dryriver writes: The 2010s were not necessarily the greatest decade to live through. AAA computer games were not only DRM'd and internet tethered to death but became increasingly formulaic and pay-to-win driven, and poor quality console ports pissed off PC gamers. Forced software subscriptions for major software products you could previously buy became a thing. Personal privacy went out the window in ways too numerous to list, with lawmakers failing on many levels to regulate the tech, data-mining and internet advertising companies in any meaningful way. Severe security vulnerabilities were found in hundreds of different tech products, from Intel CPUs to baby monitors and internet-connected doorbells. Thousands of tech products shipped with microphones, cameras, and internet connectivity integration that couldn't be switched off with an actual hardware switch. Many electronics products became harder or impossible to repair yourself. Printed manuals coming with tech products became almost non-existent. Hackers, scammers, ransomwarers and identity thieves caused more mayhem than ever before. Troll farms, click farms and fake news factories damaged the integrity of the internet as an information source. Tech companies and media companies became afraid of pissing off the Chinese government.

Windows turned into a big piece of spyware. Intel couldn't be bothered to innovate until AMD Ryzen came along. Nvidia somehow took a full decade to make really basic realtime raytracing happen, even though smaller GPU maker Imagination had done it years earlier with a fraction of the budget, and in a mobile GPU to boot. Top-of-the-line smartphones became seriously expensive. Censorship and shadow banning on the once-more-open internet became a thing. Easily-triggered people trying to muzzle other people on social media became a thing. The quality of popular music and music videos went steadily downhill. Star Wars went to shit after Disney bought it, as did the Star Trek films. And mainstream cinema turned into an endless VFX-heavy comic book movies, remakes/reboots and horror movies fest. In many ways, television was the biggest winner of the 2010s, with many new TV shows with film-like production values being made. The second winner may be computer hardware that delivered more storage/memory/performance per dollar than ever before.

To the question: What, dear Slashdotters, will the 2020s bring us? Will things get better in tech and other things relevant to nerds, or will they get worse?

Over the past decade, Netflix and its rivals have come to rely heavily on the power of algorithms, those top-secret computer programs designed to connect audiences with the programming they're most likely to enjoy based on what they've previously watched. But as Peak TV gives way to the era of Too Much TV and an even more ridiculous amount of content spreads across a rapidly multiplying number of services, platforms are supplementing that sophisticated software with a more low-tech method of helping subscribers find their next favorite show: human beings. From a report: While computer-generated suggestions aren't going away, companies are increasingly looking for other means to help viewers discover shows and movies they might otherwise have missed in a world where something significant premieres almost every day. The industry calls this "human curation," which is basically a fancy phrase for describing nonautomated ways of hyping specific content. AT&T-owned WarnerMedia's upcoming HBO Max service, for example, plans to expand its sister cable network's "Recommended by Humans" promotional campaign by having the stars and producers of its shows, as well as other celebrities, make short videos to highlight particular projects. Those videos will be embedded directly on the service in the hopes that, say, a testimonial from Zac Efron might prompt a young millennial to watch The Exorcist for the first time.

Meanwhile, Netflix, the platform known for its "Because You Watched ..." algorithmic suggestions, is currently beta testing something called "Collections," which are thematic playlists made by company staffers instead of its computers. Netflix isn't saying yet whether it plans to expand the test beyond a select pool of Apple iOS users or make it a permanent feature. Platforms are turning to human curation because of what they see as the limits of reactive recommendation algorithms: They can predict what you might like based on what you've watched in the past, but they can't forecast how your tastes might change or how you're feeling physically and mentally.

An anonymous reader shares a report: Jonathan Kay, co-author of the new book Your Move: What Board Games Teach Us About Life, has largely given up on movies and TV, and has instead made tabletop gaming his primary mode of recreation. "It has a social function in my life, and an intellectual function," Kay says in Episode 392 of the Geek's Guide to the Galaxy podcast. "I've now written a book about it, so I guess it has a professional, editorial function. It's a huge part of my life." Kay wrote the book together with Joan Moriarty, who works full-time at the Snakes & Lattes board game cafe in Toronto. The concept of a board game cafe may be unfamiliar to many, but Kay believes that Snakes & Lattes is an important institution.

