A year after its largest quarterly loss and a significant drop in subscribers, Netflix has made a remarkable recovery by adding 5.9 million global subscribers in the second quarter of 2023, surpassing analyst expectations. TechCrunch reports: The subscriber addition far exceeds industry guidance; analysts forecasted an increase of 1.7 million subs. Netflix ended Q1 with 232.5 million users. Netflix's quarterly earnings results arrive a few hours after news broke out that the streamer dropped its basic plan in the U.S. and the U.K.

Netflix's significant subscriber gain this quarter reflects the impact of its paid sharing rules. Netflix wrote in its letter to shareholders, "In May, we successfully launched paid sharing in 100+ countries, representing more than 80% of our revenue base." The company added that today it's rolling out paid sharing to "almost all the remaining countries," including Croatia, Kenya, Indonesia and India. Netflix reported $8.2 billion in revenue and a net income of $1.5 billion.

An anonymous reader quotes a ArsTechnica report: On Wednesday, two German researchers, Sophie Jentzsch and Kristian Kersting, released a paper that examines the ability of OpenAI's ChatGPT-3.5 to understand and generate humor. In particular, they discovered that ChatGPT's knowledge of jokes is fairly limited: During a test run, 90 percent of 1,008 generations were the same 25 jokes, leading them to conclude that the responses were likely learned and memorized during the AI model's training rather than being newly generated. The two researchers, associated with the Institute for Software Technology, German Aerospace Center (DLR), and Technical University Darmstadt, explored the nuances of humor found within ChatGPT's 3.5 version (not the newer GPT-4 version) through a series of experiments focusing on joke generation, explanation, and detection. They conducted these experiments by prompting ChatGPT without having access to the model's inner workings or data set.

"To test how rich the variety of ChatGPT's jokes is, we asked it to tell a joke a thousand times," they write. "All responses were grammatically correct. Almost all outputs contained exactly one joke. Only the prompt, 'Do you know any good jokes?' provoked multiple jokes, leading to 1,008 responded jokes in total. Besides that, the variation of prompts did not have any noticeable effect." [...] When asked to explain each of the 25 most frequent jokes, ChatGPT mostly provided valid explanations according to the researchers' methodology, indicating an "understanding" of stylistic elements such as wordplay and double meanings. However, it struggled with sequences that didn't fit into learned patterns and couldn't tell when a joke wasn't funny. Instead, it would make up fictional yet plausible-sounding explanations.

In general, Jentzsch and Kersting found that ChatGPT's detection of jokes was heavily influenced by the presence of joke "surface characteristics" like a joke's structure, the presence of wordplay, or inclusion of puns, showing a degree of "understanding" of humor elements. Despite ChatGPT's limitations in joke generation and explanation, the researchers pointed out that its focus on content and meaning in humor indicates progress toward a more comprehensive research understanding of humor in language models: "The observations of this study illustrate how ChatGPT rather learned a specific joke pattern instead of being able to be actually funny," the researchers write. "Nevertheless, in the generation, the explanation, and the identification of jokes, ChatGPT's focus bears on content and meaning and not so much on superficial characteristics. These qualities can be exploited to boost computational humor applications. In comparison to previous LLMs, this can be considered a huge leap toward a general understanding of humor."

With no formal announcement, Netflix removed its $9.99 "Basic" subscription tier for anybody trying to sign up for a new account or resubscribe in the U.S. and UK. From a report: Now your two options are to pay $5.50 more per month for the "Standard" plan, or otherwise suffer through constant ad interruptions with what's now been dubbed "Standard with ads."

All the changes are listed on the service's help center page. The company noted that the Basic plan "is no longer available for new or rejoining members. If you are currently on the Basic plan, you can remain on this plan until you change plans or cancel your account." Netflix pulled the same move in Canada last month, again without any official announcement. The company has been extra cagey about its latest subscription plan shakeup, which could lead to some rather nasty surprises for anybody who leaves Netflix but comes back later hoping to sign up for the $10 ad-free option.

