Charlie Brooker, the showrunner of "Black Mirror," revealed in an interview that he used OpenAI's ChatGPT to write an episode for the show's sixth season but deemed the results "shit." Gizmodo reports: "I've toyed around with ChatGPT a bit. The first thing I did was type 'generate Black Mirror episode' and it comes up with something that, at first glance, reads plausibly, but on second glance, is shit," the dystopian sci-fi auteur told Empire. "Because all it's done is look up all the synopses of Black Mirror episodes, and sort of mush them together. Then if you dig a bit more deeply you go, 'Oh, there's not actually any real original thought here.' It's [1970s impressionist] Mike Yarwood -- there's a topical reference."

While his experiments with generating an episode of Black Mirror with AI might have been deemed a failure, Brooker told the outlet that it did point out some of his writing cliches. "I was aware that I had written lots of episodes where someone goes 'Oh, I was inside a computer the whole time!'," he said. "So I thought, 'I'm just going to chuck out any sense of what I think a Black Mirror episode is.' There's no point in having an anthology show if you can't break your own rules. Just a sort of nice, cold glass of water in the face."

According to research company Antenna, Netflix's password crackdown in the U.S. has resulted in the "four single largest days of U.S. user sign-ups since January 2019, when Antenna first began tracking the metric," reports Variety. "On May 23, Netflix began notifying U.S. customers that users on their accounts who live outside their households would need to be added as an 'extra member' (or get their own subscriptions)." From the report: Based on the most current Antenna data available, Netflix average daily sign-ups reached 73,000 from May 25-28, a 102% increase from the prior 60-day average. That was more than the spikes in subscriber sign-ups Antenna recorded during the initial U.S. COVID-19 lockdowns in March and April 2020. Netflix U.S. cancelations also increased over May 25-28 -- a phenomenon the company told investors it expected -- but those were less than the number of sign-ups, according to Antenna. The ratio of sign-ups to cancelations since May 23 increased 25.6% compared with the previous 60-day period.

In the U.S., Netflix has told customers they must buy an "extra member" at an additional $7.99/month for anyone who doesn't live with them that currently uses their account. The streamer has said it will start blocking devices that attempt to access a Netflix account without having legitimate account access. According to New York-based Antenna, its estimates are based on millions of permission-based, consumer opt-in, raw transaction records, which are sourced "from a variety of data collection partners." The data includes online purchase receipts, credit, debit and banking data, and "bill-scrape data."

TV's streaming model is broken. It's also not going away. For Hollywood, figuring that out will be a horror show. From a report: Across the town, there's despair and creative destruction and all sorts of countervailing indicators. Certain shows that were enthusiastically green-lit two years ago probably wouldn't be made now. Yet there are still streamers burning mountains of cash to entertain audiences that already have too much to watch. Netflix has tightened the screws and recovered somewhat, but the inarguable consensus is that there is still a great deal of pain to come as the industry cuts back, consolidates, and fumbles toward a more functional economic framework. The high-stakes Writers Guild of America strike has focused attention on Hollywood's labor unrest, but the really systemic issue is streaming's busted math. There may be no problem more foundational than the way the system monetizes its biggest hits: It doesn't.

Just ask Shawn Ryan. In April, the veteran TV producer's latest show, the spy thriller The Night Agent, became the fifth-most-watched English-language original series in Netflix's history, generating 627 million viewing hours in its first four weeks. As it climbed to the heights of such platform-defining smashes as Stranger Things and Bridgerton, Ryan wondered how The Night Agent's success might be reflected in his compensation. "I had done the calculations. Half a billion hours is the equivalent of over 61 million people watching all ten episodes in 18 days. Those shows that air after the Super Bowl -- it's like having five or ten of them. So I asked my lawyer, 'What does that mean?'" recalls Ryan. As it turns out, not much. "In my case, it means that I got paid what I got paid. I'll get a little bonus when season two gets picked up and a nominal royalty fee for each additional episode that gets made. But if you think I'm going out and buying a private jet, you're way, way off."