"I'm not sure if it's still the biggest board game cafe in North America, but I think it might be the oldest single-purpose urban board game cafe," he says. "And the Snakes & Lattes business model became a model for people creating board game cafes in other cities." The rise of such cafes is a testament to the growing popularity of board games. Sales quadrupled between 2013 and 2016, and the annual Gen Con convention now attracts over 70,000 attendees, Kay among them. He enjoys the laid back atmosphere among the mostly quiet, bookish gamers. "Introverts are actually usually very careful about their social interactions, because they know that if there's conflict that emerges, they won't know how to manage it," he says. "So as a result there's a heightened sense of politeness and consideration at these places."

After 42 years the final installment in the 9-movie Star Wars franchise arrived this weekend during a "moment of transition for the movie business," reports Variety: Its $176 million debut, though massive, ranks as the lowest opening of the most recent three films in the saga, falling far below 2015's "The Force Awakens" ($248 million) and 2017's "The Last Jedi" ($220 million). Enthusiasm for the series is beginning to flag (2019's spin-off "Solo: A Star Wars Story" did the impossible, becoming the first Star Wars movie to lose money). Reviews were lackluster and it's unclear what Star Wars' future will be on the big screen... Disney, the company that bought the rights to the space opera with its $4 billion purchase of Lucasfilm, once envisioned something different for "Star Wars." It believed that the mythology of virtuous Jedi warriors and evil Sith lords was so rich it could spawn a movie a year, making it analogous to Marvel, another in-house purveyor of global blockbusters. Faced with diminishing box office returns, it has been forced to acknowledge that it may have done too much, too fast. Even its ambitious Disneyland theme park, Star Wars: Galaxy's Edge, has been a disappointment, with attendance far lower than expected.

The one, recent bright spot for Star Wars lovers has been "The Mandalorian," a Disney Plus series that follows a planet-hopping bounty hunter and a co-star in Baby Yoda that boasts a face cute enough to launch a thousand memes. Buoyed by that success, Lucasfilm is moving along with other Disney Plus shows set in a galaxy far, far away, including one featuring Ewan McGregor reprising his role as Obi-Wan Kenobi. This flurry of activity indicates that Star Wars' future may not lie in cinemas. It may be in streaming.

If that's the case, "Star Wars" is pivoting along with the rest of the movie business.
The Los Angeles Times seems to agree, noting that this year 10 movies accounted for 38% of the total box office "that's dominated by intellectual-property-powered blockbusters, at the expense of almost everything else." As the studios become increasingly risk-averse, much of the market for midbudget comedies, dramas and rom-coms has migrated to streaming services such as Netflix. Studios are loath to risk the embarrassment of a flop, and streamers are more than happy to use such content to draw subscribers...

"The studios are more corporate-driven and guided by marketing and bean counters than ever before, and the ability to invest in originality is all moving toward streaming," said Rick Cohen, who runs the five-screen Transit Drive-In in Lockport, N.Y. "But they still have $200 million to throw at 'Dark Phoenix.' You could have made 10 original movies for that budget."

Though its poster promises "the most joyful event of the holiday season," the new movie Cats scored just 18% with professional critics on Rotten Tomatoes, and the $100 million adaptaton of the Broadway musical has so far earned just $6.5 million at the box office.

Its director apparently doesn't want that to be the last word. "You've seen movies receive visual touch-ups in special edition re-releases, but Universal is trying something new: it's updating a movie while it's still in the middle of its initial theatrical run," writes Engadget, on a move that the Hollywood Reporter calls "unheard of for a finished title already in release, according to cinema operators and Hollywood studio executives." Insiders talking to the publication said that director Tom Hooper wanted to alter some of the effects after rushing to get the movie ready in time for its December 16th premiere screening. Reportedly, the updated movie is available for theaters to download today (December 22nd) from a satellite server, while those theaters that can't download it will get a hard drive by December 24th...

The tweaks aren't likely to change the general outlook on the movie, which has been...less than favorable. Many viewers are still likely to experience the uncanny valley as they watch anthropomorphized felines dance on screen.
The Daily Beast even argues the film marks the day that Hollywood musicals became "about the perversion of the human body through technology": Nothing can prepare you for the faces. You can read a hundred pieces about Cats, director Tom Hooper's adaptation of Andrew Lloyd Webber's beloved-ish musical about cats having a singing competition, and nothing, nothing you read about it could prepare you for the pure, unnerving spectacle of seeing a computer trying to affix human faces to a fucked up, motion-capture cat with human body parts, a tail, and a big human nose, sitting right there in the middle of a cat's head, sitting on human shoulders, doing dancing routines in a world scaled to cat size...

