An anonymous reader quotes a report from Ars Technica: Quantum dots are already moving in the premium display category, particularly through QD-OLED TVs and monitors. The next step could be QDEL, short for "quantum dot electroluminescent," also known as NanoLED, screens. Not to be confused with the QLED (quantum light emitting diode) tech already available in TVs, QDEL displays don't have a backlight. Instead, the quantum dots are the light source. The expected result is displays with wider color spaces than today's QD-OLEDs (quantum dot OLEDs) that are also brighter, more affordable, and resistant to burn-in. It seems like QDEL is being eyed as one of the most potentially influential developments for consumer displays over the next two years. If you're into high-end display tech, QDEL should be on your radar.

You may know QDEL as NanoLED because that's what Nanosys, a quantum dot supplier developing the technology, calls it. QDEL has gone by other names, such as QLED -- before Samsung claimed that acronym for LCD-LED TVs that use quantum dots. You may also see QDEL referred to as QD-EL, QD-LED, or EL-QD. As the alphabet soup suggests, there are still some things to finalize with this tech. This article will mostly use the term QDEL, with occasional references to NanoLED. If none of those names sound familiar, it's probably because you can't buy any QDEL products yet. Suppliers suggest that could change in the next few years; Nanosys is targeting 2026 for commercial availability. [...]

Today's OLED screens use OLED material as their light source, with QD-OLED specifically applying quantum dots to convert the light into color. In QLED, the light source is a white backlight; QDEL displays apply electricity directly to quantum dots, which then generate light. QDEL uses a layer of quantum dots sandwiched between an anode and cathode to facilitates the flow of electricity into the quantum dots. QDEL displays have pixels made of a red quantum dot subpixel, green quantum dot subpixel, and -- differing from today's QLED and QD-OLED displays -- blue quantum dot subpixel. QDEL displays use the same quantum dot cores that QD-OLED and QLED products use, [Jeff Yurek, Nanosys' VP of marketing] told me, adding, "The functionalization of the outer layer of the [quantum dots] needs to be changed to make it compatible with each display architecture, but the cores that do the heavy lifting are pretty much the same across all of these."

Because QDEL pixels make their own light and can therefore turn off completely, QDEL displays can deliver the same deep blacks and rich contrast that made OLED popular. But with the use of direct-view quantum dots, stakeholders are claiming the potential for wider color gamuts than we've seen in consumer displays before. With fewer layers and parts, there are also implications for QDEL product pricing, longevity, and even thinness. [...] The fact that quantum dots are already being successfully applied to LCD-LED and OLED screens is encouraging for future QDEL products. QDEL stakeholders claim that the tech could bring efficiencies like lower power consumption and higher brightness than OLED. (Research using a prototype device has recorded quantum dot light-emitting diodes reaching 614,000 nits. Of course, those aren't the type of results you should expect to see in a real-life consumer product.) There's also hope that QDEL could eventually last longer than OLED, especially since QDEL doesn't rely on organic materials that can cause burn-in.

A large-screen IMAX documentary about the James Webb Space Telescope "has just opened in 300 theaters across North America," write an anonymous Slashdot reader, noting that it's playing for one week only. "And it gets a rave review in Forbes." Imagine venturing to the beginning of time and space, exploring cosmic landscapes so vast and beautiful that they've remained unseen by human eyes until now.

This is the promise of "Deep Sky," an extraordinary IMAX presentation that brings the universe's awe-inspiring mysteries closer than ever before. Directed by the Oscar®-nominated filmmaker Nathaniel Kahn and narrated by the equally acclaimed actress Michelle Williams, "Deep Sky" is a monumental journey through the cosmos, powered by the groundbreaking images captured by NASA's Webb Telescope... "Deep Sky" is more than a documentary about a space telescope; it's an immersive experience that invites audiences to see the universe as never before. Through the power of IMAX, viewers are transported across 13 billion years of cosmic history, to the very edges of the observable universe. Here, in stunning clarity, we witness the birth of stars, the formation of galaxies, and the eerie beauty of exoplanets — planets that orbit stars beyond our own Sun. These images, beamed back to Earth by JWST, reveal the universe's vast beauty on a scale that seems only the giant IMAX screen can begin to convey...

What makes "Deep Sky" particularly captivating is its ability to render the incomprehensible beauty and scale of the universe accessible. The IMAX® experience, known for its breathtaking visuals and sound, serves as the perfect medium to convey the majesty of the cosmos.
The review says the film celebrates the achieve of thousands of people working across decades, "aiming to answer some of humanity's oldest questions: Where did we come from? How did the universe begin? Are we alone in the vastness of space?"

