An anonymous reader quotes a report from Ars Technica: Sports leagues are urging the US to require "instantaneous" takedowns of pirated livestreams and new requirements for Internet service providers to block pirate websites. The Digital Millennium Copyright Act of 1998 requires websites to "expeditiously" remove infringing material upon being notified of its existence. But pirated livestreams of sports events often aren't taken down while the events are ongoing, said comments submitted last week by Ultimate Fighting Championship, the National Basketball Association, and National Football League.

The "DMCA does not define 'expeditiously,' and OSPs [online service providers] have exploited this ambiguity in the statutory language to delay removing content in response to takedown requests," the leagues told the US Patent and Trademark Office in response to a request for comments on addressing counterfeiting and piracy. The leagues urged the US "to establish that, in the case of live content, the requirement to 'expeditiously' remove infringing content means that content must be removed 'instantaneously or near-instantaneously' in response to a takedown request." The leagues claimed the change "would be a relatively modest and non-controversial update to the DMCA that could be included in the broader reforms being considered by Congress or could be addressed separately." They also want stricter "verification measures before a user is permitted to livestream."

The UFC separately submitted comments on its own, urging the US to require that ISPs block pirate sites. The UFC said that a "significant and growing" number of websites, typically operated from outside the US, don't respond to takedown requests and thus should be blocked by broadband network operators. The UFC wrote: "Unlike many other jurisdictions around the world, the US lacks a 'site-blocking' regime whereby copyright owners may obtain no-fault injunctions requiring domestic Internet service providers to block websites that are primarily geared at infringing activity. A 'site-blocking' regime, with appropriate safeguards to prevent abuse, would substantially facilitate all copyright owners' ability to address piracy, including UFC's." Website-blocking is bound to be a controversial topic, although the Federal Communications Commission's now-repeated net neutrality rules only prohibited blocking of "lawful Internet traffic." While the UFC said it just wants "websites that are primarily geared at infringing activity" to be blocked, a site-blocking regime could be used more expansively if there aren't strict limits.

An anonymous reader quotes a report from Ars Technica: Dolby Laboratories today announced Dolby Atmos FlexConnect, a feature with the potential to add flexibility and simplicity to home theater audio setups. The company says FlexConnect allows supporting TVs to optimize Dolby Atmos audio output among the TV's speakers and paired wireless speakers. Currently, Dolby is only announcing the feature with upcoming TCL TVs, but it could expand elsewhere. FlexConnect, which will work with Atmos, 5.1, and stereo sound, is about adapting to people's audio setups, with considerations for things like speaker count and placement. The upcoming feature aims to bolster Atmos audio in situations where speaker placement is limited due to obstacles like room size, furniture, or outlet locations.

According to Dolby, FlexConnect will mean users can hear the same experience regardless of where they're sitting in the room, and that audio is tweaked based on each speaker's location and capabilities. Ars Technica asked Dolby to elaborate on this, and a company spokesperson told us: "After each speaker is placed, the TV will undergo an automatic calibration using acoustic mapping, [using TV microphones], to understand the location of each speaker. The TV then intelligently and seamlessly optimizes the sound image after analyzing this data combined with information the TV can gather on each speaker's acoustic capabilities. Together, this information allows the TV to adjust the rendering of each speaker to optimize the sound to ensure listeners are enjoying a great audio experience."

An example of how FlexConnect could adapt audio based on speaker capabilities is with low frequencies, which many TVs struggle with. If there's a more capable speaker connected, the TV's speakers could "offload the bass to these speakers, which frees up power to allocate to other parts of the frequency spectrum," Dolby's spokesperson said. "This could allow the TV speakers to allocate more power to dialogue, ensuring the best combination of bass and intelligibility," the rep said. Dolby also provided an example of how FlexConnect could adapt audio based on speaker location. If a user puts two wireless speakers in the back of the room, FlexConnect "will put more of the audio load onto the TV speakers so that the TV speakers cover the front soundstage and the dialogue." But if the wireless speakers were in the front of the room, the TV/center speakers would focus on dialogue.

