At CES 2020, Samsung debuted "The Sero" (translates to vertical in Korean) -- a 4K TV that automatically rotates on its stand so you can more easily watch vertical content that's been recorded on phones or uploaded to apps like TikTok or Instagram. Pocket-lint reports: The new TV is a relatively modest 43-inches in size, but it's not aimed at those who might have the space and money to go and grab a 65-incher (yes, you've guessed it, it's aimed at the "mobile generation" according to Samsung). As well as being 4K, while there are 60W speakers for bouncy audio. The Sero is going to launch this year although it's already available in South Korea.

Content casts from your Samsung Galaxy device but it'll work with other phones and tablets, too and will have Apple's AirPlay so you can use it with iOS. The TV flips on demand depending on the orientation of your phone. Samsung also says it'll be available on wheels so you can move it from room-to-room. Variety reports that Sero will launch in several global markets. Samsung didn't announce pricing, but in Korea, the Sero TV has sold for around $1,600.

Music is an ideal medium for interstellar communication. From a report: Each summer for the past 25 years, tens of thousands of people have flocked to Barcelona, Spain, to witness Sonar, a three-day festival dedicated to electronic music, art, and design. To celebrate Sonar's 25th anniversary in 2018, the festival partnered with the Catalonia Institute for Space Studies and the nonprofit METI International to send a series of interstellar messages to Luyten's star, a red dwarf about 12 light-years from Earth. Although red dwarfs are the most common stellar objects in our galaxy, Luyten's star is remarkable for hosting GJ237b, the closest potentially habitable planet outside of our own solar system. No one knows for sure whether GJ237b hosts life, intelligent or otherwise, but if ET does call the planet home, Sonar wants to rock its socks off. Over the course of several nights in late 2017 and early 2018, a radar system in Tromso, Norway, blasted a custom message from Sonar toward GJ237b. Like any good correspondence, the message began with a greeting: In this case, the first 33 prime numbers repeated on two alternating radio frequencies functioned as a stand-in for "hello."

This was followed by a brief tutorial that the message designers hoped would teach ET to extract the music written by Sonar-affiliated musicians and embedded in the message. [...] The Sonar messages are unique insofar as they are the only interstellar transmissions to use songs designed by musicians specifically for communicating with ET. That the messages include a substantial information content places them firmly in the tradition of messaging extraterrestrial intelligences, or METI, a term coined by the Russian radio astronomer Alexander Zaitsev to differentiate the practice from other modes of interstellar communication. The Search for Extraterrestrial Intelligence, or SETI, is focused on listening for ET signals rather than sending them, and "active SETI" is about creating beacons that lack information but signal to alien intelligences that we exist.

Apple has signed HBO's former chief executive Richard Plepler for a five-year exclusive deal (Warning: source may be paywalled; alternative source) to produce feature films, documentaries and original series for Apple TV+. The New York Times reports: The gregarious executive, a quintessential New York power player who spent 27 years at HBO and left eight months after AT&T became its owner, is rebooting himself as a producer. And he will do it with Apple. In a recently signed five-year deal, Mr. Plepler's new company, Eden Productions, will make television series, documentaries and feature films exclusively for Apple TV Plus, the streaming platform that started in November. The arrangement gives Mr. Plepler a significant role in an expanding streaming universe soon to include HBO Max, a supersize platform that has been a focus of his former corporate home since he departed in February after having lost some of his autonomy.

"It was instantaneously clear to me that I had a wonderful and very privileged run at HBO and I wasn't going to be able to duplicate that again," Mr. Plepler said in his first interview since leaving the network. "And I didn't want to try to duplicate that again. It felt very clear to me that I just wanted to do my own thing." Mr. Plepler, 61, was a key figure in helping make HBO into an original-programming powerhouse. In the years he was in charge, the network won more than 160 Emmys, including for series like "Game of Thrones," "Big Little Lies" and "Veep." Apple is hopeful he still has the magic touch, this time as a producer. The company has not yet disclosed the number of Apple TV Plus subscribers or how many people have watched its series. [...] A New Yorker through and through, Mr. Plepler intends to provide series and movies for the Cupertino, Calif., company from the second floor of a townhouse on Manhattan's Upper East Side, which he has been using as his office since August.