The reviewer also spoke to JWST telescope scientist Matt Mountain — in another article applauding the film for "encapsulating the grandeur of space exploration on the IMAX canvas." In "Deep Sky," viewers are taken on a journey from the telescope's construction to its deployment and early operational phases. The documentary highlights the international collaboration and engineering marvels behind the JWST, featuring insights from key scientists and engineers who brought the telescope to life. The film aims to rekindle a sense of wonder about the universe and our place within it, emphasizing the human desire to explore and understand the cosmos.

Today is Record Store Day, which according to Wikipedia is happening in the U.S., the UK, Ireland, Mexico, Europe, Japan and Australia.

An anonymous reader shared this report from The Los Angeles Times: 420 isn't just for stoners. This year, Record Store Day — the worldwide celebration for independent record shops that typically happens every third Saturday of April — falls on the storied day... [A]udiophiles and vinyl collectors will converge at participating stores to search for one-of-a-kind wax and CD releases by artists new and old, along with other one-of-a-kind items....

This year's event brings in roughly 400 anticipated titles including a live recording of Talking Heads from a 1977 performance (featuring seven previously unheard songs), a 12-inch vinyl release of Daft Punk's "Something About Us (Love Theme From Interstella 5555)", an unreleased live solo recording of "The Godmother of Rock n' Roll" by Sister Rosetta Tharpe (from 1966) and a 10-year anniversary edition of Freddie Gibbs & Madlib's "Piñata." Also, this year's Record Store Day ambassador, Paramore, will release a remix version of its 2023 album, "This Is Why" and Cheech and Chong will reissue the soundtrack for their 1978 film, "Up in Smoke," on smoky green vinyl just in time for 4/20...

[E]ven if you're not interested in copping a special release, it's still worth checking out what your favorite record store has to offer on April 20. You'll find events like in-store DJ sets, pop-up shopping experiences and in-store performances.
The event features Record Store Day exclusives (not otherwise available), as well as specially-pressed commemorative editions (which will see a later release on plain black vinyl). American Songwriter lists some of the highlights:

• A special limited edition "miniature turntable" and four 3-inch singles of the Beatles' songs played 60 years ago on the Ed Sullivan show.

• A four-LP set of a 1989 Grateful Dead concert

• A limited edition "expanded" edition of Elton John's album Caribou with a disc of bonus tracks.

• A 12-inch EP previewing the upcoming box set edition of John Lennon's Mind Games album, including a song Lennon wrote for a 1973 Ringo Starr album which also featured George Harrison.

• A white-vinyl pressing of seven Rolling Stones tracks recorded last October — including the live debut of four songs later released on their new album Hackney Diamonds. (One track is a duet with Lady Gaga)

You can see the full list here.

Earlier this week, Netflix found itself embroiled in an AI scandal when Futurism spotted AI-generated images used in the Netflix documentary What Jennifer Did.. The movie's credits do not mention any uses of AI, causing critics to call out the filmmakers for "potentially embellishing a movie that's supposed to be based on real-life events," reports Ars Technica. An executive producer of the Netflix hit acknowledged that some of the photos were edited to protect the identity of the source but remained vague about whether AI was used in the process. From the report: What Jennifer Did shot to the top spot in Netflix's global top 10 when it debuted in early April, attracting swarms of true crime fans who wanted to know more about why Pan paid hitmen $10,000 to murder her parents. But quickly the documentary became a source of controversy, as fans started noticing glaring flaws in images used in the movie, from weirdly mismatched earrings to her nose appearing to lack nostrils, the Daily Mail reported, in a post showing a plethora of examples of images from the film. [...]

Jeremy Grimaldi -- who is also the crime reporter who wrote a book on the case and provided the documentary with research and police footage -- told the Toronto Star that the images were not AI-generated. Grimaldi confirmed that all images of Pan used in the movie were real photos. He said that some of the images were edited, though, not to blur the lines between truth and fiction, but to protect the identity of the source of the images. "Any filmmaker will use different tools, like Photoshop, in films," Grimaldi told The Star. "The photos of Jennifer are real photos of her. The foreground is exactly her. The background has been anonymized to protect the source." While Grimaldi's comments provide some assurance that the photos are edited versions of real photos of Pan, they are also vague enough to obscure whether AI was among the "different tools" used to edit the photos.

