Paramount Plus' subscriber count has ballooned to almost 40 million with the service gaining 6.8 million subscribers in the first quarter of 2022 alone, Paramount announced in its earnings report on Tuesday. The Verge reports: An increase in subscriber count led to more money for the company as well — its direct-to-consumer revenue, which includes Paramount Plus and its free TV streaming service, Pluto TV, increased 82 percent year over year. While revenue from subscriptions for both Pluto TV and Paramount Plus grew 95 percent year over year, advertising revenue increased 59 percent. The company says Paramount Plus subscribers watched more shows for longer periods of time as well. This, along with a higher subscriber count, was mostly driven by the service strengthening its roster of shows.

New data shared by tracking company MUSO shows that the number of visits to pirate sites has increased by nearly 30% compared to last year. The publishing category is growing particularly hard, mostly driven by manga piracy. The United States continues to harbor the most pirates in absolute numbers. TorrentFreak reports: During the first quarter of 2022, pirate site visits increased by more than 29% compared to a year earlier, which is good for a dazzling 52.5 billion visits. Nearly half of this traffic (48%) goes to TV-related content. The publishing category takes second spot with 27%, followed by the film (12%), music (7%), and software (6%) categories. The traffic increase is noticeable across all types of piracy but the publishing category stands out. Compared to the first quarter of 2021, the number of visits in this category has grown explosively. Software piracy is lagging behind, but the category still continues to grow. The strong growth in the publishing category is largely driven by manga, comics or graphic novels originating from Japan. Some of the pirate sites dedicated to this 'niche', such as Manganato.com, attract well over 100 million 'visits' per month. That's more than iconic pirate sites such as The Pirate Bay and Fmovies.to.

The United States is the country that sends most visitors to pirate sites. With well over 5.7 billion 'visits' in the first three months of the year, the U.S. is good for more than 10% of all piracy traffic. With a 39% increase compared to last year, pirate audience growth exceeds the global average. Russia and India follow at a respectable distance with just over 3 billion visits to pirate sites, followed by China and France, with 1.8 and 1.7 billion visits, respectively. There is no single explanation for the apparent piracy boom. However, MUSO sees the upward trend as an alarming signal and expects that the 'streaming wars' and growing subscription fatigue may play a role.

MIT engineers have developed a paper-thin loudspeaker that can turn any surface into an active audio source. MIT News reports: This thin-film loudspeaker produces sound with minimal distortion while using a fraction of the energy required by a traditional loudspeaker. The hand-sized loudspeaker the team demonstrated, which weighs about as much as a dime, can generate high-quality sound no matter what surface the film is bonded to. To achieve these properties, the researchers pioneered a deceptively simple fabrication technique, which requires only three basic steps and can be scaled up to produce ultrathin loudspeakers large enough to cover the inside of an automobile or to wallpaper a room.

A typical loudspeaker found in headphones or an audio system uses electric current inputs that pass through a coil of wire that generates a magnetic field, which moves a speaker membrane, that moves the air above it, that makes the sound we hear. By contrast, the new loudspeaker simplifies the speaker design by using a thin film of a shaped piezoelectric material that moves when voltage is applied over it, which moves the air above it and generates sound. [...]

They tested their thin-film loudspeaker by mounting it to a wall 30 centimeters from a microphone to measure the sound pressure level, recorded in decibels. When 25 volts of electricity were passed through the device at 1 kilohertz (a rate of 1,000 cycles per second), the speaker produced high-quality sound at conversational levels of 66 decibels. At 10 kilohertz, the sound pressure level increased to 86 decibels, about the same volume level as city traffic. The energy-efficient device only requires about 100 milliwatts of power per square meter of speaker area. By contrast, an average home speaker might consume more than 1 watt of power to generate similar sound pressure at a comparable distance. The researchers showed the speaker in action, playing "We Are the Champions" by Queen. You can listen to it here.

As the old saying goes, if you can't beat 'em, partner up with another overly powerful cable giant to give yourself a better shot. From a report: This morning, Comcast and Charter announced a new joint venture that will see the two companies teaming up to develop "a next-generation streaming platform on a variety of branded 4K streaming devices and smart TVs." This new platform and the devices that run it will square off against Amazon, Roku, Google, Apple, and other established streaming hardware players. The new venture is evenly divided between the two companies and is exclusively focused on streaming; it "does not involve the broadband or cable video businesses of either Comcast or Charter, which will remain independent." Comcast says its Flex streaming platform will serve as the foundation for what's coming next. It's also contributing "the retail business for XClass TVs and will contribute Xumo, a streaming service it acquired in 2020." Comcast introduced its XClass TVs last year as an alternative to the many popular budget TVs that come preloaded with Roku, Amazon, or Google software. For its part, Charter -- known better to many for its Spectrum brand -- is kicking in $900 million over the course of several years.

Streaming right now on Hulu: a three-hour live special in which two members of something called the "Red Bull Air Force" try to make aviation history, reports People: On Sunday, April 24, Aikins and Farrington will try to switch planes mid-air in a stunt at Sawtooth Airport in Eloy, Arizona, that can be seen exclusively on Hulu, according to a press release from Red Bull. The planes will be "completely empty" and facing the ground when Luke Aikins and Andy Farrington attempt the daring switch, which will air during a three-hour livestream event.

To complete the feat, Aikins and Farrington will fly a pair of Cessna 182 single-seat aircraft up to 14,000 feet before putting them into a vertical nosedive and jumping out, with the goal of skydiving into each other's planes.

The cousins will stop the planes' engines and aim them toward the ground as they complete the stunt. A custom airbrake with the ability to hold the planes in a controlled-descent terminal velocity speed of 140 mph will also be utilized to complete the trick. After catching up to the opposing stuntman's plane, Aikins and Farrington will enter the cockpits and turn the planes back on as normal, piloting them to land.

Aikins is an experienced skydiver, having completed more than 21,000 jumps throughout his career. Farrington, meanwhile, has completed 27,000 jumps.
"I call it more calculated than crazy," Aikins says in an interview with the web site Complex. "We work really hard to make sure that everything's going to be okay. We don't flip a coin and fingers crossed and hope it all works out. We mitigate the risk down to something that's acceptable and what's acceptable to me."

People using self-driving cars will be allowed to watch television on built-in screens under proposed updates to the Highway Code. From a report: The changes will say drivers must be ready to take back control of vehicles when prompted, the government said. The first use of self-driving technology is likely to be when travelling at slow speeds on motorways, such as in congested traffic. However, using mobile phones while driving will remain illegal.

No self-driving cars are currently allowed on UK roads, but the first vehicles capable of driving themselves could be ready for use later this year, the Department for Transport (DfT) said. The planned changes to the code are expected to come in over the summer. The updates, proposed following public consultation, were described as an interim measure to support the early adoption of the technology and a full regulatory framework is planned to be implemented by 2025.

An anonymous reader shares an excerpt from an opinion piece written by Elizabeth Spiers, former editor in chief of The New York Observer and the founding editor of Gawker: Among the many brilliant touches in the dystopian workplace thriller "Severance," on Apple TV+, are the perks offered by Lumon Industries, the cultlike, fluorescent-lit corporation where the series takes place: company-branded Chinese finger trap gag toys; cheery if mediocre caricature portraits; a baffling "waffle party"; the much-discussed "music dance experience"; and, more than once, a melon-ball buffet served on a rolling bar. It's hard not to see real-world analogues -- in the table tennis and kombucha taps of Silicon Valley, and especially in the post-pandemic flurry of office happy hours and gift card giveaways, as companies try to lure white-collar workers back to offices. At the high end, a real estate data company offered employees who returned to the office a daily chance to win $10,000, a trip to Barbados or a new Tesla; more common incentives are company swag, pop-up snack stands, Covid personal protection gift bags and stress balls.