Plexamp, the music player originally incubated by the Labs division of media company Plex, is now free, the company announced today. From a report: The project was first launched in 2017 as Plex's own spin on the classic Winamp media player app, offering visualizations to accompany your tunes, tools for programming mixes, and more recently, a ChatGPT-powered "Sonic Sage" feature that builds unique playlists from users' music libraries. However, after its expansion from desktop to mobile, Plexamp was only available to subscribers.

Now, Plex says the Plexamp app will become free, allowing users to play tracks from their own library or the TIDAL music streaming service with high-quality audio and support for lossless audio. The app also includes gapless playback, loudness leveling, and smooth transitions between tracks, among other things. In addition to Library Radio, a feature used to rediscover your music, users can create playlists with Plexamp to match their current mood: like "brooding, cathartic, confident, intense, playful, poignant, swaggering, and wistful," the company says.

Daniel Belquer, the "Chief Vibrational Officer" of Music: Not Impossible, developed a haptic suit with vibrating plates to enhance the live music experience for deaf and hard-of-hearing individuals. The suit, showcased at an event called "Silent Disco: An Evening of Access Magic" at Lincoln Center, provided unique textures and sensations corresponding to the music, creating an inclusive environment for all attendees, regardless of hearing ability. NPR reports: His team started by strapping vibrating cell phone motors to bodies, but that didn't quite work. The vibrations were all the same. Eventually, they worked with engineers at the electronic components company Avnet to develop a light haptic suit with a total of 24 actuators, or vibrating plates. There's 20 of them studded on a vest that fits tightly around the body like a hiking backpack, plus an actuator that straps onto each wrist and ankle. When you wear the suit, it's surprising how much texture the sensations have. It can feel like raindrops on your shoulders, a tickle across the ribs, a thump against the lower back. It doesn't replicate the music -- it's not as simple as regular taps to the beat. It plays waves of sensation on your skin in a way that's complementary to the music.

A recent event at Lincoln Center for the Performing Arts called "Silent Disco: An Evening of Access Magic" showcased the suit's potential. Seventy-five of them were lined up on racks at a party meant to be accessible to all. Anyone could borrow one, whether they were hearing, hard of hearing or deaf, and the line to try them out snaked around the giant disco ball that had been hung over Lincoln Center's iconic fountain. The vibrations are mixed by a haptic DJ who controls the location, frequency and intensity of feeling across the suits, just as a music DJ mixes sounds in an artful way.

Disney CEO Bob Iger is citing the studio's output increase for Disney+ as one reason for "some disappointments" as of late. From a report: Speaking to CNBC's David Faber at the Sun Valley Conference, Iger admitted the studio screwed with audience expectations by offering up so much streaming content. The negative impact of that has been commercial disappointments in theaters, be it "Ant-Man and the Wasp: Quantumania" not even reaching $500 million worldwide or disappointing openings for summer tentpoles "Elemental" and "Indiana Jones and the Dial of Destiny."

"There have been some disappointments. We would have liked some of our more recent releases to perform better," Iger said. "It's reflective not as a problem from a personnel perspective, but I think in our zeal to basically grow our content significantly to serve mostly our streaming offerings, we ended up taxing our people way beyond -- in terms of their time and their focus -- way beyond where they had been. Marvel's a great example of that. They had not been in the TV business at any significant level. Not only did they increase their movie output, but they ended up making a number of television series, and frankly, it diluted focus and attention. That is, I think, more of the cause than anything."

Slashdot reader quonset shared this report from CNN: Forty years ago this summer, a new movie floated the prospect of the world being destroyed by artificial intelligence run amok — anticipating current anxieties about where the technology could potential lead — a year before the "Terminator" introduced the futuristic threat known as Skynet. At the time, "WarGames" spoke to another issue very much on the minds of movie-goers: The danger of nuclear annihilation during the Cold War, years before the Berlin Wall and Soviet regime fell...