Netflix on Thursday reported a 16% rise in memberships in the first quarter, reaching 269.6 million, beating Wall Street expectations. Starting next year, the company will no longer provide quarterly membership numbers or average revenue per user starting next year. CNBC reports: "As we've noted in previous letters, we're focused on revenue and operating margin as our primary financial metrics -- and engagement (i.e. time spent) as our best proxy for customer satisfaction," the company said in its quarterly letter to shareholders. "In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential." Netflix said now that it is generating substantial profit and free cash flow -- as well as developing new revenue streams like advertising and a password-sharing crackdown -- its membership numbers are not the only factor in the company's growth. It said the metric lost significance after it started to offer multiple price points for memberships. The company said it would still announce "major subscriber milestones as we cross them."

Netflix also noted that it expects paid net additions to be lower in the second quarter compared to the first quarter "due to typical seasonality." Its second-quarter revenue forecast of $9.49 billion was just shy of Wall Street's estimate of $9.54 billion Shares of the company fell around 4% in extended trading. Netflix reported first-quarter net income of $2.33 billion, or $5.28 per share, versus $1.30 billion, or $2.88 per share, in the prior-year period. The company posted revenue of $9.37 billion for the quarter, up from $8.16 billion in the year-ago quarter.

Trump Media & Technology Group Corp., which has been called the "mother of all meme stocks" after it made its stock market debut in late March, announced that its Truth Social platform is moving to launch a live TV streaming platform. Following the news, shares of DJT closed more than 14% lower Tuesday. They ended trading Monday down by more than 18%. CNBC reports: The stock's price has dropped by a whopping 67.7% since Trump Media began trading as a public company on March 26, erasing more than $5 billion in market capitalization. Trump Media's majority shareholder is former President Donald Trump, who holds nearly 60% of its stock.

Earlier Tuesday, Trump Media in a press release said it "has finished the research and development phase of its new live TV streaming platform and will begin scaling up its own content delivery network." The company said it will roll out streaming content in three phases, the first of which will introduce Truth Social's content delivery network for streaming live TV to the app for Android, iOS and web. Phase two will release stand-alone Truth Social streaming apps for phones, tablets and other devices, while phase three will release such apps for home television, Trump Media said. "The streaming content is expected to focus on live TV including news networks, religious channels, family-friendly content including films and documentaries; and other content that has been cancelled, is at risk of cancellation, or is being suppressed on other platforms and services," Trump Media said in its release.

"We're excited to move forward with the next big phase for Truth Social," added CEO Devin Nunes in a statement. "With our streaming content, we aim to provide a permanent home for high-quality news and entertainment that face discrimination by other channels and content delivery service. There is a lot of great content that simply can't find an audience for unjust reasons, and we want to let these creators know they'll soon have a guaranteed platform where they won't be cancelled."

Film data researcher Stepehen, writing on his blog: This may surprise some, but since 2000, just over half of all movies released have been original screenplays. The most common source for adapted screenplays was real-life events, accounting for almost a fifth of movies made between 2000 and 2023. (Typically, in these cases, the filmmakers will have paid for the rights to a nonfiction book or two that covered those events, but we will classify that as 'based on real-life events' in this analysis.) Other sources include fictional books/articles (8.9%), previous movies (11.8%), stage productions (including plays, musicals, and dance performances) (1.5%), and TV/Web shows (0.9%). In the chart below, 'Other' includes myths, legends, poems, songs, games, toys, and more.

How has this changed over the years? Forty years ago, about the same proportion of movies being made were original screenplays as they are today. That's quite surprising -- both because I assume that many people expected it to be lower in recent years, but also because little stays the same in the film industry over such a long period of time. But when we look at a time series by year, we can see that it hadn't plateaued. During the late 1990s and 2000s, original screenplays declined markedly and only rose again in the 2010s.

Abstract of a paper on Nature: Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity.

We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners' interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs' lyrics.

A monthslong "Star Wars"-themed festival called Season of the Force is now happening at Disneyland — including John Williams compositions in the Star Wars: Galaxy's Edge land during the park's fireworks. SFGate reports: Before the show starts, a voice rings through the land. "Black Spire Outpost has a long and colorful history of heroes and legends, Jedi and Sith, royalty and resistance," it says. "Those who would rule and those who refuse to bow. Here we celebrate that fiery spirit tonight." Then as the first fireworks fly into the sky, the majestic "Star Wars" music begins...