The number of titles on streaming services jumped 39% over the past two years to 2.35 million, according to a report released Monday by market researcher Nielsen. From a report: Add in traditional broadcast and cable channels and the number of individual viewing options climbed to 2.7 million. The figures reflect movies and shows available in the US, Canada, the UK, Mexico and Germany. Netflix and Disney+ are among 167 streaming providers, up from 118 two years ago. The average time it takes someone to find something to watch has risen to more than 10 minutes from a little over seven minutes in 2019, Nielsen said.

Last year movie theaters offered $3 movie tickets for "National Cinema Day," attracting a surge of more than 8.1 million movie-goers (compared to just 1.7 million the day after). So they're doing it again...

Today more than 3,000 movie theaters in the U.S. and Canada — with approximately 30,000 screens — are offering $4 tickets for every show (including IMAX and Dolby screenings) in a special one-day event. (The U.K. will also celebrate "National Cinema Day" — but in six days, on September 2nd.)

Variety notes that last year's event brought the highest one-day attendance for all of 2022, and "All of that foot traffic in theaters usually means there will be more popcorn and concession stand sales." So the National Association of Theatre Owners's nonprofit, the Cinema Foundation — decided to do it again this year just two days after the first event had ended. CNBC reports: While last year's event was held in part because of a need to lure audiences back to theaters after two years away following pandemic shutdowns, Bryan Braunlich, executive director of the non-profit Cinema Foundation, says that the hope for this year's Cinema Day is just for audiences to enjoy being at the movies... Nationwide chains including AMC and Regal will be participating. For a full list of theaters taking part in National Cinema Day, click here...

If this year's installment proves to once again be a success, Braunlich says the hope is to make National Cinema Day an annual event. "If this continues every year, which we hope it will, the long term goal is to eventize it," he says. "Make it less about the price and more like little Comic Cons in every city where you never know what celebrity is going to hop into your theater."
This year's event includes a limited re-release of some classic films, including the original Jurassic Park.

An anonymous reader quotes a report from Teslarati: Tesla has won permit approval for its Diner and Drive-In Movie Supercharger in Los Angeles, according to documents seen by Teslarati from the LA Department of Building and Safety. Tesla has been teasing the possibility for several years of a drive-in movie theater and diner Supercharger site that would host 32 stalls, two screens to show famous movie clips, and a restaurant with rooftop seating. Initially, it was planned to be built on a series of lots in Santa Monica. However, the location was moved East to Hollywood and will now be placed on located at 7001 W. Santa Monica Boulevard. As the project has been moving through the normal regulatory processes, Tesla has been receiving some approvals and requests for corrections on many of its filed applications to begin construction at the Diner/Supercharger.

Amazon has filed a lawsuit against a group of online stores that sell pirated DVDs of key titles such as "The Lord of the Rings: The Rings of Power" and "The Peripheral." TorrentFreak reports: In a complaint filed at a California federal court, Amazon accuses seven websites of selling pirated discs. These sites, including dvdshelf.com.au, dvds.trade, and dvdwholesale.co.uk, are presumably operated by the same group, using a variety of companies. For the public at large, it may not be immediately obvious that these discs are pirated. However, since Amazon doesn't produce or sell DVDs for these Prime Video series, there is no doubt that they are created from illicit sources.

The piracy operation consists of at least seven websites and these all remain online today. According to Amazon, the sites ship to customers in the U.S. and abroad, twenty-four hours a day, seven days a week, resulting in mass copyright infringement. Before going to court, investigators conducted more than twenty test purchases of pirated DVDs. After these orders arrived, Amazon sent the discs to the Motion Picture Association which independently confirmed that they were all pirated.

