"New data suggests that what a lot of people do most often in their car is listen to AM/FM radio," writes 9to5Mac. "Yes, it's 2023, and you might think AM/FM radio is on the way out, but new data show that to not be the case for a lot of people..."

The market research company Edison Research used one-day listening diarires (for Americans older than 13) to measure the amount of time spent listening to audio — then compared results for those with and without an in-car entertainment system.

Those without an in-car entertainment system spent 67% of their time listening to AM/FM radio — with the rest listening to Sirius XM (12%), a streaming service (9%), or podcasts (4%).

But among those with an in-car entertainment system... 46% still listened to AM/FM radio. Less than a fifth listened to Sirus XM (19%), a streaming service (18%), or podcasts (7%).

The researchers' conclusion? "Even those with these systems choose AM/FM for nearly half of their in-car listening. For many people, even with so many new options, radio and the in-car environment continue to just go together."

"The Worker as Futurist project assists rank-and-file Amazon workers to write short speculative fiction," explains its web site. "In a world where massive corporations not only exploit people but monopolize the power of future-making, how can workers and other people fight and write back?"

I couldn't find any short stories displayed on their site, but there are plans to publish a book next year collecting the workers' writing about "the world after Amazon" in print, online and in audiobook format. And there's also a podcast about "the world Amazon is building and the workers and writers struggling for different futures."

From their web site: A 2022 pilot project saw over 25 workers gather online to discuss how SF shed light on their working conditions and futures. In 2023, 13 workers started to meet regularly to build their writing skills and learn about the future Amazon is compelling its workers to create... The Worker as Futurist project aims, in a small way, to place the power of the imagination back in the hands of workers. This effort is in solidarity with trade union mobilizations and workers self-organization at Amazon. It is also in solidarity with efforts by civil society to reign in Amazon's power.
Four people involved with the project shared more details in the socialist magazine Jacobin : At stake is a kind of corporate storytelling, which goes beyond crass propaganda but works to harness the imagination. Like so many corporations, Amazon presents itself as surfing the wave of the future, responding to the relentless and positive force of the capitalist market with innovation and optimism. Such stories neatly exonerate the company and its beneficiaries from the consequences of their choices for workers and their world...

WWS doesn't focus on science fiction. But it does show the radical power of the imagination that comes when workers don't just read inspiring words, but come together to write and thereby take the power of world-building and future-making back into their hands. This isn't finding individual commercial or literary success, but dignity, imagination, and common struggle... Our "Worker as Futurist" project returns the power of the speculative to workers, in the name of discovering something new about capitalism and the struggle for something different. We have tasked these workers with writing their own futures, in the face of imaginaries cultivated by Amazon that see the techno-overlords bestride the world and the stars.

Thanks to funding from Canada's arms-length, government-funded Social Sciences and Humanities Research Council, our team of scholars, teachers, writers, and activists has been able to pay Amazon workers (warehouse workers, drivers, copy editors, MTurk workers, and more) to participate in a series of skill-building writing workshops and information sessions. In each of these online forums, we were joined by experts on speculative fiction, on Amazon, and on workers' struggles. At the end of this series of sessions, the participants were supported to draft the stories they wanted to tell about "The World After Amazon...."

We must envision the futures we want in order to mobilize and fight for them together, rather than cede that future to those who would turn the stars into their own private sandbox. It is in the process of writing and sharing writing we can come to an awareness of something our working bodies know but that we cannot otherwise articulate or express. The rank-and-file worker — the target of daily exploitation, forced to build their boss's utopia — may have encrypted within them the key to destroying his world and building a new one.

A user writes: Multiple outlets are reporting that Apple TV Plus has cancelled Jon Stewart's popular show The Problem with Jon Stewart, reportedly over editorial disagreements with regards to planned stories on the People's Republic of China and AI. Fans and haters of Apple will both recall that Apple recently made changes to AirDrop, one of the few effective means Chinese dissidents and protesters had for exchanging information off-grid at scale, and will ask why Apple is apparently not only willing, but eager, to carry water for the PRC, overriding both human rights and practical business concerns in the process. "Apple approached Stewart directly and expressed its need for the host and his team to be 'aligned' with the company's views on topics discussed," reports The Verge, citing The Hollywood Reporter. "Rather than falling in line when Apple threatened to cancel the show, Stewart reportedly decided to walk."

