Millions of Americans have already scrapped traditional pay-TV service, and the exodus is expected to continue apace in 2018. From a report: This year, the number of cord-cutters in the U.S. -- consumers who have ever cancelled traditional pay-TV service and do not resubscribe -- will climb 32.8%, to 33.0 million adults, according to new estimates from research firm eMarketer. That's compared with a total of 24.9 million cord-cutters as of the end of 2017, which was up 43.6% year over year (and an upward revision from eMarketer's previous 22 million estimate). That said, even as the traditional pay-TV universe shrinks, the number of viewers accessing over-the-top, internet-delivered video services keeps growing. About 147.5 million people in the U.S. watch Netflix at least once per month, according to eMarketer's July 2018 estimates. That's followed by Amazon Prime Video (88.7 million), Hulu (55 million), HBO Now (17.1 million) and Dish's Sling TV (6.8 million).

Today Comic-Con attendees were treated to new trailers and previews for a slew of upcoming geek-friendly movies. An anonymous reader writes: Besides footage from Wonder Woman 1984, there were also trailers for DC's Aquaman movie, plus a new DC superhero franchise with a lighter tone, Shazam. (And there was also a very apocalyptic preview of Godzilla: King of the Monsters.)

Numerous celebrities were on-hand to tout their upcoming films. Johnny Depp introduced the trailer for Fantastic Beasts 2: The Crimes of Grindelwald -- in character -- while Bruce Willis and Samuel L. Jackson introduced the trailer for M. Night Shyamalan's Glass. Jamie Lee Curtis even plugged her return to the Halloween franchise 40 years after the original, revealing that her character has been waiting all these decades to kill Michael Myers after his release from prison.

TV Guide has collected most of the trailers for TV shows, including season 11 of Doctor Who, the revival of Star Wars: The Clone Wars, and new seasons of Marvel's Iron Fist and Fear the Walking Dead. There was apparently also a trailer for Marvel's mutant series The Gifted -- and a preview for the 30th season of The Simpsons featuring this Halloween's "Treehouse of Horror XXIX", which includes a parody of Invasion of the Body Snatchers.

CBS has released a "Season Two Premiere" for Star Trek Discovery, offering the first look at the upcoming season of the show on CBS All Access. The first season launched late last year and finished up in February after a brief hiatus. The Verge reports of what to expect from the upcoming season, which is expected to premiere sometime in early 2019: [It] appears to begin with Captain Christopher Pike (Anson Mount) coming aboard and taking control of the USS Discovery after a series of mysterious "red bursts" are detected, simultaneously spread out across 30,000 light years. Burnham later claims "Spock is linked to these signals." New series guest star Tig Notaro makes a very Tig Notaro joke, Pike encourages the crew to "have a little fun," Tilly yells about "the power of math" -- a good time, in other words. (After all, the whole thing is set the tune of Lenny Kravitz's "Fly Away," so you know it's real.) Bonus: at the end we meet another, very sniffly alien Discovery crew member, proving Saru and the bridge androids aren't the sole non-humans aboard the ship, as we once feared. At the Discovery panel at San Diego Comic Con's Hall H, a new Star Trek series was announced, called Star Trek: Short Treks. It is "a series of monthly short-form stories that will function like bonus content and air on CBS All Access in conjunction with the larger Star Trek: Discovery series," reports The Verge. "CBS says Short Treks, which will air in installments of about 10 to 15 minutes, is 'an opportunity for deeper storytelling and exploration of key characters and themes that fit into... the expanding Star Trek universe.'"

