Rachel Treisman reports via NPR: Authorities in the Russian republic of Chechnya are banning music they consider either too fast or too slow, effectively criminalizing many genres. The Chechen Ministry of Culture announced the ban on its website last week, by the order of Culture Minister Musa Dadayev and with the agreement of Chechen leader Ramzan Kadyrov. "Musical, vocal and choreographic" works will be limited to a tempo of 80 to 116 beats per minute (BPM) to "conform to the Chechen mentality and sense of rhythm," said Dadayev, according to the Russian state-run news agency TASS.

"Borrowing musical culture from other peoples is inadmissible," Dadayev said, per a translation by The Guardian. "We must bring to the people and to the future of our children the cultural heritage of the Chechen people. This includes the entire spectrum of moral and ethical standards of life for Chechens." Russian media report that artists have until June 1 to rewrite any music that doesn't conform to the new rule, though it's not clear how it will be enforced. [...]

The government's crackdown on certain musical tempos would silence most modern music genres. Electronic styles of music like house, techno and dubstep all tend to have BPMs of over 116, says the audio tech company Izotope, while the average tempo of 2020's best-selling pop songs was 122 BPM, according to the BBC. The independent Russian news outlet Meduza said the tempo of the Russian national anthem would be considered too slow under the new limit, reports RadioFreeEurope/RadioLiberty. But it would seem to permit hip-hop music, which generally has a BPM of 85 to 95. "Chechnya is a roughly 6,700-square-mile autonomous republic situated in the North Caucasus of southern Russia and home to some 1.5 million people, the vast majority of whom are Muslim," notes NPR. "The U.S. Commission on International Religious Freedom has said Kadyrov's regime 'maintains hegemony through the imposition of a purported 'traditional' version of Islam, which falsely claims to defend local belief and culture, and combat violent extremism.'"

"'In reality, Kadyrov has [co-opted] Chechen religion and culture to support his brutal regime, which violates the secular constitution of the Russian Federation and international standards of freedom of religion or belief,' it added."

Despite investing billions in new streaming services, media giants have failed to dethrone old favorites, according to Nielsen data. The 21-year-old legal drama "NCIS" tops the list, with viewers streaming 11.4 million episodes per week. Netflix dominates the top 10, with eight shows owing most of their viewership to the platform. Reruns from CBS and other networks make up the majority of the list, with "Stranger Things" being the only original series.

"Nine of the 10 most-watched streaming programs are reruns. In addition to the three from CBS, there is one from YouTube (CoComelon), one from Canada (Heartland), one from Australia (Bluey) and Suits. The only original series to crack the list is Stranger Things," Bloomberg writes. However: "While reruns dominate the top 10, that is not the case overall. Most of the 100 most popular titles of the last three years are original series," it added.

The European Space Agency has a Planetary Defence Office, which includes its Near-Earth Object Coordination Centre. "It has come to our attention," they wrote in the April edition of their monthly newsletter, "that a recent trend among journalists has been to come up with creative comparisons to convey the size of an asteroid to the public."

So then, as explained by RockDoctor (Slashdot reader #15,477) "they propose a number of standardised units of comparison for journalists describing 'death from the skies'".

An excerpt from that April 1 newsletter: In the absence of a handy skyscraper, animals commonly used have included giraffes, corgis and an entire colony of penguins. But how do these comparisons stack up? Let's look at some of our favourite unusual suspects:

- Corgi: At around 30 cm tall, a space rock the size of a corgi wouldn't pose much of a threat.

- Half a giraffe: An adult giraffe can reach up to 5.5 metres in height, so half a giraffe would be about 2.75 metres. While not as impressive as a full skyscraper, an asteroid that size could certainly destroy a building or two...

- Elephants: An adult African elephant can reach 7 metres at the shoulder. Ninety elephants stacked on top of each other would form a staggering pile over 630 metres high, creating a devastating but probably not planet-ending event.

