78-year-old filmmaker Werner Herzog shared some interesting thoughts before the release of his new documentary on asteroids, Fireball: Visitors From Darker Worlds now available on Apple TV+.

From Herzog's new interview with the science site inverse: Herzog tells Inverse he's less concerned than ever that a meteorite will destroy the Earth, but that doesn't mean we shouldn't still be worried about our own extinction. "It may be 100 million years to go until then," Herzog says, before adding, "within the next thousand years, we may have done such stupid things that we are not around anymore to contemplate it...."

There's a theory that all life on Earth came from a meteorite. Do you think that's possible...?

[I]f you expand the question, it wouldn't surprise me if we found life somewhere outside of our solar system, or even within our solar system, because we share the same chemistry with the universe. We share the same physics with the universe. And we share the same history with the universe. So with trillions and trillions and trillions of stars out there, it's highly likely that somewhere there are some forms of life. Probably not as good and interesting as in movies. We can be pretty certain there are no creatures out there like in Star Wars...

Have you heard the theory that we're living inside a simulation?

Yes, but I don't buy it. Because when I kick a soccer ball from the penalty spot, I know this is for real. If the goalie saves it, oh shit, this is for real.
He also discusses the 1998 asteroid disaster film Deep Impact and his own appearance on Rick and Morty, as well as part on The Mandalorian — and the experience of watching its premiere with 1,000 hardcore Star Wars fans. ("It was unbelievable. The first credit appears and there's a shout of joy that you cannot describe... It's evident Star Wars is a new mythology for our times, whether you like it or not.")

But though Herzog's films "often feature ambitious protagonists with impossible dreams, people with unique talents in obscure fields, or individuals who are in conflict with nature," according to Wikipedia, Herzog insists to Inverse that Elon Musk's plan to build a city on Mars is a "mistake."
In a blistering criticism, Herzog describes the idea as "an obscenity," and says humans should "not be like the locusts...."

Herzog is not opposed to going to Mars at all. In fact, the German filmmaker would "love to go [to Mars] with a camera with scientists." But the long-term vision of a Mars city is a "mistake." Herzog's main concern is that humanity should "rather look to keep our planet habitable," instead of trying to colonize another one.

In short, Mars is not a livable place. There is no liquid water at the surface, or air to breathe. Solar wind means inhabitants would be "fried like in a microwave," Herzog says.

An anonymous reader quotes a report from Ars Technica: AT&T has announced another round of price hikes for DirecTV satellite and U-verse TV services, with monthly prices set to rise up to $9 starting January 17, 2021. "Due to increased programming costs, we're adjusting the price of our video packages," AT&T said in a notice on its website. "Periodically, TV network owners increase the fees they charge DirecTV for the right to broadcast their movies, shows, and sporting events." Of course, AT&T itself determines some of these programming prices because it owns Time Warner.

A $5 monthly increase is coming to DirecTV's 160-channel "Entertainment" package, which currently has a standard rate of $97 a month. A $7 monthly increase is coming to the 185-channel Choice package, currently at $115 a month. A $9 increase is coming to both the 250-channel Ultimate package (currently $142) and the 330-channel Premier package (currently $197). New customers can get those packages for $64.99 to $134.99 under promotional pricing that expires after 12 months. "If you currently have a DirecTV TV promotion, you'll keep that discount until it expires," AT&T said. "Once your promo period ends, you'll pay the new price for your package."

There are also $1 and $3 increases for DirecTV's Basic and Preferred Choice packages for international customers, $6 increases for certain Spanish-language packages, and $8 increases for "Xtra" packages. Only the Minimum service, Family, and ChineseDirect Plus plans are not getting increases. AT&T is raising U-verse TV prices by $5 to $9 a month depending on the package, while keeping the price of the most basic U-verse package the same. U-verse provides TV over AT&T's wired network. As with DirecTV, customers on U-verse promotional pricing won't see the increase until the promotional period ends. DirecTV is also adding a "Federal Cost Recovery Fee of $0.19 per month," similar to a fee that used to be charged once per year. Despite the name, the fee is not mandated by the government. AT&T said the fee covers "expenses that DirecTV pays to the Federal Communications Commission." Ars Technica notes that AT&T did not include any increases for the Regional Sports Network and Broadcast TV fees. It's also decreasing the price of some premium channels. "That includes $3 decreases for Starz, Cinemax, and Showtime," the report says. "There are also decreases of up to $3 for certain add-on bundles that include sports channels. But even with premium channels, there are some price increases, including a $2.96 boost to an add-on bundle that includes HBO Max, Starz, Showtime, Cinemax, and a sports-channel pack."

