An anonymous reader quotes a report from Ars Technica: Comedian John Oliver is taking aim at the Federal Communications Commission again, this time demanding action on robocalls while unleashing his own wave of robocalls against FCC commissioners. In a 17-minute segment yesterday on HBO's Last Week Tonight, Oliver described the scourge of robocalls and blamed Pai for not doing more to stop them. Oliver ended the segment by announcing that he and his staff are sending robocalls every 90 minutes to all five FCC commissioners. "Hi FCC, this is John from customer service," Oliver's recorded voice says on the call. "Congratulations, you've just won a chance to lower robocalls in America today... robocalls are incredibly annoying, and the person who can stop them is you! Talk to you again in 90 minutes -- here's some bagpipe music."

When it came to robocalling the FCC, Oliver didn't need viewers' help. "This time, unlike our past encounters [with the FCC], I don't need to ask hordes of real people to bombard [the FCC] with messages, because with the miracle of robocalling, I can now do it all by myself," Oliver said. "It turns out robocalling is so easy, it only took our tech guy literally 15 minutes to work out how to do it," Oliver also said. He noted that "phone calls are now so cheap and the technology so widely available that just about everyone has the ability to place a massive number of calls." Under U.S. law, political robocalls to landline telephones are allowed without prior consent from the recipient. Such calls to cell phones require the called party's prior express consent, but Oliver presumably directed his robocalls to the commissioners' office phones. Oliver told the FCC commissioners: "if you want to tell us that you don't consent to be robocalled, that's absolutely no problem. Just write a certified letter to the address we buried somewhere within the first chapter of Moby Dick that's currently scrolling up the screen... find the address, write us a letter, and we'll stop the calls immediately."

"With a $302 million international gross, Captain Marvel has earned $455 million overall to date, the largest ever global opening for a March release and the sixth highest of all-time," reports the Wrap. The superhero movie raked in $153 million just in America, reports Collider, "Suggesting that a sad, extremely vocal minority of idiots on the internet don't actually matter in the slightest."

They're referring to another Rotten Tomateos review-counting glitch Friday morning, as covered by the Hollywood Reporter: The Disney film had only been in theaters for hours on Friday when the female-driven superhero picture was torpedoed online via Rotten Tomatoes. As of 8 a.m., the film had more than 58,000 reviews. That is more than the total of audience score reviews for Avengers: Infinity War for its entire theatrical run.

Rotten Tomatoes explained in a statement to The Hollywood Reporter that a glitch was responsible for thousands of reviews showing up on the site when they shouldn't have. According to Rotten Tomatoes, it had included audience reviews given before the film was released, something which is no longer allowed.
Movieweb believes those pre-release reviews were generated by bots, suggesting a small handful of review-bombers who were attempting to amplify their impact. Yahoo Entertainment believes the attempted review-bombers were angry with the film's star "for, well, not giving a crap about what the trolls say. Perhaps that's the best superpower of all."

When asked about the attempt to review-bomb Captain Marvel, the film's star Brie Larson smilingly replied, "Oh... who cares?"

"Love what you love! Who cares what other people think?"

An anonymous reader quotes a report from Ars Technica: Disney is rapidly preparing to launch its own streaming service, dubbed Disney+, later this year. While the debut date is still unknown, we now know that the service will include the entire Disney movie library shortly after the service launches. According to a report in Polygon, Disney CEO Bob Iger explained the strategy to investors at a meeting in St. Louis, Missouri, pointing at the retirement of Disney's longstanding "vault." "The service... is going to combine what we call library product, movies, and television, with a lot of original product as well, movies and television," Iger said. "And at some point fairly soon after launch, it will house the entire Disney motion picture library, so the movies that you speak of that traditionally have been kept in a 'vault' and brought out basically every few years will be on the service. And then, of course, we're producing a number of original movies and original television shows as well that will be Disney-branded."

