"Always the innovator, Elon Musk is crowdsourcing ideas for his upcoming Saturday Night Live appearance," writes USA Today.

SFGate reports: Both Musk fans and critics weighed in, with the tweet drawing over 4,500 quote tweets at time of publication (and 113,000-plus likes from his devotees). One of the top responses skewered his recent move to Texas.

"How about a skit where a selfish billionaire has a tantrum and makes a showy to-do about moving his factory to another state, but that new state is so dysfunctional it has a third-world power grid and runs out of electricity to run his factories and cars? That would be hilarious...."

As a result of his controversial image, "SNL" announced that cast members will not be required to act alongside him if it makes them uncomfortable. No cast member has publicly decline to perform yet, but cast member Chris Redd did jump into the Twitter fray to correct Musk on his use of the word "skit."
Page Six describes more of the suggestions from Twitter: Some commenters suggested ideas, including, "Extraterrestrials found your Tesla Roadster sent to space in 2018 & are trying to figure out what it is," "You play Chris Hansen on "To Catch a PP loan" with Ross Gerber," and, "Something about how it is all a simulation," while many of the responses to Musk's tweets were real zingers.

"You meeting with SNL writers using the same motivational techniques you use with $TSLA engineers. Elon: I need this done tomorrow or you're fired. SNL Writer: In your dreams a-hole," one user responded.

Business Insider reports: Former Netflix vice president of IT Michael Kail was convicted by a federal jury on Friday of 28 counts of fraud and money laundering, the U.S. Department of Justice announced in a press release.

Kail, who was indicted in 2018, used his position to create a "pay-to-play" scheme where he approved contracts with outside tech companies looking to do business with Netflix in exchange for taking bribes and kickbacks, according to evidence presented to the jury, the release said. Kail accepted bribes or kickbacks from nine different companies totaling more than $500,000 as well as stock options, according to the Department of Justice's press release...

Netflix sued Kail after he left the company in 2014 to take a role as Yahoo's CIO, accusing him of fraud and breaching his fiduciary duties.
One FBI agent says that Kail "stole the opportunity to work with an industry pioneer from honest, hardworking, Silicon Valley companies," according to the details in the Department of Justice statement: To facilitate kickback payments, the evidence at trial showed that Kail created and controlled a limited liability corporation called Unix Mercenary, LLC. Established on February 7, 2012, Unix Mercenary had no employees and no business location. Kail was the sole signatory to its bank accounts...

Kail faces a maximum sentence of twenty years in prison and a fine of $250,000, or twice his gross gain or twice the gross loss to Netflix, whichever is greater, for each count of a wire or mail fraud conviction, and ten years in prison and a fine of $250,000 for each count of a money laundering conviction.

Ever spent way too long browsing Netflix's catalog? You're not alone. From a report: "We've all been there" Netflix Product Innovation Director Cameron Johnson admitted in a conversation with Protocol this week. "People have a really hard time choosing. It's just kind of a human problem." To help consumers overwhelmed with choice, Netflix is adding a "Play Something" button to its TV interface this week. Pressing it automatically launches a new show or movie based on the service's existing personalized recommendations. And if it's not the right title for the moment, consumers can click to play something else. The button seemingly represents a small update to Netflix's ever-evolving TV UI. However, the many months of testing that went into it show that the company is well aware of the challenges that come with building brands around original content from scratch, and the way Netflix implemented the feature sets it apart from attempts of others in the industry to bring a more TV-like experience to streaming.

Rotten Tomatoes has unearthed a 1941 review of Orson Welles' classic that single-handedly took down its decades-long perfect critics' score. From The Hollywood Reporter: Citizen Kane's score across 116 reviews has been reduced to a mere 99 percent "Fresh." The ranking slip is due to a single negative review that was recently unearthed by Rotten Tomatoes as part of the site's Archival Project, which focuses on resurrecting critics and publications of the past and adding archived reviews to classic films. The project discovered a Citizen Kane review that ran in the Chicago Tribune in 1941 and is only available online as a scanned newspaper clipping. Last month, the review was quietly added to Kane's page.

The review's headline is incredibly on point, given the circumstances: "Citizen Kane Fails to Impress Critic as Greatest Ever Filmed." If that sounds like somebody went to the theater with rather high expectations, the review confirms as much. "You've heard a lot about this picture and I see by the ads that some experts think it 'the greatest movie ever made,'" reads the review. "I don't. It's interesting. It's different. In fact, it's bizarre enough to become a museum piece. But its sacrifice of simplicity to eccentricity robs it of distinction and general entertainment value." The review went on to pan the film's iconic use of shadow ("it gives me the creeps and I kept wishing they'd let a little sunshine in"), yet praised Welles in the title role ("a zealous and effective performer").

The critic apparently didn't put their real name on the piece, but, as Boing-Boing pointed out, used the common-at-the-time pseudonym Mae Tinee (say it aloud). But whoever wrote it managed to pen a bomb that took 80 years to effectively detonate and blow up Citizen Kane's perfect score. According to Rotten Tomatoes, the first Citizen Kane reviews were added to the site in 2000 and the film most likely had a consistent 100 percent score for the past two decades -- until Mr./Ms. Tinee's dismissive takedown was discovered.

A viral internet joke becomes a real-life, good-natured 'battle' for a lot of people with the same first name. Behind the scenes of the 'JoshFight.' From a report: It began as a joke, Josh Swain emphasized. Spring, a year ago. As a pandemic surged, and millions idled at home, Swain, an engineering student at the University of Arizona, was very bored online. He noted that every time he tried to create a social media account, the name Josh Swain was already taken. An amused Swain logged onto Facebook, gathered every "Josh Swain" he could find into a group message, and offered a brash challenge, which was basically this: On April 24, 2021, everyone named Josh Swain should meet at these select coordinates -- 40.8223286, -96.79820002; it turned out to be farmland in Nebraska -- and duel for the right to be The One and Only Josh Swain. "We fight, whoever wins gets to keep the name, everyone else has to change their name, you have a year to prepare, good luck," Swain wrote.

Over time, Swain's terse, off-the-cuff, throw-down to all Josh Swains became a viral internet meme, leaping the curb from a bored joke into something quite real. The battle would broaden from Josh Swains to anyone named Josh, with Joshes from all over suggesting they, too, would come to Nebraska for a fight to be the The Only Josh. Terms of engagement were offered: they'd fight with foam pool noodles. Last Josh Standing wins. A public location was settled upon. (The original one turned out to be a private farm.) There was even a charitable angle: Supporters were asked to make contributions to the Nebraska Children's Hospital and Medical Center Foundation, and bring an item for the local food bank. On Friday, Joshua Swain, 22, got on a plane for Nebraska. And this past Saturday, on a grassy field in Lincoln, it actually happened. Josh vs. Josh vs. Josh vs. Josh vs. Josh, in the JoshFight of the Century. "It was insane," Swain said. "I can't describe it. It's so heartwarming, so incredible. It was a beautiful day."

Spotify is increasing the price of many of its subscriptions this week across the UK and parts of Europe, with the US seeing a hike to Family plans. The Verge reports: Subscribers have started to receive emails informing them of the changes, and they will affect Student, Duo, and Family plans across parts of Europe and the UK, and Family subscriptions in the US from April 30th. Single Spotify Premium subscriptions are unaffected. Spotify family is increasing from $14.99 to $15.99 per month in the US. Fortunately, Duo, Premium, and Student pricing will remain the same... for now. The bigger hits to pricing will affect users in the UK and Europe.

In the UK, Spotify Student is increasing from 4.99 to 5.99 pounds per month, with a Duo subscription (for two people) moving from 12.99 to 13.99 pounds a month. Family users will also be hit with price increases, with the Spotify Family plan (up to six accounts) jumping from 14.99 to 16.99 pounds a month. Similar price increases will affect Spotify users in some European countries, too. Ireland and a handful of other European countries will see both Student and Duo increasing by a euro each per month, to 5.99 and 12.99 euros per month respectively. The Family plan in Europe is also increasing from 14.99 to 17.99 euros per month. Some countries in Asia and South America will also see similar price increases.

All existing Spotify subscribers in the US, Europe, and UK users of Spotify will have a one-month grace period before prices are automatically increased, so existing subscribers will see an increase during the June period of billing.

The New York Times reports: Netflix still rules the streaming universe. As of the end of March, it had 207.6 million total paying subscribers, with about 67 million in the United States, the company noted in an earnings report on Tuesday. But its main competitors — Disney+, HBO Max, Paramount+ and AppleTV+, as well as the old-guard streamers Amazon Prime Video and Hulu — have cut into Netflix's share of viewers' attention... according to the data firm Parrot Analytics, which has developed a metric to rate not only the number of viewers for given shows, but their likelihood of attracting subscribers to a streaming service.