The full list of price changes can be found here.

wiredog writes: Disney has developed a radical new theory of copyright. When Disney bought Lucasfilm and Fox, they acquired the copyright licenses that enabled them to sell Alan Dean Foster's books -- but not the liability, the legal obligation to actually pay him for those books. They have apparently also done this to numerous other authors.

The statement from the Science Fiction Writers of America (SFWA) is here, and also a Twitter thread from Cory Doctorow. Foster's complaints go beyond Star Wars. His letter also states that Disney failed to pay royalties entirely for his Alien novelizations. "He noted that he and his agent have tried to negotiate with Disney to resolve it all -- mainly because he and his wife have ongoing medical issues and the royalties would help with bills -- only for Disney to ask Foster to sign an NDA before talks could even commence," reports Gizmodo.

Here's part of his letter sent to the company: "When you purchased Lucasfilm you acquired the rights to some books I wrote. Star Wars, the novelization of the very first film. Splinter of the Mind's Eye, the first sequel novel. You owe me royalties on these books. You stopped paying them. When you purchased 20th Century Fox, you eventually acquired the rights to other books I had written. The novelizations of Alien, Aliens, and Alien 3. You've never paid royalties on any of these, or even issued royalty statements for them. All these books are all still very much in print. They still earn money. For you. When one company buys another, they acquire its liabilities as well as its assets. You're certainly reaping the benefits of the assets. I'd very much like my minuscule (though it's not small to me) share."

SFWA president Mary Robinette Kowal said: "The larger problem has the potential to affect every writer. Disney's argument is that they have purchased the rights but not the obligations of the contract. In other words, they believe they have the right to publish work, but are not obligated to pay the writer no matter what the contract says. If we let this stand, it could set precedent to fundamentally alter the way copyright and contracts operate in the United States. All a publisher would have to do to break a contract would be to sell it to a sibling company." The group is asking Disney to either pay Foster foor back and future royalties or cease publication -- either permanently or until new contracts can be signed. They're also asking any other writers who may have had the same experience with Disney to come forward.

Although COVID-19 is surging in the United States and around the world, Warner Bros. still plans to release "Wonder Woman 1984" on Christmas Day -- but its plans are are no longer limited to a theatrical release. From a report: Director Patty Jenkins and star Gal Gadot both posted tweets last night announcing that in in the United States, the film will be released simultaneously in theaters and on WarnerMedia's streaming service HBO Max. "THE TIME HAS COME," Jenkins wrote. "At some point you have to choose to share any love you have to give over everything else. We love our movie as we love our fans, so we truly hope that our film brings a little bit of joy and reprieve to all of you this holiday season." A press release from HBO Max offers a few more details: The film will debut in theaters internationally on December 16, then launch in U.S. theaters and on HBO Max on December 25. It will be available to the streaming service's U.S. subscribers for one month at no additional cost.

Last month, "It's the Great Pumpkin, Charlie Brown" wasn't aired on TV, marking the first time since 1965 that the Peanuts special wasn't broadcasted. Instead, it was streamed on Apple+. Now, according to The Associated Press, the Charlie Brown Thanksgiving and Christmas specials will return to the air. From the report: On Wednesday, Apple bowed to the backlash, announcing it had teamed up with PBS for ad-free broadcasts of "A Charlie Brown Thanksgiving" (on Nov. 22) and "A Charlie Brown Christmas" (on Dec. 13). Both specials will also be available for free during three-day windows on Apple TV+ (Nov. 25-27 for "Thanksgiving" and Dec. 11-13 for "Christmas.") For subscribers, the specials will be available beginning Nov. 18 and Dec. 4, respectively.

An anonymous reader shares a report: The pandemic is helping Japan's demon slayers, monsters and robots make the leap to the global market. Animated video in the Japanese style -- aka anime -- has long been a niche taste for fans in the U.S. and elsewhere, and some anime films such as those by Hayao Miyazaki have become mainstream hits. Now, with the pandemic putting a premium on escapist video content, the business is getting hotter. Streaming services such as Netflix and Amazon Prime are scouring the globe for fresh content, from documentaries to calming videos, and anime has an advantage over live-action content because it doesn't require actors and crew to expose themselves to virus contagion. With the latest anime hit bringing in hundreds of millions of dollars in Japan, industry players say the next year is likely to bring more deals and more content for the U.S. "I used to have the sense that the anime category was spreading widely around the world, but what we're seeing these days is a big leap beyond that," said Taiki Sakurai, Netflix's chief anime producer. "The global anime fan base is expanding rapidly." Last month, Netflix said it had 16 projects in the works at its Tokyo-based anime production hub, including "Godzilla" and "Transformers" titles, with plans for global distribution that it said were pushed forward by the evidence of higher demand.

