Four major broadcast networks have filed a lawsuit against Locast, a New York-based nonprofit that streams local broadcast programming over the internet. From a report: In their lawsuit, ABC, CBS, NBC Universal and Fox allege that Locast violates their copyright by retransmitting their programming without permission, likening it to Aereo, the TV retransmission startup that shut down in 2014 as the result of a similar lawsuit. "Locast is simply Aereo 2.0, a business built on illegally using broadcaster content," the lawsuit reads in part. "While it pretends to be a public service without any commercial purpose, Locast's marketing and deep connections to AT&T and Dish make clear that it exists to serve its pay-tv patrons."

Locast responded to the lawsuit Wednesday morning with the following statement: "Locast is an independent, non-profit organization that provides a public service retransmitting free over-the-air broadcasts. Its activities are expressly permitted under the Copyright Act. The fact that no broadcasters have previously filed suit for more than a year and a half suggests that they recognize this. We look forward to defending the claims -- and the public's right to receive transmissions broadcast over the airwaves -- in the litigation." Further reading: Locast, a Free App Streaming Network TV, Would Love to Get Sued.

An anonymous reader quotes a report from Ars Technica: AT&T is eliminating the DirecTV Now brand name it uses for its struggling Internet-based TV service. DirecTV Now will become "AT&T TV Now" later this summer, AT&T announced today. DirecTV Now (the future "AT&T TV Now") offers a bundle of linear TV channels, similar to traditional cable or satellite services, and AT&T said its core offering won't be changed. AT&T's 2015 purchase of DirecTV, the nation's largest satellite TV network, doesn't seem to be paying off as AT&T hoped. AT&T launched DirecTV Now -- a stripped-down, online-only version of DirecTV -- in 2016, and it was immediately plagued by multiple outages, unexpected blackouts of live local sports games, and missing channels.

While the technical problems got sorted out, AT&T's subscriber gains were short-lived. As we wrote last week, AT&T lost 946,000 TV subscribers in Q2 2019 after announcing a series of price increases. The 946,000-subscriber loss consisted of a net loss of 778,000 subscribers in AT&T's DirecTV satellite and U-verse wireline TV services, as well as 168,000 lost subscribers to DirecTV Now. The losses are much bigger when you look at the past year instead of just the past three months. Including all three services, AT&T's total number of video subscribers dropped from 25.4 million in Q2 2018 to 22.9 million in Q2 2019. DirecTV Now subscribers dropped from 1.8 million to 1.3 million in the past year. The report notes that the satellite TV service will still keep the DirecTV name, at least for the time being. AT&T said the actual DirecTV Now service will remain the same despite the name change. "Our DirecTV Now subscribers will simply need to re-accept the terms of service and their streaming will continue as usual without interruption," AT&T said.

According to a recent financial report from Sony, the PlayStation 4 has become the fastest home console to reach 100 million sales. Geek.com reports: The 100 million mark is an impressive milestone for any console no matter how long it takes to reach it. Sony previous hit it with the original PlayStation and set the total sales record with the PlayStation 2's 155 million sales. Meanwhile, Nintendo also achieved this with the original Wii, the Game Boy line of handhelds, and the 154 million sales of the Nintendo DS. But after failing to hit the target with the beleaguered (albeit still successful) PlayStation 3, Sony has bounced back with the PlayStation 4. And since the PS4 has only been on the market for five years and seven months, it beat the record two months earlier than the previous fastest seller the PS2.

An anonymous reader writes: To stay on Beijing's good side, U.S. filmmakers are willing to kowtow to China's authoritarian regime, and there seems no limit to their willingness to acquiesce. Take Top Gun: Maverick, a long-awaited sequel to the 1986 classic action film that made Tom Cruise a superstar. After the sequel's trailer was unveiled at San Diego's ComicCon last week, alert fans noted that the iconic leather flight jacket worn by Cruise's character in the original film had been altered. All of the patches from the original film were there except for flags representing Chinese adversaries Japan and the Republic of China (Taiwan). Those flags were missing. The culprits were soon pretty obvious. The Hollywood Reporter found that the Chinese company Tencent is co-financing the sequel. Co-producing the film along with Paramount Pictures is Skydance, which is partially owned by Tencent.