Netflix said its effort to limit password sharing led to a 10.8% rise in subscriptions in the third quarter, a better-than-expected result that comes as the company plans to increase some prices in the U.S. and other markets. From a report: The streaming giant added 8.8 million subscribers in the third quarter with customer growth in every region, its largest quarterly customer gain since the second quarter of 2020. The company plans to immediately raise prices for its basic plan in the U.S., which is no longer available to new customers, to $11.99 from $9.99 and up the cost of its premium plan to $22.99 from $19.99.

It is also increasing some prices in the U.K. and France, though the cost of its ad-supported and standard ad-free plans are unchanged. The price increases are a sign of streamers' efforts to improve profitability and wean consumers off the low monthly subscription fees that drew users away from pricey cable bundles in the early days of streaming.

The U.S. government is receiving dozens of reports of unidentified anomalous phenomena (UAP) each month. "The office has received approximately 800 reports of unidentified objects to investigate as of this past April, up from 650 reports in August 2022, Sean Kirkpatrick, who heads the All-domain Anomaly Resolution Office at the Pentagon told CNN." From the report: The vast majority are benign objects, such as balloons or drones, but some may be the result of America's adversaries trying to spy on the US, said Kirkpatrick. "There are some indicators that are concerning that may be attributed to foreign activity, and we are investigating those very hard," said Kirkpatrick, speaking exclusively to CNN ahead of the release of the annual report on unidentified aerial phenomena.

A portion of the increase in reports comes from the Federal Aviation Administration, which monitors airspace around US airports starting to provide information to the Pentagon. About half of the reports contain enough data that they can be ruled out as "mundane things," such as errant balloons or floating trash, Kirkpatrick said, but 2-4% are truly anomalous and require further investigation.

Asked if the Pentagon could definitively identify a sighting of an unidentified object as belonging to a foreign adversary, Kirkpatrick said that his office is "looking at some very interesting indicators of things, and that's about all I can tell you." But the office, which has more than 40 employees and is expected to grow, can't say that for sure yet. "There are ways to hide in our noise that always concern me," Kirkpatrick said, referring to the extraneous readings picked up by US radars and other sensors. "I am worried from a national security perspective." "The Pentagon is preparing for a flood of new reports as it readies two new portals for submissions: one for historical sightings from current or former government employees and contractors and a second for public submissions of new reports," notes CNN.

"It is the opening of the public portal, still several months away, that Kirkpatrick says could flood the system with 'hundreds, if not thousands' of new reports to sort through."

Christopher Grimes reports via the Financial Times: Some of Netflix's competitors are reversing a streaming war tactic by licensing their old TV shows and movies to the streamer -- boosting its programming offerings but also potentially squeezing its profit margins, analysts say. Netflix relied heavily on programming that it licensed from other companies when it launched its streaming service in 2007. But after Walt Disney, NBCUniversal, Paramount and the then Time Warner launched their own streaming services, they pulled many of their shows from Netflix to avoid feeding a company that had grown into an arch-competitor. With legacy media groups under pressure to produce streaming profits, however, licensing revenue is looking attractive again -- even if it comes from Netflix. This summer, Warner Bros Discovery's HBO network began licensing a handful of older shows to Netflix, including Insecure, Six Feet Under, Ballers and Band of Brothers.

Analysts at Morgan Stanley said the return of licensing deals was a "long-term positive" for Netflix and would "pad" its lead over competitors in streaming. But the bank added that the cost of licensing -- along with the Netflix's investments in gaming and other sectors -- could add pressure to its profit margins in 2024. The analysts raised their outlook for Netflix's overall cash spending next year by $500mn to $17.7bn. Netflix will report results on Wednesday, with investors expected to focus on whether it plans to increase subscription prices and signs of progress on its new advertising tier. The latest data on its password sharing crackdown will also be watched.

