Verizon Wireless, AT&T and Comcast were hit with copyright lawsuits accusing them of turning a blind eye to customers who illegally distribute and download pirated films. The production companies seek to force the internet providers to implement policies that provide for the termination of accounts held by repeat offenders and to block certain piracy websites. Hollywood Reporter: The trio of complaints filed throughout September, with the most recent filed Tuesday in Pennsylvania federal court, come from Voltage Pictures, After Productions and Ammo Entertainment, among others. Two law firms, Dovel & Luner and Culpepper IP, are representing the production labels. The internet providers knowingly contributed to copyright infringement by their customers, the lawsuits claim. Plaintiffs say they sent Verizon, AT&T and Comcast hundreds of thousands of notices about specific instances of infringement. They claim, for example, to have sent over 100,000 notices to Comcast concerning the illegal downloading of I Feel Pretty using its services. The lawsuit seeks to hold the internet providers liable for failing to investigate.

"Comcast did not take meaningful action to prevent ongoing infringements by these Comcast users," states the complaint. "Comcast failed to terminate the accounts associated with these IP addresses or otherwise take any meaningful action in response to these Notices. Comcast often failed to even forward the Notices to its internet service customers or otherwise inform them about the Notice or its contents." The internet providers, therefore, vicariously infringed on plaintiffs' movies since they had the right to terminate the accounts of customers who violate copyright law, the suit alleges. The Digital Millennium Copyright Act, passed in 1988, criminalizes services intended to circumvent measures that control access to copyrighted works. It provides protection from liability for services providers. But the production companies argue the internet providers don't have safe harbor under the law since it only shields companies if they've adopted and implemented policies that provide for the termination of accounts held by repeat offenders.

Blade Runner 2099, Amazon Studios' live-action series set in the Blade Runner universe, has been picked up to series for Prime Video. From a report: Ridley Scott, who directed the original 1982 Blade Runner movie, is executive producing the series, a follow-up to the feature film sequel Blade Runner 2049, which was released in 2017 and directed by Denis Villeneuve. Silka Luisa (Shining Girls) wrote the script and is exec producing Blade Runner 2099, which comes from Alcon Entertainment in association with Scott Free Productions and Amazon Studios. The project, which marks the first Blade Runner live-action series, had been in priority development at Amazon Studios.

"The original Blade Runner, directed by Ridley Scott, is considered one of the greatest and most influential science-fiction movies of all time, and we're excited to introduce Blade Runner 2099 to our global Prime Video customers," said Vernon Sanders, head of global television, Amazon Studios. "We are honored to be able to present this continuation of the Blade Runner franchise, and are confident that by teaming up with Ridley, Alcon Entertainment, Scott Free Productions, and the remarkably talented Silka Luisa, Blade Runner 2099 will uphold the intellect, themes, and spirit of its film predecessors." As indicated by Blade Runner 2099's title, the latest installment of the neo-noir sci-fi franchise will be set 50 years after the 2017 film sequel, which was set in 2049.

Adobe thinks it has the answer to Netflix's "password sharing" problem that involves up to 46 million people, according to a 2020 study. TorrentFreak reports: Adobe believes that since every user is different, any actions taken against an account should form part of a data-driven strategy designed to "measure, manage and monetize" password sharing. The company's vision is for platforms like Netflix to deploy machine learning models to extract behavioral patterns associated with an account, to determine how the account is being used. These insights can determine which measures should be taken against an account, and how success or otherwise can be determined by monitoring an account in the following weeks or months. Ignoring the obviously creepy factors for a moment, Adobe's approach does seem more sophisticated, even if the accompanying slide gives off a file-sharing-style "graduated response" vibe. That leads to the question of how much customer information Adobe would need to ensure that the right accounts are targeted, with the right actions, at the right time.

Adobe's Account IQ is powered by Adobe Sensei, which in turn acts as the intelligence layer for Adobe Experience Platform. In theory, Adobe will know more about a streaming account than those using it, so the company should be able to predict the most effective course of action to reduce password sharing and/or monetize it, without annoying the account holder. But of course, if you're monitoring customer accounts in such close detail, grabbing all available information is the obvious next step. Adobe envisions collecting data on how many devices are in use, how many individuals are active, and geographical locations -- including distinct locations and span. This will then lead to a "sharing probability" conclusion, along with a usage pattern classification that should identify travelers, commuters, close family and friends, even the existence of a second home.

