An anonymous reader quotes a report from the BBC: A lack of action by big tech firms is enabling the "industrial scale theft" of premium video services, especially live sport, a new report says. The research by Enders Analysis accuses Amazon, Google, Meta and Microsoft of "ambivalence and inertia" over a problem it says costs broadcasters revenue and puts users at an increased risk of cyber-crime. Gareth Sutcliffe and Ollie Meir, who authored the research, described the Amazon Fire Stick -- which they argue is the device many people use to access illegal streams -- as "a piracy enabler." [...] The device plugs into TVs and gives the viewer thousands of options to watch programs from legitimate services including the BBC iPlayer and Netflix. They are also being used to access illegal streams, particularly of live sport.

In November last year, a Liverpool man who sold Fire Stick devices he reconfigured to allow people to illegally stream Premier League football matches was jailed. After uploading the unauthorized services on the Amazon product, he advertised them on Facebook. Another man from Liverpool was given a two-year suspended sentence last year after modifying fire sticks and selling them on Facebook and WhatsApp. According to data for the first quarter of this year, provided to Enders by Sky, 59% of people in UK who said they had watched pirated material in the last year while using a physical device said they had used a Amazon fire product. The Enders report says the fire stick enables "billions of dollars in piracy" overall. [...]

The researchers also pointed to the role played by the "continued depreciation" of Digital Rights Management (DRM) systems, particularly those from Google and Microsoft. This technology enables high quality streaming of premium content to devices. Two of the big players are Microsoft's PlayReady and Google's Widevine. The authors argue the architecture of the DRM is largely unchanged, and due to a lack of maintenance by the big tech companies, PlayReady and Widevine "are now compromised across various security levels." Mr Sutcliffe and Mr Meir said this has had "a seismic impact across the industry, and ultimately given piracy the upper hand by enabling theft of the highest quality content." They added: "Over twenty years since launch, the DRM solutions provided by Google and Microsoft are in steep decline. A complete overhaul of the technology architecture, licensing, and support model is needed. Lack of engagement with content owners indicates this a low priority."

An anonymous reader quotes a report from Ars Technica: An accused movie pirate who stole more than 1,000 Blu-ray discs and DVDs while working for a DVD manufacturing company struck a plea deal (PDF) this week to lower his sentence after the FBI claimed the man's piracy cost movie studios millions. Steven Hale no longer works for the DVD company. He was arrested in March, accused of "bypassing encryption that prevents unauthorized copying" and ripping pre-release copies of movies he could only access because his former employer was used by major movie studios. As alleged by the feds, his game was beating studios to releases to achieve the greatest possible financial gains from online leaks.

Among the popular movies that Hale is believed to have leaked between 2021 and 2022 was Spider-Man: No Way Home, which the FBI alleged was copied "tens of millions of times" at an estimated loss of "tens of millions of dollars" for just one studio on one movie. Other movies Hale ripped included animated hits like Encanto and Sing 2, as well as anticipated sequels like The Matrix: Resurrections and Venom: Let There Be Carnage. The cops first caught wind of Hale's scheme in March 2022. They seized about 1,160 Blu-rays and DVDs in what TorrentFreak noted were the days just "after the Spider-Man movie leaked online." It's unclear why it took close to three years before Hale's arrest, but TorrentFreak suggested that Hale's case is perhaps part of a bigger investigation into the Spider-Man leaks. A plea deal for Hale significantly reduced the estimated damages from his piracy case to under $40,000 and led to the dismissal of two charges, though he still faces up to five years in prison and a $250,000 fine for one remaining copyright infringement charge. His final sentence and restitution amount will be decided at a court hearing in Tennessee at the end of August.

The entertainment industry has achieved an unprecedented milestone: more film and television content exists today than at any point in human history. The technical infrastructure to deliver this content directly to consumers' homes works flawlessly. The problem? Actually finding something to watch has become a user experience nightmare that would make early-2000s software developers cringe.

Multiple streaming platforms are suffering from fundamental interface design failures that actively prevent users from discovering content. Cameron Nudleman, an Austin-based user, told Salon that scrolling through streaming service landing pages feels "like a Herculean task," while his Amazon Fire Stick setup -- designed to consolidate multiple services -- delivers consistent crashes across Paramount+ and Max, with Peacock terminating randomly "for no discernible reason."

