An anonymous reader shares a report: When Parasite became the first non-English language film in Oscars history to win best picture in 2019, it marked a breakthrough moment for Korean cinema. But the surge of interest that followed the director Bong Joon-ho's international success has not translated into a thriving local film industry, according to another of its leading lights.

The director Jang Joon-hwan said K-cinema was struggling after the arrival of Netflix and other streaming platforms, with movies often rushed on to streaming platforms, and box office ticket sales suffering as a consequence. Jang, whose 2004 cult sci-fi comedy Save the Green Planet is being remade by the Poor Things director, Yorgos Lanthimos, said Korean cinema was going through a "very precarious period" because Korean viewers would increasingly prefer to wait for films to come out on streaming platforms than pay more to go to the cinema.

"I hope that such a day comes that Korean films are being introduced to wider audiences and we can all enjoy them together, however as a Korean film director in Korea, [it's] a very difficult and challenging time with the advent of Netflix and the [streaming] platforms. In this post-pandemic period cinemagoers have dropped dramatically, so investment has dropped. There are less Korean films being made," he said. But he acknowledged that platforms such as Netflix had "introduced a lot of new international fans to Korean content," through hit shows such as Squid Game.

According to The Verge, Netflix plans to delist almost all of its interactive shows and films as of December 1st. Only four of the 24 interactive titles will remain: Black Mirror: Bandersnatch, Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend, Ranveer vs. Wild with Bear Grylls, and You vs. Wild. From the report: The removal of the titles marks a disappointing conclusion to Netflix's earliest efforts into interactive content. The company first launched the interactive titles in 2017 with Puss in Book: Trapped in an Epic Tale, and I remember being wowed (and horrified) by paths in Black Mirror: Bandersnatch. In addition to specials based on franchises like Carmen Sandiego and Boss Baby, Netflix also tried ideas like a daily trivia series and a trivia game you could play with a friend. But the relatively few titles available suggests the format wasn't much of a hit -- Puss in Book has apparently been gone for a while. "The technology served its purpose, but is now limiting as we focus on technological efforts in other areas," spokesperson Chrissy Kelleher says.

Amazon's Prime Video has introduced "X-Ray Recaps," a generative AI feature that will recap what you're watching. The new tool can create text summaries of "full seasons of TV shows, single episodes, and even pieces of episodes," the company says in a blog post. The Verge reports: X-Ray Recaps will be accessible from the detail page of a show or in X-Ray while you're watching something. The tool "analyzes various video segments, combined with subtitles or dialogue, to generate detailed descriptions of key events, places, times, and conversations," Amazon says. Amazon has also applied "guardrails" to help the feature avoid sharing spoilers and to keep summaries concise.

X-Ray Recaps, which is are beta, are coming to Fire TV devices starting today, with support for "additional devices" available by the end of this year, Amazon says. The feature, at launch, will work with all Amazon MGM Studios Original series.

This week's Ubuntu Summit 2024 was attended by Lproven (Slashdot reader #6,030). He's also a FOSS correspondent for the Register, where he's filed this report: One of the first full-length sessions was presented by David Morin, executive director of the Academy Software Foundation, introducing his organization in a talk about Open Source Software for Motion Pictures. Morin linked to the Visual Effects Society's VFX/Animation Studio Workstation Linux Report, highlighting the market share pie-chart, showing Rocky Linux 9 with at some 58 percent and the RHELatives in general at 90 percent of the market. Ubuntu 22 and 24 — the report's nomenclature, not this vulture's — got just 10.5 percent. We certainly didn't expect to see that at an Ubuntu event, with the latest two versions of Rocky Linux taking 80 percent of the studio workstation market...