Companies aren't wrong to perceive a reluctance to return to offices among some workers. Even if bosses see the return as simply a resumption of the terms employees had agreed to, workers are increasingly aware of the ways that those terms have shortchanged them. After two years, those who were able to work from home have seen real benefits -- reclaiming time from commutes, flexibility for family responsibilities, freedom from perpetual distractions and restrictive dress codes -- and now they can't unsee them. Surveys taken last year indicated that two-thirds of workers would prefer to have continued remote work options and would sacrifice $30,000 in raises to keep them. Somewhat higher percentages of women and Black knowledge workers say they are reluctant to return to offices.

But among executives and managers, there's still a strong perception that in-person work is the only real work. So as younger workers in particular resist company mandates to return to their desks in the overly air-conditioned offices where many had never felt comfortable, companies are trying to sweeten the deal. [...] I've come to think of these corporate toys and rewards as the work equivalent of the cheap prizes you win at a carnival after emptying your wallet to play the games. The difference is that the point of the carnival is to have fun, and the prizes are incidental. In the workplace, this is just a laughably terrible trade-off. Who wants to give up the two hours a day they gain by not commuting for a coffee mug? "Putting in long hours at the office is often conflated with a strong work ethic and more productivity, though it may not be indicative of either," adds Spiers. "To make employees feel this approach is reasonable, many employers blur the line between work and the rest of life, while offering little diversions here and there to approximate fun."

Shares of Netflix cratered more than 20% on Tuesday after the company reported a loss of 200,000 subscribers during the first quarter. This is the first time the streamer has reported a subscriber loss in more than a decade. From a report: The company also said it expects to lose 2 million subscribers in the second quarter. A loss of 200,000 compared with 2.73 million adds expected, according to StreetAccount estimates. Netflix previously told shareholders it expected to add 2.5 million net subscribers during the first quarter. Analysts had predicted that number will be closer to 2.7 million. The company said that the suspension of its service in Russia and the winding-down of all Russian paid memberships resulted in a loss of 700,000 subscribers. Excluding this impact, Netflix would have seen 500,000 net additions during the most recent quarter.

After launching as "IMDb Freedive" back in 2019, IMDb TV quickly faded into the background of the ongoing streaming wars that parent company Amazon had already established a respectable foothold in. While that initial rebrand never quite managed to put the fledgling platform and its content on the map, Amazon's just announced its plan to reintroduce the streamer yet again under new branding ahead of a massive content push. From a report: Going forward, IMDb TV will be known as "Amazon Freevee," a name meant to emphasize that the ad-supported platform is free to viewers. In a press release detailing its vision for Freevee's future, director Ashraf Alkarmi framed the service as a supplemental platform meant to appeal to consumers interested in watching "premium" series and films with significantly fewer commercial interruptions.

A police officer in Santa Ana, California, admitted to blaring Disney favorites from a squad car PA system in an attempt to keep citizens' videos of their actions off of YouTube. Jalopnik reports: It just so happens they woke up a sleeping city council member, who took police to task for their annoying and suspicious tactic. Using copyright infringement against those who record police actions hasn't really work so far, which may be why this officer decided to really blare Disney tunes during an investigation of a car theft. At the moment, the video posted by Santa Ana Audits is still up after being posted six days ago, so it's safe to say this officer woke up an entire community for nothing.

Santa Ana PD release a statement on Twitter acknowledging the video. Santa Ana PD told Vice that using squad car audio system is not department policy. YouTube won't always remove a video for copyright infringement. Sometimes the site will place an ad on the video, with proceeds going to the copyright holder.

Sonos has acquired Dutch startup Mayht for approximately $100 million in a cash-only deal. "Mayht created a new type of speaker technology that makes it possible to pack a lot more oomph into much smaller spaces, with power savings as a nifty side-effect," reports TechCrunch. "Specifically, it created a new type of transducer -- the foundational element within speakers that create sound. Mayht has re-engineered them to enable smaller and lighter form factors without compromising on quality." From the report: Interestingly, outside of some reference speakers, the Mayht team was never planning to put its own products out to market, clearly flirting with existing speaker giants for an acquisition. Sonos liked what it saw and decided to put a $100 million ring on it to consummate the relationship, acquiring the startup. The acquisition was formally announced today.

"Mayht's breakthrough in transducer technology will enable Sonos to take another leap forward in our product portfolio," said Patrick Spence, CEO of Sonos. "This strategic acquisition gives us more incredible people, technology and intellectual property that will further distinguish the Sonos experience, enhance our competitive advantage, and accelerate our future roadmap." The Mayht team, in turn, was also pretty psyched to find a corporate partner to bring its tech to market. "We are very excited and proud to become a part of Sonos," said Scheek. "Our dream has always been to set a new standard in the audio industry. The integration of our technology into Sonos products will further revolutionize high quality sound."

Sonic the Hedgehog 2 "shattered early box office projections," reports the Los Angeles Times, bringing in $71 million in its opening weekend. That makes it the biggest first-weekend for a Paramount movie in at least four years — more than Terminator: Dark Fate ($29 million) and Mission: Impossible — Fallout ($61.2 million).

You can watch its trailer here — but here's how the Times summarizes its plot. "The titular furry blue protagonist (voiced by Ben Schwartz) faces an equally fluffy new threat, Knuckles the Echidna (Idris Elba), who has joined Dr. Robotnik's (Jim Carrey) ongoing quest conquer Earth."

Engadget calls this the best opening weekend ever for a videogame movie. The previous record-holder was Sonic the Hedgehog 1, a movie which Paramount+ now "plans to expand into a cinematic universe" — or at least, expand into a spin-off TV series. Before the pandemic shut down theaters throughout the U.S, and other parts of the world, the first Sonic film went on to gross $319 million globally. Sonic the Hedgehog 2 is currently on track to beat those earnings having grossed approximately $141 million globally.

As with the first movie, timing appears to have been a significant factor in Sonic 2's early success. Its main competitor at the box office was Sony's much-maligned Morbius, which saw a drastic 74 percent drop in ticket sales from its opening weekend last Friday. It only earned $10.2 million in additional domestic revenue after a $39 million debut.

"English rock band Pink Floyd has released new music for the first time in 28 years," reports UPI, "with proceeds from the track going to humanitarian relief in Ukraine amid its ongoing conflict with Russia."

"The single will be available on all streaming and download platforms..." the band said on their official web site. [Including downloads on Amazon Music and Apple Music]. "This is the first new original music that they have recorded together as a band since 1994's The Division Bell." The track sees David Gilmour and Nick Mason joined by long-time Pink Floyd bass player Guy Pratt and Nitin Sawhney on keyboards and features an extraordinary vocal performance by Andriy Khlyvnyuk of Ukrainian band Boombox.... David, who has a Ukrainian daughter-in-law and grandchildren says: "We, like so many, have been feeling the fury and the frustration of this vile act of an independent, peaceful democratic country being invaded and having its people murdered by one of the world's major powers...."

"Recently I read that Andriy had left his American tour with Boombox, had gone back to Ukraine, and joined up with the Territorial Defense. Then I saw this incredible video on Instagram, where he stands in a square in Kyiv with this beautiful gold-domed church and sings in the silence of a city with no traffic or background noise because of the war. It was a powerful moment that made me want to put it to music." While writing the music for the track, David managed to speak with Andriy from his hospital bed in Kyiv where he was recovering from a mortar shrapnel injury. "I played him a little bit of the song down the phone line and he gave me his blessing...."

