Apple TV+ has released a nearly three-minute long trailer for its upcoming series based on Isaac Asimov's Foundation books.

Ars Technica calls the trailer "stunning." A mathematical genius predicts the imminent collapse of a galactic empire, and he and his protegé set plans in motion to preserve the foundational knowledge of their civilization in Foundation, Apple TV+'s adaptation of Isaac Asimov's hugely influential series of science fiction novels. It's a story that takes place across multiple planets over 1,000 years, with a huge cast of characters. That makes adapting it extremely difficult, particularly to film. But the streaming platform is betting that the series format will be better suited to bring Asimov's futuristic vision to life...

The first teaser appeared in June 2020 at the Worldwide Developers Conference (WWDC). That included some behind-the-scenes images and brief commentary from showrunner David S. Goyer, who co-wrote Terminator: Dark Fate and Batman v. Superman. He noted all the past efforts to adapt Foundation over the last 50 years, as well as the enormous influence the series had on Star Wars... Asimov was strongly influenced by Edward Gibbons' The History of the Decline and Fall of the Roman Empire, particularly while writing the earlier books. This trailer really brings out the theme of embracing inevitable change, even if it's frightening — and there's nothing more frightening to a ruler than the imminent collapse of his empire...

The first two episodes of Foundation will premiere on Apple TV+ on September 24, 2021. After that, new episodes will air weekly every Friday.

The nation's six biggest names in the business (which Leichtman Research says accounts for about 95% of the market) collectively lost a little over 1.1 million customers during the three-month stretch ending in June, slowing down Q1's cord-cutting pace of more than 1.5 million, but continuing the bigger-picture cord-cutting cadence that's been a problem for the industry since 2014. Fool.com reports: AT&T led the way with its loss of 443,000 subscribers as its flagship platform DirecTV undergoes the major disruption of changing ownership hands, although the satellite-based service was bleeding customers well before the sale of DirecTV was even considered. No outfit gained subscribers, though, even including the better-established cable television brands like Comcast's Xfinity and Charter Communications' Spectrum. [...] Market research company eMarketer estimates the number of conventional cable customers in the U.S. will continue to slide at least through 2024 when the number of non-pay-TV households is likely to eclipse the number of pay-TV households.

As was noted, though, people aren't spending less time in front of their television sets. They're just watching in a different way. Streaming is quickly becoming the preferred way of consuming video. [...] Last quarter, streaming services of all ilks added on the order of 44.7 million active users/subscribers. Take that number with a grain of salt for a couple of reasons, the biggest of which is it's a worldwide number and not just a U.S. figure. The other reason to not read too much into this number is it requires multiple streaming services to fully replace a canceled cable package. Recent data from Parks Associates indicates around half the U.S. households that have cut the cord now pay for four or more streaming options. Still, in that the United States remains the key market for most of these streaming brands -- like Disney+, Discovery+, Pluto TV, and HBO Max -- it's difficult to not connect the clear demise of conventional cable television with popularization of streaming alternatives.

There is a corner of LinkedIn free from humble brags, self-promotion, thought leadership and strict decorum. You just need to connect with a zoomer. Although LinkedIn is not a popular online hangout for Generation Z, some of their most viral posts are parodies of LinkedIn itself. From a report: Shiv Sharma graduated from the University of Southern California last year, according to his LinkedIn. A few months ago, he updated his profile listing himself as the assistant chef at the fictional restaurant from Sponge Bob Square Pants. "I have accepted an offer to work for The Krusty Krab Restaurant as part of their Entry Level Chef Program in Bikini Bottom," he wrote. The post garnered more than 5,000 reactions and dozens of comments. Harry Tong is a software development intern at a tech company. But, according to a popular post on his profile: "I am officially the CEO of a BILLION dollar company," he wrote. "For my series Z, my mom invested $10 for 0.000001% of my company, giving it a $1 billion valuation."