In its latest rankings, Parrot reported that Netflix's share of total demand — a measure of the popularity of its shows — was slightly above 50 percent for the first three months of the year, compared with 54 percent a year ago and 65 percent in the first quarter of 2019. In other words, competitors have started eating into Netflix's dominance.

That showed up in the numbers. For the first quarter of 2021, Netflix reported the addition of four million new customers, below the six million it had forecast. The company expects to add only one million new customers for this current quarter ending in June. Netflix shares plummeted about 10 percent in after-hours trading on Tuesday, after the earnings announcement...

Although competitors are gaining ground, Netflix is in its best financial shape of its history. It hit a milestone at the end of last year, when it said it would no longer look to borrow money to fund its content slate. Another way to look at it: Netflix finally became a truly profitable business after topping 200 million subscribers, each paying an average of $11 a month. In other words: Its competitors are still losing lots of money on streaming.

destinyland writes: Mystery Science Theater 3000 will be coming back — with a new home online. Though Netflix didn't pick them up for another season after 2019, "We still want to keep making new episodes," series creator Joel Hodgson explains in an online video on Kickstarter. (Also available through the URL MakeMoreMST3K.com.)

And with 12 days left to go, 18,969 online fans have already pledged $3,348,705, funding six new episodes...

But in addition the first $2 million funded the creation of the Gizmoplex, "our very own virtual online theatre," while the first stretch goal was also funded — the creation of MST3K apps for Android, iOS, and streaming services like AppleTV and Roku. "I'm tired of other people deciding if our show lives or dies," explains Crow T. Robot in the Kickstarter video. "I wanna do that." New host Jonah Heston adds, "If we want MST3K to keep going long-term, maybe networks aren't the most reliable option. Maybe it should be up to the fans to decide how long we keep going..."

Their next stretch goal of $4.4 million would fund three more episodes, but will also allow them to invite backers to the Gizmoplex for live monthly events, "for at least a year." And if they reach their goal of $5.5 million, they'll fund three more episodes — so an entire 12-episode season — as well as 12 short-subject films.

The ultimate hope is to host frequent live screenings, premieres, and community events in the Gizmoplex — while fans can even host their own MST3K watch parties whenever they want. And their Kickstarter page even suggests they might someday extend the Gizmoplex into virtual reality (accessible on computer and headsets).
I still remember how back in 2008 Joel Hodgson answered questions from Slashdot readers. "I've been a fan so long, I can't even remember when," posted CmdrTaco.

After 45 years, NBC's popular TV show "Saturday Night Live" has lined up its richest guest host ever. CNN reports: In one of the more surprising announcements in the recent history of "Saturday Night Live," the NBC variety show said Saturday that its next host will be Elon Musk, the eccentric CEO of Tesla and one of the richest people on the planet.
USA Today adds: The coveted slot, usually occupied by British actors like Carey Mulligan or former boy band members like Nick Jonas, is now reserved on May 8 for Tesla CEO and SpaceX chief engineer, Musk.

He'll be joined by musical guest Miley Cyrus...

The official Twitter page for "SNL" announced the news in its usual format, a photo of sticky notes with the guest's name. "SNL" captioned the tweet with three rocket ship emojis.

Spotify wants to be the industry's No. 1 distributor of podcasts -- and it's willing to forgo some revenue in order to counter Apple's push into podcast subscriptions. From a report: Next week, Spotify will launch its podcast subscription option for partners. But the company will be letting content creators keep 100% of the subscription fees: Spotify will not take a cut of podcast subscription revenue, sources confirmed, as first reported by the Wall Street Journal. By contrast, Apple will keep up to 30% of podcast subscription fees under its program, which is launching next month. Currently, Spotify doesn't allow customers to pay for subscriptions through Apple in-app purchases -- and Spotify has been a very vocal critic of Apple's App Store policies, which has included lodging a formal complaint with the European Union alleging anticompetitive behavior. Similarly, you won't be able to purchase Spotify podcast subscriptions through Apple.

If possession is nine-tenths of the law, what happens when possession gets slippery? From a report: That's a question for a federal courtroom in Sacramento, California, where Apple is facing a putative class action over the way consumers can "buy" or "rent" movies, TV shows and other content in the iTunes Store. David Andino, the lead plaintiff in this case, argues the distinction is deceptive. He alleges Apple reserves the right to terminate access to what consumers have "purchased," and in fact, has done so on numerous occasions. This week, U.S. District Court Judge John Mendez made clear he isn't ready to buy into Apple's view of consumer expectations in the digital marketplace. "Apple contends that '[n]o reasonable consumer would believe' that purchased content would remain on the iTunes platform indefinitely," writes Mendez. "But in common usage, the term 'buy' means to acquire possession over something. It seems plausible, at least at the motion to dismiss stage, that reasonable consumers would expect their access couldn't be revoked." Apple tried other ways to slip away from claims of false advertising and unfair competition. For example, it tried the time-tested approach of challenging Andino's "injury" to knock his potential standing as a plaintiff.

An anonymous reader quotes a report from Vox: The company plans to start selling subscriptions to podcasts and keeping a slice of each transaction for itself. Apple CEO Tim Cook briefly mentioned plans to roll out a subscription feature during the company's keynote event Tuesday, without offering more details. But a person familiar with Apple's plans has spelled it out to Recode:

- Starting next month, Apple will let podcast publishers sell subscriptions to individual shows or groups of shows, and set their own pricing, starting at 49 cents a month in the US.
- Apple won't require podcasters to create Apple-only exclusive shows, but it does want them to distinguish between stuff they're already distributing via Apple and stuff going up on other platforms: That could mean ad-free shows or shows with extra content or brand-new shows that only exist on Apple.
- Apple will keep 30 percent of any subscription revenue creators generate in their first year on the platform. After that, Apple's cut will drop to 15 percent. That's the same pricing scheme Apple already uses for other subscription services, like TV streamers.

The new Apple TV sports a more powerful A12 Bionic chip that lets it play HDR video at higher frame rates. It also comes equipped with a redesigned Siri remote. The Verge reports: The new Siri remote has an iPod-style scroll wheel, a five-way click pad, touch controls, a mute button, and a power button that can turn your TV on and off. Meanwhile, the Siri button is now on the side of the remote, and Apple says that the voice assistant now works on Apple TV in Austria, Ireland, and New Zealand, in addition to the 13 countries where it was already supported. Finally, the new Siri remote's enclosure is made out of 100 percent recycled aluminum.

You'll get the new remote with the new $179 4K set-top box, or it's available separately for $59. As well as being compatible with the new Apple TV 4K, it also works with the 2017 model and Apple TV HD. Apple will also sell the remote bundled with the Apple TV HD for $149. Other features of the Apple TV 4K include support for 60fps Dolby Vision playback over AirPlay from a compatible iPhone, and the ability to optimize the colors of your TV screen using the light sensor on an iPhone.

According to a new report by industry analysts Mark Mulligan and Keith Jopling of Midia Research, songwriters are getting drastically short-changed in the music-streaming economy. An anonymous reader shares an excerpt from the report: The 35-page report, which is available here for free, lays out both the history of this dilemma and some (admittedly difficult) proposed solutions, but what may be unprecedented is the way that it lays out how skewed against songwriters the new music economy is. A handful of the many statistics from the study follow:

- The global music industry revenues (recordings, publishing, live, merchandise, sponsorship) fell by 30% in 2020 due to the combined impact of COVID-19 and a recession
- Streaming has created a song economy, making the song more important than ever, yet music publisher royalties are more than three times smaller than record label royalties
- Streaming will bring further strong industry growth, reaching 697 million subscribers and $456 billion in retail revenues, but the royalty imbalance means that label streaming revenue will grow by 3.3 times more than publisher streaming revenue
- The current royalty system assumes all songs are worth the same - they are not - and rewards poor behavior that dilutes artist and songwriter royalties
- Music subscribers believe in the value of the song: twice as many (60%) state that the song matters more than the artist, than think the artist matters more (29%)
- They also believe that songwriters should be remunerated properly: 71% of music subscribers consider it important that streaming services pay songwriters fairly

In a section titled "The Songwriter's Paradox," it lays out the ways that the song has become more important than ever, but, paradoxically, the songwriter has less income and influence:

- Big record labels have weaponized songwriting: In order to try to minimize risks, bigger record labels are turning to an ever more elite group of songwriters to create hits.
- The emergence of the song economy: The audience has shift its focus from albums to songs.
- Writing and production are fusing: As music production technologies have become more central to both the songwriting process and to the formation of the final recorded work, there has been a growing fusion of the role of production with writing. This has led to a growing body of superstar writer-producers.
-The industrialization of songwriting: Record labels are reshaping songwriting by pulling together teams of songwriters to create "machine tooled" hits - finely crafted songs that are "optimized for streaming." While the upside for songwriters is more work, the downside is sharing an already-small streaming royalties pot with a larger team of creators and co-writers.
- Decline of traditional formats: Songwriters have long relied upon performance royalties from broadcast TV and radio. However, as the audiences on these platforms migrate towards on-demand alternatives, performance royalties face a long-term decline. Similarly, the continued fall in sales means fewer mechanical royalties for songwriters.
- Streaming royalties: The song is the first in line culturally but it is last in line for streaming royalties. Of total royalties paid by streaming services to rights holders, between a fifth and a quarter is paid for publishing rights to the song. Labels are paid more than three times higher than publishers on streaming. An independent label artist could earn more than three thousand dollars for a million subscriber streams, whereas a songwriter could expect to earn between $1,200 and $1,400, and even then, only if they are the sole songwriter on the track. On average, songwriters will therefore earn between a third and a half of what artists do. After proposing a series of solutions, such as implementing "fan-centric licenses" and revised streaming prices, the report concludes: "What is clear is that today's' song economy is not working as it should and that everyone across the value chain will benefit from a coordinated program of change."