Speaking about the track David says, "I hope it will receive wide support and publicity. We want to raise funds for humanitarian charities and raise morale. We want to express our support for Ukraine and, in that way, show that most of the world thinks that it is totally wrong for a superpower to invade the independent democratic country that Ukraine has become".

All proceeds will go towards Ukrainian humanitarian relief.
On March 11 the band had posted another update on their official site: To stand with the world in strongly condemning Russia's invasion of Ukraine, the works of Pink Floyd, from 1987 onwards, and all of David Gilmour's solo recordings are being removed from all digital music providers in Russia and Belarus....

Ben Thompson, making a case for why Netflix should sell ads: Here Netflix's biggest advantage is the sheer size of its subscriber base: Netflix can, on an absolute basis, pay more than its streaming competitors for the content it wants, even as its per-subscriber cost basis is lower. This advantage is only accentuated the larger Netflix's subscriber base gets, and the more revenue it makes per subscriber; the user experience of getting to that unique content doesn't really matter. All of these factors make a compelling case for Netflix to start building an advertising business. First, an advertising-supported or subsidized tier would expand Netflix's subscriber base, which is not only good for the company's long-term growth prospects, but also competitive position when it comes to acquiring content. This also applies to the company's recent attempts to crack down on password sharing, and struggles in the developing world: an advertising-based tier is a much more accessible alternative.

Second, advertising would make it easier for Netflix to continue to raise prices: on one hand, it would provide an alternative for marginal customers who might otherwise churn, and on the other hand, it would create a new benefit for those willing to pay (i.e. no advertising for the highest tiers). Third, advertising is a natural fit for the jobs Netflix does. Sure, customers enjoy watching shows without ads -- and again, they can continue to pay for that -- but filler TV, which Netflix also specializes in, is just as easily filled with ads. Above all, though, is the fact that advertising is a great opportunity that aligns with Netflix's business: while the company once won with a differentiated user experience worth paying for, today Netflix demands scarce attention because of its investment in unique content. That attention can be sold, and should be, particularly as it increases Netflix's ability to invest in more unique content, and/or charge higher prices to its user base.

Internet fads come and go faster than a hiccup, but one that's somehow lasted almost as long as the internet itself is the "Rick roll." From a report: The term refers to an online prank in which the "Rick rollee" receives a URL address and it leads them to the music video for singer Rick Astley's hit debut single "Never Gonna Give You Up." The opening synthed "doo-de-doo-doo-doo-doo" has created more grins and eye rolls than when the song scored an ungodly amount of airplay in 1987. Sky Elements Drone Shows found a way to Rick roll a sizable portion of the city for April Fools' Day with 300 of its customizable drones by forming a QR code in the sky that linked to Astley's music video.

Plex has an audacious plan to become the daily go-to app for everyone's streaming needs: The media center app rolled out new universal search, watchlist and discovery features Tuesday that are designed to help people find and keep track of all of the shows and movies available across a growing universe of streaming services. From a report: "The app dance, going from app to app to find something to watch, just doesn't make any sense," said Plex's senior product and design director, Jason Williams. Instead, Williams hopes that people will just open Plex to browse everything that's new on various streaming services, and then follow deep links to directly launch playback on Netflix, Hulu or anywhere else. "You're going to open up Plex every day," Williams said. "It's going to be your trusted source." Universal search and discovery have long been a holy grail for the streaming industry, but efforts by platform operators to integrate these types of features directly into the smart TV home screen have been held back by industry power struggles. Plex hopes it can avert some of those issues, and is betting on the ingenuity of its power users to help out along the way. In addition to universal search and a universal watchlist across multiple streaming services as well as personal media, Plex is also launching a dedicated discovery section in its app that highlights new titles on Netflix and other services.

The Paramount+ streaming service already has five ongoing Star Trek series (including Discovery and Picard).

But they've just released a trailer for another one — and it's now derived directly from the original 1960s TV show, even including some of its original characters. The upcoming show's title?

Star Trek: Strange New Worlds.

Ars Technica reports: As we've reported previously, one of the highlights of Star Trek: Discovery's second season was the appearance of classic original series (TOS) characters Capt. Christopher Pike (Anson Mount), Number One (Rebecca Romijn), and Spock (Ethan Peck). All three reprise their roles for Strange New Worlds....

"If you want to seek out new life, go where the aliens are," Pike tells us. But that alien life might not be receptive to first contact, as Pike and the Enterprise find themselves under fire by aliens who consider their presence to be "blasphemy." And romance blooms for both Pike and Spock (separately, not with each other).

Star Trek: Strange New Worlds debuts on Paramount+ on May 5, 2022. The streaming platform has already greenlighted a second season, with Paul Wesley (Vampire Diaries ) joining the cast as future Enterprise Capt. James T. Kirk.
Ars Technica reports the cast as:

• Babs Olusanmokun playing Dr. M'Benga
• Celia Rose Gooding filling Nichelle Nichols' shoes as Cadet Nyota Uhura
• Jess Bush playing Nurse Christine Chapel
• Melissa Navai playing Lt. Erica Ortegas
• Bruce Orak playing an Aenar named Hemmer.
• Christina Chong playing La'An Noonien-Singh (a relation of the classic revenge-obsessed Star Trek villain Khan).

And on an unrelated note...

Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who've dared in recent weeks to put on their vests in San Francisco have been the target of a resistance of sorts. From a report: "Urgent: Stop wearing vests," implore flyers plastered around the city. "You live in San Francisco now. It's time to start acting like it." It's the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation's most expensive. NPR tried but was unable to track down the creator of the flyers. Not everyone who sports a Patagonia vest is a "tech bro," says proud Patagonia vest-wearer Sam Runkle.

"The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on," he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. "But there's another cohort of people who do wear Patagonia who are not at all part of that." For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city's trendy Marina neighborhood: "I live in a four-bedroom that's really a two-bedroom with a plywood wall, so I don't think I'm raising any rents."

And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula. "It's comfy," Runkle says. It gets the job done." Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it's most often sported by bros. In particular, bros who know something about venture capital or software engineering. "It's true," he says. The tension fueled by the vests comes as no surprise to historian Margaret O'Mara at the University of Washington and author of the book, The Code: Silicon Valley and the Remaking of America. She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.

OneHundredAndTen writes: A recent paper proposes a new way to put together a message for alien intelligent beings. It comes up with an elaborate mechanism to convey information in notably constrained bitmaps, but one can't help but wonder whether it is too elaborate. For example, for 1+1 = 2, the article proposes something far more visually complex than 1+1 = 2, which could also be, with small adjustments, easily coerced to have a representation as a bitmap with the limitations in the article. It is not clear why the representation that the authors are proposing would be easier for aliens to decode and understand than something much closer to 1+1 = 2: either representation would be, well, alien to them. "Calculation of the optimal timing during a given calendar year is specified for potential future transmission from both the Five-hundred-meter Aperture Spherical radio Telescope in China and the SETI Institute's Allen Telescope Array in northern California to a selected region of the Milky Way which has been proposed as the most likely for life to have developed," reads the paper.

"These powerful new beacons, the successors to the Arecibo radio telescope which transmitted the 1974 message upon which this expanded communication is in part based, can carry forward Arecibo's legacy into the 21st century with this equally well-constructed communication from Earth's technological civilization."

An anonymous reader quotes a report from Mashable: YouTube recently added a bunch more movies and TV shows for its U.S. users to stream for free, provided you're willing to sit through some ads. Unfortunately, actually finding them all isn't easy. While YouTube has offered free, ad-supported movies before, this is the first time it has branched out to TV shows. Announced last week, YouTube's updated catalogue of free content now includes over 1,500 movies and 100 television shows, such as 10 Things I Hate About You, The Sandlot, Robin Hood: Men In Tights, Legally Blonde, two seasons of Kitchen Nightmares, and a decent number of more obscure titles such as 1970's Western The Return of a Man Called Horse.

