An anonymous reader shared this report from the New York Times' media reporter: In a nondescript office park minutes from Disneyland sits a nondescript warehouse. Inside this nameless, faceless building, an era is ending.

The building is a Netflix DVD distribution plant. Once a bustling ecosystem that processed 1.2 million DVDs a week, employed 50 people and generated millions of dollars in revenue, it now has just six employees left to sift through the metallic discs. And even that will cease on Friday, when Netflix officially shuts the door on its origin story and stops mailing out its trademark red envelopes. "It's sad when you get to the end, because it's been a big part of all of our lives for so long," Hank Breeggemann, the general manager of Netflix's DVD division, said in an interview. "But everything runs its cycle. We had a great 25-year run and changed the entertainment industry, the way people viewed movies at home."

When Netflix began mailing DVDs in 1998 — the first movie shipped was "Beetlejuice" — no one in Hollywood expected the company to eventually upend the entire entertainment industry... At its height, Netflix was the Postal Service's fifth-largest customer, operating 58 shipping facilities and 128 shuttle locations that allowed Netflix to serve 98.5 percent of its customer base with one-day delivery...

Netflix's DVD operations still serve around one million customers, many of them very loyal... To ease the backlash, Netflix is allowing its DVD customers to hold on to their final rentals.
"One hundred people at Netflix still work on the DVD side of the business, though most will soon be leaving the company."

Since 1999, Slashdot has been covering the annual Ig Nobel prize ceremonies — which honor real scientific research into strange or surprising subjects. "Each winner (or winning team) has done something that makes people LAUGH, then THINK," explains the ceremony web page, promising that "a gaggle of genuine, genuinely bemused Nobel laureates handed the Ig Nobel Prizes to the new Ig Nobel winners." As co-founder Marc Abrahams says on his LinkedIn profile, "All these things celebrate the unusual, honor the imaginative — and spur people's interest in science, medicine, and technology."

You can watch this year's entire goofy webcast online. (At 50 minutes there's a jaw-droppingly weird music video about running on water...) Slashdot reader Thorfinn.au shares this summary of this year's winning research: CHEMISTRY and GEOLOGY PRIZE [POLAND, UK] — Jan Zalasiewicz, for explaining why many scientists like to lick rocks.

LITERATURE PRIZE [FRANCE, UK, MALAYSIA, FINLAND] — Chris Moulin, Nicole Bell, Merita Turunen, Arina Baharin, and Akira O'Connor for studying the sensations people feel when they repeat a single word many, many, many, many, many, many, many times.

MECHANICAL ENGINEERING PRIZE [INDIA, CHINA, MALAYSIA, USA] — Te Faye Yap, Zhen Liu, Anoop Rajappan, Trevor Shimokusu, and Daniel Preston, for re-animating dead spiders to use as mechanical gripping tools.

PUBLIC HEALTH PRIZE [SOUTH KOREA, USA] — Seung-min Park, for inventing the Stanford Toilet a computer vision system for defecation analysis et al.

COMMUNICATION PRIZE [ARGENTINA, SPAIN, COLOMBIA, CHILE, CHINA, USA] — María José Torres-Prioris, Diana López-Barroso, Estela Càmara, Sol Fittipaldi, Lucas Sedeño, Agustín Ibáñez, Marcelo Berthier, and Adolfo García, for studying the mental activities of people who are expert at speaking backward.

MEDICINE PRIZE [USA, CANADA, MACEDONIA, IRAN, VIETNAM] — Christine Pham, Bobak Hedayati, Kiana Hashemi, Ella Csuka, Tiana Mamaghani, Margit Juhasz, Jamie Wikenheiser, and Natasha Mesinkovska, for using cadavers to explore whether there is an equal number of hairs in each of a person's two nostrils.

NUTRITION PRIZE [JAPAN] — Homei Miyashita and Hiromi Nakamura, for experiments to determine how electrified chopsticks and drinking straws can change the taste of food.

EDUCATION PRIZE [HONG KONG, CHINA, CANADA, UK, THE NETHERLANDS, IRELAND, USA, JAPAN] — Katy Tam, Cyanea Poon, Victoria Hui, Wijnand van Tilburg, Christy Wong, Vivian Kwong, Gigi Yuen, and Christian Chan, for methodically studying the boredom of teachers and students.

PSYCHOLOGY PRIZE [USA] — Stanley Milgram, Leonard Bickman, and Lawrence Berkowitz for 1968 experiments on a city street to see how many passersby stop to look upward when they see strangers looking upward.

PHYSICS PRIZE [SPAIN, GALICIA, SWITZERLAND, FRANCE, UK] — Bieito Fernández Castro, Marian Peña, Enrique Nogueira, Miguel Gilcoto, Esperanza Broullón, Antonio Comesaña, Damien Bouffard, Alberto C. Naveira Garabato, and Beatriz Mouriño-Carballido, for measuring the extent to which ocean-water mixing is affected by the sexual activity of anchovies.

An anonymous reader shares a report: The Streaming Era began with a promise of nurturing shows without fear of ratings pressure and quick cancellations. Of course, that was a lark. Soon enough, the streamers began slashing shows as quickly and brutally as any Nielsen-obsessed broadcaster, and they were all flooded with same complaint: "The streamers just cancel everything! Nothing gets more than a season anymore!" How true is that really? After all, the streamers are looking for hit shows, just like traditional networks. If a show gets high viewership relative to the cost of producing it, it gets renewed. Otherwise, it is canceled. That is how it has worked since the days of black-and-white TV.

To get to the heart of the matter, Variety Intelligence Platform (VIP+) and Luminate collaborated on a data exploration to determine how often the leading U.S.-based streaming and linear programmers have canceled series TV series over the past three years. The new report, "The Show Must Go Off," is an exhaustive statistical analysis that aims to settle one of the most hotly contested debates in the TV industry. The data covered all shows (scripted and unscripted) canceled between 2020 and Aug. 8, 2023. The major streamers (Netflix, Hulu, Disney+, Amazon Prime Video, Max, Apple TV+, Peacock, Paramount+) overall had a combined average cancellation rate of 12.2% -- not much higher than linear TV (10.8%), but less than half of broadcast TV alone over that period. Warner Bros. Discovery-owned Max (formerly HBO Max) was by far the most brutal when it comes to cancelling shows, coming in at 26.9%.

Stability AI today announced the initial public release of its Stable Audio technology, providing anyone with ability to use simple text prompts to generate short audio clips. VentureBeat reports: StableAudio is a new capability, though it is based on many of the same core AI techniques that enable Stable Diffusion to create images. Namely the Stable Audio technology makes use of a diffusion model, albeit trained on audio rather than images, in order to generate new audio clips. "Stability AI is best known for its work in images, but now we're launching our first product for music and audio generation, which is called Stable Audio," Ed Newton-Rex, VP of Audio at Stability AI told VentureBeat. "The concept is really simple, you describe the music or audio that you want to hear in text and our system generates it for you."

Newton-Rex is no stranger to the world of computer generated music, having built his own startup called Jukedeck in 2011, which he sold to TikTok in 2019. The technology behind Stable Audio however does not have its roots in Jukedeck, but rather in Stability AI's internal research studio for music generation called Harmonai, which was created by Zach Evans. Stable Audio works directly with raw audio samples for higher quality output. The model was trained on over 800,000 pieces of licensed music from audio library AudioSparks. [...]

As a diffusion model, Evans said that the Stable Audio model has approximately 1.2 billion parameters, which is roughly on par with the original release of Stable Diffusion for image generation. The text model used for prompts to generate audio was all built and trained by Stability AI. Evans explained that the text model is using a technique known as Contrastive Language Audio Pretraining (CLAP). As part of the Stable Audio launch, Stability AI is also releasing a prompt guide to help users with text prompts that will lead to the types of audio files that users want to generate. "Stable Audio will be available both for free and in a $12/month Pro plan," notes VentureBeat. "The free version allows 20 generations per month of up to 20 second tracks, while the Pro version increases this to 500 generations and 90 second tracks."

Star Trek: The Animated Series was a half-hour Saturday morning cartoon that premiered exactly one half century ago — yesterday. You can watch its opening credits sequence on YouTube — with its strange 1970s version of the theme song. CBS's YouTube channel also offers clips from various episodes.

Starting in 1973, it ran for two seasons — a total of just 22 episodes. But the BBC notes it kept Star Trek in people's minds after the original series had been cancelled in 1969: While The Original Series had struggled in the ratings during its initial run, the show thrived in syndication, and created the phenomenon of fan conventions (think Comic-con in the present day). Because of this, studios were interested in more Star Trek, but there was a problem: the sets had been scrapped, the costumes were gone, and it would have been cost-prohibitive to rebuild everything from scratch. NBC settled on a different approach: an animated series.

According to The Fifty-Year Mission by Mark Altman and Edward Gross (an oral history of Star Trek), Gene Roddenberry wasn't overly interested in an animated show in and of itself. However, he was willing to go along with it because he saw it as a stepping stone to another live-action show or a feature film. An animated show would energise fans, he thought, so he agreed on the condition that he would have full creative control of The Animated Series. After a fight, the network gave in. The full, regular cast returned, with the exception of Walter Koenig's Pavel Chekov, who was cut for budget reasons...

