An anonymous reader quotes a report from TorrentFreak: Rick Klein and his team have been preserving TV adverts, forgotten tapes, and decades-old TV programming for years. Now operating as a 501(c)(3) non-profit, the Museum of Classic Chicago Television has called YouTube home since 2007. However, copyright notices sent on behalf of Sony, protecting TV shows between 40 and 60 years old, could shut down the project in 48 hours. "Our YouTube channel with 150k subscribers is in danger of being terminated by September 6th if I don't find a way to resolve these copyright claims that Markscan made," Klein told TorrentFreak on Friday. "At this point, I don't even care if they were issued under authorization by Sony or not -- I just need to reach a live human being to try to resolve this without copyright strikes. I am willing to remove the material manually to get the strikes reversed."

Over the weekend Klein shared details of the copyright complaints filed with YouTube. Two of the claims can be seen in the image below and on first view, appear straightforward enough. Two episodes of the TV series Bewitched dated 1964 aired on ABC Network and almost sixty years later, archive copies of those transmissions were removed from YouTube for violating Sony copyrights, with MCCTv receiving a strike. A claim targeting an upload titled Bewitched -- 'Twitch or Treat' -- WPWR Channel 60 (Complete Broadcast, 8/6/1984) follows the same pattern, but what isn't shown are the details added by MCCTv to place the episode (and the included commercials) in historical context. Another takedown target -- Bewitched -- 'Sam in the Moon' (Complete 16mm Network Print, 1/5/1967) is accompanied by even more detail, including references in the episode to then-current events.

Given that copyright law locks content down for decades, Klein understands that can sometimes cause issues, although 16 years on YouTube suggests that the overwhelming majority of rightsholders don't consider his channel a threat. If they did, the option to monetize the recordings can be an option. [...] Klein says MCCTv certainly doesn't set out to hurt copyright holders. However, there's always a balance between preserving "rare pieces of video ephemera" and the likelihood that nobody needs to enforce any rights, versus unusual circumstances like these where unexpected complaints need to be resolved with impossible-to-reach parties. Klein says the team is happy to comply with Sony's wishes and they hope that given a little leeway, the project won't be consigned to history. Perhaps Sony will recall the importance of time-shifting while understanding that time itself is running out for The Museum of Classic Chicago Television.

Apple will acquire the major Swedish classical music record label BIS Records, intending to fold it into Apple Music Classical and Platoon. MacRumors reports: BIS Records was founded in 1973 by Robert von Bahr. The label focuses on a range of classical music, with particular focus on works that are not well represented by existing recordings. It is an award-winning name in the world of classical music, acclaimed for its vast catalog and impressive audio quality. The label celebrates its 50th anniversary this week. The company announced its impending acquisition by Apple earlier today.

BIS is set to become a part of Apple Music Classical and the Apple-owned label Platoon. Apple acquired Platoon, a London-based A&R startup focused on discovering rising music artists, in 2018. In 2021, Apple announced that it had purchased the classical music streaming service Primephonic and would be folding it into Apple Music via a new app dedicated to the genre. Apple released the Apple Music Classical app in March. The app offers a simpler interface for interacting with classical music specifically. Unlike the main Apple Music app, Apple Music Classical allows users to search by composer, work, conductor, catalog number, and more. Users can get more detailed information from editorial notes and descriptions.

CNN reports that newspaper chain Gannett "has paused the use of an AI tool to write high school sports dispatches after the technology made several major flubs in articles in at least one of its papers." In one notable example, preserved by the Internet Archive's Wayback Machine, the story began: "The Worthington Christian [[WINNING_TEAM_MASCOT]] defeated the Westerville North [[LOSING_TEAM_MASCOT]] 2-1 in an Ohio boys soccer game on Saturday...." The reports were mocked on social media for being repetitive, lacking key details, using odd language and generally sounding like they'd been written by a computer with no actual knowledge of sports.

CNN identified several other local Gannett outlets, including the Louisville Courrier Journal, AZ Central, Florida Today and the Milwaukee Journal Sentinel, that have all published similar stories written by LedeAI in recent weeks. Many of the reports feature identical language, describing "high school football action," noting when one team "took victory away from" another and describing "cruise-control" wins. In many cases, the stories also repeated the date of the games being covered multiple times in just a few paragraphs.

Gannett has paused its experiment with LedeAI in all of its local markets that had been using the service, according to the company. The pause was earlier reported by Axios... The AI tool debacle comes after Gannett axed hundreds of jobs in December when it laid off 6% of its news division.
From Axios's report: One such Dispatch article from Aug. 18 was blasted on social media for its robotic style, lack of player names and use of awkward phrases like "close encounter of the athletic kind." "I feel like I was there!" The Athletic senior columnist Jon Greenberg posted sarcastically.
More from the Washington Post: Another story about a game between the Wyoming Cowboys and Ross Rams described a scoreboard that "was in hibernation in the fourth quarter." When Ayersville High School staged a late comeback in another game, a write-up of their win read: "The Pilots avoided the brakes and shifted into victory gear...."