Ryan says he'll probably make less money from The Night Agent than he did from The Shield, the cop drama he created in 2002, even though the latter ran on the then-nascent cable channel FX and never delivered Super Bowl numbers. "The promise was that if you made the company billions, you were going to get a lot of millions," he says. "That promise has gone away." Nobody is crying for Ryan, of course, and he wouldn't want them to. ("I'm not complaining!" he says. "I'm not unaware of my position relative to most people financially.") But he has a point. Once, in a more rational time, there was a direct relationship between the number of people who watched a show and the number of jets its creator could buy. More viewers meant higher ad rates, and the biggest hits could be sold to syndication and international markets. The people behind those hits got a cut, which is why the duo who invented Friends probably haven't flown commercial since the 1990s. Streaming shows, in contrast, have fewer ads (or none at all) and are typically confined to their original platforms forever. For the people who make TV, the connection between ratings and reward has been severed.

The House of Representatives in the United States plans to hold a hearing to investigate claims made by a whistleblower former intelligence official, David Grusch, that the US government possesses "intact and partially intact" alien vehicles. The Guardian reports: "There will be oversight of that," Comer told NewsNation. "We plan on having a hearing." Comer said he had heard about Grusch's claims, but added: "I don't know anything about it." The timing of the hearing is not yet determined, but a source familiar with the matter said a date is expected to be announced in the next few weeks. Tim Burchett and Anna Paulina Luna, Republican members of Congress from Florida and Tennessee, respectively, will lead the oversight committee investigation.

Burchett is working closely with House oversight committee leaders to prepare for a hearing, the congressman's office said. The witness list for the hearing has not yet been set, so it is unclear whether Grusch will publicly testify before the oversight committee. "Congressman Burchett's office is working through logistics, including a witness list of the most credible witnesses and sources who would be able to speak openly at an unclassified hearing," a spokesperson said.

Austin Hacker, a spokesman for the committee, told the Guardian in a statement: "In addition to recent claims by a whistleblower, reports continue to surface regarding unidentified aerial phenomena. The House oversight committee is following these UAP reports and is in the early stages of planning a hearing," Hacker said in a statement. "The National Defense Authorization Act for 2022 created the All-Domain Anomaly Resolution Office which coordinates among the Department of Defense, the intelligence community, Nasa, and other federal agencies to study UAPs. Americans, who continue to fund this federal government work, expect transparency and meaningful oversight from Congress."

United Airlines is set to introduce the next-generation Astrove in-flight entertainment system, featuring Panasonic's 4K OLED TVs, with larger screens and thinner bezels than current models. The system also offers Bluetooth 5.0 connectivity, allowing passengers to use their own wireless headphones, and includes two 67W USB-C chargers for charging mobile devices. However, these new entertainment systems will only be available on United's new Airbus A321XLRs and Boeing 787s starting in 2025. Android Headlines reports: The new Astrova System does also have two 67W USB-C chargers available on the bottom-left edge. This means you can use it to charge your phone as well as your laptop or tablet at the same time. So that when you land, you have fully juiced devices. This is all being done to create a "premium home theater environment."

According to a report from the Wall Street Journal, Amazon is preparing to launch an ad-supported tier of Prime Video. The Verge reports: Amazon currently offers Prime Video as part of its $14.99 per month Prime membership or for $8.99 per month as a standalone subscription. Subscribers can tack on other ad-free subscriptions to services like Max, Paramount Plus, and Showtime through Prime Video Channels. As noted by the WSJ, Amazon is currently weighing several ways it could implement ads in Prime Video, such as showing more ads to existing Prime subscribers and then offering an "option to pay more for an ad-free alternative and other features." The ad breaks will reportedly be "short," but there's still no word on whether it will beat Max's promised three to four minutes of ads per hour or how much the tier will cost.

Additionally, the WSJ reports that Amazon is in talks with Warner Bros. Discovery and Paramount to start offering the ad-supported versions of Max and Paramount Plus within its Prime Video Channels. The company could also place a bid for the streaming rights to the National Basketball Association games when they expire in 2025, potentially bolstering its sports streaming lineup, which currently includes Thursday Night Football.

