Trump Media & Technology Group Corp., which has been called the "mother of all meme stocks" after it made its stock market debut in late March, announced that its Truth Social platform is moving to launch a live TV streaming platform. Following the news, shares of DJT closed more than 14% lower Tuesday. They ended trading Monday down by more than 18%. CNBC reports: The stock's price has dropped by a whopping 67.7% since Trump Media began trading as a public company on March 26, erasing more than $5 billion in market capitalization. Trump Media's majority shareholder is former President Donald Trump, who holds nearly 60% of its stock.

Earlier Tuesday, Trump Media in a press release said it "has finished the research and development phase of its new live TV streaming platform and will begin scaling up its own content delivery network." The company said it will roll out streaming content in three phases, the first of which will introduce Truth Social's content delivery network for streaming live TV to the app for Android, iOS and web. Phase two will release stand-alone Truth Social streaming apps for phones, tablets and other devices, while phase three will release such apps for home television, Trump Media said. "The streaming content is expected to focus on live TV including news networks, religious channels, family-friendly content including films and documentaries; and other content that has been cancelled, is at risk of cancellation, or is being suppressed on other platforms and services," Trump Media said in its release.

"We're excited to move forward with the next big phase for Truth Social," added CEO Devin Nunes in a statement. "With our streaming content, we aim to provide a permanent home for high-quality news and entertainment that face discrimination by other channels and content delivery service. There is a lot of great content that simply can't find an audience for unjust reasons, and we want to let these creators know they'll soon have a guaranteed platform where they won't be cancelled."

Film data researcher Stepehen, writing on his blog: This may surprise some, but since 2000, just over half of all movies released have been original screenplays. The most common source for adapted screenplays was real-life events, accounting for almost a fifth of movies made between 2000 and 2023. (Typically, in these cases, the filmmakers will have paid for the rights to a nonfiction book or two that covered those events, but we will classify that as 'based on real-life events' in this analysis.) Other sources include fictional books/articles (8.9%), previous movies (11.8%), stage productions (including plays, musicals, and dance performances) (1.5%), and TV/Web shows (0.9%). In the chart below, 'Other' includes myths, legends, poems, songs, games, toys, and more.

How has this changed over the years? Forty years ago, about the same proportion of movies being made were original screenplays as they are today. That's quite surprising -- both because I assume that many people expected it to be lower in recent years, but also because little stays the same in the film industry over such a long period of time. But when we look at a time series by year, we can see that it hadn't plateaued. During the late 1990s and 2000s, original screenplays declined markedly and only rose again in the 2010s.

After nearly 11 years as CNN's space correspondent, Miles O'Brien found himself in 2003 at the Kennedy Space Center in Florida covering the launch of the space shuttle Columbia: As part of the post-launch routine, NASA began sharing several replays of the launch from various cameras trained on the vehicle. And that was when we saw it. Producer Dave Santucci called me into our live truck, and said, "You got to look at this." It was kind of a grainy image of what looked like a puff of smoke, as if someone dropped a bag of flour on the ground and it broke open. We played it over and over again, and it did not look good at all. The giant orange fuel tank was filled with super cold liquid hydrogen and oxygen, so it was enveloped in insulating foam. A big piece of the foam had broken away near a strut called the "bipod," striking the leading edge of the orbiter's left wing. It was made of reinforced carbon to protect the aluminum structure of the spacecraft from the searing heat of re-entry from space.

I reached out to some of my sources inside the shuttle program. Everyone had seen it, of course, but the people I spoke with cautioned me not to worry. The foam was very light, and it had fallen off on earlier missions and nothing of concern had happened as a result... I wish I hadn't taken my eye off the ball. Space was my beat, and I was uniquely positioned to put this concerning event into the public domain. Like NASA's leadership, I went through a process of convincing myself that it was going to be okay. But I had this sinking feeling. It didn't feel right. A spacecraft re-entering the atmosphere at 17,500 miles an hour — much faster than a rifle bullet — is enveloped in a glowing inferno of plasma...

[As it returned to earth 16 days later] the communication between the ground and the orbiter became non-routine. Producers in the control room realized the gravity of the situation, and we cut to a commercial break to get me off the couch. As I was making my way across the newsroom, I started heaving. I knew in an instant that they were all gone. There was no survivable scenario. I was sickened. It was like a body blow. Somehow I got my act together and started talking. I felt like it was my responsibility to mention the foam strike, to get the information out there to the public. About an hour after Columbia had disintegrated, I shared with a huge global audience what I knew... "That bipod is the place where they think a little piece of foam fell off and hit the leading edge of that wing."

