Lana Wachowski is set to write and direct a fourth film set in the world of "The Matrix," with Keanu Reeves and Carrie-Anne Moss reprising their roles as Neo and Trinity, respectively. Variety reports: Warner Bros. Pictures and Village Roadshow Pictures will produce and globally distribute the film. In addition to Wachowski, the script was also written by Aleksandar Hemon and David Mitchell. Wachowski is also producing with Grant Hill. Sources say the film is eyed to begin production at the top of 2020. Warner Bros. has been trying for the last of couple years to find a way to get back into "The Matrix" universe, but a hold-up over producing rights slowed the project down. Over the past couple of months, the studio saw an opportunity to ramp up development, with Reeves boasting a strong summer that included box office hits "John Wick 3"; and "Toy Story 4" and a script from Wachowski that drummed up excitement. Plot details are currently unknown, as is how the role of Morpheus will be handled, originally played by Laurence Fishburne. Some sources say the role may be recast for a younger take. Further reading: Was 'The Matrix' Part of Cinema's Last Gear Year?

Sony has purchased the California-based game studio Insomniac Games, best known for last year's Spider-Man on PS4, which sold 13.2 million copies. Sony says Insomniac will become an exclusive PlayStation developer. Kotaku reports: Founded in 1994, Insomniac remained independent for 25 years, working largely with Sony on series like Ratchet & Clank and Resistance but also with other big game companies like Microsoft, which published the colorful open-world game Sunset Overdrive (unlikely to get a sequel any time soon). Insomniac has also worked on several VR games with Oculus, including the upcoming Stormland, currently announced as an Oculus Rift exclusive. Notably, Insomniac's previous VR games have not been released on PlayStation VR.

Last November, YouTube announced that it would be removing the paywall for its original programming starting in 2019. Now, we have more details on exactly how and when this will work. Android Central reports: Per a statement sent out by the YouTube team: "New YouTube Originals series, movies, and live events released after September 24, 2019 will be made available to non-members to watch for free, with ads. For series, members will get immediate access to every episode of a new season, while non-members will have to wait for each new episode to be released."

It appears that YouTube Originals content released prior to that September 24 date will remain exclusive to Premium subscribers, but going forward, it'll be fair game for everyone. While that does slightly water-down the perks of being a YouTube Premium subscriber, it's also noted that paying customers will gain access to additional footage that won't be available for free users: "In most cases, where available, Director's cuts and bonus footage for YouTube Originals movies and live events will be exclusive to members like you, as well."

The Japanese anime studio, Khara, is moving to Blender, the the open-source 3D creation software. "It'll begin partially using the software for its current development 'EVANGELION:3.0+1.0' but will make the full switch once that project is finished," reports Neowin. "The current project is expected to end in June next year, so after that point, its employees will start using Blender for the majority of their work." From the report: At the moment, Khara uses 3ds Max from Autodesk on a subscription basis; however, the company found that it had to reach out to small and medium-sized businesses for its projects. Due to the limitations of those companies, it's harder for them to afford 3ds Max. By switching to Blender, Khara says it can work better with external firms.

While Blender will be used for the bulk of the work, Khara does have a backup plan if there's anything Blender struggles with; Hiroyasu Kobayashi, General Manager of Digital Dpt. and Director of Board of Khara, said: "There are currently some areas where Blender cannot take care of our needs, but we can solve it with the combination with Unity. Unity is usually enough to cover 3ds Max and Maya as well. Unity can be a bridge among environments."

Disney and Charter Communications are teaming up to fight account sharing in an attempt to prevent multiple people from using a single account to access streaming video services. Ars Technica reports: The battle against account sharing was announced as Disney and the nation's second-biggest cable company struck a new distribution agreement involving Disney's Hulu, ESPN+, and the forthcoming Disney+. Customers could still buy those online services directly from Disney, but the new deal would also let them make those purchases through Charter's Spectrum TV service. If you buy a Disney service through Charter, be aware that the companies will work together to prevent you from sharing a login with friends. Disney and Charter said in their announcement yesterday that they have "agreed to work together on piracy mitigation. The two companies will work together to implement business rules and techniques to address such issues as unauthorized access and password sharing."

