The current state of music streaming is interesting, yet unpredictable. The shift from the CD era into the streaming era has made access to music more ubiquitous, but it’s also thrown up problems: some users aren’t interacting with music like they did before, and the explosive spread of AI is threatening the entire streaming model. Enter Mauhan M. Zonoozy, former Head of Innovation at Spotify, who has plans to tackle both these problems.

Zonoozy left Spotify in 2023, and since then has set up his own music software label, A Vinyl Bar in Shibuya, a record label-meets-production studio that releases playful music apps the way labels drop records, including jetset.fm and Stacks. Essentially, it’s creating digital music playgrounds.

While Shibuya’s products don’t have extensive libraries of music like typical streaming platforms, they offer users different ways to create new sounds, even if you only use them for a couple of minutes. But despite the label still being in its infancy, Zonoozy knows exactly where he wants to take it.

I chatted with Zonoozy about where his post-Spotify career is heading, and his ambitious plans to insert his music services into a streaming world in which AI is becoming a growing presence.

Music is participatory

In a short period of time, Mauhan and his “small team of creative technologists” have released a slew of casual, interactive music platforms across web and mobile — but this is only the beginning.

“I spent years at Spotify and I loved it,” Mauhan tells me. “Incredible company, incredible team. But I think I spent most of my time effectively thinking about what comes next. I started A Vinyl Bar in Shibuya around a simple belief that music is a verb, that the next major music platform should give people something to do with the music. It should be more participatory, more engaging”.

Streaming has certainly made music a lot more accessible, but there was always one thing missing for Mauhan: interaction. “With streaming, you can hear almost anything, anywhere instantly, but the dominant interaction is still effectively sorting through folders and pressing play,” he continues. “There's an entire generation that was growing up playing with music through different mediums and different devices. I think their relationship with everything felt a lot more interactive.”

This sparked a lightbulb moment for Mauhan, and his mission statement is simple: “to empower more people to express themselves with music, or feel self-expressive with music”. This is where his latest project, Bop, comes into play.

Bop is a pocket DJ app, currently in beta, that lets you mix, mash, and mess with music. Its interface is like an MPC workstation, allowing you to create remixes of popular songs by dragging and dropping effects and sounds onto its grid. “We're not all about replacing the creative process,” Mauhan adds. “We're more about building instruments and new ways to express yourself.”

When it comes to the best music streaming services, tools like this aren’t a new concept — Spotify has its own DJ-style mixing feature — but Mauhan believes there’s still more room for music services whose focus is user expression.

“I think there's a yearning for creative expression (in music platforms),” he says. “I think listening to music the way artists created and intended is absolutely a big part of it, but I also think having Legos that you play and interact with, engage with is also very important.

“The next step in our journey is packaging that up into something that is platform scale, and we can actually deploy it and build a larger community of users and fans around it.”

Next stop: a larger music platform

It’s clear that Zonoozy has had a blast developing Shibuya’s array of sonic playground tools, but what I want to know is if there’s a larger music platform on the horizon — and turns out, there is.

“I think there's a bigger platform at the end of the tunnel for sure,” he tells me. “A Vinyl Bar in Shibuya is working actively on building it. I don't think it's gonna look or feel like any streaming platform you've seen before.” Now I’m intrigued — how will this platform compete with the likes of the music streaming big dogs? Turns out Zonoozy has thought about that too.

“We believe it's going to be more participatory,” he shares. “We're not building something that puts the music in the background, we want to put it in the foreground”. And it's as simple as that. “The hints are in the products, and we want things that feel more playful and approachable. I don't think anyone's going to accuse us of building a DSP,” he adds.

Despite it still being in early stages of development, Zonoozy has a lot of faith in Shibuya’s bigger project; but music streaming tools are evolving rapidly as is tech in general, so he’s had to do a lot of thinking ahead.

“My personal belief was that a lot of the cues around where media is going were in the gaming space,” he continues. “And I think interactive media was always a little bit ahead of the rest of the world in terms of film and music. I think because it was closer to technology, it was exploring the more creative technological boundaries of what you could do with media.