The technical problems extend beyond stability issues to basic functionality failures. Max automatically enables closed captions despite user preferences, while Paramount+ crashes during show transitions. Chicago media writer Tim O'Reilly describes "every single interface" as "complete garbage except for Netflix's," though even Netflix has recently implemented changes that degrade user experience.

The industry eliminated simple discovery mechanisms like newspaper listings and Moviefone's telephone service in favor of algorithm-driven interfaces that Tennessee attorney Claire Tuley says have "turned art into work," transforming what was supposed to "democratize movies" into "a system that requires so many subscriptions, searching and effort."

An anonymous reader quotes a report from Ars Technica: For millions of music fans, the most controversial app ban of the past year was not the brief TikTok outage but the ongoing delisting of Musi from Apple's App Store. Those users are holding out hope that Musi can defeat Apple in court and soon be reinstated. However, rather than coming to any sort of resolution, that court fight has intensified over the past month, with both sides now seeking sanctions, TorrentFreak reported. [...] For Musi, the App Store removal came as an existential threat, prompting a lawsuit after Musi's attempts to work out the dispute with Apple outside of court failed. The music-streaming app has alleged that the Apple ban did not come at YouTube's request but at the request of Apple's apparent music industry friends who allegedly asked Apple to find a way to get the app removed -- prompting Apple to push YouTube to re-open a supposedly resolved complaint.

In a court filing, Apple claimed that this "conspiracy theory," as well as other "baseless" claims, were "false and misleading allegations" warranting sanctions. "Discovery thoroughly disproved Musi's baseless conspiracy theory that Apple schemed to eliminate the Musi app from the App Store to benefit 'friends' in the music industry," Apple argued. But Musi fired back over the weekend, calling (PDF) Apple's motion for sanctions "frivolous" and demanding sanctions be ordered instead against Apple for allegedly abusing the sanctions rule as a "tactic of intimidation and harassment." Musi noted that Apple's requested sanctions against Musi "are not appropriate if there is even 'some credible evidence,'" then included internal emails and references to testimony from Apple's own employees that seemingly met this low bar.

Most likely, this part of the dispute will not be settled until July 30, when a hearing is scheduled on the motions for sanctions. Apple is seemingly hoping that the court will agree that Musi's complaint misrepresents the facts and is so misleading that the complaint must be struck entirely, perhaps cutting out the heart of Musi's argument. However, Musi pointed out that Apple previously sought sanctions and withdrew that fight, allegedly recognizing that its bid for sanctions was "baseless." To convince the court that this second bid is "equally frivolous," Musi shared receipts, attaching internal communications from Apple employees that Apple allegedly worked hard to keep out of the courtroom.

Marvel Entertainment and DC Comics have announced their first crossover event since 2003's JLA/Avengers, featuring Deadpool and Batman in dual one-shot publications launching later this year. Deadpool/Batman one-shot launches September 17 and follows Wade Wilson hired for a Gotham City job that puts him against Batman.

DC's Batman/Deadpool counterpart launches in November. Both publications will include additional "backup adventures" featuring other character matchups, though creative teams for those remain unannounced. The crossover required extensive coordination between the companies' editorial schedules, which typically plan two to three years in advance.

More than 50 years after its debut, Uno has achieved unprecedented popularity among adults, but its resurgence is creating problems and confusions as players disagree on fundamental rules. WSJ, in a fun story [non-paywalled source]: Think politics divides? Try mixing competitors with different views on stacking "action" cards, or getting everyone to agree on the true power of the Wild card. And nobody can seem to decide whether staples of the game of their youth -- like mandating players yell "Uno!" when they have one card left -- are socially acceptable at a bar with strangers. Mattel has responded by actively settling rule debates on social media, definitively stating that stacking Draw 2 cards is prohibited, while simultaneously embracing the game's divisive nature through marketing campaigns. The company's "Show 'Em No Mercy" variant, featuring more aggressive rules, became the second-best-selling card game in the United States last year according to research firm Circana, trailing only classic Uno itself.

"For decades, Hollywood directors including Stanley Kubrick, James Cameron and Alex Garland have cast AI as a villain that can turn into a killing machine," writes the Los Angeles Times. "Even Steven Spielberg's relatively hopeful A.I.: Artificial Intelligence had a pessimistic edge to its vision of the future."