The crackdown could target people who use Charter TV account logins to sign into Disney services online. Charter CEO Tom Rutledge has complained about account sharing several times over the past few years while criticizing TV networks for not fully locking down their content. "There's lots of extra streams, there's lots of extra passwords, there's lots of people who could get free service," Rutledge said at an industry conference in 2017. He argues that password sharing has helped people avoid buying cable TV. ESPN has also complained about account sharing, calling it piracy. Another possibility is that Charter could monitor usage of its broadband network to help Disney fight account sharing. For example, Disney could track the IP addresses of users signing in to its services, and Charter could match those IP addresses to those of its broadband customers.

An anonymous reader quotes a report from The Economist: Many parents and grandparents will grumble about today's screen-obsessed youth. Indeed, researchers find that millennials look at their phones more than 150 times a day; half of them check their devices in the middle of the night; a third glance at them immediately after waking up. And yet, when all screens are accounted for, it is in fact older folk who seem most addicted. According to Nielsen, a market-research firm, Americans aged 65 and over spend nearly ten hours a day consuming media on their televisions, computers and smartphones. That is 12% more than Americans aged 35 to 49, and a third more than those aged 18 to 34 (the youngest cohort for whom Nielsen has data). American seniors "spend an average of seven hours and 30 minutes in front of the box, about as much as they did in 2015," the report says. "The spend another two hours staring at their smartphones, a more than seven-fold increase from four years ago."

Millennials have increased the time they spend on their mobile devices, but it's been largely offset by their dwindling interest in TV. As for teenagers, a report from 2015 by Common Sense Media "found that American teens aged 13-18 spent about six hours and 40 minutes per day on screens: slightly more than Nielsen recorded for 18- to 34-year-olds that year, but less than older generations."

AmiMoJo shares a report from the BBC: A group of YouTube video-makers is suing it and parent company Google, claiming both discriminate against LGBT-themed videos and their creators. The group claims YouTube restricts advertising on LGBT videos and limits their reach and discoverability. But YouTube said sexual orientation and gender identity played no role in deciding whether videos could earn ad revenue or appear in search results. A group is hoping a jury will hear its case in California.

The legal action makes a wide range of claims, including that YouTube:
- Removes advertising from videos featuring "trigger words" such as "gay" or "lesbian"
- Often labels LGBT-themed videos as "sensitive" or "mature" and restricts them from appearing in search results or recommendations
- Does not do enough to filter harassment and hate speech in the comments section "Our policies have no notion of sexual orientation or gender identity and our systems do not restrict or demonetize videos based on these factors or the inclusion of terms like 'gay' or 'transgender,'" spokesman Alex Joseph said. "In addition, we have strong policies prohibiting hate speech and we quickly remove content that violates our policies and terminate accounts that do so repeatedly."

An anonymous reader shares a report: James Wright had never worried about staying under his data cap. Then he bought a 4K TV set and started binge-watching Netflix in ultra-high definition. The picture quality was impressive, but it gobbled up so much bandwidth that his internet service provider, Comcast, warned that he had exceeded his monthly data limit and would need to pay more. "The first month I blew through the cap like it was nothing," said Wright, 50, who lives with his wife in Memphis, Tenn. With a 4K TV, he said, "It's not as hard to go through as you'd think." All that bingeing and ultra-HD video can carry a high price tag. As online viewing grows, more subscribers are having to pay up for faster speeds. Even then, they can run into data limits and overage fees. Some opt for an unlimited plan that can double the average $52-a-month internet bill.