[T]he studios' experiments with licensing deals appear to have given some old shows new life. After NBCUniversal licensed its show Suits -- which aired from 2011-19 and starred Meghan Markle -- to Netflix in June, the show experienced a revival. The legal drama was in the top spot on the Nielsen Streaming top 10 for three months, an example of the "Netflix effect" on older shows. Bloys said licensing shows to Netflix had also boosted traffic for the programs on Warner Discovery's Max streaming platform, home to HBO programming including Ballers, a sports drama that ran from 2015-19. Ballers entered the Nielsen top 10 after it went to Netflix, and Insecure, a comedy starring Issa Rae that ran from 2016-21, had a similar boost.

Godzilla and Godzilla Raids Again — two novellas based on Toho's first two Godzilla movies — were finally published in an English translation this month.

Both were written by science fiction author Shigeru Kayama, "who also penned the original scenarios from which the films in question were based," according to Our Culture magazine. And the book's translator calls Kayama both "a figure who is a little bit like Philip K. Dick in this country" and "the key person who developed the contours of the Godzilla story. I think it is no exaggeration to say that he perhaps the closest to being Godzilla's real father than anyone else. Without him, the monster we have today wouldn't exist." The original Godzilla film is a deeply powerful, mournful film that isn't just about a big monster stomping on buildings. It is a serious reflection on Japan's nuclear fears during the Cold War, which left it caught between heavily armed superpowers. Japan recognized that radioactive weapons of mass destruction being developed by the U.S. and U.S.S.R were threats that had the power to suddenly emerge and destroy its citizens and cities at any moment — like Godzilla. We should remember that in the film, it was hydrogen bomb testing in the Pacific that disturbed Godzilla, who then took revenge for his destroyed habitat by trampling Tokyo and blasting it with atomic rays...

Interestingly, in the novellas that I've translated, Kayama sometimes restored elements that the director and his assistants removed in the moviemaking process. Perhaps the most noticeable one is that in the scenario, Kayama wanted to begin with a long voice-over that talks directly about the horrors of atomic and hydrogen bombs. He envisioned that as the voice was speaking, the screen would show images from historical footage of Hiroshima and Nagasaki, as well as images of the tremendously unlucky (and ironically named) fishing vessel Lucky Dragon No. 5, which accidentally found itself in the path of an H-bomb test in the South Pacific in early 1954. (The horrific fate of this boat directly inspired the producer at Toho Studios to make the film.)

However, the director of the film, Ishiro Honda, and his assistant who helped with the screenplay both felt that this kind of direct commentary was too direct for a popular film, and so they toned down the "protest" element in the story. It's clear that they, like Kayama, wanted Godzilla to serve as a monstrous embodiment of radiation and all of the destruction that it could bring, but they also didn't point fingers at the U.S. military which had dropped the atomic bombs on Hiroshima and Nagasaki and was busily developing even more horrifying weapons. After all, the U.S.S.R. had built its own arsenal, and so nuclear weapons no longer belonged to a single country — the threat was broader than that. Plus, protest films rarely attracted a big, popular following. So, Honda and his crew toned down the outspoken language and imagery, but there was still imagery left enough for viewers in 1954 to recall Hiroshima, Nagasaki, and the Lucky Dragon. Interestingly, when Kayama published the novellas, he included an author preface that talks about the anti-nuclear movement and encourages readers to read Godzilla and Godzilla Raids Again as his contribution to that movement.
Next the translator hopes to create an English translation of the novel The Luminous Fairies and Mothra.

But for this book, he struggled with how to assign a gender to Godzilla. "Some people feel very viscerally, like the people at Toho studios feel very strongly that Godzilla is an 'it' and not a 'he' or 'she' or 'they,'" he told MovieWeb. "I kind of give my rationale for that choice in the afterward — Kayama thought about Godzilla as a stand-in for the nuclear bomb, and it was men in America who were developing the hydrogen bombs that frightened Japan so much in 1954. So maybe it's perhaps not inappropriate to call Godzilla 'he.'"

