Amazon is facing a proposed class action lawsuit alleging it misleads customers by advertising digital movies and TV shows as "purchases," when in reality buyers only receive revocable licenses that can disappear if Amazon loses distribution rights. From the Hollywood Reporter: On Friday, a proposed class action was filed in Washington federal court against Amazon over a "bait and switch" in which the company allegedly misleads consumers into believing they've purchased content when they're only getting a license to watch, which can be revoked at any time. [...] The lawsuit accuses Amazon, which didn't respond to a request for comment, of misrepresenting the nature of movie and TV transactions during the purchase process. On its website and platform, the company tells consumers they can "buy" a movie. But hidden in a footnote on the confirmation page is fine print that says, "You receive a license to the video and you agree to our terms," the complaint says.

The issue is already before a court. In a 2020 lawsuit alleging unfair competition and false advertising over the practice, Amazon maintained that its use of the word "buy" for digital content isn't deceptive because consumers understand their purchases are subject to licenses. Quoting Webster's Dictionary, it said that the term means "rights to the use or services of payment" rather than perpetual ownership and that its disclosures properly warn people that they may lose access. The court ultimately rebuffed Amazon's bid to dismiss the lawsuit outside of a claim alleging a violation of Washington's unjust enrichment law.

The BBC reports a growing trend in music: "for established (but not superstar) artists to be targeted by fake albums or songs that suddenly appear on their pages on Spotify and other streaming services." Even dead musicians have had AI-generated "new" material added to their catalogues... According to music industry analysts Luminate, about 99,000 songs are uploaded to streaming services every day, usually via dozens of distribution services, which ask the uploader to submit the artist's details. If that information is incorrect, and a song wrongly gets listed under an existing artist's name, it's down to them or their label to complain and get it removed.
Spotify took three weeks to remove fakes of folk singer/songwriter Emily Portman, according to the article, "and she still hasn't regained control of her Spotify artist profile... Considering how the streaming era has already made a big dent in many artists' incomes, Emily Portman says this affair has felt like a "very low blow"... She suspects independent artists are being targeted because star names have more protection and more power to get fraudulent releases removed swiftly."

But it's also happened to "a number of Americana and folk-rock artists who have had fake tracks posted using their names in recent weeks — apparently all from the same source," including Wilco frontman Jeff Tweedy, J Tillman (now known as Father John Misty), Sam Beam (aka Iron & Wine), Teddy Thompson and Jakob Dylan: All the releases used the same style of AI artwork and were credited to three record labels, two with apparently Indonesian names. Many listed the same name as a songwriter — Zyan Maliq Mahardika. That name has also been credited on other songs mimicking real US Christian musicians and metalcore bands. Spotify said it had flagged the issue with the distributor and removed these tracks as they "violated our policy against impersonating another person or brand." It added it would "remove any distributor who repeatedly allows this type of content on our platform"....

Tatiana Cirisano from media and technology analysis company Midia Research says AI is "making it easier for fraudsters" to fool listeners, who are also more "passive" in the algorithmic age. She thinks bad actors posing as real-life artists are hoping their fraudulent tracks will "rack up enough streams" — hundreds of thousands — to earn them a nice payday. "I would think that the AI fakes are targeting lesser-known artists in the hopes that their schemes fly under the radar, compared to if they were to target a superstar who could immediately get Spotify on the line," she notes.

But streaming services and distributors are "working hard" and getting better at spotting it, she stresses, "ironically, also by using AI and machine learning!

"James Cameron has a confession: he can't write Terminator 7..." according to the Guardian, "because reality keeps nicking his plotlines." "I'm at a point right now where I have a hard time writing science-fiction," Cameron told CNN this week. "I'm tasked with writing a new Terminator story [but] I don't know what to say that won't be overtaken by real events. We are living in a science-fiction age right now...."

