118 episodes of Jim Henson's classic TV series The Muppet Show are now streaming on Disney+, writes the AV Club — but 18 episodes now begin with a content disclaimer... The text of the disclaimers, which cannot be skipped past and include little 12-second timers so you know that you have to sit through them, explain that the episodes feature "negative depictions and/or mistreatment of people or cultures," and while "these stereotypes were wrong then and are wrong now," Disney has decided to leave them in order to "acknowledge the [content's] harmful impact, learn from it, and spark conversation to create a more inclusive future together..."

The disclaimer-worthy stuff includes Johnny Cash performing in front of a confederate flag in his episode and the brief appearance of a puppet dressed as a stereotypical Native American (referred to as an "Indian") in the Jim Nabors episode.
MovieWeb adds: Putting a disclaimer on the show is not a new practice at Disney+. The streamer had previously put disclaimers at the start of several classic animated movies, warning viewers about "outdated cultural depictions." Last month, Disney+ took it a step further by pulling many of these movies from kids' profiles, such as Dumbo, Peter Pan, Lady and the Tramp, and The Jungle Book. The titles are still available to watch on adult profiles with a disclaimer.
To celebrate their arrival on Disney+ the Muppets spliced themselves into posters parodying other TV shows, including The Mandalorian.

But MovieWeb also notes reports that two Muppet Show episodes from season 5 also had to be removed — and another episode heavily edited — due to trouble securing the music rights, "something that also prevented most of the series from getting released on home video for years."

In a new essay for Harper's magazine, Martin Scorsese argues the art of cinema is being systematically devalued and demeaned by streaming services and their algorithms, "and reduced to its lowest common denominator, 'content.'" "Content" became a business term for all moving images: a David Lean movie, a cat video, a Super Bowl commercial, a superhero sequel, a series episode. It was linked, of course, not to the theatrical experience but to home viewing, on the streaming platforms that have come to overtake the moviegoing experience, just as Amazon overtook physical stores.

On the one hand, this has been good for filmmakers, myself included. On the other hand, it has created a situation in which everything is presented to the viewer on a level playing field, which sounds democratic but isn't. If further viewing is "suggested" by algorithms based on what you've already seen, and the suggestions are based only on subject matter or genre, then what does that do to the art of cinema...?

[A]t this point, we can't take anything for granted. We can't depend on the movie business, such as it is, to take care of cinema. In the movie business, which is now the mass visual entertainment business, the emphasis is always on the word "business," and value is always determined by the amount of money to be made from any given property — in that sense, everything from Sunrise to La Strada to 2001 is now pretty much wrung dry and ready for the "Art Film" swim lane on a streaming platform.
Is Scorsese right? Slashdot reader entertainme shared some reactions gathered by the BBC's Entertainment reporter. Elinor Carmi, research associate at Liverpool University's communication and media department sees a "battle between the old and new gatekeepers of art and culture." "At its core, curation has always been conducted behind the scenes", with little clarity as to the rationale behind the choices made to produce and distribute art and culture, she says. Take the U.S.'s Motion Picture Association film rating system. The 2006 documentary, This Film Is Not Yet Rated, explored how film ratings affect the distribution of films, and accusations that big studio films get more lenient ratings than independent companies... "[I]t would be a mistake to present the old gatekeepers in romantic colours compared to new technology companies. In both cases, we are talking about powerful institutions that define, control and manage the boundaries of what is art and culture," Carmi says....

So is Scorsese right to suggest that streaming services reduce content to the "lowest common denominator"? Journalist and media lecturer Tufayel Ahmed suggests they are an easy target, and the reality is a little more complex. He says the focus on "pulling in the numbers" can mean some of the best shows don't get the promotion and are therefore cancelled... "Some of the best stuff on streaming seems to get little buzz, while tons of marketing and publicity is thrown behind more generic fare that they know people will watch. It becomes a self-fulfilling prophecy." Scorsese himself directly benefited from this by relying on Netflix to fund his 2019 gangster film The Irishman after traditional studios baulked at the cost. "There's an argument to be made about streaming services investing in publicity and marketing for these projects to create awareness," says Ahmed.