Given that excessive sharing is likely to concern platforms like Netflix, Adobe's plan envisions a period of mass account monitoring followed by an on-screen "Excessive Sharing" warning in its dashboard. From there, legal streaming services can identify the accounts most responsible and begin preparing their "graduated response" towards changing behaviors. After monetizing those who can be monetized, those who refuse to pay can be identified and dumped. Or as Adobe puts it: "Return free-loaders to available market." Finally, Adobe also suggests that its system can be used to identify customers who display good behavior. These users can be rewarded by eliminating authentication requirements, concurrent stream limits, and device registrations.

An anonymous reader quotes a report from TorrentFreak: Prosecutors in Taiwan have indicted five men for running an operation that uploaded movies to the internet and then extorted cash settlements from the BitTorrent users who downloaded them. One of the men is former ultramarathon runner Kevin Lin, who founded a copyright consultancy company after graduating from law school in 2020. According to reports, Lin's company enticed users to download the torrents, tracked their IP addresses, and then filed copyright lawsuits in an effort to profit from cash settlements. Lin said that due to his support for the opposition government and his criticism of its handling of the COVID-19 pandemic, the investigation against him is politically motivated.

In May 2021, licenses were obtained from Vie Vision Pictures Co. and Applause Entertainment Ltd, which led to 18 movies being uploaded to BitTorrent networks, to tempt users into downloading them. After capturing their IP addresses, Lin's company obtained their identities from ISPs and sued them. The goal was to obtain out-of-court settlements. Since August 2021, Lin's company filed 937 lawsuits for copyright infringement. In just 25 of those cases, the company managed to "extort" settlements of $29,207, FocusTaiwan reports. In addition to Lin, several other people have also been indicted for their part in the operation.

Streaming television is going through an existential crisis, involving the people who make it and the viewers who watch it. Its revolutionary zeal has naturally faded, as that initial wave of near limitless expansion, boundless creative opportunities and vast archival choices crashes ashore, after a spate of megamergers and a drop in new subscribers. From a report: Just when streaming has finally attracted more viewers than cable or broadcast TV, its major players are engaged in a long-predicted war for subscribers, who are becoming all too aware of rising subscription prices and, both subtly and directly, a change in what programs get made and how long they stick around. Commercials could soon become more common, and services may be bundled (for one low monthly price!), already triggering visions of a future that recalls the dark days of cable.

The list of seismic rumblings in recent weeks is long, as chronicled in the Hollywood Reporter, Variety and elsewhere: Warner Bros. Discovery is cutting shows from its archives and unfinished movies from HBO Max as it prepares to merge it with its sister streaming service Discovery Plus, having promised its shareholders a $3 billion cut in costs. Faced with a plunging stock price and worrisome subscriber loss, Netflix plans to add an advertising-supported model for a lower price and may crack down on password sharing. Disney Plus, Hulu and ESPN Plus, which can all be subscribed to in a cable-esque bundle, are raising prices after taking a more than $1 billion hit in the fiscal third quarter. [...] The fear of having your show or movie deleted on an executive's whim -- a growing reality for many, including Katai -- is compounded by the fact that in the post-DVD digital age, viewers may never be able to access the shows again. Showrunners might not even have physical copies of their own work. And that's not the only downside for creators.

Today is Disney+ Day, and, as part of its perks, the company is offering Disney+ subscribers a new AR experience in conjunction with the short film "Remembering," starring and produced by "Captain Marvel" Brie Larson and directed and written by filmmaker Elijah Allan-Blitz. The eight-minute-long movie features a companion augmented reality app that allows users to scan their TV with an iOS device to watch an extension of the movie on the small screen. TechCrunch reports: In "Remembering," Larson plays a writer who forgets an idea she had when her phone rings and interrupts her thoughts. The writer's inner child -- played by the young actress Dusty Peak -- helps her recover her lost idea, which is represented as a flying and talking cluster of light, also voiced by Larson. The inner child lives in "The World of Imagination," a fantastical wonderland full of rainbows, shooting stars and dolphin-shaped clouds. The movie aims to spark a discussion about why it is essential to remember your younger self and all the creativity you once had. In doing so, it explores concepts like the origin of ideas and why adults can sometimes be reluctant to use their imaginations.