[I]t was very much conceived of as a continuation of The Original Series. Some of the episodes were direct sequels, such as More Tribbles, More Trouble, which is a continuation of the classic The Trouble with Tribbles, and featured the return of Cyrano Jones... [Another episode was a sequel to The City on the Edge of Forever.] Dorothy (DC) Fontana led a group of writers from the original show who mostly wrote for a traditional, adult Star Trek audience. That's why the show didn't catch on — while it was well-received by critics, it might have done better in prime time. The show won a Daytime Emmy for best children's series, but it was cancelled after two years because of low ratings. Roddenberry then moved on to work on another live-action series, called Phase II, which would eventually become Star Trek: The Motion Picture...

Whatever is decided regarding "the canon", The Animated Series sits firmly within Star Trek's guiding ethos: Gene Roddenberry's vision for a utopian future where humans coexist peacefully with aliens as part of a Federation, and there's no poverty or war.

Rotten Tomatoes celebrated its 25th year of assigning scores to movies based on their aggregate review. Now Vulture writes that Rotten Tomatoes "can make or break" movies, "with implications for how films are perceived, released, marketed, and possibly even green-lit". But unfortuately, the site "is also erratic, reductive, and easily hacked."

Vulture tells the story of a movie-publicity company contacting "obscure, often self-published critics" to say the film's teams "feel like it would benefit from more input from different critics" — while making undisclosed payments of $50 or more.) A critic asking if it's okay to pan the movie was informed that "super nice" critics move their bad reviews onto sites not included in Rotten Tomatoes scores.

Vulture says after bringing this to the site's attention, Rotten Tomatoes "delisted a number of the company's movies from its website and sent a warning to writers who reviewed them." But is there a larger problem? Filmmaker Paul Schrader even opines that "Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do...." A third of U.S. adults say they check Rotten Tomatoes before going to the multiplex, and while movie ads used to tout the blurbage of Jeffrey Lyons and Peter Travers, now they're more likely to boast that a film has been "Certified Fresh...."

Another problem — and where the trickery often begins — is that Rotten Tomatoes scores are posted after a movie receives only a handful of reviews, sometimes as few as five, even if those reviews may be an unrepresentative sample. This is sort of like a cable-news network declaring an Election Night winner after a single county reports its results. But studios see it as a feature, since, with a little elbow grease, they can sometimes fool people into believing a movie is better than it is.

Here's how. When a studio is prepping the release of a new title, it will screen the film for critics in advance. It's a film publicist's job to organize these screenings and invite the writers they think will respond most positively. Then that publicist will set the movie's review embargo in part so that its initial Tomatometer score is as high as possible at the moment when it can have maximal benefits for word of mouth and early ticket sales... [I]n February, the Tomatometer score for Ant-Man and the Wasp: Quantumania debuted at 79 percent based on its first batch of reviews. Days later, after more critics had weighed in, its rating sank into the 40s. But the gambit may have worked. Quantumania had the best opening weekend of any movie in the Ant-Man series, at $106 million. In its second weekend, with its rottenness more firmly established, the film's grosses slid 69 percent, the steepest drop-off in Marvel history.

In studios' defense, Rotten Tomatoes' hastiness in computing its scores has made it practically necessary to cork one's bat. In a strategic blunder in May, Disney held the first screening of Indiana Jones and the Dial of Destiny at Cannes, the world's snootiest film festival, from which the first 12 reviews begot an initial score of 33 percent. "What they should've done," says Publicist No. 1, "was have simultaneous screenings in the States for critics who might've been more friendly." A month and a half later, Dial of Destiny bombed at the box office even though friendly critics eventually lifted its rating to 69 percent. "They had a low Rotten Tomatoes score just sitting out there for six weeks before release, and that was deadly," says a third publicist.

A new report says that a PR firm has been paying Rotten Tomatoes critics for positive reviews for over five years. From a report: Moviegoers, critics, and the average internet user have all used the aggregation site Rotten Tomatoes at one point or another. The website categorizes films and shows from "fresh" to "rotten," with rotten being those with lower ratings. Now it looks like the site's scores have been manipulated for more than five years. As noted by Vulture, it looks like a PR firm has manipulated movie scores on Rotten Tomatoes by paying the critics directly. This has been happening for years.

The PR firm, named Bunker 15, is said to pay as much as $50.00 for a single Rotten Tomatoes review. The payments, which aren't typically disclosed, are usually given to obscure critics who happen to be part of a pool tracked by Rotten Tomatoes. Though it's worth noting that the aggregation site's rules prohibit "Reviewing based on a financial incentive." Director Paul Schrader, also a critic, spoke out against Rotten Tomatoes which he says is part of a "broken" system. "The system is broken. Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do." The site responded by delisting a variety of Bunker 15 films from their website. Furthermore, they issued a warning to any critics that reviewed them. The warning emphasizes that they do not tolerate manipulation on their platform.

Roku will cut more than 300 staffers -- laying off 10% of its workforce -- as the streaming-platform company continues its battle to control costs. From a report: In addition, Roku will remove certain licensed and owned content from its platform as part of a "strategic review of its content portfolio," resulting in an impairment charge of up to $65 million in the current quarter, the company disclosed in an SEC filing Wednesday. Other cost-cutting measures Roku outlined are consolidating office space and reducing outside services expenses.

The goal is to reduce year-over-year operating expense growth rate, the company said. The layoffs represent Roku's third round of job cuts in less than a year, after it pink-slipped 200 staffers in November 2022 and another 200 in March 2023. As of the end of 2022, Roku had approximately 3,600 full-time employees. The company, in addition to the layoffs, said it also plans to cut back on new hires.

An anonymous reader quotes a report from The Daily Beast: A Florida marathoner is facing federal charges after the U.S. Coast Guard spotted him 70 nautical miles off Tybee Island, Georgia on Aug. 26, in a homemade Hydro Pod, as Hurricane Franklin bore down on the Eastern Seaboard. Reza Baluchi claimed he was headed to London in the human-powered vessel, a hamster wheel-like contraption which a newly filed criminal complaint describes as being "afloat as a result of wiring and buoys." When Coast Guard officers told Baluchi they were cutting short his "manifestly unsafe" voyage, Baluchi threatened to kill himself with a 12-inch knife if anyone tried to apprehend him, and claimed to have a bomb aboard, which turned out to be fake, according to the complaint. Three days later, Baluchi -- who authorities have intercepted in his Hydro Pod at least three times previously -- finally surrendered, the complaint states. Baluchi made national news for a 2021 attempt to get from Florida to New York in the Hydro Pod, but washed ashore 25 miles later.

An anonymous reader quotes a report from TorrentFreak: Rick Klein and his team have been preserving TV adverts, forgotten tapes, and decades-old TV programming for years. Now operating as a 501(c)(3) non-profit, the Museum of Classic Chicago Television has called YouTube home since 2007. However, copyright notices sent on behalf of Sony, protecting TV shows between 40 and 60 years old, could shut down the project in 48 hours. "Our YouTube channel with 150k subscribers is in danger of being terminated by September 6th if I don't find a way to resolve these copyright claims that Markscan made," Klein told TorrentFreak on Friday. "At this point, I don't even care if they were issued under authorization by Sony or not -- I just need to reach a live human being to try to resolve this without copyright strikes. I am willing to remove the material manually to get the strikes reversed."

Over the weekend Klein shared details of the copyright complaints filed with YouTube. Two of the claims can be seen in the image below and on first view, appear straightforward enough. Two episodes of the TV series Bewitched dated 1964 aired on ABC Network and almost sixty years later, archive copies of those transmissions were removed from YouTube for violating Sony copyrights, with MCCTv receiving a strike. A claim targeting an upload titled Bewitched -- 'Twitch or Treat' -- WPWR Channel 60 (Complete Broadcast, 8/6/1984) follows the same pattern, but what isn't shown are the details added by MCCTv to place the episode (and the included commercials) in historical context. Another takedown target -- Bewitched -- 'Sam in the Moon' (Complete 16mm Network Print, 1/5/1967) is accompanied by even more detail, including references in the episode to then-current events.

Given that copyright law locks content down for decades, Klein understands that can sometimes cause issues, although 16 years on YouTube suggests that the overwhelming majority of rightsholders don't consider his channel a threat. If they did, the option to monetize the recordings can be an option. [...] Klein says MCCTv certainly doesn't set out to hurt copyright holders. However, there's always a balance between preserving "rare pieces of video ephemera" and the likelihood that nobody needs to enforce any rights, versus unusual circumstances like these where unexpected complaints need to be resolved with impossible-to-reach parties. Klein says the team is happy to comply with Sony's wishes and they hope that given a little leeway, the project won't be consigned to history. Perhaps Sony will recall the importance of time-shifting while understanding that time itself is running out for The Museum of Classic Chicago Television.

Apple will acquire the major Swedish classical music record label BIS Records, intending to fold it into Apple Music Classical and Platoon. MacRumors reports: BIS Records was founded in 1973 by Robert von Bahr. The label focuses on a range of classical music, with particular focus on works that are not well represented by existing recordings. It is an award-winning name in the world of classical music, acclaimed for its vast catalog and impressive audio quality. The label celebrates its 50th anniversary this week. The company announced its impending acquisition by Apple earlier today.

