The auction house Sotheby's is celebrating the 30th anniversary of Neal Stephenson's Snow Crash in a big way, reports Forbes. Stephenson teamed with special effects and prop company Weta Workshop to create "a bespoke piece, a cultural and historical artifact, stemming from the unique mythology of his new and coming Snow Crash universe." "The sword took us a year to create and is one of the finest pieces of craftsmanship WETA has created," said Sir Richard Taylor, founder of WETA workshop. "The whole collection is then housed in a crate from a fictitious gaming company that in theory has owned this sword that has now come up for auction. It is an insane, inworld fusion of ancient craft with the digital age." Taylor adds that "the swords Tansu storage case itself is an, automated, internally driven, magnetically activated, very unique box, with hidden compartments, secret items, coded messages and other inworld special nods to the world Neal authored."

This auction will not only celebrate Stephenson's legacy and the lore of Snow Crash but could also serve as a springboard to expand the Snow Crash universe further. [Taylor adds that Stephenson is exploring "future transmedia developments".] For Taylor, they are at the cusp of creating a body of creative work that blurs the line between the physical and the digital, which we have been affectionately calling 'Masterworks for the Metaverse'.
The sword will, of course, have its own unique NFT "capturing every detail of its physical twin," and someone's already bid $60,000 for it.

Also up for auction are two original manuscripts for Snow Crash and the painting used as the original edition's cover art — but also two forgotten artifacts from the book's afterlife:

• "The only surviving materials from the original graphic novel concept for Snow Crash titled Dioxin Posse, ca. 1989"

• "The leather jacket meant to be worn by Y.T. in the original graphic novel concept for Snow Crash, featuring the 'Elmo' logo used by her group, the "Dioxin Posse," ca. 1989."

The final season of Star Trek: Picard features the return of the Klingon Worf, reports Polygon, calling it "the chance to give one of sci-fi's most beloved supporting characters something that's usually reserved only for Captains and Admirals: a glorious third act."

Interestingly, back in 1987 Star Trek creator Gene Roddenberry had "hoped to avoid relying on familiar alien antagonists" when creating the first Star Trek TV sequel in 1987. So after a last-minute addition, "the early development of the character was left almost entirely in the hands of Dorn, then best known for a supporting role on the lighthearted police drama CHiPs." "They really didn't have a bible for Worf at all," says Dorn of those early episodes. "In fact, one of the first things I did was, I asked the producers, 'What do you want from this guy? You've just handed me a piece of paper that says Worf on it.'" With Roddenberry's blessing, Dorn set out making the character his own, giving Worf the kind of personal investment and attachment that only an actor can provide. "I decided to make the guy the opposite of everybody else on the show. You know, everyone else, their attitudes were great, and they're out there in space, relationships are forming. And after every mission they were like, Wasn't that fantastic? I didn't say anything to anybody, I just made him this gruff and surly character on the bridge. No smiles, no joking around."

It didn't take the show's producers long to realize that Dorn's gruff, joyless performance could effectively turn any bit of throwaway dialogue into a laugh line....

Alongside his role as the show's unlikely comic relief, however, Worf developed into one of Star Trek's most complicated protagonists. Roddenberry mandated that the show's human characters had evolved beyond the sorts of interpersonal conflicts that typically drive television dramas, but Worf, an alien, was permitted to be contrarian, hot-tempered, and even malicious.... He strictly adheres to a code of honor that does not totally overlap with that of his peers.... Yet, however many times "real" Klingon conduct clashes with his values, Worf never allows this to pollute his own sense of honor. He remains unfailingly truthful, loyal, and brave. And, over the years, other Klingons take notice of this and grow to admire and emulate him....

Dorn — along with the rest of the Next Gen ensemble — has once again been called upon to revitalize a Star Trek spinoff. The third season of Star Trek: Picard reintroduces us to Worf as a wise old master, so confident in his ability to defeat his foes in combat that he rarely needs to unsheathe this weapon. Dorn has imagined the past 20 years of his character's life in detail, taking inspiration from a source not entirely disconnected from Star Trek: the films of Quentin Tarantino. Appropriately, Dorn has patterned this version of Worf after a character from a film that opens with an old Klingon proverb: Kill Bill.