During the mission, I could have easily done a story about the foam strike, spreading the word that some NASA engineers believed there may be some reason for concern. What if I had done that? It might have made a difference.
"A rescue mission would not have been impossible," the article concludes, "and I feel certain that if NASA managers saw that gaping hole in Columbia's wing, they would've tried.

"We will never know for sure, but I do know how so many of us on the ground failed to do our jobs during that mission. It still haunts me."


CNN broadcasts the last two episodes of its four-part series Space Shuttle Columbia: The Final Flight tonight at 9 p.m. EST (time-delayed on the west coast until 9 p.m.PST). CNN's web site offers a "preview" of its live TV offerings here.

The news episodes (along with past episodes) will also be available on-demand starting Monday — "for pay TV subscribers via CNN.com, CNN connected TV and mobile apps." It's also available for purchase on Amazon Prime.

Despite investing billions in new streaming services, media giants have failed to dethrone old favorites, according to Nielsen data. The 21-year-old legal drama "NCIS" tops the list, with viewers streaming 11.4 million episodes per week. Netflix dominates the top 10, with eight shows owing most of their viewership to the platform. Reruns from CBS and other networks make up the majority of the list, with "Stranger Things" being the only original series.

"Nine of the 10 most-watched streaming programs are reruns. In addition to the three from CBS, there is one from YouTube (CoComelon), one from Canada (Heartland), one from Australia (Bluey) and Suits. The only original series to crack the list is Stranger Things," Bloomberg writes. However: "While reruns dominate the top 10, that is not the case overall. Most of the 100 most popular titles of the last three years are original series," it added.

CNN revisits 2003's disastrous landing of the Space Shuttle Columbia tonight with two "immersive" specials co-produced by BBC and Mindhouse Productions "featuring exclusive interviews and revealing never-before-broadcast footage," according to an announcement — with two more specials airing next week.

You can watch a trailer here. Across four episodes, the story of the ticking-clock of Columbia's final mission is told in dramatic detail, beginning months before the troubled launch, unfolding across the sixteen days in orbit, and concluding with the investigation into the tragic loss of the seven astronauts' lives. Weaving together intimate footage shot by the astronauts themselves inside the orbiter, exclusive first-hand testimony from family members of the Shuttle's crew, key players at NASA — some of whom have never spoken before — and journalists who covered the story on the ground, the series paints an intimate portrait of the women and men onboard and uncovers in forensic detail the trail of events and missed opportunities that ultimately led to disaster.
CNN says the first two episodes will livestream tonight at 9 p.m. EST (time-delayed on the west coast until 9 p.m.PST) — and then be available on-demand starting Monday — "for pay TV subscribers via CNN.com, CNN connected TV and mobile apps." CNN's web site offers a "preview" of its live TV offerings here.

They're promising "the inside story of one America's most iconic institutions, uncovering how financial pressures and a culture of complacency may have contributed to the events of February 1, 2003. The series also reflects on the legacy of the Space Shuttle era, serving as a timely exploration of the challenges and inherent dangers that remain relevant to space travel today."

On its web site CNN has also published two companion articles — one by Rice history professor Douglas Brinkley arguing that NASA "was America's crown jewel. After the Columbia disaster it was never quite the same." Because other shuttle missions had returned safely with "shredded" surface tiles — and because the stalwart Columbia had brought astronauts home from 27 previous flights — many NASA officials were lulled into complacency. They went so far as to assure the pilot and commander via email that "there is no concern ... We have seen the same phenomenon on several other flights and there is absolutely no concern for entry."

NASA officials also decided against enlisting spy satellite photography to examine the shuttle damage more thoroughly. If they had, it's possible that the astronauts could have repaired the spaceplane or at least abandoned it for refuge on the International Space Station...

As the Columbia Accident Investigation Board (CAIB) noted in its final report, "the NASA organizational culture had as much to do with this accident as the foam." All of NASA's launches were suspended for two years. While the shuttles eventually flew again, post-Columbia, the program was stunted and curtailed.
The article notes that since then SpaceX, Blue Origin, and the United Launch Alliance (Lockheed Martin and Boeing) "are thriving today in the space industry," along with Virgin Galactic and Axiom Space. "NASA, far from feeling threatened, has encouraged many of the private companies with massive contracts. The agency already had a long history of dealing with sub-contractors, using its pocketbook to steer aerospace development; that tradition has adjusted seamlessly to the current space economy."

In the other article CNN Space & Science writer Jackie Wattles notes that when America later retired its Space Shuttle program in 2011, "no U.S. astronaut would travel to space on an American-made rocket for nearly a decade."

