An anonymous reader quotes a report from CBC.ca: You may not give a second thought to the tunes spinning on a constant loop at your favorite cafe or coffee shop, but one writer and podcaster who had to listen to repetitive music for years while working in bars and restaurants argues it's a serious workers' rights issue. "[It's] the same system that's used to [...] flood people out of, you know, the Branch Davidian in Waco or was used on terror suspects in Guantanamo -- they use the repetition of music," Adam Johnson told The Current's Anna Maria Tremonti. "I'm not suggesting that working at Applebee's is the same as being at Guantanamo, but the principle's the same."

Earlier this year, irritated Starbucks employees took to Reddit to rage about how they had to listen to the same songs from the Broadway hit musical Hamilton on repeat while on the job. One user wrote that if they heard a Hamilton song one more time, "I'm getting a ladder and ripping out all of our speakers from the ceiling." As a solution, he suggested health inspectors could enforce better working conditions, or a tip line could be created for people to report poor working conditions, like repetitive music. Another solution? Communication, says neuroscientist Jessica Grahn. She studies music, which science has shown to be one of the strongest influencers of mood, she said. It can calm dementia patients struggling with depression or anger, or increase our endurance when we're working out. However, there are downsides to the power of music. Unlike how we can close our eyes to things we don't want to see, we can't close our ears to sound. Having control over one's environment can make a big difference, said Grahn, which is why she recommends employers and employees talk about why certain music is being played, or what they can do to switch things up.

An anonymous reader shares a report: The fake Rotten Tomatoes review onslaught continues for Captain Marvel, giving the film the lowest-rating of all Marvel Cinematic Universe movies on the site nearly two weeks ahead of its release. As of this writing, Captain Marvel now has a 28% Audience Rating, a whopping 18 points below the next lowest MCU flick -- 2008's The Incredible Hulk. Starting earlier this week, a certain section of the internet -- for whatever reason -- decided to start filing fake negative reviews in an attempt to purposefully lower the film's Audience Rating.

An anonymous reader writes from a report via NPR: Netflix announced this week that it has acquired the rights to stream Chinese sci-fi blockbuster "The Wandering Earth," which has already grossed more than $600 million globally and hit number two in the all-time Chinese box office rankings since it was released in theaters Feb. 5. Netflix will translate the movie into 28 languages and release it in more than 190 countries. The movie, based on a short story by Hugo award winner Liu Cixin (author of "Three Body Problem" and "Ball Lighting") is set in a distant future in which the earth is about to be devoured by the sun. Using propulsive engines, humans turn earth into a spaceship and try to launch it out of the solar system and the planet is saved by a Chinese hero (rather than American ones as typically seen in Hollywood sci-fi movies.)

For China's film industry, the release marks a major milestone. "Filmmakers in China see science fiction as a holy grail," Raymond Zhou, an independent critic, told The New York Times. "It's like the coming-of-age of the industry." Two sci-fi movies, "The Wandering Earth" and "Crazy Alien," which is also inspired by Liu's work, topped this Chinese New Year movie season. Inkoo Kang wrote at Slate that the film "understands what American blockbusters are still loath to admit: Responding to climate change will pose infrastructural challenges on a massive order and require drastic measures on a planetary scale. Perhaps it takes a country like China, which is accustomed to a manic rate of construction and grandness of organizational possibility, to seriously consider how dramatically humanity will have to reimagine our ways of life to survive such a catastrophic force."

Instead of trying to sell American ideas to a foreign audience, it's aiming to sell international ideas to a global audience. From an op-ed: In 2016, the company expanded to 190 countries, and last year, for the first time, a majority of its subscribers and most of its revenue came from outside the United States. To serve this audience, Netflix now commissions and licenses hundreds of shows meant to echo life in every one of its markets and, in some cases, to blend languages and sensibilities across its markets. In the process, Netflix has discovered something startling: Despite a supposed surge in nationalism across the globe, many people like to watch movies and TV shows from other countries. "What we're learning is that people have very diverse and eclectic tastes, and if you provide them with the world's stories, they will be really adventurous, and they will find something unexpected," Cindy Holland, Netflix's vice president for original content, told me.