Yet a recent re-viewing of the movie... makes its spin on AI seem even more pointed and timely — the idea that in seeking an emotionally detached, people-free solution to a problem, we might sow the seeds for our own destruction... The AI, in this case, is more sensible than its creators, as opposed to the more malevolent force featured in the new "Mission: Impossible" sequel. Yet the apprehension that has entered the chat — as underscored by recent congressional hearings regarding the perils associated with the technology — is that future iterations of AI won't be so benevolent, and might actually be smarter than the resourceful teenagers that we can deploy to thwart them...

As Ryan Britt wrote recently at Inverse.com, what really makes "WarGames" scary isn't that the computer is evil, but rather its potentially dire inability to recognize nuance the way a human can. "In 'WarGames,' the computer doesn't understand the difference between a game and real life," Britt noted.
CNN says the movie deals with questions that have "simply continued to evolve" as "reality has caught up with science fiction."

Senate Majority Leader Chuck Schumer is proposing legislation to create a commission with the power to declassify government documents related to UFOs and extraterrestrial matters. The New York Times reports: The measure offers the possibility of pushing back against the conspiracy theories that surround discussions of U.F.O.s and fears that the government is hiding critical information from the public. The legislation, which Mr. Schumer will introduce as an amendment to the annual defense policy bill, has bipartisan support, including that of Senator Mike Rounds, Republican of South Dakota, and Senator Marco Rubio, Republican of Florida, who has championed legislation that has forced the government to release a series of reports on unidentified phenomena. Support in the House is also likely. On Wednesday, the chamber included a narrower measure (PDF) in its version of the annual defense bill that would push the Pentagon to release documents about unidentified aerial phenomena.

The Senate measure sets a 300-day deadline for government agencies to organize their records on unidentified phenomena and provide them to the review board. President Biden would appoint the nine-person review board, subject to Senate approval. Senate staff members say the intent is to select a group of people who would push for disclosure while protecting sensitive intelligence collection methods. [...] Under Mr. Schumer's legislation, the president could decide to delay material the commission has chosen to release based on national security concerns. But the measure would establish a timetable to release documents and codify the presumption that the material should be public. "You now will have a process through which we will declassify this material," said Allison Biasotti, a spokeswoman for Mr. Schumer.

An anonymous reader quotes a report from The Verge: During today's press conference in which Hollywood actors confirmed that they were going on strike, Duncan Crabtree-Ireland, SAG-AFTRA's chief negotiator, revealed a proposal from Hollywood studios that sounds ripped right out of a Black Mirror episode. In a statement about the strike, the Alliance of Motion Picture and Television Producers (AMPTP) said that its proposal included "a groundbreaking AI proposal that protects actors' digital likenesses for SAG-AFTRA members."

When asked about the proposal during the press conference, Crabtree-Ireland said that "This 'groundbreaking' AI proposal that they gave us yesterday, they proposed that our background performers should be able to be scanned, get one day's pay, and their companies should own that scan, their image, their likeness and should be able to use it for the rest of eternity on any project they want, with no consent and no compensation. So if you think that's a groundbreaking proposal, I suggest you think again."

The use of generative AI has been one of the major sticking points in negotiations between the two sides (it's also a major issue behind the writers strike), and in her opening statement of the press conference, SAG-AFTRA president Fran Drescher said that "If we don't stand tall right now, we are all going to be in trouble, we are all going to be in jeopardy of being replaced by machines." The SAG-AFTRA strike will officially commence at midnight tonight.