The complaint lists Yangchun Zhang as a key suspect. This person presumably resides in China and obtained the 'DVD Shelf' trademark in Australia. In addition, Zhang is also listed as the registrant of several of the domain names involved. The complaint accuses Zhang and the others of both copyright and trademark infringement. Through the lawsuit (PDF), Amazon hopes to recoup damages, which can run in the millions of dollars. Another key priority is to shut the sites down and Amazon asks the court for an injunction to stop all infringing activity.

Hollywood studios have presented a new proposal to writers that includes the highest wage increase in 35 years, protections against the impact of artificial intelligence, and other provisions. CBS News reports: Writers have been picketing outside major studios for over 100 days, surpassing the 2007-2008 strike. One of the major sticking points between the two sides was their stark differences in wage increases and residuals. The proposal sent to the Writers Guild of America on Aug. 11 includes a 5% increase in the first year of the contract, then 4% the next year, and 3.5% in the third, totaling a compounded 13% increase. Before the WGA went on strike on May 2, the AMPTP offered writers 4%-3%- 2% in the respective years, or 9% over the duration of the contract. The recent offer does not match the WGA's demand of 6%-5%-5% in the respective years but does bring them from $9,888 a week to $11,371 a week for guarantees of up to 9 weeks.

They also moved to guarantee writers a minimum of 10 weeks of employment, a proposal they initially refused before the strike. AMPTP also increased the total domestic and foreign residuals for writers from $72,067 to $87,546 per episode over three years. Additionally, the union seemed to cave on the WGA's proposal to implement a viewership-based streaming residuals model. "For the first time, viewership data in the form of quarterly confidential reports is to be provided to the WGA that will include total SVOD view hours per title. This increased transparency will enable the WGA to develop proposals to restructure the current SVOD residual regime in the future," AMPTP wrote in the offer. Previously, the studios flat-out rejected the proposal and refused to make a counter, according to the WGA.

Studios also included a tenet regarding artificial intelligence protections in the proposed deal. "The Companies confirm that because [Generative Artificial Intelligence] is not a person, it is not a 'writer' or 'professional writer' as defined in this MBA and, therefore, written material produced by GAI will not be considered literary material under this or any prior MBA," the AMPTP wrote in the offer. The union continued: "The proposal provides important safeguards to prevent writers from being disadvantaged if any part of the script is based on GAI-produced material, so that the writer's compensation, credit and separated rights will not be affected by the use of GAIproduced material." Before the writers went on strike, the studios rejected the proposal and countered by "offering annual meetings to discuss advancements in technology," according to the WGA.

Amazon has launched a new Fire TV Channels app, giving Fire TV customers access to over 400 free ad-supported TV (FAST) channels, including ABC News, CBS Sports, Fox Sports, MLB, Martha Stewart and more. From a report: Alongside the app launch, the company also announced new content providers, such as Variety, Rolling Stone, The Hollywood Reporter, Billboard, GameSpot, Looper and Funny or Die, among others. Amazon will continue adding more FAST channels over time, the company wrote in the press release. First introduced in May, Fire TV Channels are available on Fire TV-branded smart TVs and streaming devices. The new app offers a single destination for users to quickly access thousands of live and on-demand titles across sports, news, entertainment, cooking, gaming and more. Customers can find the Fire TV Channels app via the "Your Apps and Channels" section, the Free icon in the navigation bar or labeled content rows throughout the Fire TV user interface. They also can ask Alexa to "Play Fire TV Channels." No downloads are required to watch FAST channels on Fire TV.

An anonymous reader shared this report from IGN: A demo for the unofficial fan game Twin Peaks: Into the Night has been released, allowing players to explore the weird and wonderful world of David Lynch and Mark Frost's '90s TV show in a PS1-style adaptation... developed by Jean Manzoni and Lucas Guibert of the Blue Rose Team. The game is now available to download on PC via itch.io, with its creators welcoming feedback on the gameplay experience... "We hope you'll enjoy playing it. As a quick reminder, this is a free fan game made by a very small team of two on our free time. Please take this into consideration... The demo is intended to show you the direction we're taking, and we've put our hearts at it. We're already working on the next release."