BIS is set to become a part of Apple Music Classical and the Apple-owned label Platoon. Apple acquired Platoon, a London-based A&R startup focused on discovering rising music artists, in 2018. In 2021, Apple announced that it had purchased the classical music streaming service Primephonic and would be folding it into Apple Music via a new app dedicated to the genre. Apple released the Apple Music Classical app in March. The app offers a simpler interface for interacting with classical music specifically. Unlike the main Apple Music app, Apple Music Classical allows users to search by composer, work, conductor, catalog number, and more. Users can get more detailed information from editorial notes and descriptions.

CNN reports that newspaper chain Gannett "has paused the use of an AI tool to write high school sports dispatches after the technology made several major flubs in articles in at least one of its papers." In one notable example, preserved by the Internet Archive's Wayback Machine, the story began: "The Worthington Christian [[WINNING_TEAM_MASCOT]] defeated the Westerville North [[LOSING_TEAM_MASCOT]] 2-1 in an Ohio boys soccer game on Saturday...." The reports were mocked on social media for being repetitive, lacking key details, using odd language and generally sounding like they'd been written by a computer with no actual knowledge of sports.

CNN identified several other local Gannett outlets, including the Louisville Courrier Journal, AZ Central, Florida Today and the Milwaukee Journal Sentinel, that have all published similar stories written by LedeAI in recent weeks. Many of the reports feature identical language, describing "high school football action," noting when one team "took victory away from" another and describing "cruise-control" wins. In many cases, the stories also repeated the date of the games being covered multiple times in just a few paragraphs.

Gannett has paused its experiment with LedeAI in all of its local markets that had been using the service, according to the company. The pause was earlier reported by Axios... The AI tool debacle comes after Gannett axed hundreds of jobs in December when it laid off 6% of its news division.
From Axios's report: One such Dispatch article from Aug. 18 was blasted on social media for its robotic style, lack of player names and use of awkward phrases like "close encounter of the athletic kind." "I feel like I was there!" The Athletic senior columnist Jon Greenberg posted sarcastically.
More from the Washington Post: Another story about a game between the Wyoming Cowboys and Ross Rams described a scoreboard that "was in hibernation in the fourth quarter." When Ayersville High School staged a late comeback in another game, a write-up of their win read: "The Pilots avoided the brakes and shifted into victory gear...."

In a statement, Gannett called the deployment of Lede AI an "experiment" in automation to aid its journalists and add content for readers... LedeAI CEO Jay Allred said in a statement to The Post that he believes automation is part of the future of local newsrooms and that LedeAI allows reporters and editors to focus on "journalism that drives impact in the communities they serve."

"Are you old enough to remember channel surfing?" asks long-time Slashdog reader MightyMait. "When there were only a handful of broadcast channels, it wasn't a big deal..." But when we got cable/satelite, one could spend inordinate amounts of time flipping through the channels looking for something decent to watch. Now, with the proliferation of streaming services...
Streaming viewers are now "spending a record 10.5 minutes per session deciding what to watch," according to TV Tech, citing a new study from the Nielsen-owned entertainment-data company Gracenote.

Their 2023 State of Play report "found that that there were 1.9 million video titles available to viewers in the U.S., U.K., Canada, Mexico and Germany in July 2021, a number that had swelled to 2.7 million titles by June 2023." Of the total count, a whopping 86.7% were available on streaming services. Compounding complexity, many popular shows now appear in multiple streaming catalogs, as the industry pivots from offering content exclusivity to broad distribution strategies that companies hope will balance massive streaming loses, the report noted. The Gracenote analysis also found that audiences now have nearly 40,000 individual FAST channels, streaming providers and aggregators to choose from.
The original submission from MightyMait asks Slashdot readers: "Are you feeling the pain? And if so, "What strategies do you employ to avoid this time suck?"

Share your own thoughts and experiences in the comments. And do streamers spend more time deciding what to watch?

The U.S. Department of Defense has launched a website collecting publicly available, declassified information on unidentified anomalous phenomena (UAPs). "For now, the general public will be able to read through the posted information," reports CNET. "Soon, US government employees, contractors, and service members with knowledge of US programs can report their own sightings, and later, others will be able to submit reports." From the report: "This website will provide information, including photos and videos, on resolved UAP cases as they are declassified and approved for public release," the department said in a release posted on Thursday. "The website's other content includes reporting trends and a frequently asked questions section as well as links to official reports, transcripts, press releases, and other resources that the public may find useful, such as applicable statutes and aircraft, balloon and satellite tracking sites."

For now, one of the most interesting parts of the site is its trends section. Apparently, most reported UAPs are round, either white, silver or translucent, spotted at around 10,000 to 30,000 feet, 1-4 meters in size, and do not emit thermal exhaust. Hotspots for sightings include both the US East and West coasts. There's also a small section of videos with names such as "DVIDS Video - Unresolved Case: Navy 2021 Flyby," and "UAP Video: Middle East Object." Readers are able to leave comments on the videos. Of the "Middle East Object" video, one person writes,"Noticed I never saw it cast a shadow. But other objects have shadows."

Spotify is cracking down on white-noise podcasters, reducing the advertising support for programmers that provide little more than soothing sounds like rain or chirping birds. From a report: In an email to creators Friday, the company highlighted changes to its Ambassador Ads program -- promotional spots for Spotify that podcasters read. The company pays hosts to read ads to encourage more creators to make shows and join the platform. As part of the change taking effect Oct. 1, white noise podcasters will no longer be eligible for such support, according to a person with knowledge of the matter. The company is also raising the audience threshold that conventional podcasters must meet to qualify for those ads to 1,000 unique Spotify listeners over the past 60 days from 100.

Timothy Geigner writes via Techdirt: Paramount has gone after fan-made works playing off of the franchise for years and years. Even Paramount's release of guidelines by which fans could create fan films served mostly as a giant middle finger to the fandom, so stringent were the rules. This apparently represents the owners of Star Trek's IP being completely deaf to the history of Star Trek and the internet and what the fans have meant to the franchise. And this all continued into the present day.

Recently, a fan-made project called Wolf 359 Project suffered a DMCA takedown from Paramount. If you're a Next Generation fan, that name will likely sound familiar: "The Battle of Wolf 359 hearkens to a classic The Next Generation two-episode event called 'The Best of Both Worlds.' Captain Picard is assimilated by the Borg, and before the Enterprise crew rescues him, the relentless Borg forces fight a battle that kills 11,000 people. Star Trek: Picard Season 3 dealt with this, specifically through the character of Captain Liam Shaw. It was the first time someone described the Starfleet experience during one of the costliest battles in Star Trek history. Star Trek fans are never one to let a good idea go to waste, and The Wolf 359 Project is a fan-written oral history of the battle. The 'book' ran over 500 pages long, and its authors were giving it away for free. However, Paramount issued a Digital Millennium Copyright Act strike against it."

So here's what this essentially is: fans who love TNG filling in the gaps of the original story they love with the unexplored rest of the universe of people who would have been impacted by that storyline. That's important for two reasons. First and foremost, this doesn't take anything away from Paramount's Star Trek production, and in fact does the opposite. The project doesn't replace the original episodes, but rather builds upon them. In other words, this project could only possibly serve to draw more interest to Paramount's product, since the book isn't going to make much sense to anyone who hasn't seen the original episodes. Second, this is a work being done for free, given away for free, all by fans that are doing what Star Trek fans have always done: create. [...] ]

An anonymous reader quotes a report from Ars Technica: Sports leagues are urging the US to require "instantaneous" takedowns of pirated livestreams and new requirements for Internet service providers to block pirate websites. The Digital Millennium Copyright Act of 1998 requires websites to "expeditiously" remove infringing material upon being notified of its existence. But pirated livestreams of sports events often aren't taken down while the events are ongoing, said comments submitted last week by Ultimate Fighting Championship, the National Basketball Association, and National Football League.

The "DMCA does not define 'expeditiously,' and OSPs [online service providers] have exploited this ambiguity in the statutory language to delay removing content in response to takedown requests," the leagues told the US Patent and Trademark Office in response to a request for comments on addressing counterfeiting and piracy. The leagues urged the US "to establish that, in the case of live content, the requirement to 'expeditiously' remove infringing content means that content must be removed 'instantaneously or near-instantaneously' in response to a takedown request." The leagues claimed the change "would be a relatively modest and non-controversial update to the DMCA that could be included in the broader reforms being considered by Congress or could be addressed separately." They also want stricter "verification measures before a user is permitted to livestream."

The UFC separately submitted comments on its own, urging the US to require that ISPs block pirate sites. The UFC said that a "significant and growing" number of websites, typically operated from outside the US, don't respond to takedown requests and thus should be blocked by broadband network operators. The UFC wrote: "Unlike many other jurisdictions around the world, the US lacks a 'site-blocking' regime whereby copyright owners may obtain no-fault injunctions requiring domestic Internet service providers to block websites that are primarily geared at infringing activity. A 'site-blocking' regime, with appropriate safeguards to prevent abuse, would substantially facilitate all copyright owners' ability to address piracy, including UFC's." Website-blocking is bound to be a controversial topic, although the Federal Communications Commission's now-repeated net neutrality rules only prohibited blocking of "lawful Internet traffic." While the UFC said it just wants "websites that are primarily geared at infringing activity" to be blocked, a site-blocking regime could be used more expansively if there aren't strict limits.