An anonymous reader quotes a report from Kotaku: A new patent recently filed by TV and streaming device manufacturer Roku hints toward a possible future where televisions could display ads when you pause a movie or game. For Roku, the time in which the TV is on but users aren't doing anything is valuable. The company has started leasing out ad space in its popular Roku City screensaver -- which appears when your TV is idle -- to companies like McDonald's and movies like Barbie. As tech newsletter Lowpass points out, Roku finds this idle time and its screensaver so valuable that it forbids app developers from overriding the screensaver with their own. But, if you plug in an Xbox or DVD player into the HDMI port on a Roku TV, you bypass the company's screensaver and other ads. And so, Roku has been figuring out a way to not let that happen.

As reported by Lowpass on April 4, Roku recently filed a patent for a technology that would let it inject ads into third-party content -- like an Xbox game or Netflix movie -- using an HDMI connection. The patent describes a situation where you are playing a video game and hit pause to go check your phone or grab some food. At this point, Roku would identify that you have paused the content and display a relevant ad until you unpaused the game. Roku's tech isn't designed to randomly inject ads as you are playing a game or watching a movie, it knows that would be going too far and anger people. Instead, the patent suggests several ways that Roku could spot when your TV is paused, like comparing frames, to make sure the user has actually paused the content. Roku might also use the HDMI's audio feed to search for extended moments of silence. The company also proposes using HDMI CEC -- a protocol designed to help devices communicate better -- to figure out when you pause and unpause content. Similarly, Roku's patent explains that it will use various methods to detect what people are playing or watching and try to display relevant ads. So if it sees you have an Xbox plugged in, it might try to serve you ads that it thinks an Xbox owner would be interested in.

Disney said Thursday it planned to crack down on password sharing [non-paywalled link] for its streaming services starting with a few countries in June before implementing a wider rollout in September. From a report: Disney Chief Executive Bob Iger unveiled the timeline to limit password sharing in a CNBC interview Thursday morning, a day after the company defeated activist Nelson Peltz in a bruising proxy fight. Iger didn't say which countries would be first.

The company for months has said a crackdown was coming as it looks to cut costs and make Disney+ and Hulu profitable. Since Iger returned as CEO in 2022, the company has trimmed its streaming losses. Iger said the company is on track to have a profitable streaming business by the fourth quarter this year. "That's a huge, huge improvement," he said on CNBC. "Now what we have to do is turn it not just into a profitable business, into a growth business."

Sara Fischer reports via Axios: Jon Stewart on Monday told Federal Trade Commission (FTC) Chair Lina Khan that Apple wouldn't let him interview her for a podcast. "I wanted to have you on a podcast and Apple asked us not to do it," "The Daily Show" host said to Khan, in reference to his former podcast that was an extension of his Apple TV+ comedy show "The Problem With Jon Stewart." "They literally said 'please don't talk to her,' having nothing to do with what you do for a living. I think they just... I didn't think they cared for you is what happened," he added during his conversation with Khan. "They wouldn't let us do even that dumb thing we just did in the first act on AI. Like, what is that sensitivity? Why are they so afraid to even have these conversations out in the public sphere?"

Stewart returned to "The Daily Show" in February after leaving in 2015 as its executive producer and host on Monday evenings through the 2024 election cycle. Stewart's Apple TV+ show ended late last year after Stewart and Apple executives parted ways over creative differences, including the comedian's desire to cover topics such as China and AI, the New York Times reported.

An anonymous reader quotes a report from Android Police, written by Dhruv Bhutani: As someone who is an early adopter of all things smart and has invested a significant amount of money in building a fancy smart home, it saddens me to say that I feel cheated by the thousands of dollars I've spent on smart devices. And it's not a one-off. Amazon's recent move to block off local ADB connections on Fire TV devices is the latest example in a long line of grievances. A brand busy wrestling away control from the consumer after they've bought the product, the software update gimps a feature that has been present on the hardware ever since it launched back in 2014. ADB-based commands let users take deep control of the hardware, and in the case of the Fire TV hardware, it can drastically improve the user experience. [...] A few years ago, I decided to invest in the NVIDIA Shield. The premium streamer was marketed as a utopia for streaming online and offline sources with the ability to plug in hard drives, connect to NAS drives, and more. At launch, it did precisely that while presenting a beautiful, clean interface that was a joy to interact with. However, subsequent updates have converted what was otherwise a clean and elegant solution to an ad-infested overlay that I zoom past to jump into my streaming app of choice. This problem isn't restricted to just the Shield. Even my Google TV running Chromecast has a home screen that's more of an advertising space for Google than an easy way to get to my content.