As any seasoned TV watcher will tell you, firework displays don't translate well to television. From a report: In fact, they look terrible. The colors are washed out, the concussive boom of the explosion is dulled into a ridiculous pop, and they have an uncanny knack of looking like CGI. "It's a great torture test of the whole system," says Jeff Yurek of Nanosys, a manufacturer of quantum dot television displays. "There are two problems," explains Tim Brooksbank, a veteran of the audio-visual industry who studies how television displays and transmission work. "The fundamental problem is the dynamic range," says Brooksbank. Dynamic range is the ratio between the largest and smallest levels of colour, light and sound -- as well as time -- that recording, transmission and display equipment are expected to attain. Fireworks test all dynamic ranges to their limits. They're bright, colourful, fast, loud explosions on a black background -- which causes havoc with technology.

"Fireworks need a large dynamic range that exists in nature and -- within reason -- exists in our eyesight," says Brooksbank. "But the whole system within television isn't designed to cope with that range." Take light, for instance. Until recently, digital stills and video cameras have struggled to take decent night time footage, because you're asking a lens to capture intensely dark and intensely bright images in the same frame. So the source footage struggles to accurately represent the brightness and the full colour of a firework. "They're too colourful, they're very bright, and they're very contrasty," explains Yurek. The chemical compounds most commonly used in fireworks emit wavelengths that aren't within the physical possibility of being seen by many TVs.

Stephen Colbert: Isaac Asimov would have been 100 today. He published in every category of the Dewey Decimal system. After reading him your mind works better. Too many great quotes. Here's one: "Never let your sense of morals get in the way of doing what's right." Here's another: "It pays to be obvious, especially if you have a reputation for subtlety." In 1967, Asimov talked about what life with robots might be like in the future. "I wonder if we will make robots so much like men and men so much like robots that eventually we'll lose the distinction altogether." (A short BBC interview on it.)

Asimov's commentary on society: "The saddest aspect of life right now is that science gathers knowledge faster than society gathers wisdom."

"There are no nations! There is only humanity. And if we don't come to understand that right soon, there will be no nations, because there will be no humanity."

"There's no way I can single-handedly save the world or, perhaps, even make a perceptible difference -- but how ashamed I would be to let a day pass without making one more effort."

You don't need special glasses to see what it looks like when smart people run out of ideas. From a column: The breakout hit of the Consumer Electronics Show in 2010 was a television set. Hard to believe now, maybe, but it's true; for one shining moment, the Toshiba Cell TV was the most exciting new thing in tech. Its name invoked the overkill processors inside. It was one of the first sets to promise "Net TV Channels" that would let you stream directly from Netflix or Pandora. And it could show pictures in three dimensions. [...] Five years later, 3D TV was dead. You probably haven't thought about it since then, if you even did before. But there's maybe no better totem for the last decade of consumer technology. It's what happens when smart people run out of ideas, the last gasp before aspiration gives way to commoditization. It was the dawn of all-internet everything, and all the privacy violations inherent in that. And it steadfastly ignored how human beings actually use technology, because doing so meant companies could charge more for it.

What I remember most from those press conferences in 2010 was the assuredness that millions of people somehow actively wanted to have to put glasses on their faces in order to watch television. Even then, it made no sense. TV viewing has always been a large passive experience, something to do while you're doing other things. And besides that, only certain types of shows -- movies, maybe some sports -- actually benefited from 3D in the first place. Or would, if the television sets were any good; most of the early ones stuttered and flickered even when you sat dead center in front of them. Stray a few feet to either side, and the viewing angle shot the experience altogether. It gets worse. Different manufacturers backed different 3D TV formats and technologies, meaning one set of glasses wouldn't necessarily work on a competitor's set. The simple act of watching in 3D caused eye strain in a significant chunk of the population. And the list of available things to watch never hit critical mass.