An anonymous reader quotes a report from Ars Technica: Dolby Laboratories today announced Dolby Atmos FlexConnect, a feature with the potential to add flexibility and simplicity to home theater audio setups. The company says FlexConnect allows supporting TVs to optimize Dolby Atmos audio output among the TV's speakers and paired wireless speakers. Currently, Dolby is only announcing the feature with upcoming TCL TVs, but it could expand elsewhere. FlexConnect, which will work with Atmos, 5.1, and stereo sound, is about adapting to people's audio setups, with considerations for things like speaker count and placement. The upcoming feature aims to bolster Atmos audio in situations where speaker placement is limited due to obstacles like room size, furniture, or outlet locations.

According to Dolby, FlexConnect will mean users can hear the same experience regardless of where they're sitting in the room, and that audio is tweaked based on each speaker's location and capabilities. Ars Technica asked Dolby to elaborate on this, and a company spokesperson told us: "After each speaker is placed, the TV will undergo an automatic calibration using acoustic mapping, [using TV microphones], to understand the location of each speaker. The TV then intelligently and seamlessly optimizes the sound image after analyzing this data combined with information the TV can gather on each speaker's acoustic capabilities. Together, this information allows the TV to adjust the rendering of each speaker to optimize the sound to ensure listeners are enjoying a great audio experience."

An example of how FlexConnect could adapt audio based on speaker capabilities is with low frequencies, which many TVs struggle with. If there's a more capable speaker connected, the TV's speakers could "offload the bass to these speakers, which frees up power to allocate to other parts of the frequency spectrum," Dolby's spokesperson said. "This could allow the TV speakers to allocate more power to dialogue, ensuring the best combination of bass and intelligibility," the rep said. Dolby also provided an example of how FlexConnect could adapt audio based on speaker location. If a user puts two wireless speakers in the back of the room, FlexConnect "will put more of the audio load onto the TV speakers so that the TV speakers cover the front soundstage and the dialogue." But if the wireless speakers were in the front of the room, the TV/center speakers would focus on dialogue.

The number of titles on streaming services jumped 39% over the past two years to 2.35 million, according to a report released Monday by market researcher Nielsen. From a report: Add in traditional broadcast and cable channels and the number of individual viewing options climbed to 2.7 million. The figures reflect movies and shows available in the US, Canada, the UK, Mexico and Germany. Netflix and Disney+ are among 167 streaming providers, up from 118 two years ago. The average time it takes someone to find something to watch has risen to more than 10 minutes from a little over seven minutes in 2019, Nielsen said.

Last year movie theaters offered $3 movie tickets for "National Cinema Day," attracting a surge of more than 8.1 million movie-goers (compared to just 1.7 million the day after). So they're doing it again...

Today more than 3,000 movie theaters in the U.S. and Canada — with approximately 30,000 screens — are offering $4 tickets for every show (including IMAX and Dolby screenings) in a special one-day event. (The U.K. will also celebrate "National Cinema Day" — but in six days, on September 2nd.)

Variety notes that last year's event brought the highest one-day attendance for all of 2022, and "All of that foot traffic in theaters usually means there will be more popcorn and concession stand sales." So the National Association of Theatre Owners's nonprofit, the Cinema Foundation — decided to do it again this year just two days after the first event had ended. CNBC reports: While last year's event was held in part because of a need to lure audiences back to theaters after two years away following pandemic shutdowns, Bryan Braunlich, executive director of the non-profit Cinema Foundation, says that the hope for this year's Cinema Day is just for audiences to enjoy being at the movies... Nationwide chains including AMC and Regal will be participating. For a full list of theaters taking part in National Cinema Day, click here...

If this year's installment proves to once again be a success, Braunlich says the hope is to make National Cinema Day an annual event. "If this continues every year, which we hope it will, the long term goal is to eventize it," he says. "Make it less about the price and more like little Comic Cons in every city where you never know what celebrity is going to hop into your theater."
This year's event includes a limited re-release of some classic films, including the original Jurassic Park.

An anonymous reader quotes a report from Teslarati: Tesla has won permit approval for its Diner and Drive-In Movie Supercharger in Los Angeles, according to documents seen by Teslarati from the LA Department of Building and Safety. Tesla has been teasing the possibility for several years of a drive-in movie theater and diner Supercharger site that would host 32 stalls, two screens to show famous movie clips, and a restaurant with rooftop seating. Initially, it was planned to be built on a series of lots in Santa Monica. However, the location was moved East to Hollywood and will now be placed on located at 7001 W. Santa Monica Boulevard. As the project has been moving through the normal regulatory processes, Tesla has been receiving some approvals and requests for corrections on many of its filed applications to begin construction at the Diner/Supercharger.

Amazon has filed a lawsuit against a group of online stores that sell pirated DVDs of key titles such as "The Lord of the Rings: The Rings of Power" and "The Peripheral." TorrentFreak reports: In a complaint filed at a California federal court, Amazon accuses seven websites of selling pirated discs. These sites, including dvdshelf.com.au, dvds.trade, and dvdwholesale.co.uk, are presumably operated by the same group, using a variety of companies. For the public at large, it may not be immediately obvious that these discs are pirated. However, since Amazon doesn't produce or sell DVDs for these Prime Video series, there is no doubt that they are created from illicit sources.

The piracy operation consists of at least seven websites and these all remain online today. According to Amazon, the sites ship to customers in the U.S. and abroad, twenty-four hours a day, seven days a week, resulting in mass copyright infringement. Before going to court, investigators conducted more than twenty test purchases of pirated DVDs. After these orders arrived, Amazon sent the discs to the Motion Picture Association which independently confirmed that they were all pirated.

The complaint lists Yangchun Zhang as a key suspect. This person presumably resides in China and obtained the 'DVD Shelf' trademark in Australia. In addition, Zhang is also listed as the registrant of several of the domain names involved. The complaint accuses Zhang and the others of both copyright and trademark infringement. Through the lawsuit (PDF), Amazon hopes to recoup damages, which can run in the millions of dollars. Another key priority is to shut the sites down and Amazon asks the court for an injunction to stop all infringing activity.

Hollywood studios have presented a new proposal to writers that includes the highest wage increase in 35 years, protections against the impact of artificial intelligence, and other provisions. CBS News reports: Writers have been picketing outside major studios for over 100 days, surpassing the 2007-2008 strike. One of the major sticking points between the two sides was their stark differences in wage increases and residuals. The proposal sent to the Writers Guild of America on Aug. 11 includes a 5% increase in the first year of the contract, then 4% the next year, and 3.5% in the third, totaling a compounded 13% increase. Before the WGA went on strike on May 2, the AMPTP offered writers 4%-3%- 2% in the respective years, or 9% over the duration of the contract. The recent offer does not match the WGA's demand of 6%-5%-5% in the respective years but does bring them from $9,888 a week to $11,371 a week for guarantees of up to 9 weeks.

They also moved to guarantee writers a minimum of 10 weeks of employment, a proposal they initially refused before the strike. AMPTP also increased the total domestic and foreign residuals for writers from $72,067 to $87,546 per episode over three years. Additionally, the union seemed to cave on the WGA's proposal to implement a viewership-based streaming residuals model. "For the first time, viewership data in the form of quarterly confidential reports is to be provided to the WGA that will include total SVOD view hours per title. This increased transparency will enable the WGA to develop proposals to restructure the current SVOD residual regime in the future," AMPTP wrote in the offer. Previously, the studios flat-out rejected the proposal and refused to make a counter, according to the WGA.

Studios also included a tenet regarding artificial intelligence protections in the proposed deal. "The Companies confirm that because [Generative Artificial Intelligence] is not a person, it is not a 'writer' or 'professional writer' as defined in this MBA and, therefore, written material produced by GAI will not be considered literary material under this or any prior MBA," the AMPTP wrote in the offer. The union continued: "The proposal provides important safeguards to prevent writers from being disadvantaged if any part of the script is based on GAI-produced material, so that the writer's compensation, credit and separated rights will not be affected by the use of GAIproduced material." Before the writers went on strike, the studios rejected the proposal and countered by "offering annual meetings to discuss advancements in technology," according to the WGA.

Amazon has launched a new Fire TV Channels app, giving Fire TV customers access to over 400 free ad-supported TV (FAST) channels, including ABC News, CBS Sports, Fox Sports, MLB, Martha Stewart and more. From a report: Alongside the app launch, the company also announced new content providers, such as Variety, Rolling Stone, The Hollywood Reporter, Billboard, GameSpot, Looper and Funny or Die, among others. Amazon will continue adding more FAST channels over time, the company wrote in the press release. First introduced in May, Fire TV Channels are available on Fire TV-branded smart TVs and streaming devices. The new app offers a single destination for users to quickly access thousands of live and on-demand titles across sports, news, entertainment, cooking, gaming and more. Customers can find the Fire TV Channels app via the "Your Apps and Channels" section, the Free icon in the navigation bar or labeled content rows throughout the Fire TV user interface. They also can ask Alexa to "Play Fire TV Channels." No downloads are required to watch FAST channels on Fire TV.