"One of the characters was Pai Mei, this martial arts killer," says Dorn. "He's gone so far in the martial arts, the next step is — he can defend himself and kill with a sword, but he can also do it with his bare hands. And with that comes calm, and the ability to know that sometimes you don't have to kill. That's how he's grown in the past 20 years. Now he can dodge ray guns...."

One way or another, the actor looks back at his untouchable tenure as Starfleet's greatest warrior with warmth and appreciation.
And speaking of appreciation, this video shows Dorn out of his Klingon makeup, joining with castmember Brent Spiner to recall a fondly-remembered prank that they'd played on Patrick Stewart (who was directing the episode).

"What if we told you the history you've been told about modern technology isn't quite what it should be?" asks a new Kickstarter campaign for a film about the life of John "Captain Crunch" Draper.

79-year-old Draper is often remembered for his influential early encounters with Steve Jobs and Steve Wozniak, and Draper's early association with Apple Computers is even recognized in the film's title — "Employee 13." But the trailer also promises the larger life story of Draper, "an eccentric genius who went from being a penniless hacker to a millionaire and back again." What if inventions as big as the internet were envisioned before its time by a brilliant and divergent individual you've probably never heard of?

What if someone long overlooked is responsible for inspiring some of the most legendary names in Silicon Valley yet whose notoriety is, oppositely, more synonymous with scandal rather than success?

Employee 13 is an important new film project illuminating the intriguing life and influential achievements of John Draper, also known as "Captain Crunch," a hacker and inventor with autism.
The campaign says "John's ability to see what others could not influenced an industry, society and culture," and argues that his unique perspective in living with autism "enabled his notable discoveries and contributions advancing technology."

The film is in pre-production, "but we need your help to make it happen." (And to "shed light on the dim outcome of one brilliant man's life that was scrutinized without understanding, at a time when autism awareness and support did not exist.")

A poster for the movie hails Draper as an "OG hacker, internet technology pioneer, and champion for digital privacy."

Warner Bros. Pictures is revamping the "Lord of the Rings" film franchise. Variety reports: On a Thursday earnings call, Warner Bros. Discovery CEO David Zaslav announced that newly-installed studio leaders Mike De Luca and Pam Abdy have brokered a deal to make "multiple" films based on the beloved J. R. R. Tolkien books. The projects will be developed through WB label New Line Cinema. The first "Lord of the Rings" trilogy, helmed by Peter Jackson, grossed nearly $3 billion worldwide; Jackson's follow-up trilogy based on Tolkien's "The Hobbit" matched those grosses.

No filmmakers have been attached to the projects as yet, but in a statement to Variety, Jackson and his main "Lord of the Rings" collaborators Fran Walsh and Philippa Boyens said Warner Bros. and Embracer "have kept us in the loop every step of the way." "We look forward to speaking with them further to hear their vision for the franchise moving forward," Jackson, Walsh and Boyens said.

Unlocking exclusive access has been a long-held promise of a lot of NFT-based communities. And now, Spotify is helping some of them realize that claim with token-gated playlists. TechCrunch reports: According to a series of tweets by Kingship, a metaverse band signed to Universal Music Group (UMG), the streaming company is piloting playlists that could be unlocked through NFTs in certain geographies. Under the pilot, Kingship has released a special playlist that could be accessed only by Kingship key card NFT holders. The group posted a series of steps that involves linking a crypto wallet like Metamask, Trust Wallet, Rainbow, Ledger Live, or Zerion to authenticate the NFT that unlocks the playlist. Kingship said that currently, this experience is only available to Android users in the U.S., the U.K., Germany, Australia and New Zealand. "At Spotify, we routinely conduct a number of tests in an effort to improve our user experience. Some of those end up paving the path for our broader user experience and others serve only as important learnings. We have no further news to share on future plans at this time," a Spotify spokesperson said.