The strategy may sound familiar; Hollywood and Silicon Valley have long pursued expansion internationally. But Netflix's strategy is fundamentally different. Instead of trying to sell American ideas to a foreign audience, it's aiming to sell international ideas to a global audience. A list of Netflix's most watched and most culturally significant recent productions looks like a Model United Nations: Besides Ms. Kondo's show, there's the comedian Hannah Gadsby's "Nanette" from Australia; from Britain, "Sex Education" and "You"; "Elite" from Spain; "The Protector" from Turkey; and "Baby" from Italy. I'll admit there's something credulous and naive embedded in my narrative so far. Let me get this straight, you're thinking: A tech company wants to bring the world closer together? As social networks help foster misinformation and populist fervor across the globe, you're right to be skeptical. But there is a crucial difference between Netflix and other tech giants: Netflix makes money from subscriptions, not advertising.

An anonymous reader quotes a report from BuzzFeed News: A viral photo showing a camera in a Singapore Airlines in-flight TV display recently caused an uproar online. The image was retweeted hundreds of times, with many people expressing concern about the privacy implications. As it turns out, some seat-back screens in American Airlines' premium economy class have them, too. Sri Ray was aboard an American Airlines Boeing 777-200 flight to Tokyo in September 2018 when he noticed something strange: a camera embedded in the seat back of his entertainment system. The cameras are also visible in this June 2017 review of the airline's premium economy offering by the Points Guy, as well as this YouTube video by Business Traveller magazine.

American Airlines spokesperson Ross Feinstein confirmed to BuzzFeed News that cameras are present on some of the airlines' in-flight entertainment systems, but said "they have never been activated, and American is not considering using them." Feinstein added, "Cameras are a standard feature on many in-flight entertainment systems used by multiple airlines. Manufacturers of those systems have included cameras for possible future uses, such as hand gestures to control in-flight entertainment." After Twitter user Vitaly Kamluk saw a similar lens on Singapore Airlines and tweeted photos of the system last week, the airline responded from its official Twitter account, saying the cameras were "disabled." Still, the airlines could quell passengers' concerns by covering the lenses with a plastic cover, if indeed there is no use for the camera.

AmiMoJo writes: Nike users are experiencing some technical difficulties in the wild world of connected footwear. Nike's $350 "Adapt BB" sneakers are the latest in the company's line of self-lacing shoes, and they come with the "Nike Adapt" app for Android and iOS. The app pairs with the shoes and lets you adjust the tightness of the laces, customize the lights (yeah, there are lights), and see, uh, how much battery life your shoes have left. The only problem: Nike's Android app doesn't work. Android users report that their new kicks aren't paring with the app properly, and some customers report failed firmware updates for the shoes, which render them unable to pair with the app at all. "My left shoe won't even reboot." writes one owner.

A company that claims to combat app piracy is a pirate itself, according to a report Oracle released this week. From a report: Oracle claims the company, Tapcore, has been perpetrating a massive ad fraud on Android devices by infecting apps with software that ring up fake ad impressions and drain people's data. Based in The Netherlands, Tapcore works with developers to identify when apps are pirated and then enables developers to make money from those bootleg copies by serving ads. Oracle says that Tapcore's anti-piracy code was a Trojan horse that was generating fake mobile websites to trick ad serving platforms into paying them for non-existent ad inventory.

"The code is delivering a steady stream of invisible video ads and spoofing domains," Dan Fichter, VP of software development at Oracle Data Cloud, tells Ad Age. "On all those impressions it looked like the advertiser was running ads on legitimate mobile websites. Not only were they not on a website, they were on an invisible web browser." On its website, Tapcore says it works with more than 3,000 apps, serving 150 million ad impressions a day. The apps whose pirated versions it has worked with include titles like "Perfect 365," "Draw Clash of Clans," "Vertex" and "Solitaire: Season 4," according to Oracle's report.

Vitaly Kamluk, an information security expert and a high-ranking executive of cybersecurity company Kaspersky Lab, went on Twitter with concerns about an embedded camera in Singapore Airlines' (SIA) inflight entertainment systems. He tagged SIA in his post on Sunday, asking the airline to clarify how the camera is being used. Yahoo News reports: SIA quickly allayed his fears of unwanted surveillance by assuring Kamluk that the cameras have been disabled, with no plans to use them in the future. Not all of their devices sport the camera, though -- SIA explained that only some of its newer inflight entertainment systems come with cameras embedded in the hardware. In another tweet, SIA affirmed that the cameras were already built in by the original equipment manufacturers in newer inflight entertainment systems. Kamluk recommended that it's best to disable the cameras physically -- with stickers, for example -- to provide better peace of mind. In 2017, entertainment device developer Panasonic Avionics said it was studying how eye tracking can be used for a better passenger experience. As the report mentions, "Cameras can be used for identity recognition on planes, which in turn, would allow for in-flight biometric payment (much like Face ID on Apple devices) and personalized services."