“I think now with what's going on and how powerful these computers in our pockets are becoming, there's so much new, cool stuff you can do. It's a responsibility for all of us working in music and tech to figure out ways to do it that supports the industry, the community, and more than anything, the art form.” It occurs to me that Zonoozy is as interested in conserving as he is in innovating.

Will music streaming survive without AI?

It wouldn’t be a discussion about where the music-streaming industry is going without me bringing up AI, and Zonoozy sounds dismissive about AI at first, telling me: “You know what I like about AI? It's easy to spell”.

AI is having a big influence on music platforms in many ways, with algorithmic recommendations and tools such as AI playlist generators now pretty much part of the package. Because these features are right at users’ fingertips, I ask, will there come a time where listeners won’t be able to use services without the help of AI?

Zonoozy has hope, saying, “It's hard for me to imagine a world where people are building things completely void of touching some semblance of AI, but I do believe that there will be products that are not purely driven by generative media.” While he doesn’t necessarily favor the reliance on AI tools to enhance the UX, Zonoozy isn’t against AI altogether. If anything, he acknowledges its benefits, and how it’s helped provide the foundations to his services.

“It's enabling technology for us, it's just not the consumer proposition,” he adds. “Shibuya doesn't build LLMs or ask anyone to prompt music and wait for a finished song, but we do use it as a co-pilot for coding and development. I'd be naïve to say that there's no AI somewhere in the stack there. But on the music side, all the stems are all hand produced”.

He continues, “I'm not anti-AI. I think AI is an incredible, powerful future-facing infrastructure. I think it can build so many cool things and empower so many cool things. I’m a traditionally strong techno optimist in that sense, I think it will lead to incredible discoveries and advancements — it makes coding infinitely easier. But AI is not our product thesis on our side.”

When it comes to streaming services, there’s a huge focus on churning out tools designed to make the listening experience more personalized, more convenient, and more interactive. Given the pace of this evolution, I find it difficult to envisage where streaming culture is headed — Zonoozy shared my uncertainty.

“In terms of streaming specifically, I don't know what's going to happen,” he admits. “The extreme levels of personalization to custom content made for you — I don't know where that line ends. Is it being personalised, or is it being generated for you?”

Fun fact: whenever I have days that I work remotely, I'll always have an episode of Bob's Burgers on in the background. In fact, I watch all 16 seasons of the hit Hulu and Disney+ animated comedy so often, that I could tell you exactly what episode was on without directly looking at it.

I felt incredibly prepared for the handful of Bob's Burgers quizzes already on the internet claiming to be the hardest, but nobody has yet been able to truly test the reams of random knowledge I've acquired from watching the series so often.

Should I be able to tell recite the lyrics to the song that plays over Tina and Tammy's first time collectively ditching class in season 2? Probably not.

So, behold — the genuinely most difficult Bob's Burgers quiz that I have played to date (because I made it). If you get more than 80%, I'll assume that you're actually a Wharf resident who's somehow found their way into the real world.

I have left out anything that happens in The Bob's Burgers Movie, but you'll need to have seen seasons 1-16 in order to answer all of the questions.

Check back when Bob's Burgers season 17 (hopefully) airs in early 2027... you know that the above will be updated accordingly.

"It takes close to eight months to produce the topiaries," explained Debbie Mola Mickler, area manager at Disney's Horticulture — for installations that were on display for just a few weeks.

On that clock, Disney's horticulture team is likely already deep into next year's lineup — even though this year's International Flower & Garden Festival at EPCOT only wrapped June 1. Mola Mickler oversees production of the living character sculptures that define the festival at Walt Disney World in Orlando. What look like decorative topiaries from a distance reveal themselves up close as something far more complex.

Underneath, engineered steel frames, a moss growth medium, and tightly integrated irrigation work together so that whether it's Mickey, Buzz, Lightning McQueen, or any other character, the topiary presents itself exactly as it should. They're closer to architecture than landscaping, and the timeline to build one reflects that.

That timeline starts long before any planting begins. Disney's horticulture team works directly with Walt Disney Imagineering to decide which characters can even be translated into living structures — a process that blends creative direction with real-world constraints like weight, scale, and maintenance. Once a character is selected, Mola Mickler goes straight to the source and thinks about scale — how big the topiaries need to be, and what plant material can tell that story.