Here's something to do if that TV commercial is too loud: complain to the feds, who just might do something about it. From a report: The U.S. Federal Communications Commission on Monday asked for public help to determine whether to update rules to prevent broadcast, cable and satellite providers from sending commercials that are louder than the programming they accompany. "In particular, we invite consumers to tell us their experiences," the agency's media bureau said in a public notice. The action follows an April 13 letter from Representative Anna Eshoo asking FCC Acting Chairwoman Jessica Rosenworcel to look into a reported increase in complaints about loud commercials. Eshoo wrote a 2010 law, known as the CALM Act, or Commercial Advertisement Loudness Mitigation Act, that underpins FCC rules that may be changed. The FCC has never sought to enforce the act, despite receiving thousands of complaints, Eshoo said. A recent press report said complaints to the FCC had increased "sharply," Eshoo wrote. "This worries me a great deal." Eshoo mentioned a March 31 report in Business Insider that said complaints to the FCC for the four-month period from November to February rose 140% compared to the same period a year earlier.

"Jensen Huang, the CEO of Nvidia, the nation's most valuable semiconductor company, with a stock price of $645 a share and a market cap of $400 billion, is out to create the metaverse," writes Time magazine.

Huang defines it as "a virtual world that is a digital twin of ours." Huang credits author Neal Stephenson's Snow Crash, filled with collectives of shared 3-D spaces and virtually enhanced physical spaces that are extensions of the Internet, for conjuring the metaverse. This is already playing out with the massively popular online games like Fortnite and Minecraft, where users create richly imagined virtual worlds. Now the concept is being put to work by Nvidia and others.

Partnering with Nvidia, BMW is using a virtual digital twin of a factory in Regensburg, Germany, to virtually plan new workflows before deploying the changes in real time in their physical factory. The metaverse, says Huang, "is where we will create the future" and transform how the world's biggest industries operate...

Not to make any value judgments about the importance of video games, but do you find it ironic that a company that has its roots in entertainment is now providing vitally important computing power for drug discovery, basic research and reinventing manufacturing?

No, not at all. It's actually the opposite. We always started as a computing company. It just turned out that our first killer app was video games...

How important is the advent and the adaptation of digital twins for manufacturing, business and society at large?

In the future, the digital world or the virtual world will be thousands of times bigger than the physical world. There will be a new New York City. There'll be a new Shanghai. Every single factory and every single building will have a digital twin that will simulate and track the physical version of it. Always. By doing so, engineers and software programmers could simulate new software that will ultimately run in the physical version of the car, the physical version of the robot, the physical version of the airport, the physical version of the building. All of the software that's going to be running in these physical things will be simulated in the digital twin first, and then it will be downloaded into the physical version. And as a result, the product keeps getting better at an exponential rate.

The second thing is, you're going to be able to go in and out of the two worlds through wormholes. We'll go into the virtual world using virtual reality, and the objects in the virtual world, in the digital world, will come into the physical world, using augmented reality. So what's going to happen is pieces of the digital world will be temporarily, or even semipermanently, augmenting our physical world. It's ultimately about the fusion of the virtual world and the physical world.
See also this possibly related story, "Nvidia's newest AI model can transform single images into realistic 3D models."

EW reports: Felix Silla's friend and former Buck Rogers in the 25th Century costar Gil Gerard reported on Twitter that Silla died Friday after a battle with pancreatic cancer.

Coming in at just under 4 feet tall and only 70 pounds, Silla was the perfect choice for the mumbling Cousin Itt on The Addams Family. For years, audiences didn't see his face, the character covered in a full-length hairpiece, sporting sunglasses and a bowler hat... Silla did not provide the distinct mumbling voice of Cousin Itt. That was added by sound engineer Tony Magro in production...

He first came to the United States in 1955 and began his career touring with the Ringling Bros. and Barnum & Bailey Circus for seven years. He worked as a trapeze artist, tumbler, and bareback horse rider. Eventually, he settled in Hollywood in 1962, where he became a stuntman. He went on to work in movies like A Ticklish Fair, TV shows like Bonanza, and appeared in the first pilot for Star Trek, "The Cage." His small stature often helped him find work, including as Cousin Itt, robot sidekick Twiki on the NBC series Buck Rogers in the 25th Century, and even as a hang-gliding Ewok in Star Wars: Return of the Jedi...

He also excelled as a stand in, double, and stuntman working on projects such as Planet of the Apes, Demon Seed, Indiana Jones and the Temple of Doom, The Towering Inferno, The Hindenburg, E.T. the Extra-Terrestrial, Poltergeist, The Golden Child, Howard the Duck, and Batman Returns.
In 2018 one Las Vegas blog spotted Silla with Gil Gerard, posting a picture of the two side by side -- just as they'd posed decades earlier on Buck Rogers in the 25th Century.

While for that show Mel Blanc had provided the voice for Twiki the robot, the blog notes that Silla himself supplied the voice of Mortimer Goth in the Sims 2 videogame.

An anonymous reader quotes a report from IGN: In its first five months on the market, The PlayStation 5 has become the fastest-selling console in U.S. history in both unit and dollar sales. As revealed by The NPD Group's Mat Piscatella, this news arrives one month after the PS5 became the fastest-selling console in U.S. history in dollar sales. Despite that new record, the Nintendo Switch has continued its reign as the best selling hardware platform in both units and dollars during March 2021. However, the PS5 did rank first in hardware dollar sales in Q1 2021.

Apple Music told artists it pays a penny per stream in a letter reviewed by The Wall Street Journal. From a report: The disclosure, made in a letter to artists delivered Friday via the service's artist dashboard and sent to labels and publishers, is part of a growing effort by music-streaming services to show they are artist-friendly. For Apple, it can be seen as a riposte to Spotify Technology, which last month shared some details of how it pays the music industry for streams on its service. Apple's penny-per-stream payment structure -- which music-industry experts say can dip lower -- is roughly double what Spotify, the world's largest music-streaming service, pays music-rights holders per stream. Spotify pays an average of about one-third to one-half penny per stream, though its larger user base generates many more streams. Apple's payments come out of monthly subscription revenue from users. Artists, managers and lawyers, still reeling from the loss of touring revenue during the pandemic, have been calling for higher payouts from music streaming, which has grown rapidly in the past year. Many fans have joined the push to raise artists' compensation.

The lion's share of U.S. consumers say the streamer has the best original programming, according to a new Morgan Stanley survey. Variety reports: Netflix remains the most frequently cited as offering the best original programming -- with 38% of survey respondents picking it as No. 1, per the Wall Street analyst firm's 2021 streaming survey. That's roughly in line with Morgan Stanley's previous surveys. On the 2021 survey, 12% of respondents said Amazon Prime Video offers the best original programming, followed by Disney Plus, Hulu and HBO Max which each scored 6%-7% of total responses.

Among Netflix customers, the top reasons cited for subscribing to Netflix were "broad selection of content" (55%), "good original programming" (51%), "adds content I like" (49%) and "no commercials" (46%). In 2021, Netflix is projected to spend about $19 billion on content according to a forecast by financial research firm Bankr, up about 10% from last year. Netflix retains the No. 1 spot as the most widely used streaming service with 58% of respondents saying they use the service. Amazon Prime Video came in at 45% (up 400 basis points year over year), Disney Plus was at 31% (up 650 basis points), and HBO/HBO Max was 20% (up 500 basis points).