sandbagger writes: Visual artist and futurist Syd Mead, who helped shape the look of influential sci-fi films including "Blade Runner," "Tron," "Aliens" and "Star Trek: The Motion Picture," died Monday of complications from lymphoma in Pasadena, Calif. He was 86. Mead was set to receive the Art Directors Guild's William Cameron Menzies Award during the Guild's 24th Annual awards in February for his contributions on "Aliens," "Blade Runner" and "Star Trek: The Motion Picture."

"After opening 20 percent behind Star Wars: The Last Jedi last weekend, Skywalker has almost caught up with its predecessor as it heads for the $1 billion mark in a fitting end to Disney's unprecedented domination at the 2019 box office," writes the Hollywood Reporter.

But Forbes senior contributor Paul Tassi notes that critics seem to hate it -- while it's been embraced by Star Wars fans: Rise of Skywalker now has some critics calling JJ Abrams' finale effort one of the worst in the series, oftentimes even more so than the dreaded prequels. In contrast, a good chunk of fans seem to enjoy the finale and think it's a fitting end to the series, and "fixes" much of what went wrong from with The Last Jedi... You can actually see this play out in the numbers. I went through and measured the critic score versus the audience score on Rotten Tomatoes for every Star Wars film... the biggest gap in favor of fan approval, by a huge margin, is Rise of Skywalker, with fans rating it a full 31% better than the critical average...

[W]hat's going on here, really? To me, the impression I'm getting is that critics have overreacted to Rise of Skywalker's flaws just like fans overreacted to the problems with The Last Jedi. Neither of these films are even close to the worst Star Wars film in the grand list. Critics are insane to say that Rise of Skywalker is worse than movies like Attack of the Clones or Phantom Menace, so much so that it almost seems spiteful to try and make that case. And the same goes for The Last Jedi haters who would rate it as the worst Star Wars move in history by a 13% margin under the worst prequel, Attack of the Clones. Just... absolutely no way.

To sum up what happened, fans were mad that The Last Jedi took traditional Star Wars arcs and shattered them, ignoring questions like the mystery of Snoke and Rey's origins, and that the film turned Luke from shining hero to grumpy sacrificial lamb. And that's exactly what critics liked about the film, that it broke away from tropes and tried something new. That's why those same critics are so mad now, because JJ Abrams did everything possible to undo so much of what Johnson did in The Last Jedi, providing specific answers to those questions that Johnson said weren't important. Abrams sidelines lambasted characters like Rose, he mocks Last Jedi moments like the Holdo maneuver or Luke throwing away his lightsaber. It's such a complete rewrite of The Last Jedi it actually feels vengeful.

But fans like it A) because they got those Last Jedi "fixes" they were looking for and B) it was specifically...made for fans. The film is rife with fan service, which is often viewed as a negative by critics, but you know who likes fan service? Fans.
He also shares some "lessons learned" for Disney: that one person should be in charge of an entire film series, and "that maybe we don't always need a trilogy, and stories should be as long as they need to be."

"Technically JJ Abrams' Force Awakens and Rise of Skywalker could have just been a two-film set, given how much of The Last Jedi was flat-out erased."

Long-time Slashdot reader theodp writes: Clint Eastwood's new movie Richard Jewell recounts the incredible tale of the security guard. Jewell was later [erroneously] considered a suspect after being hailed by the media for saving many from injury or death by discovering a backpack containing three pipe bombs in Atlanta's Centennial Park during the 1996 Summer Olympics and helping to evacuate the area before the bomb exploded. Despite never being charged, he was subjected to an intense "trial by media" before receiving an apology from Attorney General Janet Reno and ultimately being completely exonerated.

The movie prompted Henry Schuster, an investigative producer for CNN at the time of the bombing, to offer an overdue apology in the Washington Post for his and the press's role in turning Jewell from a hero to a villain by serving as "the FBI's megaphone...."