However, YouTube has also made browsing its free titles much more annoying than it needed to be. The platform won't just show you all its free titles and let you scroll through them to find your next binge watch. It certainly won't let you filter them, so you can't narrow your search to all of YouTube's free action movies, or free romantic comedies. Rather, YouTube's algorithm selects a few hundred ad-supported titles to show you in its "free to watch movies" section, hiding the rest. Mashable only counted 360 ad-supported films available in this category, despite YouTube stating it offers over four times that number. Mashable also counted 100 free TV shows.

YouTube noted that viewers can use its search bar to look for titles, as well as browse through content in genre-themed sections which contain a mix of free, hire, and purchasable content. However there's no section only listing all of YouTube's free films or television shows, giving users no option but to trust that YouTube knows best what they should watch. [...] It seems like a strange lack of functionality, but then again, YouTube's bread and butter is in user-uploaded content rather than blockbuster films. "YouTube is personalized to users, so instead of seeing the entire library at once in the links, users see personalized selections for them," a YouTube spokesperson told Mashable. "Once users begin watching or when new titles cycle in or out, the makeup of the selection in the shelves will change."

About one-third of U.S. subscribers to Netflix share their login credentials with others, according to new data from Leichtman Research Group. From the report: The research firm's online survey of 4,400 consumers confirms the company's own conclusions in recent years. While 64% of respondents said they pay for and use Netflix only in their own household, 33% indicate some form of sharing. (The remaining 3% are households whose Netflix comes packaged via other subscriptions.) Netflix has about 74 million subscribers in the U.S. and Canada and has penetrated nearly 70% of U.S. broadband homes. With subscription growth flattening in the region of late, Netflix has recently phased in rate increases in order to continue funding its $18 billion in annual programming spending. Earlier this month, Netflix announced a test of monthly fees for password-sharing in three territories outside of the U.S. The rise of password sharing between households, a blog post explained, is âoeimpacting our ability to invest in great new TV and films for our members.â

Dune won six Academy Awards tonight — the most of any movie — at this year's Oscar's ceremony, taking home Oscars for its cinematography, visual effects, film editing, original score, production design, and "achievement in sound."

But the movie's Oscar-winning crew were surprised there was no Oscar nomination for the film's director, Denis Villeneuve, reports IndieWire: "I was very confused when Denis was not nominated for directing. It's as if the film directed itself and all of these craft categories magically did great work," sound designer/supervising sound editor Theo Green said. "Seeing the sweep that Dune is having tonight makes me very proud for Denis."

Green and other below-the-line winners painted a production picture where Villeneuve orchestrated a kind of cross-department collaboration that allowed each craftsperson's work to shine and work in concert with every other piece. Re-recording mixer Ron Bartlett said it all started with Villeneuve's deep study of the book. "It's better than the sum of its parts," Fraser said. "We are the culmination of Denis Villeneuve's combined group effort to make a movie, and that's what I'm most proud of." Several winners also called out editor Joe Walker as a key piece of the creation of Dune.
Besides the six Oscars it won, Dune had also been nominated for four other awards, including Best Picture.

Tonight's ceremony featured a tribute to 60 years of James Bond movies — and the franchise's most recent film also won the "Best Song" Oscar (for the song "No Time to Die" by Billie Eilish). This marks the third consecutive time that a James Bond movie's theme song has gone on to win the "Best Song" award.

And Apple TV+ became the first streaming service to ever win the prestigious Best Picture award for their movie CODA. NBC News calls this "a major moment for a film industry that has been dramatically transformed by the rise of direct-to-consumer streaming platforms and the growing popularity of at-home entertainment." (The film also won Oscars for best adapted screenplay and for best supporting actor.) In the days before the Oscars telecast, the best picture race came to be seen as a proxy battle between Apple and Netflix, the streaming giant that has been angling for Hollywood's marquee prize for at least the last half-decade, spending heavily on splashy promotional campaigns. Netflix was a double best picture contender this year, recognized for Jane Campion's haunting Western The Power of the Dog and Adam McKay's doomsday satire Don't Look Up.

As viewership drops for Hollywood's annual Academy Awards ceremony, "Everyone has a theory about the decline..." argues an opinion piece in the New York Times.

"My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing." When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, "Dune," barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as "Spider-Man: No Way Home." Even when Hollywood tries to conjure the old magic, in other words, the public isn't there for it anymore.... Sure, non-superhero-movie box office totals will bounce back in 2022, and next year's best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren't just watching the decline of the Oscars; we're watching the End of the Movies....

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation.... The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood's potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema's communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today....

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There's no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined...

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies' power of an-entire-story-in-one-go condensation. ("This power is why the greatest movies feel more complete than almost any long-form television.") And it ultimately suggests that like opera or ballet, these grand old movies need "encouragement and patronage, to educate people into loves that earlier eras took for granted," and maybe even "an emphasis on making the encounter with great cinema a part of a liberal arts education. "

In 2014 one lone film-maker had even argued that Ben Stiller's spectacular-yet-thoughtful Secret Life of Walter Mitty "might be the last of a dying breed."

Long-time Slashdot reader theodp writes: Thirty five years after Andy Warhol's death, the NY Times reports on a new wave of Warhol-Mania as the famed pop artist is currently the subject of a Netflix documentary series (The Andy Warhol Diaries), an exhibition at the Brooklyn Museum and multiple theatrical works. The documentary revisits the 1985 launch of the Commodore Amiga, where Warhol demonstrated the Amiga's then-unparalleled graphical power by 'painting' Blondie lead singer Debbie Harry's portrait. Even as the flood-filling goes bad, Warhol does his best to put on a brave public face ("This is kind of pretty. Oh, it's beautiful."), but reveals his true thoughts in his demo day diary entry.

"The day started off with dread as I woke up from my dreams and thought about my live appearance for Commodore computers," Warhol recalls in the documentary (in an AI-generated voice). "And how nothing is worth all this worrying, to wake up and feel so terrified. Commodore wants me to be a spokesman. It's a $3,000 machine that's like the Apple thing, but can do 100 times more. The whole day was spent being nervous and telling myself that if I could just get good at stuff like this, then I could make money that way, and I wouldn't have to paint. The drawing came out terrible. And I called it a masterpiece. It was a real mess.

"I said I wanted to be Walt Disney and that if I'd had this machine ten years ago, I could have made it."

Five NFT versions of Warhol's recovered Amiga artwork were sold for $3,377,500 last May to benefit the Andy Warhol Foundation.

"It's no longer possible to watch any content starring Keanu Reeves in China," reports PC Magazine, "and searching for his name returns no results from search engines."

The AV Club explains: Earlier this year, about a month after the release of The Matrix Resurrections, Reeves was announced as a performer at the 35th annual Tibet House Benefit Concert. The concert was organized by Tibet House, a nonprofit founded by supporters of the Dalai Lama that Chinese authorities have labeled "a separatist organization advocating for Tibetan independence," according to The Hollywood Reporter....