But now "Google — a leading developer in AI technology — wants to move the cultural conversations away from the technology as seen in The Terminator, 2001: A Space Odyssey and Ex Machina.". So they're funding short films "that portray the technology in a less nightmarish light," produced by Range Media Partners (which represents many writers and actors) So far, two short films have been greenlit through the project: One, titled "Sweetwater," tells the story of a man who visits his childhood home and discovers a hologram of his dead celebrity mother. Michael Keaton will direct and appear in the film, which was written by his son, Sean Douglas. It is the first project they are working on together. The other, "Lucid," examines a couple who want to escape their suffocating reality and risk everything on a device that allows them to share the same dream....

Google has much riding on convincing consumers that AI can be a force for good, or at least not evil. The hot space is increasingly crowded with startups and established players such as OpenAI, Anthropic, Apple and Facebook parent company Meta. The Google-funded shorts, which are 15 to 20 minutes long, aren't commercials for AI, per se. Rather, Google is looking to fund films that explore the intersection of humanity and technology, said Mira Lane, vice president of technology and society at Google. Google is not pushing their products in the movies, and the films are not made with AI, she added... The company said it wants to fund many more movies, but it does not have a target number. Some of the shorts could eventually become full-length features, Google said....

Negative public perceptions about AI could put tech companies at a disadvantage when such cases go before juries of laypeople. That's one reason why firms are motivated to makeover AI's reputation. "There's an incredible amount of skepticism in the public world about what AI is and what AI will do in the future," said Sean Pak, an intellectual property lawyer at Quinn Emanuel, on a conference panel. "We, as an industry, have to do a better job of communicating the public benefits and explaining in simple, clear language what it is that we're doing and what it is that we're not doing."

It's America's biggest box office for a Memorial Day weekend ever, reports Variety.

And it's been more than a decade since this many Americans went to see a movie during a three-day weekend... Families turned out in force for Disney's live-action "Lilo & Stitch" remake, which collected a blockbuster $145.5 million in its opening weekend and an estimated $183 million through Monday... Meanwhile, older audiences showed up to watch Paramount and Skydance's "Mission: Impossible — The Final Reckoning," which earned a series-best $63 million over the weekend and an estimated $77 million through Monday's holiday. This eighth installment just narrowly beat 2018's "Mission: Impossible — Fallout" ($61 million) to score the top debut of the 29-year-old franchise...

Thanks to effective counterprogramming — and a huge assist by holdovers like "Final Destination Bloodlines," "Thunderbolts*" and "Sinners" — this weekend delivered the best collective Memorial Day weekend haul with $322 million... Cinema operators are rejoicing because Memorial Day is the official launch to summer movie season, which is the most profitable stretch for the movie business. (Historically, the four-month period has accounted for $4 billion, or around 40% of the annual box office.)

It's a huge improvement from last year, which started with a whimper rather than a bang as "Furiosa: A Mad Max Saga" and "Garfield" led the holiday's worst showing in three decades with $132 million collectively. "Every film on the release calendar for the rest of the summer is going to benefit from the momentum created over this monumental record-breaking Memorial weekend in theaters," says senior Comscore analyst Paul Dergarabedian.
But the top-earning movie of the year so far is A Minecraft Movie, which has apparently brought in over $940 million.

Meanwhile, Mission Impossible: The Final Reckoning is one of the most expensive films of all time, according to the article, costing $400 million as Tom Cruise and the movie's director "worked through a pandemic and two strikes, all while grappling with inflation." Though the film received a high "A-" grade on CinemaScore, a movie industry analyst tells Variety that the unexpectedly high production costs means the movie "will be lucky to break-even."

Fun fact: A quarter of a century ago, CmdrTaco reviewed a new movie called Mission: Impossible 2, calling it "a fun movie," but "no Gladiator" and sort of a "James Bond for Dummies" movie.

"The 'Plot' is really just an excuse to show us lots of explosions, car/motorcycle/helicoptor chases..."

"I am a huge fan of Star Wars," opines an article from the gaming Aftermath. "As every Star Wars fan knows, being a Star Wars fan means you hate Star Wars as much as you love it."