But why stop at streaming boxes? Google's Nest Hubs are equal victims of feature deterioration. I've spent hundreds of dollars on Nest Hubs and outfitted them in most of my rooms and washrooms. However, Google's consistent degradation of the user experience means I use these speakers for little more than casting music from the Spotify app. The voice recognition barely works on the best of days, and when it does, the answers tend to be wildly inconsistent. It wasn't always the case. In fact, at launch, Google's Nest speakers were some of the best smart home interfaces you could buy. You'd imagine that the experience would only improve from there. That's decidedly not the case. I had high hopes that the Fuchsia update would fix the broken command detection, but that's also not the case. And good luck to you if you decided to invest in Google Assistant-compatible displays. Google's announcement that it would no longer issue software or security updates to third-party displays like the excellent Lenovo Smart Display, right after killing the built-in web browser, is pretty wild. It boggles my mind that a company can get away with such behavior.

Now imagine the plight of Nest Secure owners. A home security system isn't something one expects to switch out for many many years. And yet, Google decided to kill the Nest Secure home monitoring solution merely three years after launching the product range. While I made an initial investment in the Nest ecosystem, I've since switched over to a completely local solution that is entirely under my control, stores data locally, and won't be going out of action because of bad decision-making by another company. "It's clear to me that smart home devices, as they stand, are proving to be very poor investments for consumers," Bhutani writes in closing. "Suffice it to say that I've paused any future investments in smart devices, and I'll be taking a long and hard look at a company's treatment of its current portfolio before splurging out more cash. I'd recommend you do the same."

"As you're reading this, you're more likely than not already inside 'The Matrix'," according to a headline on the front page of CNN.com this weekend.

It linked to an opinion piece by Rizwan Virk, founder of MIT's startup incubator/accelerator program. He's now a doctoral researcher at Arizona State University, where his profile identifies him as an "entrepreneur, video game pioneer, film producer, venture capitalist, computer scientist and bestselling author." Virk's 2019 book was titled "The Simulation Hypothesis: An MIT Computer Scientist Shows Why AI, Quantum Physics and Eastern Mystics Agree We Are in a Video Game." In the decades since [The Matrix was released], this idea, now called the simulation hypothesis, has come to be taken more seriously by technologists, scientists and philosophers. The main reason for this shift is the stunning improvements in computer graphics, virtual and augmented reality (VR and AR) and AI. Taking into account three developments just this year from Apple, Neuralink and OpenAI, I can now confidently state that as you are reading this article, you are more likely than not already inside a computer simulation. This is because the closer our technology gets to being able to build a fully interactive simulation like the Matrix, the more likely it is that someone has already built such a world, and we are simply inside their video game world...

In 2003, Oxford philosopher Nick Bostrom imagined a "technologically mature" civilization could easily create a simulated world. The logic, then, is that if any civilization ever reaches this point, it would create not just one but a very large number of simulations (perhaps billions), each with billions of AI characters, simply by firing up more servers. With simulated worlds far outnumbering the "real" world, the likelihood that we are in a simulation would be significantly higher than not. It was this logic that prompted Elon Musk to state, a few years ago, that the chances that we are not in a simulation (i.e. that we are in base reality) was "one in billions." It's a theory that is difficult to prove — but difficult to disprove as well. Remember, the simulations would be so good that you wouldn't be able to tell the difference between a physical and a simulated world. Either the signals are being beamed directly into your brain, or we are simply AI characters inside the simulation...

Recent developments in Silicon Valley show that we could get to the simulation point very soon. Just this year, Apple released its Vision Pro headset — a mixed-reality (including augmented and virtual reality) device that, if you believe initial reviews (ranging from mildly positive to ecstatic), heralds the beginning of a new era of spatial computing — or the merging of digital and physical worlds... we can see a direct line to being able to render a realistic fictional world around us... Just last month, OpenAI released Sora AI, which can now generate highly realistic videos that are pretty damn difficult to distinguish from real human videos. The fact that AI can so easily fool humans visually as well as through text (and according to some, has already passed the well-known Turing Test) shows that we are not far from fully immersive worlds populated with simulated AI characters that seem (and perhaps even think they are) conscious. Already, millions of humans are chatting with AI characters, and millions of dollars are pouring into making AI characters more realistic. Some of us may be players of the game, who have forgotten that we allowed the signal to be beamed into our brain, while others, like Neo or Morpheus or Trinity in "The Matrix," may have been plugged in at birth...