The Disney Vault has been a marketing and sales strategy for years. After a film's initial release run, Disney would sequester the title in its vault for a long period of time. That meant that customers who didn't buy a physical copy of the movie immediately would be out of luck until Disney brought it out of the vault as a new edition or a special release run. This strategy allowed Disney to control film sales and drum up anticipation for titles that were coming out of the vault once the company decided the time was right. But it also frustrated customers who ended up paying high prices for copies of movies that were widely unavailable during their vault stints. This exclusivity will be an important factor for Disney as it competes with other streaming giants like Netflix, Hulu, and Amazon Prime Video.

Spotify, Google, Pandora and Amazon have teamed up to appeal a controversial ruling by the U.S. Copyright Royalty Board that, if it goes through, would increase payouts to songwriters by 44%, Variety is reporting. From the report: A joint statement from the first three of those companies reads: "The Copyright Royalty Board (CRB), in a split decision, recently issued the U.S. mechanical statutory rates in a manner that raises serious procedural and substantive concerns. If left to stand, the CRB's decision harms both music licensees and copyright owners. Accordingly, we are asking the U.S. Court of Appeals for the D.C. Circuit to review the decision."

The four companies all filed with the court separately. Sources say that Apple Music is alone among the major streaming services in not planning to appeal -- as confirmed by songwriters' orgs rushing to heap praise on Apple while condemning the seemingly unified front of the other digital companies.

An anonymous reader quotes a report from TechRadar: Could Samsung be on the cusp of a fully wireless TV? A recent patent hints that a Samsung TV without any pesky cables could be around the corner. Spotted by LetsGoDigital, the patent was filed in March 2018 but only released publicly in late February of this year. The patent revolves around a wireless power transceiver, which would make the prospective television the first of its kind to transmit power across the room rather than relying on a power cable -- increasingly seen as an eyesore next to Samsung's premium design sets. The transceiver takes the form of a magnetic bar attached to the rear of the television, given that panels themselves are too thin to house anything of this kind. It would then require a separate power transmitter (plugged into the mains) to keep the TV running.

An anonymous reader quotes a report from Ars Technica: Wall Street Journal reporter Takashi Mochizuki took a Wednesday opportunity to review one game maker's financial reports: CyberAgent Inc, maker of smartphone games like the Nintendo-published Dragalia Lost. This report, published at the end of January, made vague allusions to a single smartphone game dragging the company down. Quoting from the company's own English-language press release: "At the time of the original earnings forecast announcement on October 25, we looked a new game title made a good start [sic]. However, its performance is being slower than we expected as of today." That resulted in a whopping 20-percent drop in revenue expectations in the company's gaming sector, from 50 billion yen to 40 billion. Mochizuki pressed the company to confirm which game that was, and CyberAgent confirmed the game in question was indeed Nintendo's Dragalia Lost.

The company clarified things even further to the WSJ, alleging that Nintendo responded to players' complaints about Dragalia's loot box economy by asking the developer to "adjust the game" to reduce how much a player might spend in the game to progress normally. "Nintendo is not interested in making a large amount of revenue from a single smartphone game," a CyberAgent representative told the WSJ. "If we managed the game alone, we would have made a lot more." When asked by the WSJ, Nintendo's Japanese arm replied with a statement that apparently confirms CyberAgent's allegation. "We discuss various things, not just limited to payments, to deliver high-quality fun to consumers," the Nintendo rep told the WSJ. The report says the reason why Nintendo's revenue goals for its entire smartphone-gaming sector are considered modest compared to other large Japanese publishers may be "because its smartphone games are positioned less to make oodles of cash and more to raise awareness of Nintendo's IP (which Nintendo will soon leverage with theme park attractions and a feature-length film)."

Netflix has addressed Steven Spielberg's concerns, after the legendary director indicated he'd throw his weight behind making Oscars harder to reach for Netflix films like "Roma". From a report: The streaming giant didn't name Spielberg directly in its tweet, but considering his views on Netflix films and the Academy Awards, it seems like the statement is associated with the director's thoughts about their participation as contenders in award season. "We love cinema," the official Netflix Twitter account wrote. They continue with a list of things they loved including: Access for people who can't always afford, or live in towns without, theaters; letting everyone, everywhere enjoy releases at the same time; and giving filmmakers more ways to share art. "These things are not mutually exclusive," they concluded in a tweet that could be considered a clap back at the filmmaker. IndieWire reported last week that Spielberg, who serves as the current governor of the Academy's directors branch, intends to argue in favor of changing the Oscars' rules to prevent streaming services from entering the campaign field at the Academy Board of Governors' next meeting. Because Netflix is a home-viewing platform, critics like Spielberg say that it's better-suited for the Emmys, which celebrate TV, a medium inherent to home-viewing.