"Top Gun is an American classic, and it's incredibly disappointing to see Hollywood elites appease the Chinese Communist Party," Senator Ted Cruz of Texas lamented to the Washington Free Beacon. "The Party uses China's economy to silence dissent against its brutal repression and to erode the sovereignty of American allies like Taiwan. Hollywood is afraid to stand up for free speech and is enabling the Party's campaign against Taiwan." Senator Lindsey Graham, a colleague of Cruz's, chimed in. "I hate to see the flag removed because of Chinese financing," he said in an interview with TMZ. "It's nothing the government can do, but I think it sucks." Nor is Top Gun: Maverick the only example of genuflection. China is almost uniformly portrayed in American movies as a technologically advanced superpower (see movies such as The Martian, 2012, and Looper). In Looper, a science-fiction drama, a time-traveler is learning French and saving his money so that he can move to Paris. But his boss, who is from the future, says he is making a mistake.

An anonymous reader quotes Variety: Oculus VR headset users just got one more video service to watch in their virtual living rooms: Amazon's Prime Video service went live on Oculus Go, Quest and Samsung Gear VR headsets with a dedicated Prime Video VR app Wednesday.

In addition to access to the entire Prime Video catalog, Prime Video VR will also feature select 360-degree video films. At launch, these include "Invasion!" from Baobab Studios and "Greenland Melting" from Frontline and NOVA, according to a blog post.

The app offers users a way to watch Prime Video titles in a virtual theater setting, and also comes with voice search for the entire Prime catalog. Prime Video VR is at launch only available to Prime subscribers in the U.S. and the U.K., but there does seem to be a way for users who aren't Prime subscribers to browse their Amazon Video purchases.

With more streaming services coming from WarnerMedia, Apple and Disney, it has people wishing for a single plan to get access to all of them. A new survey from Morning Consult in conjunction with The Hollywood Reporter polled consumers to see how much they'd be willing to pay for access to all their favorite video streaming services. The research reveals that most consumers would like to pay between $17 and $27. From the report: Many Americans who stream media pay for three services at a collective $37 per month, though the optimum price for wooing far more households to multiple streamers is a combined $21 a month, the poll finds. The acceptable range consumers would like to pay for all their streaming offerings is $17 to $27. (The poll uses the Van Westendorp model, which seeks to locate the sweet spot in pricing between what consumers deem "too good to be true" and "too expensive.") The results of the poll may be unwelcome news for WarnerMedia, since its coming product, dubbed HBO Max, is expected to cost consumers as much as $17 monthly, whereas Disney's service, called Disney+, will run only $7 monthly when it kicks off in November. (Netflix has an $8.99 basic plan and $12.99 standard plan.) The poll shows that consumers are willing to pay much more for their cable TV package than they are for streaming, as the poll indicates that 90 percent of U.S. subscribers pay more than $50 per month for their service.

"The poll also found that [...] 26 percent of adult Americans have heard nothing at all about Disney+," according to The Hollywood Reporter. "About 35 percent of American adults have heard nothing of Apple's upcoming product, while 40 percent haven't heard of WarnerMedia's plans and 46 percent haven't heard of NBCU's."

An anonymous reader quotes a report from Ars Technica: AT&T lost 946,000 TV subscribers in Q2 2019, a loss that the company attributed to price increases, competition, and other factors. AT&T reported a net loss of 778,000 subscribers in the "Premium TV" category, which includes its DirecTV satellite and U-verse wireline TV services. AT&T attributed this loss to "an increase in customers rolling off promotional discounts, competition, and lower gross adds due to a focus on the long-term value customer base." AT&T also lost 168,000 subscribers of DirecTV Now, an online service with linear channels that's similar to traditional satellite and cable TV. AT&T said the DirecTV Now customer loss was "due to higher prices and less promotional activity," meaning that customers have balked at price increases and a refusal to extend discounts.

The Premium TV loss brought AT&T down to 21.6 million customers in that category, while the DirecTV Now loss brought that service down to 1.3 million customers. Including both, AT&T's total number of video subscribers dropped from 25.4 million in Q2 2108 to 22.9 million in Q2 2019. The loss of 946,000 TV subscribers easily outstripped last quarter's AT&T net loss of 627,000 subscribers. "AT&T said it expects a similar level of video losses to continue in the current quarter," according to Reuters.