Now, after his appearance at the show, it's being reported by the Los Angeles Times that the Matrix movies, Speed, Bill & Ted's Excellent Adventure, The Lake House, and more films from the actor's catalog can no longer be streamed on platforms such as Tencent Video, Youku, and Migu Video.... The one Reeves picture that is still up and available to stream in the country is Toy Story 4 — but that's because the film's credits feature the dubbing cast, not the original cast from the American release.
But it's more than that, notes PC Magazine: As Reuters reports, the Chinese authorities have seemingly wiped the actor's existence from servers across the country.... And with the internet being so restricted and controlled there, it's relatively simple for those in power to digitally disappear someone. So far, Tencent and iQiyi have removed at least 19 of the actor's movies from their streaming platforms, and performing a search for either his English name or its Chinese translation will return zero results from search engines, apparently.
The Los Angeles Times supplies some context: The development emerged just after his latest film "The Matrix: Resurrections" became the first blockbuster to hit Chinese theaters in over two months, ending an unusually prolonged drought of censorship approvals on U.S. titles in a year of rising geopolitical tensions and a further cooling of relations with Hollywood.... "It's a curious case that's worth following. We tend to think of the censorship machine in China as this really coordinated monster, but the fact that we're seeing these conflicting signals [between the online and theatrical markets] suggests that some of these measures come from different places," said Alex Yu, a researcher at China Digital Times, a U.S.-based news organization that translates and archives content censored in China.

It's unclear who ordered the deletions, China's regulatory agencies or platforms acting proactively to remove potentially troublesome content, Yu said.... "Why all of a sudden did they decide to take this measure at this exact moment? It's a question we as outsiders might never be able to answer," Yu said. "The system is so opaque that it's pretty much impossible to pinpoint which agency or person is responsible...."

The ban on Reeves' past works bodes poorly for the China prospects of his upcoming projects. These include animation "DC League of Super-Pets," starring Chinese fan favorite Dwayne Johnson, and the pandemic-delayed sequel "John Wick: Chapter 4," which appears to target mainland viewers with its top billing of Donnie Yen, the Hong Kong action star known for his expressions of loyalty to China's ruling Communist Party....

Despite the original trilogy's popularity, "The Matrix: Resurrections" was a flop in China even before it faced nationalist backlash, grossing only $13.6 million and notching just 5.7 out of 10 on the taste-making ratings platform Douban.

bbsguru writes: Sony/PlayStation has been taking a lot of heat for making the new Gran Turismo 7 more dependent on microtransactions. Gamers say the well-reviewed game had taken advantage of those reviews by waiting until after it was released to jack up the cost of playing the game. Acceptance wasn't improved by the more-than-a-day outage that accompanied the changes. [To make matters worse, Gran Turismo 7 owners weren't even able to play single player because the DRM servers that require an online check to play the game went down.] After several tentative responses, Sony is [finally] paying out, "gifting players with a million in-game credits and outlining the near-term updates for Gran Turismo 7 that will address the problems," writes Eurogamer's Martin Robinson. "We want to thank you for your continued patience and valuable feedback as we grow and evolve GT7 to make it as enjoyable and rewarding for as many players as possible," wrote series creator Kazunori Yamauchi in a blog post. "We always want to keep communication lines open with our community so that we can work together to build the best racing experience possible."

A review of 26 studies finds benefits of music on mental health are similar to those of exercise and weight loss. From a report: "Music," wrote the late neurologist Oliver Sacks, "has a unique power to express inner states or feelings. Music can pierce the heart directly; it needs no mediation." A new analysis has empirically confirmed something that rings true for many music lovers -- that singing, playing or listening to music can improve wellbeing and quality of life. A review of 26 studies conducted across several countries including Australia, the UK and the US has found that music may provide a clinically significant boost to mental health. Seven of the studies involved music therapy, 10 looked at the effect of listening to music, eight examined singing and one studied the effect of gospel music. The analysis, published in the Journal of the American Medical Association Network Open, confirmed "music interventions are linked to meaningful improvements in wellbeing," as measured quantitatively via standardised quality-of-life survey data. The effects were similar whether participants sang, played or listened to music.

If Netflix follows through with its test to charge an additional fee to users sharing passwords, it could rake in $1.6 billion in global revenue annually, according to a new Wall Street analysis. Variety reports: Last week, Netflix said it was launching a test in three Latin America countries (Chile, Costa Rica and Peru) to address password sharing. Customers will be able to add up to two Extra Member accounts for about $2-$3/month each, on top of their regular monthly fee. According to estimates by Cowen & Co. analysts, if Netflix rolls the program out globally it could add an incremental $1.6 billion in global revenue annually, or about 4% upside to the firm's 2023 revenue projection of $38.8 billion. The firm's estimate assumes that about half of non-paying Netflix password-sharing households will become paying members; further, the model predicts that of those, about half will opt to sign up for their own separate paid account.

An anonymous reader quotes a report from Motherboard: Last June, the Department of Defense released a long-awaited and much-hyped document called "Preliminary Assessment: Unidentified Aerial Phenomena," detailing the government's knowledge of UFOs and its programs trying to detect and catalog them. Many UFOlogists hoped that the "UFO report" would be a watershed moment in the field, showing that the government was taking UFOs seriously and, perhaps, explaining what the government thought they were. Unfortunately, the nine-page report was pretty underwhelming; for the most part it revealed things we already knew, and read primarily like a plea from the DoD for more funding. Tantalizingly, we were told that members of Congress received a classified briefing with more information that would likely never be released to the public.

John Greenewald, the government transparency virtuoso behind the Black Vault, however, has a gift for us today: A redacted version of the classified report, obtained by filing a mandatory declassification review. This version of the report is longer and much more interesting -- detailing, for example, the most "common shapes" of UFOs spotted by the military. Certain sections of the classified report, such as one called "And a Handful of UAP Appear to Demonstrate Advanced Technology," have far more detail on specific incidents that the Department of Defense cannot explain and that are not mentioned in the public report, including seemingly two different incidents witnessed by multiple pilots and officers in the Navy. A section called "UAP Probably Lack a Single Explanation" seemingly attempts to go into greater depth exploring what those explanations could be, and also has an extra redacted paragraph about what the DoD believes could be attributed to "Foreign Adversary Systems."

Most interestingly, redacted figures, images, and diagrams in the classified reports explain what the DoD believes to be the most "common shapes" of UFOs, as well as "less common/irregular shapes." These sections are completely omitted in the public report and are unfortunately redacted in the version of the report obtained by Greenewald. The classified report also explains that the FBI has investigated and will continue to investigate UFOs in an attempt to ascertain the causes of the phenomena; a redacted section seems to explain which instances it has investigated. "Given the national security implications associated with potential threats posed by UAP operating in close proximity to sensitive military activities, installations, critical infrastructure, or other national security sites, the FBI is positioned to use its investigative capabilities and authorities to support deliberate DoD and interagency efforts to determine attribution," the report reads.

An anonymous reader shares a report: Last year, the Google TV app user interface was completely redesigned and transformed into a hub for browsing movies and shows from your favorite streaming apps all in one place. It now appears that more changes are coming to the platform as Google has announced that in May 2022, movies or TV shows will no longer be available in the Google Play store. Instead, the Google TV app will be the official home for buying, renting, and watching movies and shows on your Android device. Other apps, games, and books will continue to live on the store. On Google TV, the experience of using Google Play Movies & TV will still be the same and users will get access to the latest new releases, rentals, and deals. When taking a look at the new Google TV app, customers will see a Shop tab where they can find all the titles that the tech giant offers.

YouTube is the latest company to offer free shows TV with ads. The video giant says you'll now be able to stream nearly 4,000 episodes of TV for free, as long as you're also willing to watch ads during the show. From a report: Shows available include Hell's Kitchen, Andromeda, and Heartland, and you'll be able to watch them in the US on the web, mobile devices, and "most connected TVs via the YouTube TV app," YouTube says in a blog post. With the new free TV shows, YouTube is taking on a number of major competitors. One is over-the-air television -- by offering free TV on demand, YouTube is likely hoping that you'll see what's available on its platform instead of channel surfing to see what else might be on. And there are already many options for streaming ad-supported TV for free, including Tubi, Xumo, Plex, Roku, and offerings from Vizio, and Samsung -- just to name a few -- so YouTube is late to the game.