During the day, the land is overrun with tiny robots. Season of the Force also includes daily appearances from the new BDX Droids, cute little "explorer companions," per Disneyland, designed to assist with "exploration and research." These new audio-animatronics interact with guests, clicking and whirring with a surprising amount of personality.

Sabine Wren from "Ahsoka" is also making appearances in Galaxy's Edge during Season of the Force, and there are specialty food offerings in the land like the Celto Slush (a green, pandan-flavored horchata cold brew coffee drink) and the return of Dewback Chili Noodles (spicy fettuccine with ginger-spiced ground pork, broccolini stems and shredded red cabbage).
For the event, Disneyland's long-running Star Tours ride now includes appearances from the Mandalorian (and Grogu), Ahsoka, and Cassian Andor, according to the article. "Also back this year is Hyperspace Mountain, the seasonal overlay of Space Mountain that puts riders into an intergalactic fight between the Resistance and the First Order."

Movie exhibitors still face "serious risks," the Los Angeles Times reported Tuesday: Attendance was on the decline even before the pandemic shuttered theaters, thanks to changing consumer habits and competition for people's time and money from other entertainment options. The industry has demonstrated an over-reliance on Imax-friendly studio action tent poles, when theater chains need a deep and diverse roster of movies in order to thrive... It remains to be seen whether the global box office will ever get back to the $40 billion-plus days of 2019 and earlier years. A clearer picture will emerge in 2025 when the writers' and actors' strikes are further in the past. But overall, there's a strong case that moviegoing has proved to be relatively sturdy despite persistent difficulties.
Which brings us to this year's CinemaCon convention, where multiplex operators heard from Hollywood studios teasing upcoming blockbusters like Joker: Folie à Deux, Furiosa: A Mad Max Saga, Transformers One, and Deadpool & Wolverine. Exhibitors pleaded with the major studios to release more films of varying budgets on the big screen, while studios made the case that their upcoming slates are robust enough to keep them in business... Box office revenue in the U.S. and Canada is expected to total about $8.5 billion, which is down from $9 billion in 2023 and a far cry from the pre-pandemic yearly tallies that nearly reached $12 billion... Though a fuller release schedule is expected for 2025, talk of budget cuts, greater industry consolidation and corporate mergers has forced exhibitors to prepare for the possibility of a near future with fewer studios making fewer movies....

As the domestic film business has been thrown into turmoil in recent years, Japanese cinema and faith-based content have been two of movie theaters' saving graces. Industry leaders kicked off CinemaCon on Tuesday by singing the praises of Sony-owned anime distributor Crunchyroll's hits — including the latest "Demon Slayer" installment. Mitchel Berger, senior vice president of global commerce at Crunchyroll, said Tuesday that the global anime business generated $14 billion a decade ago and is projected to generate $37 billion next year. "Anime is red hot right now," Berger said. "Fans have known about it for years, but now everyone else is catching up and recognizing that it's a cultural, economic force to be reckoned with.... " Another type of product buoying the exhibition industry right now is faith-based programming, shepherded in large part by "Sound of Freedom" distributor Angel Studios...

Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends... "Whenever we have a [blockbuster] film — whether it be 'Barbie' or 'Super Mario' ... records are set," added Bill Barstow, co-founder of ACX Cinemas in Nebraska. "But we just don't have enough of them."

Rachel Treisman reports via NPR: Authorities in the Russian republic of Chechnya are banning music they consider either too fast or too slow, effectively criminalizing many genres. The Chechen Ministry of Culture announced the ban on its website last week, by the order of Culture Minister Musa Dadayev and with the agreement of Chechen leader Ramzan Kadyrov. "Musical, vocal and choreographic" works will be limited to a tempo of 80 to 116 beats per minute (BPM) to "conform to the Chechen mentality and sense of rhythm," said Dadayev, according to the Russian state-run news agency TASS.

"Borrowing musical culture from other peoples is inadmissible," Dadayev said, per a translation by The Guardian. "We must bring to the people and to the future of our children the cultural heritage of the Chechen people. This includes the entire spectrum of moral and ethical standards of life for Chechens." Russian media report that artists have until June 1 to rewrite any music that doesn't conform to the new rule, though it's not clear how it will be enforced. [...]