Google has announced that the Google Play Movies and TV app will no longer be available on any Roku set-top box or any Samsung, LG, Vizio or Roku smart TV starting July 15th. The Verge reports: If you have movies or TV shows purchased or rented through the service, you'll still be able to access them through the "Your movies and shows" section of the YouTube app on those devices. This change will also affect you if if you used the Movies and TV app to access Movies Anywhere, the service that allows you to redeem codes from DVDs and Blu-rays so you can access your media digitally. Google has confirmed to The Verge that users who relied on Play Movies and TV to access that content will be able to do so through YouTube.

There are a few other caveats to note in the transition to YouTube. Your Watchlist will no longer be viewable in the app (though it can still be seen on the web by Googling "my watchlist"), and while your family can still share the content you bought from the Movie and TV store, any purchases made in the YouTube app won't be shared with your family. [The Verge's article breaks down all the various ways you can access the content you purchased through the Play Store after July 15th.]

QAnon "was all but confirmed to be a hoax by the person who ran the hoax," writes Mashable, citing the finale of a six-episode documentary on HBO by Cullen Hoback.

"All of it leads back to the same place — that there are very few other people who could have and would have made the Q drops other than the person who ran the place where they were posted," notes Newsweek: Ahead of the first episode, Ron Watkins posted on encrypted messaging service Telegram stating: "I am not Q. I've never spoken privately with Q. I don't know who Q is." However, during the final episode, Hoback suggests that Ron Watkins slips up and inadvertently reveals that he posted as Q on 8kun
A BBC investigative reporter on disinformation tweeted that climactic moment from Cullens' documentary, adding "It was so good it made the whole six hours worth it."

Or as Mashable puts it, "Ron Watkins seems to admit he's Q, in the dumbest possible ending to QAnon," calling it "so anticlimactic it bordered on absurd." The previously camera-shy Watkins — who runs 8kun [formerly 8chan] alongside his father, Jim — has long been the key suspect for the identity of Q... But his accidental reveal, the slip of the mask is huge, if anticlimactic, news... It's wild and so...dumb...that this is how we all find out — because Watkins slipped up for a second.

It makes sense since Q had somewhat inexplicably tied its fortunes to posting only on 8chan/8kun. It's inexplicable unless, you know, the Watkins family was behind the ordeal.
Insider notes that Fredrick Brennan, the software developer who created 8chan and has since become a vocal critic, also believes Q is one of the Watkins' — a theory investigated last June by the Atlantic. And in a September investigation, ABC News reported on the likelihood that Watkins is Q, finding that he and his son, Ron, were the "two Americans most clearly associated" with Q drops. The theory was also popularized by a September "Reply All" podcast episode...

At the end of February 2020, Watkins registered the PAC, "Disarm the Deep State," with the Federal Elections Commission.
They also note that after the documentary aired on HBO, "the community reacted as many experts suspected it would: denial and accusations of 'fake news.'" Watkins had apparently gone to great lengths to suggest to Cullen that Q was instead former Trump advisor Steve Bannon. And last week, the BBC reporter points out, Watkins' father began suggesting a new theory: that Q was actually....documentary maker Cullen Hoback. But the BBC reporter adds: Based on the finale of #QIntotheStorm Q drops are over for good. Both Jim and Ron told Cullen Hoback Q would end after the election, and that's exactly what happened.

We already had proof of the end given there haven't been any drops since 8 December, but we can now be certain.
Hoback's tweet specifically says that "Both Ron and Jim, but especially Ron, told me multiple times over the years that they believed Q would cease at the election." And Hoback adds:

"Ron implied on more than one occasion it *might be* a marketing campaign."

The co-founder of Elon Musk's company Neuralink tweeted on Saturday that the startup has the technological advances and savvy to create its own "Jurassic Park." The Hill reports: "We could probably build Jurassic Park if we wanted to," Max Hodak tweeted Saturday. "Wouldn't be genetically authentic dinosaurs but [shrugging emoji]. maybe 15 years of breeding + engineering to get super exotic novel species." Hodak didn't further explain what technology Neuralink could use to engineer the long-extinct dinosaurs. It's worth noting that the tweet makes no mention of Neuralink, although one could presume Hodak is referring to the neurotechnology company because of his use of the word "we."

In response to the statement, which has been picked up by a variety of publications Wednesday, CNET's Jackson Ryan says we shouldn't expect a "real Jurassic Park" anytime soon -- or ever: [I]t's pretty much impossible to resurrect a dinosaur. The science of bringing dinosaurs back from the dead isn't really as sound as Hodak makes it seem though. Even humanity would have a tough time building a Jurassic Park in the next 15 years. First, we'd need some DNA from the prehistoric tyrants and unlike in the film Jurassic Park, where the DNA is retrieved from mosquitoes in amber and fused with frog DNA, that information has completely degraded.

However, more recently extinct animals, like the woolly mammoth, may be a good target for "de-extinction." We can still extract DNA from these creatures and could theoretically build and implant a mammoth embryo in a modern-day elephant. The question is: should we? Jurassic Park offers a pretty good reason not to, but mammoths aren't quite as bloodthirsty as Tyrannosaurus rex.

Sky TV, one of the largest broadcasters in the UK, has won a court injunction to prevent links to its TV shows from being illegally shared online. The interim order targets a man who moderated several TV-focused communities on Reddit while raising funds through Patreon and PayPal. TorrentFreak reports: According to an action filed by Sky in a Scottish court, Cherzo1 was the moderator of three sub-Reddits -- r/UKTVLAND, r/notapanelshow, and r/UKPanelShowsOnly -- which together had more than 51,000 subscribers. Cherzo also had a YouTube channel with more than 95,000 subscribers. According to Sky, all of these platforms were used to infringe the company's copyrights. In evidence to support its action, Sky states that Cherzo1 was motivated by money, receiving payments from fans and followers via Patreon and directly into his PayPal account. [...]

In order to curtail Cherzo1's activities, Sky asked the court to hand down an "interdict ad interim," a term used in Scotland to describe an interim injunction. The broadcaster asked the court to order Cherzo1 to stop uploading copies of broadcasts, stop posting hyperlinks to shows on Reddit and anywhere else on the Internet, and forbid him from assisting any third party to do the same. A court will grant an interim interdict if it believes there is a prima facie case against the defendant. [...] Anyone found breaching such an order could be subjected to a fine or even imprisonment.

A Soviet television adaptation of The Lord of the Rings thought to have been lost to time was rediscovered and posted on YouTube last week, delighting Russian-language fans of JRR Tolkien. From a report: The 1991 made-for-TV film, Khraniteli, based on Tolkien's The Fellowship of the Ring, is the only adaptation of his Lord of the Rings trilogy believed to have been made in the Soviet Union. Aired 10 years before the release of the first instalment of Peter Jackson's movie trilogy, the low-budget film appears ripped from another age: the costumes and sets are rudimentary, the special effects are ludicrous, and many of the scenes look more like a theatre production than a feature-length film. The score, composed by Andrei Romanov of the rock band Akvarium, also lends a distinctly Soviet ambience to the production, which was reportedly aired just once on television before disappearing into the archives of Leningrad Television. Few knew about its existence until Leningrad Television's successor, 5TV, abruptly posted the film to YouTube last week [part one | part two], where it has gained almost 400,000 views within several days.

The file-sharing blog TorrentFreak reports: Google was asked to remove a TorrentFreak article from its search results this week. The article in question reported that "The Mandalorian" was the most pirated TV show of 2020.

This notice claims to identify several problematic URLs that allegedly infringe the copyrights of Disney's hit series The Mandalorian. This is not unexpected, as The Mandalorian was the most pirated TV show of last year, as we reported in late December. However, we didn't expect to see our article as one of the targeted links in the notice. Apparently, the news that The Mandalorian is widely pirated — which was repeated by dozens of other publications — is seen as copyright infringement?

Needless to say, we wholeheartedly disagree. This is not the way.
TorrentFreak specifies that the article in question "didn't host or link to any infringing content." (TorrentFreak's article was even linked to by major sites including CNET, Forbes, Variety, and even Slashdot.)

TorrentFreak also reports that it wasn't Disney who filed the takedown request, but GFM Films... At first, we thought that the German camera company GFM could have something to do with it, as they worked on The Mandalorian. However, earlier takedown notices from the same sender protected the film "The Last Witness," which is linked to the UK company GFM Film Sales. Since we obviously don't want to falsely accuse anyone, we're not pointing fingers.
So what happens next? We will certainly put up a fight if Google decides to remove the page. At the time of writing, this has yet to happen. The search engine currently lists the takedown request as 'pending,' which likely means that there will be a manual review. The good news is that Google is usually pretty good at catching overbroad takedown requests. This is also true for TorrentFreak articles that were targeted previously, including our coverage on the Green Book screener leak.

On the 27th anniversary of Kurt Cobain's death, Engadget reports: Were he still alive today, Nirvana frontman Kurt Cobain would be 52 years old. Every February 20th, on the day of his birthday, fans wonder what songs he would write if he hadn't died of suicide nearly 30 years ago. While we'll never know the answer to that question, an AI is attempting to fill the gap.