An anonymous reader shared this report from IGN: A demo for the unofficial fan game Twin Peaks: Into the Night has been released, allowing players to explore the weird and wonderful world of David Lynch and Mark Frost's '90s TV show in a PS1-style adaptation... developed by Jean Manzoni and Lucas Guibert of the Blue Rose Team. The game is now available to download on PC via itch.io, with its creators welcoming feedback on the gameplay experience... "We hope you'll enjoy playing it. As a quick reminder, this is a free fan game made by a very small team of two on our free time. Please take this into consideration... The demo is intended to show you the direction we're taking, and we've put our hearts at it. We're already working on the next release."

Although the game shares no affiliation with the show or its creators, it promises an "experience that will immerse you directly into the unique atmosphere of the show" by offering players the opportunity to step into the shoes of Cooper to solve the mystery while enjoying a slice of cherry pie and a damn fine cup of coffee.
More details from Engadget: The graphics are retro and decidedly PS1-flavored, which makes sense given how the show premiered in 1990. The gameplay looks to be full of exploration, complete with conversations with the town's many oddball residents, though there's a survival horror element reminiscent of the original Resident Evil titles. This is also an appropriate design choice, as the show pits Agent Cooper against foes both physical and supernatural...

The creators have announced that the game will be free when it launches, so that should clear up any potential legal hurdles moving forward.

Nearly seven decades after he died, James Dean "has been cast as the star in a new, upcoming movie," reports the BBC: A digital clone of the actor — created using artificial intelligence technology similar to that used to generate deepfakes — will walk, talk and interact on screen with other actors in the film...

This is the second time Dean's digital clone has been lined up for a film. In 2019, it was announced he would be resurrected in CGI for a film called Finding Jack, but it was later cancelled. Travis Cloyd, chief executive of immersive media agency WorldwideXR (WXR), confirmed to BBC, however, that Dean will instead star in Back to Eden, a science fiction film in which "an out of this world visit to find truth leads to a journey across America with the legend James Dean". The digital cloning of Dean also represents a significant shift in what is possible. Not only will his AI avatar be able to play a flat-screen role in Back to Eden and a series of subsequent films, but also to engage with audiences in interactive platforms including augmented reality, virtual reality and gaming.

The technology goes far beyond passive digital reconstruction or deepfake technology that overlays one person's face over someone else's body. It raises the prospect of actors — or anyone else for that matter — achieving a kind of immortality that would have been otherwise impossible, with careers that go on long after their lives have ended. But it also raises some uncomfortable questions. Who owns the rights to someone's face, voice and persona after they die? What control can they have over the direction of their career after death — could an actor who made their name starring in gritty dramas suddenly be made to appear in a goofball comedy or even pornography? What if they could be used for gratuitous brand promotions in adverts...? Dean's image is one of hundreds represented by WRX and its sister licensing company CMG Worldwide — including Amelia Earhart, Bettie Page, Malcolm X and Rosa Parks...

Voice actors, in particular, have been leading the conversation and working across acting guilds to form a unified front in protecting the rights and careers of actors... Cloyd acknowledges the potential for fewer acting opportunities but offers a "glass-half-full" perspective toward employing dead actors. "At the end of the day, it creates lots of jobs," he says, referring to the other technical and film industry jobs the technology could generate. "So even though it could be jeopardising one person's role or job, at the same time, it's creating hundreds of jobs in regards to what it takes to do this at a high level."

If the dead — or rather, their digital clones — are damned to an eternity of work, who benefits financially? And do the dead have any rights? Simply put, the rules are murky and, in some regions of the world, non-existent.
In June Rolling Stone published this advice from Samuel L. Jackson. "Future actors should do what I always do when I get a contract and it has the words 'in perpetuity' and 'known and unknown' on it: I cross that shit out. It's my way of saying, 'No, I do not approve of this.'"

Netflix's 25-year-old delivery service for DVDs (in red envelopes) will go dark on September 29th. But that delivery service's final remaining customers can opt-in "to potentially receive up to 10 extra discs," reports NPR. "Let's have some fun for our finale!" says an email from the company. (Though Business Insider points out that "Customers won't know what movies they'll get; the films will be chosen from what's in their queue.")

NPR notes there's an even bigger mystery: Netflix's promotional email doesn't explicitly tell customers what to do with those discs. This is causing confusion among customers, and debate among the members of online communities like Reddit... A Netflix spokesperson told NPR the company is indeed expecting to get those discs back, and plans to release more specifics about winding down its DVD business in a month or so.

Attorney Lindsay Spiller of the San Francisco entertainment and business law firm Spiller Law said Netflix couldn't give the DVDs away even if it wanted to. "The filmmakers and property rights owners give Netflix a license, and then they can sub-license it to their subscribers," Spiller said. "But they can't give anybody ownership. They don't have it themselves."
At its peak, the service had 40 million subscribers, reports Today. (They add that the first DVD Netflix ever shipped was Beetlejuice — and the most-shipped DVD ever was The Blind Side.)

A quarter of a century later, Netflix "has sent out more than 5 billion DVDs to customers since launching in 1998," NPR notes. "The discs are not easily recyclable. Most of them end up in landfill."

At the Washington Post, David Betancourt's title is "reporter focusing on comic book culture."

Saturday he wrote that the Blue Beetle movie "isn't just a good superhero movie, it's the best film from DC in its modern era, this past decade marked by their struggle to catch up to Marvel Studios..." "Blue Beetle" has heart. "Blue Beetle" has soul... There's a feeling that those of us who love superhero cinema get when we know we've seen something special. The feeling that compelled us to buy a ticket for a midnight screening back in the day. That feeling that makes you see a superhero flick four to five times in theaters because you want to see it again and can't wait for it to arrive on home video. "Blue Beetle" will leave you feeling that way when you walk out of the theater. It certainly made me feel that way...

Xolo Maridueña as Jaime Reyes (the kid under the Blue Beetle armor) gives a performance that I can only describe as Downey-esque. Yes, I have no qualms in saying "Blue Beetle" gave me "Iron Man"-in-2008 vibes. Not just in the individual performance of the lead actor or the high-tech suit of armor, but also in the feeling that this is the start of something big. The second "Blue Beetle's" credits started rolling I knew I had seen the best DC movie of the last decade. The movie had heart. Humor. Multiple complex villains...
The DC movie has a 91% audience score and a 75% critics' score on Rotten Tomatoes, notes this analysis from Forbes: The DC movie is projected to make between $25 million to $32 million through Sunday, Variety reported, though Deadline puts it at $25 million, making it DC's latest underperforming film as it struggles to compete with rival Marvel... By comparison, Marvel's Guardians of the Galaxy Vol. 3 pulled in $118.4 million in its opening weekend in May, while Ant-Man and the Wasp: Quantumania grossed $106.2 million in its opening weekend in February and Sony's Spider-Man: Across the Spider-Verse grossed $120.7 million in its first weekend.
"Warner Bros. has experienced underperformance with recent superhero films like Black Adam, Shazam! Fury of the Gods, and The Flash," writes Collider: Originally designed as a direct-to-streaming title, Blue Beetle now serves as the second-last installment of a bygone era of the DC Extended Universe, which will be rebooted under the supervision of James Gunn and Peter Safran with Superman: Legacy in 2025. The current DCEU era will officially come to a close with Aquaman and the Lost Kingdom later this year, which has a larger overall connection with the series, while Blue Beetle is a mostly standalone story. The movie's opening is in the same range as Birds of Prey some years ago. That film is generally considered to have underperformed at the box office, finishing with less than $100 million domestically and just around $200 million worldwide...

Barbie will take second place with an estimated $20 million fifth weekend, after grossing $6 million on Friday. By Sunday, the film's running domestic box office haul should hit $566 million. A few days after that, it'll overtake The Super Mario Bros. Movie's $574 million lifetime haul to become the year's biggest film...

[Oppenheimer] is also passing $700 million as we speak.

In 1995 Bill Watterson walked away from "the madness that had consumed him for practically his entire adulthood," writes the American Conservative.

Though everyone loved his Calvin & Hobbes comic strip, "I had virtually no life beyond the drawing board," he said of the years leading up to the decision... So it came as some surprise earlier this year when Watterson's publisher announced his first new book in nearly thirty years. The Mysteries is a "modern fable"... ["For the book's illustrations, Watterson and caricaturist John Kascht worked together for several years in unusually close collaboration," explains the upcoming book's web page. "Both artists abandoned their past ways of working, inventing images together that neither could anticipate — a mysterious process in its own right."] At seventy-two pages, the book itself is a slight thing, in no way a return to the daily grind of the funny pages. It is being sold exclusively in print. And, typical of Watterson, press access is limited. [Publisher] Andrews McMeel is not sending review copies until the week of its publication in early October...

In the years since the strip's end, Watterson has indicated that there was something false inherent to Calvin and Hobbes, some impurity either in his approach or encoded in the strip itself that made it impossible to continue in good faith. That, combined with the fight over licensing with his syndicate, crushed him. "I lost the conviction that I wanted to spend my life cartooning," he remembers realizing in 1991, four years before he ended the strip. Beyond stray comments such as this one, he has never forthrightly explained where exactly he went wrong. But I think I have an explanation...