With TVs now delivering images faster than movies, TV manufacturers have tried to make up for that discrepancy via a digital process called motion smoothing. Whether you've realized it or not, you've likely watched a movie in motion smoothing, as it's now the default setting on most TVs sold in the United States. Bilge Ebiri from Vulture says that while this feature was well-intentioned, "most people hate it." He argues: "Motion smoothing transforms an absorbing movie or narrative TV show into something uncanny. The very texture of what you're watching changes. The drama onscreen reads as manufactured, and everyone moves like they're on a daytime soap -- which is why it's sometimes called the 'soap-opera effect.' In other words, motion smoothing is fundamentally ruining the way we experience film." From the report: Motion smoothing is unquestionably a compromised way of watching films and TV shows, which are meticulously crafted to look and feel the way they do. But its creeping influence is so pervasive that at the Cannes Film Festival this May -- the same Cannes Film Festival that so valorizes the magic of the theatrical experience and has been feuding with Netflix for the past two years -- the fancy official monitors throughout the main festival venue had left motion smoothing on.

That seems like a funny oversight, but it's not surprising. "There are a lot of things turned on with these TVs out of the box that you have to turn off," says Claudio Ciacci, lead TV tester for Consumer Reports, who makes sure to switch smoothing off on the sets he evaluates. "It's meant to create a little bit of eye candy in the store that makes customers think, at first glance, Hey, look at that picture, it really pops. But when you finally have it at home, it's really not suitable." He notes that most people don't fiddle much with their settings because motion smoothing isn't easy to find on a TV menu. (It's also called something different depending on the manufacturer.) Which gets to the heart of the problem: As more and more people watch movies at home instead of in theaters, most won't bother trying to see the film as it was intended to be seen without the digital "enhancements" mucking it up. "Once people get used to something, they get complacent and that becomes what's normal," Morano says. And what films were supposed to look like will be lost. Mark Henninger, editor of the online tech community AVSForum, suggests TV manufacturers "just put a couple of buttons on the remote that are direct surface level -- TV, movie, sports, or whatever." The industry's reluctance, he says, has as much to do with uncertainty as anything else. "Manufacturers don't know who to listen to. They don't know if it should be the reviewers, their own quality-assurance lab, or user complaints."

ikhider writes: Breukelen, Amsterdam born actor, Rutger Hauer, who played Roy Batty in the 1982 sci-fi classic Blade Runner and improvised the "tears in the rain" dialogue as his android character died, has too finally passed away last Friday after an illness. His funeral was held on Wednesday, July 24th. Hauer starred in TV since 1969 and then went on to movies like Sin City and Batman Begins, but is best known as Roy Batty, the android built with a four year lifespan who, with fellow androids, desperately wanted an extension. His costars paid tribute via social media. Perhaps we, the fans, can do so with private screenings of one of the Director's Cut of Blade Runner.

An anonymous reader shares a report: Because of the convoluted nature of licensing agreements and the vagaries of corporate competition, what's on Netflix is substantively different than what's available on Hulu or Amazon Prime. Different still are the network-specific streamers, like the up-and-comers HBO Max and Disney+, and the more niche offerings, like Shudder, Kanopy, Mubi, and Criterion. All of them have the same aim, which is to lock up intellectual property to keep people streaming. It's a lot! Plex, a company that sells media server software, has found itself in the strange position of being the answer to that problem. It has two components: the piece of software that organizes media on your computer's hard drive and the client-side program that lets you and your friends and family stream that content from wherever you are on just about any device.

It's clean. It's beautiful. It is extraordinarily simple to use. It looks a little like Netflix. Except, all of the content is custom, tailored by the person running the server. In the company's words, both pieces of its software are "the key to personal media bliss." What Plex doesn't say, however, is how that bliss is achieved. Because what's on Plex servers is populated by people, most of the commercial content you'd find there is probably pirated. And this is the main tension of using Plex: while the software itself is explicitly legal, the media that populates its customer-run servers is not -- at least the stuff protected by copyright law. The company, of course, doesn't condone this particular use of its software.