From design, Disney's digital team produces a maquette — a small 3D-printed physical model of each topiary — that serves as the reference guide for everything that follows, from fabrication through final trimming.

That translation from screen to structure is where Disney's topiaries stop being just landscaping and become systems design problems. "Our Imagineers are so creative, they've pushed us towards getting these topiaries with more movement," she explained. The dresses have folds; legs may be bent like a character is mid-dance. That push toward motion and expression has forced a redesign of how internal structures are built — especially as characters become more dynamic and less symmetrical.

Once a design is approved, Disney builds a full production pipeline that starts with digital modeling and ends with custom steel fabrication. "You can't just go to the yellow pages and find a welder to make the frame," Debbie said.

Each topiary begins as a custom-engineered stainless steel structure designed to support weight, shape, and long-term outdoor exposure. Built into each frame are engineered pick points — load-bearing anchors that allow heavy equipment like cranes and forklifts to position the finished topiaries into their beds in the park. Some characters arrive in multiple pieces and are assembled on-site.

Once the steel frame is in place, it's filled with sphagnum moss, which acts as the primary growth medium. For larger characters, Disney builds a secondary cage of chicken wire inside the frame first — since plants only need about two to three inches of growing area, the inner cage reduces the amount of moss required while maintaining the structure's shape.

The moss retains moisture, supports plant plugs, and forms the core structure that everything else grows into. Built into each frame is a segmented irrigation system that allows Disney to control water distribution at a surprisingly granular level.

"We can do arms, we can do the head, we can do the feet," Debbie said. "And then we'll turn it off as needed." That segmentation isn't just for efficiency — it's environmental control. Florida's climate can shift rapidly, and different parts of a topiary may require different hydration levels depending on sun exposure and airflow.

As the plants grow in, the maquette becomes the trimming guide — helping maintain pose accuracy and character shape across months of active growth before the festival opens.

Behind the scenes, Disney operates continuous environmental monitoring across 12 greenhouse facilities, each subdivided into controlled environments that simulate different growing conditions depending on plant type and stage. Debbie described automated alerts that notify her directly if temperatures fall outside safe ranges — a system her team relies on enough that they refer to themselves as "weather watchers."

The foundational methods, though, have deep roots. "Many years ago when I first started in Disney horticulture, we did not have sphagnum topiary," Debbie said. "We only had woody topiaries with single shrubs being trained in a frame, and it can take seven to 10 years to grow one."

Those traditional systems, still used at Disneyland, rely on shrubs trained over lightweight frames and take several years to mature. At EPCOT, the sphagnum system enables faster production cycles and far more expressive designs — but still requires nearly a year of preparation per installation.

Some heritage pieces remain in rotation, including a more than 50-year-old elephant topiary originally built for Magic Kingdom that now makes a special appearance just for Flower & Garden in EPCOT's United Kingdom Pavilion.

Modern festival builds, meanwhile, sit at the intersection of horticulture and fabrication engineering. Materials like palm fiber replicate textures such as Woody's hat and boots; coconut coir matting handles facial detailing. Props like belt buckles and sheriff badges are 3D printed and integrated directly into the structures.

Even animation principles feed into final assembly. "We want to make sure the eyes are always looking at the guest when they take a picture," Debbie said.

It's that kind of detail — designed not just to be seen, but to be experienced — that makes the topiaries something more than seasonal decoration. They're living installations built to hold up across an entire festival, in Florida heat, one carefully engineered character at a time.

Spider-Man: Brand New Day has spun its way into theaters — and there's something about the Marvel movie's end credits scene that's dominated my thoughts since I left my screening.

I've already written about the post-credits stinger in my Spider-Man: Brand New Day ending explained piece, but I didn't elaborate on what it could be teasing. That's because, based on a new theory I have about this Spider-Man film's end credits scene, I deemed that discussion worthy of its own article.

It goes without saying, but full spoilers immediately follow for Spider-Man: Brand New Day. If you haven't seen it yet: bookmark this page, read my Spider-Man: Brand New Day review to see if it's any good, and then watch it at your local theater. Once you've completed those steps, re-open this page — it'll be worth the wait, I promise.

Alright, let's first review what happens in Spider-Man 4's post-credits scene, which centers on the Spidey Tracker app developed by Ned Leeds.