Kaare Eriksen writes via Variety: As the Digital Entertainment Group, the trade association for home entertainment, tells it, business is better than ever: The U.S. consumer spend on home entertainment grew 11.4% year over year in 2022, totaling nearly $37 billion. Of course, success depends on how you define "home entertainment": Essentially none of that growth came courtesy of anything other than streaming, let alone DVD sales of any kind. When you remove SVOD from the equation, the truth is tough but unsurprising -- outside of theaters, people are increasingly losing the urge to pay for individual films or TV series, with all rentals and physical sales continuing to decline on an annual basis.

One apparent exception to this is digital sales made across platforms like Amazon, Apple TV and Vudu. Digital sell-through commands the largest share of home entertainment spend after streaming and increased ever so slightly in 2022. That said, it's important to remember that the scaling back of COVID restrictions throughout 2021 meant 2022 was the first (relatively) normal year at the box office since the pandemic started. As a result, more films from major studios were released in theaters and subsequently hit their digital windows sooner, per a bevy of deals Hollywood has worked out with exhibitors. But the key word there is films. TV is a different situation.

Between February of last year and May 2023, just over 100 TV releases from the major studios alongside AMC Networks and Lionsgate will have received Blu-ray or 4K Ultra HD releases in the U.S. market. From a studio-by-studio standpoint, there is little to no consistency as to the strategy behind these physical releases. The most staggering factor is how Paramount alone accounts for well over a third of these releases. [...] What's strange is Paramount's sheer commitment to physical releases for its more obscure series spread across the TV landscape. Just about everything originating from Paramount Pictures has at least a Blu-ray release. "Other than those Paramount releases, the only TV series that got 4K physical editions over the last 12 months are 'House of the Dragon' and the final season of 'Westworld,'" adds Variety. "By contrast, Disney has practically parted ways with physical TV releases altogether. To date, the only Disney+ series that has received a Blu-ray release is Peter Jackson's 'The Beatles: Get Back' docuseries." The same is true for Hulu.

Netflix has reduced the cost of its service in more than three dozen countries in recent weeks, as it tries to appeal to customers around the world who have an ever-growing list of streaming options. From a report: The streaming company's recent price cuts span Middle Eastern countries including Yemen, Jordan, Libya and Iran; sub-Saharan African markets including Kenya; and European countries such as Croatia, Slovenia and Bulgaria. In Latin America, nations including Nicaragua, Ecuador, and Venezuela have seen reductions in subscription costs, as have parts of Asia including Malaysia, Indonesia, Thailand and the Philippines. The cuts apply to certain tiers of Netflix in those markets -- in some cases halving the cost of a subscription.

As recently as last month, Netflix executives talked about raising -- not lowering -- prices. In a January earnings call, co-Chief Executive Greg Peters said the company is looking for places where they can afford to raise prices, which feeds continued content investments. "We think of ourselves as a non-substitutable good," Mr. Peters said. Netflix also has an opportunity to add new subscribers in markets where it doesn't currently have a large share, he said.

An anonymous reader quotes a report from NBC News: The Supreme Court on Tuesday turned away an Ohio man's claim that his constitutional rights were violated when he was arrested and prosecuted for making satirical posts about his local police department on Facebook. The justices' rejection of Anthony Novak's appeal means his civil rights lawsuit against the Parma Police Department cannot move forward. With its decision, the court again declined to consider revisiting "qualified immunity," the contentious legal defense that lets police officers and other government officials off the hook in civil rights cases if constitutional violations have not been "clearly established" when they occur. At issue was whether a lower court correctly granted the police officers qualified immunity under the rationale that previous court precedent had not clearly established that Novak's actions constituted protected speech under the Constitution's First Amendment.

In March 2016, Novak set up a Facebook page that purported to be that of the Parma Police Department. He published six satirical posts in 12 hours, one of which claimed there was a job opening to which minorities were encouraged not to apply and another that warned people not to give food, money or shelter to homeless people. The police department, claiming the posts had disrupted its operations, launched an investigation and ultimately searched Novak's apartment, arrested him and jailed him for four days. Novak was charged under a state law that criminalizes disruption of police operations but acquitted at trial.