An anonymous reader quotes a report from Ars Technica: On Tuesday, a Reddit user named "nhciao" posted a series of artistic QR codes created using the Stable Diffusion AI image-synthesis model that can still be read as functional QR codes by smartphone camera apps. The functional pieces reflect artistic styles in anime and Asian art. [...] In this case, despite the presence of intricate AI-generated designs and patterns in the images created by nhciao, we've found that smartphone camera apps on both iPhone and Android are still able to read these as functional QR codes. If you have trouble reading them, try backing your camera farther away from the images.

Stable Diffusion is an AI-powered image-synthesis model released last year that can generate images based on text descriptions. It can also transform existing images using a technique called "img2img." The creator did not detail the exact technique used to create the novel codes in English, but based on this blog post and the title of the Reddit post ("ControlNet for QR Code"), they apparently trained several custom Stable Diffusion ControlNet models (plus LoRA fine tunings) that have been conditioned to create different-styled results. Next, they fed existing QR codes into the Stable Diffusion AI image generator and used ControlNet to maintain the QR code's data positioning despite synthesizing an image around it, likely using a written prompt. Other techniques exist to make artistic-looking QR codes by manipulating the positions of dots within the codes to make meaningful patterns that can still be read. In this case, Stable Diffusion is not only controlling dot positions but also blending picture details to match the QR code.

This interesting use of Stable Diffusion is possible because of the innate error correction feature built into QR codes. This error correction capability allows a certain percentage of the QR code's data to be restored if it's damaged or obscured, permitting a level of modification without making the code unreadable. In typical QR codes, this error correction feature serves to recover information if part of the code is damaged or dirty. But in nhciao's case, it has been leveraged to blend creativity with utility. Stable Diffusion added unique artistic touches to the QR codes without compromising their functionality. [...] This discovery opens up new possibilities for both digital art and marketing. Ordinary black-and-white QR codes could be turned into unique pieces of art, enhancing their aesthetic appeal. The positive reaction to nhciao's experiment on social media may spark a new era in which QR codes are not just tools of convenience but also interesting and complex works of art.

A major Austrian opposition political party on Monday corrected the results of a closely contested leadership election after it announced the wrong winner over the weekend due to a "technical" error: Someone had messed up an Excel spreadsheet. From a report: At a convention on Saturday, Austria's Social Democrats (SPO) declared that Hans Peter Doskozil, governor of the eastern Burgenland province, was the new leader of the center-left party. But on Monday, the party said Andreas Babler, a small-town mayor and lesser-known figure, had actually won, with about 52 percent of the votes. "Unfortunately, the paper ballots did not match the result that was announced digitally," Michaela Grubesa, head of the SPÃ- electoral commission, said a news conference. "Due to a colleague's technical error in the Excel list, the result was mixed up."

Those familiar with Microsoft's spreadsheet program, which is used by millions around the world, were quick to crack jokes, bringing wider attention to the error and ensuing chaos. Babler said at a news conference after his belated apparent victory that the commission should count the vote again for accuracy's sake, local media reported, adding that the debacle was "painful for everyone involved" and bad for the party's image.

A former intelligence official turned whistleblower, David Charles Grusch, has provided extensive classified information to Congress and the Intelligence Community Inspector General about covert programs involving the retrieval of intact and partially intact vehicles of non-human origin. Grusch alleges that this information has been illegally withheld from Congress, and he has filed a complaint claiming illegal retaliation for his disclosures. Other intelligence officials, both active and retired, have independently corroborated similar information about these programs. The Debrief reports: The whistleblower, David Charles Grusch, 36, a decorated former combat officer in Afghanistan, is a veteran of the National Geospatial-Intelligence Agency (NGA) and the National Reconnaissance Office (NRO). He served as the reconnaissance office's representative to the Unidentified Aerial Phenomena Task Force from 2019-2021. From late 2021 to July 2022, he was the NGA's co-lead for UAP analysis and its representative to the task force. The task force was established to investigate what were once called "unidentified flying objects," or UFOs, and are now officially called "unidentified anomalous phenomena," or UAP. The task force was led by the Department of the Navy under the Office of the Under Secretary of Defense for Intelligence and Security. It has since been reorganized and expanded into the All-Domain Anomaly Resolution Office to include investigations of objects operating underwater.