The government's crackdown on certain musical tempos would silence most modern music genres. Electronic styles of music like house, techno and dubstep all tend to have BPMs of over 116, says the audio tech company Izotope, while the average tempo of 2020's best-selling pop songs was 122 BPM, according to the BBC. The independent Russian news outlet Meduza said the tempo of the Russian national anthem would be considered too slow under the new limit, reports RadioFreeEurope/RadioLiberty. But it would seem to permit hip-hop music, which generally has a BPM of 85 to 95. "Chechnya is a roughly 6,700-square-mile autonomous republic situated in the North Caucasus of southern Russia and home to some 1.5 million people, the vast majority of whom are Muslim," notes NPR. "The U.S. Commission on International Religious Freedom has said Kadyrov's regime 'maintains hegemony through the imposition of a purported 'traditional' version of Islam, which falsely claims to defend local belief and culture, and combat violent extremism.'"

"'In reality, Kadyrov has [co-opted] Chechen religion and culture to support his brutal regime, which violates the secular constitution of the Russian Federation and international standards of freedom of religion or belief,' it added."

Despite investing billions in new streaming services, media giants have failed to dethrone old favorites, according to Nielsen data. The 21-year-old legal drama "NCIS" tops the list, with viewers streaming 11.4 million episodes per week. Netflix dominates the top 10, with eight shows owing most of their viewership to the platform. Reruns from CBS and other networks make up the majority of the list, with "Stranger Things" being the only original series.

"Nine of the 10 most-watched streaming programs are reruns. In addition to the three from CBS, there is one from YouTube (CoComelon), one from Canada (Heartland), one from Australia (Bluey) and Suits. The only original series to crack the list is Stranger Things," Bloomberg writes. However: "While reruns dominate the top 10, that is not the case overall. Most of the 100 most popular titles of the last three years are original series," it added.

The European Space Agency has a Planetary Defence Office, which includes its Near-Earth Object Coordination Centre. "It has come to our attention," they wrote in the April edition of their monthly newsletter, "that a recent trend among journalists has been to come up with creative comparisons to convey the size of an asteroid to the public."

So then, as explained by RockDoctor (Slashdot reader #15,477) "they propose a number of standardised units of comparison for journalists describing 'death from the skies'".

An excerpt from that April 1 newsletter: In the absence of a handy skyscraper, animals commonly used have included giraffes, corgis and an entire colony of penguins. But how do these comparisons stack up? Let's look at some of our favourite unusual suspects:

- Corgi: At around 30 cm tall, a space rock the size of a corgi wouldn't pose much of a threat.

- Half a giraffe: An adult giraffe can reach up to 5.5 metres in height, so half a giraffe would be about 2.75 metres. While not as impressive as a full skyscraper, an asteroid that size could certainly destroy a building or two...

- Elephants: An adult African elephant can reach 7 metres at the shoulder. Ninety elephants stacked on top of each other would form a staggering pile over 630 metres high, creating a devastating but probably not planet-ending event.

As this menagerie of animals can cause a lot of confusion, we at the NEOCC recommend the use of a Standardised Giraffe Unit (SGU, 1 SGU = 5 penguins) for ease of comparison.
RockDoctor shares this additional thought in his original submission about the newly proposed standardized unit.

"The world may be turtles all the way down, but it's giraffes all the way up."

Disneyland is a proposing part of its park be dedicated to James Cameron's Avatar, reports SFGate. "The rendering isn't a carbon copy of the Pandora land in Disney World's Animal Kingdom; instead, it's themed more closely to the recent sequel, Avatar: The Way of Water." The teaser was dropped as part of Wednesday's company shareholders meeting. The concept art shows a large lake in the middle of the land, surrounded by the signature floating mountains that loom over Animal Kingdom's Pandora. Boats filled with guests can be seen in the water, suggesting some sort of ride. No attractions have been announced for the land yet. Animal Kingdom has two: the spectacular flight simulator Flight of Passage and bucolic indoor boat ride Na'vi River Journey...

There's no timeline for construction to begin. Disney officials have consistently referred to it as a "potential" project, often calling it an "experience" rather than a land.

An anonymous reader writes: Variety reports that following the massive box office success of Dune: Part Two, Legendary has tapped Denis Villeneuve for a third installment that would presumably continue the story of how Paul Atreides goes on to conquer the galaxy. Earlier this year, Villeneuve told Empire that he had already "put words on paper" thinking about where he would like to take the Dune franchise going forward. Legendary has yet to announce any sort of timeline for when production on Dune 3 might begin. But the studio intends for the movie to debut before its next project with Villeneuve -- an adaptation of Nuclear War: A Scenario, Annie Jacobsen's 2024 Pulitzer Prize-nominated nonfiction book about how nuclear war scenarios would likely play out.