The BBC reports: Doctor Who's first writer could finally be recognised 60 years after he helped launch the hugely-popular series. Anthony Coburn penned the first four episodes of the sci-fi drama in 1963 — a story called An Unearthly Child. But after his second story did not air, the writer has been seen as a minor figure among some Doctor Who fans.

However, a campaign to erect a memorial to Coburn in his home town of Herne Bay, Kent, is gathering pace a month ahead of the show's 60th anniversary.
A local elected councillor told the BBC they're working to find a location for the memorial.

The BBC writes that Coburn's episode — broadcast November 23, 1963 — "introduced the character of The Doctor, his three travelling companions, and his time and space machine, the TARDIS, stuck in the form of a British police box." Richard Bignell, a Doctor Who historian, believes Coburn played a significant role in sowing the seeds of the programme's success. He said: "Although the major elements that would go on to form the core of the series were devised within the BBC, as the scriptwriter for the first story, Coburn was the one who really put the flesh on the bones of the idea and how it would work dramatically. "Many opening episodes of a new television series can be very clunky as they attempt to land their audience with too much information about the characters, the setting and what's going to happen, but Coburn was very reserved in how much he revealed, preserving all the wonder and mystery."
In 2013, the Independent reported: Mr Coburn's son claims that the BBC has been in breach of copyright since his father's death in 1977. He has demanded that the corporation either stop using the Tardis in the show or pay his family for its every use since then. Stef Coburn claims that upon his father's death, any informal permission his father gave the BBC to use his work expired and the copyright of all of his ideas passed to his widow, Joan. Earlier this year she passed it on to him.

He said: "It is by no means my wish to deprive legions of Doctor Who fans (of whom I was never one) of any aspect of their favourite children's programme. The only ends I wish to accomplish, by whatever lawful means present themselves, involve bringing about the public recognition that should by rights always have been his due, of my father James Anthony Coburn's seminal contribution to Doctor Who, and proper lawful recompense to his surviving estate."
Today jd (Slashdot reader #1,658) notes that Stef Coburn apparently has a Twitter feed, where this week Stef claimed he'd cancelled the BBC's license to distribute his father's episodes after being offered what he complained was "a pittance" to relicense them.

In response to someone who asked "What do you actually gain from doing this though?" Stef Coburn replied: "Vengeance." But elsewhere Stef Coburn writes "There are OTHER as yet unfulfilled projects & aspirations of Tony's (of one of which, I was a significant part, in his final year), which I would like to see brought to fruition. If Doctor Who is my ONLY available leverage. So be it!"

Stef Coburn also announced plans to publish his father's "precursor draft-scripts (At least one very different backstory; sans 'Timelords') plus accompanying notes, for the story that became 'The Tribe of Gum'."

The singer known as Tomberlin says their first five years in the music industry may have been a net loss, according to MarketWatch. Selling "merch[andise]" like t-shirts "is what really is covering your costs and hopefully helping you make, like, an actual profit."

And then... After being told she would have to hand over more than 40% of the money she collected from selling T-shirts and other items, Tomberlin refused to sell her merchandise at the venue and publicly spoke about a practice she calls robbery — venues taking cuts from bands' merchandise sales... Other musicians are also speaking out about the practice, and their complaints seem to be having an effect. Industry giant Live Nation Entertainment Inc. announced recently that it would stop collecting merch fees at nearly 80 of the smaller clubs it owns and operates and provide all bands that play at those venues with an additional $1,500 in gas cards and cash.

Musicians who spoke with MarketWatch remain unsatisfied, however. Because of the way the announcement is phrased, many think merch fees at Live Nation clubs are only being paused until the end of the year. The musicians said they also wonder about the roughly 250 other Live Nation concert facilities, as well as the hundreds of venues owned by other companies. A Live Nation spokesperson told MarketWatch the change is "open-ended."

[...] As Tomberlin continues on her current tour, she wonders if she will be able to make a profitable career in music. Of all her ways of earning money, streaming services like Spotify and Apple Music provide "the least amount of money," she said, and with tours not leaving her with any cash at the end, she feels that even modest ambitions are out of reach.
Musician Laura Jane Grace is even soliciting signers for an online petition demanding venues stop taking cuts of the musicians' merchandise sales...