Google has sent out invites to this year's Game Developers Conference (GDC) press event, where the company is expected to unveil a new game streaming product. ExtremeTech reports: There have been rumors about a Google game stream product or service for several years. Initially, leaks pointed to a hardware platform called Yeti that would stream games to a connected display. In late 2018, Google rolled out a game streaming test called Project Stream. To publicize the demo, it worked with Ubisoft to give everyone free access to the new Assassin's Creed Odyssey. Google wrapped up Project Stream in early 2019, offering players a free copy of Assassin's Creed Odyssey as thanks. Of course, you'd need a real gaming PC to run that version.

Google's GDC event will take place on March 19th at 10 AM Pacific. All we know for sure is that Google is there to talk about a gaming project. It just seems extremely likely that it will be a new phase for Project Stream. It might remain browser-only, but Google does have a giant network of TV's out there with Chromecast streaming dongles plugged in. If it could leverage those to stream games, it could instantly have as many eyeballs as Sony or Microsoft.

It's now easier than ever in France to act out Star Wars fantasies. The country's fencing federation has officially recognized lightsaber dueling as a competitive sport, granting the weapon from George Lucas's space saga the same status as the foil, epee and sabre, the traditional blades used at the Olympics. From a report: Of course, the LED-lit, rigid polycarbonate replicas can't slice an opponent in half. But they look and sound remarkably like the blades that Yoda and other characters wield in the blockbuster movies. The physicality of lightsaber combat is part of the reason why the French Fencing Federation is now equipping fencing clubs with lightsabers and training would-be lightsaber instructors. Like virtuous Jedi knights, the federation sees itself as combatting a Dark Side: the sedentary habits of 21st-century life.

"With young people today, it's a real public health issue. They don't do any sport and only exercise with their thumbs," says Serge Aubailly, the federation's secretary general. "That is why we are trying to create a bond between our discipline and modern technologies, so participating in a sport feels natural." In the past, Zorro, Robin Hood and The Three Musketeers helped lure new practitioners to fencing. Now, Luke Skywalker, Obi-Wan Kenobi and Darth Vader are joining them. "Cape-and-sword movies have always had a big impact on our federation and its growth," Aubailly says. "Lightsaber films have the same impact. Young people want to give it a try."

An anonymous reader quotes a report from the BBC: Current digital technology gives us flawless music quality without physical deterioration. Music is easy to copy and upload, and can be streamed online without downloading. Since our digital music is less tangible than vinyl or CDs, surely it must be more environmentally friendly? Even though new formats are material-free, that doesn't mean they don't have an environmental impact. The electronic files we download are stored on active, cooled servers. The information is then retrieved and transmitted across the network to a router, which is transferred by wi-fi to our electronic devices. This happens every time we stream a track, which costs energy. Once vinyl or a CD is purchased, it can be played over and over again, the only carbon cost coming from running the record player. However, if we listen to our streamed music using a hi-fi sound system it's estimated to use 107 kilowatt hours of electricity a year, costing about $20 to run. A CD player uses 34.7 kilowatt hours a year and costs about $7 to run.

So, which is the greener option? It depends on many things, including how many times you listen to your music. If you only listen to a track a couple of times, then streaming is the best option. If you listen repeatedly, a physical copy is best -- streaming an album over the internet more than 27 times will likely use more energy than it takes to produce and manufacture a CD. If you want to reduce your impact on the environment, then vintage vinyl could be a great physical option. For online music, local storage on phones, computers or local network drives keeps the data closer to the user and will reduce the need for streaming over distance from remote severs across a power-hungry network.

The major Hollywood movie studios last week filed a copyright infringement suit against Omniverse One World Television Inc., which provides streaming video to several online TV services. Omniverse claims to have legal rights to the content, but the studios say it doesn't. Ars Technica reports: The complaint was filed Thursday in U.S. District Court for the Central District of California by Columbia Pictures, Disney, Paramount Pictures, 20th Century Fox, Universal, and Warner Bros. The studios previously used lawsuits to shut down the maker of a streaming device called the Dragon Box and another called TickBox. The studios' new lawsuit says that Omniverse supplied content to Dragon Box and to other alleged pirate services that are still operating.

