be submitted through an online form.

The social media company strongly recommends Facebook users add a legacy contact to look after their memorial accounts. Legacy contacts can do things like respond to new friend requests and update pinned posts, but they can’t read private messages or remove or alter previous posts. You can only choose one person, who also has to have a Facebook account.

You can also ask Facebook or Instagram to delete a deceased user’s account if you’re a close family member or an executor. You’ll need to send in documents like a death certificate.

TikTok

The video-sharing platform says that if a user has died, people can submit a request to memorialize the account through the settings menu. Go to the Report a Problem section, then Account and profile, then Manage account, where you can report a deceased user.

Once an account has been memorialized, it will be labeled “Remembering.” No one will be able to log into the account, which prevents anyone from editing the profile or using the account to post new content or send messages.

X

It’s not possible to nominate a legacy contact on Elon Musk’s social media site. But family members or an authorized person can submit a request to deactivate a deceased user’s account.

Passwords

Besides the major online services, you’ll probably have dozens if not hundreds of other digital accounts that your survivors might need to access. You could just write all your login credentials down in a notebook and put it somewhere safe. But making a physical copy presents its own vulnerabilities. What if you lose track of it? What if someone finds it?

Instead, consider a password manager that has an emergency access feature. Password managers are digital vaults that you can use to store all your credentials. Some, like Keeper,Bitwarden and NordPass, allow users to nominate one or more trusted contacts who can access their keys in case of an emergency such as a death.

But there are a few catches: Those contacts also need to use the same password manager and you might have to pay for the service.

___

Is there a tech challenge you need help figuring out? Write to us at onetechtip@ap.org with your questions.

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Google’s partnership with AI startup Anthropic faces a UK competition investigation

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LONDON (AP) — Britain’s competition watchdog said Thursday it’s opening a formal investigation into Google’s partnership with artificial intelligence startup Anthropic.

The Competition and Markets Authority said it has “sufficient information” to launch an initial probe after it sought input earlier this year on whether the deal would stifle competition.

The CMA has until Dec. 19 to decide whether to approve the deal or escalate its investigation.

“Google is committed to building the most open and innovative AI ecosystem in the world,” the company said. “Anthropic is free to use multiple cloud providers and does, and we don’t demand exclusive tech rights.”

San Francisco-based Anthropic was founded in 2021 by siblings Dario and Daniela Amodei, who previously worked at ChatGPT maker OpenAI. The company has focused on increasing the safety and reliability of AI models. Google reportedly agreed last year to make a multibillion-dollar investment in Anthropic, which has a popular chatbot named Claude.

Anthropic said it’s cooperating with the regulator and will provide “the complete picture about Google’s investment and our commercial collaboration.”

“We are an independent company and none of our strategic partnerships or investor relationships diminish the independence of our corporate governance or our freedom to partner with others,” it said in a statement.

The U.K. regulator has been scrutinizing a raft of AI deals as investment money floods into the industry to capitalize on the artificial intelligence boom. Last month it cleared Anthropic’s $4 billion deal with Amazon and it has also signed off on Microsoft’s deals with two other AI startups, Inflection and Mistral.

The Canadian Press. All rights reserved.

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Kuwait bans ‘Call of Duty: Black Ops 6’ video game, likely over it featuring Saddam Hussein in 1990s

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DUBAI, United Arab Emirates (AP) — The tiny Mideast nation of Kuwait has banned the release of the video game “Call of Duty: Black Ops 6,” which features the late Iraqi dictator Saddam Hussein and is set in part in the 1990s Gulf War.

Kuwait has not publicly acknowledged banning the game, which is a tentpole product for the Microsoft-owned developer Activision and is set to be released on Friday worldwide. However, it comes as Kuwait still wrestles with the aftermath of the invasion and as video game makers more broadly deal with addressing historical and cultural issues in their work.

The video game, a first-person shooter, follows CIA operators fighting at times in the United States and also in the Middle East. Game-play trailers for the game show burning oilfields, a painful reminder for Kuwaitis who saw Iraqis set fire to the fields, causing vast ecological and economic damage. Iraqi troops damaged or set fire to over 700 wells.

There also are images of Saddam and Iraq’s old three-star flag in the footage released by developers ahead of the game’s launch. The game’s multiplayer section, a popular feature of the series, includes what appears to be a desert shootout in Kuwait called Scud after the Soviet missiles Saddam fired in the war. Another is called Babylon, after the ancient city in Iraq.

Activision acknowledged in a statement that the game “has not been approved for release in Kuwait,” but did not elaborate.

“All pre-orders in Kuwait will be cancelled and refunded to the original point of purchase,” the company said. “We remain hopeful that local authorities will reconsider, and allow players in Kuwait to enjoy this all-new experience in the Black Ops series.”

Kuwait’s Media Ministry did not respond to requests for comment from The Associated Press over the decision.

“Call of Duty,” which first began in 2003 as a first-person shooter set in World War II, has expanded into an empire worth billions of dollars now owned by Microsoft. But it also has been controversial as its gameplay entered the realm of geopolitics. China and Russia both banned chapters in the franchise. In 2009, an entry in the gaming franchise allowed players to take part in a militant attack at a Russian airport, killing civilians.

But there have been other games recently that won praise for their handling of the Mideast. Ubisoft’s “Assassin’s Creed: Mirage” published last year won praise for its portrayal of Baghdad during the Islamic Golden Age in the 9th century.

The Canadian Press. All rights reserved.

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