Netflix has a new plan to win users in India: make the entry point to its service incredibly cheap. From a report: The streaming giant today introduced a low-priced mobile tier in the country that costs Rs 199 ($2.8) per month in a bid to take on Disney, Amazon and dozens of other aggressively priced competitors in the country. The new subscription tier from Netflix restricts the usage of the service to one mobile device -- and permits only one concurrent stream -- and offers the standard definition viewing (~480p). Users can also opt to the new plan on their tablets, but again, several features such as the ability to cast (or mirror) the content to a TV are restricted. [...] The announcement comes days after Netflix reported that it added 2.7 million new subscribers in the quarter that ended in June this year, far fewer than the 5.1 million figure it had projected earlier this year. Jessica Lee, VP of Communications at Netflix, said the company's recent performance in other markets did not influence its move in India.

An anonymous reader quotes a report from The Guardian: In research that will ensure the sitcoms of the future are as painful as those broadcast today, scientists have found that canned laughter makes bad jokes seem funnier. The impact of overlaid laughter emerged from a study with autistic and "neurotypical" people, all of whom agreed to endure 40 jokes that were read aloud with recorded laughter following the punchline. All of the volunteers found the jokes funnier when they were accompanied by the sound of others laughing, with the biggest gains produced by recordings of spontaneous laughter rather than more deliberate and controlled laughing, the study found.

For the study, PhD student Qing Cai and others trawled the internet for what they describe as "weak" jokes and compiled a list for the comedian Ben van der Velde to read out to those taking part in the study. To get a baseline score for how funny the jokes were, each was assessed without any backing laughter by 20 students who rated them on a scale from one (not funny) to seven (hilarious). The scores ranged from 1.5 to 3.75. Armed with the list and their baseline funny ratings, the scientists asked 72 adults, of whom 24 had an autism diagnosis, to rate the jokes on the same seven-point scale. This time, the jokes were told with either posed or spontaneous canned laughter following the punchline. Writing in the journal Current Biology, the researchers described how any kind of canned laughter had boosted the average scores the jokes had received. Both neurotypical and autistic people reacted more to spontaneous laughter than controlled laughter. And while canned laughter appeared to improve some jokes more than others, controlled laughter raised ratings by an average of about 10%, compared with 15% to 20% for spontaneous laughter.

Disney's presentation of Marvel's "Avengers: Endgame" has officially surpassed "Avatar" to become the world's highest-grossing film of all time, several months after the film obliterated opening weekend records. From a report: The feat underscores Disney's position as the king of the box office. Disney has had the top grossing movie every year since 2012 and been the top grossing studio since 2016. Disney has reported an estimated $2,790.2 million in revenue through Sunday for "Avengers: Endgame," per Comscore. James Cameron's 2009 science fiction film "Avatar" had previously held the top spot of the highest grossing global release of all time with $2,789.7 million. Disney's success can largely be attributed to the three franchises that it has cultivated or acquired over the past few years: Marvel, Pixar and Star Wars.

An anonymous reader shares a report: Early last week, during Amazon's Prime Days, I decided to see if the e-tailer had any good deals on over-the-air TV antennas. I was appalled by what I found. Searching for "antenna" on Amazon.com revealed listing upon listing for products with dubious performance claims. In Amazon's most popular and sponsored results, antenna makers were advertising unrealistic reception ranges, nonexistent over-the-air channels, and picture quality that current U.S. broadcast standards don't support. These misleading claims aren't just bad for cord-cutters. They also could harm respectable antenna makers that refuse to get in the muck with less scrupulous brands. Unless Amazon -- or a government watchdog -- intervene, this type of advertising is unlikely to stop anytime soon. When I reached out to Amazon for a comment on my findings, an Amazon spokesperson said "Selling partners are required to provide accurate information about their products to Amazon, and we take action against those that violate our policies and threaten our customer experience. We are investigating these listings now and will take prompt action against any that violate our policies."