Schuster warns, "Think how much worse it would have been for Jewell in 2019."
The article mostly shares the thought processes of that investigative producer. (He remembers that in 2005, "I sat at the computer and started my letter of apology, got frustrated and hit save. A year after that, Jewell died at 44, after months of failing health; my letter remained unfinished and unsent.")

But the CNN producer also writes that in the 23 years since the incident, social media has "made the rush to judgment instantaneous -- as quick as machine trading on Wall Street, but without any circuit-breakers." Would that have changed the way things played out if the incident happened in 2019? It's an interesting thought exercise -- so share your own thoughts in the comments.

Would social media have made life worse for Richard Jewell?

Prorammer Rick Brewster has worked at both Microsoft and Facebook. But this Christmas on Twitter he shared the story of his long-lost videogame creation "that somehow -- like some kind of lost, drunken cat -- finally found its way home on Christmas Eve."

An anonymous reader quotes Kotaku: Rick Brewster is a programmer and the author of Paint.NET, a free replacement for Microsoft Paint that's expanded to have features similar to image creation programs like Photoshop and GIMP. In 1994, at the age of 12, Brewster made The Golden Flute IV: The Flute of Immortality, a DOS-based roleplaying game inspired by a text adventure from a 1984 instructional book on how to write adventure games. He wrote The Golden Flute IV on a Tandy 1000 TL/2, an IBM clone computer...

"I made ONE installable copy onto 3.5" 720K disks that I packaged up and mailed to my cousin on the east coast, and that's it," Brewster explained in a Twitter thread. That copy was seemingly lost, with no playable copy surviving.

Apparently, that's not what happened. Somehow, a version of that game found its way into the hands of a streamer name Macaw, who specializes in old and obscure games. He played The Golden Flute IV on December 23rd, exploring it for a short time before moving on to other games.
"Apparently breaking & entering is a 'serious felony' and punishable by execution without a trial in this universe," Brewster remembered on Twitter on Christmas Day.

He believes that back in 1994 his cousin must've uploaded the videogame to a BBS, since it's now ended up in the old game collection "Frostbyte" at the Internet Archive. Which means that you, too, can now play 12-year-old Rick Brewster's long-lost amateur videogame using Archive.org's online DOSbox emulator.

"A Michigan woman got the Secret Santa gift of a lifetime this Christmas -- an 81-pound package from Bill Gates," reports CNN: The gifts included an original manuscript of "The Great Gatsby," signed by Gates; books; toys for her cat and Harry Potter and "Twin Peaks" memorabilia, according to her post on RedditGifts.com. It arrived in a box lit up inside by Christmas lights...

"It's well documented that Bill Gates has been participating for years, but I never, ever thought he would be my Secret Santa," Shelby said. "It's really surprising." A spokesperson for Reddit confirmed that Gates sent the package. The billionaire has participated in the exchange since 2013...

When she showed up at the FedEx office the next day to pick up the package, she said the employees were excited, shouting "You're the Bill Gates package!" according to her post.

After a longstanding campaign by Consumer Reports, The Television Viewer Protection Act of 2019 passed the House and the Senate last week buried inside a giant appropriations bill that now awaits President Trump's signature. Techdirt reports: The bill bans ISPs from charging you extra to rent hardware you already own (something ISPs like Frontier have been doing without penalty for a few years). It also forces cable TV providers to send an itemized list of any fees and other surcharges to new customers within 24 hours of signing up for service, and allows users shocked by the higher price to cancel service without penalty.

The bill's not perfect. Because of the act itself it largely only applies to cable TV, not broadband service where the problem is just as bad. And cable TV providers can still falsely advertise a lower rate, thanks to what appears to be some last minute lobbying magic on the part of the cable TV sector: "Initial versions of the legislation actually had the provision as truth in advertising, so you had to advertise the entire fees," said Jenna Leventoff, senior policy counsel at Public Knowledge, a Washington-based public-interest group. "But it's still an improvement over what currently exists, because you have a right to cancel after signing up." The trick now will be enforcement by a government and FCC that has routinely shown it's entirely cool with industry repeatedly ripping consumers off with bullshit fees to the tune of around $28 billion annually.