An anonymous reader shares a report: When top anime streaming platform Crunchyroll was first gaining popularity as a pirated-video site in the mid-2000s, Japanese animation was considered a niche form of entertainment, appealing mainly to enthusiasts known as otaku. Today, it's a $20 billion industry spanning streaming, games and merchandise, and the company's hit series, such as One Piece and Demon Slayer, have drawn millions of US and European subscribers. Crunchyroll, now owned by Sony Group, is setting its sights on India as a major growth market -- one that could help the industry further expand from a made-in-Japan subculture into a mainstream and global phenomenon.

The company, founded in 2006 by graduates of the University of California at Berkeley, started off as an anime-sharing site. It eventually began streaming only legitimate content, helped by investment from venture capitalists including former News Corp. President Peter Chernin and ownership by AT&T's WarnerMedia. Now the largest anime-dedicated streaming platform in the world, it was bought by Sony in a $1.2 billion deal announced in 2020. Crunchyroll has more than 100 million registered members, including 11 million paid users, after rapid subscriber growth during the pandemic when people binge-watched exotic content. With growth in Western markets moderating, the anime giant is looking to India for its next breakthrough, according to President Rahul Purini.

Telly's free 55-inch 4K dual-screen TV sets are set to arrive at users' homes this week -- but of course, there's a catch. From a report: The start-up, which plans to ship some 500,000 free, ad-supported TVs in 2023 in the U.S., is calling the initial wave a "public beta program." The company says the new Telly households represent a diverse cross-section of the U.S. population, although the initial user base overindexes on education level and household income -- and also skews toward Gen Zers and millennials. According to Telly, more than 250,000 people have signed up to receive a free TV set, which displays an always-on, rotating ad unit on a 9-inch-high second screen situated below the main 55-inch one. Each unit also includes a free Chromecast with Google TV adapter. The bulk of the half-million TVs will go out in the fourth quarter of 2023, Telly chief strategy officer Dallas Lawrence said: "We think there's no better Black Friday deal than free."

To receive the free TV, Telly users must submit detailed demographic info (such as age, gender and address), as well as purchasing behaviors, brand preferences and viewing habits, and they must agree to let their data be used for serving targeted ads. Telly's TVs include a sensor that detects how many people are in front of the screen at any given moment. So what's the catch? Telly users must agree to several conditions under the company's terms of service. If someone doesn't abide by the TOS, Telly reserves the right to demand the TV be shipped back -- otherwise, it will charge up to $1,000 to the credit card associated with a given account. Also read: Telly, the 'Free' Smart TV With Ads, Has Privacy Policy Red Flags.

Chicken Soup for the Soul Entertainment, the parent company of Redbox, has partnered with TikTok to stream the platform's short-form videos on screens atop approximately 3,000 Redbox kiosks across the United States. Deadline reports: Third-party brands will also have their ads run alongside the TikTok videos via Chicken Soup's ad platform Crackle Connex. The agreement covers roughly 10% of the total network of Redbox kiosks, which are generally located outside of grocery, convenience and big box retail stores. The out-of-home ad deal is part of a growing effort across the industry to identify alternatives to linear TV and place brand messages in venues like gas stations, elevators and other locations. "TikTok is the go-to destination for short-form video consumption by over a billion people globally," said Philippe Guelton, chief revenue officer of Crackle Connex. "This new partnership provides advertisers a unique opportunity to reach new audiences and drive engagement. Our Redbox kiosks are in high-traffic locations where millions of people frequently shop, such as grocery stores or value retailers. We look forward to working with TikTok on expanding this partnership as our DOOH network expands."

According to Variety, Hulu is launching a new sub-brand focused on adult animation and anime called Animayhem. From the report: The new hub is meant to capitalize on Hulu's already popular lineup of adult animation and anime shows. Series like "American Dad," "Bob's Burgers," "Family Guy," "Futurama" and "King of the Hill" consistently rank among the service's top 10 shows based on hours streamed, per Hulu. So far this year, over one billion hours of adult animation content has been streamed on Hulu, along with over 288 million hours of anime content, the streamer claims.