This subculture of subversion on LinkedIn has inspired countless TikTok videos, a Twitter account called @LinkedinFlex and a devoted Reddit community called LinkedInLunatics. The memes reflect the weariness people feel toward the site -- "primarily a place for bragging," said Jake Zhang, a Toronto-based college student. "People tell stories about how their entire lives have built up to this one moment of getting a job or a promotion, or experts claim they'll change your life with a piece of advice," Tong said. "And I'm just here to poke at the facade a little bit." Most young people treat LinkedIn as a "purely transactional job hunting tool" to be used sparingly, said AJ Wilcox, founder of B2Linked, an advertising agency that specializes in the Microsoft Corp.-owned professional networking site. Maintaining a profile is a "necessary evil," Zhang said. "Everyone I know creates an account due to school or peer pressure," Zhang said. "We use it because there's no alternative for job hunting. But with all the toxic content and bragging, no one I know really likes it." Which is what makes the parodies on LinkedIn so interesting. Most people wouldn't put a joke on their resume. The posts are a byproduct of a generation that lives fearlessly on the internet, eager to entertain and call out any whiff of inauthenticity.

An anonymous reader shares an excerpt from Wired, written by Lauren Goode: Samsung's newest foldables are even more impressive than the folding models that came before them. (The company first started shipping foldable phones in 2019, after years of development.) And yet, folding phones are still the 3D TVs of the smartphone world: birthed with the intention of swiveling your head toward a product at a time when the market for that product has softened. They're technically complicated. They're expensive. And their usability depends a whole lot on the way content is displayed on them, which means manufacturers could nail all the tech specs and still must wait on software makers (or entertainment companies) to create stuff to fill these space-age screens. All this does not bode well for the future of foldable phones, though some analysts are more optimistic.

Back in the early 2010's, global TV shipments started slipping, as developed markets became saturated with flat-screen TVs. And as prices for LCD TVs sank, so did profits. So TV manufacturers like Sony, LG, and Samsung began hyping the next expensive upgrade: 3D televisions. We tech journalists marched around the annual CES in 3D glasses, hoping to catch a glimpse of a 3D TV that would change our minds about this gimmicky technology. We grew mildly nauseous. We waited for more content. Five years later, 3D TV was dead. At the end of the last decade, WIRED's Brian Barrett summed up the great 3D TV pitch as "what happens when smart people run out of ideas, the last gasp before aspiration gives way to commoditization."

I know: TVs and mobile phones are different beasts. Mobile phones have fundamentally altered the way we live. Billions of handsets have been sold. But about four years ago, global smartphone sales slowed. By 2019, consumers were holding on to their phones for a few extra months before splurging on an upgrade. As smartphones became more secure and reliable, running on desktop-grade chip systems and featuring cameras good enough to decimate the digital camera market, each new iteration of a phone seemed, well, iterative. Enter foldable displays, which are either a desperate gimmick or a genuine leap forward, depending on whom you ask. Or, like 3D TVs, maybe they're both.

Foldables were also supposed to be the ultimate on-the-go device, for road warriors and jet-setters and productivity gurus who want to "stay in the flow" at all times. As I've written before, it's not exactly the best time to beta test this concept, while some of our movements are limited. The context for foldables has changed in the short time since they became commercially available. Of course, that context could always change again. Foldables may be the next frontier in phones, or in tablets, or laptops, or all of the above. They could become commonplace, assumed, as boring as a solid inflexible brick. Maybe we'll manage our decentralized bank accounts on a creaky screen as we shoot into sub-orbital space. Or maybe we'll stare into the screens, two parts fused into one, and hope that the future is something more than this. The biggest argument for foldables not being 3D TVs, as mentioned by research manager for IDC, Jitesh Ubrani, is the potential utility of foldables.

"Most people in the industry, and even many consumers, believe that ultimately there is just going to be one device you use, you know?" Ubrani says. "And this device will have the ability to function as a phone, as a PC, as a tablet. So where foldables can really drive the technology is by replacing three devices with one."