In years past, Disney has created a number of AR experiences, but this is the first AR app that connects directly to content on the Disney+ platform, the company told TechCrunch. It's an experiment in seeing if AR can serve to enhance movie storytelling even when viewers are watching in their living rooms. The "Remembering" AR component itself is designed to bring "The World of Imagination" alive to viewers by having them engage with the film using their smartphones. [...] The AR app is only available on iOS devices. There are currently no confirmed plans for the app to become available on Android devices. Viewers aren't required to download the app to watch the film and can choose to have a passive viewing experience instead.

An anonymous reader shares a report: This Saturday was dubbed "National Cinema Day," in which theaters around the US cut their ticket prices to $3 in an effort to keep bringing people back to the movie theater. And it worked! More than 8.1 million people went to the movies on Saturday, Variety found, compared to 1 million the day before and 1.7 million the day after. National Cinema Day brought the biggest crowds to theaters of any day in 2022, which leads to one inevitable conclusion: people will go to movies when movies only cost three bucks. Who knew!

One thing not needed to get the butts back in the seats? New movies. August has been a month-long movie doldrums, the result of so many pandemic shutdowns and general supply chain issues. Tom Cruise always has the answer, though: the top grosser of the day was Top Gun: Maverick, which added about $6 million to its box office haul over the long weekend. (Cruise and co. have been keeping theaters afloat all summer, actually, bringing in $698 million overall since the movie's release in May.) Spider-Man: No Way Home, which came out last Christmas, took second place in the box office. The best-performing new movie this weekend -- Honk For Jesus. Save Your Soul. -- came in at #14. But the real dark horse, the shark in the water nobody saw coming, was a little flick you might have heard of called Jaws. Playing in theaters around the country, the movie made about $2.6 million over the three-day weekend.

A survey this year by Equity, the UK union for actors and other performing arts workers, found that 65 per cent of members thought AI posed a threat to employment opportunities in the sector, rising to 93 per cent of audio artists. This wasn't just an amorphous fear about the future: more than a third of members had seen job listings for work involving AI and almost a fifth had undertaken some of this work. From a report: A range of AI start-ups are developing tools for use in film and audio, from making actors look and sound younger to creating AI voices that can be used for marketing campaigns, consumer assistants or even audiobook narration. Audio is such a popular medium now that companies need lots of it, but human actors are expensive and nowhere near as flexible as an AI voice, which can be made to say anything at the push of a button. These companies typically hire actors to provide hours' worth of audio which can then be turned into a voice-for-hire.

VocaliD, for example, offers a range of voices such as "Malik" ("warm, soothing, urban") "Terri" ("educated, optimistic, sophisticated") and "AI Very British Voice" ("trustworthy, warm, calm.") Sonantic, another AI company which was just acquired by Spotify, creates voices that can laugh, shout or cry. Its voices are often used by video game companies in the production process so they can play around with different scripts. They're not as good as humans, but they don't need to be. Industry experts say no one is going to use AI to narrate the audiobook of a bestselling novel, but there is still a market to be tapped in the vast number of lower-profile books that are published or self-published every year. Audiobook.ai, for example, says it can create an audiobook in 10 minutes with 146 voices to choose from in 43 languages.

Amazon's new $465 million series — a prequel to the Lord of the Rings — drew more than 25 million viewers on just its first day, according to Reuters, "a record debut for a Prime Video series."

The Independent shared reactions from J. R. R. Tolkein fans, including one who said "it looks like they put absolutely all that Amazon money to use for scenes." First up, the praise. Many are agreeing that the show's costly budget, which positions it as one of the most expensive shows of all time, has paid off, with the series boasting impressive visuals.... @marklee3d added: Rings of Power has done a great job of capturing the feel of Tolkien's world. The challenge is creating a compelling story where one didn't exist before. The show's success lies in pulling that off."