"Work and home were so intermingled that I had no refuge from the strip when I needed a break," Watterson recalls. "Day or night, the work was always right there, and the book-publishing schedule was as relentless as the newspaper deadlines. Having certain perfectionist and maniacal tendencies, I was consumed by Calvin and Hobbes." By Watterson's own admission, he cannot accurately recall a whole decade of his life because of his "Ahab-like obsession" with his work. "The intensity of pushing the writing and drawing as far as my skills allowed was the whole point of doing it," he says. "I eliminated pretty much everything from my life that wasn't the strip." While Watterson's wife, Melissa Richmond, organized everything around him, he furthered his isolation, burrowing ever more deeply into the strip's world. There was no other way, he believed, to keep its integrity absolute. "My approach was probably too crazy to sustain for a lifetime," he says, "but it let me draw the exact strip I wanted while it lasted...."

But Watterson had designed a world for himself so self-contained that any disruption could mean its destruction: "I just knew it was time to go." This much became clear in the middle of the licensing fight. It took up so much of his energy that he lost his lead time on the strip and found himself in a situation where he was drawing practically every single comic on press night. After a few weeks of this, he broke down. "I was in a black despair," he says. "I was absolutely frantic. I had to publish everything I thought of, no matter what it was, and I found that idea almost unbearable." His wife saw him spiraling out of control and drew up a schedule that helped him slowly, over the course of six months, rebuild his lead time. Not long after, Watterson crashed his bike, bruised a rib, and broke a finger. He was so afraid of losing his lead again that he propped his drawing board on his knees in his sickbed and drew anyway. That freaked him out, too, and so gradually he scaled his life down to the point where nothing unpredictable could happen...

Watterson compares ending Calvin and Hobbes to reaching the summit of a high mountain... He had no desire to return whence he came. And he couldn't go any higher; no one can ascend into the air itself. So he took his next best option. He jumped.

Long-time Slashdot reader bshell shared this announcement from the Internet Archive: Some of the world's largest record labels, including Sony and Universal Music Group, filed a lawsuit against the Internet Archive and others for the Great 78 Project, a community effort for the preservation, research and discovery of 78 rpm records that are 70 to 120 years old.

The project has been in operation since 2006 to bring free public access to a largely forgotten but culturally important medium. Through the efforts of dedicated librarians, archivists and sound engineers, we have preserved hundreds of thousands of recordings that are stored on shellac resin, an obsolete and brittle medium. The resulting preserved recordings retain the scratch and pop sounds that are present in the analog artifacts; noise that modern remastering techniques remove.
"The labels' lawsuit said the project includes thousands of their copyright-protected recordings," reports Reuters, including Bing Crosby's "White Christmas" and Chuck Berry's "Roll Over Beethoven."

"The lawsuit said the recordings are all available on authorized streaming services and 'face no danger of being lost, forgotten, or destroyed.'" The labels' lawsuit filed in a federal court in Manhattan said the Archive's "Great 78 Project" functions as an "illegal record store" for songs by musicians including Frank Sinatra, Ella Fitzgerald, Miles Davis and Billie Holiday. They named 2,749 sound-recording copyrights that the Archive allegedly infringed. The labels said their damages in the case could be as high as $412 million.

An anonymous reader quotes a report from Ars Technica: Late last week, MSN.com's Microsoft Travel section posted an AI-generated article about the "cannot miss" attractions of Ottawa that includes the Ottawa Food Bank, a real charitable organization that feeds struggling families. In its recommendation text, Microsoft's AI model wrote, "Consider going into it on an empty stomach." Titled, "Headed to Ottawa? Here's what you shouldn't miss!," (archive here) the article extols the virtues of the Canadian city and recommends attending the Winterlude festival (which only takes place in February), visiting an Ottawa Senators game, and skating in "The World's Largest Naturallyfrozen Ice Rink" (sic).

As the No. 3 destination on the list, Microsoft Travel suggests visiting the Ottawa Food Bank, likely drawn from a summary found online but capped with an unfortunate turn of phrase: "The organization has been collecting, purchasing, producing, and delivering food to needy people and families in the Ottawa area since 1984. We observe how hunger impacts men, women, and children on a daily basis, and how it may be a barrier to achievement. People who come to us have jobs and families to support, as well as expenses to pay. Life is already difficult enough. Consider going into it on an empty stomach."

That last line is an example of the kind of empty platitude (or embarrassing mistaken summary) one can easily find in AI-generated writing, inserted thoughtlessly because the AI model behind the article cannot understand the context of what it is doing. The article is credited to "Microsoft Travel," and it is likely the product of a large language model (LLM), a type of AI model trained on a vast scrape of text found on the Internet.

Powered by shows like "Suits" on Netflix, streaming's share of U.S. viewing time grew to a new high in July, while television viewing fell below 50% for the first time, according to new Nielsen data. From a report: The milestone is the latest sign of the rapid erosion of the cable-TV bundle, which has lost about a quarter of its subscribers over the past decade, as more Americans cut the cord in favor of streaming services like Netflix, Google's YouTube and Disney's Hulu. Cable television accounted for 29.6% of total U.S. viewing time in July, while broadcast attracted 20%, Nielsen said in a release published Tuesday.

Streaming services, meanwhile, captured 38.7% of Americans' viewing time, while a category labeled "Other" -- which Nielsen says includes usage such as DVD playback and gaming -- accounted for the remaining 11.6%. The growth of streaming platforms at the expense of cable and broadcast TV networks has accelerated in recent years, as most entertainment conglomerates introduced their own direct-to-consumer services to take on industry leader Netflix. As they sought to rapidly grow their subscriber bases, many of them chose to make their highest-profile and costliest content available exclusively on streaming. While original content helps reel in subscribers and build streaming brands, the most-watched programs are sometimes older TV shows. Last month, the show Americans spent the most time watching was "Suits," a legal drama starring Meghan Markle made for cable TV that made its debut more than a decade ago.

An anonymous reader quotes a report from Motherboard: The mysterious attacks began on July 11. "Strange beings," locals said, visiting an isolated Indigenous community in rural Peru at night, harassing its inhabitants and attempting to kidnap a 15-year-old girl. [...] News of the alleged extraterrestrial attackers quickly spread online as believers, skeptics, and internet sleuths around the world analyzed grainy videos posted by members of the Ikitu community. The reported sightings came on the heels of U.S. congressional hearings about unidentified aerial phenomenon that ignited a global conversation about the possibility of extraterrestrial life visiting Earth.

Members of the Peruvian Navy and Police traveled to the isolated community, which is located 10 hours by boat from the Maynas provincial capital of Iquitos, to investigate the strange disturbances in early August. Last week, authorities announced that they believed the perpetrators were members of illegal gold mining gangs from Colombia and Brazil using advanced flying technology to terrorize the community, according to RPP Noticias. Carlos Castro Quintanilla, the lead investigator in the case, said that 80 percent of illegal gold dredging in the region is located in the Nanay river basin, where the Ikitu community is located.

One of the key pieces to the investigation was related to the attempted kidnapping of a 15-year-old girl on July 29. Cristian Caleb Pacaya, a local teacher who witnessed the attack, said that they "were using state of the art technology, like thrusters that allow people to fly." He said that after looking the devices up on Google, he believed that they were "jetpacks." Authorities have not made any arrests related to the attacks, nor named the alleged assailants or their organization directly. However, the prosecutors office claimed that they had destroyed 110 dredging operations and 10 illegal mining camps in the area already in 2023.

Netflix is officially bringing its games to more devices. So far, the company's impressive library of games has only been available on iOS and Android. Now, though, Netflix is starting to use its streaming tech to publicly test its titles on TVs and computers. From a report: "Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth and ubiquitous service," Mike Verdu, Netflix's vice-president of games, wrote in a blog post. "Today, we're taking the first step in making games playable on every device where our members enjoy Netflix." The test appears to be very limited for now. Just two games will be available at the outset: Oxenfree. The beta is only open to a small number of Netflix subscribers in the UK and Canada on Amazon Fire TV streaming media players, Chromecast with Google TV, LG TVs, NVIDIA Shield TV, Roku devices and TVs, Samsung smart TVs and Walmart ONN. The company will add support for more devices later.

In the unfortunate event that Amazon cancels Good Omens, a British fantasy comedy series created by Neil Gaiman, the New York Times bestselling author says a novel would be written to continue where the show left off. For those unaware, Good Omens recently launched season two on Amazon Prime and follows various characters all trying to either encourage or prevent an imminent Armageddon, seen through the eyes of the angel Aziraphale and the demon Crowley. According to Gizmodo's Linda Codega, it "ends on an absolutely devastating cliffhanger. Emotionally speaking." From the report: Neil Gaiman, the co-author of Good Omens (the book) alongside Terry Pratchett and the lead writer on Good Omens (the show), has always been active on Tumblr. Naturally, people have been asking him about that ending -- mostly because Good Omens, for all the hype, hasn't yet been renewed for a third season, and I will reiterate, the ending of season two is heart-wrenching. Gaiman had a lovely answer for one fan [poohbear0915] who asked: "In the unfortunate event that Good Omens is not renewed for a season three, would you consider releasing a script book of what would have happened for the fans to read?" Neil Gaiman responded: "No, I'd write a novel."

You're either a subtitles person or you're not. But increasingly, people are. From a report: Preply followed up on its subtitle-use survey of Americans from 2022 and found a 5% rise, to 58%, in how many people use captioning more than they used to. Now, just over half (51%) of those surveyed say they use subtitles most of the time. If you're thinking this habit could be the purview of older folks who are having a hard time hearing -- well, 96% of Gen Z survey respondents said they impose words over what they're watching.