Wright is what the cable industry calls a power user -- someone who chews through 1 terabyte of data or more each month. Though still rare, the number of power users has doubled in the past year as more families stream TV shows, movies and video games online. They should continue to grow as new video services from Disney, AT&T, Apple and NBCUniversal arrive in coming months. In the first quarter of this year, about 4% of internet subscribers consumed at least 1 terabyte of data -- the limit imposed by companies such as Comcast, AT&T and Cox. That's up from 2% a year ago, according to OpenVault, which tracks internet data usage among cable subscribers in the United States and Europe. "The percentage of subscribers exceeding this level will continue to grow rapidly," OpenVault founder Mark Trudeau said.

Spotify plans to sell a more-expensive version of its music service in Scandinavia, a test to see whether it can raise prices around the world, Bloomberg reported Thursday, citing people familiar with the matter. From the report: Spotify will raise the price of its family plan by about 13%, said the people, who asked not to be identified because the increase hasn't been announced. The test doesn't mean Spotify will raise prices elsewhere or do so permanently in Scandinavia, they said. Raising prices could boost revenue in markets where Spotify already has a strong presence. The company is based in Stockholm, and its music service is the dominant player across Northern Europe. The current family plan costs about $15 a month and lets up to five people use the service. Spotify has also tested a plan called Premium Duo that offers two subscriptions for 12.49 euros ($13.91) a month.

An anonymous reader quotes a report from Ars Technica: British Airways announced that it is testing out virtual reality headsets for the rest of this year on flights between London's Heathrow and New York City's John F. Kennedy airport. The airline is tapping SkyLights for the VR eyewear headsets that will be available for its first-class passengers. The AlloSky hardware can present 3D views even when the viewer is lying flat. As far as programming, British Airways will have options. The VR headsets will offer visual entertainment in 2D, 3D, or 360-degree formats. The airline will also provide more therapeutic programs to help people who have a fear of flying. These VR experiences include guided meditation and sound therapy. This marks the first time British Airways is bringing virtual reality onto its aircrafts. The company also used SkyLights' hardware at its ticket counters in Heathrow to show passengers the experience of its first-class travel in an effort to encourage upgrades.

Apple and Spotify are in talks about potentially enabling Siri to play songs, albums, and playlists from the leading subscription music service. The Verge: A new report from The Information confirms that Spotify would be taking advantage of new capabilities that Apple is introducing in iOS 13 and iPadOS 13, which allow other apps to be on equal footing with Apple Music when making music requests through the company's Siri voice assistant. If Spotify takes advantage of the new tools, you'll be able to play music without having to open the app on your iPhone or iPad. The integration could be a sign of progress between two companies that have butted heads to a more heated degree than ever before over the last year. In March, Spotify filed an antitrust complaint with the EU that accused Apple of disadvantaging third-party services that compete with its own apps. Among other gripes (such as Apple's subscription tax), Spotify pointed to hands-free Siri compatibility as one convenient feature that Apple was reserving for its own Apple Music service. Further reading: Apple Says Spotify Wants 'the Benefits of a Free App Without Being Free'; and Apple Cites Irrelevant Spotify Subscription Stats In New Antitrust Defense.

Viacom and CBS have struck a deal for a merger on Tuesday with an agreement to recombine in the latest entertainment industry mega-deal. From a report: As expected, Viacom CEO Bob Bakish will lead the combined company as CEO, while CBS acting CEO Joe Ianniello will also remain in a top executive position that will have him oversee CBS-branded assets. CBS CFO Christina Spade will serve as CFO of the merged firm. Shari Redstone, vice chair of both companies, will serve as chair of the combined company. The companies had previously agreed on the management setup and the composition of the board of the merged company, with the stock exchange ratio for the deal being the final haggling point that was finally resolved early in the week. The boards of both companies have approved the deal.