What also struck us over the next three quarters of an hour is that Linux and open source in general seem to be huge components of the movie special effects industry — to an extent that we had not previously realized.
There's a "sizzle reel" showing examples of how major motion pictures used OpenColorIO, an open-source production tool for syncing color representations originally developed by Sony Pictures Imageworks. That tool is hosted by a collaboration between the Linux Foundation with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (the "Academy" of the Academy Awards). The collaboration — which goes by the name of the Academy Software Foundation — hosts 14 different projects The ASWF hasn't been around all that long — it was only founded in 2018. Despite the impact of the COVID pandemic, by 2022 it had achieved enough to fill a 45-page history called Open Source in Entertainment [PDF]. Morin told the crowd that it runs events, provides project marketing and infrastructure, as well as funding, training and education, and legal assistance. It tries to facilitate industry standards and does open source evangelism in the industry. An impressive list of members — with 17 Premier companies, 16 General ones, and another half a dozen Associate members — shows where some of the money comes from. It's a big list of big names. [Adobe, AMD, AWS, Autodesk...]
The presentation started with OpenVBD, a C++ library developed and donated by Dreamworks for working with three-dimensional voxel-based shapes. (In 2020 they created this sizzle reel, but this year they've unveiled a theme song.) Also featured was OpenEXR, originally developed at Industrial Light and Magic and sourced in 1999. (The article calls it "a specification and reference implementation of the EXR file format — a losslessly compressed image storage format for moving images at the highest possible dynamic range.")

"For an organization that is not one of the better-known ones in the FOSS space, we came away with the impression that the ASWF is busy," the article concludes. (Besides running Open Source Days and ASWF Dev Days, it also hosts several working groups like the Language Interop Project works on Rust bindings and the Continuous Integration Working Group on CI tools, There's generally very little of the old razzle-dazzle in the Linux world, but with the demise of SGI as the primary maker of graphics workstations — its brand now absorbed by Hewlett Packard Enterprise — the visual effects industry moved to Linux and it's doing amazing things with it. And Kubernetes wasn't even mentioned once.

Nintendo has announced a mobile app called Nintendo Music, which lets users listen to classic video game soundtracks from Nintendo games spanning the last few decades, including Splatoon, Animal Crossing, and The Legend of Zelda. According to The Verge, the app is available on iOS and Android but only Switch Online subscribers will be able to stream the tunes. From the report: The app features curated playlists themed around games, moments, moods, or characters, though you can also build your own. It also supports streaming as well as downloading tracks for offline listening. Curiously, it includes a spoiler feature that lets you filter out tracks that, somehow, might spoil a game you haven't played or finished yet. And if you just want some Hyrule white noise, the app also lets you "loop songs or extend select tracks to 15, 30, or 60 minutes for uninterrupted listening." Here's a list of all the regions the app will be available in.

An anonymous reader quotes a report from the European Space Agency: White dots arranged in five clusters against a black background (PNG). This is the simulated extraterrestrial signal transmitted from Mars and deciphered by a father and a daughter on Earth after a year-long decoding effort. On June 7, 2024, media artist Daniela de Paulis received this simple, retro-looking image depicting five amino acids in her inbox. It was the solution to a cosmic puzzle beamed from ESA's ExoMars Trace Gas Orbiter (TGO) in May 2023, when the European spacecraft played alien as part of the multidisciplinary art project 'A Sign in Space.' After three radio astronomy observatories on Earth intercepted the signal, the challenge was first to extract the message from the raw data of the radio signal, and secondly to decode it. In just 10 days, a community of 5000 citizen scientists gathered online and managed to extract the signal. The second task took longer and required some visionary minds.

US citizens Ken and Keli Chaffin cracked the code following their intuition and running simulations for hours and days on end. The father and daughter team discovered that the message contained movement, suggesting some sort of cellular formation and life forms. Amino acids and proteins are the building blocks of life. Now that the cryptic signal has been deciphered, the quest for meaning begins. The interpretation of the message, like any art piece, remains open. Daniela crafted the message with a small group of astronomers and computer scientists, with support from ESA, the SETI Institute and the Green Bank Observatory. The artist and collaborators behind the project are now taking a step back and witnessing how citizen scientists are shaping the challenge on their own.

Oscar winner Robert Downey Jr. has threatened legal action against future studio executives who attempt to recreate his likeness using AI. "I intend to sue all future executives just on spec," Downey said when asked about potential AI recreations of his performances. He dismissed concerns about Marvel Studios using his likeness without permission, citing trust in their leadership. During the interview, he criticized tech executives who position themselves as AI gatekeepers, calling it "a massive fucking error."