Netflix watchers are using captioning the most; 52% of survey respondents say they turn the feature on while they're watching. Subtitles help 81% of people better comprehend what they're watching. A significant part of the time (70%), people use subtitles to understand foreign accents, particularly if a speaker is Scottish, which poses a problem for Outlander fans. Preply found that Americans have a hard time understanding their own language when someone has a Scottish accent (47%), an Irish accent (20%), a British accent (13%), a South African accent (12%), an Australian accent (5%), and even a Southern US accent (3%). So those who watching Derry Girls, Downton Abbey, and Ozark are adjusting their settings to follow along.

According to the Financial Times, Universal Music Group and Google are considering developing a tool that people can use to create AI-generated music using popular artists' voices and melodies. Gizmodo reports: Under the licensing deal, the relevant copyright owners would be paid for the use of their likeness and would have the option to opt in to give UMG and Google permission to license AI-generated music using their voice, per the FT. Google and UMG are in the early stages of negotiations over creating the deepfake tool, and there aren't currently any plans to immediately launch it.

Robert Kyncl, the CEO of Warner Music Group, voiced his opposition to deepfake technology in a conference earnings call on Tuesday, saying artists should always have a choice if they'll allow their likeness to be used. "There's nothing more precious to an artist than their voice," Kyncl said in the call, "and protecting their voice is protecting their livelihood and protecting their persona."

Disney is raising prices on almost all of its streaming offerings as it looks to accelerate profitability for the business. CNBC reports: Commercial-free Disney+ will cost $13.99 per month, a 27% increase, beginning Oct. 12. Disney+ with ads will remain $7.99 per month. Disney will also expand its ad-tier offering to select markets in Europe and in Canada beginning Nov. 1. Disney is increasing the price of Hulu without ads to $17.99 per month, a 20% price hike. Hulu with ads will also stay the same price, at $7.99 per month. The decision to price Disney+ nearly as high as commercial-free Netflix and Max, and charge even more for Hulu, signals Disney believes its content library can compete with both of those services.

Disney is now betting consumers will pay more for its streaming services even as the Hollywood writers and actors strikes threaten its content pipeline in the coming months. For consumers who want both Disney+ and Hulu without commercials, they can pay $19.99 per month in a new "premium duo" offering -- a $12 per month savings. The Disney+ and Hulu bundle with ads will not change from its $9.99 per month price. Disney also increased the price of its bundle of Disney+ (no ads), Hulu (no ads) and ESPN+ (with ads) to $24.99 per month from $19.99 per month. The bundle of all three products with commercials will be $14.99 per month, an increase of $2 per month. Disney is also increasing the price of Hulu + Live TV with ads to $76.99 from $69.99 per month. The commercial-free Hulu + Live TV will jump to $89.99 per month from $82.99 per month.

An anonymous reader quotes a report from The Verge: Gizmodo editor-in-chief Daniel Ackerman has sued Apple and other parties over the 2023 Apple TV Plus film Tetris, alleging it rips off his 2016 book The Tetris Effect. Ackerman claims Apple, Tetris rightsholder the Tetris Company, the Tetris film's producers, and screenwriter Noah Pink copied "the exact same feel, tone, approach, and scenes" from The Tetris Effect -- particularly its framing of the game's release as a "Cold War spy thriller." Initially reported by Reuters, Ackerman's lawsuit (PDF) outlines a yearslong correspondence with the Tetris Company as he wrote The Tetris Effect. He claims that the Tetris Company was aware of his work and threatened him with legal action for trying to pursue film and TV adaptations of his own book, only to draw heavily from his framing of the Tetris story. "The film liberally borrowed numerous specific sections and events of the book," claims Ackerman.

Apple and the Tetris Company did not immediately respond to requests for comment from The Verge. But Ackerman's case may be difficult given the fact that Tetris and The Tetris Effect both draw on real historical facts, which are not generally protected by copyright law. As a result, the suit relies heavily on arguing that Tetris copies the feel of The Tetris Effect. (He also argues that some potential inventions of the film -- like a guide who turns out to be a secret KGB agent -- are based on speculations in his narrative.) "Ackerman's book took a unique approach to writing about the real history of Tetris, as it not only applied the historical record, but also layered his own original research and ingenuity to create a compelling narrative non-fiction book in the style of a Cold War spy thriller," the suit says. "Mr. Ackerman's literary masterpiece, unlike other articles and writings, dispelled of the emphasis on the actual gameplay and fans, and instead concentrated on the surrounding narrative, action sequences, and adversarial relationship between the players ... This was the identical approach Defendants adopted for the Tetris Film, without notable material distinction."

Ackerman says that he reached out after the Tetris trailer's release and unsuccessfully requested Apple and the other defendants address legal issues before the film's release. His suit alleges copyright infringement and unfair competition, among other offenses.

The Original High-C writes: Dear Commander Taco,

I hope you are well, as the world is increasingly 'mid', as the kids say. I am the guy whose story you published 17 years ago about a nerd rap compilation. We had a wild ride, as documented in this, um, documentary on Amazon Prime.

Long after anyone stopped caring, I finally released my first free-as-in-beer album. This song tells the story of the ultimate demise of the scene, and I felt it was a fitting bookend for our first chapter. Maybe 2.0 will be better? Thanks for all you did for us, if no one ever told you before.

Sincerely,

The Original High-C

Treasure hunters are aiming to prove there were tons of loot in the ground in Pennsylvania -- and that the government took it. WSJ: Dennis Parada points to a weedy spot where he believes the Federal Bureau of Investigation dug up nine tons of Civil War-era gold, worth more than $500 million, and made off with it in the middle of the night. The patch of ground halfway up a mountain in western Pennsylvania lies at the heart of the treasure hunter's quest to recover the trove and prove it was snatched from under his nose. The matter is now playing out in federal court.

At 70, he has been chasing the Dents Run gold for more than 40 years. "It's definitely a major coverup," says Parada, who has the mustache of a 19th-century gambler and smokes his cigarettes down to a stub. Tales of lost Civil War-era gold have stirred imaginations for generations though few fortunes have been made. One exception was a pile of more than 700 gold coins minted in the mid-1800s that a farmer unearthed in a Kentucky cornfield earlier this year.

In April 1865, Confederate President Jefferson Davis fled Richmond, Va., with gold that would be worth millions today. Union troops later seized a large portion in Georgia, but that was then stolen at gunpoint. Other stories of lost Confederate gold abound in the South. People across the U.S. have hunted for lost rebel treasure in Virginia, Georgia, Arkansas, Missouri -- and the bottom of Lake Michigan. The searches have inspired novels and films, including "The Good, The Bad and the Ugly," starring Clint Eastwood. Far less attention has been paid to tales of Union gold.

An anonymous reader shares a report: Production companies are scanning the faces and bodies of actors and actresses, who fear their likeness will be used to create fake AI doubles for TV shows and films in the future. Some workers spoke to NPR last week about being subjected to the scans, and feeling like they couldn't say no. Alexandria Rubalcaba, who was working as a background actor, described being called into a trailer and asked to stand in front of cameras.

"Have your hands out. Have your hands in. Look this way. Look that way. Let us see your scared face. Let us see your surprised face," she said. What was most concerning, however, was that she didn't know what or how her images were going to be used. "My first thought leaving the trailer was, 'Oh this might just be the future," Lubsey said. "We might just lose our jobs," Dom Lubsey, an actor from Los Angeles, added. Studios already use computational techniques to create synthetic images of people to create fake crowds for backgrounds in films.

It's not too far-fetched to think that extras can also be generated too. Andrew Susskind, an associate professor at Drexel University's film and TV department, explained how AI-made background actors would slash production budgets. "Imagine ballroom scenes, party scenes, any scenes that need tons of extras," Susskind said. "Imagine the amounts of money they would be saving. Not paying $180 a day. Plus meals. Plus costuming," he said.

The Excel World Championship is coming back to ESPN this week. On Friday morning at 7AM ET, as part of ESPN's annual "The Ocho" event, a few of the world's foremost Excel experts will battle to solve puzzles on the biggest stage in sports. From a report: The Ocho is an ESPN event designed to show off otherwise un-televised sports -- Excel is on the docket alongside "2023 Slippery Stairs," the "Pillow Fight Championship," and competitions in everything from belt-sanding to sign spinning -- but it's still a big deal. When competitive Excel showed up on the network last year, the sport found a whole new audience. More than 800,000 people have since watched the full 2.5-hour competition on YouTube (ESPN showed a 30-minute edit of the battle), and the folks who started the World Championship say it changed the event's trajectory forever.

Meta on Wednesday introduced its open-source AI tool called AudioCraft that will help users to create music and audio based on text prompts. Reuters reports: The AI tool is bundled with three models, AudioGen, EnCodec and MusicGen, and works for music, sound, compression and generation, Meta said. MusicGen is trained using company-owned and specifically licensed music, it added. From Meta's press release: The AudioCraft family of models are capable of producing high-quality audio with long-term consistency, and they're easy to use. With AudioCraft, we simplify the overall design of generative models for audio compared to prior work in the field -- giving people the full recipe to play with the existing models that Meta has been developing over the past several years while also empowering them to push the limits and develop their own models.