Agreeing that the "spirit" of Tokkien has been captured, @suzannahtweets wrote: "I'm far less concerned about little lore details than I am about the spirit. And while I thought that Peter Jackson fundamentally misunderstood the spirit of Tolkien in ALL his movies, so far the spirit of THE RINGS OF POWER feels remarkably authentic to Tolkien...." However, others argued the show felt "goofy" and featured "terrible" dialogue, with some suggesting that "Tolkien himself" would be "ashamed" of the series.
But "by releasing the first two episodes instead of just the more predictable first, Amazon gave The Rings of Power a strong start," argues Cinemablend. Collider's senior TV editor praises the show's "stunning visuals, compelling characters, and magnetic lead," while one podcaster even called the show "a cinematic masterpiece... masterfully orchestrating a mythology that fans have been waiting for."

Deadline reports that "Critics reviews, save a scathing piece in the UK Daily Mail, have generally been positive for The Rings of Power, as measured by aggregators like Rotten Tomatoes or Metacritic.... As of Friday evening, the IMDb rating stood at a respectable 7.1 out of 10." And Variety adds that Amazon had already taken steps to thwart review bombers three weeks ago: Starting around the time of the launch of the distaff baseball dramedy "A League of Their Own," which premiered its full first season on Aug. 12, Amazon Prime Video quietly introduced a new 72-hour delay for all user reviews posted to Prime Video, a representative for the streamer confirmed to Variety. Each critique is then evaluated to determine whether it's genuine or a forgery created by a bot, troll or other breed of digital goblin.

The practice caught notice after the premiere of the first two episodes of "The Lord of the Rings: The Rings of Power"... The series appears to have been review bombed — when trolls flood intentionally negative reviews for a show or film — on other sites like Rotten Tomatoes, where it has an 84% rating from professional critics, but a 37% from user-submitted reviews. "The Rings of Power" has been fending off trolls for months, especially ones who take issue with the decision to cast actors of color as elves, dwarves, harfoots and other folk of Tolkien's fictional Middle-earth. Amazon's new initiative to review its reviews, however, is designed to weed out ones that are posted in bad faith, deadening their impact.... Whether Amazon successfully beat back the tide of internet trolls for "The Rings of Power" will likely be revealed on Sunday.
Reuters reports that future episodes of the series will be released weekly until the October 14 season finale.

"Amazon plans to let the full story unfold in 50 hours over five seasons."

"Every movie, every showtime, every format — $3.00" announces the web site for America's "National Cinema Day."

UPI explains: While not all theaters will be participating in the day, most major American chains, including AMC, Regal, Cinemark and Marcus are all taking part.... In addition to major cinema chains, dozens of independent, small and art-house theaters will be offering $3 tickets as well. Vox noted that the day should be busy, considering that a large chunk of the film industry has recovered from COVID-19. The outlet reported that total domestic ticket sales this summer exceeded $3 billion — though this is still an estimated 20% less than summer 2019.
More details from CNBC: Jackie Brenneman, president of the nonprofit Cinema Foundation, tells CNBC Make It that the idea for a national movie theater holiday was in the works well before 2020, but that the Covid-19 pandemic forced those plans to be postponed.

After Regal Cinemas parent company Cineworld held a similar event in the UK in February to great success, Brenneman said planning began in earnest to replicate the promotion across the pond. "It gave a model template for how we could do something at that scale in the United States," she says....

The flat $3 price for any movie in any format is also meant to encourage moviegoers to check out premium formats such as Dolby and IMAX. "It's an opportunity to get people to try out the new technologies and see how they like it," Brenneman says....

There are thus far no plans in place to repeat National Cinema Day next year, but Brenneman says the hope is this won't be a one-off event.

A new study looks at interactions between microscopic neurons in salamanders to understand how the "arrow of time" is biologically generated. Motherboard reports: The second law of thermodynamics says that everything tends to move from order to disorder, a process known as entropy that defines the arrow of time. A stronger arrow of time means it would be harder for a system to go back to a more ordered state. "Everything that we perceive as a difference between the past and the future stems fundamentally from that one principle about the universe," said Christopher Lynn, the lead author of the study. Lynn said that his motivation for the study was "to understand how the arrows of time we see in life" fit into this larger idea of entropy on the scale of the entire universe.