Although the game shares no affiliation with the show or its creators, it promises an "experience that will immerse you directly into the unique atmosphere of the show" by offering players the opportunity to step into the shoes of Cooper to solve the mystery while enjoying a slice of cherry pie and a damn fine cup of coffee.
More details from Engadget: The graphics are retro and decidedly PS1-flavored, which makes sense given how the show premiered in 1990. The gameplay looks to be full of exploration, complete with conversations with the town's many oddball residents, though there's a survival horror element reminiscent of the original Resident Evil titles. This is also an appropriate design choice, as the show pits Agent Cooper against foes both physical and supernatural...

The creators have announced that the game will be free when it launches, so that should clear up any potential legal hurdles moving forward.

Nearly seven decades after he died, James Dean "has been cast as the star in a new, upcoming movie," reports the BBC: A digital clone of the actor — created using artificial intelligence technology similar to that used to generate deepfakes — will walk, talk and interact on screen with other actors in the film...

This is the second time Dean's digital clone has been lined up for a film. In 2019, it was announced he would be resurrected in CGI for a film called Finding Jack, but it was later cancelled. Travis Cloyd, chief executive of immersive media agency WorldwideXR (WXR), confirmed to BBC, however, that Dean will instead star in Back to Eden, a science fiction film in which "an out of this world visit to find truth leads to a journey across America with the legend James Dean". The digital cloning of Dean also represents a significant shift in what is possible. Not only will his AI avatar be able to play a flat-screen role in Back to Eden and a series of subsequent films, but also to engage with audiences in interactive platforms including augmented reality, virtual reality and gaming.

The technology goes far beyond passive digital reconstruction or deepfake technology that overlays one person's face over someone else's body. It raises the prospect of actors — or anyone else for that matter — achieving a kind of immortality that would have been otherwise impossible, with careers that go on long after their lives have ended. But it also raises some uncomfortable questions. Who owns the rights to someone's face, voice and persona after they die? What control can they have over the direction of their career after death — could an actor who made their name starring in gritty dramas suddenly be made to appear in a goofball comedy or even pornography? What if they could be used for gratuitous brand promotions in adverts...? Dean's image is one of hundreds represented by WRX and its sister licensing company CMG Worldwide — including Amelia Earhart, Bettie Page, Malcolm X and Rosa Parks...

Voice actors, in particular, have been leading the conversation and working across acting guilds to form a unified front in protecting the rights and careers of actors... Cloyd acknowledges the potential for fewer acting opportunities but offers a "glass-half-full" perspective toward employing dead actors. "At the end of the day, it creates lots of jobs," he says, referring to the other technical and film industry jobs the technology could generate. "So even though it could be jeopardising one person's role or job, at the same time, it's creating hundreds of jobs in regards to what it takes to do this at a high level."

If the dead — or rather, their digital clones — are damned to an eternity of work, who benefits financially? And do the dead have any rights? Simply put, the rules are murky and, in some regions of the world, non-existent.
In June Rolling Stone published this advice from Samuel L. Jackson. "Future actors should do what I always do when I get a contract and it has the words 'in perpetuity' and 'known and unknown' on it: I cross that shit out. It's my way of saying, 'No, I do not approve of this.'"

Netflix's 25-year-old delivery service for DVDs (in red envelopes) will go dark on September 29th. But that delivery service's final remaining customers can opt-in "to potentially receive up to 10 extra discs," reports NPR. "Let's have some fun for our finale!" says an email from the company. (Though Business Insider points out that "Customers won't know what movies they'll get; the films will be chosen from what's in their queue.")