A mental health organization called Over the Bridge used Google's Magenta AI and a generic neural network to examine more than two dozen songs by Nirvana to create a 'new' track from the band. "Drowned in the Sun" opens with reverb-soaked plucking before turning into an assault of distorted power chords. "I don't care/I feel as one, drowned in the sun," Nirvana tribute band frontman Eric Hogan sings in the chorus. In execution, it sounds not all that dissimilar from "You Know You're Right," one of the last songs Nirvana recorded before Cobain's death in 1994.

Other than the voice of Hogan, everything you hear in the song was generated by the two AI programs Over the Bridge used. The organization first fed Magenta songs as MIDI files so that the software could learn the specific notes and harmonies that made the band's tunes so iconic. Humorously, Cobain's loose and aggressive guitar playing style gave Magenta some trouble, with the AI mostly outputting a wall of distortion instead of something akin to his signature melodies. "It was a lot of trial and error," Over the Bridge board member Sean O'Connor told Rolling Stone. Once they had some musical and lyrical samples, the creative team picked the best bits to record. Most of the instrumentation you hear are MIDI tracks with different effects layered on top.
Some thoughts from The Daily Dot: Rolling Stone also highlighted lyrics like, "The sun shines on you but I don't know how," and what is called "a surprisingly anthemic chorus" including the lines, "I don't care/I feel as one, drowned in the sun," remarking that they "bear evocative, Cobain-esque qualities...."

Neil Turkewitz went full Comic Book Guy, opining, "A perfect illustration of the injustice of developing AI through the ingestion of cultural works without the authorization of [its] creator, and how it forces creators to be indentured servants in the production of a future out of their control," adding, "That it's for a good cause is irrelevant."

French Deliveroo customers who received fake bills for hundreds of euros' worth of pizza have failed to see the funny side of the April Fools' joke. The BBC reports: On April 1, thousands of customers of the delivery platform across France got confirmation emails for orders totaling over $530. Many took to social media to express anger at the stunt. Late on Thursday Deliveroo informed its customers via Twitter and email that it had not been serious. "We confirm that it was an April Fool's joke," the clarification read. "You can enjoy the evening by ordering the pizza of your choice." But few customers were amused. One of them said he had "almost had a stroke" after receiving a 466-euro invoice for 38 pizzas that he had never ordered. Many recipients said they panicked and tried to call their banks to block any payment.

April 2nd was "World Autism Awareness Day." This prompted Salon to ask: What would a good representation of autism in the media look like? When you talk to people who are neurodiverse, one problem they consistently identify is that even well-developed characters who seem to be on the spectrum are frequently "coded" — that is, they are given personality traits associated with autism but are never directly identified as being autistic.

"I have yet to seen a portrayal in the media that feels genuine," Becca Hector, an autism and neurodiversity consultant and mentor in Colorado, told Salon via Facebook. After noting the prevalence of autistic stereotyping in media, and particularly the entertainment industry, she added that "the closest they ever got, in my opinion, is Temperance Bones from the TV show 'Bones.'" Hector praised how the character "acted" autistic and the people around her responded with a mixture of laughter and exasperation, which struck her as realistic. At the same time, Bones was "absolutely coded."

Jen Elcheson, a 39-year-old autistic paraeducator and published author living in western Canada, agreed with Hector about Bones in the Facebook conversation. "Honestly, I find autistic coded characters easier to relate to in entertainment than the ones they purposely make autistic," she observed. "Because when they do it deliberately, it's usually characters laden in all the stereotypes."
Although Elcheson argued the alternative was also bad.

"When characters are coded not only does the greater public miss out on seeing a different depiction of an autistic that isn't a stereotype, but the autistic community once again experiences erasure."

Both monsters have grown in size over the years, and they reach new heights in Godzilla vs. Kong. But could they ever exist in real life? From a report: The last time the pair squared off, in the 1962 Japanese stop-motion release King Kong vs. Godzilla, Kong was 148 feet tall, compared to just 25ft tall in Peter Jackson's 2005 film King Kong, according to online estimates. In 2017's Kong: Skull Island, the great primate was around 104ft; almost four times smaller than the current iteration of Godzilla, who clocks in at 393ft. While the skeletons of Kong's parents in Skull Island suggest 100ft is roughly their species' genetic limit, the producers of the series have retconned the franchise by explaining that Kong is an adolescent in that film, leaving room for him to grow into a worthy opponent for Godzilla some 40 years down the movie timeline. Scaling up Kong to match Godzilla makes sense. It would be a short film if Godzilla stomped the big ape to death in the opening minutes. But how does that explain Godzilla's own growth spurt from 328ft in 2014 to 393ft today? And, crucially, is any of this based in science?

There are some things the films get right. James Rosindell from the faculty of natural sciences at Imperial College London points to a theory called 'Cope's Rule' which holds that evolution will increase a species body size over time. "[Being larger] gives competitive advantages and is often naturally selected for," he explains. However, larger creatures need more food and typically reproduce at a slower rate, meaning few individuals can be supported by any one ecosystem. So Kong and Godzilla being the last of their species -- and Kong slowly maturing over 40 years -- fits the science. But that's about the only thing that holds together. It turns out that Godzilla and Kong's biggest foe may not be each other, but physics. Specifically, the laws of gravity and biomechanics. The largest animal alive today, the blue whale, is found in our oceans. "The size limit of aquatic animals is closely tied to the ability to eat enough food to sustain their chonky bodies," explains David Labonte, a researcher in the department of bioengineering, also at Imperial College. Labonte has a specific interest in the interaction between physical laws and body size. For example, why there are no climbing animals heavier than geckos that can cling upside down to smooth surfaces? When it comes to the blue whale, Labonte explains that their large mouths and a technique known as 'lunge feeding' enables them to obtain enough food to sustain their bodies. This has allowed some blue whales to grow up to 180 tonnes (Kong was around 158 tonnes in his last film). An aquatic environment bestows other advantages, namely, buoyancy. Having its weight suspended in water is one of the key reasons why the blue whale is able to grow so large. It's also the reason that when whales beach, the most common cause of death is internal damage from the weight of their own bodies. Gravity, then, is a problem our terrestrial animals are yet to overcome. It's the reason our largest land animal, the African elephant tips the scales at a relatively puny six tonnes.

lee1 writes: The UHI human interaction research group has been intensively studying a pervasive problem facing users of the web: the problem of tabs. How to organize them, preserve them, keep track of them. We have carefully considered the pros and cons of various approaches offered by different browsers, and by extensions: tab trees, second rows of tabs, vertical tabs, 3D tabs, musical tabs, you name it.

None of them were good enough.

New submitter catmar68 writes: CERN proposes "space elevator" accelerator to answer this fundamental question: "Do antimatter apples fall up?" From the press release: The true question, they say, is whether antimatter apples fall down differently. If a difference were spotted, it would spell the end of "CPT invariance" -- a principle that has underpinned every theory of physics since the invention of quantum mechanics. "The Standard Model of particle physics has been very successful, but it can't explain the 95% of the universe which is 'dark', and neither Einstein nor any physicist since has been able to cook up a working theory of quantum gravity," says theorist Flora Oilp. "It's time to challenge its most fundamental principle head-on." The way forward, according to Oilp and her colleagues, is to build a vertical accelerator that will put gravity to the test directly. Every previous particle accelerator has been horizontal. A combination of high speeds and frequent course corrections using focusing magnets has always meant that the effect of gravity can be neglected. But by utilising a range of new, revolutionary techniques, including accelerating particles upwards inside a vacuum vessel, and timing how long they take to fall back down to Earth, physicists can study the elusive fourth force directly. Furthermore, by comparing results with protons and antiprotons, they can watch for signs of "CPT violation." Such behaviour cannot be explained using conventional theories, which rely on this principle to ensure the conservation of probability.

The accelerator would be built in two stages. Stage one proposes a 500 m vertical accelerator, starting from the base of the LHC shafts. An exciting collaboration with NASA may come to fruition by utilising detectors on the International Space Station (ISS) to detect beams of particles fired by the accelerator every time the ISS is overhead. This "reverse cosmic-ray" experiment would allow the measurement of Earth's gravity on particle trajectories at unprecedented levels. Stage one will seek to match the roughly 1% precision on measurements of the gravitational constant "g," which is currently being targeted in parallel by experiments with antihydrogen at the Laboratory's Antimatter Factory. This moderate build will also allow engineers and physicists to understand the intricacies of running a vertical accelerator in preparation for stage two -- the space elevator. "If built, however, this advanced particle accelerator would nevertheless be three times taller than the Burj Khalifa in Dubai, which has been the tallest structure in the world since 2009."