Over the weekend, a disturbed Android TV owner took to Twitter when he realized, through the Google Home app, he could access a massive list of random accounts, as well as photos they'd added to their Google Photos albums. From a report: If someone were to click on "linked accounts" while setting your Google Photos screensaver, the Google Home bug apparently showed a giant, scrolling list of users. From there, the bug allowed limited access to users' personal images in Google Photos, which could then be displayed as Ambient Mode screensavers. That is, someone could have theoretically displayed your photos as screensavers on their Android TV without you knowing it. The user who discovered this bug theorized that the list of accounts were other users with the same TV model, but that hasn't been confirmed yet. There's no answer yet on where this bug came from, but Google is working on a fix and has disabled Google Photos screensavers in the meantime.

An anonymous reader quotes BGR: Sales from individual song downloads have unsurprisingly been falling with no end in sight, thanks to the convenience of streaming options like Spotify and Apple Music. A new report, though, makes clear just how few people there are these days who will buy individual digital songs -- there are so few of them, in fact, that they were outnumbered in 2018 by people who went old-school and bought actual compact discs and vinyl records.

According to the Recording Industry Association of America, total download sales in 2018 -- for which iTunes led the pack -- dropped almost 30%, to a little more than $1 billion. Purchases of full album downloads likewise fell, by 25%. To put that in context, download sales represented more than 40% of the music industry's revenue back in 2013. Last year? About 11%.

Meanwhile, that drop in sales has resulted in a lop-sided reality that harkens back to the pre-iTunes days. Sales of physical media including CDs and vinyl, according to the RIAA's new report, were down 23 percent but totaled $1.15 billion, thus edging out digital download sales. Another interesting takeaway from the new report: Music fans bought almost $420 million worth of vinyl in 2018, which Cult of Mac notes in a piece today is almost as much as people spent buying album downloads from iTunes last year.
The RIAA reports that "virtually all the revenue growth" for 2018 came from streaming music platforms like Spotify, Apple Music, Amazon Music, and Tidal, which last year collectively added 1 million new subscribers every single month, and now have a record number of more than 50 million subscribers.

"By the way, don't be fooled into reading something positive about CDs from the title of this post," adds BGR. "While physical media sales were down 23%, CD sales themselves slipped 34% for the year to $698 million. That's the first time CD yearly revenue has come in below $1 billion since 1986."

"The BBC, the UK's national broadcaster, and ITV, the biggest private player in the UK market, are in the 'concluding phase of talks' to create a rival to Netflix," writes Slashdot reader AmiMoJo. The BBC's director general Tony Hall said the aim was to launch the "BritBox" rival to Netflix in the UK the second half of 2019. Neither organisation would say how the services would be priced, but Lord Hall said it would be "competitive". There are reports it could cost £5 a month.

A similar service, also called BritBox, is already available in the US and has amassed 500,000 subscribers.
Their announcement promises "an unrivalled collection of British boxsets and original series, on demand, all in one place." Diginomica writes that "the more cynical among us" might call it "a knee-jerk reaction to Netflix," adding "the BBC has a bad case of Netflix envy."

They ask where this would leave future BBC-Netflix joint productions -- and whether BBC content would be removed from both Netflix and Amazon. But they also believe that if there is a threat to Netflix, it's the upcoming Disney+ streaming service with original Star Wars content scheduled to launch in late 2019.

The long wait is over for sci-fi and horror film buffs: the 1979 classic "Alien" will be released in 4K and HDR for the film's 40th anniversary. The remaster will be available on an UltraHD Blu-ray disc. From a report: 20th Century Fox and partners embarked on an effort to remaster the film in 4K last year, under supervision by Pam Dery and Director Ridley Scott. "Alien" was originally shot on 35mm film, and the remaster was made using the original negative. Remastering older films for the UltraHD era has sometimes proven challenging for studios. In many cases, original film masters have degraded, and 4K on a 65-inch TV is adept at revealing graininess and other flaws that result from aged or damaged film.

