"After they broke up four decades ago, ABBA famously refused all kinds of money for reunion ABBA-tars and performances," writes Rolling Stone.

"But a few years ago, British entrepreneur Simon Fuller pitched an idea that piqued the Swedish superstars' interest..." "We got sort of turned on by the thought that we could actually be onstage without us being there," ABBA singer-songwriter Benny Andersson says over Zoom.

The band, along with Fuller and their producers Ludvig Andersson (Benny Andersson's son) and Svana Gisla (music-video producer for the likes of Radiohead and Beyoncé), initially explored reproducing themselves by hologram technology, but that didn't pan out. They finally realized a grander dream: ABBA Voyage, the 196-show concert residency at newly built ABBA Arena in London's Queen Elizabeth Olympic Park that begins May 27. Made with help from George Lucas' Industrial Light & Magic, digital avatars (also known as ABBA-tars) embody the stars in their Seventies prime, performing a 22-song set alongside a flesh-and-blood backing band assembled by James Righton of the Klaxons and including U.K. singer Little Boots on keys....

The band and the team and ILM realized early on that an existing venue wasn't going to work for the residency. There are 1,000 visual-effects artists on ABBA Voyage, making it the biggest project ILM has done, according to Gisla (and this is the company behind Star Wars, Marvel, and Jurassic Park). The roof of ABBA Arena was reengineered three times to fit the complicated lighting system. Where many concerts might use only one lighting rig, this one uses 20.

There was a lot of work put into making the ABBA-tars — which, the band stresses, are not holograms, but digital versions of the members that look like real, physical performers. Not too long before the pandemic put things to a near-halt, the four members of ABBA met from 10 a.m. to 5 p.m. each day, for four and half weeks straight, performing for 200 cameras and a crew of nearly 40 people while wearing motion-capture suits. They posted up in a sound studio within the Swedish Film Institute, playing all the songs they had carefully curated for their first show in 40 years. "It was really a pleasure for all of us," Andersson says.

Back in London, body doubles emulated the performances, but with a younger energy. "We are sort of merged together with our body doubles. Don't ask me how it works because I can't explain that," Andersson continues. "If you're 75, you don't jump around like you did when you were 34, so this is why this happened."
Producer Ludvig Andersson adds: "We hear often, 'This is the dawn of a new era in live entertainment.' I think that's an incorrect statement. I don't think it is. This is unique."

Whatever happened to those two pilots who attempted to swap planes in mid-air — skydiving from one to the other while the planes slowly tumbled toward the desert 65 miles southeast of Phoenix?

One pilot successfully reached the other plane — but the other pilot didn't, parachuting safely to the ground instead. "All of our safety protocols worked," the first pilot said triumphantly in a documentary streamed on Hulu. Er, but what about that second plane, slowly tumbling toward the ground without a pilot? It fell 14,000 feet, landing "nose first" (according to footage from a local newscast) — though its descent was also slowed by a parchute. (Both planes also had a specially-engineered braking system to slow their fall so the skydiving pilots could overtake them.) The stunt was sponsored by Red Bull.

Both pilots had previously conducted more than 20,000 skydives — "but there's a problem," that local newscast pointed out. "The FAA says it had denied Red Bull permission to attempt the plane swap because it would not be in the public's interest." So now both pilots — who'd had "commercial pilot certificates" from America's Federal Aviation Administration — have had their certificates revoked.

The Associated Press reports: In a May 10 emergency order, the FAA cites the two pilots, Luke Aikins and Andrew Farrington, and describes their actions as "careless and reckless." Aikins also faces a proposed $4,932 fine from the agency....

Aikins had petitioned for an exemption from the rule that pilots must be at the helm with safety belts fastened at all times. He argued the stunt would "be in the public interest because it would promote aviation in science, technology, engineering and math."

While both pilots must surrender their certificates immediately, there is an appeal process.
Aikins had shared a statement on Instagram after the stunt, saying he made the "personal decision to move forward with the plane swap" despite the lack of the FAA exemption.

"I regret not sharing this information with my team and those who supported me."

"I am now turning my attention to cooperatively working transparently with the regulatory authorities as we review the planning and execution."

Onkyo, one of the best-known Japanese manufacturers of home theater equipment, has "filed for bankruptcy at Osaka District Court on Friday, with total liabilities of around 3.1 billion yen ($24 million)," reports Nikkei Asia. The report is sparse on details but attributes the bankruptcy to a "market shift to streaming and smartphones."