In the run up to the release of Fallout, the new movie in the Mission Impossible franchise, Paramount studio re-released the entire Mission Impossible series on 4K Blu-ray last month. The new discs aren't only a huge upgrade for cinephiles -- they're also a fascinating glimpse at how studios can revive older films for the 4K/HDR era. Engadget: "In terms of any re-transfers or remastering that we are doing for our HDR releases, we will go back to the highest resolution source available," Kirsten Pielstick, manager of Paramount's digital mastering group, said in an interview. In the case of Mission Impossible 1 and 2, that involved scanning the original 35mm negatives in 4K/16-bit. As you'd expect, the studio tries to get the original artists involved with any remasters, especially with something like HDR, which allows for higher brightness and more nuanced black levels. Pielstick worked with the director of photography (DP) for the first Mission Impossible film, Stephen H. Burum, to make sure its noir-like palette stayed intact.

[...] "Our mastering philosophy here is always to work directly with the talent whenever possible, and use the new technology to enhance the movie, but always stay true to the intent of the movie," Pielstick said. "You're not going to want to make things brighter just because you can, if it's not the intent of how you were supposed to see things." [...] "You also have to remember that we're not putting in anything that didn't exist on the film [for HD remasters]," Pielstick added. "It was always there we just didn't have the ability to see it. So we're not adding anything new, we're not doing anything to increase those, we're just able to look at the negative in a much clearer way than we ever could before."

An anonymous reader quotes a report from IGN: Saudi Arabia is apparently banning 47 games in response to a pair of children committing suicide after allegedly being encouraged to do so while playing an online game. Per the Associated Press, the Saudi General Commission for Audio-Visual Media said yesterday that a 13-year-old girl and a 12-year-old boy have taken their own lives after playing a social media game known as Blue Whale. Also called the Blue Whale Challenge, the disturbing social media phenomenon is a form of extreme cyberbullying. It's not clear how the Saudi government believes this connects to more mainstream video games, but it nonetheless appears to have banned 47 popular indie and AAA games in response.The Saudi General Commission for Audio-Visual Media's website actually says the list of banned games was last updated on July 2, but the Associated Press' report claims the bans were just announced Monday.

schwit1 shares an excerpt from an in-depth report via ProPublica and NPR, which have been investigating for the past year the various tactics the health insurance industry uses to maximize its profits: A future in which everything you do -- the things you buy, the food you eat, the time you spend watching TV -- may help determine how much you pay for health insurance. With little public scrutiny, the health insurance industry has joined forces with data brokers to vacuum up personal details about hundreds of millions of Americans, including, odds are, many readers of this story. The companies are tracking your race, education level, TV habits, marital status, net worth. They're collecting what you post on social media, whether you're behind on your bills, what you order online. Then they feed this information into complicated computer algorithms that spit out predictions about how much your health care could cost them. Patient advocates warn that using unverified, error-prone "lifestyle" data to make medical assumptions could lead insurers to improperly price plans -- for instance raising rates based on false information -- or discriminate against anyone tagged as high cost. And, they say, the use of the data raises thorny questions that should be debated publicly, such as: Should a person's rates be raised because algorithms say they are more likely to run up medical bills? Such questions would be moot in Europe, where a strict law took effect in May that bans trading in personal data.

Netflix shares plunged by more than 14% on Monday, after the firm reported disappointing subscriber growth. While the entertainment service added 5.2 million subscribers last quarter, it forecasted a growth of 6.2 million. BBC reports: Investors are worried about Netflix's growth potential in the face of increased competition from tech giants such as Apple, YouTube and Amazon, as well as traditional firms, which have started to invest more in online streaming. Disney, for example, plans to launch its own streaming service and stop licensing some of its material to Netflix.

In a letter to investors, Netflix called it a "strong but not stellar quarter," ending with about 130 million subscribers globally. The firm added just 670,000 subscribers in the U.S. -- far short of the more than one million it added in the second quarter of 2017. It added 4.5 million subscribers internationally, fewer than the two most recent quarters but up 8% year-on-year. However, it said its finances were strong. The company reported $3.9 billion in quarterly revenue, up 40% compared to the second quarter of 2017. Profits totaled $384.3 million, almost six times the figure during the same period a year ago.