The police officers, Kevin Riley and Thomas Connor, say they had probable cause to arrest Novak because they genuinely believed his conduct was disrupting their operations. Novak sued the officers and the police department, saying they had violated his free speech rights, as well as his right to be free of unlawful searches and seizures under the Constitution's Fourth Amendment. After lengthy litigation, a federal judge dismissed Novak's claims. The Cincinnati-based 6th U.S. Circuit Court of Appeals agreed in a ruling in April that "the officers reasonably believed they were acting within the law" even if his Facebook page was obviously a parody. That's because there was no court precedent saying it's a violation of the Constitution to be arrested in retaliation for satirical remarks when the officers have probable cause, the court said. Novak's appeal was backed by satirical news sites The Babylon Bee and The Onion, which filed a lighthearted brief saying its writers "have a self-serving interest in preventing political authorities from imprisoning humorists."

An anonymous reader shares a report: Almost two decades after the release of the Guillermo del Toro-directed Hellboy, the character is getting yet another reboot. Millennium Media has confirmed that Hellboy: The Crooked Man will enter production next month in Bulgaria, Deadline reports. Casting for the titular character (originally played by Ron Perlman and then David Harbour) is yet to be announced, but the new film will be directed by Brian Taylor, best known for the Jason Statham action movie Crank.

Perhaps most interesting is that the comics' original creator Mike Mignola has written the script for the upcoming film alongside Chris Golden. Both were reported to have worked on the script for the 2019 reboot by The Hollywood Reporter, though Andrew Cosby ultimately ended up with sole credit for writing the screenplay. The 2019 reboot is widely considered to have been both a commercial and critical failure, bringing in roughly $55 million at the box office on a budget of $50 million.

An anonymous reader quotes a report from Phys.Org: A new paper in Annals of Botany indicates that watching nature documentaries makes people more interested in plants, potentially provoking an involvement in botany and ecology. [T]he researchers investigated whether nature documentaries can promote plant awareness, which may ultimately increase audience engagement with plant conservation programs. They focused on "Green Planet," a 2022 BBC documentary narrated by Sir David Attenborough. The show, watched by nearly 5 million people in the United Kingdom, featured a diversity of plant species, highlighting vegetation from tropical rainforests, aquatic environments, seasonal lands, deserts, and urban spaces. The program also addressed environmental concerns directly, examining the dangers of invasive monocultures and deforestation.

The researchers measured whether "Green Planet" drove interest in the plants by exploring people's online behavior around the time of the broadcast. First, they noted the species that appeared on the show and the time each one appeared on-screen. Then they extracted Google Trends and Wikipedia page hits for those same species before and after the episodes of the documentary aired. The researchers here found a substantial effect of "Green Planet" on viewers' awareness and interest in the portrayed plant species. Some 28.1% of search terms representing plants mentioned in the BBC documentary had peak popularity in the UK, measured using Google Trends, the week after the broadcast of the relevant episode. Wikipedia data showed this as well. Almost a third (31.3%) of the Wikipedia pages related to plants mentioned in "Green Planet" showed increased visits the week after the broadcast. The investigators also note that people were more likely to do online searches for plants that enjoyed more screen time on "Green Planet." "I think that increasing public awareness of plants is essential and fascinating," said the paper's lead author, Joanna Kacprzyk. "In this study, we show that nature documentaries can increase plant awareness among the audience. Our results also suggest that the viewers found certain plant species particularly captivating. These plants could be used for promoting plant conservation efforts and counteracting the alarming loss of plant biodiversity."

Apple has released the first trailer for its movie Tetris, which tells the extraordinary true story of the struggle between Western publishers, Nintendo, and the Soviet Union itself for the rights to Alexey Pajitnov's classic puzzle game. Polygon reports: Taron Egerton plays Henk Rogers, the gaming entrepreneur who was instrumental in discovering Tetris and securing the console gaming rights, thus enabling its release on Nintendo's then-revolutionary Game Boy handheld. To do so, he had to negotiate directly with the Soviet regime, since Communist law dictated that the game belonged to the people of the Soviet Union (read: the government) rather than Pajitnov himself. All sorts of Cold War skullduggery ensued.