T-Mobile will shut down its TVision live-TV service and offer Google's YouTube TV at a promotional discount, ending a three-year effort to create a disruptive alternative to cable. From a report: Customers 'don't want more streaming services -- they want help buying and navigating the services that already exist," T-Mobile Chief Executive Officer Mike Sievert wrote in a blog post Monday. The decision to back out of the crowded streaming market comes just weeks after Sievert said TVision was going to play a big role in the company's plan to enter the broadband market as soon as this month. "We don't actually even think of TVision as a business," Sievert said in an interview on March 11. "You know, we think of it as an initiative, an initiative to help us sell home broadband and serve customers." As part of the revised plan, T-Mobile will sell YouTube TV to its mobile subscribers for $54.99 a month, which is $10 less than Alphabet's Google charges.

Stanley Tucci's not the only one with a popular Italian cooking show, it would seem. From a report: A mafia fugitive has been arrested in the Dominican Republic after inadvertently tipping off police with his culinary hobby. After seven years on the run, Marc Feren Claude Biart was tracked down through a YouTube cooking channel he started with his wife, Italian police said in a statement. The alleged gangster's "love for Italian cuisine" -- and tattoo ink -- made his arrest possible, police said. Though he carefully hid his face, Biart failed to disguise his distinctive body tattoos, they added.

Police said they believe Biart is a member of the notorious 'Ndrangheta crime syndicate -- one of the most feared and powerful in Europe -- from the Calabria region at the toe of southern Italy's boot-shaped peninsula. He had been wanted for allegedly trafficking cocaine from the Netherlands since 2014, police said. Biart, 53, had been living in the Dominican Republic for the past five years and police said he had been keeping a low profile during his stay in the Caribbean -- besides the cooking videos posted to the internet. He was known to locals as simply "Marc" and kept his distance from the Italian community in the popular tourist destination. Lt. Col. Massimiliano Galasso, a Reggio-Calabria police official, told NBC News that authorities had never stopped searching for Biart and had recently turned to open source intelligence.

Spotify said Tuesday it has acquired the company behind the live audio app Locker Room, giving the music and podcast platform a new foothold in a space that has seen a surge of interest following the rise of the app Clubhouse. From a report: The company, Betty Labs, launched Locker Room in October as a sports-focused platform for live audio conversations. Spotify said it plans to "evolve and expand" the app "into an enhanced live audio experience for a wider range of creators and fans." Locker Room will soon expand and rebrand to become more like Clubhouse or Twitter Spaces: a forum for live conversations about music, culture and all manner of topics. "Creators and fans have been asking for live formats on Spotify, and we're excited that soon, we'll make them available to hundreds of millions of listeners and millions of creators on our platform," Spotify's chief research and development officer Gustav Soderstrom said in a statement. The acquisition comes amid a surge of interest in live audio following the meteoric rise of Clubhouse, an app that has drawn more than 10 million users in under a year, amassed a $1 billion-plus valuation and inspired Facebook, Twitter and others to develop their own Clubhouse competitors.

The Los Angeles Times reports: This weekend's international rollout of Warner Bros.' "Godzilla vs. Kong" set a new pandemic record for a Hollywood film, a hopeful sign of an imminent return to moviegoing.

The film, which opens in North American theaters and on HBO Max on Wednesday, debuted in 38 overseas markets to an impressive $121.8 million, including $70.3 million in Chinese receipts. That's the biggest debut for a Hollywood film in China since 2019. The monster smackdown also grossed $12.4 million on 891 IMAX screens, also Hollywood's biggest IMAX weekend since December 2019.

The "Godzilla vs. Kong" debut outperformed the entire to-date international gross of the studio's December blockbuster release of "Wonder Woman 1984," which currently stands at $120 million overseas (and an additional $45.9 million domestic), according to estimates from measurement firm Comscore. The previous benchmark for a pandemic-era overseas opening was the $53-million launch of the studio's "Tenet" in August 2020.

While American theaters are slowly reopening en masse after a roller-coaster year of reopenings and closings, movie houses including Regal and smaller chains (such as L.A.'s ArcLight) have not yet returned. Despite theaters operating at limited capacity, Universal's R-rated action flick "Nobody" debuted this weekend across 2,460 North American screens to $6.7 million. L.A. and New York City, both recently reopened, were the two highest-grossing markets.
Long-time Slashdot reader destinyland calls this "Good news for Godzilla fans. But bad news if you think all those movie-goers should still be staying home social distancing!"

"Fans of science fiction learned last week that the word 'robot' was first used in 1920 — a full three years earlier than originally thought," according to a blog post at Archive.org. They call it "a major SciFi discovery hiding in plain sight": The "massively important yet obvious" change in date was confirmed with a search of the Internet Archive, which has a digitized first edition of the Czech play, R.U.R. Rossum's Universal Robots, published in 1920. There on the title page, hiding in plain sight in an English-language subtitle to the work, is the earliest known use of the word "robot."

This important piece of information is one of many little-known facts captured in the Historical Dictionary of Science Fiction. The project was completed this year by historian Jesse Sheidlower, who credits two things that enabled him to publish this project, decades in the making. "One, we had a pandemic so I had a lot of enforced time at home that I could spend on it," explained Sheidlower. "The second was the existence of the Internet Archive. Because it turns out the Internet Archive has the Pulp Magazine collection that holds almost all the science fiction pulps from this core period...."

The comprehensive online dictionary includes not only definitions, but also how nearly 1,800 sci-fi terms were first used, and their context over time...

The project began nearly twenty years ago at Oxford English Dictionary as the Science Fiction Citations Project.

"The platforms have driven the price of content to zero," says William Deresiewicz, author of The Death of the Artist. "This demonetized content is still generating a fortune. But the artists aren't getting that money."

"Artists today are beset on all sides by monopolists and oligopolists," argues a 7,000 word analysis in The American Prospect. "Like so many sectors of our economy, government inaction has allowed the music business to consolidate, with devastating effects on musicians. Radio is to a shocking degree in the hands of one company, Liberty Media. Two companies, Live Nation and Anschutz Entertainment Group (AEG), control a large number of venues and artist management services, with Live Nation dominating ticketing. The major labels have been whittled down to three. Record stores, alt-weeklies, and other elements that nurtured local music scenes are largely gone.

Dwarfing all that in significance is streaming, which has become the industry's primary revenue source, despite giving a pittance to the vast majority of artists. For the main streaming companies — YouTube and Spotify — music is really a loss leader, incidental to data collection, the advertising that can be sold off that data, and the promise of audience growth to investors... This radical upending of the industry's business model has benefited a few stars, while the middle-income artist, like so much of the middle class in America, struggles to survive...

Chris Castle, an entertainment attorney who used to work at A&M Records, could see it coming when he caught wind of an advertisement for a rebooted version of Napster that operated as a primitive streaming service. The tagline was: Own Nothing, Have Everything. Castle recalled: "I thought right there, that's the end." David Lowery, lead singer of Camper van Beethoven and later Cracker, who now lectures at the University of Georgia in addition to making music, described the internet as reassembling all the gatekeepers that kept artists away from fair compensation. "We celebrated disintermediation, and went through a process of re-intermediation," he said.
The article points out that in 2018 YouTube already accounted for 47% of all on-demand playtime globally, according to figures from a nonprofit trade group — while RIAA figures show that streaming now accounts for 83 percent of all recorded income in the U.S, while digital music downloads now earn even less than vinyl records. It remains to be seen whether movement building from all stakeholders, from musicians to fans, will be able to force platform monopolies to give creators just compensation. But the winds are shifting in Washington around Big Tech, and a united front of artists could prove key to raising public sympathies against exploitation and toward basic fairness.

Artists would rather think of themselves as outside the system. "The wonderful thing about the DIY vision is also its weakness," noted Astra Taylor, a writer, filmmaker, and activist whose husband, Jeff Mangum, fronts the lo-fi rock band Neutral Milk Hotel. (Astra has occasionally played with the group.) But the system has come for them, and toppled the structures that allowed them to create. Everyone loves music, and most of us now have the capacity to listen to anything, anywhere, at any time. We can't hear through the noise that the people who brought us this musical bounty are in trouble.
In the article Marc Ribot, a guitarist who has played with Tom Waits and Elvis Costello, complains that "The same neoliberals in anarchist drag boosting indie labels in the '90s are now boosting Bandcamp. I love Bandcamp. I love the food co-op too. They've been around since the 1930s, they're 3 percent of the market, will never be any bigger... We need to either tear the whole thing down and create real socialism where I get an apartment for my good looks, or a functioning market."