Grusch said the recoveries of partial fragments through and up to intact vehicles have been made for decades through the present day by the government, its allies, and defense contractors. Analysis has determined that the objects retrieved are "of exotic origin (non-human intelligence, whether extraterrestrial or unknown origin) based on the vehicle morphologies and material science testing and the possession of unique atomic arrangements and radiological signatures," he said. In filing his complaint, Grusch is represented by a lawyer who served as the original Intelligence Community Inspector General (ICIG). "We are not talking about prosaic origins or identities," Grusch said, referencing information he provided Congress and the current ICIG. "The material includes intact and partially intact vehicles." In accordance with protocols, Grusch provided the Defense Office of Prepublication and Security Review at the Department of Defense with the information he intended to disclose to us. His on-the-record statements were all "cleared for open publication" on April 4 and 6, 2023, in documents provided to us.

sciencehabit shares a report from Science Magazine: The truth may be out there about UFOs, or what the government currently calls "unidentified anomalous phenomena" (UAPs). But finding it will require collecting data that are more rigorous than the anecdotal reports that typically fuel the controversial sightings, according to a panel of scientists, appointed by NASA to advise the agency on the topic, that held its first public meeting [on Wednesday].

The 16-person panel, created last year at the behest of NASA Administrator Bill Nelson, is not itself evaluating UFO claims. Instead, it is advising NASA on how the agency can contribute to federal investigations that have been led by the Department of Defense (DOD) and intelligence agencies, says panel chair David Spergel, an astrophysicist and president of the Simons Foundation, who spoke to Science ahead of the meeting. "NASA is a public agency, an open agency, that encourages the use of the scientific method for looking at results." But science can only be done when there are data to work on, he adds. "You're not going to learn much from fuzzy pictures from the 1950s." So far, most "unidentified" phenomena flagged by the military have ended up being weather balloons, drones, camera glitches, or undisclosed military aircraft, Spergel says. "It's very unlikely there are space aliens that travel through space and use technology that looks remarkably like what we have right now." [...]

It remains to be seen whether NASA will devote any further funding to study UAPs beyond the $100,000 allocated for the panel, which will issue a report this summer. Many scientists would be reluctant to have existing funds steered away from more conventional lines of research in the search for signatures of life or extraterrestrial intelligence. As the panel meeting wound down, Spergel said no UAP so far demands the existence of extraterrestrials. "We have not seen the extraordinary yet." Most incidents end up being more mundane. Panel member Scott Kelly, a former NASA astronaut and naval aviator, recounted flying in an F-14 off the coast of Virginia, when his co-pilot swore that he saw a UAP. "We turned around," he said. "We went to go look at it. It turns out it was Bart Simpson, a balloon."

An anonymous reader quotes a report from TorrentFreak: A Virginia jury held Cox liable for pirating subscribers because it failed to terminate accounts after repeated accusations, ordering the company to pay $1 billion in damages to the labels. This landmark ruling is currently under appeal. As part of the appeal, Cox informed the court of a supplemental authority that could support its position. The case in question is Twitter vs. Taamneh, in which the U.S. Supreme Court recently held that the social media platform isn't liable for ISIS terrorists, who used Twitter to recruit and raise funds. The Supreme Court rejected (PDF) the claim that Twitter aided-and-abetted terrorist activity, because it didn't "consciously and culpably" participate in the illegal activity. According to Cox, the same logic applies in its case, where the ISP was held liable for the piracy activities of subscribers.

"These same aiding-and-abetting principles animate copyright law's contributory liability doctrine, and they likewise foreclose liability here," an attorney for Cox informed the court. Cox argues that the Supreme Court ruling confirms that aiding-and-abetting liability only applies when parties knowingly took part in the activity. That runs contrary to the finding in its own dispute with the record labels, where "culpable expression and conduct" or "intent" were not required. "Though Twitter arises in a different context, its reasoning applies with full force and supports reversal of the contributory infringement verdict," Cox added. The two cases are indeed quite different, but ultimately they are about imposing liability on third-party services.