An anonymous reader quotes a report from the Hollywood Reporter: Grab your wagons and oxen, and get ready to ford a river: A movie adaptation of the popular grade school computer game Oregon Trail is in development at Apple. The studio landed the film pitch, still in early development, that has Will Speck and Josh Gordon attached to direct and produce. EGOT winners Benj Pasek and Justin Paul will provide original music and produce via their Ampersand production banner. Sources tell The Hollywood Reporter that the movie will feature a couple of original musical numbers in the vein of Barbie.

The Lucas Bros. (Judas and the Black Messiah) and Max Reisman are set to pen the screenplay about the game that is meant to mimic 19th-century pioneer times, following a covered wagon train heading west. Created in 1971, the game reached cult status among American grade schoolers by the 1990s as one of the first educational computer games allowed in schools -- and for its hilariously dark storylines filled with broken arms, typhoid and dysentery. The film will likely debut on Apple TV+, but details are scarce at the moment.

Speaking of streaming services, an anonymous reader shares a story that looks into Apple's entertainment offering: Ever since its launch in 2019, Apple TV+ has been carving out an identity as the new home for prestige shows from some of Hollywood's biggest names -- the kind of shows that sound natural coming out of Jimmy Kimmel's mouth in monologue jokes at the Emmys. While the company never provides spending details, Apple is estimated to have spent at least $20 billion recruiting the likes of Reese Witherspoon, M. Night Shayamalan, and Harrison Ford to help cultivate its award-worthy sheen. For all the effort Apple has expended, and for all the cultural excitement around Ted Lasso during its three-season run, the streaming service has won nearly 500 Emmys ... while attracting just 0.2% of total TV viewing in the U.S.

No wonder the company reportedly began reining in its spending spree recently. (Apple did not reply to a request for comment.) "It seems like Apple TV wants to be seen as a platform that's numbers-agnostic," says Ashley Ray, comedian, TV writer, and host of the erstwhile podcast TV I Say. "They wanna be known for being about the creativity and the love of making TV shows, even if nobody's watching them."

The experience of enjoying a new Apple TV+ series can often be a lonely one. Adventurous subscribers might see an in-network ad about something like last summer's Sunny, the timely, genre-bending Rashida Jones series about murderous AI, and give it a shot -- only to find that nobody else is talking about it in their social media feeds or around the company Keurig machine. Sure, the same could be said for hundreds of other streaming series in the post-monoculture era, but most streaming companies aren't consistently landing as much marquee talent for such a limited library. (Apple currently has 259 TV shows and films compared to Netflix's nearly 16,000.)

How is it possible for a streaming service to have as much high-pedigree programming as Apple TV+ does and so relatively few viewers, despite an estimated 25 million paid subscribers? How can shows starring Natalie Portman, Idris Elba, and Colin Farrell launch and even get renewed without ever quite grazing the zeitgeist? How does a show set in the same Monsterverse as Godzilla vs. Kong, and starring Kurt Russell and his roguishly charming son, not become a monster-size hit?

For many perplexed observers, the blame falls squarely on Apple's marketing efforts, or seeming lack thereof.

An anonymous reader shares a report: Subscription fees for video streaming services have been on a steady incline. But despite subscribers paying more, surveys suggest they're becoming less satisfied with what's available to watch.

At the start of 2024, the industry began declaring the end of Peak TV, a term coined by FX Networks Chairman John Landgraf that refers to an era of rampant content spending that gave us shows like The Wire, Breaking Bad, and Game of Thrones. For streaming services, the Peak TV era meant trying to lure subscribers with original content that was often buoyed by critical acclaim and/or top-tier actors, writers, and/or directors. However, as streaming services struggle to reach or maintain profitability, 2024 saw a drop in the number of new scripted shows for the first time in at least 10 years, FX Research found.

Meanwhile, overall satisfaction with the quality of content available on streaming services seems to have declined for the past couple of years. Most surveys suggest a generally small decline in perceived quality, but that's still perturbing considering how frequently streaming services increase subscription fees. There was a time when a streaming subscription represented an exclusive ticket to viewing some of the best new TV shows and movies. But we've reached a point where the most streamed TV show last year was Suits -- an original from the USA Network cable channel that ended in 2019.

More than 10,500 artists and creators -- including ABBA's Bjorn Ulvaeus, actress Julianne Moore, actors Kevin Bacon and F. Murray Abraham, as well as former Saturday Night Live star Kate McKinnon, author James Patterson and Radiohead's Thom Yorke -- signed a statement condemning AI companies' unauthorized use of creative works for training their models. The initiative, led by former AI executive Ed Newton-Rex, demands an end to unlicensed training data collection amid mounting legal challenges against tech firms. "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted," reads the statement.