Initially, a flashing marker, accompanied by an automated voice message that says "New Spider-Man sighting", indicates that the titular hero is still in New York City. However, the message soon starts saying "Location unknown", which highlights that Spider-Man's actual whereabouts are, well, unknown. Cue the app zooming out to try to find Peter Parker.

Eventually, the app zooms out far enough that it not only shows us the entire Earth, but also that the popular Marvel Cinematic Universe (MCU) character can't be found. That's until the app moves away from our world, lays down a new pin that indicates Spider-Man is somewhere in space, and ends with the voice message saying "Location found."

What does that mean? The obvious answer is that Spidey is no longer planet-side. I know, shock, horror. What isn't clear, though, is why he's in space. Again, there's an easy answer for this: it's got something to do with Avengers: Doomsday and/or its sequel Avengers: Secret Wars.

That pair, which come out on December 18, 2026 and December 17, 2027, mark the end of Marvel Phase 6 and the divisive Marvel Multiverse Saga. And, while current Spidey star Tom Holland isn't confirmed to appear in Doomsday, the fan-favorite A-lister will, by virtue of his popularity, feature in one or both of the aforementioned films. So, it would make a ton of sense if Brand New Day's end credits stinger is teasing his involvement in Doomsday and/or Secret Wars.

Nonetheless, what if — and I realize this is a huge if — the Spidey Tracker isn't picking up Holland's Spider-Man, but one of his fellow webheads?

Now, I know that's a stretch, but hear me out. After all, everything we learn about the Spidey Tracker in Brand New Day suggests it's tailored specifically to the MCU's Spider-Man, so why would it detect another wallcrawler, such as Tobey Maguire or Andrew Garfield's, instead?

Well, for one, we don't actually know that the Spidey Tracker has been custom-built for Holland's version. If it hasn't, there's no reason why it wouldn't detect one of his multiversal variants.

That multiversal aspect is perhaps the most crucial part of my theory, too.

The next two Avengers movies will be the culmination — and celebration — of every Marvel Universe we've seen on the big screen. That includes the MCU, the original Fox X-Men franchise, and — based on myriad rumors that have been circulating online for months — the realities inhabited by Maguire and Garfield.

Furthermore, Avengers: Doomsday's story synopsis has already confirmed that it'll revolve around the threat posed by Incursions.

These multiversal calamities occur when the barriers between two universes break down, and lead to a collision that permanently destroys one or both worlds. As such, Doomsday will feature heroes from three distinct universes — the MCU, original FoX-Men, and The Fantastic Four — battling to save their realities.

But are these the only universes we'll visit in Avengers 5? It would be a glaring error if Marvel overlooked Maguire and Garfield's worlds in Doomsday and/or Secret Wars, and I don't think anyone believes that the comic giant would.

It's for that very reason, then, that I believe Brand New Day's post-credits scene isn't actually showing us that Holland's Parker has gone off-world. No, I'm convinced that the Spidey Tracker is actually picking up Maguire or Garfield's Spider-Man — and, of the two, it's the former that it's detected.

Think about it. Doomsday's first proper trailer appears to suggest that the FoX-Men have successfully navigated an Incursion. I speculate more on this in my Avengers: Doomsday trailer breakdown article, but essentially, the teaser's first few seconds show Charles Xavier/Professor X shielding his eyes from a humungous, blinding explosion. Of course, this might not be the final moments of the FoX-Men destroying another world to save their own, but what else could cause such a massive and bright blast if not the destruction of an entire universe?

And what's that got to do with Maguire's Spider-Man? Well, maybe it's his reality — aka the Sam Raimi Spider-Verse — that's being annihilated in that scene. If so, it's possible that a giant mega-Incursion involving the MCU, Fantastic Four-Verse, FoX-Men universe, and Raimi-Verse happens at the same time in Doomsday, which results in the FoX-Men proactively destroying the Raimi-Verse because their reality is most at risk of colliding with it.

Should that be the case, it would explain why the Spidey Tracker detects Maguire's Peter Parker instead of Holland's and subsequently backs up my admittedly wild theory.

There's the tiniest shred of evidence that I might be onto something, too. During a cute chat with kids on the Celebrity Surprise YouTube channel, Holland was asked if Maguire would appear in Spider-Man: Brand New Day. Holland's reply? "He's not in the movie [Spider-Man 4], but... yeah, I... yeah, careful now."