Nieman Lab: In a paper summarizing 30 years of sports coverage on televised news and highlights shows, researchers began by quoting a short segment dedicated to a WNBA game between the L.A. Sparks and the Atlanta Dream. The broadcast was unusual, authors Cheryl Cooky, LaToya D. Council, Maria A. Mears, and Michael A. Messner pointed out, in that women's sports were mentioned at all. They found that 80% of the televised sports news and highlights shows included zero stories on women's sports. The overall portion of sports coverage featuring women had been low for decades and, in 2019, an overwhelming 95% of the sports coverage included in their study focused on men's sports. But, they wrote, the WNBA segment was typical in other ways. The 23-second-long clip was the only mention of women's sports in the six-minute long sports segment -- and it was also the shortest. Other coverage included Major League Baseball games and the men's Wimbledon final, but also segments on a celebrity golf tournament and a competitive hot-dog eating contest. "In short, the WNBA story -- the shortest in duration of the six in the broadcast -- was eclipsed by five longer reports on men's sports, stories ranging from in-season sports (MLB, pro tennis), an out-of-season sport (NBA), to human interest and comedic entertainment only tangentially connected to what most people think of as sports news," the report found.

The study analyzed sports coverage on local network television (the Los Angeles affiliates KCBS, KNBC, and KABC) as well as highlight shows like ESPN's SportsCenter over the 30 years. In 2019 -- after sport media producers and others suggested televised news and highlights shows were not as relevant as they once were -- the researchers started to include online and social media sources, like Twitter accounts for the networks. The proportion of coverage dedicated to women's sports in email newsletters and Twitter was higher than TV news and SportsCenter, but only if the researchers included espnW and its online newsletter. ESPN stopped producing espnW's weekly newsletter, however, and, when researchers removed the data from their sample, the proportions dedicated to women's sports mirrored that found on TV news and highlights shows.

CIStud writes: Sonos notes it first added Qobuz 16-bit FLAC streaming back in 2013, but now the company has expanded its relationship with Qobuz to stream 24-bit/48kHz content. Some of the ways Qobuz supports the audiophile market includes curated content, liner notes and a download store. In addition to the United States, the 24-bit option is also available in Austria, Belgium, Germany, Spain, France, Ireland, Italy, Luxembourg, Netherlands, Switzerland, and the United Kingdom.

According to Deadline, Warner Bros. will return to releasing its theatrical films exclusively in theaters next year, ending the studio's 2021 experiment of releasing major films simultaneously on its HBO Max streaming service and in theaters for the first 30 days they're released. The Verge reports: The news comes as part of an announcement from Warner Bros. of a new deal with Regal cinemas owner Cineworld, the second largest theater chain in the world. After over six months of shutdowns, Regal's theaters will reopen in April, and they'll begin showing Warner Bros. films like Kong vs. Godzilla and Mortal Kombat alongside their HBO Max debuts. When Warner Bros. films come back to theaters in 2022, Regal theaters will once again have full exclusivity (with no HBO Max or paid streaming rental competition). But that exclusivity window will be for a much shorter amount of time: Regal will only have a 45-day theatrical exclusivity window, half of the 90-day standard that existed in years past.

As VGC notes, the preservation group Hidden Palace has obtained 752 PS2 game prototypes and demos from collectors, shuttered developers and defunct media outlets as part of a Project Deluge initiative. Engadget reports: The mix includes prototypes of classics like God of War II, Katamari Damacy, Okami and the Ratchet & Clank series. There are also E3 demos, including big titles like Shadow of the Colossus, as well as very rough alpha previews for titles like Def Jam: Fight for New York and Tony Hawk's Pro Skater 3. It's not a complete look at the PS2's history, but it could easily make you nostalgic. Hidden Palace stressed it checked for differences from retail versions, and that most of these prototypes will run in emulators.

There's no tentative release date. Another batch is coming "real soon," though. If nothing else, this is already useful as a snapshot of gaming culture in the early 2000s. You can see breakthrough games before they were finished, or remember just how many extreme sports games were on store shelves.

An anonymous reader quotes a report from The Guardian: U.S. military pilots and satellites have recorded "a lot more" sightings of unidentified flying objects, or UFOs, than have been made public, Donald Trump's former intelligence director John Ratcliffe said. Asked on Fox News about a forthcoming government report on "unidentified aerial phenomena," Ratcliffe said the report would document previously unknown sightings from "all over the world." "Frankly, there are a lot more sightings than have been made public," he said. "Some of those have been declassified. And when we talk about sightings, we are talking about objects that have been seen by navy or air force pilots, or have been picked up by satellite imagery, that frankly engage in actions that are difficult to explain, movements that are hard to replicate, that we don't have the technology for. Or traveling at speeds that exceed the sound barrier without a sonic boom."

The UFO report must be published by early June, pursuant to a clause in a Covid relief and spending package signed by Trump before he left office. [...] The forthcoming report is to be issued by the defense department and intelligence agencies. When an unidentified aerial phenomena is identified, Ratcliffe said, analysts try to explain it as a potential weather disturbance or other routine spectacle.

"We always look for a plausible application," he said. "Sometimes we wonder whether our adversaries have technologies that are a little but farther down the road than we thought or that we realized. But there are instances where we don't have good explanations. So in short, things that we are observing that are difficult to explain -- and so there's actually quite a few of those, and I think that that info has been gathered and will be put out in a way the American people can see." Asked by Bartiromo where the unidentified phenomena were sighted, Ratcliffe replied, "actually all over the world, there have been sightings all over the world. "Multiple sensors that are picking up these things. They're unexplained phenomenon, and there's actually quite a few more than have been made public."

New submitter dkoneill writes: A soon-to-be-released, crowdfunded book based on the personal archives of Douglas Adams (author of the Hitchhiker's Guide to the Galaxy, episodes of Doctor Who and other beloved science fiction), reveals that he occasionally found writing torturous. In a "General note to myself" the author states, "Writing isn't so bad really when you get through the worry. Forget about the worry, just press on. Don't be embarrassed about the bad bits. Don't strain at them." "Writing can be good...You can get pleasure out of it."

His sister Jane responded to the General note, "I love it, but I just wish he'd read it to himself more often. I think it [writing] was a tortuous process for him, not all the time, but when it was difficult for him it was really difficult." When stuck, the author would even tear down his own work. On another page of notes, he wrote, "Arthur Dent is a burk. He does not interest me. Ford Prefect is a burk. He does not interest me. Zaphod Beeblebrox is a burk. He does not interest me. Marvin is a burk. He does not interest me. The Hitchhiker's Guide to the Galaxy is a burk. It does not interest me."

When the Star Trek franchise was awarded a special Emmy in 2018, it was William "Captain Kirk" Shatner who'd co-delivered its acceptance speech, remembers ComicBook.com. "Thank you so much. 52 years. What a gift. We're grateful... Star Trek has endured because it represents an idea — one that's greater than the sum of our parts... we watch and we reach to see the best version of ourselves..."

And now three years later, they report that Shatner "will celebrate his 90th birthday back on the bridge of the USS Enterprise." Sort of... Shatner will partake in a two-day event at the Star Trek: The Original Series Set Tour site in Ticonderoga, New York. The exhibit is famed among fans for its replica of the bridge set where Shatner gave orders as Captain James T. Kirk in Star Trek: The Original Series.

The two-day event begins on July 23rd (a belated celebration coming a few months after his actual birthday in March), with the COVID-19 mask and social distancing rules still in effect... The limited $1500 all-inclusive packages will let fans participate in Shatner's 90th Birthday Dinner Celebration, take a set tour with Shatner, plus a Bridge Chat, a photo, and an autograph. Regular admission is $80 for a standard tour with a la carte photos and autographs available... The replica set is likely the closest fans will ever come to seeing Shatner return to a Starfleet bridge.
So what is William Shatner doing on Monday, the actual date of his 90th birthday? The New York Daily News reports: He's got a series airing on the History channel, he's heading overseas to shoot an episode of a television show, and is in the middle of promoting his latest feature film, a romantic comedy called "Senior Moment..."

The indie film features Shatner as Victor, a former test pilot who dates younger women and loves burning rubber behind the wheel of his beautiful 1955 Porsche.
The movie also stars Watchmen actress Jean Smart, along with Christopher Lloyd (who memorably played a Klingon in the 1984 movie Star Trek III: The Search for Spock.)

And meanwhile Priceline.com plans a special series of deals this week to honor Shatner's years as their spokesperson (as well as his singing in their earliest dotcom-era commercials, which revived Shatner's spoken-word singing career).

In Captain Kirk's final appearance in 1994's Star Trek: Generations, one of the last things he says is "It was fun." But it looks like in real life, William Shatner is living long and prospering.

Here's that great moment in Slashdot history when Shatner actually answered questions from Slashdot's readers. Have your own favorite William Shatner memory? Share it in the comments to help celebrate his 90th birthday!