Netflix, which hired a creative team dedicated to anime production in Tokyo four years ago, said more than 100 million households around the world watched at least one anime title on the streaming site in the year to September 2020, growing by 50% from a year earlier. Anime titles have appeared in the top-10 list in nearly 100 countries this year, it said. Amazon Prime also features a wealth of anime titles. The financial reports of Tokyo-based Toei Animation, the studio responsible for anime such as the "Dragon Ball" and "Sailor Moon" franchises, give a glimpse into how the industry is changing. Four years ago, revenue received from outside Japan accounted for one-third of Toei Animation's overall revenue. The overseas portion rose to half of the total in the year ended this past March, and overseas revenue more than doubled to the equivalent of $243 million, with "Dragon Ball" programs available on streaming services such as Hulu in the U.S. In the most recent six months, overseas sales rose to nearly three-fifths of the total.

Hulu's live TV bundle is getting more expensive. From a report: The new prices are $10 per month higher than Hulu's current fees and will go into effect Dec. 18, 2020. The higher rates apply to both current and new subscribers. Hulu began notifying subscribers of the price hikes Monday. Under the new pricing, the baseline Hulu + Live TV with ads in the VOD content bundle is rising to $64.99 per month (an 18% increase) and the version with no VOD ads is rising to $70.99 per month (up 16%). Both bundles provide more than 65 live channels, including the four major broadcast networks, and access to Hulu's large on-demand library.

"The Radiophonic Workshop has always broken new sonic ground, from the Doctor Who theme to the Hitchhiker's Guide to the Galaxy. Now they're at it again — this time using the internet as a musical instrument," reports the Guardian.

"The band includes composers from the original BBC Radiophonic Workshop, which created soundtracks for most BBC shows from the 60s to the 90s and influenced generations of musicians from Paul McCartney, Pink Floyd and Mike Oldfield to Aphex Twin, Orbital and Mary Epworth..." A performance of Latency will take place at a special online event on 22 November using a technique inspired by lockdown Zoom calls... The internet has an unpredictable natural lag, or latency, caused by the milliseconds it takes for electrical signals from one computer to reach another, as anyone using Zoom has experienced. The trick that Bob Earland and Paddy Kingsland discovered was that they could extend the internet's delay from a few milliseconds into several seconds. Instead of trying to play at the same time, the Radiophonic Workshop will play one after another — in sequence, rather than in parallel.

"We had the bright idea of using that latency to make a loop of music," Earland said. "The sound gets sent to someone, and they add to it, and it keeps going round. So you're not relying on everyone being on the same clock..." Workshop member Peter Howell, who is also a lecturer in film and TV music, said: "It does feel like live playing, it's just that every person has a little bubble of time in which they're playing live."

The performance comes the day before 23 November, the anniversary of the first transmission of Doctor Who in 1963 which is also Delia Derbyshire Day, in honour of the Radiophonic Workshop's leading light, who created the sound of the show's famous theme tune.

Wednesday Twitch warned its users to delete any videos containing copyrighted music. PC Gamer reports on what happened next: Since October, Twitch has been deleting significant quantities of videos over copyright claims, leaving the affected streamers with no way to respond or issue counter-claims. Twitch eventually explained that the number of DMCA notifications it receives from major record labels has surged, going from "fewer than 50" each year to "thousands" beginning in May. The recommendation offered to streamers was to play games with the music muted, which obviously isn't great advice when it comes to rhythm games, or games that don't have the option to mute music separately from other audio. Meanwhile, some streamers have had videos muted due to sound effects, with claims coming via automated content recognition software Audible Magic. These claims can be contested, but it's still frustrating for those affected by content ID software that can't tell the difference between copyrighted audio and the noise of a grandfather clock chiming in a horror game.

In response, streamers have been protesting by playing games with the sound off completely to highlight the absurdity of the situation, some using the hashtag #DMCAsoundoff. Watching Rocksmith players grunt or silently nod along to songs nobody can hear highlights the problem while still entertaining their viewers, as does hearing them improvise their own the sound effects for games like Resident Evil 2.
Polygon argues it's "alarming that these are the lengths players are going to in order to try and protest Twitch's policy..." But they also applauded the creativity of the protesters It's a surprising look at the transformative nature of streaming. When players are forced to play in dead silence, people still tune in and watch. Even while complying with copyright law to the absolute letter, each stream is different, and each act of protest feels wholly unique.