In mid-2020, Onkyo USA Corporation ended a 45-year run as Onkyo's exclusive sales, marketing and distribution division for the Americas, according to Audioholics.

Onkyo has appeared in a few stories on Slashdot over the years. Our personal favorite was a story in 2003 about a new use of embedded Linux in Onkyo's home music server.

Disney added 7.9 million new subscribers to its Disney Plus streaming service during the first three months of 2022, the company announced (PDF) in its Q2 earnings report on Wednesday. The Verge reports: That brings the total to around 87.6 million worldwide, excluding the 50.1 million people subscribed to Disney Plus Hotstar internationally. In the US and Canada alone, Disney Plus now has 7.1 million more subscribers than it did a year ago, with 44.4 million. The company also said that the number of subscribers for all of its streaming offerings -- including Hulu and ESPN Plus -- had grown to over 205 million, an increase from the 196.4 million it reported in January.

Disney also reports that it's earning more per Disney Plus subscriber than it had been previously, at least in the US. Where its average monthly revenue per paid subscriber used to be $6.01, it's now sitting at $6.32. Disney says this is thanks to "an increase in retail pricing and a lower mix of wholesale subscribers." Despite this, Disney Plus is actually losing the company money at a greater clip than it was before. Disney says this is thanks to higher costs for production, advertising, and technology. Those costs seem unlikely to go down, and raising prices, like Netflix did, could cut off its subscriber growth. All that put together makes it obvious why Disney is looking at creating an ad-supported tier sooner rather than later.

An anonymous reader quotes a report from Ars Technica: Windows' Sound Recorder app has gone through a few iterations since its initial release in Windows 3.0 back in 1990, when it launched as a simple app that could only record 60 seconds of audio at a time. But the app vanished altogether in Windows 10, replaced by a totally new app called Voice Recorder, which can record and trim basic sound recordings and save them as m4a files. Sound Recorder is now making a comeback, and Microsoft is currently testing a revamped version for Windows Insiders in the Dev channel. The company announced the redesign in a blog post summarizing Windows 11's updates to built-in Windows apps.

The new Sound Recorder uses a two-column layout similar to Voice Recorder's, with playback and trimming controls to the right and a list of all the files you've recorded on the left. But it adds some old Sound Recorder features that disappeared from the app years ago, when it was boiled down to almost nothing in Windows Vista. The app has a waveform visualizer that appears during recording and playback, and you can once again choose to save or open files in multiple formats (including the default m4a, as well as mp3, wma, FLAC, and WAV). The new Sound Recorder can also adjust audio playback speed from 0.25x to 4 and set markers so you can easily jump from place to place within a large audio recording.

According to figures from trade group IAB and PwC, the podcast advertising business in the United States is expected to grow to an estimated $4.2 billion in 2024. Variety reports: The sector hit $1.45 billion in 2021, representing 72% annual growth, according to the report. In 2021, U.S. podcast advertising revenue grew twice as fast as the total internet advertising market, which was up 35% last year, according to the 2021 PwC/IAB Internet Advertising Revenue Report. Still, U.S. podcast advertising revenue is poised to continue double-digit growth, growing more than 100% over the next two years to an estimated $4.2 billion in 2024, per the report.

According to the latest IAB/PwC podcast report, three key factors are driving podcast ad revenue growth: the ongoing increase in listeners and content; increased use of automated ad tech, as ad revenue served via dynamic ad insertion (DAI) has almost doubled in two years to take 84% share in 2021 (versus ads embedded in podcast audio); and growth of ad spending in categories that historically had lower spend volumes like sports and true crime. "Everything right now is aligned to drive growth," said Chris Bruderle, IAB's VP of research and insights. "There's more engaging and diverse podcast content than ever, and that is translating into larger, more attractive audiences. But more than anything, podcasting has proven that it can deliver beyond direct-to-consumer advertising to support brand-building and drive business outcomes."

A special ESPN+ show Saturday brought back John McEnroe "to face his ultimate opponent. Himself." TechCrunch reports: The 45-minute film will showcase how the match was created using a combination of artificial intelligence and machine learning, plus five virtual avatars of John McEnroe from pivotal points of his career. The team at [technology/production company] Unit 9 spent a day with John in order to bring the vision to life via full-body scanning, motion capture and Unreal Engine MetaHuman technology (a cloud-based app that creates photorealistic digital humans). The avatar game system will be projected on a hologram particle screen and will be a simulation of gameplay with a system of ball launchers and ball return robots.