As this menagerie of animals can cause a lot of confusion, we at the NEOCC recommend the use of a Standardised Giraffe Unit (SGU, 1 SGU = 5 penguins) for ease of comparison.
RockDoctor shares this additional thought in his original submission about the newly proposed standardized unit.

"The world may be turtles all the way down, but it's giraffes all the way up."

Disneyland is a proposing part of its park be dedicated to James Cameron's Avatar, reports SFGate. "The rendering isn't a carbon copy of the Pandora land in Disney World's Animal Kingdom; instead, it's themed more closely to the recent sequel, Avatar: The Way of Water." The teaser was dropped as part of Wednesday's company shareholders meeting. The concept art shows a large lake in the middle of the land, surrounded by the signature floating mountains that loom over Animal Kingdom's Pandora. Boats filled with guests can be seen in the water, suggesting some sort of ride. No attractions have been announced for the land yet. Animal Kingdom has two: the spectacular flight simulator Flight of Passage and bucolic indoor boat ride Na'vi River Journey...

There's no timeline for construction to begin. Disney officials have consistently referred to it as a "potential" project, often calling it an "experience" rather than a land.

An anonymous reader writes: Variety reports that following the massive box office success of Dune: Part Two, Legendary has tapped Denis Villeneuve for a third installment that would presumably continue the story of how Paul Atreides goes on to conquer the galaxy. Earlier this year, Villeneuve told Empire that he had already "put words on paper" thinking about where he would like to take the Dune franchise going forward. Legendary has yet to announce any sort of timeline for when production on Dune 3 might begin. But the studio intends for the movie to debut before its next project with Villeneuve -- an adaptation of Nuclear War: A Scenario, Annie Jacobsen's 2024 Pulitzer Prize-nominated nonfiction book about how nuclear war scenarios would likely play out.

An anonymous reader quotes a report from Kotaku: A new patent recently filed by TV and streaming device manufacturer Roku hints toward a possible future where televisions could display ads when you pause a movie or game. For Roku, the time in which the TV is on but users aren't doing anything is valuable. The company has started leasing out ad space in its popular Roku City screensaver -- which appears when your TV is idle -- to companies like McDonald's and movies like Barbie. As tech newsletter Lowpass points out, Roku finds this idle time and its screensaver so valuable that it forbids app developers from overriding the screensaver with their own. But, if you plug in an Xbox or DVD player into the HDMI port on a Roku TV, you bypass the company's screensaver and other ads. And so, Roku has been figuring out a way to not let that happen.

As reported by Lowpass on April 4, Roku recently filed a patent for a technology that would let it inject ads into third-party content -- like an Xbox game or Netflix movie -- using an HDMI connection. The patent describes a situation where you are playing a video game and hit pause to go check your phone or grab some food. At this point, Roku would identify that you have paused the content and display a relevant ad until you unpaused the game. Roku's tech isn't designed to randomly inject ads as you are playing a game or watching a movie, it knows that would be going too far and anger people. Instead, the patent suggests several ways that Roku could spot when your TV is paused, like comparing frames, to make sure the user has actually paused the content. Roku might also use the HDMI's audio feed to search for extended moments of silence. The company also proposes using HDMI CEC -- a protocol designed to help devices communicate better -- to figure out when you pause and unpause content. Similarly, Roku's patent explains that it will use various methods to detect what people are playing or watching and try to display relevant ads. So if it sees you have an Xbox plugged in, it might try to serve you ads that it thinks an Xbox owner would be interested in.

An anonymous reader writes: In the early 70s, young filmmakers John Carpenter and Dan O'Bannon created a spaceship tale for a graduation project -- little knowing it would influence Alien and many other works. Made for $60,000 by film school students, horror maestro John Carpenter's directorial debut Dark Star is now regarded as a sci-fi cult classic. Having just turned 50 years old, it's a world away from much of the sci-fi that came before it and would come after, neither space odyssey nor space opera, rather a bleak, downbeat and often absurd portrait of a group of people cooped together in a malfunctioning interstellar tin can. Arguably its most famous scene consists of an existential debate between an astronaut and a sentient bomb. Dark Star was a collaboration between Carpenter, who directed and scored the film, and Dan O'Bannon, who in addition to co-writing the script, acted as editor, production designer, and visual effects supervisor, as well as playing the volatile, paranoid Sergeant Pinback. They met as budding filmmakers at the University of Southern California. "While [Carpenter and O'Bannon] couldn't be more dissimilar in personality, they were both very energetic and focused," says Daniel Griffiths, director of Let There Be Light: The Odyssey of Dark Star (2010), the definitive documentary about the making of the film.