An anonymous reader quotes a report from Ars Technica: Sonos scored an early victory in its case against Google Friday, when the US International Trade Commission ruled that Google infringed five of Sonos' smart speaker patents. The ruling is preliminary and subject to a full ITC review, but it could lead to a ban on Google smart speakers. In January 2020, Sonos brought a patent infringement case against Google targeting Google's smart speakers, the Google Home, and later the Nest Audio line. Sonos is the originator of Internet-connected speakers that easily hook up to streaming services, while Google speakers combine a similar feature set with voice-activated Google Assistant commands. To hear Sonos tell the story, Google got a behind-the-scenes look at Sonos' hardware in 2013, when Google agreed to build Google Play Music support for Sonos speakers. Sonos claims Google used that access to "blatantly and knowingly" copy Sonos' audio features for the Google Home speaker, which launched in 2016.

TechCrunch got statements from both sides of the fight. First up, Sonos Chief Legal Officer Eddie Lazarus told the site, "Today the ALJ has found all five of Sonos' asserted patents to be valid and that Google infringes on all five patents. We are pleased the ITC has confirmed Google's blatant infringement of Sonos' patented inventions. This decision re-affirms the strength and breadth of our portfolio, marking a promising milestone in our long-term pursuit to defend our innovation against misappropriation by Big Tech monopolies." Meanwhile, Google said, "We do not use Sonos' technology, and we compete on the quality of our products and the merits of our ideas. We disagree with this preliminary ruling and will continue to make our case in the upcoming review process." A final ruling should happen on December 13, and it's not just speakers that could be banned if the two companies don't make nice. The products that connect to those speakers, like Pixels and Chromecasts, could also be banned.

Netflix has stepped up its efforts to ban VPN and proxy users from bypassing geographical restrictions. The streaming service is now blocking residential IP addresses too, since some unblocking tools use these to bypass restrictions. This isn't without collateral damage as many regular Internet users without a VPN now report "missing content" on Netflix. TorrentFreak reports: There is a flurry of complaints on social media from users whose VPN services were suddenly 'blocked' by Netflix. Previously, these people couldn't play any content while using a VPN. That changed last year. Now, VPN users can still see Netflix originals while other content is hidden and blocked. https://torrentfreak.com/netflix-is-less-annoying-to-vpn-users-now-but-some-titles-are-hidden-200618/

Netflix doesn't explain which IP addresses are blocked and why, but the most recent efforts are much broader than before. This issue was brought to our attention by WeVPN, which noticed that the updated geo-fencing system is blocking its residential IP addresses. These IP addresses are assigned to common consumer ISPs such as AT&T, Comcast, Verizon. While it makes sense for Netflix to put an end to these workarounds, there appears to be some collateral damage. "The collateral damage is that you have hundreds of thousands of legitimate residential Netflix subscribers blocked from accessing Netflix's local country full catalog from their home," a WeVPN spokesperson informs us. While we are unable to verify how many people are facing issues, it is clear that the measures are spilling over to regular subscribers.

While Netflix hasn't released an official comment on the situation, the company is aware of the problems. One user who complained on Twitter, got the advice to contact their ISP to see if their IP address is associated with proxy or VPN use. This is a peculiar suggestion, as the blocking is taking place on Netflix's end. WeVPN told us that the company is experimenting with a solution, which appears to function for now. CyberGhost and Private Internet Access, which were also affected by Netflix's new blockades, say they managed to route around it within a day. In an update, a Netflix spokesperson said that the company is not banning all content for VPN and proxy services. Netflix originals are still available and the streaming service is working with people who were inadvertently affected to restore access to the full library.

In a new deal with mega-cinema chain AMC Theatres, Warner Bros. has agreed to return to an exclusive, 45-day theatrical window in 2022. From a report: AMC CEO Adam Aron unveiled the pact Monday during an earnings call. "We're especially pleased Warner Bros. has decided to move away from day-and-date," Aron said. "We are in active dialogue with every major studio." WarnerMedia enraged cinema operators when deciding to open its 2021 slate simultaneously on HBO Max and in theaters. The company has since said that the move was in response to the ongoing pandemic, and not permanent. Insiders add that the AMC arrangement was agreed to in March.

The audacious Aron said it was "no secret" that AMC was "not at all happy" when WarnerMedia made its move after launching HBO Max. "An exclusive window is an important way to build big and successful franchises." Before the COVID-19 pandemic struck, the traditional theatrical window was as long as 90 days. Studios had tried for years to collapse that period, but faced boycotts if doing so.