When McEnroe sends the ball over the net, the avatar responds to the direction of the real ball. As the avatar swings, a new ball is fired from the ball cannon and then flies through a smokescreen at a precise point in space to make it appear from the avatar's racket position.... Unit 9's team analyzed hours of footage from John's matches throughout his entire career and recorded hundreds of shots, strokes and movements. In total, they recorded 308 shots with over 259 loops and blends to really capture his footwork and well-known shot-making and volleying skills.

The best part about this is the team recorded numerous key phrases and statements so McEnroe could talk smack to his virtual self (and maybe even smash a couple of rackets).
As McEnroe himself pointed out to Forbes.... "I can't lose." But he also sounds like he enjoyed the experience: The most interesting recreation of his playing style to him is the 1979 version of him because professional tennis was all so new to him at the time. "That was the year I may have enjoyed the most on the circuit," he says, "I was just coming up, and on the way up and you are so excited and want to travel the world."

From there, he thinks the 1992 version of himself will offer the other end of his career, after having three kids. He knows that 1984 was the best year on tour, but "I have more interest in the young and old opposed to (1984)."
McEnroe also wanted the sport of tennis to get extra exposure — and that it would be good "If we have a way where we project something different and have some fun with it and peoples can laugh with it..."

Or, as AdWeek quotes McEnroe as saying, "Who wouldn't want an opportunity to literally be able to look back at where you started and celebrate how much you've grown and learned along the way?"

Doctor Who's newest incarnation has been announced. Replacing Jodie Whittaker — and becoming the 14th Doctor Who — is 29-year-old Netflix star Ncuti Gatwa. (In 2020 the Scottish branch of the British Academy of Film and Television Arts awarded him the prestigious "Best Actor in Television" award for work on the Netflix series Sex Education.) Fun fact: he also voiced the lead driver in Electronic Arts' racing videogame Grid Legends, according to Wikipedia.

In a BBC press release, he described himself as "a mix of deeply honoured, beyond excited and of course a little bit scared" to take over the long-running part of the TARDIS-traveling Time Lord, according to CNN.

"This role and show means so much to so many around the world, including myself, and each one of my incredibly talented predecessors has handled that unique responsibility and privilege with the utmost care. I will endeavour my utmost to do the same." "Doctor Who" showrunner Russell T Davies said in the press release: "Sometimes talent walks through the door and it's so bright and bold and brilliant, I just stand back in awe and thank my lucky stars.

"Ncuti dazzled us, seized hold of the Doctor and owned those TARDIS keys in seconds."

Gatwa joins the long-running sci-fi series — which follows an alien Time Lord who travels across space and time — ahead of its 60th anniversary in 2023.

"Comic book nerd Christmas has arrived," quips Mashable, noting this is the big 20th anniversary of Free Comic Book Day. Basically if you walk into your local comic book store on the first Saturday in May: they'll hand you some free comic books. Bleeding Cool points out that several stores are even having free signings from famous comic book artists and writers.

Although in 2017 NPR had this advice for visiting comics fans. "While you're there, buy something... The comics shops still have to pay for the 'free' FCBD books they stock, and they're counting on the increased foot traffic to lift sales."

The official site includes a comic-shop locator — but many of the comics are also available online as free downloads. (For example, as free ebooks in Amazon's Kindle store.) This year's free offerings include a special issue of a new Sleepy Hollow comic and a unique "yearbook" commemorating the 25th anniversary of Buffy the Vampire Slayer.

Other geek-friendly choices include:

• Doctor Who
• Avatar: the Last Airbender
• Sonic the Hedgehog
• Teenage Mutant Ninja Turtles
• The Three Stooges
• Stranger Things
• Spider-Man and Venom
• Avengers/X-Men/Eternals: Judgment Day
• DC League of Super-Pets and Dark Crisis: Special Edition
• Winchester Mystery House: The Hundred Year Curse
• A graphic novel called The Guardian of Fukushima
• Clementine ("the next big thing from Robert Kirkman's The Walking Dead")

And in addition — and perhaps inevitably.... "A new dawn of Archie is upon us!"