The protest comes as major artists and publishers battle AI developers in court. Authors John Grisham and George R.R. Martin are suing OpenAI, while record labels Universal, Sony and Warner have filed lawsuits against AI music creators Suno and Udio. The signatories reject proposed "opt-out" schemes for content scraping, calling instead for explicit creator consent.

An anonymous reader quotes a report from the Hollywood Reporter: A production company for Blade Runner 2049 has sued (PDF) Tesla, which allegedly fed images from the movie into an artificial intelligence image generator to create unlicensed promotional materials. Alcon Entertainment, in a lawsuit filed Monday in California federal court, accuses Elon Musk and his autonomous vehicle company of misappropriating the movie's brand to promote its robotaxi at a glitzy unveiling earlier this month. The producer says it doesn't want Blade Runner 2049 to be affiliated with Musk because of his "extreme political and social views," pointing to ongoing efforts with potential partners for an upcoming TV series.

The complaint, which brings claims for copyright infringement and false endorsement, also names Warner Bros. Discovery for allegedly facilitating the partnership. "Any prudent brand considering any Tesla partnership has to take Musk's massively amplified, highly politicized, capricious and arbitrary behavior, which sometimes veers into hate speech, into account," states the complaint. "Alcon did not want BR2049 to be affiliated with Musk." [...] The lawsuit cites an agreement, the details of which are unknown to Alcon, for Warners to lease or license studio lot space, access and other materials to Tesla for the event. Alcon alleges that the deal included promotional elements allowing Tesla to affiliate its products with WBD movies. WBD was Alcon's domestic distributor for the 2017 release of Blade Runner 2049. It has limited clip licensing rights, though not for Tesla's livestream TV event, the lawsuit claims.

Alcon says it wasn't informed about the brand deal until the day of the unveiling. According to the complaint, Musk communicated to WBD that he wanted to associate the robotaxi with the film. He asked the company for permission to use a still directly from the movie, which prompted an employee to send an emergency request for clearance to Alcon since international rights would be involved, the lawsuit says. The producer refused, spurring the creation of the AI images. [...] Alcon seeks unspecified damages, as well as a court order barring Tesla from further distributing the disputed promotional materials. Musk referenced Denis Villeneuve's Blade Runner movie during the robotaxi event. "You know, I love Blade Runner, but I don't know if we want that future," he said. "I believe we want that duster he's wearing, but not the, uh, not the bleak apocalypse."

I, Robot director Alex Proyas also took to X last week, writing: "Hey Elon, Can I have my designs back please?"

An anonymous reader shared this report from ComicBook.com: On Saturday, 20th Century Studios announced that the latest entry in the Alien sci-fi horror franchise will get a limited-edition VHS release on December 3 — just in time for the holidays.

The VHS release of Alien: Romulus is the first such release from a major studio since 2006... a major win for fans of physical media. In recent months, there has been a great bit of conversation surrounding the so-called death of physical media with the rise of digital and streaming with some retailers even having previously announced that they have or will be stopping sales of physical media. But with streaming platforms removing content for various reasons, there's been a rise in appreciation for physical media which has, in turn, resulted in increased sales, particularly when it comes to limited edition items such as Steelbooks [collectible steel-case disc releases]... Given that the Alien: Romulus VHS release is part of an overall celebration of the franchise for its 45th anniversary year, leaning into that nostalgia for feels pretty spot on.
The release will present the movie "in a 4:3 aspect ratio," writes the Verge, "hopefully with well-done pan-and-scan..." (Their post includes a promotional picture showing the "slick, vintage-style" box-cover art.)

"The tape has only the film," notes Gizmodo, "and no special featurette attached at the end, like some used to back in the day."

Gizmodo also reminds readers of Hulu's 2025 series Alien: Earth and an upcoming videogame sequel to 2014's Alien: Isolation.

Neal Stephenson is a sci-fi writer "of exuberant prose who revels in embracing big ideas," according to the New York Times. "With Polostan he enters the realm of the spy novel..."