Roku announced today that it's getting into the audio business with the launch of its in-house Roku TV Wireless Speakers. The two HomePod-esque speakers work exclusively (and wirelessly) with Roku TVs, and feature software that will optimize audio from anything connected to the pair Roku TV, including cable boxes, antennas, and Bluetooth devices. The company also announced a new Roku Touch tabletop remote that's similar to Amazon's Alexa. Ars Technica reports: "Optimized" in this sense refers to the software-improved audio quality: automatic volume leveling will boost lower audio in quiet scenes and lower audio in loud scenes (and in booming commercials), and dialogue enhancement will improve speech intelligibility. Accompanying the Wireless Speakers is the Roku Touch remote, a unique addition to Roku's remote family. The company has a standard remote that controls its set-top boxes and smart TVs, and it also has a voice remote that processes voice commands to search for and play specific types of content. The Touch remote is most like the voice remote, but it can be used almost anywhere in your home because it's wireless and runs on batteries. It has a number of buttons on its top that can play, pause, and skip content playing from your Roku TV, and some of those buttons are customizable so you can program your favorite presets to them. There's also a press-and-hold talk button that lets you speak commands to your TV, even if you're not in front of it. Roku's Wireless Speakers and Touch remote will begin shipping this October, and the company is running a deal leading up to the release. For the first week of presales (July 16 through July 23), a bundle consisting of two Wireless Speakers, a Touch remote, and a Roku voice remote will be available for $149. From the end of that week until October, the price will be $179. When the new devices finally come out, the bundle price will be $199.

An anonymous reader quotes a report from The Guardian: Robert Louis Stevenson's 1881 classic Treasure Island tells of Jim Hawkins's adventures on board the Hispaniola, as he and his crew -- along with double-crossing pirate Long John Silver -- set out to find Captain Flint's missing treasure on Skeleton Island. Now, more than a century later, children can try and find it themselves, with the bays and mountains of Stevenson's fictional island given a blocky remodeling in Minecraft, as part of a new project aimed at bringing reluctant readers to literary classics. From Spyglass Hill to Ben Gunn's cave, children can explore every nook and cranny of Skeleton Island as part of Litcraft, a new partnership between Lancaster University and Microsoft, which bought the game for $2.5 billion in 2015 and which is now played by 74 million people each month. The Litcraft platform uses Minecraft to create accurate scale models of fictional islands: Treasure Island is the first, with Michael Morpurgo's Kensuke's Kingdom just completed and many others planned. [...] The project, which is featured on Microsoft's Minecraft.edu website, is currently being presented to school teachers and librarians across the UK. There has been "an enthusiastic response" to the trials under way in local schools, with plans to roll Litcraft out to libraries in Lancashire and Leeds from October 2018.

According to a new study by Hub Entertainment Research, viewers are increasingly defaulting to on-demand sources like Netflix, Amazon Prime Video, and Hulu instead of live TV. The study found that only 39% of viewers tune into live programming from a traditional pay-TV provider, down from 47% last year. On-demand sources, collectively, were the first choice for 48% of viewers. Deadline reports: For viewers aged 18-34, the pattern is more stark -- only about a quarter (26%) of the demo lists live TV as a default, compared with 35% a year ago. One clear influence on consumer behavior is the increase in TV sources -- the average person has 4.5 distinct sources to choose from (including linear TV, DVR, VOD, Netflix, etc.). That number is up from 3.7 in 2014. Among viewers 18-34, the number is higher, at 5.1 sources -- plus, Hub found that fully 50% of 18-34-year-olds subscribe to at least two of the "big three" SVOD services, Netflix, Amazon or Hulu. Even older generations accustomed to the "clicker" have turned away from live TV as a default. About 56% of viewers 55 and older listed live as their first choice, but that's down from 66% a year ago.