Hulu currently has 46 adult animated series, which adds up to 174 seasons and 2,600 episodes. For anime, Hulu has 17 films and 272 series, adding up to 435 seasons and 18,400 episodes (including subtitled and English dubbed versions of episodes). As part of the launch, Hulu is debuting a range of ads for Animayhem, which they describe as the "Animation Destination," one of which can be seen below. "When you have the number one offering in adult animation and anime of any major streaming service, creating this destination is obvious. We know exactly where we can meet these fans, because they're already here," said Barrie Gruner, Hulu's executive vice president of marketing and publicity, in an interview with Variety.

"I would say that this brand really cements Hulu as the ultimate streaming destination for animation and we're not going to achieve that with single title campaigns," Gruner said. "This is truly an intersection with our original programming and our library."

Animayhem will also be coming to San Diego Comic-Con via an immersive experience dubbed "Hulu Animayhem: Into the Second Dimension."

An anonymous reader quotes a report from the New York Times: The hush at the end of the musical performance. The pause in a dramatic speech. The muted moment when you turn off the car. What is it that we hear when we hear nothing at all? Are we detecting silence? Or are we just hearing nothing and interpreting that absence as silence? The "Sound of Silence" is a philosophical question that made for one of Simon & Garfunkel's most enduring songs, but it's also a subject that can be tested by psychologists. In a paper published Monday in the Proceedings of the National Academy of Sciences, researchers used a series of sonic illusions to show that people perceive silences much as they hear sounds. While the study offers no insight into how our brains might be processing silence, the results suggest that people perceive silence as its own type of "sound," not just as a gap between noises.

The researchers tested people recruited online with a series of sound illusions. The first test compared a single longer sound with two shorter sounds. The two shorter sounds together added up to the same amount of time as the longer sound. But when people listened to them, they perceived the single sound as lasting longer. To apply that illusion to silence, [Rui Zhe Goh, a graduate student in cognitive science and philosophy at Johns Hopkins University] and colleagues inverted the test. The scientists used sounds of restaurants, busy marketplaces, trains or playgrounds, and inserted chunks of silence for participants to compare.

The researchers supposed that if people perceive silences as their own type of sound, then silences should be subject to the same illusion as the sounds. One long silence should be perceived as longer than the total of two shorter silences. But if people perceive silence as a lack of sound, the illusion might not exist. Other tests placed silence in different contexts to produce more sonic illusions. In every case they tested, listeners perceived the illusion of a period of silence being longer just as they would have perceived an illusion of a longer sound. [...] Although the researchers did not study how people's brains responded to silence, Mr. Goh suggested that existing research supported the idea that some neurons and neural processes were involved in the perception of silence. And knowing that we do perceive silence makes silence that much, er, louder: "Silence is a real experience," Mr. Goh said. Maybe we'll all pay more attention to moments of quiet once we know we can hear the "sounds" of silence.

Chinese customs have apprehended a man attempting the biggest on-the-person CPU smuggling feat we have seen reported. From a report: The perp was stopped at Qingmao Port as he sought to cross from Macau to mainland China with 306 CPUs fashioned into a girdle around his waist. According to China's People's Daily, the smuggler gave himself away as he "was walking in an abnormal posture." We aren't surprised if the smuggler wasn't comfortable, as 306 CPUs weighing 50 g per unit would be over 15 kg (about 33 pounds). Moreover, we have to factor in paper and tape packaging materials, as shown in the images. Another report on this smuggling attempt, posted by Hong Kong's On News, says that the male passenger didn't just wear the CPU 'girdle' around his waist. Some of the 306 CPU payload was taped to his legs. In the images, you can see the slim passenger wearing a black loose-fitting sports shirt. The topmost image shows the shirt rolled up from the waist.

The world's largest spherical structure "squats on the Las Vegas skyline like an enormous spaceship, black and mysterious," reports CNN, "until night falls, when it will glow like the Earth from space."