But fortunately there's Going Rogue and Galactic — two tabletop games "inspired" by the Star Wars universe (which just successfully crowdfunded a printed illustrated hardcover edition). They're described as "war among the stars" role-playing games, where members of The Liberation dedicate their lives to the war against The Mandate — "rebels, soldiers, spies, and criminals, or perhaps someone who simply picked up and blaster and said 'enough is enough.'"

The article notes that Going Rogue was a way for the game's designer to work out their issues with Star Wars: "You can re-skin Going Rogue to be all the original stuff [from Star Wars]. I prefer, at this point, to play it not in canon Star Wars," Levine said. "And also, there are things I hate about canon Star Wars. I think it sucks that the Jedi are child kidnapping, sexless acetics!" In particular Going Rogue is a remix of Rogue One: A Star Wars Story, which depicts the lives of a group of rebel agents who give their lives for the rebellion before the original trilogy. "I love Rogue One and I hate Rogue One," Levine said...

But Going Rogue aims to do more than just allow players to "fix" Star Wars's narrative problems. It also allows players to explore this narrative of rebellion without having to interface with an evil entertainment empire: Disney... Going Rogue is an opportunity for Star Wars fans to make the story of Star Wars their own, including making it more in league with their own politics by taking Disney out of it. "Something I like about tabletop role playing and adaptational tabletop role playing is it says, 'Actually, fuck them. They don't get to own this thing,'" Levine said. "We can't fully divest from the connection to Star Wars. Obviously, we are downstream of it in certain ways. But we are also trying to say, fuck [Disney's] ownership of this thing that you love."
Aftermath adds that the game Going Rogue "intrigued me specifically because it was inspired by Rogue One: A Star Wars Story and Andor — in particular, Going Rogue has a mechanic baked into the game where your character is more or less guaranteed to go out in a blaze of glory for the cause." [The game's designer says] "I wanted to design the game in a way that, as your character realized that they were willing to voluntarily sacrifice their life for this, you were narratively guaranteed by the mechanics that that sacrifice was worth it. You get to see, after they die, how it transforms the galaxy. I wanted you to get that feeling because you don't get that certainty in real life." They didn't make this game to convince anyone to become a socialist, but instead to create an emotional tool that serves as a mirror for the players' own feelings about what it means to devote your life to a political cause.

Long-time Slashdot reader SchroedingersCat shares this article from Deadline: Prime Video will not be renewing The Wheel of Time for a fourth season according to Deadline article. The decision, which comes more than a month after the Season 3 finale was released April 17, followed lengthy deliberations. As often is the case in the current economic environment, the reasons were financial as the series is liked creatively by the streamer's executives...

The Season 3 overall performance was not strong enough compared to the show's cost for Prime Video to commit to another season and the streamer could not make it work after examining different scenarios and following discussions with lead studio Sony TV, sources said. With the cancellation possibility — and the show's passionate fanbase — in mind, the Season 3 finale was designed to offer some closure. Still, the news would be a gut punch for fans who have been praising the latest season as the series' best yet creatively... Prime Video and Sony TV will continue to back the Emmy campaign for The Wheel of Time's third season.

SAG-AFTRA has filed a labor complaint against Fortnite developer Epic Games, alleging the game improperly used AI to replicate James Earl Jones' Darth Vader voice without bargaining with the union, despite the estate's approval. Gizmodo reports: The union has now filed an unfair labor practice charge (link to the PDF is on the SAG-AFTRA website) that calls out "Fortnite's signatory company, Llama Productions" for "[replacing] the work of human performers with AI technology" without "providing any notice of their intent to do this and without bargaining with us over appropriate terms."

The union notes that it's not against the general idea here: "We celebrate the right of our members and their estates to control the use of their digital replicas and welcome the use of new technologies to allow new generations to share in the enjoyment of those legacies and renowned roles." The problem is that the AI being used here makes human voice actors obsolete, and "we must protect our right to bargain terms and conditions around uses of voice that replace the work of our members, including those who previously did the work of matching Darth Vader's iconic rhythm and tone in video games."

So far there's been no response from Epic Games on the filing. The Hollywood Reporter notes that despite the SAG-AFTRA's still-ongoing Interactive Media Agreement strike, which has been stuck for months on negotiating "AI protections for voice actors in video games," actors can actually work on Fortnite without violating the strike, since the game falls under an exception for titles that were in production before August 2023.