[T]he second anyone starts moving their body, the effect goes haywire. The face always seems a step or two behind the moving body -- a human visage temporarily displaced from the twisted cat demon. Especially in a movie theater, watching on a high-definition projector, your attention affixed to the horror show going on in front of you, you can't help but notice... It's honestly a miracle a movie this twisted got made, in a world where every movie that costs more than $50 million is engineered for maximum inoffensiveness...

[T]he attempt to bridge the gap between cat and man, to make human beings into dancing cats using computers, just transforms the whole thing into a freakish nightmare...

dryriver writes: 27 years ago, the BBC's "Tomorrow's World" show broadcasted this little gem of a program [currently available on YouTube]. After showing old Red-Cyan Anaglyph movies, Victorian Stereoscopes, lenticular-printed holograms and a monochrome laser hologram projected into a sheet of glass, the presenter shows off a stereoscopic 3D CRT computer display with active shutter glasses. The program then takes us to a laboratory at Massachusetts Institute Of Technology, where a supercomputer is feeding 3D wireframe graphics into the world's first glasses-free holographic 3D display prototype using a Tellurium Dioxide crystal. One of the researchers at the lab predicts that "years from now, advances in LCD technology may make this kind of display cheap enough to use in the home."

A presenter then shows a bulky plastic VR headset larger than an Oculus Rift and explains how VR will let you experience completely computer-generated worlds as if you are there. The presenter notes that 1992 VR headsets may be "too bulky" for the average user, and shows a mockup of much smaller VR glasses about the size of Magic Leap's AR glasses, noting that "these are already in development." What is astonishing about watching this 27-year-old TV broadcast is a) the realization that much of today's stereo stereo 3D tech was already around in some form or another in the early 1990s; b) VR headsets took an incredibly long time to reach the consumer and are still too bulky; and that c) almost three decades later, MIT's prototype holographic glasses-free 3D display technology never made its way into consumer hands or households.

Meet Red Carpet Entertainment, the opposite of Netflix in the fast-changing home-video world. From a report: Unlike the famous streaming service, which serves up thousands of films and TV shows to millions of subscribers for about $13 a month, this startup by two entertainment-industry veterans is seeking just 3,000 rich Americans who'll put up $15,000 and pay $2,500 per movie to watch the latest theatrical releases in their homes. Since launching in October, Red Carpet has attracted just a sliver of the customers it hopes to sign up in the U.S. in the next two years, founders Fredric Rosen and Dan Fellman say. And they know they aren't the first to market a high-end, first-run film service to the ultra-rich. But the two say their knowledge of the entertainment industry gives them a fighting chance. "Everyone is looking for a new, ancillary business," said Fellman, who spent 37 years at Warner Bros, retiring as president of domestic distribution. "So we thought: How do we start a small, ancillary business, but that's not disruptive?"

66-year-old Lucasfilm President Kathleen Kennedy reveals what they'll do after Star Wars: The Rise of Skywalker. Kennedy says that streaming "is a really important transition... What we've been focused on these last five or six years is finishing that family saga around the Skywalkers. Now is the time to start thinking about how to segue into something new and different."

Kennedy also blames the poor box office of the 2018 movie Solo on the release of too many Star Wars movies too quickly, and remembers getting Disney's okay on a "pause" before future films. "We're literally making this up from whole cloth and bringing in filmmakers to find what these stories might be," Kennedy said. "It can take a while before you find what direction you might want to go. We need the time to do that." The next "Star Wars" film is expected to arrive in 2022, and that's essentially all that's known about it. Marvel Studios President Kevin Feige has an idea for a "Star Wars" movie, but it's in the early stages, according to Kennedy. Rian Johnson, who wrote and directed "The Last Jedi," is also developing more "Star Wars" films.