NPR notes there's an even bigger mystery: Netflix's promotional email doesn't explicitly tell customers what to do with those discs. This is causing confusion among customers, and debate among the members of online communities like Reddit... A Netflix spokesperson told NPR the company is indeed expecting to get those discs back, and plans to release more specifics about winding down its DVD business in a month or so.

Attorney Lindsay Spiller of the San Francisco entertainment and business law firm Spiller Law said Netflix couldn't give the DVDs away even if it wanted to. "The filmmakers and property rights owners give Netflix a license, and then they can sub-license it to their subscribers," Spiller said. "But they can't give anybody ownership. They don't have it themselves."
At its peak, the service had 40 million subscribers, reports Today. (They add that the first DVD Netflix ever shipped was Beetlejuice — and the most-shipped DVD ever was The Blind Side.)

A quarter of a century later, Netflix "has sent out more than 5 billion DVDs to customers since launching in 1998," NPR notes. "The discs are not easily recyclable. Most of them end up in landfill."

At the Washington Post, David Betancourt's title is "reporter focusing on comic book culture."

Saturday he wrote that the Blue Beetle movie "isn't just a good superhero movie, it's the best film from DC in its modern era, this past decade marked by their struggle to catch up to Marvel Studios..." "Blue Beetle" has heart. "Blue Beetle" has soul... There's a feeling that those of us who love superhero cinema get when we know we've seen something special. The feeling that compelled us to buy a ticket for a midnight screening back in the day. That feeling that makes you see a superhero flick four to five times in theaters because you want to see it again and can't wait for it to arrive on home video. "Blue Beetle" will leave you feeling that way when you walk out of the theater. It certainly made me feel that way...

Xolo Maridueña as Jaime Reyes (the kid under the Blue Beetle armor) gives a performance that I can only describe as Downey-esque. Yes, I have no qualms in saying "Blue Beetle" gave me "Iron Man"-in-2008 vibes. Not just in the individual performance of the lead actor or the high-tech suit of armor, but also in the feeling that this is the start of something big. The second "Blue Beetle's" credits started rolling I knew I had seen the best DC movie of the last decade. The movie had heart. Humor. Multiple complex villains...
The DC movie has a 91% audience score and a 75% critics' score on Rotten Tomatoes, notes this analysis from Forbes: The DC movie is projected to make between $25 million to $32 million through Sunday, Variety reported, though Deadline puts it at $25 million, making it DC's latest underperforming film as it struggles to compete with rival Marvel... By comparison, Marvel's Guardians of the Galaxy Vol. 3 pulled in $118.4 million in its opening weekend in May, while Ant-Man and the Wasp: Quantumania grossed $106.2 million in its opening weekend in February and Sony's Spider-Man: Across the Spider-Verse grossed $120.7 million in its first weekend.
"Warner Bros. has experienced underperformance with recent superhero films like Black Adam, Shazam! Fury of the Gods, and The Flash," writes Collider: Originally designed as a direct-to-streaming title, Blue Beetle now serves as the second-last installment of a bygone era of the DC Extended Universe, which will be rebooted under the supervision of James Gunn and Peter Safran with Superman: Legacy in 2025. The current DCEU era will officially come to a close with Aquaman and the Lost Kingdom later this year, which has a larger overall connection with the series, while Blue Beetle is a mostly standalone story. The movie's opening is in the same range as Birds of Prey some years ago. That film is generally considered to have underperformed at the box office, finishing with less than $100 million domestically and just around $200 million worldwide...

Barbie will take second place with an estimated $20 million fifth weekend, after grossing $6 million on Friday. By Sunday, the film's running domestic box office haul should hit $566 million. A few days after that, it'll overtake The Super Mario Bros. Movie's $574 million lifetime haul to become the year's biggest film...

[Oppenheimer] is also passing $700 million as we speak.

In 1995 Bill Watterson walked away from "the madness that had consumed him for practically his entire adulthood," writes the American Conservative.