The implication here is that Holland knows something about when and where Maguire's version of the character could show up next. Holland is famous for having loose lips when it comes to MCU spoilers, too, so the fact that he stops himself here before he reveals something is, in itself, revealing.

Does he know that Maguire will feature in Doomsday and/or Secret Wars? I wouldn't be shocked if he does. After all, Holland, Maguire, and Garfield all shared the screen in 2021's Spider-Man: No Way Home. If they still keep in touch, it's plausible they've discussed their possible involvement in one or both forthcoming Avengers films, with Maguire potentially telling them — in the strictest confidence — that he's in Avengers: Doomsday. For the sake of my offbeat theory, I hope that's the case.

In the meantime, learn everything we know so far about Avengers: Doomsday, get the lowdown on Avengers: Secret Wars, and find out how to watch the Marvel movies in order.

Spoilers for The Crow Girl seasons 1 and 2 ahead.

It's no secret that we're beyond spoiled for choice when it comes to crime dramas, and that's just considering what's available to us on mainstream streaming services. But getting one that truly shakes us to the core is a lot rarer.

So when I stumbled across The Crow Girl season 1 on Paramount+, my mind was melted to mush by the time I got to the finale. In short, DCI Jeanette Kilburn (Eve Myles) and eminent psychotherapist Dr Sophia Craven (Katherine Kelly) join forces to hunt the killer of young men, but there's a lot more going on than meets the eye.

By the end of season 1, it was revealed that Victoria Burkeman, a prime suspect in the case, was actually Craven herself. She killed her father after he killed their daughter — meaning Victoria was sexually assaulted by her dad while her mum knew and did nothing to stop it.

It's heavy stuff, but I cannot stress enough how unexpectedly the reveal was, and how cleverly the clues were woven through the storyline.

18 months later and I'm pleased to say that The Crow Girl season 2, now on the streamer and Channel 5, doesn't disappoint... and that means a whole new level of shocking reveals.

The Crow Girl season 2 ending leaves Kilburn for dead, but Craven — now her lover — isn't responsible

It's important to remember that when we find out that Craven is actually Victoria, Kilburn is none the wiser. With the two women drawn to each other, a romantic connection sparks... secretly, seeing as Kilburn is technically cheating on her husband in the process.

Drama! Things get even worse in the finale, when the entire police station, which includes Kilburn's boss, finds out that she's been accidentally sleeping with the prime suspect in their murder case (the case itself hasn't changed since season 1).

Here's where the story gets more complicated. While we've known that Craven and Victoria are one, Craven apparently doesn't know herself. Kilburn explains that she's got DID (Dissociative Identity Disorder), meaning that Victoria is likely responsible for every murder they've investigated so far, including her own dad.

At this point, Kilburn is forced out of the station and threatened with questioning the next morning, but Craven is back at the manor she used to be abused in, unwilling for the party being thrown there to do any further damage to young girls.

Craven entices Kilburn there, and by the time she arrives, all of the guests are dead with the girls safely hidden. But as Victoria takes over Craven's mind, a surviving abuser shows up and shoots at the pair, hitting Kilburn in the leg. Don't panic though... after some further antagonizing, Craven pops one in his head. But will Kilburn pull through?

I genuinely don't see how The Crow Girl season 2 could be any more unhinged. If we're lucky, season 3 will be renewed, with the original book series telling us that Craven will learn how to "blend" her identities.

Sign me up, once I've got my head around what's just happened.

Spoilers for Stuart Fails to Save the Universe episode 1 ahead.

Stuart Fails to Save the Universe episode 1 has arrived, and is now available to stream worldwide on HBO Max.

In short, our "starting" versions of Stuart (Kevin Sussman), Denise (Lauren Lapkus), Kripke (John Ross Bowie) and Bert (Brian Posehn) live in a reality akin to The Walking Dead, complete with Mad Max-style apocalyptic outposts and wasps that are the size of cars.

Stuart accidentally triggered this multiverse Armageddon after breaking a device supposedly built by Sheldon (Jim Parsons) and Leonard (Johnny Galecki).