Services using Omniverse content are advertised as "Powered by Omniverse." Besides Dragon Box, they include "SkyStream TV, Flixon TV, and Silicon Dust's HDHomeRun Service," according to the lawsuit. SkyStream, for example, offers more than 70 live TV channels for $35 a month, while pricier packages, according to the complaint, also include premium channels such as HBO. SkyStream's website says its service "is delivered In Cooperation with Omniverse One World Television." According to its website, Omniverse "partners with key distributors across the USA to empower end users with the ability to view their favorite TV channels with no contracts, no credit checks, and no long-term obligations." [T]he movie studios' lawsuit alleges that Omniverse has no rights to distribute their video content. While Netflix, Amazon, Hulu, YouTube TV, and other legitimate streaming services purchase rights to the content, Omniverse has not, the lawsuit said. The complaint asks for an injunction shutting the company down and damages of up to $150,000 for each infringed work. "Defendant Jason DeMeo and his company, Omniverse, stream Plaintiffs' copyrighted movies and television shows without authorization to an already large, and rapidly growing, number of end users," the lawsuit said. "Defendants are not, however, just an infringing, consumer-facing service, akin to Dragon Box. Defendants operate at a higher level in the supply chain of infringing content -- recruiting numerous downstream services like Dragon Box into the illicit market and providing them with access to unauthorized streams of copyrighted content. Defendants function as a 'hub' of sorts, with the enlisted downstream services as the 'spokes.' Omniverse's offering is illegal, it is growing, and it undermines the legitimate market for licensed services."

AmiMoJo writes: A new comics series in which Jesus Christ is sent on "a most holy mission by God" to learn "what it takes to be the true messiah of mankind" from a superhero called Sun-Man, has been cancelled by DC Comics. The move follows a petition that called it "outrageous and blasphemous". The Second Coming series, from DC imprint Vertigo, was due to launch on 6 March. Written by Mark Russell and illustrated by Richard Pace, its story followed Jesus's return to Earth. "Shocked to discover what has become of his gospel," he teams up with a superhero, Sun-Man, who is more widely worshipped than him.

An anonymous reader shares a report: Netflix is officially no longer producing Marvel's live-action shows. The streaming service has canceled both The Punisher and Jessica Jones, according to Deadline, with the latter's third season set to debut as the last batch of Marvel live-action episodes on Netflix. "We are grateful to Marvel for five years of our fruitful partnership and thank the passionate fans who have followed these series from the beginning," a Netflix representative told Deadline. Netflix didn't immediately respond to a request for comment.

Last week, an alt-rock mystery puzzled the music press. Almost 25 years after its release, the Dinosaur Jr. song "Over Your Shoulder" appeared at number 18 on Japan's Hot 100 chart, beating out major new releases like Ariana Grande's "7 Rings." Here's what drove the popularity of the old song: More than 15 years ago, it was used on a Japanese reality show about boxing bad boys. Six years ago, Billboard started counting YouTube plays. And just days ago, YouTube apparently began recommending pirated episodes of that reality show to Japanese users, who seemingly binged it in the thousands, playing "Over Your Shoulder" over and over again in the process.

The Guardian reports: Bruno Ganz, the Swiss actor who played Adolf Hitler in the film Downfall, has died in Zurich at the age of 77, his agent announced. The actor became internationally renowned for his 2004 portrayal of the German dictator's final days inside his Berlin bunker. In a Guardian review of Downfall Rob Mackie described Ganz as "the most convincing screen Hitler yet: an old, bent, sick dictator with the shaking hands of someone with Parkinson's, alternating between rage and despair in his last days in the bunker...." It is widely believed to be the cinematic footage most often shared online, as well as the cause of one of the world's most productive internet memes.
They're referring to "One climactic scene featuring a Ganz tour de force" that was "relentlessly parodied in widespread 'Hitler Finds Out...' videos, featuring anachronistic subtitles depicting his rage and fury over topical, mundane, or banal events and trivial gossip," explains long-time Slashdot reader Freshly Exhumed:

The spread of the meme was aided inestimably by the Streisand Effect caused when the production company, Constantin Films began sending DMCA takedown notices to YouTube. Eventually the company relented as the parodies constituted strong fair use cases.
When the director of the film was asked about the parodies, he admitted that "I think I've seen about 145 of them! Of course, I have to put the sound down when I watch. Many times the lines are so funny, I laugh out loud, and I'm laughing about the scene that I staged myself! You couldn't get a better compliment as a director."