Charter Communications announced a $21.9 billion deal Friday to acquire Cox Communications, combining two major cable providers as they face mounting competition from wireless carriers offering 5G home internet. The transaction merges Charter's 31.4 million customers with Cox's 6.3 million, creating a larger entity to defend against aggressive expansion from Verizon and T-Mobile.

Charter lost 60,000 internet customers in the March quarter, underscoring the industry's vulnerability as traditional cable broadband growth stalls. Wireless carriers have successfully marketed their fixed wireless access services at lower price points while delivering competitive speeds, turning what was once cable's most profitable segment into contested territory. The combined company, which will be headquartered in Stamford, Connecticut, plans to adopt the Cox Communications name within a year of closing while retaining Spectrum as its consumer-facing brand.

Netflix said its cheaper, ad-supporter tier now has 94 million monthly active users -- an increase of more than 20 million since its last public tally in November. CNBC reports: The company and its peers have been increasingly leaning on advertising to boost the profitability of their streaming products. Netflix first introduced the ad-supported plan in November 2022. Netflix's ad-supported plan costs $7.99 per month, a steep discount from its least-expensive ad-free plan, at $17.99 per month. Netflix also said its cheapest tier reaches more 18- to 34-year-olds than any U.S. broadcast or cable network. "When you compare us to our competitors, attention starts higher and ends much higher," Netflix president of advertising Amy Reinhard said in a statement. "Even more impressive, members pay as much attention to mid-roll ads as they do to the shows and movies themselves."

Warner Bros. Discovery said Wednesday it will revert its streaming service name from Max back to HBO Max this summer, just two years after dropping the HBO branding.

The decision, revealed at the company's upfront presentation to advertisers in New York, represents an admission that HBO's premium brand equity remains valuable in the streaming landscape. "Returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect," WBD stated in a press release.

Back in 2000, Slashdot founder CmdrTaco marked the 4th anniversary of Jennifer Ringley's pioneering "JenniCam" livestream (saying "It sure beats the Netscape FishCam. It's nuts how Jenni's little cam became such a fixture on The Internet...")

But a new article in the Washington Post remembers how "Once, Ringley looked directly into the camera and held a note in front of her eye. It read: 'I FEEL SO LONELY.'" By 2003, Ringley had shut down the site and disappeared. She began declining interview requests, saying she was enjoying her privacy; her absence on social media continues to this day.
"But by then, the human zoo was everywhere," they write including "social media, where everyone could become a character in their own show." In 2007 Justin Kan launched Justin.TV, which eventually became Twitch, "a thrumming online city for anyone wanting to, as its slogan said, 'waste time watching other people waste time.'"

But the article also notes 2023 stats from the Bureau of Labor Statistics survey that found Americans"were spending far less time socializing than they had 20 years ago — especially 18-to-29-year-olds, who were spending two more hours a day alone." So how did this play out for the next generation of livestreaming influencers? Here's the origin story of "a lonely young woman in Texas" who's "streamed every second of her life for three years and counting." One afternoon, her boyfriend told her to try Twitch, saying, as she recalled: "Your life sucks, you work at CVS, you have no friends. ... This could be helpful." In her first stream, on a Friday night, she played 3½ hours of "World of Warcraft" for her zero followers.
Eight years later... Six hundred and forty-two people are watching when Emily tugs off her sleep mask to begin day No. 1,137 of broadcasting every hour of her life... On the live-streaming service Twitch, one of the world's most popular platforms, Emily is a legendary figure. For three years, she has ceaselessly broadcast her life — every birthday and holiday, every sickness and sleepless night, almost all of it alone. Her commitment has made her a model for success in the new internet economy, where authenticity and endurance are highly prized. It's also made her a good amount of money: $5.99 a month from thousands of subscribers each, plus donations and tips — minus Twitch's 30-to-40 percent cut.

But to get there, Emily, who agreed to be interviewed on the condition that her last name be withheld due to concerns of harassment, has devoted herself to a solitary life of almost constant stimulation. For three years, she has taken no sick days, gone on no vacations, declined every wedding invitation, had no sex. She has broadcast and self-narrated a thousand days of sleeping, driving and crying, lugging her camera backpack through the grocery store, talking through a screen to strangers she'll never meet. Her goal is to buy a house and get married by the age of 30, but she's 28 and says she's too busy to have a boyfriend. Her last date was seven years ago... But no one tells streamers when to record or when to stop. There are no labor codes, performance limits or regulations to keep the platforms from setting incentives impossibly high. Many streamers figure out the optimal strategy themselves: The more you share, the more successful you can be....