Alvy Ray Smith cofounded Pixar. He was the first director of computer graphics at Lucasfilm and the first graphics fellow at Microsoft. He has received two technical Academy Awards for his contributions to digital movie-making technology.

This week he shared "The Real Story of Pixar," in an article in IEEE Spectrum that Slashdot reader Tekla Perry says "corrects some of the things legend got wrong, and gives a fast tour of computer graphics history, as he talks about the key computer graphics breakthroughs that led up to Pixar and how Moore's Law saved the company." Its starts in 1980 when Smith is part of a team hired by Lucasfilm to create its Computer Division: This division was charged with computerizing editing, sound design and mixing, special effects, and accounting for the company's books, as if this fourth challenge would be as difficult as the other three. Ed Catmull, who led the Computer Division, made me head of the Computer Graphics Group, which was tasked with the special-effects project. At Lucasfilm, we continued to develop the software needed for three-dimensional computer-generated movies. And we worked on specialized hardware as well, designing a computer, called the Pixar Image Computer, that could run its calculations four times as fast as comparable general-purpose systems — but only for pixels. We were still waiting for Moore's Law to get general computers to where we needed them — it did, but this strategy gave us a boost for a few years.

We didn't get one of our fully computer-generated movie sequences into a major motion picture until 1982, with our one-minute "Genesis" sequence in Star Trek II: The Wrath of Khan. It showed a bare planet catching on fire, melting, and then forming mountains and seas and green forests. We followed that groundbreaking piece of a movie with a brief sequence in Return of the Jedi in 1983, featuring a "hologram" of the Death Star... But then our Computer Graphics Group, now numbering 40 people, got the news that the Computer Division was on the chopping block.
Then Smith continues the story with an excerpt from his new book, "A Biography of the Pixel." ("We did have a prototype special-purpose computer, the Pixar Image Computer. So Ed and I wrote up a business plan to build and sell Pixar Image Computers, calling them 'supercomputers for pixels'...") 35 venture capital firms turned them down, as did 10 corporations where they'd proposed a "strategic partnership." Finally, they made a desperate pitch to Steve Jobs: Steve, who had just been ousted from Apple, proposed that he buy us from Lucasfilm and run us as his next company. We said no, that we wanted to run the company ourselves, but we would accept his money in the form of a venture investment. And he agreed...

Pixar was a lousy hardware company. We failed several times over our first five years. That's failure measured the usual way: We ran out of money and couldn't pay our bills or our employees. If we'd had any other investor than Steve, we would have been dead in the water. But at every failure — presumably because Steve couldn't sustain the embarrassment that his next enterprise after the Apple ouster would be a failure — he'd berate those of us in management . . . then write another check. And each check effectively reduced employee equity. After several such "refinancings," he had poured about $50 million (half of the fortune he had made from Apple) into Pixar. In today's money, that's more than $100 million. On March 6, 1991, in Pixar's fifth year, he finally did buy the company from the employees outright.
The company was still in financial trouble — but expanding computing power eventually made it possible to render an entire full-length movie, and Disney financed the years of production necessary for the 1995 movie Toy Story. But even before its release, Steve Jobs "took Pixar public on November 29, 1995, on nothing more than the promise of Toy Story.

"It salvaged his reputation and made him a billionaire."

The article's subheading? "How a bad hardware company turned itself into a great movie studio."

"If you've ever dreamed of living 'a long time ago in a galaxy far, far away,' now is your chance — as long as you've got a spare four to six thousand dollars sitting around," writes SFGate: This week, Walt Disney World announced more details about its new Galactic Starcruiser hotel opening in the spring, an immersive, two-day "Star Wars" experience that evokes the feeling of being in the movies. The tech will be more advanced than any other Disney experience, including Rise of the Resistance at Disneyland and the Star Wars: Galaxy's Edge lands... "Star Wars: Galactic Starcruiser is a revolutionary new 2-night experience where you are the hero," according to Walt Disney World's website. "You and your group will embark on a first-of-its-kind Star Wars adventure that's your own. It's the most immersive Star Wars story ever created — one where you live a bespoke experience and journey further into a Star Wars adventure than you ever dreamed possible."