"Media giants are embroiled in yet another fight over TV rates, and viewers are once again paying the price," writes Engadget. CBS' channels in 17 markets (including New York, San Francisco and Atlanta) have gone dark on AT&T services like DirecTV Now and U-verse after the two companies failed to reach an agreement on a new carriage contract before the old one expired at 2AM ET on July 19th. As is often the case in disputes like this, the two sides are each accusing each other of being unreasonable -- though AT&T in particular has also claimed that CBS is using All Access as a weapon.
CNET notes that the dispute also affects 100 CBS stations and affiliates on Direct Now, citing reports that it ultimately impacts a total of 6.6 million TV viewers in the U.S. "A business dispute took CBS off the air for millions of satellite television customers of DirecTV and AT&T U-verse on Saturday," according to a news report (from CBS): CBS said that while it didn't want its customers caught in the middle, it is determined to fight for fair value... AT&T countered in a statement provided to Variety that CBS is "a repeat blackout offender" that has pulled its programming from other carriers before in order to get its way.
"Isn't this the sort of thing they enemies of net neutrality assured us would never happen?" writes long-time Slashdot reader shanen. "Or is it just a plot to sell VPN services?"

"At Comic-Con, Sir Patrick Stewart took to the Hall H stage Saturday afternoon to discuss his new series, Star Trek: Picard," reports CBS News: The series will focus on what caused famed captain and admiral Jean-Luc Picard to leave Starfleet, and his life since.... Patrick Stewart -- who is also an executive producer -- answered questions about the show. "We never know, do we, when our best moment will be. And that is now," Stewart said. "I knew something unusual would happen. I knew I needed to be a part of it."

Stewart has been heavily involved in crafting "Star Trek: Picard" and frequently visits the writer's room... Brent Spiner, who played the character Data on TNG, said there was "no way" he could say no to the opportunity to work with Stewart again....

The show is set 20 years after the events of "Star Trek: The Next Generation" around the year 2399. This sets the series further into the future than any previous Star Trek series. But fans should not expect to see the same Jean-Luc Picard they know from "The Next Generation" series. During the press tour, Kurtzman teased that the show will be very different and "grounded." The series will explore how Picard has changed in that time, making him reckon with the choices he has made. Kurtzman hinted that there are circumstances that have "radically" shifted that have caused the beloved Starfleet admiral to question his life decisions.
The two-minute trailer includes a surprising cameo, and Variety reports that CBS has also committed to two seasons of Star Trek: Lower Decks, an animated series focused on "the support crew serving on one of Starfleet's least important ships." (They also report that Seth MacFarlane announced season 3 of The Orville will be moving from Fox to Hulu.)

Also at Comic-Con, HBO shared the first full trailer for their upcoming Watchmen TV series, a sequel to the original Alan Moore graphic novel. Rolling Stone quotes HBO as saying that Watchmen "takes place in an alternative, contemporary reality in the United States, in which masked vigilantes became outlawed due to their violent methods."

Marvel also revealed that their next Thor movie (Thor: Love and Thunder) will incude both Chris Hemsworth and Natalie Portman as Lady Thor, and shared footage from their upcoming Black Widow movie. And CNET has a comprehensive rundown (with trailers) of all the DC Comics superhero shows on the CW network, including Arrow, Supergirl, The Flash, Black Lightning, and Batwoman.

An anonymous reader quotes Android Authority: Studios like Disney and NBCUniversal are making preparations to launch their own streaming services, and they are planning to take back their back catalog of films and TV series with them. That's also what's happening with WarnerMedia, the AT&T-owned entertainment group that operates, among many other things, HBO, Warner Bros, and CNN. Recently, the conglomerate announced its own upcoming dedicated streaming service, HBO Max... Unconfirmed reports from Hollywood trade news outlets claim that HBO Max will cost between $16 and $17 a month. The service will be ad-free, although some reports have indicated that WarnerMedia might launch an ad-supported version of HBO Max at some point after the official launch in 2020. If that happens, it's likely the cost to sign up will be much less...

While HBO Max will have quite a lot for subscribers to watch from WarnerMedia's library of content, it will have its own range of original TV shows and movies that will be found exclusively on the streaming service. They will be known as Max Originals. Here's what has been announced for HBO Max so far, which includes a couple of spin-offs from current and upcoming Warner Bros. series:

Dune: The Sisterhood: Based on the classic Dune sci-fi novels by Frank Herbert, this 10-part series will focus on the Bene Gesserit group of women in this universe. Denis Villeneuve, who is directing the upcoming feature film adaptation of Dune, will also direct the pilot episode of the series.