Thanks to Slashdot reader quonset for sharing the news.

According to The Digital Bits, Best Buy will exit the physical media business as soon as the end of the first quarter of 2024. From a report: Best Buy has been phasing out DVDs from its stores, but The Digital Bits reports that Best Buy would even stop offering it on its site as well, signaling a complete break from physical media. The report noted that some studios have shifted their inventory of Blu-Ray and 4K Steelbook titles toward Amazon.

The move is another hint at the possible end of physical media as consumers gravitate towards streaming services and their extensive libraries, or digital downloads. This comes as one of the largest distributors of DVDs and Blu-Rays, Ingram Entertainment, said it was exiting the business just as Walmart is looking to take over management of Studio Distribution Services (SDS), which handles the distribution of physical media. Disney ceased selling physical media in Australia.

Google has agreed to stop advertising YouTube TV as "$600 less than cable" after losing an appeal of a previous ruling that went against the company. Google said it will "modify or cease the disputed advertising claim." From a report: The case was handled in the advertising industry's self-regulatory system, not in a court of law. The National Advertising Review Board (NARB) announced today that it rejected Google's appeal and recommended that the company discontinue the YouTube TV claim. YouTube TV launched in 2017 for $35 a month, but the base package is $72.99 after the latest price hike in March 2023. Google's "$600 less than cable" claim was challenged by Charter, which uses the brand name Spectrum and is the second-biggest cable company after Comcast. The National Advertising Division (NAD) previously ruled in Charter's favor but Google appealed the decision to the NARB in August.

"Charter contended the $600 figure was inaccurate, arguing that its Spectrum TV Select service in Los Angeles only cost around $219 a year more than Google's YouTube TV service," according to a MediaPost article in August. A Google ad claimed that YouTube TV provided $600 in "annual average savings" compared to cable as of January 2023. A disclosure on the ad said the price was for "new users only" and that the $600 annual savings was "based on a study by SmithGeiger of the published cost of comparable standalone cable in the top 50 Nielsen DMAs, including all fees, taxes, promotion pricing, DVR box rental and service fees, and a 2nd cable box."

At CES 2023, a startup called Displace introduced their "truly wireless" TV with swappable batteries and a vacuum suction system that can keep the display adhered to walls without traditional mounting. To address concerns about what would happen when those batteries become depleted or when the wall/surface the TV is mounted to cracks, Displace says it has designed a built-in landing gear safety system to protect the $3,000 wireless TV. The Verge reports: Here, friends, is where Displace's "self-lowering landing gear technology" comes in. And I'm just going to quote directly from the press release so you can get the full rundown on how it supposedly works: "Sensors within the Displace TV constantly measure the battery level and pressure in the vacuum suction system, analyze the wall's surface, and check leakage on the vacuum pumps. If the vacuum pumps are in danger of not maintaining a seal or the wall's integrity falters, the Displace TV automatically deploys four quick adhesives for stability and initiates a self-lowering landing gear system. The adhesives work as anchor points, as the Displace TV begins to lower itself gently on a zipline (from as high as 10 feet) and deploys a reusable foam at the bottom to protect the TV screen."

When a problem is detected, the Displace attaches an adhesive frame onto the wall and begins lowering the display to the floor (with rope) from that frame. As all of this is happening, the TV generates a lot of sound and even flashing lights in an attempt to keep the area clear of children or animals. Once it's safely on the ground, you can pull the frame off the wall and reinsert it into the back of the TV. [...] The self-landing technology works at heights of up to 10 feet. When you're ready to put the TV back in its place, you just push the foam feet back into the TV, replace the adhesive tapes, and that's it. You can watch a demo of the safety system on YouTube.