But if responsibility in part lands on the shoulders of streaming services, the choices of the audience themselves cannot be forgotten. "Algorithms alone can't be blamed for people consuming lowbrow content over series and movies that are deemed worthy, because people have flocked to easy viewing over acclaimed dramas on television, for example, for years."
The BBC ultimately argues that perhaps "the streaming algorithms really aren't to blame after all, but simply made in our image." But in his essay Scorsese remembered how the brave pioneering decisions made in the 1960s by film distributors and exhibitors led to that moment's "shared excitement over the possibilities of cinema" — and seems to want to preserve that special feeling: Those of us who know the cinema and its history have to share our love and our knowledge with as many people as possible. And we have to make it crystal clear to the current legal owners of these films that they amount to much, much more than mere property to be exploited and then locked away. They are among the greatest treasures of our culture, and they must be treated accordingly.

Content from abroad is boosting its share of the American entertainment diet, thanks in large part to streaming, the pandemic and the creator economy. From a report: "As 'American exceptionalism' has become less of a truth geopolitically, the same goes for entertainment," says Brad Grossman, founder and CEO of ZEITGUIDE. The U.S. demand share for non-U.S. content was higher each quarter in 2020 than in the previous two years, according to data provided to Axios from Parrot Analytics, which measures demand for entertainment content "This trend started in mid 2019, so it pre-dates COVID-19, but the strong upward trend has continued into 2020," says Wade Payson-Denney, an insights analyst at Parrot. In Q3 2020, non-U.S. shows accounted for nearly 30% of demand in the U.S. The data shows that U.S. audiences are discovering content from previously unfamiliar markets, like India, Spain and Turkey. The top 5 international markets in the U.S. by Q4 2020 were the U.K. (8.3%), Japan (5.7%), Canada (3.2%), Korea (1.9%), and India (1.5%), per Parrot.

Not content anymore with just streaming Hollywood's old shows and movies, Roku is looking to produce originals: The company published a job listing for a lead production attorney, which spells out plans to build out an "expanding slate of original content." From a report: This renewed push into originals comes just weeks after Roku acquired Quibi's content library, for which the company reportedly shelled out less than $100 million. The job listing was first spotted by Revealera, a data provider for job openings. A Roku spokesperson did not immediately respond to a request for comment. Roku's job listing is the clearest evidence yet that the Quibi deal doesn't represent a one-off. The listing tells potential applicants that they would "serve as lead production attorney for Roku's original episodic and feature length productions." The listing also makes it clear that Roku may be looking beyond simply acquiring existing shows and films on an exclusive basis. The attorney would be interacting with guilds and unions, and part of the job would entail working on "option purchase agreements, script acquisition agreements, life rights agreements, agreements to hire writers, actors, directors and individual producers, production services agreements, below-the-line agreements including for department heads, location agreements, clearances, prop rental agreements, likeness releases and credit memos," according to the listing.

Apple commentator Jason Snell writes: Why does this product still exist, and is there anywhere for it to go next? Gruber and Thompson [two other columnists] suggest that perhaps the way forward is to lean into an identity as a low-end gaming console. Maybe amp up the processor power, bundle a controller, and try to use Apple Arcade to emphasize that this is a box that is for more than watching video. The thing is, that's really been the story of the Apple TV for the last few years, and so far as I can tell, it's basically gone nowhere. Apple isn't Nintendo or Sony or Microsoft when it comes to gaming. Apple's track record with gaming products isn't solid, to say the least. It's hard for me to see this succeeding -- but it doesn't mean Apple won't try. The other possibility that I've come up with is to merge the Apple TV with some other technologies in order to make something more than just a simple TV streamer. Gaming can be a part of that, yes, but there needs to be more.