Roku device owners will soon have a whole host of new personalization features, including all-new Photo Streams, with the Roku OS 11. From a report: Firstly, when Roku OS 11 rolls out to users in the weeks ahead, they'll be able to change their screensaver to display their own photography or images with Photo Streams. Not only will Photo Streams allow users to display photos from their desktop or mobile device on Roku, but users will also be able to share Streams with other Roku device owners as well. Once a Stream is shared, other Roku owners will be able to add to it, allowing everyone to collaborate on a shared album. Roku OS 11 will also introduce a new "what to watch on Roku" menu, a personally curated hub added to the home screen menu that will suggest popular and recently released TV and movies.

Uptake of the open-video codec AV1 has been slow, with major video providers waiting for broader device support. Things could change over the coming months, as both consumer electronics companies and chipset providers are poised to introduce new hardware with native AV1 decoding capabilities. From a report: Chief among them is Qualcomm, which is planning to add support for AV1 to its upcoming flagship Snapdragon mobile processor, Protocol has learned from a source who has seen spec sheets for the chip. Internally known as SM8550, the chip is expected to be introduced at the end of this year at the earliest, which means we shouldn't expect any phones powered by it until 2023. The chip's Adreno video-processing unit will support native AV1 decode, something that none of Qualcomm's previous chips have offered. That's barring any major changes, with our source cautioning that things could shift before the chip actually enters production.

"Music was one of the first industries that felt the sonic boom of the internet, starting with song-sharing websites like Napster in the late 1990s and iTunes digital downloads later," writes the New York Times.

They take a quick look at how the music industry "survived an online revolution," arguing that streaming services "saved the music industry from the jaws of the internet," making it financially healthy and giving it a wider reach.

"But all is not entirely well." Even now, the music industry in the United States generates less revenue than at the peak of the CD. There's a raging debate about how long the gravy train from streaming will last. And many musicians and others say that they're not sharing in the spoils from the digital transformation....

First, I'll lay out the case that the music industry is doing awesome. More than 500 million people around the world pay for digital music, mostly in fees for services such as Spotify, Apple Music or Tencent Music, which is based in China. Those services have given the industry something it has never had before: a steady stream of cash every month. The industry also is making money a gazillion ways. When you watch a music video on YouTube, money flows to the people responsible for that song. TikTok pays record companies when videos feature their popular songs....

Revenue for the music industry has been increasing consistently since 2015, but revenue from all sources — including streaming subscriptions, CDs and royalties from elevator music — is still less than it was in 1999. Total industry revenue back then was about $24 billion adjusted for inflation, and revenue in 2021 was $15 billion, according to the Recording Industry Association of America. (Global sales data from a different music trade group show a similar trajectory.) There aren't an infinite number of people who are willing to pay the going rate in many countries of $10 a month to access a whole bunch of songs on their phones via a service like Spotify. That's what worries people who believe the music industry's digital success has peaked.
Finally, the article points out that even the most-popular songs...aren't as popular as songs got in the past. And then it links to a story headlined "Streaming Saved Music. Artists Hate It."

"The big winners are the streaming services and the large record companies. The losers are the 99 percent of artists who aren't at Beyoncé's level of fame. And they're angry about not sharing in the music industry's success."

Variety takes a long look at Halo, the new nine-episode TV show on Paramount+ adapting "Microsoft's crown jewel Xbox franchise": When the show premieres on March 24, it will be the culmination of 17 years of false starts and dogged striving, including a Peter Jackson-produced feature film that fell apart in the 2000s, more than six years of development by Amblin Television in the 2010s, and a pandemic-split production in Hungary for the nine-episode first season that lasted nearly two years....

On June 6, 2005, in a stunt that instantly became the stuff of Hollywood legend, Microsoft sent a small platoon of actors dressed in full Master Chief armor to the major film studios (other than Sony Pictures, naturally). They were armed with a "Halo" screenplay written by Alex Garland and take-it-or-leave-it deal terms heavily weighted in the company's favor. The result was a movie co-financed by Universal and 20th Century Fox and produced by Peter Jackson, who hired up-and-coming director Neill Blomkamp to make his feature debut with the film. According to Jamie Russell's book "Generation Xbox: How Video Games Invaded Hollywood," Microsoft was an uneasy and at times overbearing creative partner, and the project ultimately fell apart in October 2006. (Blomkamp and Jackson instead made 2009's "District 9," which was nominated for four Oscars, including best picture.)

By 2011, Microsoft had parted ways with Halo's original developer, Bungie, and created an in-house studio, 343 Industries, to keep the franchise alive. As part of that effort, veteran Microsoft executive Kiki Wolfkill began exploring anew how to expand the game into a live-action adaptation — or, in Wolfkill's words, "linear entertainment...." Don Mattrick, then the head of Microsoft's Xbox unit, called his friend Steven Spielberg, himself a passionate gamer and a Halo fan. Soon after, 343's executives found themselves pitching Amblin Television presidents Justin Falvey and Darryl Frank. "They asked for permission to get in before we came into the room, and they covered a large conference table with the canon of Halo," says Falvey. That canon — a vast science fiction saga that spans hundreds of millennia and involves ancient aliens who created colossal, ring-shaped structures called the Halo Array — comes as much from dozens of tie-in novels, comic books and exhaustive guides and encyclopedias as from the games themselves. "It was aisles deep," Falvey recalls. "It was incredible."

Everyone who spoke with Variety, actually, cited Halo's expansive mythology as the factor that differentiated the series from other video game fare and made it so attractive as source material for event-size television.... [W]hen Kyle Killen ("Lone Star") came on board as showrunner in 2018, he hit upon a shrewd narrative path that embraces the video game DNA: Master Chief starts as a complete cypher, engineered to be so devoid of individuality that he literally has no sense of taste, and the rest of the season slowly fills out the void. "We're going to tell a story about a man discovering his own humanity," says Kane, who joined the show as co-showrunner in 2019. "In so doing, he's invited the audience to discover that guy's humanity too."

Eventually, Levine says, "we got the script to the place where we said, 'You know, this is a deep dive into character. What are the costs of turning human beings into killing machines...?'"

Kane estimates he wrote upwards of 265 drafts of the first nine episodes, balancing everything from the needs of the expansive production to story notes from 343 and Spielberg to the desire to fold in as much from the Halo mythology as possible.
The article calls the show the strong argument yet from Paramount+ "that it belongs at the big kids table with Netflix, Disney Plus, Amazon Prime Video and HBO Max."

The article notes Paramount+ already has five ongoing Star Trek series (including Discovery and Picard). And Variety also reported earlier that South Park will stream exclusively on Paramount+ starting in 2025, joining the streaming service's 14 exclusive South Park "specials" (hour-long episodes like 2021's "South Park: Post COVID").

Spotify may be the latest service to adopt NFTs. According to the Financial Times, the company is "drawing up plans to add blockchain technology and non-fungible tokens to its streaming service, fueling excitement in the crypto and music industries about the potential of NFTs to boost artists' earnings." It comes just days after Mark Zuckerberg confirmed NFTs will soon be coming to Instagram. From the report: Two recent job ads show Spotify is recruiting people to work on early stage projects related to "Web3," a tech buzzword for a blockchain-powered network that some crypto enthusiasts hope will wrestle control back from the Big Tech platforms that dominate today's internet.