An anonymous reader shares a report: Every once in a while, we see Netflix test new plans in certain markets, and most of them involve price hikes. The same goes for the latest test that was spotted over in Italy, where the streaming giant is toying with a couple of different scenarios. First spotted by Italian-language blog SmartWorld, the tests suggest that Netflix is toying with the idea of either raising Standard and Premium subscription, or increasing all of its prices across the board.

Right now the default monthly Netflix streaming prices for Italy and other countries in the European Union are at Euro 7.99, or ~$9.1 (Base), Euro 10.99, or ~$12.5 (Standard), and Euro 13.99, or $16 (Premium). One of the tests that Netflix is currently conducting proposes that the Base subscription stays the same, but the Standard and Premium plans go up to Euro 12.99, or ~$14.8 and Euro 17.99, or ~$20.5 respectively.

The results of a new study suggest that listening to music can significantly impair your ability to perform creative tasks. Whilst music was found to disrupt creative processes, ambient "library noise" was found to have no significant effect. From a report: The first experiment saw volunteers complete tasks while being played music with vocals that wouldn't mean anything to them -- for example, English-speaking listeners being played music with Spanish lyrics. In the second experiment, the participants were played instrumental music with no vocals, and in the third the volunteers were played music with familiar lyrics that they could understand. During the third experiment, the participants were also subjected to "library noise" conditions, which involved ambient noise such as unintelligible distant speech, photocopier noise, typing, and the rustling of papers.

The team discovered that creative performance dropped significantly when listening to music over the course of all three exercises, as compared to periods during which participants were allowed to complete the exercises without distraction. Even when participants declared that the music improved their overall mood, in the third exercise, it still impaired creativity.

Samsung is adding bloatware to its 2019 TVs because McAfee is paying them to do so. From a report: There is arguably no reason at all for Samsung to offer a third-party antivirus software for an operating system that is developed in house. Partnering with software vendors is fairly common practice for large hardware manufacturers. Laptop makers frequently preinstall bloatware in return for some sizable payouts and smartphone OEMs are no different. Samsung is now installing McAfee antivirus software on its 2019 TV lineup.

Samsung is claiming something to the effect of wanting to protect users from malware. On the surface that makes sense, but Samsung is running its very own Tizen OS on all of its TVs. Instead of adding more junk to a TV, why not just improve the OS? The answer though is very self explanatory. Samsung would not receive a payout from McAfee if it did not install the unneeded software.

An anonymous reader quotes a report from TechCrunch: As many as 1 in 5 people today are mooching off of someone else's account when streaming video from Netflix, Hulu or Amazon Video, according to a new study from CordCutting.com. Of these, Netflix tends to be pirated for the longest period -- 26 months, compared with 16 months for Amazon Prime Video or 11 months for Hulu. That could be because Netflix freeloaders often mooch off their family instead of a friend -- 48 percent use their parents' login, while another 14 percent use their sister or brother's credentials, the firm found. At a base price of $7.99 per month (the study was performed before Netflix's January 2019 price increase), freeloading users could save $207.74 over a 26-month period. At scale, these losses can add up, the study claims.

The report estimates Netflix could be losing $192 million in monthly revenue from piracy -- more than either Amazon or Hulu, at $45 million per month and $40 million per month, respectively. Millennials, not surprisingly, account for much of the freeloading. They're the largest demographic pirating Netflix (18 percent) and Hulu's service (20 percent). But oddly, it was Baby Boomers who were more likely to borrow someone else's account to access Amazon Prime Video. According to the study, 59.3 percent said they would pay for Netflix (or around 14 million people), contributing at least $112 million in monthly revenue, if they lost access. And 37.8 percent, or 2 million, said they'd pay for Hulu; 27.6 percent, or 1 million people, said they'd pay for Prime Video.