The sci-fi films of this period tended to be bleak and dystopian, explains John Kenneth Muir, author of The Films of John Carpenter -- films like Silent Running (1972), in which all plant life on Earth is extinct, or George Lucas's 1971 debut THX-1138, in which human emotion is suppressed. "Dark Star arrived in this world of dark, hopeless imaginings, but took the darkness one step further into absurd nihilism." Carpenter and O'Bannon set out to make the "ultimate riff on Stanley Kubrick's 2001: A Space Odyssey," says Griffiths. While Kubrick's 1968 film, explains Muir, was one "in which viewers sought meaning in the stars about the nature of humanity, there is no meaning to life in Dark Star". Rather, says Muir, it parodies 2001 "with its own sense of man's irrelevance in the scheme of things". Where Kubrick scored his film with classical music, Dark Star opens with a country song, Benson, Arizona. (A road in the real-life Benson is named in honor of the film). The film was even released with the tagline "the spaced-out odyssey." Dark Star captured the mood of the time in which it was made, says Muir, the atmosphere of Nixon's America. "The 1960s was all about utopian dreaming and bringing change to America in the counterculture. The 1970s represent what writer Johnny Byrne called 'The wake-up from the hippie dream', a reckoning with the fact that the more things change, the more they stay the same." [...]

When Dark Star premiered at the FILMEX expo in 1974, the audience response was largely positive. "They recognized the film's absurdist humor and celebrated its student film roots," says Griffiths. It had a limited theatrical release in 1975, but it was not a commercial success. "The film met with negative reviews from critics, and general disinterest from audiences," says Muir. "Both Carpenter and O'Bannon realized that all the struggles they endured to make the film did not matter to audiences, they only cared about the finished product. I think they were discouraged," says Griffiths. The growth of the VHS market, however, helped it find its audience and propelled it towards cult status. Its influence can still be felt, perhaps most directly in Ridley Scott's Alien, for which O'Bannon, who died in 2009, wrote the screenplay. The two films share DNA. Alien is also set on a grotty working vessel with a bickering crew, only this time the alien wasn't played for laughs.

Disney said Thursday it planned to crack down on password sharing [non-paywalled link] for its streaming services starting with a few countries in June before implementing a wider rollout in September. From a report: Disney Chief Executive Bob Iger unveiled the timeline to limit password sharing in a CNBC interview Thursday morning, a day after the company defeated activist Nelson Peltz in a bruising proxy fight. Iger didn't say which countries would be first.

The company for months has said a crackdown was coming as it looks to cut costs and make Disney+ and Hulu profitable. Since Iger returned as CEO in 2022, the company has trimmed its streaming losses. Iger said the company is on track to have a profitable streaming business by the fourth quarter this year. "That's a huge, huge improvement," he said on CNBC. "Now what we have to do is turn it not just into a profitable business, into a growth business."

An anonymous reader quotes a report from Ars Technica: The George Carlin estate has settled its lawsuit with Dudesy, the podcast that purportedly used a "comedy AI" to produce an hour-long stand-up special in the style and voice of the late comedian. Dudesy's "George Carlin: Dead and Loving It" special, which was first uploaded in early January, gained hundreds of thousands of views and plenty of media attention for its presentation as a creation of an AI that had "listened to all of George Carlin's material... to imitate his voice, cadence and attitude as well as the subject matter I think would have interested him today." But even before the Carlin estate lawsuit was filed, there were numerous signs that the special was not actually written by an AI, as Ars laid out in detail in a feature report.