What Cameron should be looking for is a complete system reboot to reinvigorate the saga in the way Prey brought fans back to Predator and Alien: Romulus restored interest in slimy Xenomorphs. All evidence suggests that the 70-year-old film-maker is far more interested in the current challenges surrounding AI, superintelligences and humankind's constant efforts to destroy itself, which doesn't exactly lend itself to the sort of back-to-basics, relentless-monsters-hunt-a-few-unlucky-humans-for-two-hours approach that has worked elsewhere. The challenge here seems to be to fuse Terminator's core DNA — unstoppable cyborgs, explosive chase sequences, and Sarah Connor-level defiance — with the occasionally rather more prosaic yet equally scary existential anxieties of 21st-century AI doom-mongering. So we may get Terminator 7: Kill List, in which a single, battered freedom fighter is hunted across a decimated city by a T-800 running a predictive policing algorithm that knows her next move before she does. Or T7: Singularity's Mom, in which a lone Sarah Connor-type must protect a teenage coder whose chatbot will one day evolve into Skynet. Or Terminator 7: Terms and Conditions, in which humanity's downfall comes not from nuclear warfare but from everyone absent-mindedly agreeing to Skynet's new privacy policy, triggering an army of leather-clad enforcers to collect on the fine print.

Or perhaps the future just looks terrifying enough without Cameron getting involved — which, rather worryingly for the future of the franchise, seems to be the director's essential point.
"The only way out is through," Cameron said in the CNN interview, "by using our intelligence, by using our curiosity, by using our command of technology, but also, by really understanding the stark probabilities that we face."

In the meantime, Cameron is working on a new film inspired by the book Ghosts of Hiroshima, a book written by Charles Pellegrino, one of the consultants on Titanic. "I know what a meticulous researcher he is," Cameron told CNN in a recent interview. (Transcript here.) CAMERON: He's talked about this book for ages and ages and sent me early versions of it. So, I've read it with interest, great interest a number of times now. What compels me out of all that and what I think the human hook for understanding this tragedy is, is to follow a handful, specifically two will be featured of survivors, that actually survived not only the Hiroshima blast, but then went to Nagasaki and three days later were hit again.... This film scares me. I fear making this film. I fear the images that I'm going to have to create, to be honest and to be truthful.
CNN also spoke to former U.S. Energy secretary Ernest Moni, who is now a CEO at the nonprofit global security organization, the Nuclear Threat Initiative: MONI: There remains a false narrative that the possession of these nuclear weapons is actually making us safer when they're not. That's the narrative I think, ultimately, we need to change. Harry Truman said, quite correctly, these nuclear weapons, they are not military weapons. Dropped on a city, they indiscriminately kill combatants, non-combatants, women, children, etc. They should not be thought of as military weapons, but as weapons of mass destruction, indiscriminate mass destruction when certainly dropped in an urban center.
Thanks to long-time Slashdot reader schwit1 for sharing the article.

An anonymous reader quotes a report from the New York Times: There's an overwhelming sense of deja vu at multiplexes these days. In August alone, "Black Swan" (2010) is returning to theaters, along with the Tim Burton "Batman" movies from 1989 and 1992. Audiences will be able to revisit the oceanic terror of "Jaws" (1975), as well as the comic mystery (and multiple endings) of "Clue" (1985). Or they could groove to Prince's "Sign o' the Times" concert film from 1987. And it doesn't look like the rerelease trend is slowing down. In September, "The Breakfast Club" (1985) is returning, Pixar is bringing back "Toy Story" (1995), and "Apollo 13" (1995) is blasting off again. "Casper" (1995) will haunt screens for nearly the entire month of October, while "Avatar: The Way of Water" (2022) will run for about five days, teeing up the forthcoming "Avatar: Fire and Ash." And there are still more to come before the end of the year.

Rereleases have long been part of the theatrical ecosystem. After all, "Star Wars" movies have been heading back to multiplexes routinely since 1981 -- before "Return of the Jedi" even debuted. But recently, studios have been digging deeper into their archives for a variety of reasons -- only some of which have to do with nostalgia. "Black Swan," from Searchlight, which is now owned by Disney, took over around 200 IMAX screens to commemorate its 15th anniversary. Universal's specialty arm, Focus Features, rereleased both "Pride & Prejudice" (2005) and "Brokeback Mountain" (2005) earlier this year. "Pride & Prejudice" ultimately grossed more than $6 million domestically this time around, about 16 percent of its original U.S. box office haul.