Though some Twitch stars are millionaires, most scramble to get by, buffeted by the vagaries of audience attention. Emily's paid-subscription count, which peaked last year at 22,000, has since slumped to around 6,000, dropping her base income to about $5,000 a month, according to estimates from the analytics firm Streams Charts... Sometimes Emily dreads waking up and clocking into the reality show that is her life. She knows staring at screens all night is unhealthy, and when she feels too depressed to stream, she'll stay in bed for hours while her viewers watch. But she worries that taking a break would be "career suicide," as she called it. Some viewers already complain that she showers too long, sleeps in too late, doesn't have enough fun...

She said she "used to show true sadness on stream" but doesn't anymore because it makes viewers uncomfortable. When she hits a breaking point now, she said, she closes herself in the bathroom.

Netflix has officially launched a new AI-powered search feature that uses OpenAI's ChatGPT to deliver a conversational content discovery experience, allowing users to describe what they're looking for in natural language. The streaming giant is also getting into short videos with a new vertical feed set to rival Instagram Reels and TikTok. TechCrunch reports: Users can enter their preferences using natural phrases like "I want something funny and upbeat" or even more detailed requests, such as "I want something scary, but not too scary, and maybe a little bit funny, but not haha funny." The feature is set to roll out this week to iOS users as an opt-in beta. Some subscribers in Australia and New Zealand have already had access to it, as reported by Bloomberg last month. [...] Additionally, at the tech and product event, the company mentioned plans to use generative AI to update title cards in subscribers' preferred languages. Other features revealed on Wednesday include a short-form video feed for mobile users and a redesign of its TV homepage.

Netflix's new mobile-only vertical feed allows users to easily scroll through clips of its original titles. Within this feed, users can tap on buttons to watch the entire show or movie immediately, save it to their "My List," or share it with friends. Of note is that the clips are curated from the "Today's Top Picks for You" section rather than being chosen from Netflix's entire library. This approach makes it specifically tailored to each user, ultimately encouraging viewers to watch the full shows.

Harman International, a Samsung subsidiary, announced it is acquiring Masimo's consumer audio division for $350 million in cash. "The deal is expected to finalized by the end of 2025, though it's still subject to regulatory approvals," notes Engadget. From the report: Samsung purchased Harman International back in 2017 for $8 billion, though it allowed the company to operate as an independent subsidiary. Harman's brands include JBL, Harman Kardon, AKG, Mark Levinson, Arcam and Revel. If and when the acquisition pushes through, Masimo's audio brands under Sound United will be added to the list, including Bowers & Wilkins, Denon, Marantz and Polk Audio. [...]

As noted by The Verge, Samsung published a press release, where it briefly talked about the history of the brands it's acquiring. It mentioned some of Bowers & Wilkins' most iconic products, such as the Nautilus loudspeaker (pictured above) and its Zeppelin wireless speaker, as well as Denon's history as an early adopter of the CD player. Harman had a 60 percent market share in portable audio devices last year, and the company is looking to maintain that position with this purchase. Samsung also plans to apply the new brands' audio technologies to its smartphones, TVs, wireless earphones, soundbars and other devices in the future.

Donald Trump has announced plans to impose a 100% tariff on all foreign-made films, citing national security concerns and accusing other countries of luring U.S. film production abroad with incentives. PBS reports: "The Movie Industry in America is DYING a very fast death," he wrote [on his Truth Social platform], complaining that other countries "are offering all sorts of incentives to draw" filmmakers and studios away from the U.S. "This is a concerted effort by other Nations and, therefore, a National Security threat. It is, in addition to everything else, messaging and propaganda!"

It wasn't immediately clear how any such tariff on international productions could be implemented. It's common for both large and small films to include production in the U.S. and in other countries. Big-budget movies like the upcoming "Mission: Impossible -- The Final Reckoning," for instance, are shot around the world.