Kennedy said she plans to make key decisions about the direction of the franchise in the coming weeks. But some things she already knows. While the "Skywalker" saga is ending, the company won't abandon the characters created in the most recent trilogy. Additionally, she said, the plan is to move beyond trilogies, which can be restricting. "I think it gives us a more open-ended view of storytelling and doesn't lock us into this three-act structure," she said. "We're not going to have some finite number and fit it into a box. We're really going to let the story dictate that."
The article also notes that George Lucas complained there was "nothing new" in The Force Awakens, according to Bob Iger's recent book The Ride of a Lifetime. And though that film was a commercial and critical success, the Times also writes that "Debates over the franchise persisted." "The Last Jedi," for example, was criticized in some circles for going too far in subverting "Star Wars" tropes. Kennedy says the company heeds feedback from "Star Wars" fans. For example, Lucasfilm decided to revive "The Clone Wars" TV series for Disney+ following a prolonged campaign by viewers. "It does matter what they say and what they care about," Kennedy said. "All of those things play a role in our decision making."

Aside from films, Lucasfilm has ample "Star Wars" material in the works, especially for Disney+. The studio is working on shows starring Ewan McGregor as Obi-Wan Kenobi and Diego Luna as his rebel spy character from "Rogue One." Additionally, the company is experimenting with new formats. Lucasfilm's ILMxLab, a virtual reality and augmented reality unit founded in 2015, this year released a VR series called "Vader Immortal" that puts users face-to-face with Darth Vader and trains headset users to wield a lightsaber.

An anonymous reader quotes USA Today: Two programmers in Las Vegas recently admitted to running two of the largest illegal television and movie streaming services in the country, according to federal officials... An FBI investigation led officials to Darryl Polo, 36, and Luis Villarino, 40, who have pleaded guilty to copyright infringement charges for operating iStreamItAll, a subscription-based streaming site, and Jetflix, a large illegal TV streaming service, federal officials said Friday.

With roughly 118,000 TV episodes and 11,000 movies, iStreamItAll provided members with more content than Netflix, Amazon Prime, Hulu and Vudu, according to prosecutors. Polo urged members of iStreamItAll via email to cancel licensed services in favor of pirated content, according to his plea agreement. He also admitted to earning $1 million from his piracy operations, officials said. He also admitted to downloading the content from torrent websites. "Specifically, Polo used sophisticated computer programming to scour global pirate sites for new illegal content; to download, process, and store these works; and then make the shows and movies available on servers in Canada," officials said.

Last weekend saw the death of Rene Auberjonois at age 79, writes Variety.

schwit1 quotes their report: Auberjonois was a prolific television actor, appearing as Paul Lewiston in 71 episodes of 'Boston Legal' and as Clayton Runnymede Endicott III in ABC's long-running sitcom 'Benson.' He played Odo in 'Star Trek: Deep Space Nine,' and carried that role into video games, voicing the same role in 'Harbinger' and 'The Fallen.' He appeared in the movie 'MASH' as Father Mulcahy in the first of several collaborations with Robert Altman. Other film credits include Roy Balgey in 1976's 'King Kong' and Reverend Oliver in 'The Patriot,' as well as parts in 'McCabe & Mrs. Miller,' 'Eyes of Laura Mars' and 'Walker.'
He also played the French chef in Disney's The Little Mermaid -- a role which Rene reenacted live at the end of this video where he discussed his friendship with William Shatner.

And this week ET shared footage of Rene thoughtfully reflecting after filming the last episode of Deep Space Nine.

As we approach the weekend -- but more importantly, the end of the year -- it's good time as any to ask about the movies, TV shows, and documentaries from this year that you enjoyed the most or found incredibly insightful. Please list them below in the comments.

A court on Tuesday issued an injunction barring Netflix from poaching employees from Fox and confirming the validity of fixed-term employment agreements. Variety reports: The ruling marks a hard-fought victory for Fox -- now owned by Disney -- which set out three years ago to stop Netflix from raiding its employees. Netflix had sought to invalidate Fox's fixed-term employment contracts, arguing that they locked employees into jobs they no longer wanted. Had Netflix prevailed, it would have upended a standard industry practice and given employees greater leverage in negotiations with their employers.

Santa Monica Superior Court Judge Marc Gross issued a tentative ruling on Nov. 25 indicating how he was likely to rule in the case. He affirmed the conclusions of the tentative opinion and made addition points in his final ruling on Tuesday. Netflix has indicated it is likely to appeal. Netflix said: "As Judge Gross ruled, Fox failed to prove it was hurt in any way when two executives decided to exercise their right to go to Netflix. Fox's illegal contracts force employees to remain trapped in jobs they no longer wish to do and at salaries far below market rate. We will continue to fight to make sure that people who work in the entertainment industry have the same rights as virtually every other Californian and can make their own choices about where they work."