An anonymous reader quotes a report from The Guardian: Pause. Stop. Rewind! The cassette, long consigned to the bargain bin of musical history, is staging a humble comeback. Sales have soared in the last year -- up 125% in 2018 on the year before -- amounting to more than 50,000 cassette albums bought in the UK, the highest volume in 15 years. It's quite a fall from the format's peak in 1989 when 83 million cassettes were bought by British music fans, but when everyone from pop superstar Ariana Grande to punk duo Sleaford Mods are taking to tape, a mini revival seems afoot. But why?

"It's the tangibility of having this collectible format and a way to play music that isn't just a stream or download," says techno DJ Phin, who has just released her first EP on cassette as label boss of Theory of Yesterday. "I find them much more attractive than CDs. Tapes have a lifespan, and unlike digital music, there is decay and death. It's like a living thing and that appeals to me." Phin left the bulk of her own 100-strong cassette collection in Turkey, carefully stored at her parents' home, but bought "20 or 25 really special ones" when she moved to London. "I'm from that generation," she says. "It's a nostalgia thing -- I like the hiss." "Vinyl has got so expensive to manufacture these days, especially if it's only a seven-inch you're putting out. You'll only lose money on a seven-inch release," says Tallulah Webb, who runs cassette-only label Sad Club Records. "Cassettes are an exciting way to put music out, in the same way that seven-inch singles were exciting for punk. They have always been a crucial part of the DIY scene."

On the flip side, Peter Robinson, founder and editor of Popjustice, believes the trend for tapes is a gimmick gone too far. "Cassettes are the worst-ever music format, and I say that as someone who owns a Keane single on a USB stick," he says. "I can understand the romance and the tactile appeal of the vinyl revival, but I'm actually quite amused by the audacity of anyone attempting to drum up some sense of nostalgia for a format that was barely tolerated in its supposed heyday. It's like someone looked at the vinyl revival and said: what this needs is lower sound quality and even less convenience."

"I think labels know full well that almost every cassette they sell is going straight on a shelf as some sort of dreadful plastic ornament," he says. "I don't think it's much different to the recent trend for pop stars adding pairs of socks to their merchandise lines, the crucial difference being that, for better or worse, socks don't count towards the album chart."

Warner Music Group is suing Spotify in India, but that's not stopped the music streaming service from launching in the nation. From a report: Spotify said it sees a big opportunity in India, one of the fastest growing music markets. To court Indian users, the company is deviating from its global playbook. The company said for the first time, Spotify Free -- its free tier -- will enable users to listen to any song on demand -- as opposed to accessing a limited set of playlists in other markets. Spotify Free is available on mobile, tablet, and web. Additionally, its monthly premium tier starts at Rs 119 ($1.67) in India, compared to $9.99 in the U.S., $11.30 in France, and $13.25 in the U.K. The company is also offering a pay-as-you-go option, allowing users to access Spotify Premium for Rs 13 (18 cents) per day and Rs 39 (55 cents) per week. The lower cost -- the cheapest rate Spotify offers in any market -- and an open free tier, underscore a unique challenge that India, the second largest internet market, presents to global companies. Very few people in the nation are willing -- let alone can afford -- to pay for premium services. Now the legal issue: According to Spotify, Warner Music, the world's third largest music group, "revoked a previously agreed-upon publishing license for reasons wholly unrelated to Spotify's launch in India." The Verge adds: Yesterday, Warner sued to stop Spotify's use of its catalog, which Spotify had tried to obtain rights to through a controversial amendment to the Indian copyright act that allows for broadcasters to obtain licenses without the copyright owner's consent. At the heart of this is whether or not Spotify falls under the umbrella of "broadcaster" in India's Copyright Act of 1957. In the act, a "broadcast" is only defined as "communication to the public." Bombay's high court said that Spotify would still be allowed to launch for now, according to Times of India, and it appears Spotify wasted no time in doing just that. It seems that if Spotify chooses to stream Warner's music in the meantime, Spotify will be required to track usage of Warner's music and set aside money to pay royalties while the case continues through the courts. For now, Spotify is live in India, but without the Warner/Chappell Music catalog, which hosts many of the world's biggest artists.