The fact that we are approaching the simulation point so soon in our future means that the likelihood that we are already inside someone else's advanced simulation goes up exponentially. Like Neo, we would be unable to tell the difference between a simulated and a physical world. Perhaps the most appropriate response to that is another of Reeves' most famous lines from that now-classic sci-fi film: Woah.
The author notes that the idea of being trapped inside a video game already "had been articulated by one of the Wachowskis' heroes, science fiction author Philip K. Dick, who stated, all the way back in 1977, 'We are living in a computer programmed reality.'" A few years ago, I interviewed Dick's wife Tessa and asked her what he would have thought of "The Matrix." She said his first reaction would have been that he loved it; however, his second reaction would most likely have been to call his agent to see if he could sue the filmmakers for stealing his ideas.

"Subscribers of both Disney+ and Hulu can now access Hulu content through the Disney+ app," reports the Los Angeles Times, "as the Burbank media and entertainment giant launched its one-app integration of the two streaming services Wednesday..." The move is part of Disney's plan to increase viewer engagement and reduce churn on Disney+, which has 111.3 million subscribers globally. Disney has lost billions on its direct-to-consumer business as it tries to compete with Netflix, but the company has told investors that its streaming segment will begin to turn a profit by the end of fiscal 2024. Streaming losses have been a key component of a nasty activist shareholder campaign ahead of next week's annual meeting.

Disney+ has typically served up family-friendly content and major brands such as Pixar, Star Wars and Marvel, whereas Hulu's offering has been the streaming home of more adult-oriented programming. Disney executives described the combined app experience as the most extensive technical advancement to the Disney+ streaming platform since it launched in November 2019... The price of the bundle plan starts at $9.99 with ads... Upgrading to the bundle of Hulu on Disney+ will start at $2 more per month, Disney said.

"Today's most effective corporate lobbying no longer involves wooing members of Congress..." writes the Wall Street Journal. Instead the lobbying sector "now works in secret to influence lawmakers with the help of an unlikely ally: you." [Lobbyists] teamed up with PR gurus, social-media experts, political pollsters, data analysts and grassroots organizers to foment seemingly organic public outcries designed to pressure lawmakers and compel them to take actions that would benefit the lobbyists' corporate clients...

By the middle of 2011, an army of lobbyists working for the pillars of the corporate lobbying establishment — the major movie studios, the music industry, pharmaceutical manufacturers and the U.S. Chamber of Commerce — were executing a nearly $100 million campaign to win approval for the internet bill [the PROTECT IP Act, or "PIPA"]. They pressured scores of lawmakers to co-sponsor the legislation. At one point, 99 of the 100 members of the U.S. Senate appeared ready to support it — an astounding number, given that most bills have just a handful of co-sponsors before they are called up for a vote. When lobbyists for Google and its allies went to Capitol Hill, they made little headway. Against such well-financed and influential opponents, the futility of the traditional lobbying approach became clear. If tech companies were going to turn back the anti-piracy bills, they would need to find another way.

It was around this time that one of Google's Washington strategists suggested an alternative strategy. "Let's rally our users," Adam Kovacevich, then 34 and a senior member of Google's Washington office, told colleagues. Kovacevich turned Google's opposition to the anti-piracy legislation into a coast-to-coast political influence effort with all the bells and whistles of a presidential campaign. The goal: to whip up enough opposition to the legislation among ordinary Americans that Congress would be forced to abandon the effort... The campaign slogan they settled on — "Don't Kill the Internet" — exaggerated the likely impact of the bill, but it succeeded in stirring apprehension among web users.

The coup de grace came on Jan. 18, 2012, when Google and its allies pulled off the mother of all outside influence campaigns. When users logged on to the web that day, they discovered, to their great frustration, that many of the sites they'd come to rely on — Wikipedia, Reddit, Craigslist — were either blacked out or displayed text outlining the detrimental impacts of the proposed legislation. For its part, Google inserted a black censorship bar over its multicolored logo and posted a tool that enabled users to contact their elected representatives. "Tell Congress: Please don't censor the web!" a message on Google's home page read. With some 115,000 websites taking part, the protest achieved a staggering reach. Tens of millions of people visited Wikipedia's blacked-out website, 4.5 million users signed a Google petition opposing the legislation, and more than 2.4 million people took to Twitter to express their views on the bills. "We must stop [these bills] to keep the web open & free," the reality TV star Kim Kardashian wrote in a tweet to her 10 million followers...

Within two days, the legislation was dead...