The New York Times reports: Along with baking and jigsaw puzzles earlier in the pandemic, model trains are among the passions being rediscovered while people are cooped up indoors. Several companies that make trains are reporting jumps in sales. For many people, the chance to create a separate, better world in the living room — with stunning mountains, tiny chugging locomotives and communities of inch-high people where no one needs a mask — is hard to resist.

"Outside, there is total chaos, but inside, around my little train set, it is quiet, it is picturesque," said Magnus Hellstrom, 48, a high school teacher in Sweden, who has indulged in his hobby while working from home during lockdowns.

"It's a little piece of a perfect world," he said.
The Times visits Märklin, the 162-year-old German maker of model trains, whose engines now include "tiny speakers that reproduce scores of digital chugging noises and whistles (recorded, if possible, from the original), and interior and exterior lights that can be controlled separately... Real steam coming out of the steam locomotives has been a feature for years." The company's owner tells the newspaper "What's really changed during the last 20 years is the focus on truly replicating the original." The trains can be controlled by computer console or by a phone app, with different trains on the same track going different speeds or traveling different circuits. Märklin even added the option of controlling the trains via train engineer simulator software, allowing devotees to control their little model train as though they were sitting in the engineer's chair.

"It is a traditional toy that through digital functions, like sound and light, has become more and more like a real train," said Uwe Müller, who was a product manager at Märklin for 15 years and now runs the Märklineum, the company's museum.
Just 12 years ago the company had declared bankruptcy. But now one 64-year-old employee (who's assembled models trains for the company for over 38 years) tells the Times "We're booming so much it's hard to keep up."

From a report: On Saturday, Zack Snyder himself will head to Twitch to unveil the first look at Justice League: Justice Is Gray... the grayscale version that will soon arrive on HBO Max. The "pre-show" for the event kicks off at 2:30 p.m. Pacific Time on the MANvsGAME channel, with the Snyder and and Justice League star Joe Manganiello joining the broadcast for the big reveal at 4:00 p.m. Pacific. StreamElements designed audience tools to use during the stream, including an engaging donation functionality that will benefit the American Foundation for Suicide Prevention.
The Chicago Tribune argues all you needed to know about Joss Whedon's original 2017 version is encapsulated in the 68-second YouTube video "Sad Affleck." (An SFGate columnist calls the new version "vastly better.") But the Tribune calls Snyder's four-hour director's cut "a 14-year-old's idea of gravitas. Epic, violent, full of naughty words, told with the lyricism of a pharmaceutical ad about bloating. And more importantly, for now, it's complete."

Yahoo Entertainment's Insider has compiled "The 45 biggest differences between 'Zack Snyder's Justice League' and the 2017 theatrical version." But Variety just specifically asked Zack Snyder, "Why is Justice League so violent?" [T]he violence in "Justice League" is bloodier and more violent than audiences are typically accustomed to with superhero movies, which are almost always rated PG-13 — and therefore largely bloodless. Snyder wanted to push the envelope. "It's a pure exercise in creative freedom," the director told Variety this week... Snyder says knowing his film would be streaming on HBO Max freed him from having to make his "Justice League" work for a PG-13 rating.

"Let's just do it the exact way we would if there was no ratings board," he said of his team's thinking. "Let's not use any second guessing. Let's just do it the way we think is the coolest. That was the philosophical approach." Part of the reason that "Justice League" is so violent is to realistically demonstrate what it would be like to actually face off against god-like superheroes.
ComicBook.com reports that Snyder is now also planning "a multi-day SnyderVerse movie marathon later in 2021, where showings of Man of Steel and Batman v Superman: Dawn of Justice will culminate in a theatrical IMAX screening of Zack Snyder's Justice League. The filmmaker is a "huge admirer" of the Justice Is Gray Edition in IMAX, calling it the "ultimate version" of Justice League that is "sort of the penultimate ridiculous movie that shouldn't exist at its highest most fetishistic level."
Snyder tells Esquire his four-hour re-edit was "a labor of love and I would do it again in a second. I wouldn't hesitate. And look, we were doing it for free. I really didn't care. I just wanted to get it, fix it."

Esquire adds that "Even if you decide not to dive into a four hour super hero movie, at least take away a lesson from the making of the Snyder Cut: in a time when so much of us have experienced wrongs and tragedy, sometimes wrongs can be righted, and sometimes your biggest visions find a way to get out into the world."

An otherwise meaningless game during Monday's preliminary stage of the $200,000 Magnus Carlsen Invitational left a pair of grandmasters in stitches while thrusting one of chess's most bizarre and least effective openings into the mainstream. From a report: Norway's Magnus Carlsen and Hikaru Nakamura of the United States had already qualified for the knockout stage of the competition with one game left to play between them. Carlsen, the world's top-ranked player and reigning world champion, started the dead rubber typically enough by moving his king's pawn with the common 1 e4. Nakamura, the five-time US champion and current world No 18, mirrored it with 1 ... e5. And then all hell broke loose. Carlsen inched his king one space forward to the rank where his pawn had started. The self-destructive opening (2 Ke2) is known as the bongcloud for a simple reason: you'd have to be stoned to the gills to think it was a good idea.

The wink-wink move immediately sent Nakamura, who's been a visible champion of the bongcloud in recent years, into an uncontrollable fit of laughter. Naturally, the American played along with 2 ... Ke7, which marked the first double bongcloud ever played in a major tournament and its official entry to chess theory (namely, the Bongcloud Counter-Gambit: Hotbox Variation). "Don't do this!" cried the Hungarian grandmaster Peter Leko from the commentary booth, looking on in disbelief as the friendly rivals quickly settled for a draw by repetition after six moves. "Is this, uh, called bongcloud? Yeah? It was something like of a bongcloud business. This Ke2-Ke7 stuff. Please definitely don't try it at home. Guys, just forget about it." Why is the bongcloud so bad? For one, it manages to break practically all of the principles you're taught about chess openings from day one: it doesn't fight for the center, it leaves the king exposed and it wastes time, all while eliminating the possibility of castling and managing to impede the development of the bishop and queen. Even the worst openings tend to have some redeeming quality. The bongcloud, not so much. What makes it funny (well, not to everyone) is the idea that two of the best players on the planet would use an opening so pure in its defiance of conventional wisdom.

After a year in which most people were stuck indoors, it should come as little surprise that streaming platforms skyrocketed in popularity over the past 12 months. For the first time ever, subscriptions to streaming services surpassed one billion, reaching 1.1 billion globally. From a report: At the same time, box office receipts plummeted because movie theaters across the world were closed for a significant part of 2020. Global ticket sales tapped out at $12 billion, with North America accounting for $2.2 billion of that haul. Though the circumstances aren't comparable, worldwide box office receipts totaled $42.5 billion in 2019, with $11.4 billion coming from domestic theaters. Still, it marks a 72% year-over-year decline. These statistics come from the Motion Pictures Association's annual theme report, which is conducted by the entertainment industry trade group and intends to analyze how film, television and streaming content performs yearly.

The 2020 study covers a year that was overshadowed by the coronavirus pandemic, making some of the data understandably skewed and difficult to compare box office totals between countries. In Asian countries, particularly in China, the box office has already returned to pre-pandemic levels. That hasn't been the case in the U.S. and Canada, where new movies are few and far between and audiences are returning to theaters at a glacial pace. Outside of North America, the top three box office markets were China ($3 billion), Japan ($1.3 billion), and France ($500 million). Combined, the global theatrical business and home and mobile entertainment market totaled $80.8 billion in revenues in 2020, shrinking by 18% from the $98.3 billion amassed last year. The success of digital home entertainment, which grew 23% to $68.8 billion, helped offset the depleted theatrical box office numbers. In the U.S., subscriptions reached 308.6 million, representing a 32% increase from 2019.

A Brooklyn-based film director is simultaneously mocking and attempting to profit off the cryptocurrency craze for non-fungible tokens (NFTs) by selling a year's worth of fart audio clips recorded in quarantine. The New York Post reports: "If people are selling digital art and GIFs, why not sell farts?" Alex Ramirez-Mallis, 36, told The Post of his dank addition to the blockchain-based NFT market. His NFT, "One Calendar Year of Recorded Farts," began incubating in March 2020 when, at the beginning of the global coronavirus lockdown, Ramirez-Mallis and four of his friends began sharing recordings of their farts to a group chat on WhatsApp.

On the one-year anniversary of the US's COVID-19 quarantine this month -- by which point Ramirez-Mallis said he could darn near identify members of the group by their farts alone -- Ramirez-Mallis and his fellow farters compiled the recordings into a 52-minute "Master Collection" audio file. Now, the top bid for the file is currently $183. Individual fart recordings are also available for 0.05 Ethereum, or about $85 a pop. The gassy group has so far sold one, to an anonymous buyer.