There are lightsaber experiences, interstellar entertainment, characters hanging around and an overall feeling that you're closer to being in Star Wars than you've ever been in your life. The idea is that you're staying on a luxury space cruise, so immersive that the hotel's windows look out into "space" and you never leave the property unless it's to "board a transport" to Batuu, the land where Star Wars: Galaxy's Edge takes place. Admission to Hollywood Studios is included in the price, as is all of your food and non-alcoholic beverages. But really, for $4,809 for two nights' accommodations for two guests in a studio, they could throw in a space beer or two...

But then again, for some Star Wars fans, you can't put a price on total immersion in the fandom, from cast members acting as though they're really intergalactic travelers to the ability to make infinite Wookee jokes free from the harsh judgements of people who wouldn't spend $4,000 to sleep in a "spaceship."

According to a survey from Consultancy Accenture, young people born in the 90s are less likely to be getting their information about tech careers from school and teachers than social media, TV series and film. ZDNet reports: Social media ranks top for information sources about career aspirations (31%), beating out parents by a small margin (29%) and teachers by a larger margin (24%). Gen Z are more likely to learn about a future in the tech sector from TV and film (27%) than from school (19%). Accenture surveyed 1,000 UK-based 16-21-year-olds on their career aspirations and their long-term options. It found that 44% of young women said they had good digital skills, but only 40% of young men said they did. Despite this, less than a quarter of young people are confident in securing a technology job.

Shaheen Sayed, Accenture's technology lead in the UK & Ireland, said: "If the digital native generation is not turning to technology as a career option, then we have a huge pipeline problem for the technology profession. Young people know technology is completely redefining the world right now -- but their lack of confidence in securing a tech job indicates a worrying disconnect between young people, particularly girls, and a changing jobs market." Those interviewed who were interested in tech jobs said they would most likely choose jobs in AI, data analytics, and cybersecurity. Which makes sense to an extent, given that these are the top three subjects in online tech media at present.

"It's striking that young people are influenced more by digital channels than their connections at home and school when choosing their next steps," said Sayed. "Careers advice will need to meet young people where they are at and paint an engaging picture of the skills required for the economy today. Developing the next generation of tech talent requires more than having coding on the curriculum. Technology moves quickly and subjects must evolve to equip young people with the digital skills that will drive economic growth. Employers are looking for people to work with technologies, like AI, as they tackle global challenges like climate change and become more competitive."

Fandango has revealed that Vudu is merging with its parent company's own streaming service, FandangoNow, to form a single platform that'll take on Vudu's name. The change comes more than a year after it purchased the streaming platform from Walmart. New submitter echopulse writes: The new Vudu service will have more than 200,00 movies and TV shows available to buy, and many for free with ads. It will also be the official movie store for Roku devices, replacing the FandangoNow store. If you have a Fandango account, you can move your movies over to the new service by going to FandangoNow.com

Netflix will stream a documentary next month which will follow the story of the world's first private all-civilian space orbit. Sky News reports: The group will board a SpaceX capsule next month and spend three days orbiting the Earth, becoming Netflix's first documentary "to cover an event in near real-time." The privately chartered flight will be commanded, funded and led by 38-year-old billionaire Jared Isaacman, and aim to support St Jude Children's Research Hospital to the tune of $200 million. He will be joined on board by Sian Proctor, a geoscientist and former NASA candidate, Christopher Sembroski, a US Airforce veteran, and Hayley Arceneaux, a doctor's assistant at St Jude and childhood cancer survivor.

The group will apparently reach a higher altitude than the International Space Station as they orbit the planet in the SpaceX Dragon capsule, dubbed Inspiration4. The quick-turnaround documentary will be made in five parts, with the first two premiering on 6 September. Viewers have been promised behind the scenes access of the mission -- from their selection, to footage from inside the spacecraft while it orbits Earth.

One of Amazon's most anticipated originals to date, a yet-unnamed Lord of the Rings original series, will officially debut on Prime Video on Friday, September 2nd, 2022. The Verge reports: Along with a premiere date, Amazon Studios released an official first image from the forthcoming series, which will be set in Middle-earth's Second Age. The series will take place thousands of years before the events chronicled in J. R. R. Tolkien's The Hobbit and The Lord of the Rings books, and it will follow characters "both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth."