Twitch recently posted a long statement in response to the controversy, writing: "Your frustration and confusion with recent music-related copyright issues is completely justified. Things can — and should — be better for creators than they have been recently. We should have developed more sophisticated and user-friendly tools long ago. To all the creators who lost their community's best moments, we're sorry. This shouldn't have happened."

Despite the statement, Twitch has yet to provide concrete solutions for the ongoing problem, and the platform has yet to address the issue of in-game audio triggering the DMCA process (besides a suggestion to mute in-game audio.)

In a Wall Street Journal article comparing Apple's HomePod Mini against the competition, a Google spokesperson hinted that the company is working on integrating its Chromecast streaming devices and Nest Audio speakers. The Verge reports: Being able to combine a streaming platform with a smart phone speaker makes a lot of sense for these companies. After all, customers already have all the hardware in their living room -- why not repurpose those speakers to improve the sound of your Netflix movies? Plus, there's the added bonus of inciting customers to stay within a company's ecosystem. You're more likely to buy a HomePod mini if it works with the Apple TV you already have. The ability to link smart speakers to streaming boxes is also something that both Apple and Amazon already offer.

Google's plans are extremely vague for now -- The Wall Street Journal makes no mention of which devices the company is looking to link together, when the feature will arrive, or what sort of use cases it's looking to achieve. But with Google increasingly looking to push users toward its smart home devices, making them all work better together just makes good sense.

chicksdaddy shares a report from The Security Ledger: Millions of Android smart television sets from the Chinese vendor TCL Technology Group Corporation contained gaping software security holes that researchers say could have allowed remote attackers to take control of the devices, steal data or even control cameras and microphones to surveil the set's owners. The security holes appear to have been patched by the manufacturer in early November. However the manner in which the holes were closed is raising further alarm among the researchers about whether the China-based firm is able to access and control deployed television sets without the owner's knowledge or permission, according to a report published on Monday by two security researchers.

The report describes two serious software security holes affecting TCL brand television sets. First, a vulnerability in the software that runs TCL Android Smart TVs allowed an attacker on the adjacent network to browse and download sensitive files over an insecure web server running on port 7989. That flaw, CVE-2020-27403, would allow an unprivileged remote attacker on the adjacent network to download most system files from the TV set up to and including images, personal data and security tokens for connected applications. The flaw could lead to serious critical information disclosure, the researchers warned. Second, the researchers found a vulnerability in the TCL software that allowed a local unprivileged attacker to read from and write to critical vendor resource directories within the TV's Android file system, including the vendor upgrades folder. That flaw was assigned the identifier CVE-2020-28055.

The researchers, John Jackson, an application security engineer for Shutter Stock, and the independent researcher known by the handle "Sick Codes," said the flaws amount to a "back door" on any TCL Android smart television. "Anybody on an adjacent network can browse the TV's file system and download any file they want," said Sick Codes in an interview via the Signal platform. That would include everything from image files to small databases associated with installed applications, location data or security tokens for smart TV apps like Gmail. If the TCL TV set was exposed to the public Internet, anyone on the Internet could connect to it remotely, he said, noting that he had located a handful of such TCL Android smart TVs using the Shodan search engine.

Disney+, the streaming service that launched one year ago today, grew to 73.7 million paid subscribers as of early October. TechCrunch reports: That's according to The Walt Disney Company's fourth-quarter earnings report, which covers the company's finances through October 3. The company previously said Disney+ had 60.5 million subscribers as of August 3. The release also includes subscriber numbers for Disney's other streaming services -- Hulu had 36.6 million (including 4.1 million subscribers to Hulu + Live TV), while ESPN had 10.3 million (more than doubling from 3.5 million a year earlier).

Overall, Disney's direct-to-consumer segment saw revenue grow 41% year-over-year to $4.9 billion, while its operating loss fell from $751 million in Q4 2019 to $580 million this year. Disney attributed the shrinking losses to "improved results at Hulu and ESPN+, partially offset by higher costs at Disney+, driven by the ongoing rollout." It was a tough quarter for Disney overall, with the pandemic forcing the company to keep some parks closed and the rest operating at reduced capacity. Disney's revenue fell to $14.7 billion (compared to $19.1 billion during Q4 2019), with a loss of $0.39 per share.