Using previously done research on salamanders, Lynne and colleagues at City University of New York and Princeton examined how the arrow of time is represented in interactions between the amphibians' neurons in response to watching a movie. Their research is soon to be published in the journal Physical Review Letters. On one hand, it's somewhat obvious that an arrow of time would be biologically produced. "To be alive, almost, you have to have an arrow of time because you develop from a baby to an adult, and you're constantly moving and taking in stimuli," Lynne said. Indeed, entropy here is irreversible -- you cannot go back. What the team found was anything but intuitive, however.

Lynne and colleagues looked at a separate 2015 study where researchers had salamanders watch two different movies. One depicted a scene of fish swimming around, similar to what a salamander might experience in everyday life. As in the real world, the video had a clear arrow of time -- that is, if you watched it in reverse, it would look different than if you played it forwards. The other video contained only a gray screen with a black, horizontal bar in the middle of the screen, which moved quickly up and down in a random, jittery way. This video didn't have an obvious arrow of time. A major question for the researchers was if they could pick out signs of "local irreversibility" in interactions between small groups of retinal neurons in response to this stimulus. Would interactions with irreversibility -- they would look different if played in reverse, having an "arrow of time" -- present in simpler or more complex interactions between neurons? "You can go look at a system and you can ask: are the more complicated interactions strongly producing the arrow of time, or is it the simpler dynamics?" said Lynn.

The researchers found that the interactions between simple pairs of neurons primarily determined the arrow of time, no matter which movie the salamanders watched. In fact, the authors found a stronger arrow of time for the neurons when salamanders watched the video with the gray screen and black bar -- in other words, the video without an arrow of time in its content elicited a greater arrow of time in the neurons. "We naively thought that if the stimulus has a stronger arrow of time, that would show up on your retina," said Lynn. "But it was the opposite. So that's why it was surprising to us." While the researchers can't say for sure why this is, Lynn said that it might be because salamanders are more used to seeing something like the fish movie, and processing the more artificial movie took greater energy. In a more disordered system, which would have a greater arrow of time, more energy is consumed. "Being alive will still define an arrow of time," Lynne said, no matter the stimulus.

Some of the most acclaimed films in animation history are finally available to rent online. GKIDS, the animation specialist distributer, has released the catalog of acclaimed Japanese animation house Studio Ghibli starting Tuesday. From a report: 22 films from the studio -- including Oscar winner "Spirited Away" and nominees such as "Howl's Moving Castle" and "When Marnie Was There" -- will be made available to rent on all major digital platforms, including Apple TV, Amazon VOD, Vudu, Google Play and Microsoft. The films will be be priced at $4.99 per title, and all will be available in HD, with most being offered in the original Japanese language as well as English dubs.

The news marks the first time that Ghibli's films have been made available via digital rental. The catalogue has been one of the pillars of GKIDS' business since the distributer acquired the North American film distribution rights to the studio's films in 2011, followed by the home media rights in 2017 -- previously, the majority of Studio Ghibli films were distributed via the Walt Disney Company. Since 2017, GKIDS has partnered with Fathom Events to host a series of limited run screenings of the studio's films throughout the year. The catalog was made available for digital purchase in 2019, and GKIDS has an exclusive deal to stream the films in the United States on HBO Max, where they have been included since 2020.

As part of Sony's push into mobile gaming, the company has formed a PlayStation Studios Mobile Division that will operate separately from console game development. According to a press release, the new team will create mobile games with "new and existing PlayStation IP." From a report: Sony's move to form a mobile gaming division aligns with the company's overall goal of extending its IP to PC and mobile games, as well as TV series and movies. Earlier this year, Sony announced that it wants half of its games to be on PC and mobile by 2025, with Sony Interactive Entertainment president Jim Ryan stating that it could result in a "significant growth in the number of people who play our games." The company's also looking to expand into live service games -- games like Fortnite, Rocket League, or Destiny 2 that are continually updated to keep players interested -- with its $3.6 billion acquisition of Bungie.