Over the following decade, outside influence tactics would become the cornerstone of Washington's lobbying industry — and they remain so today.
"The 2012 effort is considered the most successful consumer mobilization in the history of internet policy," writes the Washington Post — agreeing that it's since spawned more app-based, crowdsourced lobbying campaigns. Sites like Airbnb "have also repeatedly asked their users to oppose city government restrictions on the apps." Uber, Lyft, DoorDash and other gig work companies also blitzed the apps' users with scenarios of higher prices or suspended service unless people voted for a 2020 California ballot measure on contract workers. Voters approved it."

The Wall Street Journal also details how lobbyists successfully killed higher taxes for tobacco products, the oil-and-gas industry, and even on private-equity investors — and note similar tactics were used against a bill targeting TikTok. "Some say the campaign backfired. Lawmakers complained that the effort showed how the Chinese government could co-opt internet users to do their bidding in the U.S., and the House of Representatives voted to ban the app if its owners did not agree to sell it.

"TikTok's lobbyists said they were pleased with the effort. They persuaded 65 members of the House to vote in favor of the company and are confident that the Senate will block the effort."

The Journal's article was adapted from an upcoming book titled "The Wolves of K Street: The Secret History of How Big Money Took Over Big Government." But the Washington Post argues the phenomenon raises two questions. "How much do you want technology companies to turn you into their lobbyists? And what's in it for you?"

An anonymous reader quotes a report from Gizmodo: Do you remember Facebook Watch? Me neither. Mark Zuckerberg's short-lived streaming service never really got off the ground, but court filings unsealed in Meta's antitrust lawsuit claim "Watch" was kneecapped starting in 2018 to protect Zuckerberg's advertising relationship with Netflix CEO Reed Hastings. "For nearly a decade, Netflix and Facebook enjoyed a special relationship," said plaintiffs in filings (PDF) made public on Saturday. "It is no great mystery how this close partnership developed, and who was its steward: from 2011-2019, Netflix's then-CEO Hastings sat on Facebook's board and personally directed the companies' relationship"

The filings detail Hastings' uncomfortably close relationship with Meta's upper management, including Zuckerberg and Sheryl Sandberg. During these years, Netflix was allegedly granted special access to Facebook users' private message inboxes, among other privileged analytics tools, in exchange for hundred-million-dollar advertising deals. This gave Facebook greater dominance in its all-important ad division, plaintiffs allege, so the company was fine to retreat from Netflix's streaming territory by shuttering Watch. In 2017, Facebook Watch began signing deals to populate its streaming service with original TV Shows from movie stars such as Bill Murray. A year later, the service attempted to license the popular '90s TV show Dawson's Creek. Facebook Watch had meaningful reach on the home screen of the social media platform, and an impressive budget as well. Facebook and Netflix appeared ready to butt heads in the streaming world, and the Netflix cofounder found himself in the middle as a Facebook board member. [...]

Netflix was a large advertiser to Facebook, and plaintiffs allege Zuckerberg shuttered its promising Watch platform for the sake of the greater advertising business. Zuckerberg personally emailed the head of Facebook Watch in May of 2018, Fidji Simo, to tell her their budget was being slashed by $750 million, just two years after Watch's launch, according to court filings. The sudden pivot meant Facebook was now dismantling the streaming business it had spent the last two years growing. During this time period, Netflix increased its ad spend on Facebook to roughly $150 million a year and allegedly entered into agreements for increased data analytics. By early 2019, the ad spend increased to roughly $200 million a year. Hastings left Facebook's board later in 2019.
UPDATE: Meta (Again) Denies Netflix Read Facebook Users' Private Messenger Messages.

AmiMoJo writes: In a major surprise, all twenty episodes of the second season of the animated series 'Star Trek: Prodigy' have suddenly been made available in France thanks to broadcaster France Televisions.

According to TrekCentral it seems France.TV, the online streaming service for the national public broadcaster, has released the entirety of the second season all at once and without any prior warning or announcement.

This has led to questions online as to how this happened. Paramount+ unexpectedly canceled the series in June last year -- even as a second season had almost finished production and was completed shortly after. It took numerous fan campaigns and social media protests but ultimately Netflix picked up both completed seasons in October 2023. The streamer has confirmed the twenty episode second season will arrive this year but hasn't set a specific date as yet.

Today's unexpected release in France has many wondering if this a mistake, or is this the result of a specific licensing deal with that country and distributor. Either way, spoilers for the new season are already flooding online along with a lot of people calling for fans to wait for the official release and support the creators.

Whether intentional or not, it's not clear if Netflix will shift its release strategy for the new season in the wake of this.

In 2019 Los Angeles film/TV producer Brian Morrison painted Blockbuster's logo onto an old newspaper box — and then filled it up with used DVDs. "The Free Blockbuster movement slowly gained traction," reports the New York Times — aided at times by social media — "and eventually more than 200 other community boxes had opened from Louisiana to Canada and even Britain."