In total, Universal has 12 rereleases on its 2025 slate -- not including a partnership with another distribution company -- compared with just four in 2024 and two in 2023. "We very much pay a lot of attention to our repertory business," the studio's president of domestic theatrical distribution, Jim Orr, said by phone, explaining, "We just think it's not only great fun for audiences, but a great business to be in as well." Orr explained that the size of Universal's rerelease slate this year was "more coincidental" than anything else, with all the films hitting anniversaries in 2025. Still, there is a strong business motivation: The rereleases help studios and exhibitors pad out relatively thin slates. "The truth of the matter is studios don't have enough product right now to give theaters, so that's why you're seeing an influx of these nostalgia plays," said Jeff Bock, senior media analyst at Exhibitor Relations. He added, "It doesn't cost a lot for them to do an anniversary edition or a 4K edition." There are several other reasons why Hollywood is rereleasing old movies, according to Orr. Rereleases are far cheaper to put out than launching a brand-new title. Studios also target films that already have strong, enduring audiences, "whether that's 'Pride & Prejudice,' with its meme-able depiction of yearning, or 'Casper,'" which he said had elicited 'decent' interest every year.

Then there's what Orr calls "opportunistic dating." "There might be a window where something goes thematically or holiday-wise, whatever kind of fits in, or there might be some more screens available in specific formats," he said. Specialty format releases like IMAX, Dolby, or 3D also help bring moviegoers to the theaters.

BrianFagioli writes: Google is preparing to bring its television platforms in line with the rest of Android. Starting August 1, 2026, both Google TV and Android TV will require app updates that include native code to provide 64-bit support. The move follows similar requirements for phones and tablets, and it paves the way for upcoming 64-bit TV devices.

An analysis of Rotten Tomatoes data reveals average Tomatometer scores have climbed steadily since Fandango's 2016 acquisition of the review aggregation platform. The average number of reviewers per mainstream film release increased by 40 to 70 critics following the purchase. New additions to the critic pool include smaller outlets such as Denerstein Unleashed and KKFI-FM Kansas City. Prior to 2016, critic and audience scores demonstrated stable correlation year-over-year. Post-acquisition data shows the two metrics diverged sharply as Tomatometer ratings rose.

Fandango, America's largest movie-ticketing platform, is partially owned by NBCUniversal and Warner Bros. Discovery. In 2023 Vulture reported PR firms court reviewers from smaller outlets to secure higher Tomatometer scores before film releases.

Hollywood comedy production has declined 27% since 1990 despite audience demand ranking the genre second among those viewers "want to see more of," according to Letterboxd genre data and a 68,000-consumer survey. Comedy films average $26.5 million production budgets and double their investment returns at 102%, yet represent just 9.3% of sequel releases compared to action's 27.6%.

The shift reflects studios prioritizing internationally marketable franchises over domestically-focused comedies, which earn most revenue from US and Canadian audiences. Films like 1984's Beverly Hills Cop ($977 million inflation-adjusted) and Ghostbusters ($882 million) remain unmatched by contemporary releases -- with half of Letterboxd's most popular 2020s "comedies" being either non-comedic films like Saltburn or IP-driven movies like Barbie.

Rising subscription costs, shrinking content libraries, and regional restrictions are pushing viewers back toward piracy. Once seen as nearly dead, piracy has resurged through illicit streaming platforms as the fractured, ad-laden streaming market struggles to deliver convenience and value. The Guardian reports: According to London-based piracy monitoring and content-protection firm MUSO, unlicensed streaming is the predominant source of TV and film piracy, accounting for 96% in 2023 (PDF). Piracy reached a low in 2020, with 130bn website visits. But by 2024 that number had risen to 216bn (PDF). In Sweden, 25% of people surveyed (PDF) reported pirating in 2024, a trend mostly driven by those aged 15 to 24. Piracy is back, just sailing under a different flag.

"Piracy is not a pricing issue," Gabe Newell, the co-founder of Valve, the company behind the world's largest PC gaming platform, Steam, observed in 2011. "It's a service issue." Today, the crisis in streaming makes this clearer than ever. With titles scattered, prices on the rise, and bitrates throttled depending on your browser, it is little wonder some viewers are raising the jolly roger again. Studios carve out fiefdoms, build walls and levy tolls for those who wish to visit. The result is artificial scarcity in a digital world that promised abundance.

Whether piracy today is rebellion or resignation is almost irrelevant; the sails are hoisted either way. As the streaming landscape fractures into feudal territories, more viewers are turning to the high seas. The Medici understood the value linked to access. [The 2016 historical drama series tells of the rise of the powerful Florentine banking dynasty, and with it, the story of the Renaissance.] A client could travel from Rome to London and still draw on their credit, thanks to a network built on trust and interoperability. If today's studios want to survive the storm, they may need to rediscover that truth.