According to Anchorage Daily News, the two remaining Blockbuster stores in Alaska are set to close, leaving just one location left in the United States. The last one standing in the U.S. is in Bend, Oregon. From the report: The stores, one on DeBarr Road in Anchorage and the other in Fairbanks, will close Monday for rental business, a post on the Facebook page for Blockbuster in Alaska said Thursday afternoon. They will reopen at noon Tuesday for an inventory sales that will run through July and August. Thursday's news follows a smattering of other recent Blockbuster closures across the state, which had 13 Blockbusters in 2013 and was down to nine stores by 2016. As Blockbuster stores disappeared from most of the Lower 48 in recent years, the brand long managed to persist in Alaska. Some have said expensive internet here is one reason why. The stores have also been a destination for some who visit just for the nostalgia.

Earlier this month, The New York Times reported that a number of smart TV makers include services from companies that track a range of viewer information about their customers. Now, two Democratic US senators are asking the Federal Trade Commission to investigate privacy problems related to Internet-connected televisions. From a report: "Many Internet-connected smart TVs are equipped with sophisticated technologies that can track the content users are watching and then use that information to tailor and deliver targeted advertisements to consumers," Sens. Ed Markey (D-Mass.) and Richard Blumenthal (D-Conn.) wrote in a letter yesterday to FTC Chairman Joseph Simons. "Regrettably, smart TV users may not be aware of the extent to which their televisions are collecting sensitive information about their viewing habits." The letter asked the FTC to "launch an investigation into the privacy policies and practices of smart TV manufacturers." When contacted by Ars, an FTC spokesperson confirmed that the agency received the letter from Markey and Blumenthal, but the FTC offered no further comment.

Beardydog writes: An article currently on Ars Technica examines comments about net neutrality issues by recent Supreme Court nominee Brett Kavanaugh. Kavanaugh not only rejects the FCC's reclassification of ISPs under Title II, but seems to also support a broad First Amendment right to "editorial control," allowing ISPs to selectively block, filter, or modify transmitted data.

Kavanaugh compares ISPs to cable TV operators, rather than phone companies. "Deciding whether and how to transmit ESPN and deciding whether and how to transmit ESPN.com are not meaningfully different for First Amendment purposes." Here's what Ars Technica had to say about Kavanaugh's argument, which did not address the business differences between cable TV and internet service: "Cable TV providers generally have to pay programmers for the right to carry their channels, and cable TV providers have to fit all the channels they carry into a limited amount of bandwidth. At least for now, major internet providers don't offer a set package of websites -- they just route users to whichever sites the users are requesting. ISPs also don't have to pay those websites for the right to 'transmit' them, but ISPs have argued that they should be able to demand fees from websites."

The report also mentions Kavanaugh's support of NSA surveillance: "In November 2015, Kavanaugh was part of a unanimous decision when the DC Circuit denied a petition to rehear a challenge to the NSA's bulk collection of telephone metadata. Kavanaugh was the only judge to issue a written statement, which said that '[t]he Government's collection of telephony metadata from a third party such as a telecommunications service provider is not considered a search under the Fourth Amendment.' Even if this form of surveillance constituted a search, it wouldn't be an 'unreasonable' search and therefore it would be legal, Kavanaugh also wrote."

An anonymous reader shares a report: Convert2MP3 is a site that allows users to download audio from platforms including YouTube. Following legal action carried out by Rights Alliance on behalf of music industry group IFPI, Convert2MP3 has been declared unlawful by a Danish court which has now ordered ISPs to block it. It's the first time worldwide that a so-called stream-ripping site has been declared illegal.

AT&T recently acquired HBO, as part of the Time Warner acquisition, "and it is already considering an overhaul that would see HBO produce more video that can compete for the attention of smartphone users," reports Ars Technica. "AT&T wants to boost revenue both in advertising and subscriptions, even if that means upending HBO's longtime strategy of producing a relatively small number of high-quality shows."