Broader HomeKit support, perhaps with support for other wireless home standards, would help, as would a much more sophisticated set of home automations. And if Apple really wants to continue to play in the home-theater space, I've been saying for years that there's room for an Apple SoundBar, that could integrate the big sound of HomePod with the Apple TV software to create a solid music and video experience. Then there's the final possibility: No more Apple TV. Removing it simplifies Apple's product naming scheme (Apple TV is a hardware box, an app, and a streaming service, but not yet a dessert topping), and allows the company to focus on other things -- perhaps including other home-themed products that might be more up its alley. I don't think Apple is going to kill the Apple TV, even though I might recommend that it do so. If I had to predict a next step, I'd go with Gruber and Thompson: Apple TV Arcade, an updated, premium-priced box that will lean into games and other features that competing TV boxes don't offer. I'm not optimistic that it'll be successful, but it does seem like something Apple would try.

Some movie theaters around the world are renting out their screens to gamers to bring in a new revenue stream amid the coronavirus pandemic. The BBC reports: With many cinemas across the country closed due to coronavirus restrictions meaning that they can only open with 50% capacity, and far fewer movies being released to tempt cinemagoers, CGV [South Korea's largest cinema chain] came up with the idea of renting out its auditoriums to gamers to bring in a new revenue stream. Before 6pm up to four people can hire a screen for two hours for around $90. This then rises to $135 in the evening. Users have to bring their consoles, games and controllers with them. The auditoriums being hired out have between 100 and 200 seats, and by comparison CGV movie tickets cost around $12 each. So a 100-seat screen half filled for a film would bring in revenues of $600, rising to $1,200 for a 200-seat one at 50% capacity. And that is before the filmgoers buy their drinks and popcorn.

Yet while CGV isn't making anywhere as much money from the gamers, it is bringing in some additional income. The scheme is called Azit-X after "azit," the Korean word for hideout. Since the new service launched at the start of this year, auditoriums have been booked more than 130 times so far. While the majority of customers are said to be men in their 30s or 40s, couples and families have also taken part.

Korea's CGV is not the only cinema chain now letting gamers book cinema screens, as U.S. group Malco Theatres has been doing the same since November. Memphis-based Malco allows up to 20 people to hire a screen at its 36 cinemas across Arkansas, Kentucky, Louisiana, Mississippi, Missouri and Tennessee. The prices for service, which is called Malco Select, are $100 for two hours or $150 for three. Other U.S. chains, such as AMC and Cinemark, have been allowing customers in small groups to book auditoriums for private screenings.

Disney announced Thursday that its streaming platform surpassed 94.9 million subscribers, beating its four-year goal in 14 months. CNBC reports: Disney+ exceeded the company's initial subscriber goal of 60 million to 90 million by 2024 back in November, forcing it to reforecast. The company now expects Disney+ will have 230 million to 260 million subscribers by 2024. Christine McCarthy, the company's chief financial officer, said Thursday that Disney will no longer regularly report streaming subscriber numbers in future quarters as it's now more than a year out from the launch of Disney+. But, she said, Disney may disclose subscriber figures when it reaches certain milestones.

Disney has seen rapid growth in subscribers since its launch in November 2019. On day one, the company had 10 million sign-ups and, by the end of the first quarter, the service had secured 26.5 million subscribers. As the pandemic raged on, keeping consumers indoors, Disney+ jumped from 33.5 million subscribers in its second quarter to 57.5 million in its third. In the fourth quarter, the company surpassed 73.7 million subscribers. Disney updated that figure during its December investor day, saying that the service had reached 86.6 million subscribers.

An anonymous reader shares a report: Eui Jeong Lee and three of her friends sit in an otherwise empty 200-seat cinema auditorium and play a video game on the giant screen. As Ms Lee blasts her gaming opponents with her wireless controller, the sound whips loudly around the dark room from the numerous cinema speakers. "The sound quality is particularly amazing," says the 25-year-old student. "The sound of the gunshots is just so vivid, and when something flew directly at me from the screen I even screamed." Ms Lee and her mates had hired the screen for two hours at a branch of South Korea's largest cinema chain, CGV. With many cinemas across the country closed due to coronavirus restrictions meaning that they can only open with 50% capacity, and far fewer movies being released to tempt cinemagoers, CGV came up with the idea of renting out its auditoriums to gamers to bring in a new revenue stream.