Spotify co-founder Daniel Ek said on Friday that he's pouring $50 million into the music streaming service, driving its stock price up by more than 3% to a high of $108.98 per share during regular trading hours. From a report: The momentary rise, however, is a blip on the radar for Spotify, which has taken a beating this year -- in part over its recent, weaker-than-expected growth forecasts (just like plenty of other streaming and software firms). As for the reasoning behind Ek's purchase, the Spotify CEO wants you to know he believes. "I've always been vocal about my strong belief in Spotify and what we are building. So I am putting that belief into action this week by investing $50M in $SPOT. I believe our best days are ahead...," he said, adding that he didn't have to tell you about it, but wanted to.

According to some iPhone users, the Apple Music iOS app is installing itself directly to the iPhone's dock when downloaded, instead of to the phone's home screen. "It's also kicking out other apps users had set up in their dock and taking their spot, which is not something apps would normally do," adds TechCrunch. From the report: Some iPhone owners also found the bug was causing Apple Music to establish itself as the default music service for Siri requests, even if another service had previously been configured for this, like Spotify. It's unclear how widespread the bug is at this time, as we've tested it internally with mixed results. However, we've seen the dock issue taking place across different versions of iOS 15, old and new, so it does not appear to be related to a recent iOS update. It's also been seen impacting different iPhone models. [...] Apple was not able to provide further details about the bug, but said it's looking into it. You can view the "odd behavior" in a video posted on Twitter by iOS developer Kevin Archer.

Sonos is preparing to introduce its own voice assistant service within the next few weeks, according to people familiar with the company's plans. The voice functionality will let customers play and control music on Sonos' whole-home audio platform. The Verge reports: It will be part of a forthcoming software update set to arrive first to customers in the US on June 1st, with an international rollout to follow. Sonos Voice will serve as an alternative to Amazon Alexa and Google Assistant, which Sonos already supports on its smart speakers and voice-enabled soundbars. All Sonos products that run the company's S2 software will support Sonos Voice Control.

Sonos has recently posted job openings related to the "Sonos Voice Experience," with the company saying its ambition is to "make voice interactions fully private, more personal, and more natural." The debut of Sonos Voice will mark a pivotal moment in Sonos' expansion into services as the company seeks to augment its hardware business. (Sonos Radio and the paid, higher quality Sonos Radio HD were the first such forays into services.) The offering will provide core conveniences that are similar to existing competitors, allowing Sonos product owners to play specific songs, artists, or playlists with voice commands, among other functions.

At launch, Sonos Voice will work with Apple Music, Amazon Music, Pandora, Deezer, and the company's own Sonos Radio. Spotify and Google's YouTube Music aren't yet on board. In keeping with Sonos' interest in privacy, the feature will not record user audio commands or relay them to the cloud for processing. "Hey Sonos" will be the wake word for Sonos Voice Control, and the company's internal tests show it to be quicker than competing assistant services at core music tasks. [...] The Sonos Voice Experience will stick to the fundamentals at launch. But if people are able to use Alexa at the same time -- Sonos calls this feature "voice concurrency" -- they'll be able to give the Sonos offering a shot without sacrificing smart home integrations or other more varied features that the Sonos voice service may lack.

An anonymous reader writes: Sony struck a major blow against censorship after defying a Chinese government demand to delete the Statue Of Liberty from "Spiderman: No Way Home" ahead of its release. The bombshell rejection was revealed by "multiple sources," per a recent article by Puck. According to the piece, Chinese regulators had asked if the Japanese entertainment giant could "delete the Statue of Liberty from the ending of the film." Sony unsurprisingly declined the demand given the prominence of Lady Liberty in the climax in which the three spidermen swing around the iconic symbol of freedom while battling supervillains, Puck reported. Undaunted, China then inquired if the monument could be "minimized," according to the report. Specifically, they'd wondered "if Sony could cut a few of the more patriotic shots of [Tom] Holland standing atop the crown, or dull the lighting so that Lady Liberty's visage wasn't so front-and-center," per Puck.

Paramount Plus' subscriber count has ballooned to almost 40 million with the service gaining 6.8 million subscribers in the first quarter of 2022 alone, Paramount announced in its earnings report on Tuesday. The Verge reports: An increase in subscriber count led to more money for the company as well — its direct-to-consumer revenue, which includes Paramount Plus and its free TV streaming service, Pluto TV, increased 82 percent year over year. While revenue from subscriptions for both Pluto TV and Paramount Plus grew 95 percent year over year, advertising revenue increased 59 percent. The company says Paramount Plus subscribers watched more shows for longer periods of time as well. This, along with a higher subscriber count, was mostly driven by the service strengthening its roster of shows.