It's an incredible tale that forms the centerpiece of David Sheff's classic book Game Over, which chronicles Nintendo's early rise. The film, directed by Jon S. Baird, seems to take a pretty broad approach to the material, drenching it in '80s pop needle drops, car chases (for some reason), retro game effects reminiscent of the dreadful Adam Sandler vehicle Pixels, and Egerton tearing up as he describes "the perfect game." [...] Tetris will stream on Apple TV Plus from March 31.

Despite the absence of cryptocurrency ads, this year's Super Bowl still managed some geek-friendly advertisements. There was even a riff on "the classic intro from the Super Mario Bros. Super Show, the live-action series that ran from 1989-1991," according to Kotaku: the infamous Mario Rap, which advertised Mario's plumbing business (and in its 2023 version featured the URL for a website).

[T]hat website is indeed up and running, and is everything you would hope it would be from a struggling small business servicing the Brooklyn and Queens areas. There's excessive animation, broken image links, a careers page (still under construction, sadly) and even a novelty mouse cursor.
Kotaku's article includes both versions of the rap, along with reactions from Twitter. (Apparently the phone number in the advertisement really works).

There were also several ads from major tech companies. Google purchased a long ad touting their Pixel phone's ability to remove people from photos (starring Amy Schumer, Doja Cat, and Giannis Antetokounmpo), while Workday drew attention to its enterprise-grade finance and HR software with an ad in which actual rock stars like Ozzy Osbourne, Joan Jett, blues player Gary Clark and members of KISS all urged the software's corporate users to stop calling themselves "rock stars".

Other tech-company ads aired from E*Trade, SquareSpace, and a star-studded Uber One ad in which rapper Puff Daddy auditions singers for their new jingle.

There were also the obligatory celebrity reunions — like Snoop Dogg and Martha Stewart, or the actors from Breaking Bad. But for comic book geeks, a trailer for D.C.'s new movie The Flash included a surprise appearance by Batman — play by both Ben Affleck and by a 71-year-old Michael Keaton, a full 34 years after Keaton played the caped crusader in Tim Burton's 1989 movie Batman. "Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past," according to a press release cited by People. James Gunn, director of Guardians of the Galaxy and new co-CEO of DC Studios, recently said, according to Deadline, that The Flash "is probably one of the greatest superhero movies ever made." He added that the film's storyline "resets everything" for the franchise.
The last Blockbuster video rental store in America played its own advertising prank during the Super Bowl. They announced their own ad which could only be viewed on their Instagram feed during halftime -- or in person at their store in Bend, Oregon. But, as CNN points out, "the store is also renting VHS copies of it for $2."

And for those geeks concerned about the drawbacks of climate change-fighting vehicles, RAM trucks ran an ad about "Premature Electrification" — for consumers excited about electric vehicles but "lacking the confidence about getting and being able to keep a charge." (Although a disclaimer printed at the bottom of the ad warned "Get excited, but not too excited. Pre-production model shown. Availability in the U.S. expected late 2024. Range lengthening technology to come later.")

In J.R.R. Tolkein's The Two Towers, it's in Elrond's home city of Rivendell that Frodo chooses to destroy the ring of power.

And now Lego has created "a truly grand plastic-brick re-creation," reports CNET — costing $500 (£430, AU$800): The stronghold of the elves is a magical place, a sensation Lego managed to encapsulate in 6,167 pieces of plastic stretching 29.5 inches (75 centimeters) wide. "We know many of our fans have been anticipating a set like this for a long time — but a great Lego The Lord of the Rings set is never late, it arrives precisely when it means to!" said Lego design master Mike Psaiki in a statement Tuesday.

The colorful set is based on the design from the Peter Jackson movies. Lego's vision of Rivendell includes Frodo's bedroom, Elrond's study and the Council Ring where you can assemble the Fellowship. The rest of the set features an elven tower and a gazebo, river and bridge.... The set comes with a large cast of 15 minifigure characters, including Gandalf, Frodo, Samwise, Merry, Pippin, Legolas, Gimli and, of course, Elrond.