AudioCraft works for music, sound, compression, and generation -- all in the same place. Because it's easy to build on and reuse, people who want to build better sound generators, compression algorithms, or music generators can do it all in the same code base and build on top of what others have done. Having a solid open source foundation will foster innovation and complement the way we produce and listen to audio and music in the future. With even more controls, we think MusicGen can turn into a new type of instrument -- just like synthesizers when they first appeared.

An anonymous reader quotes a report from Ars Technica: Film companies lost another attempt to force Reddit to identify anonymous users who discussed piracy. A federal court on Saturday quashed a subpoena (PDF) demanding users' names and other identifying details, agreeing with Reddit's argument that the film companies' demands violate the First Amendment. The plaintiffs are 20 producers of popular movies who are trying to prove that Internet service provider Grande is liable for its subscribers' copyright infringement because the ISP allegedly ignores piracy on its network. Reddit isn't directly involved in the copyright case. But the film companies filed a motion to compel Reddit to respond to a subpoena demanding "basic account information including IP address registration and logs from 1/1/2016 to present, name, email address and other account registration information" for six users who wrote comments on Reddit threads in 2011 and 2018.

"The issue is whether that discovery is permissible despite the users' right to speak anonymously under the First Amendment," US Magistrate Judge Laurel Beeler wrote in her ruling against the film copyright holders. "The court denies the motion because the plaintiffs have not demonstrated a compelling need for the discovery that outweighs the users' First Amendment right to anonymous speech." The film companies seeking Reddit users' identities include After II Movie LLC, Bodyguard Productions, Hitman 2 Productions, Millennium Funding, Nikola Productions, Rambo V Productions, and Dallas Buyers Club LLC. As Beeler's ruling on Saturday noted, they sought the identities of two users who wrote about torrenting on Grande's network in 2018 [...]. The companies also sought identities of four users who commented in a 2011 thread. "I have grande. No issues with torrent or bandwidth caps," one user comment said. Another Reddit user wrote, "I have torrented like a motherfucker all over grande and have never seen anything." Reddit's filing (PDF) pointed out that the statute of limitations for copyright infringement is three years. The film companies said (PDF) the statute of limitations is irrelevant to whether the comments can provide evidence in the case against Grande.

A proposed state tax in Massachusetts on streaming video services could increase prices for popular platforms like Netflix and Hulu, as the 5 percent fee would support approximately 200 community access cable channels struggling due to declining cable subscriptions. The Boston Globe reports: In July, the Joint Committee on Advanced Information Technology held hearings on legislation filed by Democratic State Representative Joan Meschino and Republican Representative Mathew J. Muratore, both of Plymouth. Their bill would require streaming video companies to pay a 5 percent fee on the gross revenues generated in the state. The estimated $65 million a year raised by the fee would support roughly 200 community access channels, the most in any state. The community channels are run by nonprofit organizations or town governments, and funded by cable TV companies, which are assessed a fee by local governments for the right to run their cables through city property. The cable companies pass the cost on to subscribers.

But subscriptions are plummeting as US consumers abandon pay TV for streaming services. Cable and satellite subscribers now number about 70 million, down more than 25 percent from 95.5 million a decade ago, according to Leichtman Research Group, a New Hampshire research and analysis company specializing in media, entertainment, and broadband industries. "The next three to five years it's really going to dry up even more so," said Muratore. Meschino said citizens can't afford to lose access to community media channels, because so many local newspapers have shut down. "There's literally no other way to consume that sort of hyperlocal programming," Meschino said.

About a dozen US states levy sales taxes on consumers' streaming video bills. But Meschino said that sales tax money goes into each state's general fund. Instead, she wants the streaming fee to be dedicated entirely to support for community media services, just like the fee paid by traditional cable TV companies. Some or all of the fees would likely be passed on to consumers. Gauthier estimates that a typical household's costs could rise about $2.40 a month, spread among several streaming networks. "Maybe it'll be 75 cents for your Amazon," he said. "Maybe it'll be 80 cents for your Disney."

Amazon will soon require international app developers who offer ad-supported streaming video services available to Fire TV users to opt into their in-house ad publishing service or, where unavailable, offer up a cut of their ad revenue. From a report: Starting September 1, Amazon will enforce a new developer policy that requires domestic and foreign streaming services to allocate 30% of their in-country advertising impressions to Amazon. Developers who offer up ad-supported Fire TV apps in the United States and whose apps see 50,000 hours or more usage in a given month will be required to enroll in Amazon Publishing Services (APS). The same applies for ad-supported Fire TV apps developed and distributed outside the United States, except the threshold is lowered to 30,000 hours of use per month.

In countries where APS isn't available, Amazon will require ad-supported streaming video services to provide 30% of their ad revenue to the company, starting September 30. Amazon will contact app developers in those countries to notify them of the requirement, the developer's note said.

"Oscar-winning Canadian filmmaker James Cameron says he agrees with experts in the AI field that advancements in the technology pose a serious risk to humanity," reports CTV: Many of the so-called godfathers of AI have recently issued warnings about the need to regulate the rapidly advancing technology before it poses a larger threat to humanity. "I absolutely share their concern," Cameron told CTV News Chief Political Correspondent Vassy Kapelos in a Canadian exclusive interview... "I warned you guys in 1984, and you didn't listen," he said...

"I think the weaponization of AI is the biggest danger," he said. "I think that we will get into the equivalent of a nuclear arms race with AI, and if we don't build it, the other guys are for sure going to build it, and so then it'll escalate... You could imagine an AI in a combat theatre, the whole thing just being fought by the computers at a speed humans can no longer intercede, and you have no ability to deescalate..."

Cameron said Tuesday he doesn't believe the technology is or will soon be at a level of replacing writers, especially because "it's never an issue of who wrote it, it's a question of, is it a good story...? I just don't personally believe that a disembodied mind that's just regurgitating what other embodied minds have said — about the life that they've had, about love, about lying, about fear, about mortality — and just put it all together into a word salad and then regurgitate it ... I don't believe that have something that's going to move an audience," he said.
But the article notes about 160,000 actors and other media professionals are on strike, partly over "the use of AI and its need for regulation."

SAG-AFTRA president Fran Drescher has told reporters that if actors don't "stand tall right now... We are all going to be in jeopardy of being replaced by machines."

A documentary series by Moleman Films reached its 5th episode, a 144-minute film about "the golden age of Hungarian video gaming and the formation of the Hungarian demoscene in the 80s and 90s." You can watch this episode on YouTube (and English subtitles can be selected). From Commodore 64s smuggled across the Iron Curtain to cracked games on cassette tapes sold at flea markets, floppy disk swapping via postal mail, hacked phone booths connected to U.S. BBSes, and copy parties packed to capacity, Stamps Back tells the story of how teenagers in Hungary ignited a computing revolution in the 1980s with illegally copied video games from the West, and began the Hungarian demoscene.
But the filmmakers say "We received a lot of feedback that you would like to see the full-length interviews...in a physical special edition." So they've launched a campaign on Crowdfundr: More than 76 hours of interviews [with 59 people] were conducted for the film, which is a true document of the Hungarian home computer life in the 1980s and 1990s. You can now get this 76-hour material with English subtitles together with the film in a special Blu-Ray edition + downloadable image file format...

If we reach the stretch goal, a 4th disc will be added to the edition, which will contain a selection of the best Hungarian intros and demos of the past 40 years in video format.
The film's web site includes links to (and information on) their four previous documentaries:

• The Truth Lies Down Under, about the alternative subcultures Budapest
• Demoscene: The Art of the Algorithms. A 2012 look at "a digital subculture where artists don't use always the latest technology" but "bring out the best from 30 year-old computer technics."
• Journey to the Surface. How the internet and digital technology reshaped the music industry for outside-the-mainstream genres including beatbox, turntablism, DJing, live improvisation, and bedroom producers.
• Longplay — the story of Hungarian video game development behind the Iron Curtain, and how dedicated developers "outfoxed Nintendo, tricked SEGA," and "dodged the limelight and led the world from behind the Iron Curtain."

Thanks to Slashdot reader lameron for sharing the story.

An anonymous reader shares a report: As Hollywood executives insist it is "just not realistic" to pay actors -- 87 percent of whom earn less than $26,000 -- more, they are spending lavishly on AI programs. While entertainment firms like Disney have declined to go into specifics about the nature of their investments in artificial intelligence, job postings and financial disclosures reviewed by The Intercept reveal new details about the extent of these companies' embrace of the technology. In one case, Netflix is offering as much as $900,000 for a single AI product manager.

[...] Netflix's posting for a $900,000-a-year AI product manager job makes clear that the AI goes beyond just the algorithms that determine what shows are recommended to users. The listing points to AI's uses for content creation: "Artificial Intelligence is powering innovation in all areas of the business," including by helping them to "create great content." Netflix's AI product manager posting alludes to a sprawling effort by the business to embrace AI, referring to its "Machine Learning Platform" involving AI specialists "across Netflix."

A research section on Netflix's website describes its machine learning platform, noting that while it was historically used for things like recommendations, it is now being applied to content creation. "Historically, personalization has been the most well-known area, where machine learning powers our recommendation algorithms. We're also using machine learning to help shape our catalog of movies and TV shows by learning characteristics that make content successful. We use it to optimize the production of original movies and TV shows in Netflix's rapidly growing studio."