Shortly after the Carlin estate filed its lawsuit against Dudesy in late January, a representative for Dudesy host Will Sasso told The New York Times that the special had actually been "completely written by [Dudesy co-host] Chad Kultgen." Regardless of the special's actual authorship, though, the lawsuit also took Dudesy to task for "capitaliz[ing] on the name, reputation, and likeness of George Carlin in creating, promoting, and distributing the Dudesy Special and using generated images of Carlin, Carlin's voice, and images designed to evoke Carlin's presence on a stage." The resulting "association" between the real Carlin and this ersatz version put Dudesy in potential legal jeopardy, even if the contentious and unsettled copyright issues regarding AI training and authorship weren't in play.

Court documents note that shortly after the lawsuit was filed, Dudesy had already "taken reasonable steps" to remove the special and any mention of Carlin from all of Dudesy's online accounts. The settlement restrains the Dudesy podcast (and those associated with it) from re-uploading the special anywhere and from "using George Carlin's image, voice, or likeness" in any content posted anywhere on the Internet. Archived copies of the special are still available on the Internet if you know where to look. While the settlement notes that those reposts are also in "violat[ion] of this order," Dudesy will not be held liable for any reuploads made by unrelated third parties.

Deadline: Drew Goddard, the Oscar-nominated screenwriter of The Martian who also directed The Cabin in the Woods, has been set to write and direct a new Matrix movie at Warner Bros. The franchise's original co-scribe and co-director Lana Wachowski is executive producing. It's still early days in regards to whether core cast members Keanu Reeves, Carrie Anne-Moss, Laurence Fishburne, Hugo Weaving and Jada Pinkett Smith are coming back.

Goddard will produce with partner Sarah Esberg (Moonlight, If Beale Street Could Talk) via their Goddard Textiles banner. "Drew came to Warner Bros with a new idea that we all believe would be an incredible way to continue the Matrix world, by both honoring what Lana and Lilly began over 25 years ago and offering a unique perspective based on his own love of the series and characters," said Jesse Ehrman, Warner Bros Motion Pictures President of Production. "The entire team at Warner Bros Discovery is thrilled for Drew to be making this new Matrix film, adding his vision to the cinematic canon the Wachowskis spent a quarter of a century building here at the studio."

More than 200 musical artists -- including Billie Eilish, Katy Perry and Smokey Robinson -- have penned an open letter to AI developers, tech firms and digital platforms to "cease the use of artificial intelligence (AI) to infringe upon and devalue the rights of human artists." From a report: Unlike other advocacy efforts from creators around AI, this letter specifically addresses tech firms about the concerns of musical artists, such as replicating artist's voices, using their work to train AI models without compensation and diluting royalty pools that are paid out to artists. Jen Jacobsen, executive director at The Artist Rights Alliance (ARA), the trade group representing the artists signing the letter, told Axios, "We're not thinking about legislation here."

"We're kind of calling on our technology and digital partners to work with us to make this a responsible marketplace, and to keep the quality of the music sound, and not to replace human artists." The letter, penned by dozens of well-known musicians within ARA, specifically calls on tech firms and AI developers to stop the "predatory use of AI to steal professional artists' voices and likenesses, violate creators' rights, and destroy the music ecosystem." Signatories include Elvis Costello, Norah Jones, Nicki Minaj, Camila Cabello, Kacey Musgraves, Jon Batiste, Ja Rule, Jason Isbell, Pearl Jam, Sam Smith and dozens more spanning every musical genre.

"As you're reading this, you're more likely than not already inside 'The Matrix'," according to a headline on the front page of CNN.com this weekend.