A Spider-Man Noir live-action series is in the works at Amazon, Variety has learned exclusively. From the report: The untitled series will follow an older, grizzled superhero in 1930s New York City. An individual with knowledge of the project says that the show will be set in its own universe and the main character will not be Peter Parker. [...] Oren Uziel will serve as writer and executive producer on the Spider-Man Noir show. Uziel developed the show along with "Spider-Man: Into the Spider-Verse" producers Phil Lord and Christopher Miller and former Sony boss Amy Pascal, who all executive produce. Pascal executive produces via Pascal Pictures. Sony Pictures Television is the studio, with Lord and Miller currently under an overall deal there.

The Spider-Man Noir comics originally debuted in 2009 as part of the Marvel Noir universe. That version of the iconic superhero lives in New York during the Great Depression. He is bitten by a spider hidden inside a stolen artifact, causing him to have visions of a spider-god who grants him superpowers. The character has previously appeared onscreen in the animated series "Ultimate Spider-Man" with Milo Ventimiglia providing his voice, while Nicolas Cage voiced the character in "Into the Spider-Verse." The Amazon show will be the first live-action iteration of Spider-Man Noir.

Film data researcher Stepehen on his blog: David Wilkinson got in touch yesterday asking for advice on his new crowdfunding campaign. One of the topics he wanted to chat about was the 'cost' of offering a "Thanks" credit to his backers. This involves awarding someone who backs the film a credit on the movie under the "With Thanks" section. This name check would appear at the end of the movie and, crucially, on IMDb. On the face of it, there is no cost to offering an almost infinite number of these as it would just be a case of a longer end credit crawl and IMDb doesn't charge for listing credits.

However, David brought up an anecdote from his time as a distributor. In conversations with fellow film sales professionals, the topic of 'how to spot a bad movie' came up. One participant said that they regard having too many 'With Thanks' credits as a red flag. The others agreed and added that the number of producers listed on a movie was similarly useful in spotting a bad film. These are just the kind of industry beliefs that I love to test. This week I'm going to tackle the 'With Thanks' credits and then next week I'll turn to producing credits. I gathered data on 8,096 movies released in US cinemas between 2000-19 (i.e. pre-pandemic), taking note of their number of credited/thanked individuals, their IMDb score (to stand in for audience views) and Metascore (to sample the views of critics). Conclusion: "A simple and pleasing result. The industry belief that having more than the average number of people thanked in the credits means the movie is bad is flat-out wrong."

Ryan Graves, former Lt. U.S. Navy and F/A-18F pilot who was the first active-duty fighter pilot to come forward publicly about regular sightings of UAP, says more data is needed about unidentified anomalous phenomena (UAP). "We should encourage pilots and other witnesses to come forward and keep the pressure on Congress to prioritize UAP as a matter of national security," writes Graves in an opinion piece for The Hill. An anonymous Slashdot reader shares an excerpt from his report: As a former U.S. Navy F/A-18 fighter pilot who witnessed unidentified anomalous phenomena (UAP) on a regular basis, let me be clear. The U.S. government, former presidents, members of Congress of both political parties and directors of national intelligence are trying to tell the American public the same uncomfortable truth I shared: Objects demonstrating extreme capabilities routinely fly over our military facilities and training ranges. We don't know what they are, and we are unable to mitigate their presence. The Office of the Director of National Intelligence (ODNI) last week published its second ever report on UAP activity. While the unclassified version is brief, its findings are sobering. Over the past year, the government has collected hundreds of new reports of enigmatic objects from military pilots and sensor systems that cannot be identified and "represent a hazard to flight safety." The report also preserves last year's review of the 26-year reporting period that some UAP may represent advanced technology, noting "unusual flight characteristics or performance capabilities."