At a recent corporate town hall meeting, John Stankey, the longtime AT&T executive and new head of Warner Media, laid out the challenges and opportunities he saw for the network to around 150 employees. He said, in part: "It's going to be a tough year. It's going to be a lot of work to alter and change direction a little bit. [...] You will work very hard, and this next year will -- my wife hates it when I say this -- feel like childbirth... You'll look back on it and be very fond of it, but it's not going to feel great while you're in the middle of it. She says, 'What do you know about this?' I just observe, 'Honey. We love our kids.'" Audio of the meeting was obtained by The New York Times. From the report: The talk, held at HBO headquarters in New York City, was hosted by HBO CEO Richard Plepler. HBO must compete with smartphones for people's attention, Stankey said in this exchange with Plepler: "We need hours a day," Mr. Stankey said, referring to the time viewers spend watching HBO programs. "It's not hours a week, and it's not hours a month. We need hours a day. You are competing with devices that sit in people's hands that capture their attention every 15 minutes." Continuing the theme, he added: "I want more hours of engagement. Why are more hours of engagement important? Because you get more data and information about a customer that then allows you to do things like monetize through alternate models of advertising as well as subscriptions, which I think is very important to play in tomorrow's world."

When it was originally released in 1968, audiences didn't really know what to make of "2001: A Space Odyssey". In fact, 250 critics walked out of the New York premiere, literally asking aloud, "What is this bullshit?"

[...] Stanley Kubrick himself was always hesitant to offer an explanation of the ending, once telling Playboy, "You're free to speculate as you wish about the philosophical and allegorical meaning of the film -- and such speculation is one indication that it has succeeded in gripping the audience at a deep level -- but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point." But, in a bizarre video, which appeared recently, the director seems to provide a very simple and clear explanation of the "2001: A Space Odyssey" ending. Esquire: It comes from a Japanese paranormal documentary from TV personality Jun'ichi Yaio made during the filming of The Shining. The documentary was never released, but footage was sold on eBay in 2016 and conveniently appeared online this week timed with the movie's 50th anniversary. Kubrick says in the interview: I've tried to avoid doing this ever since the picture came out. When you just say the ideas they sound foolish, whereas if they're dramatized one feels it, but I'll try. The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.

They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn't quite sure. Just as we're not quite sure what do in zoos with animals to try to give them what we think is their natural environment. Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made into some sort of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.

An anonymous reader shares a report: As Netflix and Amazon search for new users abroad, they are increasingly looking to India as a big market. Once crippled by poor internet infrastructure and low household income, the world's second-largest internet market has exhibited tremendous potential in the recent years. It's proving, however, to be a tough nut to crack for the American streaming leaders.

Leading the pack in the nation is Hotstar. Owned by Star India, which is controlled by Twenty-First Century Fox, Hotstar had about 70 percent of the on-demand local streaming services market earlier this year, according to estimates by research firm Jana. The three-and-a-half-year-old service has 150 million monthly active users, CEO Ajit Mohan told CNBC in an interview. Netflix, by contrast, has fewer than one million subscribers in the country, according to industry estimates. Once considered a luxury, an increasingly growing number of Indians are giving online streaming services a try. Companies have taken notice: More than 35 streaming services have launched or expanded their businesses in India in the last three and a half years, with many more planning to enter Bollywood soon. [...] Analysts say sporting events and local content are proving crucial in bringing new users to video platforms and then keeping them online, two areas where international giants are struggling. Hotstar, which offers much of its content to users at no charge (instead relying on ads to make revenue), charges $3 for its premium offering. In contrast, Netflix charges Indians about $8 a month.

Sports streaming in particular is helping local firms gain new users, the report said. You might remember Hotstar, which entered the US and Canada markets, set a new global concurrent record in late April, and now it turns out SonyLiv is getting more concurrent viewers to the FIFA World Cup in India than Fox Sports is generating on its digital platform in the US.