According to Cox, the Twitter terrorist ruling clearly shows that it isn't liable for pirating subscribers, but the music companies see things differently. Earlier this week, the music labels responded in court (PDF), countering Cox's arguments. They argue that the Twitter ruling doesn't apply to their piracy dispute with Cox, as the cases are grounded in different laws. While the music industry certainly isn't happy with pirates, the Cox case is a copyright matter while the Twitter lawsuit fell under the Justice Against Sponsors of Terrorism Act. And for now, pirates are not categorized as terrorists. After establishing the difference between pirates and terrorists, the music companies point out that Twitter wasn't directly connected to the misconduct. The platform's role was more passive and its connection to ISIS was more distant than Cox's connection to its subscribers. Cox took a more active role and materially contributed to the pirating activities, which stands no comparison to the Twitter case, plaintiffs argue.

India's JioCinema broke the global record for the most concurrent views to a live streamed event on Monday, eclipsing a long-standing milestone set by Disney's Hotstar, as the Asian tycoon Mukesh Ambani spares no expense in expanding his digital empire. From a report: The Indian streaming app, whose partner includes James Murdoch's Bodhi Tree-backed Viacom18, surpassed the record Monday evening, attracting over 32 million concurrent viewers to the final game of the 16th edition of Indian Premier League cricket tourney between Chennai Super Kings and Gujarat Titans.

In an opinion piece for the New York Times, Vox co-founder Ezra Klein worries that early AI systems "will do more to distract and entertain than to focus." (Since they tend to "hallucinate" inaccuracies, and may first be relegated to areas "where reliability isn't a concern" like videogames, song mash-ups, children's shows, and "bespoke" images.)

"The problem is that those are the areas that matter most for economic growth..." One lesson of the digital age is that more is not always better... The magic of a large language model is that it can produce a document of almost any length in almost any style, with a minimum of user effort. Few have thought through the costs that will impose on those who are supposed to respond to all this new text. One of my favorite examples of this comes from The Economist, which imagined NIMBYs — but really, pick your interest group — using GPT-4 to rapidly produce a 1,000-page complaint opposing a new development. Someone, of course, will then have to respond to that complaint. Will that really speed up our ability to build housing?

You might counter that A.I. will solve this problem by quickly summarizing complaints for overwhelmed policymakers, much as the increase in spam is (sometimes, somewhat) countered by more advanced spam filters. Jonathan Frankle, the chief scientist at MosaicML and a computer scientist at Harvard, described this to me as the "boring apocalypse" scenario for A.I., in which "we use ChatGPT to generate long emails and documents, and then the person who received it uses ChatGPT to summarize it back down to a few bullet points, and there is tons of information changing hands, but all of it is just fluff. We're just inflating and compressing content generated by A.I."
But there's another worry: that the increased efficiency "would come at the cost of new ideas and deeper insights." Our societywide obsession with speed and efficiency has given us a flawed model of human cognition that I've come to think of as the Matrix theory of knowledge. Many of us wish we could use the little jack from "The Matrix" to download the knowledge of a book (or, to use the movie's example, a kung fu master) into our heads, and then we'd have it, instantly. But that misses much of what's really happening when we spend nine hours reading a biography. It's the time inside that book spent drawing connections to what we know ... that matters...

The analogy to office work is not perfect — there are many dull tasks worth automating so people can spend their time on more creative pursuits — but the dangers of overautomating cognitive and creative processes are real... To make good on its promise, artificial intelligence needs to deepen human intelligence. And that means human beings need to build A.I., and build the workflows and office environments around it, in ways that don't overwhelm and distract and diminish us.

We failed that test with the internet. Let's not fail it with A.I.

Yes, that expensive Star Wars-themed hotel at Walt Disney World is closing September 30th — after opening barely one year ago. But Sfgate spoke to a couple who's already been three times, and before it closes are "currently planning a fourth and final voyage this summer." If you're counting, that's more than $15,000 their travel parties will have spent on the experience. Their first trip was hosted by Disney as a media preview; for the other visits, the pair split rooms with friends to lower the per-person cost. [The couple is Peter Sciretta and partner Kitra Remick, the couple behind the theme park vlog Ordinary Adventures.] "Any time that we went, we were bunking with people in one room to make the price cheaper because if you can fit four people in one room, it ends up being $1,000 or $1,500 each," Sciretta explained. "It's still expensive even when you split it, but to us and to a lot of people who went back, it was obviously worth it...."