The image release is tied to the series's production wrap after filming in New Zealand. Fans quickly speculated that the series will be set in Valinor, as the image depicts what appear to be the Two Trees. The untitled project is a huge investment by Amazon in its Prime Video streaming service. The series's first season alone reportedly cost around $465 million to produce. For context about what a massive creative undertaking this series has been for Amazon Studios, the final season of Game of Thrones was reported to have cost as much as $15 million per episode (though its budget was originally around $5 million per episode).

Slashdot reader Dave Knott quotes the BBC's Doctor Who site: Having been in charge of the TARDIS since filming for the Thirteenth Doctor began in 2017, Showrunner Chris Chibnall and the Thirteenth Doctor, Jodie Whittaker, have confirmed they will be moving on from the most famous police box on Earth.

With a six-part Event Serial announced for the autumn, and two Specials already planned for 2022, BBC One has now asked for an additional final feature length adventure for the Thirteenth Doctor, to form a trio of Specials for 2022, before the Doctor regenerates once more.

H_Fisher writes: Only one copy exists of the Wu-Tang Clan album Once Upon a Time in Shaolin, and it was owned by "Pharma Bro" Martin Shkreli. Now, NPR reports that this album has been sold by the U.S. government to an unnamed buyer in order to pay Shkreli's civil forfeiture judgment following his conviction for securities fraud. The album, which was originally sold for $2 million, exists only as one physical CD copy. It was seized along with other assets in 2018, and while the sale price and buyer weren't identified, Shkreli's attorney says that his client has now repaid the $7.4 million forfeiture judgement.

Lucasfilm has hired the YouTuber known as Shamook, whose The Mandalorian deepfake, published in December, has earned nearly 2 million views for improving the VFX used to de-age Mark Hamill. CNET reports: "As some of you may already know, I joined ILM/Lucasfilms a few months ago and haven't had the time to work on any new YouTube content," Shamook wrote in the comment section of a recent video. "Now I've settled into my job, uploads should start increasing again. They'll still be slow, but hopefully not months apart." Shamook said in the comments that his job title is, "Senior Facial Capture Artist."

Lucasfilm confirmed the new hire (via IndieWire). "[Industrial Light and Magic is] always on the lookout for talented artists and have in fact hired the artist that goes by the online persona 'Shamook,'" a Lucasfilm representative said in a statement. "Over the past several years ILM has been investing in both machine learning and A.I. as a means to produce compelling visual effects work and it's been terrific to see momentum building in this space as the technology advances." Shamook also "fixed" The Irishman too.

Valve expects that its recently announced Steam Deck portable gaming console will be able to run "really the entire Steam library" on its 1280x800 LCD screen at frame rates of 30 fps or higher. Ars Technica reports: That's according to a recent IGN video interview in which Valve Hardware Engineer Yazan Aldehayyat said that "all the games that we wanted to be playable had really good [performance], a really good experience" in Steam Deck testing. Valve developer Pierre-Loup Griffais expanded on that statement by saying that "all the games that we wanted to be playable" means "really the entire Steam library." "We haven't really found something we could throw at this device that it couldn't handle yet," he added.

Griffais said initial prototype testing for the Steam Deck focused on older games in the Steam catalog and that there were "games that were coming out last year that just couldn't really run very well on the previous types of prototypes and architectures we were testing." On the finalized version of the hardware, though, he said the company has "achieved the level of performance that is required to run the latest generation of games without a problem." "The entire Steam catalog is available to people who have this device," Aldehayyat added. "That's where we knew we had a product that was going to deliver the experience we were looking for."