Spotify's recruitment in the sector appears to be at an exploratory stage. It pointed to Web3 in a recruitment notice for an engineer on its "experimental growth" team. "This small and full-stack team is responsible for driving growth through new technologies, like Web3," the ad said. A separate Spotify job listing, for a manager in its future-gazing "Innovation and Market Intelligence" group, shows the music streaming service is looking for a candidate with experience in "content, creator, media, web3, and emerging technology industries" to "help define Spotify Moonshots," a term for ambitious new projects. The report goes on to note that Spotify "was an early collaborator on Facebook's ill-fated cryptocurrency project, Diem."

Daniel Ek, Spotify's chief executive, told a company podcast back in 2019 that cryptocurrencies and blockchain could allow users of "a service like Spotify [...] to be able to pay artists directly," especially across international borders or in regions where few people have traditional bank accounts. "That can open up massive opportunities where all of a sudden, a user in Japan might pay a creator in Argentina. And that opens up huge opportunities for how we can further our mission."

Amazon has closed its $8.5 billion acquisition of MGM, the companies said Thursday. From a report: The pact was first announced in May and has been winding its way through the regulatory process. Per Amazon, "The storied, nearly century-old studio -- with more than 4,000 film titles, 17,000 TV episodes, 180 Academy Awards, and 100 Emmy Awards -- will complement Prime Video and Amazon Studios' work in delivering a diverse offering of entertainment choices to customers." The completion of the transaction comes two days after the Amazon-MGM deal received clearance from the European Union's antitrust regulator, which "unconditionally" approved Amazon's proposed acquisition of MGM, in part because "MGM's content cannot be considered as must-have." The European Commission, in its antitrust review, found that the overlaps between the Amazon and MGM businesses are "limited."

Winamp will sell a non-fungible token (NFT) linked to its media player's original 1997 graphical skin, becoming the latest company to blend nostalgia and crypto. The Verge reports: Winamp will put the NFT up for auction through OpenSea between May 16th and May 22nd, followed by a separate sale of 1997 total NFTs based on 20 artworks derived from the original skin. The proceeds will go to the Winamp Foundation, which promises to donate them to charity projects, starting with the Belgian nonprofit Music Fund.

The NFT sale appears to be a combination of a publicity move and a fundraising effort. Winamp is sourcing the derivative art NFTs by asking artists to submit Winamp-based works between now and April 15th, then giving selected artists 20 percent of the proceeds from each sale of their image as an NFT. Nineteen of the pieces will sell in editions of 100 copies, and the remaining one will have 97; they'll all sell for 0.08 Ethereum -- around $210 at current exchange rates. The artists will get 10 percent of any royalties on later sales, where the seller will set their own price.

Winamp's head of business development Thierry Ascarez tells The Verge that buyers will get a blockchain token linked to an image of either the original skin seen above or one of its derivatives, which is a common setup for NFTs. Buyers will have the right to "copy, reproduce, and display" the image, but they won't own the copyright. Likewise, selected artists will agree to transfer all intellectual property for their work to Winamp, according to a page of terms and conditions (PDF).

Netflix will soon launch a test letting primary account holders pay an additional fee for users outside their households -- a new attempt by the company to address illicit password-sharing. From a report: According to the Netflix terms of service, a customer's account "may not be shared with individuals beyond your household." After years of turning a blind eye to password-sharing behavior that falls outside that requirement, the company last year ran a limited test prompting users to enter their account credentials as a way to nudge freeloaders into paying for their own accounts. Now, in an upcoming test launching in three countries -- Chile, Costa Rica and Peru -- Netflix will let members who share their accounts with people outside their household do so "easily and securely, while also paying a bit more," according to Chengyi Long, director of product innovation at Netflix. The new options will roll out in the next few weeks in the three countries (and may or may not expand beyond those markets).

Dust off those plastic binders that lived in the back seat of your car and fire up the boombox, because compact discs are back. From a report: CD sales enjoyed year-over-year growth for the first time since 2004, according to the Recording Industry Association of America's annual sales report. Combined with the decade-long vinyl sales explosion, overall physical music sales grew for the first time since 1996. Physical music sales exploded to the tune of $1.65 billion in the U.S. last year, according to the RIAA data. CD sales grew to $584.2 million nationally last year, up more than $100 million from 2020. By comparison, 2021 vinyl sales increased to $1 billion annually, up from $643.9 million.

LimeWire has announced it will relaunch as a "mainstream-ready, digital collectibles marketplace for art and entertainment, initially focusing on music" in May, confirming a Tuesday scoop by Slashdot that reported precisely the same thing. Engadget adds: Its backers believe that it will be a place for artists and fans to create and sell digital trinkets without the "technical hurdles of the current NFT landscape." It is hoping to partner with a raft of high-profile musicians in the hope of spreading word about LimeWire's resurrection in the hope of getting a million willing buyers signed up before the first year is done. The phrase of the day is ensuring that "NFT newbies" are well catered-for, offering easy signup, pricing in US dollars and a lack of any crypto-based gatekeeping. Users will be able to buy straight from their credit cards (or any other regular money) via Wyre's payment platform, which is also used by OpenSea. The company added that it is working with "top-tier artists" from the music world who will create content for the platform and also open lines of communication with willing fans.

LimeWire, a hugely popular peer-to-peer file sharing service that shut down more than a decade ago, plans to relaunch as soon as May as a digital collectibles marketplace for music, Slashdot has learned. The firm is currently engaging with artists for exclusive partnerships, we are told.

According to Deadline, Prime Video is turning PlayStation's mythology-themed game franchise God of War into a live-action TV series. From the report: I hear the series adaptation comes from The Expanse creators/executive producers Mark Fergus and Hawk Ostby and The Wheel of Time executive producer/showrunner Rafe Judkins as well as Sony Pictures Television and PlayStation Productions, which collaborate on all TV series based on PlayStation games. This would mark the latest big deal for a TV series based on a popular video game title in a red-hot streaming marketplace for gaming IP. Peacock just landed another SPT/PlayStation property, Twisted Metal, with a series order and Anthony Mackie starring. HBO has coming up the high-profile PlayStation game-based series The Last of Us, starring Pedro Pascal and Bella Ramsey. Netflix has a Resident Evil TV series in the works, while Paramount+ is about to debut Halo.
[...]
The God of War franchise from Sony's Santa Monica Studio spans a total of seven games across four PlayStation consoles. The action game series launched in 2005 on the PlayStation 2, with the first God of War. At the center is ex-Spartan warrior Kratos and his perilous journey to exact revenge on the Ares, the Greek God of War, after killing his loved ones under the deity's influence. After becoming the ruthless God of War himself, Kratos finds himself constantly looking for a chance to change his fate. Following several titles on various PlayStation consoles including the PS3 and the handheld PSP, Santa Monica Studio brought new life to the franchise with the 2018 game on the PlayStation 4. In it, Kratos comes to the Norse wilds where he gets a second chance at fatherhood with his son Atreus. The installment a slew of honors at the 2018 Game Awards, including Game of the Year. An eighth God of War installment, God of War: Ragnorok, is in the works for PlayStation 4 and PlayStation 5 and is set to drop this year.

Disney+ will be introducing an ad-supported subscription tier later this year, Disney announced on Friday. From a report: The company didn't provide a launch date or pricing, but says it will release specific details about the new offering later this year. The new tier will roll out in the United States in late 2022, with plans to expand internationally next year. The streaming service's current ad-free plan costs $7.99 per month or $79.99 per year. Adding a cheaper ad-supported tier for the streaming service will likely help the company further expand its subscriber base. In a press release, Disney said the new tier will be a "building block" in its path to achieve its long-term target of 230-260 million Disney+ subscribers by 2024.