"It's so hard to explain what it's like in there," Sciretta said, "and you saw that from Disney's marketing because they were unable to explain what it was like in there. It's like you are in a 'Star Wars' movie for two and a half days — not just inside, but you are part of a 'Star Wars' movie..." If you want to, you can make the fight between the Resistance and the Dark Side the whole experience — but if you don't, you can spend your time spying on storylines happening in darkened corners and stairwells, trying to sabotage other people's missions (which is actually a thing on the ship), going to lightsaber training, seeing a galactic songstress perform or just eating space food and drinking in the cantina.

The space food, Remick noted, was especially good, even those infamous blue shrimp. "Most of the stuff is otherworldly. It is so good," she said. "That was one of the things I was most excited about when we went back, eating all the food again. Not only does it look cool and Instagram-worthy, it actually tastes really good, too. And all the cocktails are amazing." There's even a cocktail, called the Krayt Reactor, that comes with a song and dance by cast members when you order it — it costs $79 but serves four people... According to information provided to SFGATE by Disney representatives, Galactic Starcruiser has been earning some of the highest guest satisfaction ratings in the history of Walt Disney World. It also won one of the theme park industry's highest honors: a Thea Award for Outstanding Achievement from the Themed Entertainment Association.

"I know hundreds of people that have gone at this point, and not one single person didn't plan on or didn't already go back a second time," Sciretta said. "I kind of do feel like even before it opened, [Disney] shot themselves in the foot with the marketing and the price. They were never able to recover no matter what people said about it."

Forty years ago, a young boy's review of "Return of the Jedi" on NPR's All Things Considered led to uproar from listeners, prompting an on-air apology from host Susan Stamberg for airing spoilers. NPR reports: This was part of the boy's review: "Han Solo and Luke Skywalker are about to go in the pit. And just as he was about to walk the plank, R2D2 fired a laser gun from his head, and Han catched it. And he blew up the whole ship. And the big guy -- the boss of the monsters -- well, he got choked and died." In fact, his review wasn't quite right. It was a lightsaber that R2D2 fired out, which Luke Skywalker caught.

At the time, though, these plot details really rankled NPR listeners. So much so that the next day Stamberg issued an on-air apology. Well, sort of. Here's what she said: "Well, the comic book was a goof, but we certainly goofed last night. We goofed so badly that we changed our program before rebroadcasting it to the West Coast, which means that you West Coast listeners won't know what I'm talking about. But enough of you on the East Coast called to complain that we want to apologize publicly to everybody. Calls -- there were more phone calls on this one than we ever got in the middle of the hottest Middle East disputes. Calls -- there were more phone calls than Richard Gere would get if he listed his number.

And all because last night on All Things Considered, we permitted a six-and-a-half-year-old boy to tell us everything -- and I mean everything -- about Return Of The Jedi. "You gave the plot away," you said. "I've been waiting for that movie for three years, and now you have ruined it for me. How could you do a thing like that?" Well, we are sorry. We're contrite, and we're fascinated. Usually you get angry when we get our facts wrong.

This time we got them right, and you got angry. It's the difference between fact and fiction, of course, and the power of fantasy in our lives -- the need for mystery, for wonderful stories that spill themselves out for us. Of course, if they are wonderful enough -- this may be an excuse, but I doubt it -- if they're wonderful enough, they will come to us new, even though we've seen them a hundred times. That's why people keep going back to see Romeo And Juliet over and over again or The Wizard Of Oz. We know how they end but find great pleasure and nourishment watching them proceed to that ending. Two years from now, that's how we'll feel about the Return Of The Jedi. For now, though, our apologies -- we will not do that again. But listen, I have just seen the new Superman III, and Superman and Lois Lane..."

MoviePass is back thanks to MoviePass co-founder Stacy Spikes, who was fired from the company in 2018 for questioning the sustainability of its business model. "Under the company's new points-based system, you can pay $10 per month to watch one to three movies at any of the 4,000 participating theaters throughout the US," reports The Verge. From the report: In addition to the $10 / month Basic plan, MoviePass offers three more expensive subscription options: a $20 / month Standard plan for three to seven movies per month, a $30 / month Premium plan for five to 11 movies per month, and a $40 / month Pro for up to 30 movies per month. There's a separate, more expensive subscription for customers in Southern California and the New York metro area. The reason why each tier includes a range of movies you can watch has to do with the way MoviePass' new credits system works. Every tier offers a different number of credits that you can redeem on movies each month, with Basic having the least number of credits and the Pro plan having the most.