Aldehayyat attributed Steam Deck's wide compatibility in part to "future-proofing" internals that include a custom APU incorporating AMD's latest generation of GPU and CPU technology, as well as 16GB of LPDDR5 RAM. Griffais added that the performance scalability of modern PC games helps Steam Deck achieve a playable frame rate at its native 800p resolution (which is relatively low compared to desktop gaming PCs). "If people are still valuing high frame rates and high resolutions on different platforms, I think that content will scale down to our 800p, 30 Hz target very well," he said. "If people start heavily favoring image quality, we might be in a position where we might have tradeoffs, but we're not in a position where we really see that yet." In a follow-up tweet late last week, Griffais clarified that the 30 fps target is the "floor" for what Valve considers playable: "games we've tested and shown have consistently met and exceeded that bar so far. There will also be an optional built-in FPS limiter to fine-tune perf[ormance] vs. battery life."

An anonymous reader writes: As reported by Motherboard, Emily Crose, a FOIA researcher, obtained emailed complaints showing how life at the NSA can be incredibly mundane:

"The cafe menu items and pricing are out of control! Weighing the food to get more money, the scales are not properly adjusted, ripping us off. They stopped serving fried eggs at the OPS1 breakfast bar because it's faster and cheaper to get them. Now if you go to the grill the price is inflated. What's the difference between the grilled chicken at the grill and the grilled chick at the chicken shack?"

A person who used to work in the intelligence community told that they could confirm that the NSA cafeteria is "depressingly bad." "Maybe not the worst cafeteria I've ever eaten in but worse than the time I ate at US run military base mess hall," they said, asking to remain anonymous.

Ratings for the Olympic Games opening ceremony were down 36% compared to 2016, according to preliminary numbers from NBC Universal. From a report: The figures for the Tokyo Games event mark the lowest audience for an Olympics opening ceremony event in over three decades, per Reuters. Roughly $1 billion has been spent on advertising around the Olympics. Ratings are the only real metric marketers can use to justify much of that spend. About 17 million people watched the event on broadcast and streaming, according to NBC. Early broadcast numbers suggest some 10 million people watched the event on linear TV. By comparison, about 26.5 million people and 27.8 million people tuned in to the Olympic opening events in Rio in 2016 and Pyeongchang in 2018, respectively. Some of this is out of NBC's hands. Without fans in the stands, the content may not be as compelling to viewers this year as it has been in the past. Some reviews of the opening ceremony pegged it as downbeat compared to previous ceremonies, others described it as boring.

Comic-Con went virtual again in 2020. (San Diego businesses will miss the chance to profit from the 100,000 visitors the convention usually attracted.) And NPR reports the convention has gotten smaller in other ways: Both Marvel Studios and DC are staying away; as it did last year, DC is again directing its resources towards its own event, DC FanDome, set for mid-October. But fans of shows like Doctor Who, Dexter and Comic-Con stalwart The Walking Dead will have lots to look forward to.
Rotten Tomatoes and The Verge have gathered up the trailers that did premier. Some of the highlights:

• Blade Runner: Black Lotus , an upcoming anime television series set to premiere in late 2021 on Crunchyroll and Adult Swim (co-producing it with Alcon Television Group).
• The upcoming remake of Dune
• J.J. Abrams' new four-part Showtime documentary about UFOs.
• Season 2 of Star Trek: Lower Decks and the new Star Trek: Prodigy, a CGI-animated series about a group of aliens who escape captivity onboard the Enterprise.

But interestingly, one of the more visibile presenters was: NASA. Current and former NASA officials made appearances on several different panels, according to Space.com, including one on modern space law, U.N. treaty-making, and how it all stacks up against the portrayal we get in our various future-space franchises. And a former NASA astronaut was also part of a panel touting a virtual simulation platform, "where students can have access to the same tools that professionals use and in the case of space are given the opportunity to solve real problems related to missions to our Moon, Mars, and beyond... from piloting to terra-forming to creating habitats and spacecraft."

There was also a panel of four NASA engineers titled "No Tow Trucks Beyond Mars," on "how we go boldly where there's no one around to fix it. Hear stories from the trenches of the heartbreaks, close calls, and adventures of real-life landing (and flying!) on Mars and our round-table discussion of what Netflix got right in their movie Stowaway."

Sunday's panels will include an astronomer, an astrobiologist, and a geologist/paleontologist discussing "The Science of Star Wars" with the concept designer for Star Wars episodes 7-9, Rogue One, and Solo.