Mysteriously, no UAP reports have been confirmed to be foreign so far. However, just this past week, a Chinese surveillance balloon shut down air traffic across the United States. How are we supposed to make sense of hundreds of reports of UAP that violate restricted airspace uncontested and interfere with both civilian and military pilots? Here is the hard truth. We don't know. UAP are a national security problem, and we urgently need more data.

Why don't we have more data? Stigma. I know the fear of stigma is a major problem because I was the first active-duty fighter pilot to come forward publicly about regular sightings of UAP, and it was not easy. There has been little support or incentive for aircrew to speak publicly on this topic. There was no upside to reporting hard-to-explain sightings within the chain of command, let alone doing so publicly. For pilots to feel comfortable, it will require a culture shift inside organizations and in society at large. I have seen for myself on radar and talked with the pilots who have experienced near misses with mysterious objects off the Eastern Seaboard that have triggered unsafe evasive actions and mandatory safety reports. There were 50 or 60 people who flew with me in 2014-2015 and could tell you they saw UAP every day. Yet only one other pilot has confirmed this publicly. I spoke out publicly in 2019, at great risk personally and professionally, because nothing was being done. The ODNI report itself notes that concentrated efforts to reduce stigma have been a major reason for the increase in reports this year. To get the data and analyze it scientifically, we must uproot the lingering cultural stigma of tin foil hats and "UFOs" from the 1950s that stops pilots from reporting the phenomena and scientists from studying it. Last September, the U.S. Navy said that all of the government's UFO videos are classified information and releasing any additional UFO videos would "harm national security."

In 2003 a 20-year-old Ryan North began writing new dialogue, three days a week, for the exact same set of six drawings of talking dinosaurs. And twenty years later, he's still doing it!

Interestingly, North found the original six drawings on a clip-art CD. So honoring this strange milestone, he's created a special edition in which the online comic strip finally continues beyond its sixth frame: I fired up a virtual machine running Windows XP which ITSELF was tweaking its settings to run Windows 95, which ITSELF was running the Windows 3.1 software I first used in the last few days of January to make myself a comics layout, and started playing around. (Incidentally, the comic's still laid out in MS Paint, but the version that came with XP...

After 20 years I'm allowed to change the images BRIEFLY. And only once!!
While readers laugh along with T-Rex, Utahraptor and Dromiceiomimus, North is experiencing this milestone as "incredible," while also adding "I'm so grateful for everyone who reads my work." Writing Dinosaur Comics has led to so many amazing things - not just meeting readers, not just seeing plush versions of T-Rex go up to the edge of space or to Antarctica... [Y]ou can trace a direct line between me sending an upload command to my FTP client in 2003 and everything I've done since, and if you told me back then that "hey, the Dinosaur Comics guy is going to write Star Trek comics and adopt Vonnegut into comics too and write bestselling (and non-fiction!) guides to both time travel and taking over the world and, oh, let's say be the new writer for the Fantastic Four AND MORE" I would've said "What?! I would like to be the Dinosaur Comics guy, thank you so much."
Looking back to 2003, North also reflects that "The world of online comics is very different from how it was when I started." [T]here's been a huge shift towards social media - functioning effectively as an aggregator - and a huge shift away from people actually visiting websites. But I love websites, and I think they give us the healthiest, most free version of the web, and I hope 20 years from now the only way to connect with other people won't be through a corporate or algorithmically-mediated platform.
And he adds that he hopes he'll still be writing the comic on its 40th anniversary in the year 2043.

To celebrate this year's "Public Domain Day," the Internet Archive "asked people to submit short films highlighting anything that was going to be made available in the Public Domain in 2023." For the contest, vintage images and sounds were woven into creative films of 2-3 minutes. Many of the films were abstract while others educational, they all showcased the possibility when public domain materials are made openly available and accessible for download. "The Internet Archive has spent 24 years collecting and archiving content from around the world...now is the time to see what people can do with it," said Amir Saber Esfahani, director of special arts projects at the Internet Archive.
The counsel from Creative Commons helped judged all 47 entries, with winners finally chosen "based on creativity, technique, engagement, and variety of 1927 content."