Slashdot reader Dave Knott brings news: Steve Ditko, the legendary comics artist best known for co-creating Spider-Man and Doctor Strange, has died at age 90. No cause of death was announced.
Neil Gaiman posted on Twitter, "I know I'm a different person because he was in the world." Entertainment Weekly reports: Ditko's most enduring characters were created during his tenure at Marvel Comics, where he worked alongside editor-in-chief Stan Lee to develop the look of Spider-Man in 1961. Jack Kirby had previously taken a swing at the webslinger, but Lee was unconvinced by that artist's interpretation of the now-iconic character.

When Spider-Man -- whose red-and-blue costume, Spidey senses, and web-shooters all came directly from Ditko -- first appeared within the pages of Amazing Fantasy No. 15, the friendly neighborhood superhero proved a surprisingly massive hit for Marvel Comics, paving the way for a solo comic series titled The Amazing Spider-Man. Ditko's influence on Spider-Man was tremendous, his often dark sensibilities informing an at-the-time rare superhero whose life was often worsened and trauma-filled as a consequence of his good deeds. The artist additionally helped conceive many of the most memorable members of Spidey's rogues' gallery, including Green Goblin, Doctor Octopus, Vulture, and the Lizard...

Two years later, Ditko delivered another Marvel icon by creating Doctor Strange, the mystical Sorcerer Supreme who furthered the comic book empire's reach into more cosmic, even psychedelic realms... As a freelancer, he continued contributing to Marvel and created cult-favorite character Squirrel Girl for them in 1992.

A recently discovered hole in Valve's API allowed observers to generate extremely precise and publicly accessible data for the total number of players for thousands of Steam games. While Valve has now closed this inadvertent data leak, Ars can still provide the data it revealed as a historical record of the aggregate popularity of a large portion of the Steam library. From the report: The new data derivation method, as ably explained in a Medium post from The End Is Nigh developer Tyler Glaiel, centers on the percentage of players who have accomplished developer-defined Achievements associated with many games on the service. On the Steam web site, that data appears rounded to two decimal places. In the Steam API, however, the Achievement percentages were, until recently, provided to an extremely precise 16 decimal places.

This added precision means that many Achievement percentages can only be factored into specific whole numbers. (This is useful since each game's player count must be a whole number.) With multiple Achievements to check against, it's possible to find a common denominator that works for all the percentages with high reliability. This process allows for extremely accurate reverse engineering of the denominator representing the total player base for an Achievement percentage. As Glaiel points out, for instance, an Achievement earned by 0.012782207690179348 percent of players on his game translates precisely to 8 players out of 62,587 without any rounding necessary (once some vagaries of floating point representation are ironed out). Ars has shared the Achievement-derived player numbers in their report; there's also a handy CSV file. Some of the titles with the most total unique players include Team Fortress 2 (50,191,347 player estimate), Counter-Strike: Global Offensive (46,305,966 player estimate), PLAYERUNKNOWN'S BATTLEGROUNDS (36,604,134 player estimate), Unturned (27,381,399 player estimate), and Left 4 Dead 2 (23,143,723 player estimate).

Amateur and professional musicians alike may spend hours poring over YouTube clips to figure out exactly how to play certain parts of their favorite songs. But what if there were a way to play a video and isolate the only instrument you wanted to hear? MIT News: That's the outcome of a new AI project out of MIT's Computer Science and Artificial Intelligence Laboratory (CSAIL): a deep-learning system that can look at a video of a musical performance, and isolate the sounds of specific instruments and make them louder or softer. The system, which is "self-supervised," doesn't require any human annotations on what the instruments are or what they sound like. Trained on over 60 hours of videos, the "PixelPlayer" system can view a never-before-seen musical performance, identify specific instruments at pixel level, and extract the sounds that are associated with those instruments. For example, it can take a video of a tuba and a trumpet playing the "Super Mario Brothers" theme song, and separate out the soundwaves associated with each instrument. The researchers say that the ability to change the volume of individual instruments means that in the future, systems like this could potentially help engineers improve the audio quality of old concert footage. You could even imagine producers taking specific instrument parts and previewing what they would sound like with other instruments (i.e. an electric guitar swapped in for an acoustic one).