"Expanding access to Disney+ to a broader audience at a lower price point is a win for everyone -- consumers, advertisers, and our storytellers," said Kareem Daniel, the chairman of Disney Media and Entertainment Distribution, in a statement. "More consumers will be able to access our amazing content. Advertisers will be able to reach a wider audience, and our storytellers will be able to share their incredible work with more fans and families." Following the launch, the streaming service will join several other streaming services that offer ad-supported tiers, including HBO Max, Paramount+ and Discovery+. Hulu, which Disney owns and operates, also offers an ad-supported tier for $6.99 per month.

Longtime Slashdot reader tlhIngan writes: As reported in many outlets, Epic Games has acquired indie music store Bandcamp to build out a "creator marketplace." Bandcamp will continue to be run as it is. "The products and services you depend on aren't going anywhere," wrote Bandcamp co-founder and CEO Ethan Diamond in a statement. "We'll continue to build Bandcamp around our artists-first revenue model (where artists net an average of 82% of every sale), you'll still have the same control over how you offer your music, Bandcamp Fridays will continue as planned, and the Daily will keep highlighting the diverse, amazing music on the site."

Diamond says the company will be working with Epic in the background to expand internationally and "push development forward" across its services, "from basics like our album pages, mobile apps, merch tools, payment system, and search and discovery features, to newer initiatives like our vinyl pressing and live streaming services."

Bandcamp adds to the long list of companies under the Epic Games umbrella, notes Eurogamer. "Since 2018, Epic Games has, alongside ArtStation and Sketchfab, acquired the likes of Cloudgine, Quixel, SuperAwesome, Hyprsense, RAD Games Tools, Tonic Games Group -- which includes Fall Guys developer Mediatonic and Fortitude Games -- plus Rocket League studio Psyonix, and Rock Band developer Harmonix."

Sony Pictures Entertainment is consolidating its anime businesses under the Crunchyroll banner to better compete in the growing streaming market for Japanese animation. From a report: The company is adding hundreds of hours of programming and dozens of titles, including "Cowboy Bebop," to the Crunchyroll streaming service that were previously available through its Funimation outlet, the company said Tuesday. Culver City-based Sony Pictures, the film and TV entertainment arm of Tokyo electronics giant Sony Corp., made a big bet on the anime market last year when it bought streaming service Crunchyroll from AT&T for $1.175 billion. The problem was that Sony then had two subscription streamers focused on the market for Japanese animation. Fans had to subscribe to both Crunchyroll and Funimation to get everything they wanted, in addition to Netflix and other services, said Colin Decker, who runs Sony's anime businesses.

Disney World's "Star Wars: Galactic Starcruiser" hotel will be expensive and immersive, writes SFGate. ("For two adults, the starting price is about $5,000. For three adults and one child, it's nearly $6,000.")

And while the hotel doesn't open to paid guests until Tuesday, free previews have already been given to online influencers: Reviews so far are generally positive — particularly praised are the character actors who carry the experience — with a few caveats. Because the hotel itself, called the Halcyon, is supposed to be a luxury cruise ship in space, the biggest complaint is that rooms are small and cramped...

For some, the lack of windows may add to a sense of claustrophobia. Hotel rooms have a digital display showing outer space and no view of the real outside world. Folks needing some fresh air can, however, visit an outdoor communal space called a "climate simulator." Reporters from the YouTube channel Disney Food Blog, which has nearly 800,000 subscribers, were invited to the media preview. In their review of the hotel, they put it thusly: "Disney went all-in on an experience that seemingly puts only the wealthiest guests inside a windowless bunker for two full days."

But most reviewers agreed that guests will be spending minimal time in their room anyway. The two days are packed with lightsaber training, clandestine rendezvous, elaborate entertainment and exploration of the ship. Guests need to download an app for their smartphone to chat with characters on board, receive their missions and learn their storylines. This was the other major drawback: If you're an introvert, this may be the wrong trip for you.

A fourth movie in the rebooted Star Trek franchise will be produced by J. J. Abrams and star Chris Pine and Zachary Quinto, according to an announcement this week by Paramount.

But Variety remembers how Quentin Tarantino once approached Paramount with his own Star Trek idea with a "Pulp Fiction vibe" in 2017 — and both Paramont and J.J. Abrams loved it. Tarantino ultimately partnered with "The Revenant" screenwriter Mark L. Smith, who was tasked with writing a "Star Trek" film script based on Tarantino's idea while Tarantino was busy finishing post-production and touring the world for "Once Upon a Time in Hollywood." Smith revealed on the "Bulletproof Screenwriting" podcast in April 2021 that J.J. Abrams' production company Bad Robot gave him a call on Tarantino's behalf. "They just called me and said, 'Hey, are you up for it? Do you want to go? Quentin wants to hook up.' And I said, 'Yeah,'" the screenwriter said. "And that was the first day I met Quentin, in the room and he's reading a scene that he wrote and it was this awesome, cool gangster scene, and he's acting it out and back and forth. I told him, I was so mad I didn't record it on my phone. It would be so valuable. It was amazing."

Tarantino intended to bring a "Pulp Fiction" vibe to "Star Trek" with an idea that was a largely earthbound story set in a 1930s gangster setting. Tarantino's pitch appeared to take inspiration from "A Piece of the Action," the 17th episode of the second season of "Star Trek: The Original Series." The installment, which aired in 1968, followed the Enterprise crew as they visit a planet with an Earth-like 1920s gangster culture.... According to Smith, Tarantino's "Star Trek" idea was "really wild" and like "its own very cool episode." The plot included "a little time travel stuff going on" and "had a lot of fun" with Chris Pine's Captain Kirk.

He produced the science fiction film THX 1138 — George Lucas's first movie — in 1971. 28 years later he supervised the re-editing of the science fiction film Supernova.

But now 82-year-old Francis Ford Coppola — who has also made a second fortune in the wine business — has an even grander vision. GQ reports: It is a film called Megalopolis, and Coppola has been trying to make it, intermittently, for more than 40 years. If I could summarize the plot for you in a concise way, I would, but I can't, because Coppola can't either. Ask him. "It's very simple," he'll say. "The premise of Megalopolis? Well, it's basically... I would ask you a question, first of all: Do you know much about utopia?"

The best I can do, after literally hours talking about it with him, is this: It's a love story that is also a philosophical investigation of the nature of man; it's set in New York, but a New York steeped in echoes of ancient Rome; its scale and ambition are vast enough that Coppola has estimated that it will cost $120 million to make. What he dreams about, he said, is creating something like It's a Wonderful Life — a movie everyone goes to see, once a year, forever. "On New Year's, instead of talking about the fact that you're going to give up carbohydrates, I'd like this one question to be discussed, which is: Is the society we live in the only one available to us? And discuss it."

Somehow, Megalopolis will provoke exactly this discussion, Coppola hopes. Annually....

[T]his is Coppola's plan. He is going to take $120 million of his own fortune, at 82 years of age, and make the damn movie himself.
The article describes it as the kind of "personal" movie that Coppola had wanted to make back when his studio had insisted he instead direct The Godfather. This, of course, is the paradox of Coppola's career: that for all his success, he has, to some extent, been waiting to make his own films, rather than someone else's, for practically his entire life.... "If you're going to make art, let it be personal. Let it be very personal to you."
Megalopolis "remains in development for now," reports Variety. "Coppola has not yet announced a production start date."

Roku, the leading supplier of smart TV OS in North America, is looking at possibly building its own TV sets. Nexttv reports: According to Business Insider, Roku convened a focus group earlier this month in which participants were shown "different models, feature sets and names, sizes, price points," of smart TVs, according to an individual "familiar" with the event. This unnamed person told the news site that the moderator made it clear that Roku is exploring the possibility of "going it alone" with its own "manufacturing operation," and not merely attaching its brand to an existing smart TV manufacturer's product line.