According to TV metrics company Nielsen, a whopping 88% of Americans stare at screens while staring at other screens. Nate Anderson from Ars Technica discovered the stat while combing through Mary Meeker's annual "Internet Trends" report: My attitude, when watching TV, is that a show you pay attention to precludes the use of phone or laptop; if you're using another screen, you're not actually watching the show. Pick better shows to watch, people! And then watch them! [...] I got to thinking about the ways in which we use television, and not all of them involve watching dark prestige dramas with 80+ Metacritic scores. Perhaps you're watching (ugh) live TV, either because you are a masochist or you love sports. (If you are watching baseball, perhaps it's both!) Picking up a smartphone during commercial breaks is arguably better than being bombarded with the consumerism of late-stage capitalism.

Say you use your TV not as a way to consume compelling crafted content, but as background noise that helps you relax. (I highly recommend Sunday afternoon golf for this purpose.) Tooling around on a laptop while the TV plays in the background is now not quite so odd. Or perhaps you watch TV simply as a way to kill time. Perhaps you're in pain, or recovering from illness, or simply bored out of your mind. The goal is not necessarily to direct your full and undivided attention to the screen; it is to get through the day until something better comes along. Using a second screen here, too, makes sense. [...] Still, I can't shake the feeling that the majority of time spent using one digital device while another displays video content nearby is low-quality time, where we aren't really paying attention to what's on either screen and so are using the planet's resources, cluttering our lives with extra noise, and reinforcing our slavish devotions to screens for little to no benefit... Do you ever find yourself browsing your phone while watching TV? If so, can it be explained by one of Nate's reasonings?

This post contains spoilers for Star Wars: The Rise of Skywalker.
Jason Koebler, writing for Motherboard: Emperor Palpatine is back with a fleet of planet-killing Star Destroyers, the masses are scared to fight the Final Order, and the last glimmer of hope for the rebellion is nearly stamped out by ... overbearing DRM? The Rise of Skywalker is an allegory for the dystopian nightmare we are quickly hurtling toward, one in which we don't own our droids (or any of our other stuff), their utility hampered by arbitrary decisions and software locks by monopolistic corporations who don't want us to repair our things. In Skywalker, C3PO, master of human-cyborg relations, speaks six million languages including Sith (spoken by the Dark Side), but a hard-coded software lock (called Digital Rights Management here on Earth) in his circuitry prevents him from translating Sith aloud to his human users. Presumably, this is to prevent the droid from being used by the Sith, but makes very little sense in the context of a galactic war that has relied so heavily on double agents, spies, and leaked plans and documents. The only explanation that makes any sense is a greedy 3PO manufacturer that sells the Sith language pack as a microtransaction and a galactic Congress that hasn't passed strong right to repair laws for the junk traders, droid mechanics, and droid users of the galaxy. C3PO's software lock is a major plot point in Skywalker as he's unable to translate a Sith passage that could lead our heroes to the Sith planet that the aforementioned Palpatine is hanging out on.

Pocket Casts, one of the most widely used podcast apps, has shared a list of podcasts that were most subscribed by its user base this year. Top 10 podcasts this year were: 1. The Joe Rogan Experience.
2. This American Life.
3. Stuff You Should Know.
4. Serial.
5. The Daily.
6. Reply All.
7. Waveform: The MKBHD Podcast.
8. Dan Carlin's Hardcore History.
9. Radiolab.
10. Invisible. Did your favorite podcast make it to the list? If not, what are some of the podcasts you listen to that you enjoy?

dryriver writes: We've all seen the DeepFake videos on Youtube, where a different actor's face from the original is digitally inserted into a film scene. Some of these DeepFakes are actually quite convincing. DeepFakes are currently computationally intensive, but may one day happen in realtime on hardware custom made to accelerate the process. Now to the question: Will this "digital face swapping" be a realtime feature in future TVs some day? Will people be able to say to their TV "I don't like this actor/actress. Replace him/her with _actorname_ please"? Or watch a 100 Million Dollar movie with their own face on an actor's body, essentially making the TV owner the star of the movie playing? Will this perhaps become so normal some day that people in the future look back at our era and say "In those days, you couldn't choose which actors to watch any given piece of content with. Technology wasn't as advanced as it is today back then."?