Or, as the Washington Post puts it, Stephenson "drops readers into a bloody, inspiring, conflict-ridden and pivotal period of the early 20th century." With its flair for characterization, precision of language, witty apercus and fecundity of events, the novel delivers what we've come to cherish from the author of such fantastical classics as "The Diamond Age," "Snow Crash" and "Cryptonomicon."

But the book is also utterly unlike the majority of Stephenson's work. For one thing, it's short — a far cry from the maximalist "systems novels" that cram in entire worlds with complex interacting power structures, both explicit and hidden. "Polostan" is also devoid of fantastical elements and farcical "hysterical realism," which comes as a bit of a shock given that this is the writer who invented Mafia pizza-delivery guys and cybernetic children's primers. The structure of the book is, likewise, unusually straightforward: a mainly linear narrative dispersed along two timelines...

These observations aren't quibbles so much as alerts to the reader that this is new territory for Stephenson — and good for him! Though, because Polostan is the first novel in a planned historical series titled Bomb Light, which aims to capture the excitement and intrigue of the nuclear arms race, we cannot rule out any Stephenson freakiness down the line... Assuming the subsequent books are as good as this one, Stephenson might end up with a series that rivals Michael Moorcock's Pyat Quartet and Edward Whittemore's Jerusalem Quartet as a vivid and canny dissection of a century unlike any other.
"Much of the next volume is already written," Stephenson says on Substack, calling it "a project that has been in the works for over ten years". (He also notes that among his novels, "even the stuff that's branded as science fiction tends to contain a lot of history.")

Meanwhile in August, Stephenson's blockchain-tech startup Lamina1 announced a collaboration with special effects company Weta Workshop (from "The Lord of the Rings" film franchise) on a "participatory worldbuilding" experience. Variety reports: The experience is expected to offer "a new blueprint for IP expansion through immersive experiences that incorporate fan action and input."

Per Lamina1's description for the project, "Stephenson and the Weta team will begin engaging a global community of creators and fans on the Lamina1 platform this fall, inviting them to unravel the lore behind a mysterious set of 'Artefacts' that will build upon the themes and lore from Stephenson's critically-acclaimed catalog of work.

Next, the superfan will take on the new role of creator, utilizing their discoveries to contribute directly to the expansion of the universe."

"Artefact" will serve as the flagship project in the Lamina1-Weta partnership and first major multimedia property launching on Lamina1's blockchain infrastructure and tooling.
Neal Stephenson answered questions from Slashdot's readers in 2004. Now to promote his new novel Polostan, Stephenson will be making several personal appearances this week:

• At the Wisconsin Book Festival in Madison (Sunday at noon)
• Chicago's Book Stall (Monday at 7 p.m.)
• A Cary, North Carolina Barnes & Noble (Tuesday at 6 p.m.)
• New York City's Strand (Wednesday at 7 p.m.)
• At the Midtown Scholar Bookstore in Harrisburg, Pennsylvania (Thursday at 7 p.m.)
• Ames, Iowa at Dog Eared Books (Sunday at 6 p.m.)

Google's NotebookLM app has been updated to let you generate custom podcasts from almost any source material. The AI software is also dropping the "experimental" tag. Wired reports: To make an AI podcast using NotebookLM, open up the Google Labs website and start a New Notebook. Then, add any source documents you would like to be used for the audio output. These can be anything from files on your computer to YouTube links. Next, when you click on the Notebook guide, you'll now see the option to generate a deep dive as well as the option to customize it first. Choose Customize and add your prompt for how you'd like the AI podcast to come out. The software suggests that you consider what sections of the sources you'd like highlighted, larger topics you want further explored, or different intended audiences who you want the message to reach.

One tip [Raiza Martin, who leads the NotebookLM team inside of Google Labs] shares for trying out the new feature is to generate the Audio Overview without changes, and while you're listening to this first iteration, write down any burning questions you have or topics you wish it expanded on. Afterwards, use these notes as a launching pad to create your prompts for NotebookLM and regenerate that AI podcast with your interests in mind. [...] Yes, Google's NotebookLM might flatten the specifics of a big document or get some details mixed up, but being able to generate more personalized podcasts from disparate sources truly does feel like a transformation -- and luckily nothing like turning into a giant bug. You can view some examples of AI-generated podcasts here.