Though it's not clear how many are still operational, a 37-year-old California opened a free "Blockbuster" library outside her home earlier this year, according to the article, "and stocks it with season-specific films, subversive books and free candy." "We are social animals; we want to go out into the world and engage with each other," said Brian Morrison, who keeps a lending library outside his home. He often refills it with DVDs and VHS tapes of TV series, horror movies and, on occasion, signed independent films, and said that it had encouraged interaction with his neighbors.

Andrew Kevin Walker, a Los Angeles-based screenwriter, said he had visited secondhand stores especially to seek out films to leave in the boxes, including two sealed James Bond box sets and a copy of "Cobra," a 1986 film written by Sylvester Stallone. "It's an opportunity for people to really share their love of cinema, whether it be their favorite guilty pleasure or their favorite movie of all time," he said.

Viewers with streaming fatigue say they are tired of chasing content that moves around an ever-expanding array of platforms or even disappears altogether, and some long for the physical media that was dominant until streaming took over. "I think it's great that folks are doing this, keeping the spirit of DVDs alive, circulating film[s] in and exchanging them," said Joe Pichirallo, a film producer and professor at New York University...

Alfonso Castillo, who co-founded a Free Blockbuster on Long Island, N.Y., with his son, said the lending library sees regular turnover with people both taking and dropping off movies, including older people. "My sense is that for them, it's less of this cool novelty sort of ironic thing and more like, finally, there's a place to get DVDs again," he said.
Award-winning filmmaker Ava DuVernay misses the commentary tracks on DVDs (along with director's cuts).

But more importantly, they told the Times that when it comes to art, "nothing beats holding it in your hand... It is a part of the experience of consuming and experiencing art."

"Hollywood is bracing for another actors strike, this time against the videogame industry," according to MarketWatch: "We're currently in bargaining with all the major game studios, and the major sticking point is AI," SAG-AFTRA National Executive Director Duncan Crabtree-Ireland said Thursday. "Actors at all levels are at risk of digital replication. We have strike authorization on that contract and it is, at this point — we could end up going on strike...."

The union, which navigated its way to a new film and TV contract after a 118-day strike against the Hollywood studios last year, is again focusing on regulating artificial intelligence and its impact on wages and jobs. "It will be a recurring issue with each successive contract" every three years, Crabtree-Ireland said.
Some studios are already using AI-generated voices to save money, the article points out. "Actors and actresses should be very much afraid," Chris Mattmann, an adjunct research professor at the University of Southern California's Computer Science Department, says in the article. "Within three seconds, gen AI can effectively clone a voice."

The strike could affect Microsoft's Activision Publishing and Disney, as well as other major game publishers including Electronic Arts, Epic Games, and Warner Bros.

"It was three years of my, life you?" a 93-year-old William Shatner tells the Guardian when asked about playing Captain Kirk on the original Star Trek series from 1967 to 1969: It gladdens him to see how much joy the series has brought its many fans, but the richest rewards came in his introduction to science fiction, which activated and nurtured a lifelong curiosity about our species. He reminisces about meeting the great writers of the genre fondly yet frankly, honest enough to sort Ray Bradbury into "the category right below friend, I think". He devoured their novels and developed a fascination with the principle of defamiliarization, that concepts taken for granted can be understood anew when viewed through the vantage of a stranger in a strange land. "Good science fiction is humanity, moved into a different milieu," he says.
Even on a grander scale, "The universe charms him with its mysteries," writes the Guardian, calling it "the key to maintaining wonder through nearly a century of life. He likes the not-knowing."

You can see this at play when the TV starship captain became a real-life spacefarer in 2021: Liberated by weightlessness, he found himself utterly transformed by the rush of perspective one can only assume miles above the Earth. "It's very personal, what you see from up there, what you read into the stillness," he says. "I saw the blankness of space as death, but an astronaut will see something else entirely. And when I looked back at the Earth, I saw life."

The question of mortality hangs over Shatner, albeit not in a morbid way. He's entranced by the paradox of death, that the absolute unknowability of what happens will be inevitably supplanted by the certainty of finding out... For a man accustomed to boldly going where no man has gone before, it's all just the next phase of a single ongoing adventure.
In fact, Shatner told Jimmy Kimmel Friday that he was always disappointed by the way he'd performed Captain Kirk's death. "I think you die the way you live," Shatner says. "So Captain Kirk always had these grotesque things happening... but without fear. But with joy, and love, and an opportunity to see what's better." So when performing Kirk's death, he'd imagined him actually gazing upon death itself — and looking upon it with wonder. "I ad libbed the 'Oh my'." Shatner's regret? That it "sounded fearful. And I didn't want to be fearful."