Over the past decade, Netflix and its rivals have come to rely heavily on the power of algorithms, those top-secret computer programs designed to connect audiences with the programming they're most likely to enjoy based on what they've previously watched. But as Peak TV gives way to the era of Too Much TV and an even more ridiculous amount of content spreads across a rapidly multiplying number of services, platforms are supplementing that sophisticated software with a more low-tech method of helping subscribers find their next favorite show: human beings. From a report: While computer-generated suggestions aren't going away, companies are increasingly looking for other means to help viewers discover shows and movies they might otherwise have missed in a world where something significant premieres almost every day. The industry calls this "human curation," which is basically a fancy phrase for describing nonautomated ways of hyping specific content. AT&T-owned WarnerMedia's upcoming HBO Max service, for example, plans to expand its sister cable network's "Recommended by Humans" promotional campaign by having the stars and producers of its shows, as well as other celebrities, make short videos to highlight particular projects. Those videos will be embedded directly on the service in the hopes that, say, a testimonial from Zac Efron might prompt a young millennial to watch The Exorcist for the first time.

Meanwhile, Netflix, the platform known for its "Because You Watched ..." algorithmic suggestions, is currently beta testing something called "Collections," which are thematic playlists made by company staffers instead of its computers. Netflix isn't saying yet whether it plans to expand the test beyond a select pool of Apple iOS users or make it a permanent feature. Platforms are turning to human curation because of what they see as the limits of reactive recommendation algorithms: They can predict what you might like based on what you've watched in the past, but they can't forecast how your tastes might change or how you're feeling physically and mentally.

After 42 years the final installment in the 9-movie Star Wars franchise arrived this weekend during a "moment of transition for the movie business," reports Variety: Its $176 million debut, though massive, ranks as the lowest opening of the most recent three films in the saga, falling far below 2015's "The Force Awakens" ($248 million) and 2017's "The Last Jedi" ($220 million). Enthusiasm for the series is beginning to flag (2019's spin-off "Solo: A Star Wars Story" did the impossible, becoming the first Star Wars movie to lose money). Reviews were lackluster and it's unclear what Star Wars' future will be on the big screen... Disney, the company that bought the rights to the space opera with its $4 billion purchase of Lucasfilm, once envisioned something different for "Star Wars." It believed that the mythology of virtuous Jedi warriors and evil Sith lords was so rich it could spawn a movie a year, making it analogous to Marvel, another in-house purveyor of global blockbusters. Faced with diminishing box office returns, it has been forced to acknowledge that it may have done too much, too fast. Even its ambitious Disneyland theme park, Star Wars: Galaxy's Edge, has been a disappointment, with attendance far lower than expected.

The one, recent bright spot for Star Wars lovers has been "The Mandalorian," a Disney Plus series that follows a planet-hopping bounty hunter and a co-star in Baby Yoda that boasts a face cute enough to launch a thousand memes. Buoyed by that success, Lucasfilm is moving along with other Disney Plus shows set in a galaxy far, far away, including one featuring Ewan McGregor reprising his role as Obi-Wan Kenobi. This flurry of activity indicates that Star Wars' future may not lie in cinemas. It may be in streaming.

If that's the case, "Star Wars" is pivoting along with the rest of the movie business.
The Los Angeles Times seems to agree, noting that this year 10 movies accounted for 38% of the total box office "that's dominated by intellectual-property-powered blockbusters, at the expense of almost everything else." As the studios become increasingly risk-averse, much of the market for midbudget comedies, dramas and rom-coms has migrated to streaming services such as Netflix. Studios are loath to risk the embarrassment of a flop, and streamers are more than happy to use such content to draw subscribers...