Sony is bringing its own movie streaming service to PlayStation consoles beginning today. From a report: Previously known as Bravia Core, the service is being rebranded to Sony Pictures Core as it arrives on the PS5 and PS4. "Once you sign up for Sony Pictures Core, you will be able to buy or rent up to 2,000 movies straight from your console," Sony's Evan Stern wrote in a blog post. "At launch, this will include blockbuster hits such as Spider-Man: Across the Spider-Verse, Spider-Man: No Way Home, Uncharted, The Equalizer, No Hard Feelings, Bullet Train, and Ghostbusters: Afterlife, among others."

Now, you can rent or buy those movies in any number of places. If you're wondering why you'd want to use Sony's service, the answer is video fidelity. As noted on the Bravia Core website, it includes what the company calls Pure Stream, "which can stream HDR movies at up to 80Mbps -- similar to 4K UHD Blu-ray -- on a wide range of content." That is a significantly higher bitrate than anything Netflix, Amazon Prime Video, Max, Vudu, or other streamers will give you. So, if you're a stickler for picture quality and have the right TV for it, you should notice greater detail when using Pure Stream. In addition to all that, Sony also claims it has the largest collection of IMAX Enhanced films of any streaming service.

Hugh Morris writes via the New York Times: When the musician and artist Paul Purgas was invited in 2017 by the National Institute of Design in Ahmedabad, India, to play some of the music he'd found in its archives that year, he was initially very keen. These were tapes that had been hidden from the public for decades; they proved the existence of a fertile avenue for electronic music in 1960s and '70s India, and he was determined for people to hear them. But as he went to use the institute's aging reel-to-reel machine, he got a nasty surprise: an electric shock. "I think that sobered me up," he said in an interview. The project, he realized, was about to become "a bit of a lifetime journey."

Purgas, 43, is a London-based sound artist and curator, and half of the electronic music duo Emptyset. Initially, he had been on the trail of the lost Moog synthesizer that the American experimentalist David Tudor used while in India, which led him to the library of the NID. In "a victory for good record keeping," Purgas found details of some unknown Tudor recordings noted in a handwritten logbook by a diligent archivist in the 1960s. He requested them from the archives, and was presented with box after box of carefully annotated tapes, all taken from a neglected cupboard. Purgas returned to England to undertake training in tape restoration to properly conserve what he'd found: music from a group of Indian composers who, aided initially by Tudor, had used the Moog and some accompanying homemade modular devices between 1969 and 1972 to create some of India's earliest electronic music.

Following a 2020 BBC radio documentary, "Electronic India," in which Purgas situated the music in its cultural context, a new compilation -- "The NID Tapes: Electronic Music from India 1969-1972," out Friday -- presents the restored pieces in their full variety. There are manipulated field recordings, pieces linked to birds and nature, compositions inspired by Indian classical music, imagined voyages to outer space, and tracks reminiscent of bleep techno or Aphex Twin. What the recordings demonstrate, Purgas said, is "electronic sound and music existing free from any baggage," away from "any vestiges of what could be conceived as a kind of Western continuum."

Netflix plans to raise the price of its ad-free service a few months after the continuing Hollywood actors strike ends, the latest in a series of recent price increases by the country's largest streaming platforms. From a report: The streaming service is discussing raising prices in several markets globally, but will likely begin with the U.S. and Canada, according to people familiar with the matter. It couldn't be learned how much Netflix will raise prices by or when exactly the new prices will take effect.

Over the past year or so, the cost of major ad-free streaming services has gone up by about 25%, as entertainment companies look to bring their streaming platforms to profitability and lead price-conscious customers to switch to their cheaper and more-lucrative ad-supported plans. Streamers are also starting to look at how they can create new pricing tiers around exclusive programming, such as live sports, without running the risk of driving people away from their core offerings.

Mia Sato writes via The Verge: Spotify is rolling out auto-generated podcast transcripts to more creators in the coming weeks, the company announced Thursday. The text transcripts will also be time-synced so listeners can visually follow along as a podcast episode progresses. Transcripts are available by scrolling down below the podcast player and tapping into a "read along" section. A transcription of a show makes the podcast more accessible to users and allows listeners to skip around and skim an episode without listening through.