Consolidation to gain more scale amid competition from streaming video and technology giants has been a key focus for the entertainment sector in recent years. The CBS-Viacom deal agreement comes after Walt Disney's $71.3 billion acquisition of large parts of 21st Century Fox and AT&T's $85 billion takeover of Time Warner. CBS is also understood to have offered Lionsgate $5 billion to buy its premium TV unit Starz.

Carolyn Giardina from The Hollywood Reporter writes about the growing influence Netflix has from hardware and software development to industry display standards. For example, as recently as six months ago, Netflix forbid Hollywood cinematographers from using a highly-popular camera because the standard model employed a 3.2K resolution sensor instead of a 4K sensor required for the streamer's original programming.

Netflix also pressured TV manufacturers like Sony and Panasonic to feature a "Netflix calibrated mode" and "Netflix Recommended TV" logo in their consumer TVs. From the report: To make sure its content is being produced how it wants, the streamer in September launched a Netflix Post Technology Alliance with MTI, Adobe, Sony and others. It shares its roadmap with these companies, and if these firms develop tools -- from cameras to editing systems -- that meet its requirements, they are permitted to use the "Netflix Post Technology Alliance" logo. The logo has been visible in the past year at industry trade shows -- a literal sign of growing influence. Netflix also is involved in industry standardization and development efforts. For instance, it recently joined the Academy of Motion Picture Arts and Sciences' Academy Software Foundation, a forum for open source software developers.

While Netflix is involved in collaborations, the company also maintains robust engineering efforts in-house -- beyond the teams working on its secret distribution algorithms. It is pioneering new interactive content, such as Bandersnatch, which was made incorporating Branch Manager, a software system developed in-house. Other homegrown advances include Netflix's scheduling software and its work to bring more automation to audio dubbing through artificial intelligence. There's likely much more in the works that Netflix does not share with the public. But one thing is certain: The company is having a penetrating impact not only on which content is made and how it is distributed and consumed, but also on the very tech that creates it.

In 2014 Esquire argued that great movies like The Matrix "predicted a revolution in film that never happened," adding "We are in many ways worse off now than we were 15 years ago as a culture. We seem to have run out of original ideas."

This week two film critics debated whether 1999 was in fact cinema's last great year. Slashdot reader dryriver writes: Notable films of 1999 are Fight Club, Magnolia, The Matrix, Eyes Wide Shut, Three Kings, The Sixth Sense, EXistenZ, Being John Malkovich, Man On The Moon, American Beauty, The Talented Mr. Ripley, Office Space, Boys Don't Cry, Election, Rushmore, Buena Vista Social Club, The Virgin Suicides, Sleepy Hollow, The Insider, Girl Interrupted, The Iron Giant and Toy Story 2.

According to Nicholas Barber, 1999 also was the beginning of the end for quality cinema:

"The release of Star Wars: Episode I: The Phantom Menace proved that long-dormant series could be lucratively revived. Toy Story 2, the first ever Pixar sequel, proved that cartoon follow-ups needn't be straight-to-video cheapies, but major, money-spinning phenomena. The Matrix proved that digitally-enhanced superhero action could attract audiences of all ages. And The Blair Witch Project proved that found-footage horror in particular, and microbudget horror in general, could be a gold mine. As wonderful as those films may have been -- The Phantom Menace excepted, obviously -- they taught Hollywood some toxic lessons. Instead of continuing to bet on young mavericks, studio executives twigged that there was a fortune to be made from superhero blockbusters, Disney sequels, merchandise-friendly franchises and cheapo horror movies. And that's what we get in 2019, week after week."
He also writes that the boom in DVDs in 1999 had "encouraged studios to fund offbeat projects," ultimately concluding 1999 was "the year when everything began to go wrong." He argues that today it's a different technology driving innovation. "In the 21st Century, streaming platforms have made the small screen the home of fresh ideas, as well as for conversation-starting communal cultural experiences."

But film critic Hannah Woodhead counters with a line from the 1999 film Magnolia: "We may be through with the past, but the past ain't through with us."