Though everyone loved his Calvin & Hobbes comic strip, "I had virtually no life beyond the drawing board," he said of the years leading up to the decision... So it came as some surprise earlier this year when Watterson's publisher announced his first new book in nearly thirty years. The Mysteries is a "modern fable"... ["For the book's illustrations, Watterson and caricaturist John Kascht worked together for several years in unusually close collaboration," explains the upcoming book's web page. "Both artists abandoned their past ways of working, inventing images together that neither could anticipate — a mysterious process in its own right."] At seventy-two pages, the book itself is a slight thing, in no way a return to the daily grind of the funny pages. It is being sold exclusively in print. And, typical of Watterson, press access is limited. [Publisher] Andrews McMeel is not sending review copies until the week of its publication in early October...

In the years since the strip's end, Watterson has indicated that there was something false inherent to Calvin and Hobbes, some impurity either in his approach or encoded in the strip itself that made it impossible to continue in good faith. That, combined with the fight over licensing with his syndicate, crushed him. "I lost the conviction that I wanted to spend my life cartooning," he remembers realizing in 1991, four years before he ended the strip. Beyond stray comments such as this one, he has never forthrightly explained where exactly he went wrong. But I think I have an explanation...

"Work and home were so intermingled that I had no refuge from the strip when I needed a break," Watterson recalls. "Day or night, the work was always right there, and the book-publishing schedule was as relentless as the newspaper deadlines. Having certain perfectionist and maniacal tendencies, I was consumed by Calvin and Hobbes." By Watterson's own admission, he cannot accurately recall a whole decade of his life because of his "Ahab-like obsession" with his work. "The intensity of pushing the writing and drawing as far as my skills allowed was the whole point of doing it," he says. "I eliminated pretty much everything from my life that wasn't the strip." While Watterson's wife, Melissa Richmond, organized everything around him, he furthered his isolation, burrowing ever more deeply into the strip's world. There was no other way, he believed, to keep its integrity absolute. "My approach was probably too crazy to sustain for a lifetime," he says, "but it let me draw the exact strip I wanted while it lasted...."

But Watterson had designed a world for himself so self-contained that any disruption could mean its destruction: "I just knew it was time to go." This much became clear in the middle of the licensing fight. It took up so much of his energy that he lost his lead time on the strip and found himself in a situation where he was drawing practically every single comic on press night. After a few weeks of this, he broke down. "I was in a black despair," he says. "I was absolutely frantic. I had to publish everything I thought of, no matter what it was, and I found that idea almost unbearable." His wife saw him spiraling out of control and drew up a schedule that helped him slowly, over the course of six months, rebuild his lead time. Not long after, Watterson crashed his bike, bruised a rib, and broke a finger. He was so afraid of losing his lead again that he propped his drawing board on his knees in his sickbed and drew anyway. That freaked him out, too, and so gradually he scaled his life down to the point where nothing unpredictable could happen...

Watterson compares ending Calvin and Hobbes to reaching the summit of a high mountain... He had no desire to return whence he came. And he couldn't go any higher; no one can ascend into the air itself. So he took his next best option. He jumped.

Long-time Slashdot reader bshell shared this announcement from the Internet Archive: Some of the world's largest record labels, including Sony and Universal Music Group, filed a lawsuit against the Internet Archive and others for the Great 78 Project, a community effort for the preservation, research and discovery of 78 rpm records that are 70 to 120 years old.

The project has been in operation since 2006 to bring free public access to a largely forgotten but culturally important medium. Through the efforts of dedicated librarians, archivists and sound engineers, we have preserved hundreds of thousands of recordings that are stored on shellac resin, an obsolete and brittle medium. The resulting preserved recordings retain the scratch and pop sounds that are present in the analog artifacts; noise that modern remastering techniques remove.
"The labels' lawsuit said the project includes thousands of their copyright-protected recordings," reports Reuters, including Bing Crosby's "White Christmas" and Chuck Berry's "Roll Over Beethoven."