New data shared by tracking company MUSO shows that the number of visits to pirate sites has increased by nearly 30% compared to last year. The publishing category is growing particularly hard, mostly driven by manga piracy. The United States continues to harbor the most pirates in absolute numbers. TorrentFreak reports: During the first quarter of 2022, pirate site visits increased by more than 29% compared to a year earlier, which is good for a dazzling 52.5 billion visits. Nearly half of this traffic (48%) goes to TV-related content. The publishing category takes second spot with 27%, followed by the film (12%), music (7%), and software (6%) categories. The traffic increase is noticeable across all types of piracy but the publishing category stands out. Compared to the first quarter of 2021, the number of visits in this category has grown explosively. Software piracy is lagging behind, but the category still continues to grow. The strong growth in the publishing category is largely driven by manga, comics or graphic novels originating from Japan. Some of the pirate sites dedicated to this 'niche', such as Manganato.com, attract well over 100 million 'visits' per month. That's more than iconic pirate sites such as The Pirate Bay and Fmovies.to.

The United States is the country that sends most visitors to pirate sites. With well over 5.7 billion 'visits' in the first three months of the year, the U.S. is good for more than 10% of all piracy traffic. With a 39% increase compared to last year, pirate audience growth exceeds the global average. Russia and India follow at a respectable distance with just over 3 billion visits to pirate sites, followed by China and France, with 1.8 and 1.7 billion visits, respectively. There is no single explanation for the apparent piracy boom. However, MUSO sees the upward trend as an alarming signal and expects that the 'streaming wars' and growing subscription fatigue may play a role.

MIT engineers have developed a paper-thin loudspeaker that can turn any surface into an active audio source. MIT News reports: This thin-film loudspeaker produces sound with minimal distortion while using a fraction of the energy required by a traditional loudspeaker. The hand-sized loudspeaker the team demonstrated, which weighs about as much as a dime, can generate high-quality sound no matter what surface the film is bonded to. To achieve these properties, the researchers pioneered a deceptively simple fabrication technique, which requires only three basic steps and can be scaled up to produce ultrathin loudspeakers large enough to cover the inside of an automobile or to wallpaper a room.

A typical loudspeaker found in headphones or an audio system uses electric current inputs that pass through a coil of wire that generates a magnetic field, which moves a speaker membrane, that moves the air above it, that makes the sound we hear. By contrast, the new loudspeaker simplifies the speaker design by using a thin film of a shaped piezoelectric material that moves when voltage is applied over it, which moves the air above it and generates sound. [...]

They tested their thin-film loudspeaker by mounting it to a wall 30 centimeters from a microphone to measure the sound pressure level, recorded in decibels. When 25 volts of electricity were passed through the device at 1 kilohertz (a rate of 1,000 cycles per second), the speaker produced high-quality sound at conversational levels of 66 decibels. At 10 kilohertz, the sound pressure level increased to 86 decibels, about the same volume level as city traffic. The energy-efficient device only requires about 100 milliwatts of power per square meter of speaker area. By contrast, an average home speaker might consume more than 1 watt of power to generate similar sound pressure at a comparable distance. The researchers showed the speaker in action, playing "We Are the Champions" by Queen. You can listen to it here.

As the old saying goes, if you can't beat 'em, partner up with another overly powerful cable giant to give yourself a better shot. From a report: This morning, Comcast and Charter announced a new joint venture that will see the two companies teaming up to develop "a next-generation streaming platform on a variety of branded 4K streaming devices and smart TVs." This new platform and the devices that run it will square off against Amazon, Roku, Google, Apple, and other established streaming hardware players. The new venture is evenly divided between the two companies and is exclusively focused on streaming; it "does not involve the broadband or cable video businesses of either Comcast or Charter, which will remain independent." Comcast says its Flex streaming platform will serve as the foundation for what's coming next. It's also contributing "the retail business for XClass TVs and will contribute Xumo, a streaming service it acquired in 2020." Comcast introduced its XClass TVs last year as an alternative to the many popular budget TVs that come preloaded with Roku, Amazon, or Google software. For its part, Charter -- known better to many for its Spectrum brand -- is kicking in $900 million over the course of several years.