Samsung has finally launched a TV featuring the company's new Micro RGB backlight technology. From a report: The 115-inch TV is first launching in South Korea for over $32,000, according to SamMobile, but Samsung says it's coming to the US next, followed by a wider global rollout with more size options.

Samsung's Micro RGB technology is being positioned as an upgrade to Mini LED backlights that employ an array of tiny white or blue LEDs behind a TV's LCD panel. Micro RGB backlights instead use an ultra-fine pattern of individually controlled red, green and blue LEDs that are each less than than 100um in size.

The new backlight is powered by Samsung's Micro RGB AI engine, which the company says "analyzes each frame in real time and automatically optimizes color output for a more lifelike and immersive picture." The technology allows for improved color accuracy and better contrast by precisely controlling the intensity of the individual LEDs, and Samsung says it can even boost the color in dull scenes, making them appear more vivid and immersive.

Young listeners are accelerating audio and video consumption, with an Economist/YouGov poll finding 31% of Americans aged 18-29 using faster-than-1x playback versus 8% among those 45 and older, as Apple, Spotify, newspapers' audio, Netflix, and YouTube expand speed controls, including YouTube's 4x for premium users.

YouTube reports more than 900 years saved per day from fast playback; a meta-analysis led by University of Waterloo researchers finds minimal test-score change up to 1.5x and declines near or past 2x.

Warner Bros. Discovery is preparing to crack down on HBO Max password sharing by the end of 2025, with "aggressive" enforcement and messaging starting next month. Deadline reports: JB Perrette, head of streaming and gaming at Warner Bros. Discovery said on the company's second-quarter earnings call that messaging to consumers is about to get more "aggressive." The media company looking to close the loopholes by the end of 2025, with the impact starting to appear in its financials by 2026. Several months of testing has enabled WBD to determine "who's a legitimate user who may not be a legitimate user," Perrette said. Once that is determined, he continued, the next step is to "turn on the more aggressive language around what needs to happen" in order to and make sure that "we are putting the net in the right place, so to speak."

Asked about what "inning" the process is in, to use the baseball cliche, Perrette said only the first. By the fourth quarter, he said, the process will be happening "in a much more aggressive fashion." "The message language right now has been a fairly soft, cancel-able message," he said. It will "start to get more fixed and such that people have to take action as opposed to right now, sort of having to be a voluntary process." Once those directives are established, he said, "the real benefit will start probably in the fourth quarter and then kick in in 2026."

Google has quietly admitted defeat in selling advertising for its smart TV platform, returning ad inventory to publishers and accepting a revenue share instead of controlling ad spots directly, according to The Verge. The policy reversal comes as Google spends hundreds of millions of dollars annually on Google TV without breaking even, while Amazon outspends the company on retail incentives that have already pushed Google TV sets out of Costco stores in favor of Fire TV models.

Amazon pays up to $50 per activated television to retailers and manufacturers, The Verge reported. Google TV has grown to 270 million monthly active devices worldwide since unifying Android TV and Chromecast under a single brand in 2020, but many devices operate in overseas markets that generate little revenue or run customized versions controlled by pay-TV operators. YouTube's success in the living room -- generating $9.8 billion in quarterly ad revenue and accounting for 12.5% of all US television viewing -- has reduced internal support for Google TV, with sales teams prioritizing the video platform and some YouTube executives arguing the smart TV budget should be redirected, the report adds.

A new War of the Worlds adaptation starring Ice Cube has achieved a 0% critical rating on Rotten Tomatoes after arriving on Prime Video in late July. The science fiction film, produced by Universal Pictures during the 2020 pandemic using actors filming separately through video calls, features alien tripods emerging from meteors to attack Earth.

The movie sat unreleased for approximately five years before streaming debut. Critics cite poor visual effects that "wouldn't pass muster on a whimsical Snickers ad" and performances where actors appear to be "performing in a Zoom-style vacuum." The film was shot using screenlife format with most action unfolding on computer screens.

Universal Pictures is taking a new approach to combat mass theft of its movies to teach AI systems. From a report: Starting in June with How to Train Your Dragon, the studio has attached a legal warning at the end credits of its films stating that their titles "may not be used to train AI." It's also appeared on Jurassic World Rebirth and Bad Guys 2. "This motion picture is protected under the laws of the United States and other countries," the warning reads. "Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution."

Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.