Spotify says "millions" of podcast episodes will get the tool, and in the future, creators could add media to transcripts -- a useful feature if a creator is describing an image on the show, for example. Beyond transcripts, mobile podcast listeners globally will now be able to jump around an episode using chapters as well. Podcasters can add time-stamped chapters to their shows that briefly describe a segment of the show, allowing listeners to preview topics or start listening at specific points. The feature follows the recent addition of an AI-generated voice cloning tool that translates podcasts into different languages.

At the beginning of The Creator a narrator describes AI-powered robots that are "more human than human." From the movie site Looper: It's in reference to the novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick, which was adapted into the seminal sci-fi classic, "Blade Runner." The phrase is used as the slogan for the Tyrell Corporation, which designs the androids that take on lives of their own. The saying perfectly encapsulates the themes of "Blade Runner" and, by proxy, "The Creator." If a machine of sufficient intelligence is indistinguishable from humans, then shouldn't it be considered on equal footing as humanity?
The Huffington Post calls its "the pro-AI movie we don't need right now" — but they also praise it as "one of the most astonishing sci-fi theatrical experiences this year." Variety notes the film was co-written and directed by Gareth Edwards (director of the 2014 version of Godzilla and the Star Wars prequel Rogue One), working with Oscar-winning cinematographer Greig Fraser (Dune) after the two collaborated on Rogue One. But what's unique is the way they filmed it: adding visual effects "almost improvisationally afterward.

"Achieving this meant shooting sumptuous natural landscapes in far-flung locales like Thailand or Tibet and building futuristic temples digitally in post-production..."

IndieWire gushes that "This movie looks fucking incredible. To a degree that shames most blockbusters that cost three times its budget." They call it "a sci-fi epic that should change Hollywood forever." Once audiences see how "The Creator" was shot, they'll be begging Hollywood to close the book on blockbuster cinema's ugliest and least transportive era. And once executives see how much (or how little) "The Creator" was shot for, they'll be scrambling to make good on that request as fast as they possibly can.

Say goodbye to $300 million superhero movies that have been green-screened within an inch of their lives and need to gross the GDP of Grenada just to break even, and say hello — fingers crossed — to a new age of sensibly budgeted multiplex fare that looks worlds better than most of the stuff we've been subjected to over the last 20 years while simultaneously freeing studios to spend money on the smaller features that used to keep them afloat. Can you imagine...? How ironic that such fresh hope for the future of hand-crafted multiplex entertainment should come from a film so bullish and sanguine at the thought of humanity being replaced by A.I [...]

The real reason why "The Creator" is set in Vietnam (and across large swaths of Eurasia) is so that it could be shot in Vietnam. And in Thailand. And in Cambodia, Nepal, Indonesia, and several other beautiful countries that are seldom used as backdrops for futuristic science-fiction stories like this one. This movie was born from the visual possibilities of interpolating "Star Wars"-like tech and "Blade Runner"-esque cyber-depression into primordially expressive landscapes. Greig Fraser and Oren Soffer's dusky and tactile cinematography soaks up every inch of what the Earth has to offer without any concession to motion capture suits or other CGI obstructions, which speaks to the truly revolutionary aspect of this production: Rather than edit the film around its special effects, Edwards reverse-engineered the special effects from a completed edit of his film... Instead of paying a fortune to recreate a flimsy simulacrum of our world on a computer, Edwards was able to shoot the vast majority of his movie on location at a fraction of the price, which lends "The Creator" a palpable sense of place that instantly grounds this story in an emotional truth that only its most derivative moments are able to undo... [D]etails poke holes in the porous border that runs between artifice and reality, and that has an unsurprisingly profound effect on a film so preoccupied with finding ghosts in the shell. Can a robot feel love? Do androids dream of electric sheep? At what point does programming blur into evolution...?

[T]he director has a classic eye for staging action, that he gives his movies room to breathe, and that he knows that the perfect "Kid A" needle-drop (the album, not the song) can do more for a story about the next iteration of "human" life than any of the tracks from Hans Zimmer's score... [T]here's some real cognitive dissonance to seeing a film that effectively asks us to root for a cuter version of ChatGPT. But Edwards and Weitz's script is fascinating for its take on a future in which people have programmed A.I. to maintain the compassion that our own species has lost somewhere along the way; a future in which technology might be a vessel for humanity rather than a replacement for it; a future in which computers might complement our movies rather than replace our cameras.