"Nostalgia is often the enemy of progress when it comes to pop culture. We have a tendency to look back fondly on what came before, ironing out the flaws in our memory until the past is something that seems truly great, and even aspirational."

MoviePass reportedly resorted to extreme tactics to prevent users from taking advantage of core features, according to a new report from Business Insider. In particular, the report highlights a strategy the company used to keep users from bankrupting it, by changing account passwords to prevent ticket purchases that might cost it money it didn't have. The Verge reports: Business Insider's report looks at how Ted Farnsworth, CEO of MoviePass parent company Helios & Matheson Analytics, and MoviePass CEO Mitch Lowe, transformed the company from a little-known subscription service to a nationwide sensation. It also delves deep into the questionable business strategies and tactics the duo used to keep the company afloat, all while it hemorrhaged money by fronting subscribers the full cost of a movie ticket. MoviePass was not immediately available for comment.

Business Insider's report outlined how the company took on a more adversarial stance toward power users that were costing it too much money. One employee noted, "Before Mitch came on it was, 'How do we slow down those users?' With Mitch [Lowe] it was just, 'F--- those guys.'" The company tried other tactics to actively make its service hard to use, like when it limited the ability for users to see high-profile films like Avengers: Infinity War and Mission Impossible: Fallout. Employees say Lowe demanded they change the passwords of "a small percentage of power users" ahead of those releases to prevent them from ordering tickets through the app, telling people that it was a "technical issue." The company also implemented a "trip wire," which would cut off users once the company reached a certain monetary threshold each day. Users were told "there are no more screenings at this theater today," when in reality MoviePass was disabling its services to prevent it from burning through too much cash.

From a report: Looking for a specific podcast has always been a straightforward process: Plug in the title or the host's name in an app store or search engine and you're golden. But when you're not sure what you're looking for or just want to peruse your options based on a topic, you've had to rely on articles with roundups of different shows, random Twitter recommendations, or bounce from platform to platform with your query. Sites like Listen Notes and Audiosear.ch (until it shut down in 2017), among many other startups determined to crack podcast discovery, were created to solve this problem by aspiring to be the Google for podcasts. But now Google wants to be the Google for podcasts.

Starting today, the company announced that it's updating its search function to include playable episodes within the search results around a topic. So if you're looking for "podcasts about grilling" or "knitting podcasts," results will surface with relevant episodes "based on Google's understanding of what's being talked about on a podcast," according to a Google blog post, "so you can find even more relevant information about a topic in audio form."

An anonymous reader shares a column [Editor's note: the link may be paywalled]: Few television shows in recent years have been as compelling, yet as difficult to watch, as Chernobyl. The story of the hours and days following the 1986 nuclear reactor meltdown, and the many awful ways that radiation can kill, was expertly told. But it was the antithesis of one of the prevailing objectives of today's TV producers: to make a programme viewers love so much that they binge it all in one go. Chernobyl's horrors were so richly realised that it was unbingeable. Even though I was watching the show on Sky's streaming service, Now TV, I found that watching in nightly instalments rather than rushing through it served only to heighten my appreciation of it. The internet has been built on instant gratification, but Chernobyl got me wondering whether we occasionally need something to hold us back.

[...] A new approach to scheduling could crank up anticipation for the next instalment or build the loyalty that comes with habit. Chernobyl had a brilliant podcast commentary that delineated the boundary between fact and fiction; I wished I had listened to it between episodes rather than at the end of the series. There are billions of smartphones in the world today. While Silicon Valley is obsessing over what comes next -- whether that is augmented reality headsets or smart speakers -- the versatility and ubiquity of the smartphone still provide plenty of room to experiment. From instant streaming to next-day deliveries, technology has broken the idea that good things come to those who wait. But with a little imagination, making something unbingeable could be a feature, not a bug.