Disney has become the first studio in history to surpass $10 billion at the worldwide box office in a single calendar year. Variety reports: Through Sunday, the studio has generated $3.28 billion in North America and $6.7 billion overseas for a global haul of $9.997 billion and is expected to officially cross the benchmark within the next day. Disney smashed its own global box office milestone -- set in 2016 with $7.6 billion -- back in July after the success of "Avengers: Endgame" and "The Lion King." All the more impressive, the studio hit the new high-water mark even before "Star Wars: The Rise of Skywalker," the final chapter in the Skywalker saga, arrives in theaters Dec. 20. Those ticket sales don't include Fox titles like "Ford v Ferrari" or "Dark Phoenix." When accounting for movies it acquired after inheriting Fox's film empire, that bounty is pushed to $11.9 billion.

"The Walt Disney Co. is asking exhibitors worldwide to warn moviegoers that Star Wars: The Rise of Skywalker may pose a seizure risk to audience members with photosensitive epilepsy," reports Deadline: In an unusual move, Disney has sent a letter to theater owners and operators worldwide with a recommendation that special steps should be taken to alert moviegoers about the visual effects and flashing lights in the J.J. Abrams-directed interstellar adventure. "Out of an abundance of caution," the letter opens, "we recommend that you provide at your venue box office and online, and at other appropriate places where your customers will see it, a notice containing the following information: Star Wars: The Rise of Skywalker contains several sequences with imagery and sustained flashing lights that may affect those who are susceptible to photosensitive epilepsy or have other photosensitivities."

The Burbank-based Disney is also working with the Epilepsy Foundation, which issued an advisory of its own and commended the studio for taking the initiative on the audience safety issue. About 3.4 million Americans have epilepsy and about three percent have photosensitivity issues that puts them at risk of seizures triggered by flashing lights or other visual patterns.

"Linux users can now stream shows and movies from the Disney+ streaming service after Disney lowered the level of their DRM requirements," reports Bleeping Computer: When Disney+ was first launched, Linux users who attempted to watch shows and movies were shown an error stating "Something went wrong. Please try again. If the problem persists, visit the Disney+ Help Center (Error Code 83)."

As explained by Hans de Goede, this error was being caused by the Disney+ service using the highest level of security for the Widevine Digital Rights Management (DRM) technology. As some Linux and Android devices did not support this higher DRM security level, they were unable to stream Disney+ shows in their browsers... Yesterday, Twitter users discovered that Disney+ had suddenly started working on Linux browsers after the streaming service tweaked their DRM security levels...

Even with Disney+ lowering the DRM requirements, users must first make sure DRM is enabled in the browser. For example, Disney+ will not work with Firefox unless you enable the "Play DRM-controlled content" setting in the browser.

The European Union Intellectual Property Office (EUIPO) has released a new study which suggests that piracy is dropping in Europe. While the research is limited to site-based piracy, it has some interesting findings. Countries with a lower average income per person visit pirate sites more often, for example. In addition, the study shows that awareness of legal options doesn't always decrease piracy.

A group of filmmakers have sued the State Department for making visa applicants hand over details about their social media accounts. "The lawsuit argues that the requirement unconstitutionally discourages applicants from speaking online -- and, conversely, discourages people who post political speech from trying to enter the U.S.," reports The Verge. From the report: This lawsuit, filed by the Doc Society and the International Documentary Association, challenges the decision on First Amendment grounds. It calls the registration system "the cornerstone of a far reaching digital surveillance regime" that makes would-be visitors provide "effectively a live database of their personal, creative, and political activities online" -- which the government can monitor at any time, long after the application process has been completed. Applicants must even disclose accounts that they use pseudonymously, and if U.S. authorities fail to keep that information secure, it could potentially endanger people who are trying to avoid censorship from a repressive foreign government.