Shortly after Kripke, that universe's leader, is confronted by the rest of the group, we meet our first secret TBBT cameo: Raj (Kunal Nayyar). He's basically become a doomsday prepper, working on plans on a blackboard for how to get the device working and get the hell outta dodge.

But just as quickly as we've met him, Raj is killed while the others safely teleport to... well, hopefully somewhere better. It's a bold move, and one that has shocked fans if social media is anything to go by.

However, we've been so caught up in Raj's death that we haven't considered one major detail... it hasn't really happened at all.

Only one version of Raj is now dead... and it's certainly not the one from The Big Bang Theory

Did you forget? This is just one version of Raj in one universe, meaning there's still an infinite number of Raj's out there to be found.

As none of the versions of the characters we're meeting are actually the ones seen in TBBT, original Raj is safely in California doing some science equations in peace (probably).

This doesn't even rule out Raj appearing again later on in Stuart Fails to Save the Universe. Now that we know he's a confirmed cameo for the HBO Max spinoff, it would be silly not to use him again where possible. With the overarching narrative so difficult to predict, the possibilities are endless.

If nothing else, this now means that we're likely to see other TBBT cast members cameo in other episodes, and whether they're killed off or not. However, who these cameos might be is anybody's guess.

What we do know for episodes 2-10 is pretty minimal, but the below preview gives us the faintest idea of what to expect. Strap in, is all I'm saying.

• Spotify is rumored to launch its own song ID tool
• Changes in the Android app were spotted, with references to 'Identify a song’, ‘listening’, and ‘analyzing’
• It could add a level of convenience when adding identified songs to a playlist, just like Apple Music's Shazam shortcut

There’s one thing that Spotify has over Apple Music, and that’s music discovery features, though the latter service has the edge when it comes to music recognition — but that could all change soon.

In a recent investigation from Android Authority, the outlet found lines of code in the latest version of the Spotify app which suggest the platform is working on its own song identification feature. Though this has only been found in Spotify’s Android app, we wouldn’t rule out the possibility of it launching on iOS.

As it is with every rumor, we’re taking this with a pinch of salt until more information surfaces, but Android Authority’s findings present some pretty convincing evidence, showing text that reads ‘Identify a song’, ‘listening’, and ‘analyzing’. It seems the feature will need access to your device’s microphone, and will display pop-ups when a song can’t be identified.

Essentially, it sounds like Spotify is developing its own in-house version of Shazam, which could act as a band-aid for many music fans out there who, like myself, rely on third-party music-recognition software to put titles to songs.

When Apple bought Shazam in 2018, it thrust the music-recognition platform right into the iOS experience. Instead of needing to use the standalone Shazam app, you can add the ‘Recognize Music’ tab to your iOS Control Center for easier access, and Shazam will be right there at your fingertips.

It also works wonders for quickly adding songs to your Apple Music library. When you Shazam a song, a pop-up reading ‘Add to Apple Music?’ appears and all of your tracks will be sent to your library. Until now, this level of convenience wasn't available for Spotify users.

Since Apple took ownership of Shazam, Apple Music and its users have greatly benefited, but listeners who use Spotify, Tidal, and the rest of the best music streaming services have been missing out. Not all was lost however; last year Shazam rolled out a feature where each song you identified using the app would be automatically added to a special playlist in your Spotify account titled ‘My Shazam Tracks’.

I have to say, this small but effective feature has become one of my most-used tools for keeping tabs on new music, but if you Shazam quite a lot of songs from different genres, it creates a very messy-looking playlist.

Even after my Shazamed songs have been added to ‘My Shazam Tracks’, I still go back into the playlist to individually move songs into my other playlists — which is why a native Spotify song ID tool would go a long way, and would be even better if you can add it to your iOS Control Center.

Just think about it: you’re out and about and a song starts playing which you know you’ve definitely heard before, but can’t remember for the life of you what it’s called or who sings it. A simple swipe down to the Control Center and a tap of a button gives you the song title in seconds, and then it directs you to your Spotify Library where you can add your recently-discovered song to a specific playlist.

We’ve reached out to Spotify for a comment, who replied with the following:

"We're always exploring ways to improve our product and deliver more value to users, but we don't comment on speculation around possible new features and don't have anything new to share at this time".