An anonymous reader quotes a report from The Guardian: [R]esearchers have found that the success of a future mission to the red planet may depend on the ship having a class clown. "These are people that have the ability to pull everyone together, bridge gaps when tensions appear and really boost morale," said Jeffrey Johnson, an anthropologist at the University of Florida. "When you're living with others in a confined space for a long period of time, such as on a mission to Mars, tensions are likely to fray. It's vital you have somebody who can help everyone get along, so they can do their jobs and get there and back safely. It's mission critical." Johnson spent four years studying overwintering crews in Antarctica and identified the importance of clowns, leaders, buddies, storytellers, peacemakers and counsellors for bonding teams together and making them work smoothly. He found the same mixes worked in U.S., Russian, Polish, Chinese and Indian bases.

"These roles are informal, they emerge within the group. But the interesting thing is that if you have the right combination the group does very well. And if you don't, the group does very badly," he said. Johnson is now working with Nasa to explore whether clowns and other characters are crucial for the success of long space missions. So far he has monitored four groups of astronauts who spent 30 to 60 days in the agency's mock space habitat, the Human Exploration Research Analog, or Hera, in Houston, Texas. Johnson, who also studied isolated salmon fishers in Alaska, found that clowns were often willing to be the butt of jokes and pranks. In Antarctica, one clown he observed endured a mock funeral and burial in the tundra, but was crucial for building bridges between clusters of overwintering scientists and between contractors and researchers, or "beakers" as the contractors called them.

According to a report from Forbes, Samsung may be exiting the 4K Blu-ray player market. "After launching its first 4K players in 2017, the company didn't add any new players to its lineup in 2018," reports CNET. "A high-end player for 2019 along the lines of its UBD-M9500 was in the works, the report says, but has now been scrapped." From the report: One of the reasons for pulling out could be that the existing players' format support has lagged behind the rest of the industry. For example, instead of supporting Dolby Vision, Samsung created its own version of HDR10, HDR10+, which was designed for use in streaming and physical media. Competitor Oppo was the first company to support both HDR10 and Dolby Vision but announced it was ending production of its 4K Blu-ray players in April 2018. Meanwhile Sony announced the M2 player at CES 2019 with support for Dolby Vision and Panasonic recently released the high-end DP-UB9000 player in Europe and Australia.

An anonymous reader quotes a report from Gamasutra: In the wake of Activision Blizzard's massive layoff wave, a move that was announced in the same call as the company's record quarter, the union federation AFL-CIO has published an open letter to game developers urging members of the industry to organize. The AFL-CIO itself is the largest labor organization in the United States and counts 55 individual unions (and more than 12.5 million workers) among its affiliates. The letter, readable in full on Kotaku, calls out many of the issues that have prompted conversations about unionization in just recent years like excessive crunch, toxic work conditions, inadequate pay, and job instability. The industry, points out AFL-CIO's secretary-treasurer Liz Shuler, boasted sales 3.6 times greater than those of the film industry in 2018, yet much of that financial success isn't felt by the developers working on the games that generate those billions. "Executives are always quick to brag about your work. It's the talk of every industry corner office and boardroom. They pay tribute to the games that capture our imaginations and seem to defy economic gravity. They talk up the latest innovations in virtual reality and celebrate record-smashing releases, as your creations reach unparalleled new heights," says Shuler.

"My question is this: what have you gotten in return? They get rich. They get notoriety. They get to be crowned visionaries and regarded as pioneers. What do you get? Outrageous hours and inadequate paychecks. Stressful, toxic work conditions that push you to your physical and mental limits. The fear that asking for better means risking your dream job. [...] Change will happen when you gain leverage by joining together in a strong union. And, it will happen when you use your collective voice to bargain for a fair share of the wealth you create every day. No matter where you work, bosses will only offer fair treatment when you stand together and demand it."

Slashdot reader Drakster writes: Hollywood producer and writer James Cameron, who is best known for his first two Terminator films, Titanic, Avatar, and Aliens, has released his most recent film this week, Alita: Battle Angel, to mostly mixed to positive reviews. First announced in 2003, based on Yukito Kishiro's Gunnm manga series, it was stuck in development for several years, finally starting production in 2008. Slashdot last discussed this fifteen years ago, so now that it's finally here. For those who have seen it, what did you think? Met or surpassed your expectations, or not worth the wait?