U2's inaugural performance at the opening of Las Vegas's Sphere included a generative AI video collage projected hundreds of feet into the air — showing hundreds of surreal renderings of Elvis Presley.

An anonymous reader shares this report from Time magazine: The video collage is the creation of the artist Marco Brambilla, the director of Demolition Man and Kanye West's "Power" music video, among many other art projects. Brambilla fed hours of footage from Presley's movies and performances into the AI model Stable Diffusion to create an easily searchable library to pull from, and then created surreal new images by prompting the AI model Midjourney with questions like: "What would Elvis look like if he were sculpted by the artist who made the Statue of Liberty...?"

While Brambilla's Elvises prance across the Sphere's screen — which is four times the size of IMAX — the band U2 will perform their song "Even Better Than The Real Thing," as part of their three-month residency at the Sphere celebrating their 1991 album Achtung Baby... Earlier this year, U2 commissioned several artists, including Brambilla and Jenny Holzer, to create visual works that would accompany their performances of specific songs. Given U2's love for the singer and the lavish setting of the Sphere, Brambilla thought a tribute to Elvis would be extremely fitting. He wanted to create a maximalist work that encapsulated both the ecstatic highs and grimy lows of not only Elvis, but the city of Las Vegas itself. "The piece is about excess, spectacle, the tipping point for the American Dream," Brambilla said in a phone interview.

Brambilla was only given three-and-a-half months to execute his vision, less than half the time that he normally spends on video collages. So he turned to AI tools for both efficiency and extravagance. "AI can exaggerate with no end; there's no limit to the density or production value," Brambilla says. And this seemed perfect for this project, because Elvis became a myth; a larger-than-life character..." Brambilla transplanted his MidJourney-created images into CG (computer graphics) software, where he could better manipulate them, and left some of the Stable Diffusion Elvis incarnations as they were. The result is a kaleidoscopic and overwhelming video collage filled with video clips both historical and AI-generated, that will soon stretch hundreds of feet above the audience at each of U2's concerts.

"I wanted to create the feeling that by the end of it," Brambilla says, "We're in a place that is so hyper-saturated and so dense with information that it's either exhilarating or terrifying, or both."
Brambilla created an exclusive video excerpting from the larger collage for TIME. The magazine reports that one of the exact prompts he entered was:

"Elvis Presley in attire inspired by the extravagance of ancient Egypt and fabled lost civilizations in a blissful state. Encircling him, a brigade of Las Vegas sorceresses, twisted and warped mid-chant, reflect the influence of Damien Hirst and Andrei Riabovitchev, creating an atmosphere of otherworldly realism, mirroring the decadence and illusion of consumption."

It's official: Netflix has shipped its last DVD. "For 25 years, we redefined how people watched films and series at home, and shared the excitement as they opened their mailboxes to our iconic red envelopes," says Netflix in a blog post. "It's the end of an era, but the DVD business built our foundation for the years to come -- giving members unprecedented choice and control, a wide variety of titles to choose from and the freedom to watch as much as they want."

Netflix announced the shut down of its DVD business in April. Here's an infographic the company shared in its post:

Starting on November 1st, Disney Plus will begin restricting password sharing in Canada. The Verge reports: Disney has not provided many details on how it plans to enforce this policy -- its email merely states that "we're implementing restrictions on your ability to share your account or login credentials outside of your household." The announcement reads more like a strong finger wag than anything else. "You may not share your subscription outside of your household," reads the company's updated Help Center.

A new "account sharing" section in the Canadian subscriber agreement also notes that the company may "analyze the use of your account" and that failing to comply with the agreement could lead to account limits or termination. After Netflix started cracking down on password sharing in the U.S., it resulted in the "four single largest days of U.S. user sign-ups since January 2019," according to Variety. The streaming giant later went on to add 2.6 million U.S. subscribers in July.