"The studios are more corporate-driven and guided by marketing and bean counters than ever before, and the ability to invest in originality is all moving toward streaming," said Rick Cohen, who runs the five-screen Transit Drive-In in Lockport, N.Y. "But they still have $200 million to throw at 'Dark Phoenix.' You could have made 10 original movies for that budget."

Though its poster promises "the most joyful event of the holiday season," the new movie Cats scored just 18% with professional critics on Rotten Tomatoes, and the $100 million adaptaton of the Broadway musical has so far earned just $6.5 million at the box office.

Its director apparently doesn't want that to be the last word. "You've seen movies receive visual touch-ups in special edition re-releases, but Universal is trying something new: it's updating a movie while it's still in the middle of its initial theatrical run," writes Engadget, on a move that the Hollywood Reporter calls "unheard of for a finished title already in release, according to cinema operators and Hollywood studio executives." Insiders talking to the publication said that director Tom Hooper wanted to alter some of the effects after rushing to get the movie ready in time for its December 16th premiere screening. Reportedly, the updated movie is available for theaters to download today (December 22nd) from a satellite server, while those theaters that can't download it will get a hard drive by December 24th...

The tweaks aren't likely to change the general outlook on the movie, which has been...less than favorable. Many viewers are still likely to experience the uncanny valley as they watch anthropomorphized felines dance on screen.
The Daily Beast even argues the film marks the day that Hollywood musicals became "about the perversion of the human body through technology": Nothing can prepare you for the faces. You can read a hundred pieces about Cats, director Tom Hooper's adaptation of Andrew Lloyd Webber's beloved-ish musical about cats having a singing competition, and nothing, nothing you read about it could prepare you for the pure, unnerving spectacle of seeing a computer trying to affix human faces to a fucked up, motion-capture cat with human body parts, a tail, and a big human nose, sitting right there in the middle of a cat's head, sitting on human shoulders, doing dancing routines in a world scaled to cat size...

[T]he second anyone starts moving their body, the effect goes haywire. The face always seems a step or two behind the moving body -- a human visage temporarily displaced from the twisted cat demon. Especially in a movie theater, watching on a high-definition projector, your attention affixed to the horror show going on in front of you, you can't help but notice... It's honestly a miracle a movie this twisted got made, in a world where every movie that costs more than $50 million is engineered for maximum inoffensiveness...

[T]he attempt to bridge the gap between cat and man, to make human beings into dancing cats using computers, just transforms the whole thing into a freakish nightmare...

"Travis Casagrande, a research associate at the Canadian Centre for Electron Microscopy at Hamilton's McMaster University has created the smallest gingerbread house ever built," writes long-time Slashdot reader Mr.Fork, "even smaller than the one made in France last year by nanorobotics researchers at the Femto-ST Institute in BesanÃon."

"Decking the halls is a whole lot harder when you're decorating something 10 times smaller than a human hair," reports the CBC: Casagrande's creation is a home for the holidays -- a gingerbread house complete with a wreath over the door, a cheery brick chimney, Christmas tree details carved into the walls and a patriotic Canadian flag doormat.

"Compared to the size of a typical gingerbread house that you might buy in a grocery store kit, mine is 20,000 times smaller," he explained... Zoom out slightly from the silicon structure and you'll see it's actually perched atop a smiling snowman that's giving a mischievous wink. Pull back even farther and a seemingly massive cylinder appears -- believe it or not, that's a human hair... "The point of that was sort of to make some jaws drop when you realize even the snowman, which is much bigger than the house, is extremely tiny compared to the hair you see next...."

Casagrande used a focused ion beam microscope to etch out the microscopic details with a beam of charged gallium ions, which he compared to a sandblaster... " I wanted to spark some curiosity of science because that leads to better science literacy."