Disney will offer a bundle package of its three streaming services -- Disney+, Hulu, and ESPN+ -- for $12.99 a month starting on November 12th, the company has announced. From a report: The company previously hinted at a bundle for all three services, but CEO Bob Iger made it official during the company's investors call Tuesday. At $12.99, the bundle is cheaper than -- or on par with -- competitive streaming services, including Netflix and Amazon Prime Video. It's also significantly cheaper than HBO Max's rumored streaming price of $16-$17 a month. Hulu is currently available for $5.99 a month (with ads), and ESPN+ costs $4.99 a month. ESPN+ is the Disney-owned sports streaming platform, which carries "hundreds of MLB, NHL and MLS games, Grand Slam tennis, Top Rank boxing, PGA Tour golf, college sports, international rugby, cricket, the full library of ESPN Films including 30 for 30, and more."

Matt Levine, writing for Bloomberg: Is there a Harvard Business School case study of MoviePass yet? I feel like there are a lot of lessons to be learned from the MoviePass story, but maybe that's wrong. Maybe all of the lessons are just "if you do the opposite of normal business things, it will work, but only for a while." Maybe business school students should actively avoid learning that lesson. Anyway Jason Guerrasio has a big story on the rise and fall of MoviePass at Business Insider today. The basics of the story -- MoviePass was a business that charged people $9.95 a month to see unlimited movies in theaters, and then paid the theaters full price for the tickets, losing money on each transaction and eventually falling into a huge and comical financial hole -- were familiar to me, and probably to you, and it's not like we didn't already know it was weird. But I learned a lot from this article about how weird it was.

For instance, under founder Stacy Spikes, MoviePass charged $50 a month for its service, but couldn't get enough subscribers to break even. Then it was acquired by Helios & Matheson Analytics, whose chief executive officer, Ted Farnsworth, came up with the idea of charging much less: "Why Farnsworth settled on $10 is unclear. Several people told me he wanted a price that would grab headlines. ... But in July 2017, the MoviePass board agreed to the deal. And on August 15, the price drop went into effect. Thanks to word-of-mouth buzz and press attention, within two days subscriptions jumped from about 20,000 to 100,000. MoviePass had transformed from a scrappy startup trying to keep the lights on to a disrupter in the making."

What an amazing sentence. It went from being "a scrappy startup trying to keep the lights on" (bad) to a buzzy "disrupter in the making" (good) by giving up on trying to keep the lights on. The trick is not to make enough money to cover your costs; it's to stop trying. Losing a lot of money is better than losing a little money; it has more panache, attracts more attention, certainly gives you that attractive hockey-stick user growth. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery. Annual income twenty pounds, annual expenditure three hundred million pounds, result unicorn.

In its second-quarter report, Spotify said its subscribers rose 31% year over year to hit 108 million subscribers at the end of June. "That figure was weaker than Spotify expected but keeps it well above its closest competitor, Apple Music, which had 60 million subscribers as of June," reports CNET. From the report: Spotify also said Wednesday that 232 million people now use its service at least once a month, up 29% from a year earlier. Spotify, unlike Apple, has a free tier that lets anyone listen to music with advertising. Apple has never disclosed a monthly-active-user stat; almost all people who use Apple Music are subscribers. Spotify's growth in monthly active users beat the best-case prediction the company made in April, coming in 4 million above the 228 million high end of guidance. But its subscribers -- who make Spotify way more money than ad-supported free listeners -- were at the low end of its expectations. Its 108 million figure scraped into its guidance range of 107 million to 110 million.

Its subscriber growth was relatively weaker because fewer people signed up for its heavily discounted student plan. Spotify also said it would make up for the latest quarter's shortfall by the end of the year. Looking ahead, Spotify predicted that it will have 110 million to 114 million paid subscribers by the end of September and that its monthly active users will increase to between 240 million and 245 million. By the end of the year, it expects to cross the milestone of a quarter of a billion monthly listeners.