In a statement, Gannett called the deployment of Lede AI an "experiment" in automation to aid its journalists and add content for readers... LedeAI CEO Jay Allred said in a statement to The Post that he believes automation is part of the future of local newsrooms and that LedeAI allows reporters and editors to focus on "journalism that drives impact in the communities they serve."

"Are you old enough to remember channel surfing?" asks long-time Slashdog reader MightyMait. "When there were only a handful of broadcast channels, it wasn't a big deal..." But when we got cable/satelite, one could spend inordinate amounts of time flipping through the channels looking for something decent to watch. Now, with the proliferation of streaming services...
Streaming viewers are now "spending a record 10.5 minutes per session deciding what to watch," according to TV Tech, citing a new study from the Nielsen-owned entertainment-data company Gracenote.

Their 2023 State of Play report "found that that there were 1.9 million video titles available to viewers in the U.S., U.K., Canada, Mexico and Germany in July 2021, a number that had swelled to 2.7 million titles by June 2023." Of the total count, a whopping 86.7% were available on streaming services. Compounding complexity, many popular shows now appear in multiple streaming catalogs, as the industry pivots from offering content exclusivity to broad distribution strategies that companies hope will balance massive streaming loses, the report noted. The Gracenote analysis also found that audiences now have nearly 40,000 individual FAST channels, streaming providers and aggregators to choose from.
The original submission from MightyMait asks Slashdot readers: "Are you feeling the pain? And if so, "What strategies do you employ to avoid this time suck?"

Share your own thoughts and experiences in the comments. And do streamers spend more time deciding what to watch?

The U.S. Department of Defense has launched a website collecting publicly available, declassified information on unidentified anomalous phenomena (UAPs). "For now, the general public will be able to read through the posted information," reports CNET. "Soon, US government employees, contractors, and service members with knowledge of US programs can report their own sightings, and later, others will be able to submit reports." From the report: "This website will provide information, including photos and videos, on resolved UAP cases as they are declassified and approved for public release," the department said in a release posted on Thursday. "The website's other content includes reporting trends and a frequently asked questions section as well as links to official reports, transcripts, press releases, and other resources that the public may find useful, such as applicable statutes and aircraft, balloon and satellite tracking sites."

For now, one of the most interesting parts of the site is its trends section. Apparently, most reported UAPs are round, either white, silver or translucent, spotted at around 10,000 to 30,000 feet, 1-4 meters in size, and do not emit thermal exhaust. Hotspots for sightings include both the US East and West coasts. There's also a small section of videos with names such as "DVIDS Video - Unresolved Case: Navy 2021 Flyby," and "UAP Video: Middle East Object." Readers are able to leave comments on the videos. Of the "Middle East Object" video, one person writes,"Noticed I never saw it cast a shadow. But other objects have shadows."

Spotify is cracking down on white-noise podcasters, reducing the advertising support for programmers that provide little more than soothing sounds like rain or chirping birds. From a report: In an email to creators Friday, the company highlighted changes to its Ambassador Ads program -- promotional spots for Spotify that podcasters read. The company pays hosts to read ads to encourage more creators to make shows and join the platform. As part of the change taking effect Oct. 1, white noise podcasters will no longer be eligible for such support, according to a person with knowledge of the matter. The company is also raising the audience threshold that conventional podcasters must meet to qualify for those ads to 1,000 unique Spotify listeners over the past 60 days from 100.

Timothy Geigner writes via Techdirt: Paramount has gone after fan-made works playing off of the franchise for years and years. Even Paramount's release of guidelines by which fans could create fan films served mostly as a giant middle finger to the fandom, so stringent were the rules. This apparently represents the owners of Star Trek's IP being completely deaf to the history of Star Trek and the internet and what the fans have meant to the franchise. And this all continued into the present day.

Recently, a fan-made project called Wolf 359 Project suffered a DMCA takedown from Paramount. If you're a Next Generation fan, that name will likely sound familiar: "The Battle of Wolf 359 hearkens to a classic The Next Generation two-episode event called 'The Best of Both Worlds.' Captain Picard is assimilated by the Borg, and before the Enterprise crew rescues him, the relentless Borg forces fight a battle that kills 11,000 people. Star Trek: Picard Season 3 dealt with this, specifically through the character of Captain Liam Shaw. It was the first time someone described the Starfleet experience during one of the costliest battles in Star Trek history. Star Trek fans are never one to let a good idea go to waste, and The Wolf 359 Project is a fan-written oral history of the battle. The 'book' ran over 500 pages long, and its authors were giving it away for free. However, Paramount issued a Digital Millennium Copyright Act strike against it."

So here's what this essentially is: fans who love TNG filling in the gaps of the original story they love with the unexplored rest of the universe of people who would have been impacted by that storyline. That's important for two reasons. First and foremost, this doesn't take anything away from Paramount's Star Trek production, and in fact does the opposite. The project doesn't replace the original episodes, but rather builds upon them. In other words, this project could only possibly serve to draw more interest to Paramount's product, since the book isn't going to make much sense to anyone who hasn't seen the original episodes. Second, this is a work being done for free, given away for free, all by fans that are doing what Star Trek fans have always done: create. [...] ]

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.