The $2 billion arena — called "The Sphere" — was built just east of the Venetian hotel/casino. It's 366 feet tall and 516 feet wide (or 111 meters tall and 157 meters wide) — and it boasts the world's highest-resolution wraparound LED screen: Its exterior is fitted with 1.2 million hockey puck-sized LEDs that can be programmed to flash dynamic imagery on a massive scale — again, reportedly the world's largest... The acts onstage will be dwarfed by the towering 16K LED screen, which wraps over and around much of the audience.
It was fully illuminated for the first time on Tuesday to celebrate the Fourth of July, CNN points out (offering some video footage). When it opens in September, the plan is to light up its exterior with animations every day and night.

Slashdot reader Tony Isaac says the news "got me wondering how they got such great video on the curved surface of the sphere." It turns out there's a whole lot more than just the exterior that breaks new ground in audio and video technology. An older IBC article goes into detail about how they accomplished both the exterior and interior screens, and the high-resolution audio inside.
CNN reports: Rich Claffey, Sphere's chief operations officer, says that more than 160,000 speakers spread around the bowl will deliver the same pristine sound to every seat, whether someone is in the top row or down on the floor. The venue also is equipped with haptic seats that can vibrate to match whatever is happening onscreen — an earthquake, for example — and 4D machines that can create wind, temperature and even scent effects.

"The way I describe it to my friends and family is, it's the entertainment venue of the future," Claffey says. If it all sounds a little over the top, well — this is Vegas.
The arena's first act will be 25 concerts by U2 (with tickets starting at $140). "There's nothing like it. It's light years ahead of everything that's out there," says U2's The Edge during a tour of the venue in a recent Apple Music video...

And U2's Bono adds that "Most music venues are sports venues. They're built for sports — they're not built for music. They're not built for art. This building was built for immersive experiences in cinema and performance... "

An anonymous reader quotes a report from NewScientist: Netflix researchers have created a new type of AI-powered green-screen technology that can produce realistic visual effects for film and television in real time. Green-screen technology is routinely used to capture footage of actors that can then be inserted in the foreground of virtual or prerecorded scenes. To do this, actors are filmed against a bright green background, which is easily isolated and removed digitally. This process can be done automatically with reasonable accuracy, such as in television weather forecasts, but it can be thrown by items of green clothing or by transparent or fine objects, like wisps of hair. When greater accuracy is needed in films or television series, specialist operators tweak settings manually, sometimes requiring hours to perfect a shot.

In a bid to create a technique that is both fast and accurate, Netflix has come up with a method it calls Magenta Green Screen (MGS). Actors are filmed against a background of bright green LEDs while being lit from the front with red and blue ones, which together create a magenta glow (see video, [here]). Because digital cameras work by taking an individual red, green and blue value for each pixel, this technique has the effect of creating a green channel that records only the background, with the foreground appearing black, and red and blue channels that record only the foreground, leaving the background looking black. Together these create the magenta and green look. Film editors can replace the green channel in real time, realistically and instantly placing the actors in the foreground of another scene, with even potentially tricky areas, such as transparent bottles or the area around strands of hair, working without problems.

But there is a problem with the method. Because the foreground is only recorded in blue and red, it leaves the actors looking magenta-tinted. To solve this, Netflix uses artificial intelligence to put the full range of color back into the foreground, using a photograph of the actors lit normally as a reference to create a realistic-looking green channel. This AI works quickly, but not yet in real time, although fast techniques such as averaging the red and blue channels to create an approximation of a green channel work effectively enough for the director to monitor while filming.

Harvard professor Avi Loeb believes he may have found fragments of alien technology from a meteor that landed in the waters off of Papua, New Guinea in 2014. CBS News reports: Loeb and his team just brought the materials back to Harvard for analysis. The U.S. Space Command confirmed with almost near certainty, 99.999%, that the material came from another solar system. The government gave Loeb a 10 km (6.2 mile) radius of where it may have landed. "That is where the fireball took place, and the government detected it from the Department of Defense. It's a very big area, the size of Boston, so we wanted to pin it down," said Loeb. "We figured the distance of the fireball based off the time delay between the arrival of blast wave, the boom of explosion, and the light that arrived quickly."