Gremlins -- The Animated Series: The mischievous and destructive creatures from the two Gremlins feature films will return as an animated series on HBO Max...
A beta version of the service may launch before the end of 2019, according to Deadline. The studio's announcement also promised that HBO Max woud also include previously-announced HBO programs, including:

• Stephen King's The Outsider, a dark mystery starring Ben Mendelsohn, produced and directed by Jason Bateman.

• Lovecraft Country, a unique horror series based on a novel by Matt Ruff, written and executive produced by Misha Green, and executive produced by Jordan Peele (Us) and J.J. Abrams (Westworld).

• The Nevers, Joss Whedon's new science fiction series starring Laura Donnelly.

dryriver writes: The line "sharks with fricking lasers" was once popular on Slashdot. It sounds like a joke, but a never-made James Bond movie co-written back in the day by Sean Connery was actually going to feature robotic sharks carrying stolen NATO nukes in order to attack New York. Bond was going to stop the sharks inside the New York sewer system, waterski out of the sewers, paraglide up to the Statue of Liberty's head, then fight a Bond villain inside said head, with the villain's "blood trickling out of the Statue of Liberty's eye like tears" at the end of the fight. All this was going to happen without the consent of Cubby Broccoli, the official producer of the Bond movies. Why did the movie never get made? The producers of competing Bond movies were fighting in court over who has what rights to the franchise and characters. In the end, "Bond fights robot sharks with nukes" was scrapped, and "Never Say Never Again," a remake of "Thunderball," was made instead. This featured stolen nukes as well, but unfortunately no robot sharks or other "Austin Powers" style silliness.

An anonymous reader quotes a report from The Verge: Several people have been killed after an apparent arson attack gutted a building at Kyoto Animation, one of Japan's most renowned anime studios. NHK reports that 33 people are confirmed dead and many more have been injured. An explosion was heard around the studio at around 10.30AM local time. Police are questioning a man in his 40s who was seen spreading and lighting a gasoline-like liquid in the 1st Studio building, which is said to be where most of Kyoto Animation's mainline production takes place. The Mainichi Shinbun newspaper reports that the man said he started the fire. Kyoto Animation, also known as KyoAni, is best known for series like K-On! and The Melancholy of Haruhi Suzimiya, and release standalone feature A Silent Voice in 2016. Netflix picked up the streaming rights to KyoAni's Violet Evergarden series and made it available worldwide last year.

UPDATE: Several sources are now reporting that the man who set fire to the building screamed angrily, "they faked it." According to The Daily Beast, "The word he used in Japanese, pakuri, can reference stealing an idea, ripping off a product, or plagiarizing someone else's work."

There are now upward of 700,000 podcasts, according to the podcast production and hosting service Blubrry, with between 2,000 and 3,000 new shows launching each month. From a report: The frequency with which podcasts start (and then end, or "podfade," as it's coming to be known in the trade) has produced a degree of cultural exhaustion. We're not necessarily sick of listening to interesting programs; but we're definitely tired of hearing from every friend, relative and co-worker who thinks they're just an iPhone recording away from creating the next "Serial." "Anyone can start one and so anyone who thinks they can start one will do it," said Nicholas Quah, who runs an industry newsletter called Hot Pod. "It's like the business of me." "Being a podcast host plays into people's self-importance," said Karen North, a clinical professor of communication at the Annenberg School for Communication and Journalism at the University of Southern California. And it projects that importance to others. Public speaking and consulting gigs now often go to "the person who's the expert and has the podcast," she said.

People use all kinds of metrics to tout the popularity of their shows, whether it's the number of iTunes reviews they get or the total downloads they receive per month. These metrics mean different things and don't necessarily connote success. And as recent social media scandals have shown, popularity can be purchased. But Dr. North said that having a big audience doesn't necessarily matter. "When people interview experts, even if nobody ever listens to the podcast, hosts get the benefit of learning from and networking with the guest," she said. "It's a great stunt." Call him cynical, but Jordan Harbinger, host of "The Jordan Harbinger Show" podcast, thinks there is a "podcast industrial complex." Hosts aren't starting shows "because it's a fun, niche hobby," he said. "They do it to make money or because it will make them an influencer."