It linked to an opinion piece by Rizwan Virk, founder of MIT's startup incubator/accelerator program. He's now a doctoral researcher at Arizona State University, where his profile identifies him as an "entrepreneur, video game pioneer, film producer, venture capitalist, computer scientist and bestselling author." Virk's 2019 book was titled "The Simulation Hypothesis: An MIT Computer Scientist Shows Why AI, Quantum Physics and Eastern Mystics Agree We Are in a Video Game." In the decades since [The Matrix was released], this idea, now called the simulation hypothesis, has come to be taken more seriously by technologists, scientists and philosophers. The main reason for this shift is the stunning improvements in computer graphics, virtual and augmented reality (VR and AR) and AI. Taking into account three developments just this year from Apple, Neuralink and OpenAI, I can now confidently state that as you are reading this article, you are more likely than not already inside a computer simulation. This is because the closer our technology gets to being able to build a fully interactive simulation like the Matrix, the more likely it is that someone has already built such a world, and we are simply inside their video game world...

In 2003, Oxford philosopher Nick Bostrom imagined a "technologically mature" civilization could easily create a simulated world. The logic, then, is that if any civilization ever reaches this point, it would create not just one but a very large number of simulations (perhaps billions), each with billions of AI characters, simply by firing up more servers. With simulated worlds far outnumbering the "real" world, the likelihood that we are in a simulation would be significantly higher than not. It was this logic that prompted Elon Musk to state, a few years ago, that the chances that we are not in a simulation (i.e. that we are in base reality) was "one in billions." It's a theory that is difficult to prove — but difficult to disprove as well. Remember, the simulations would be so good that you wouldn't be able to tell the difference between a physical and a simulated world. Either the signals are being beamed directly into your brain, or we are simply AI characters inside the simulation...

Recent developments in Silicon Valley show that we could get to the simulation point very soon. Just this year, Apple released its Vision Pro headset — a mixed-reality (including augmented and virtual reality) device that, if you believe initial reviews (ranging from mildly positive to ecstatic), heralds the beginning of a new era of spatial computing — or the merging of digital and physical worlds... we can see a direct line to being able to render a realistic fictional world around us... Just last month, OpenAI released Sora AI, which can now generate highly realistic videos that are pretty damn difficult to distinguish from real human videos. The fact that AI can so easily fool humans visually as well as through text (and according to some, has already passed the well-known Turing Test) shows that we are not far from fully immersive worlds populated with simulated AI characters that seem (and perhaps even think they are) conscious. Already, millions of humans are chatting with AI characters, and millions of dollars are pouring into making AI characters more realistic. Some of us may be players of the game, who have forgotten that we allowed the signal to be beamed into our brain, while others, like Neo or Morpheus or Trinity in "The Matrix," may have been plugged in at birth...

The fact that we are approaching the simulation point so soon in our future means that the likelihood that we are already inside someone else's advanced simulation goes up exponentially. Like Neo, we would be unable to tell the difference between a simulated and a physical world. Perhaps the most appropriate response to that is another of Reeves' most famous lines from that now-classic sci-fi film: Woah.
The author notes that the idea of being trapped inside a video game already "had been articulated by one of the Wachowskis' heroes, science fiction author Philip K. Dick, who stated, all the way back in 1977, 'We are living in a computer programmed reality.'" A few years ago, I interviewed Dick's wife Tessa and asked her what he would have thought of "The Matrix." She said his first reaction would have been that he loved it; however, his second reaction would most likely have been to call his agent to see if he could sue the filmmakers for stealing his ideas.

"Subscribers of both Disney+ and Hulu can now access Hulu content through the Disney+ app," reports the Los Angeles Times, "as the Burbank media and entertainment giant launched its one-app integration of the two streaming services Wednesday..." The move is part of Disney's plan to increase viewer engagement and reduce churn on Disney+, which has 111.3 million subscribers globally. Disney has lost billions on its direct-to-consumer business as it tries to compete with Netflix, but the company has told investors that its streaming segment will begin to turn a profit by the end of fiscal 2024. Streaming losses have been a key component of a nasty activist shareholder campaign ahead of next week's annual meeting.

Disney+ has typically served up family-friendly content and major brands such as Pixar, Star Wars and Marvel, whereas Hulu's offering has been the streaming home of more adult-oriented programming. Disney executives described the combined app experience as the most extensive technical advancement to the Disney+ streaming platform since it launched in November 2019... The price of the bundle plan starts at $9.99 with ads... Upgrading to the bundle of Hulu on Disney+ will start at $2 more per month, Disney said.