An anonymous reader shares a column: Google Music is dead, and with it one of the few remaining connections I have to the company that doesn't feel like a gun to my head. The service, now merged haphazardly with YouTube Music, recalled the early days of Google, when they sometimes just made cool internet things. It made it nearly a decade, though -- pretty impressive for a one of their products. I'll just say it up front: I'm a lifelong music pirate. Oh yes, I've reformed in recent years, but I've got a huge library of tracks that I've cultivated for decades and don't plan to abandon any time soon (likewise you can pry Winamp from my cold, dead hands). So when Google announced back in 2011 I could stream it all to myself for free, it sounded too good to be true. And indeed it was a relic of the old Google, which was quite simply all about taking things that are difficult to do yourself (find things online, set up a new email address, collaborate on a spreadsheet) and make them easier. Google Music -- as we'll call it despite it having gone through several branding changes before the final indignity of being merged into another, worse service as a presumably short-lived tab -- was not first to the music-streaming or downloading world by a long shot, but its promise of being able to upload your old music files and access them anywhere as if they were emails or documents was a surprisingly generous one. Generous not just in that it was providing server space for 20,000 songs (!) for free and the infrastructure for serving those songs where you went, but in its acknowledgement of other models of owning media. It didn't judge you for having 20,000 MP3s -- they weren't subjected to some kind of legitimacy check, and they didn't report you to the RIAA for having them, though they certainly could have. No, Google Music's free media locker was the company, or at least a quorum of the product team, announcing that they get it: not everyone does everything the same way, and not everyone is ready to embrace whatever business model tech companies decide makes sense. (Notably it has shifted several times more since then.)

In a lengthy blog post, Twitch told streamers that they must stop playing recorded music on their streams (unless it's officially licensed) and that "if you haven't already, you should review your historical VODs and Clips that may have music in them and delete any archives that might." Variety reports: The Amazon-owned live-streaming platform also claimed that it is "actively speaking with the major record labels about potential approaches to additional licenses that would be appropriate for the Twitch service." However, the company also said that the "current constructs for licenses" that record labels have with other services (which typically take a cut of revenue from creators for payment to record labels) "make less sense for Twitch." "We're open-minded to new structures that could work for Twitch's unique service, but we must be clear that they may take some time to materialize or may never happen at all," the company said in the blog.

Twitch's music-copyright communique comes after several major U.S. music organizations -- including the RIAA, the Recording Academy, the National Music Publishers Association, the Music Managers Forum, the American Association of Independent Music and SAG-AFTRA -- sent a letter last month to Amazon CEO Jeff Bezos (copying Twitch CEO Emmet Shear). The letter, among other things, accused Twitch of "allowing and enabling its streamers to use our respective members' music without authorization, in violation of Twitch's music guidelines." Twitch said it was caught off guard by the music industry's crackdown on unlicensed music on its service. According to the company, starting this May, reps for music companies began sending thousands of Digital Millennium Copyright Act (DMCA) copyright-takedown notices targeted at users' archived content, "mostly for snippets of tracks in years-old clips." Before then, Twitch said, it received fewer than 50 music-related DMCA notifications per year.

Twitch said it analyzed DMCA notifications received from the end of May through mid-October and found that more than 99% of them were for tracks that streamers were playing in the background of their stream. Twitch apologized to creators for the angst the DMCA takedowns have caused, noting that a warning email it sent to many last month about the videos deleted from their accounts "didn't include all the information that you'd typically get in a DMCA notification." "We could have developed more sophisticated, user-friendly tools a while ago. That we didn't is on us," it said. "And we could have provided creators with a longer time period to address their VOD and Clip libraries -- that was a miss as well. We're truly sorry for these mistakes, and we'll do better."

Ticketmaster is planning to check the coronavirus vaccination status of concert-goers prior to shows once a treatment is approved. The New York Post reports: The ticketing giant plans to have customers use their cellphones to verify their inoculation or whether they've tested negative for the virus within a 24- to 72-hour window, according to the exclusive report. The plan, which is still being ironed out, will utilize three separate components, including the California-based company's digital ticketing app, third-party health information firms like CLEAR Health Pass and testing/vaccination distributors like Labcorp or CVS Minute Clinic.

Ticketmaster will reportedly not store or access medical records under the plan. If approved, fans would need to verify that they've either already been vaccinated or have tested negative as recently as 24 hours prior to the show. Concert-goers would then instruct a lab to send over test results to companies like CLEAR Health Pass or IBM's Digital Health Pass, which would verify the fan's status to Ticketmaster. Anyone who tests positive or doesn't get screened won't be granted access to the event venue, Billboard reported. The digital ticketing app will also eliminate the need for paper tickets and can be prohibited from being resold, according to the report. Further reading: Billboard