According to MoviePass, a film's credit value can fluctuate depending on a number of factors, including the time of day and day of the week you want to watch it. Based on tweets from customers who tested the service, credit costs have changed without warning and can vary significantly across showings. If you don't use up all your credits, MoviePass says it will roll them over to the next month, allowing you to have a maximum of two months' worth of unused credits in your account to use at a later date. Once you sign up for the service, you'll receive a MoviePass card within 10 to 15 business days that you'll need to use at supported theaters. The sustainability of MoviePass started to crumble in 2017 when it began offering customers unlimited movie-watching for just $9.95 per month. The seemingly too-good-to-be-true pricing ultimately resulted in the company's bankruptcy two years later.

Additionally, the Securities and Exchange Commission (SEC) filed a lawsuit against MoviePass, alleging that the company had misled investors about the viability of its business model.

Netflix's controversial password sharing crackdown just hit the US. From a report: In addition to the US, Netflix confirmed it will also be rolling out the crackdown across all regions around the world such as the UK, France, Germany, Mexico, Brazil, Singapore, Australia, among others. "Netflix account is for use by one household," the company wrote in the post. "Everyone living in that household can use Netflix wherever they are -- at home, on the go, on holiday -- and take advantage of new features like Transfer Profile and Manage Access and Devices." Netflix broadened its crackdown in early February to include countries like Canada, New Zealand, Portugal, and Spain, in addition to the test countries of Chile, Costa Rica, and Peru. It previously said "a broad rollout" of the policy would hit this quarter.

Bandcamp is music streaming platform helping fans support independent musicians. And Bandcamp United describes itself as "a union of workers at Bandcamp — we are project managers, we are engineers, we are designers, we are vinyl campaign managers, we are support staff, we are editors and writers..."

Friday Bandcamp United issued this statement: Today, a majority of eligible Bandcamp workers voted 31-7 in favor of forming Bandcamp United, a union represented by the Office and Professional Employees International Union (OPEIU). The vote results now await certification by the National Labor Relations Board, with a collective bargaining process to follow.

Below is a joint statement from Bandcamp co-founder Ethan Diamond and Bandcamp United:

â "Bandcamp United and Bandcamp management are committed to working together to continue to advance fair economic conditions for our workers and the artists who rely on us. We look forward to negotiating with an open mind and working in good faith to promote the best interests of all of our staff and the artist and label community we serve."

Thelasko writes: A Star Wars-themed hotel at Walt Disney World is being shut down about a year after opening, the company announced. The hotel, which is marketed as a two-night immersive experience, will take its last bookings Sep. 28 to 30. New bookings are being paused until May 26 to first accommodate those who made reservations after September. [...] The two-night packages start at about $4,800 for two people, and go up to $5,299 for two adults and one child and $5,999 for three adults and one child. Prices include lodging, meals and admission to Hollywood Studios. Upon arriving, guests enter a launch pod to board the Halcyon starcruiser, stay in a room with a space view and are able to interact with the franchise's characters throughout the ship.

Netflix has held talks with UK telecoms groups that carry the streaming group's service ahead of a crackdown on account sharing expected later this month. From a report: The US group, which has said the free use of its platform has hit its ability to invest in new TV and films, plans to start warning customers over account-sharing violations in the coming weeks, according to people familiar with the situation. Telecoms groups that use Netflix as part of bundled TV content have held meetings in the past week over the planned warnings, people familiar with the talks said. Companies such as Sky, BT, Virgin Media and TalkTalk offer Netflix as part of bundled deals on broadband and TV content. But those close to the talks said there was a risk of complaints from some subscribers, many of whom have grown accustomed to sharing their account details with family and friends, activity to which the company had previously turned a blind eye. One person described it as being a "good partner" to groups that offer the service as part of their subscriptions. Telecoms companies' call centres are likely to field questions and complaints once the plans are enacted, according to a person familiar with the issue, which has meant that they have needed close co-operation with Netflix.