Godzilla x Kong "stomped all over expectations," writes Deadline, "with an $80M opening, the second best start of the year so far, $2.5M behind the $82.5M opening of Legendary's other big pic this spring, Dune: Part Two...

"EntTelligence reports that GxK is expected to pull in more than 5.5M admissions this weekend, the most attended opening weekend for any movie year-to-date." No one saw this coming... International delivered $114M for a great $194M global start. The Adam Wingard directed movie, not including preview night, commanded 56% of all foot traffic and 89% of all premium format admissions. Imax and PLF drove 38% of the gross with 3D responsible for 19%... Beamed Warner Bros Domestic Distribution Boss Jeff Goldstein, "This is a huge, fun Easter movie for the whole family...." For a fifthquel to bounce back the franchise, GxK being the second best start in the Legendary Monsterverse after Godzilla's $93.1M ten years ago, is pretty remarkable.
The article speculates that the first installments (of both the Dune and Godzilla vs. Kong franchise) underperformed because of their mid-pandemic release dates, with their sequels earning more in 2024. The pure theatricality of Godzilla x Kong: The New Empire "clearly underscores the value of the IP on the big screen, and moviegoers' preference to see such monster mashing in no other place but a theater." (Deadline calls the movie "a really fun creature feature with a lot of heart; heck, it's even better than Jurassic World: Dominion. Seriously.")

It also earned "the fifth best Easter weekend opening ever," the article points out, coming in behind Batman v. Superman ($181M), Super Mario Bros Movie ($166.4M), Furious 7 ($161.2M) and The Fate of the Furious ($107.3M), according to the article. Their headline? "They Have Risen: 'Godzilla x Kong' Conquers Easter Box Office..."

Vladimir Putin has ordered Russia's government to explore the development of a series of homegrown consoles to compete with PlayStation and Xbox. Game Rant reports: Russia has taken issue with Western games and developers in recent years, leading the country to threaten the banning of certain titles like Apex Legends and The Last of Us Part 2. This is due to what the Russian government perceives as pro-LGBTQ messaging, which it openly opposes. In February, Russia's Organization for Developing the Video Game Industry (RVI) laid out a long-term plan that ended with the creation of a fully capable gaming console in 2026-2027. It seems that the Russian government may be attempting to follow through with this plan.

Following a meeting on the economic development of Kaliningrad, Putin requested government officials to research the requirements for domestic production of stationary and portable gaming consoles. The Russian president also ordered the planning of an appropriate operating system and cloud system for the consoles. The deadline for these plans is set for June 15, 2024, and Russia's prime minister was designated as the official overseeing these tasks. A Kremlin spokesperson confirmed that the orders intend to develop Russia's homegrown gaming industry.

An anonymous reader shares a report: According to the Ancient Greek philosopher Pythagoras, 'consonance' -- a pleasant-sounding combination of notes -- is produced by special relationships between simple numbers such as 3 and 4. More recently, scholars have tried to find psychological explanations, but these 'integer ratios' are still credited with making a chord sound beautiful, and deviation from them is thought to make music 'dissonant,' unpleasant sounding.

But researchers from the University of Cambridge, Princeton and the Max Planck Institute for Empirical Aesthetics, have now discovered two key ways in which Pythagoras was wrong. Their study, published in Nature Communications, shows that in normal listening contexts, we do not actually prefer chords to be perfectly in these mathematical ratios. "We prefer slight amounts of deviation. We like a little imperfection because this gives life to the sounds, and that is attractive to us," said co-author, Dr Peter Harrison, from Cambridge's Faculty of Music and Director of its Centre for Music and Science.

The researchers also found that the role played by these mathematical relationships disappears when you consider certain musical instruments that are less familiar to Western musicians, audiences and scholars. These instruments tend to be bells, gongs, types of xylophones and other kinds of pitched percussion instruments. In particular, they studied the 'bonang,' an instrument from the Javanese gamelan built from a collection of small gongs.