The plaintiffs in this lawsuit say that some non-U.S. members have begun deleting social media content or stopped expressing themselves online because they're afraid it will complicate their ability to enter the U.S. Others have decided to stop working in the country because they don't want to reveal their social media accounts. "The Registration Requirement enables the government to compile a database of millions of people's speech and associations, which it can cross-reference to glean more information about any given visa applicant," warns the suit. And "the government's indefinite retention of information collected through the Registration Requirement further exacerbates the requirement's chilling effect because it facilitates surveillance into the future."

Media center app maker Plex officially launched its ad-supported video service with movies and TV shows from MGM, Warner Bros., Lionsgate and Legendary Wednesday. The service will be available in more than 200 countries and territories, making it the first ad-supported video service with a nearly global reach. From a report: Getting the rights to launch in so many countries was key to bringing ad-supported video to Plex, said CEO Keith Valory in a recent interview with Variety. "More than half of our users are outside of the U.S." The initial catalog will include thousands of movies and TV show episodes, according to Plex executives, with plans to add many more over time. Some titles will only be streaming in some territories, while others are being made available everywhere. At launch, users will have access to movies like "Rain Man," "Teen Wolf," "The Terminator," "American Ultra," "Frequency," "Hard Candy," "Ghost in the Shell," and more. Plex's free-to-watch catalog will initially be more heavily focused on movies than TV shows, but the company plans to add more TV content in the coming months.

The media ecosystem is undergoing a massive change as streaming video looks to extend its recent dominance over traditional distribution, according to research firm MoffettNathanson, which wrote that a large minority of cable consumers could cut their subscriptions in coming years. From a report: "The video market is in full disruption and this year could be the cord cutting tipping point," analyst Michael Nathanson wrote to clients. "Media companies will need to master a whole new suite of skill sets to win going forward," with content creation, user interfaces and "churn mitigation strategies" among the factors that could determine the next generation of winners in the market. Consumers have been abandoning traditional media bundles for years, instead looking to services like Netflix or Walt Disney's recently launched Disney+ service, which has signed up more than 10 million subscribers since launching in November. Streaming services have made in-roads into a number of major categories of video entertainment, including TV shows and movies. In a measure of how big streaming has become, Wells Fargo Securities wrote that between November 17-23, "The Mandalorian," a series from Disney+ set in the "Star Wars" universe, was the "most in-demand show in OTT and overall on a linear+OTT basis." OTT stands for "over the top" content, which bypasses cable boxes. Linear TV airs at set times, as opposed to being on-demand, as with streaming.

Netflix's reboot of Mystery Science Theatre 3000 made this year's "Best Of" lists from both The New York Times and Rotten Tomatoes. Yet apparently their bosses didn't like them, and have shot them into space.

Forbes reports: In a controversial move poisoning Thanksgiving for many indie comedy fans, Mystery Science Theater 3000 host Jonah Ray tweeted that Netflix has cancelled the young reboot after two seasons... The reprise of Mystery Science Theater 3000 -- whose maiden incarnation made hordes of fans airing on Comedy Central and Syfy throughout the '90s -- ran on Netflix for two seasons and 20 episodes beginning in 2017 after a record-breaking Kickstarter campaign by creator Joel Hodgon fueled its return.

"We don't know what the future holds for the show," Ray added in a later tweet, "it always seemed to figure out how to survive. From Comedy Central to Syfy. Then kept alive by RIFFTRAX & Cinematic Titan. Whatever happens, I want everybody to know that getting a chance to be on this show was a dream come true." Shortly after news of the show's cancellation, Hodgson tweeted reassurance to fans that he'll look to revive the series elsewhere....

Earlier this month, Shout! Factory TV announced the debut of an MST3K Twitch channel that unspools the series and promises to feature "related programming...." Fans can also turn to Pluto TV's 24/7 MST3K channel to gorge on the series pre-Y2K catalogue (1988-99).

The MST3K staff is also currently on a sprawling 60-plus city tour that will stretch into March 2020. In 2008 Joel Hodgson, the show's creator, answered questions from Slashdot readers. "I've been a fan so long, I can't even remember when," posted CmdrTaco. "I've been shuttling my MST coffee mug from desk to desk for like 15 years now, so I'm pretty pumped that he'd waste your time with us."

In a gracious note this week, Hodgson emailed fans that "We've had a wonderful time working with the Netflix team, and will always be grateful to them. After all, they gave us the opportunity to spend the past few years aboard the Satellite of Love, and made it possible for new generations to discover the joys of riffing cheesy movies with your friends..."