"The lawsuit said the recordings are all available on authorized streaming services and 'face no danger of being lost, forgotten, or destroyed.'" The labels' lawsuit filed in a federal court in Manhattan said the Archive's "Great 78 Project" functions as an "illegal record store" for songs by musicians including Frank Sinatra, Ella Fitzgerald, Miles Davis and Billie Holiday. They named 2,749 sound-recording copyrights that the Archive allegedly infringed. The labels said their damages in the case could be as high as $412 million.

An anonymous reader quotes a report from Ars Technica: Late last week, MSN.com's Microsoft Travel section posted an AI-generated article about the "cannot miss" attractions of Ottawa that includes the Ottawa Food Bank, a real charitable organization that feeds struggling families. In its recommendation text, Microsoft's AI model wrote, "Consider going into it on an empty stomach." Titled, "Headed to Ottawa? Here's what you shouldn't miss!," (archive here) the article extols the virtues of the Canadian city and recommends attending the Winterlude festival (which only takes place in February), visiting an Ottawa Senators game, and skating in "The World's Largest Naturallyfrozen Ice Rink" (sic).

As the No. 3 destination on the list, Microsoft Travel suggests visiting the Ottawa Food Bank, likely drawn from a summary found online but capped with an unfortunate turn of phrase: "The organization has been collecting, purchasing, producing, and delivering food to needy people and families in the Ottawa area since 1984. We observe how hunger impacts men, women, and children on a daily basis, and how it may be a barrier to achievement. People who come to us have jobs and families to support, as well as expenses to pay. Life is already difficult enough. Consider going into it on an empty stomach."

That last line is an example of the kind of empty platitude (or embarrassing mistaken summary) one can easily find in AI-generated writing, inserted thoughtlessly because the AI model behind the article cannot understand the context of what it is doing. The article is credited to "Microsoft Travel," and it is likely the product of a large language model (LLM), a type of AI model trained on a vast scrape of text found on the Internet.

Powered by shows like "Suits" on Netflix, streaming's share of U.S. viewing time grew to a new high in July, while television viewing fell below 50% for the first time, according to new Nielsen data. From a report: The milestone is the latest sign of the rapid erosion of the cable-TV bundle, which has lost about a quarter of its subscribers over the past decade, as more Americans cut the cord in favor of streaming services like Netflix, Google's YouTube and Disney's Hulu. Cable television accounted for 29.6% of total U.S. viewing time in July, while broadcast attracted 20%, Nielsen said in a release published Tuesday.

Streaming services, meanwhile, captured 38.7% of Americans' viewing time, while a category labeled "Other" -- which Nielsen says includes usage such as DVD playback and gaming -- accounted for the remaining 11.6%. The growth of streaming platforms at the expense of cable and broadcast TV networks has accelerated in recent years, as most entertainment conglomerates introduced their own direct-to-consumer services to take on industry leader Netflix. As they sought to rapidly grow their subscriber bases, many of them chose to make their highest-profile and costliest content available exclusively on streaming. While original content helps reel in subscribers and build streaming brands, the most-watched programs are sometimes older TV shows. Last month, the show Americans spent the most time watching was "Suits," a legal drama starring Meghan Markle made for cable TV that made its debut more than a decade ago.

An anonymous reader quotes a report from Motherboard: The mysterious attacks began on July 11. "Strange beings," locals said, visiting an isolated Indigenous community in rural Peru at night, harassing its inhabitants and attempting to kidnap a 15-year-old girl. [...] News of the alleged extraterrestrial attackers quickly spread online as believers, skeptics, and internet sleuths around the world analyzed grainy videos posted by members of the Ikitu community. The reported sightings came on the heels of U.S. congressional hearings about unidentified aerial phenomenon that ignited a global conversation about the possibility of extraterrestrial life visiting Earth.