Before 6pm up to four people can hire a screen for two hours for around $90. This then rises to $135 in the evening. Users have to bring their consoles, games and controllers with them. The auditoriums being hired out have between 100 and 200 seats, and by comparison CGV movie tickets cost around $12 each. So a 100-seat screen half filled for a film would bring in revenues of $600, rising to $1,200 for a 200-seat one at 50% capacity. And that is before the filmgoers buy their drinks and popcorn. Yet while CGV isn't making anywhere as much money from the gamers, it is bringing in some additional income. The scheme is called Azit-X after "azit", the Korean word for hideout. CGV employee Seung Woo Han came up with the idea after he realised that films and video games share many similarities.

"Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future," said a Lucasfilm spokesperson. "Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable." io9 reports: The news comes after a day in which the hashtag #FireGinaCarano trended on Twitter for hours. The night before, the actress shared an anti-Semitic story on her Instagram. It was soon deleted but many fans captured it and shared it on social media. That, of course, came after months of complaints about Carano's online presence, including mocking covid mask mandates, spreading conspiracies about the United States election, liking posts disparaging the Black Lives Matter movement, and deriding pronoun usage.

Carano's character, Cara Dune, was one of the main characters on the award-winning Disney+ show. And it was assumed, though never confirmed, that she might play a role in the upcoming Star Wars: Rangers of the New Republic show. That, apparently, is not happening anymore. Even if it was.

An 8-year-old from Minneapolis recently pointed out a big problem with NPR's oldest news show, All Things Considered. Leo Shidla wrote to his local NPR station: My name is Leo and I am 8 years old. I listen to All Things Considered in the car with mom. I listen a lot. I never hear much about nature or dinosaurs or things like that. Maybe you should call your show Newsy things Considered, since I don't get to hear about all the things. Or please talk more about dinosaurs and cool things.
Sincerely,
Leo
NPR: Leo has a point. All Things Considered is about to turn 50 years old. NPR's archivists found the word "dinosaur" appearing in stories 294 times in the show's history. By comparison, "senator" has appeared 20,447 times. To remedy the situation, All Things Considered invited Leo to ask some questions about dinosaurs to Ashley Poust, a research associate at the San Diego Natural History Museum. Leo wants to be a paleontologist when he grows up.

Italian YouTuber Otto Climan modded an original Game Boy Color handheld to act as an Apple TV remote. Gizmodo reports: Otto Climan started with an original Game Boy Color handheld that they upgraded with a backlit LCD display because the GBC arrived well before Nintendo stopped using dim screens that strained your eyes. For the custom white case adorned with Apple's older rainbow logo, Climan turned to a company called Retro Modding that supplied him with matching white buttons and, more importantly, a matching white flash cartridge.

The cartridge looks like a standard GB/GBC game cartridge, but it includes a slot for a microSD card and the ability to run ROM files from it. While some ne'er-do-wells use these flash carts to play games, Climan instead developed his own ROM file capable of controlling the Game Boy Color's IR port, which was originally used to transfer game data between devices.

The newer and much-maligned Apple TV remote with the touchpad works over Bluetooth, but Apple retained the IR capabilities of previous Apple TV boxes so the streaming player can still control other devices like TVs. Getting the Game Boy Color to talk to the Apple TV was relatively straightforward (all the codes that Apple uses for its boxes and remotes to talk are easy to find online), but it apparently did require some overclocking of the GBC's processor, which is a trick some games used decades ago. Because the added TV remote functionality comes through a ROM file running on a flash cart, the Game Boy Color still works like a stock GBC and can play other games by just swapping the cart. You can watch Climan's video here.