Streaming right now on Hulu: a three-hour live special in which two members of something called the "Red Bull Air Force" try to make aviation history, reports People: On Sunday, April 24, Aikins and Farrington will try to switch planes mid-air in a stunt at Sawtooth Airport in Eloy, Arizona, that can be seen exclusively on Hulu, according to a press release from Red Bull. The planes will be "completely empty" and facing the ground when Luke Aikins and Andy Farrington attempt the daring switch, which will air during a three-hour livestream event.

To complete the feat, Aikins and Farrington will fly a pair of Cessna 182 single-seat aircraft up to 14,000 feet before putting them into a vertical nosedive and jumping out, with the goal of skydiving into each other's planes.

The cousins will stop the planes' engines and aim them toward the ground as they complete the stunt. A custom airbrake with the ability to hold the planes in a controlled-descent terminal velocity speed of 140 mph will also be utilized to complete the trick. After catching up to the opposing stuntman's plane, Aikins and Farrington will enter the cockpits and turn the planes back on as normal, piloting them to land.

Aikins is an experienced skydiver, having completed more than 21,000 jumps throughout his career. Farrington, meanwhile, has completed 27,000 jumps.
"I call it more calculated than crazy," Aikins says in an interview with the web site Complex. "We work really hard to make sure that everything's going to be okay. We don't flip a coin and fingers crossed and hope it all works out. We mitigate the risk down to something that's acceptable and what's acceptable to me."

People using self-driving cars will be allowed to watch television on built-in screens under proposed updates to the Highway Code. From a report: The changes will say drivers must be ready to take back control of vehicles when prompted, the government said. The first use of self-driving technology is likely to be when travelling at slow speeds on motorways, such as in congested traffic. However, using mobile phones while driving will remain illegal.

No self-driving cars are currently allowed on UK roads, but the first vehicles capable of driving themselves could be ready for use later this year, the Department for Transport (DfT) said. The planned changes to the code are expected to come in over the summer. The updates, proposed following public consultation, were described as an interim measure to support the early adoption of the technology and a full regulatory framework is planned to be implemented by 2025.

An anonymous reader shares an excerpt from an opinion piece written by Elizabeth Spiers, former editor in chief of The New York Observer and the founding editor of Gawker: Among the many brilliant touches in the dystopian workplace thriller "Severance," on Apple TV+, are the perks offered by Lumon Industries, the cultlike, fluorescent-lit corporation where the series takes place: company-branded Chinese finger trap gag toys; cheery if mediocre caricature portraits; a baffling "waffle party"; the much-discussed "music dance experience"; and, more than once, a melon-ball buffet served on a rolling bar. It's hard not to see real-world analogues -- in the table tennis and kombucha taps of Silicon Valley, and especially in the post-pandemic flurry of office happy hours and gift card giveaways, as companies try to lure white-collar workers back to offices. At the high end, a real estate data company offered employees who returned to the office a daily chance to win $10,000, a trip to Barbados or a new Tesla; more common incentives are company swag, pop-up snack stands, Covid personal protection gift bags and stress balls.

Companies aren't wrong to perceive a reluctance to return to offices among some workers. Even if bosses see the return as simply a resumption of the terms employees had agreed to, workers are increasingly aware of the ways that those terms have shortchanged them. After two years, those who were able to work from home have seen real benefits -- reclaiming time from commutes, flexibility for family responsibilities, freedom from perpetual distractions and restrictive dress codes -- and now they can't unsee them. Surveys taken last year indicated that two-thirds of workers would prefer to have continued remote work options and would sacrifice $30,000 in raises to keep them. Somewhat higher percentages of women and Black knowledge workers say they are reluctant to return to offices.

But among executives and managers, there's still a strong perception that in-person work is the only real work. So as younger workers in particular resist company mandates to return to their desks in the overly air-conditioned offices where many had never felt comfortable, companies are trying to sweeten the deal. [...] I've come to think of these corporate toys and rewards as the work equivalent of the cheap prizes you win at a carnival after emptying your wallet to play the games. The difference is that the point of the carnival is to have fun, and the prizes are incidental. In the workplace, this is just a laughably terrible trade-off. Who wants to give up the two hours a day they gain by not commuting for a coffee mug? "Putting in long hours at the office is often conflated with a strong work ethic and more productivity, though it may not be indicative of either," adds Spiers. "To make employees feel this approach is reasonable, many employers blur the line between work and the rest of life, while offering little diversions here and there to approximate fun."