People bought 43 million vinyl records last year, according to the Recording Industry Association of America (RIAA). From a report: That's 6 million more than the number of CDs sold in 2023, marking the second time since 1987 that's happened and reflecting the steady 17-year-running growth of vinyl sales. Vinyl, which tends to be pricier than the newer format, also far outstripped CDs in actual money made, raking in $1.4 billion compared to $537 million from CDs. The RIAA's report shows that CD revenue was up, too, but in terms of physical products sold, people actually bought about 700,000 fewer CDs in 2023 than the year before. (If you're curious, nearly half a million cassettes sold last year, too, according to Billboard.)

AmiMoJo writes: In a major surprise, all twenty episodes of the second season of the animated series 'Star Trek: Prodigy' have suddenly been made available in France thanks to broadcaster France Televisions.

According to TrekCentral it seems France.TV, the online streaming service for the national public broadcaster, has released the entirety of the second season all at once and without any prior warning or announcement.

This has led to questions online as to how this happened. Paramount+ unexpectedly canceled the series in June last year -- even as a second season had almost finished production and was completed shortly after. It took numerous fan campaigns and social media protests but ultimately Netflix picked up both completed seasons in October 2023. The streamer has confirmed the twenty episode second season will arrive this year but hasn't set a specific date as yet.

Today's unexpected release in France has many wondering if this a mistake, or is this the result of a specific licensing deal with that country and distributor. Either way, spoilers for the new season are already flooding online along with a lot of people calling for fans to wait for the official release and support the creators.

Whether intentional or not, it's not clear if Netflix will shift its release strategy for the new season in the wake of this.

An anonymous reader quotes a report from NPR: Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation. "Tennessee (sic) is the music capital of the world, & we're leading the nation with historic protections for TN artists & songwriters against emerging AI technology," Gov. Bill Lee announced on social media. The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state's old right of publicity law. While the old law protected an artist's name, photograph or likeness, the new legislation includes AI-specific protections. Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist's voice without permission.

In 2019 Los Angeles film/TV producer Brian Morrison painted Blockbuster's logo onto an old newspaper box — and then filled it up with used DVDs. "The Free Blockbuster movement slowly gained traction," reports the New York Times — aided at times by social media — "and eventually more than 200 other community boxes had opened from Louisiana to Canada and even Britain."

Though it's not clear how many are still operational, a 37-year-old California opened a free "Blockbuster" library outside her home earlier this year, according to the article, "and stocks it with season-specific films, subversive books and free candy." "We are social animals; we want to go out into the world and engage with each other," said Brian Morrison, who keeps a lending library outside his home. He often refills it with DVDs and VHS tapes of TV series, horror movies and, on occasion, signed independent films, and said that it had encouraged interaction with his neighbors.

Andrew Kevin Walker, a Los Angeles-based screenwriter, said he had visited secondhand stores especially to seek out films to leave in the boxes, including two sealed James Bond box sets and a copy of "Cobra," a 1986 film written by Sylvester Stallone. "It's an opportunity for people to really share their love of cinema, whether it be their favorite guilty pleasure or their favorite movie of all time," he said.

Viewers with streaming fatigue say they are tired of chasing content that moves around an ever-expanding array of platforms or even disappears altogether, and some long for the physical media that was dominant until streaming took over. "I think it's great that folks are doing this, keeping the spirit of DVDs alive, circulating film[s] in and exchanging them," said Joe Pichirallo, a film producer and professor at New York University...

Alfonso Castillo, who co-founded a Free Blockbuster on Long Island, N.Y., with his son, said the lending library sees regular turnover with people both taking and dropping off movies, including older people. "My sense is that for them, it's less of this cool novelty sort of ironic thing and more like, finally, there's a place to get DVDs again," he said.
Award-winning filmmaker Ava DuVernay misses the commentary tracks on DVDs (along with director's cuts).

But more importantly, they told the Times that when it comes to art, "nothing beats holding it in your hand... It is a part of the experience of consuming and experiencing art."