According to Billboard, SoundCloud is preparing to introduce a new payment system that would allow fans to pay artists directly. From the report: The move would make SoundCloud the first major music streaming service to embrace a direct payment model, a strategy that has been popular with Chinese streaming services like Tencent Music's QQ Music for years, and one that subscription services like Patreon and OnlyFans have built their businesses around, as musicians and fans around the world clamor for bigger digital music distributors to do the same. A source close to the company says SoundCloud is still exploring several alternative streaming payout models and will announce its plans before the end of the first quarter of 2021. SoundCloud declined to comment.

The new model will be a big shift for SoundCloud, which currently utilizes a "pro-rata" model, the same method used by all major streaming services, pooling subscriber revenue and doling out earnings to the artists who brought in the most streams, directing most of the revenue to the world's biggest acts. SoundCloud's 175 million monthly users now have the option to pay up to $10 a month for the company's on-demand streaming service SoundCloud Go+, but their payments aren't distributed to artists based on who they personally listen to, and they can't "tip" or steer their subscription fees toward their favorite acts.

An anonymous reader shares a report: Google Play Music stopped working at the start of December, but the files you uploaded to the cloud locker and other data remain available for export. That will be changing later in February when Google deletes all information associated with Play Music. Besides all the songs you've uploaded to the cloud locker since the service's inception in 2011, Play Music data includes purchases, playlists, stations, albums/songs saved to your library, and likes/dislikes.

This week's bizarre "meme stock" rally, which has delivered lottery-like windfalls for holders of GameStop stock, also wiped out $600 million in debt owed by the AMC theater chain. Polygon reports: That's because, on Wednesday, a private equity firm named Silver Lake -- and private equity firms are popularly considered the "bad guys" in this snobs-versus-slobs drama -- elected to convert the corporate bonds it held into AMC Entertainment Holdings stock. Although the theater chain's stock price has tumbled and soared since the move, the debt relief is permanent. Just Monday, AMC was warning investors that "there is substantial doubt about our ability to continue as a going concern."

Wiping out more than half-a-billion dollars in debt, though, should take a lot of pressure off AMC in the short term. "A week ago, it was not crazy to think this company was doomed," Bloomberg's Matt Levine wrote on Thursday. "Now it is entirely possible that it will survive and thrive and show movies in movie theaters for decades to come because everyone went nuts and bought meme stocks this week."

Yet, by converting their AMC debt holding to AMC stock, the Silver Lake equity firm has gotten hurt by a falling stock price, too. The conversion price for the bonds Silver Lake held was $13.51; Silver Lake cashed in on Wednesday, when AMC's shares ended the day at $19.90, more than 400% better than the day before. Smart move, right? Well, AMC's share price at publication time Friday was about $15 -- but it closed Thursday at $8.63. So, unless Silver Lake found some other sucker to buy the stock before it bottomed out, they've been riding a roller coaster that at best has them about 5% to 7% ahead of their original position, with no guarantee of staying there.

An anonymous reader writes: AT&T lost 617,000 customers from DirecTV and its other TV businesses in the final quarter of 2020, capping a year in which it lost nearly 3 million customers in the category, AT&T reported today. AT&T today also informed the Securities and Exchange Commission that it has taken "noncash impairment charges of $15.5 billion" related to its ongoing DirecTV debacle. AT&T said the $15.5 billion charges reflect "changes in our management strategy and our evaluation of the domestic video business... including our decision to operate our video business separately from our broadband and legacy telephony operations." This operational decision "required us to identify a separate Video reporting unit and to assess both the recoverability of its long-lived assets and any assigned goodwill for impairment," AT&T said.

AT&T said it also logged "charges of approximately $780 million from the impairment of production and other content inventory at WarnerMedia, with $520 million resulting from the continued shutdown of theaters during the pandemic and the hybrid distribution model for our 2021 film slate." The charges were added to AT&T's Q4 expenses. As a result, AT&T reported a $13.9 billion net loss in the quarter, compared to a net profit of $2.4 billion a year ago. Q4 revenue was $45.7 billion, down from $46.8 billion year over year. The Q4 net loss swung AT&T to a full-year net loss of $5.4 billion.