Their calculations allowed them to chart the potential path of the meteor. Those calculations happened to carve a path right through the same projected 10 km range that came from the U.S. government. Loeb and his crew took a boat called the Silver Star out to the area. The ship took numerous passes along and around the meteor's projected path. Researchers combed the ocean floor by attaching a sled full of magnets to their boat. "We found ten spherules. These are almost perfect spheres, or metallic marbles. When you look at them through a microscope, they look very distinct from the background," explained Loeb, "They have colors of gold, blue, brown, and some of them resemble a miniature of the Earth."

An analysis of the composition showed that the spherules are made of 84% iron, 8% silicon, 4% magnesium, and 2% titanium, plus trace elements. They are sub-millimeter in size. The crew found 50 of them in total. "It has material strength that is tougher than all space rock that were seen before, and catalogued by NASA," added Loeb, "We calculated its speed outside the solar system. It was 60 km per second, faster than 95% of all stars in the vicinity of the sun. The fact that it was made of materials tougher than even iron meteorites, and moving faster than 95% of all stars in the vicinity of the sun, suggested potentially it could be a spacecraft from another civilization or some technological gadget." He likens the situation to any of the Voyager spacecrafts launched by NASA.

Jony Ive has been busy since leaving Apple, with his design agency working on things like a typeface, a charity clown nose and "the future of Airbnb." LoveFrom's latest project takes Ive back to his hardware days -- it's a new model of a modular turntable that's been around for half a century. From a report: LoveFrom helped refine Linn's Sondek LP12 for a 50th anniversary edition. Ive told Fast Company it was a "very gentle and modest project" for LoveFrom that stems from his team's admiration for Linn. Perhaps as a result of that, LoveFrom carried out the work pro bono. "There are many things that I've always wanted to be able to do purely for the love of doing them," Ive noted.

The design firm approached Linn about working together, in part because Ive is a long-time fan of the brand. The two teams examined every aspect of the LP12 but couldn't change the turntable very much owing to concerns over impact to the sound quality. Still, LoveFrom "saw a number of areas where there could be small improvements and gentle evolutions of the current design," Ive said. [...] If you're interested in owning the first post-Apple hardware that Ive worked on, you'll have to dig deep into your pockets. The Sondek LP12-50 costs $60,000 and Linn is only making 250 of them.

Tessa Kaur, writing at The Gamer: This week, Disney removed a film called Crater from Disney Plus, which had been released on May 12, 2023. This means it was on the streaming platform for just 48 days, or about seven weeks. Disney hasn't said why, but it seems most likely that it didn't perform well enough and the company decided to remove it to write down the value of its "content assets," therefore lowering their taxes. It's all about the money, and always has been, and there are unfortunate consequences that come with this.

Disney isn't the only streamer that's guilty of this -- every streaming service, including Netflix and HBO Max (now just Max), has taken shows and movies off their platforms without warning. Willow was cancelled and removed from Disney, as was the well-loved Single Drunk Female from Hulu. HBO pulled Westworld and Snowpiercer. Grease: Rise of the Pink Ladies was cancelled and pulled from Paramount Plus just last month. It seems like anything could be pulled at any time, and that sucks.

It's bad enough that streaming services are cancelling shows left and right because they don't meet arbitrary sales targets, but when they are pulled from these platforms, many of them disappear forever. A lot of these shows are made for streaming, never aired on cable, and were never physically released. Bigger prestige shows like Westworld and Snowpiercer appeared on cable originally and are more likely to have Blu-ray releases, but those Disney shows are gone. There is no legal way to watch them anymore, and these companies are not interested in even selling you access.