"Would you like a do-over?" Kimmel asks. (Adding "I've got some debris...") And Shatner agrees, performing — one more time — the death of Captain Kirk.

The video also includes an appropriate clip from a newly-released documentary about Shatner's life. "Don't do it half-heartedly," Shatner says at one point. "Whatever it is you do — do it fully. Do it passionately. Do it with your whole being."

"My favorite kind of science fiction involves stories rooted in real science..." writes NPR's reviewer. "[T]here is something special about seeing characters wrestle with concepts closer to our current understanding of how the universe works."

The Verge calls it an "impressive" and "leaner" story than the book, arguing "it's a good one — and very occasionally a great one" that introduces the author's key ideas, though channelling "the book's spirit but not its brilliance."

And Slate calls it a "downright transformative" adaptation, "jettisoning most of the novel's characters and plucking scenes from all three books," while accusing it of "making the trilogy's expansive and philosophical story into something much more pedestrian and digestible."

But Reuters notes there's huge interest in China over this adaptation (by the co-creator of Mem>Game of Thrones) for the first Asian novel to win the Hugo Award for best science fiction novel. "The new series was trending on Chinese social media platform Weibo on Friday," reports Reuters, "with 21 million views so far." (The show came in first on Weibo's "top hot" trend rankings, they add, "despite Netflix being officially inaccessible in China. Chinese viewers would have had to watch the Netflix series from behind a VPN or on a pirate site.")

So what was their verdict? CNN reports Netflix's adaptation "has split opinions in China and sparked online nationalist anger over scenes depicting a violent and tumultuous period in the country's modern history." Among the country's more patriotic internet users, discussions on the adaptation turned political, with some accusing the big-budget American production of making China look bad. The show opens with a harrowing scene depicting Mao Zedong's Cultural Revolution, which consumed China in bloodshed and chaos for a decade from 1966... "Netflix you don't understand 'The Three Body Problem' or Ye Wenjie at all!" read a comment on social media platform Weibo. "You only understand political correctness!"

Others came to the show's defense, saying the scene closely follows depictions in the book — and is a truthful reenactment of history. "History is far more absurd than a TV series, but you guys pretend not to see it," read one comment on Douban, a popular site for reviewing movies, books and music.

Author Liu said in an interview with the New York Times in 2019 that he had originally wanted to open the book with scenes from Mao's Cultural Revolution, but his Chinese publisher worried they would never make it past government censors and buried them in the middle of the narrative. The English version of the book, translated by Ken Liu, put the scenes at the novel's beginning, with the author's blessing... Various other aspects of the show, from its casting and visual effects to the radical changes to the story's original setting and characters, also attracted the ire of Chinese social media users. Many compared it to a Chinese television adaptation released last year — a much lengthier and closer retelling of the book that ran to 30 episodes and was highly rated on Chinese review platforms.

The Netflix adaptation featured an international cast and placed much of the action in present-day London — thus making the story a lot less Chinese.

An anonymous reader shares a report: The U.S. Department of Justice filed a lawsuit against Apple Thursday, accusing the company led by CEO Tim Cook of engaging in anti-competitive business practices. The allegations include claims that Apple prevents competitors from accessing certain iPhone features and that the company's actions impact the "flow of speech" through its streaming service, Apple TV+.

However, even if the DOJ proves any of the allegations, it is highly unlikely that Apple will face material changes for years, as history shows that such lawsuits often take a significant amount of time to reach the trial, let alone a resolution. The DOJ's ongoing case against Google, filed in 2020, only went to trial in 2023, with no remedies or financial implications expected for up to two more years.

This is not the first time Apple has faced legal action from the DOJ. In 2012, the agency sued Apple for conspiring with publishers to increase ebook prices, a lawsuit that was not settled until 2016. "Precedents suggest that resolution of the complaint will take three to five years, including appeals," Bernstein analysts wrote in a note.

Apple has launched a new "Documentation" page to its website that provides links to user guides, repair manuals, tech specs, software downloads, and more for a variety of its products. MacRumors reports: Some of this information was previously found across separate pages on Apple's website, and it has now been combined in one place for convenient access. The page includes categories for the Mac, iPhone, iPad, iPod, Vision Pro, Apple Watch, Apple TV, AirPods, HomePod, displays like the Studio Display and Pro Display XDR, accessories like the Apple Pencil and Magic Keyboard, and software. There is also a search tool on the page that provides links to support documents and other relevant information based on the keywords entered.