Incentive programs for years have influenced where movies are shot, increasingly driving film production out of California and to other states and countries with favorable tax incentives, like Canada and the United Kingdom. Yet Trump's tariffs are designed to lead consumers toward American products. And in movie theaters, American-produced movies overwhelming dominate the domestic marketplace. "Other nations have been stealing the movie-making capabilities from the United States," Trump told reporters at the White House on Sunday night after returning from a weekend in Florida. "If they're not willing to make a movie inside the United States we should have a tariff on movies that come in."

An anonymous reader quotes a report from Ars Technica: An update to Roku OS has resulted in colors looking washed out in HDR content viewed on Roku apps, like Disney+. Complaints started surfacing on Roku's community forum a week ago. On May 1, a company representative posted that Roku was "investigating the Disney Plus HDR content that was washed out after the recent update." However, based on user feedback, it seems that HDR on additional Roku apps, including Apple TV+ and Netflix, are also affected. Roku's representative has been asking users to share their experiences so that Roku can dig deeper into the problem. [...]

Roku hasn't provided a list of affected devices, but users have named multiple TCL TV models, at least one Hisense, and one Sharp TV as being impacted. We haven't seen any reports of Roku streaming sticks being affected. One forum user claimed that plugging a Roku streaming stick into a Roku TV circumvented the problem. Forum user Squinky said the washed-out colors were only on Disney+. However, other users have reported seeing the problem across other apps, including Max and Fandango. [...] Users have noted that common troubleshooting efforts, like restarting and factory resetting their TVs and checking for software updates, haven't fixed the problem.

The problems appear to stem from the Roku OS 14.5 update, which was issued at the end of April. According to the release notes, the update is available for all Roku TV models from 2014 on, except for models 65R648, 75R648, and 75U800GMR. Roku streaming sticks also received the update. Per Roku, the software update includes "various performance optimizations, bug fixes, and improvements to security, stability." Other additions include a "new personalized row of content within the Live TV Guide" and upgrades to Roku OS' daily trivia, voice control, and discovery capabilities. "I'm surprised more people aren't complaining because it makes a ton of shows simply unwatchable. Was looking forward to Andor, and Tuesday night [was] ruined," posted forum user noob99999, who said the problem was happening on "multiple apps," including Amazon Prime Video. "I hope the post about imminent app updates are correct because in the past, Roku has taken forever to correct issues."

As May the 4th transforms into Star Wars Day, dozens of sites and games have found ways to celebrate. The official Star Wars channel on YouTube released a celebratory video. Disney+ released Tales of the Underworld , a six-part animated series about bounty hunters during the reign of the Empire. And Friday the first two episodes began streaming in Fortnite in a special early premiere on "Star Wars Watch Party island," according to IGN. (Disney acquired a $1.5 billion stake in Epic in March 2024, they note, "positioning itself to collaborate with the game developer for many years to come." One example from StarWars.com: Introducing the GALACTIC BATTLE Season: the largest crossover yet between Fortnite Battle Royale and Star Wars. Strap into a TIE fighter or X-wing and take to the skies over new locations like the First Order Base where you can take on Captain Phasma and her legion of stormtroopers. Players can expect new gameplay updates to drop every week throughout the season, including new weapons, Force Abilities and quests to complete.
- There's additional Star Wars celebrations today in several other games, including LEGO Fortnite Brick Life, Rocket League, and Monopoly GO!

- CNN is publishing its own list of Star Wars day products and deals. (Including Panasonic's Stormtrooper electric shaver and the Darth Vader toaster.)

- There's special Star Wars pages at Amazon, Target, Walmart, and Lego.

- On X.com the UK's national library posted what looks a picture of a medieval manuscript with Yoda painted into the text. Someone posted a clip from the 1977 Bob Hope Christmas Special which ends with Mark Hamill rescuing Princess Leia (played by Olivia Newton-John). Even the White House has posted an AI-generated image of president Trump wielding a lightsaber.

- Starbucks even has its own line of Star Wars-themed mugs.

And if today isn't enough, the Austin American-Statesman reminds readers that there's more Star Wars celebrations are coming up: Sometimes also known as Geek Pride Day, May 25 is known as "Star Wars Day" because it marks the release of the anniversary of the series' debut. "A New Hope" premiered in United States theaters on May 25, 1997...

May 21 is Talk Like Yoda Day, an annual celebration marking the release of "Star Wars: Episode V — The Empire Strikes Back" on May 21, 1980 — the film that introduced Yoda to the galaxy...