An anonymous reader quotes a report from Motherboard: Study after study continues to show that the best approach to tackling internet piracy is to provide these would-be customers with high quality, low cost alternatives. That idea was again supported by a new study this week out of New Zealand first spotted by TorrentFreak. The study, paid for by telecom operator Vocus Group, surveyed a thousand New Zealanders last December, and found that while half of those polled say they've pirated content at some point in their lives, those numbers have dropped as legal streaming alternatives have flourished.

The study found that 11 percent of New Zealand consumers still obtain copyrighted content via illegal streams, and 10 percent download infringing content via BitTorrent or other platforms. But it also found that users are increasingly likely to obtain that same content via over the air antennas (75 percent) or legitimate streaming services like Netflix (55 percent). "In short, the reason people are moving away from piracy is that it's simply more hassle than it's worth," says Vocus Group NZ executive Taryn Hamilton said in a statement. "The research confirms something many internet pundits have long instinctively believed to be true: piracy isn't driven by law-breakers, it's driven by people who can't easily or affordably get the content they want," she said.

Rotten Tomatoes is finally addressing its troll problem. The review aggregation website has unveiled a new initiative to "modernize its audience rating system through a series of product enhancements," -- the first of which includes banning user reviews and comments prior to a movie's theatrical release. Getting rid of pre-release user reviews means internet trolls will not be able to flood film pages with negative scores before a movie comes out. As we saw earlier this week, Captain Marvel was at the receiving end of what appeared to be a targeted campaign to lower the upcoming movie's audience rating. Rotten Tomatoes is not banning user reviews entirely. It says it will offer this functionality to users once the movie has hit the theaters.

Further reading on Rotten Tomatoes: Movie Studios Are Blaming Rotten Tomatoes For Killing Movies No One Wants To See
Hollywood Producer Blames Rotten Tomatoes For Convincing People Not To See His Movie
Rotten Tomatoes Scores Don't Correlate To Box Office Success or Woes, Research Shows
DC Fans Angry Over Rotten Tomatoes 'Justice League' Ratings
Why Don't We Care About The Rotten Tomatoes Scores Of TV Shows?
Real Moviegoers Don't Care About Rotten Tomatoes.

An anonymous reader quotes a report from Ars Technica, written by Peter Bright: Ever since the first Xbox was released, an obvious question has been hanging in the air: Microsoft already owns one of the premier gaming platforms, the PC, and both the original Xbox and the current Xbox One are more or less PCs anyway, so when is Microsoft going to bring the two together and let us play Xbox games on Windows? With the new Windows 10 builds, it looks like the company is taking some big steps in that direction. Microsoft has put big chunks of the Xbox infrastructure into Windows 10. This starts right from the moment you download the game: it's coming from the Xbox distribution servers, not the usual ones for Store apps. The game package itself uses a format called .xvc, which is used for Xbox One games, and there are PowerShell commands to work with these .xvc files and install .xvc games. Microsoft Gaming Services includes portions of this Xbox infrastructure; it includes a couple of drivers ("Microsoft Gaming Filesystem Driver" and "Microsoft Gaming Install Filter Driver"), along with a number of libraries that provide Xbox APIs.

The last few Windows 10 preview builds have included some vague instructions from Microsoft to install a special edition of a game, State of Decay, and report any problems with the process. There are no problems with playing the game but, rather, problems with installing and launching it. The instructions didn't give any indication as to why or what to look for. Naturally, people have been taking a closer look to see what's special about State of Decay and figure out why Microsoft is having Windows Insiders test it. Nazmus Khandaker, Rafael Rivera, and the pseudonymous WalkingCat have been poking around both the special edition of State of Decay and a helper application called Microsoft Gaming Services that insider machines are running. Brad Sams wrote up his findings. [...] The State of Decay package does nonetheless contain PC-oriented elements. In particular, it tries to install and update the DirectX runtime during its setup. We the users don't seem to be at the stage of simply running Xbox games unmodified on our PCs, or at least, not yet. But it looks as if the groundwork is being laid. The strange preview of a 2020 Windows release looks like it contains even more of this infrastructure, with signs of a layer to support Xbox's Direct3D variant on PC. "Microsoft could go the whole hog and simply make a Windows 10 PC with a suitable hardware spec into an Xbox that can play any Xbox game," writes Bright, adding: "it might just be there as a simple option for developers to enable if they choose."