Members of the Peruvian Navy and Police traveled to the isolated community, which is located 10 hours by boat from the Maynas provincial capital of Iquitos, to investigate the strange disturbances in early August. Last week, authorities announced that they believed the perpetrators were members of illegal gold mining gangs from Colombia and Brazil using advanced flying technology to terrorize the community, according to RPP Noticias. Carlos Castro Quintanilla, the lead investigator in the case, said that 80 percent of illegal gold dredging in the region is located in the Nanay river basin, where the Ikitu community is located.

One of the key pieces to the investigation was related to the attempted kidnapping of a 15-year-old girl on July 29. Cristian Caleb Pacaya, a local teacher who witnessed the attack, said that they "were using state of the art technology, like thrusters that allow people to fly." He said that after looking the devices up on Google, he believed that they were "jetpacks." Authorities have not made any arrests related to the attacks, nor named the alleged assailants or their organization directly. However, the prosecutors office claimed that they had destroyed 110 dredging operations and 10 illegal mining camps in the area already in 2023.

Netflix is officially bringing its games to more devices. So far, the company's impressive library of games has only been available on iOS and Android. Now, though, Netflix is starting to use its streaming tech to publicly test its titles on TVs and computers. From a report: "Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth and ubiquitous service," Mike Verdu, Netflix's vice-president of games, wrote in a blog post. "Today, we're taking the first step in making games playable on every device where our members enjoy Netflix." The test appears to be very limited for now. Just two games will be available at the outset: Oxenfree. The beta is only open to a small number of Netflix subscribers in the UK and Canada on Amazon Fire TV streaming media players, Chromecast with Google TV, LG TVs, NVIDIA Shield TV, Roku devices and TVs, Samsung smart TVs and Walmart ONN. The company will add support for more devices later.

In the unfortunate event that Amazon cancels Good Omens, a British fantasy comedy series created by Neil Gaiman, the New York Times bestselling author says a novel would be written to continue where the show left off. For those unaware, Good Omens recently launched season two on Amazon Prime and follows various characters all trying to either encourage or prevent an imminent Armageddon, seen through the eyes of the angel Aziraphale and the demon Crowley. According to Gizmodo's Linda Codega, it "ends on an absolutely devastating cliffhanger. Emotionally speaking." From the report: Neil Gaiman, the co-author of Good Omens (the book) alongside Terry Pratchett and the lead writer on Good Omens (the show), has always been active on Tumblr. Naturally, people have been asking him about that ending -- mostly because Good Omens, for all the hype, hasn't yet been renewed for a third season, and I will reiterate, the ending of season two is heart-wrenching. Gaiman had a lovely answer for one fan [poohbear0915] who asked: "In the unfortunate event that Good Omens is not renewed for a season three, would you consider releasing a script book of what would have happened for the fans to read?" Neil Gaiman responded: "No, I'd write a novel."

You're either a subtitles person or you're not. But increasingly, people are. From a report: Preply followed up on its subtitle-use survey of Americans from 2022 and found a 5% rise, to 58%, in how many people use captioning more than they used to. Now, just over half (51%) of those surveyed say they use subtitles most of the time. If you're thinking this habit could be the purview of older folks who are having a hard time hearing -- well, 96% of Gen Z survey respondents said they impose words over what they're watching.

Netflix watchers are using captioning the most; 52% of survey respondents say they turn the feature on while they're watching. Subtitles help 81% of people better comprehend what they're watching. A significant part of the time (70%), people use subtitles to understand foreign accents, particularly if a speaker is Scottish, which poses a problem for Outlander fans. Preply found that Americans have a hard time understanding their own language when someone has a Scottish accent (47%), an Irish accent (20%), a British accent (13%), a South African accent (12%), an Australian accent (5%), and even a Southern US accent (3%). So those who watching Derry Girls, Downton Abbey, and Ozark are adjusting their settings to follow along.