The winning entries include "The Public Domain Race," a montage of newly-uncopyrighted 1927 film clips and cartoons. And the honorable mentions include short films showing, among other things, 2023 filmmaker Sam Dody serenading a lovestruck silent film star from 1927 — and the story of why Mae West once spent eight days in jail.

But the big first-place prize of $1,500 went to Gnats Gonzales for reciting a poem that was emblazoned over the artwork and title pages of 1927 works that have finally entered the public domain. "... Let not kings nor selective texts decide what is known among you. Ignore the temptation of hippocampal decay. Plunge into the dark depths. And feel the warmth of mortal creation at its purest."

That last quote appears over a 1927 movie poster showing a woman smashing pies into the face of Oliver Hardy.

An anonymous reader quotes a report from Motherboard: Netflix created an anime that uses AI-generated artwork to paint its backgrounds -- and people on social media are pissed. In a tweet, Netflix Japan claimed that the project, a short called he Dog & The Boy uses AI generated art in response to labor shortages in the anime industry. "As an experimental effort to help the anime industry, which has a labor shortage, we used image generation technology for the background images of all three-minute video cuts!" the streaming platform wrote in a tweet.

The tweet drew instant criticism and outrage from commenters who felt that Netflix was using AI to avoid paying human artists. This has been a central tension since image-generation AI took off last year, as many artists see the tools as unethical -- due to being trained on masses of human-made art scraped from the internet -- and cudgels to further cut costs and devalue workers. Netflix Japan's claim that the AI was used to fill a supposed labor gap hit the bullseye on these widespread concerns. According to a press release, the short film was created by Netflix Anime Creators Base -- a Tokyo-based hub the company created to bolster its anime output with new tools and methods -- in collaboration with Rinna Inc., an AI-generated artwork company, and production company WIT Studio, which produced the first three seasons of Attack on Titan. "Demand for new anime productions has skyrocketed in recent years, but the industry has long been fraught with labor abuses and poor wages," notes Motherboard's Samantha Cole. "In 2017, an illustrator died while working, allegedly of a stress-induced heart attack and stroke; in 2021, the reported salary of low-rung anime illustrators was as little as $200 a month, forcing some to reconsider the career as a sustainable way to earn a living while having a life outside work, buying a home, or supporting children.

"Even top animators reportedly earn just $1,400 to $3,800 a month -- as the anime industry itself boomed during the pandemic amid a renewed interest in at-home streaming. In 2021, the industry hit an all-time revenue high of $18.4 billion."

Spotify packed on 10 million Premium customers in the last three months of 2022 to stand at 205 million, topping its previous guidance. Variety reports: The growth of its paid subs, up 14% year over year, was "aided by promotional intake and household plans," the company said. Overall, the streamer gained 33 million total monthly active users in the fourth quarter -- a record high -- to reach 489 million (free and paid), up 20% year over year. Amid signs of a flagging economy, Spotify posted 3.17 billion euros in revenue, up 18% from the year-earlier period an in-line with guidance, and a net loss of 270 million euros (versus a net loss of 39 million euros in Q4 2021). Operating loss of 231 million euros for Q4 was better than its projection of -300 million euros.

"We ended 2022 with strong Q4 performance as nearly all of our [key performance indicators] surpassed guidance," Spotify said in its quarterly shareholder deck. The company said revenue growth, excluding the impact of changes in foreign currency exchange rates, was ahead of expectations. Meanwhile, Spotify's ad-supported revenue in Q4 grew 14% year over year, to 449 million euros, led by podcasting gains in the mid-30% range. The company's gross margin for the quarter was 25.3%, slightly above guidance "primarily as a result of lower-than-expected spend on new podcast content investments" as well as "broad-based music favorability." Spotify last week cut 6% of its headcount, laying off about 600 employees. On the earnings call Tuesday, CEO Daniel Ek admitted that he had "overinvested" in Spotify's business, requiring the company to cut jobs.

"I still believe it was the right call to invest, and I would do it again," the CEO said. "But things change, and the macro-environment has changed significantly in the last year. And in hindsight, I probably got a little carried away and overinvested relative to the uncertainty we saw shaping up in the market."