To help fill out its new mobile division, Sony has also acquired Savage Game Studios, whose co-founders previously worked at Zynga, Insomniac, and Wargaming. It doesn't look like the studio launched any games just yet, but it received $4.4 million in funding for a mobile shooter game last year. The press release expands on this a bit, noting that the studio is currently working on "an unannounced new AAA live service action game," but doesn't offer any additional details on what to expect. Hermen Hulst, the head of PlayStation Studios, said the company's "proud" of its "upcoming releases on PC," which should give gamers without a Playstation console a chance to experience games like Uncharted: Legacy of Thieves Collection and Marvel's Spider-Man. "Our mobile gaming efforts will be similarly additive, providing more ways for more people to engage with our content," he said, "and striving to reach new audiences unfamiliar with PlayStation and our games."

Fans think 2022 has been one of the best years for blockbusters this century. Critics think it's been one of the worst. From a report: When Sony released its film adaptation of the video game "Uncharted" in February, critics were quick to tear it apart. The Wall Street Journal called it "bloodless, heartless, joyless, sexless and, with one exception, charmless." New York Magazine deemed it "curiously empty." MovieFreak.com dismissed it as "a bona fide disaster." And yet, audiences ate it up. The movie, which stars Tom Holland and Mark Wahlberg, opened to $44.2 million at the domestic box office and went on to gross $401.8 million worldwide. It is one of the 10 highest-grossing movies of the year. "Uncharted" also initiated one of the biggest disputes between critics and fans in modern movie history. Audiences have given higher scores than critics to all 10 of the year's biggest movies. The average audience rating for "Jurassic World Dominion" on Rotten Tomatoes and IMDb is a 67. The average critics score on Rotten Tomatoes and Metacritic is 34. That is a difference of 33 points. "Jurassic World Dominion" is one of three movies (along with "Uncharted" and "The Gray Man") where audiences and critics disagree by more than 30 points.

It may seem as though critics typically pan the year's biggest hits. But that is not the case. While audiences do tend to give blockbusters a higher score than critics, the average gap in their ratings is usually around 5 points. There has been at least one year where critics gave the biggest movies higher ratings than audiences. And there have been many years where the difference is negligible. In 2022? It is not so much a gap as a chasm. Audiences have given the top 10 movies an average score more than 19 points higher than critics, by far the biggest difference this century. The only two of the year's 10 biggest movies where audiences and critics are even close are "Top Gun: Maverick" and "The Batman."

The rise and catastrophic fall of what was once Canada's most valuable company is set for the big screen. CBC.ca reports: Blackberry will tell the story of Waterloo, Ont.-based Research in Motion (RIM), creators of the titular device, which for a time was the world's most popular smartphone. The film stars Canadian actor Jay Baruchel as company co-founder Mike Lazaridis and It's Always Sunny in Philadelphia's Glenn Howerton as co-CEO Jim Balsillie. The film was adapted from the 2015 book Losing the Signal: The Spectacular Rise and Fall of BlackBerry, by Sean Silcoff and Jacquie McNish. Toronto's Matt Johnson directs and also appears in the film as RIM's other co-founder, Doug Fregin. The cast also includes Cary Elwes, Saul Rubinek and Michael Ironside.

RIM was founded in 1984 by business partners Lazaridis and Fregin, who had previously worked together on a failed LED sign business. After a decade of dabbling in various other technology projects, they turned their attention to the two-way communications systems that would become the foundation for the BlackBerry device.

The first fruit of YouTube's new podcast strategy has taken shape with a new "Explore" page "Podcasts." 9to5Google reports: youtube.com/podcasts is now live and is linked to on the existing Explore page alongside: Trending, Music, Movies & Shows, Live, Gaming, News, Sports, Learning, and Fashion & Beauty. It appears to have first gone live in late July, and is slowly becoming more widely available as it's not showing up for all users we checked with today. Available on desktop web and mobile, it's very rudimentary at this point. There are carousels, which can be expanded via "Show all," for "Popular episodes," "Popular podcast playlists," "Recommended," and "Popular podcast creators." The rest of this page links to various categories: Comedy, True Crime, Sports, Music, and TV & Film.

You're just browsing through regular video thumbnails rather than anything more optimized. Meanwhile, tapping one just opens the regular player on Android, and doesn't even default to the "Listening controls" available for YouTube Premium subscribers. You get large buttons and shortcuts to like, save, and quickly adjust playback speed. The podcast experience for end users will presumably get more optimized over time, while it remains to be seen what the UI in YouTube Music is going to be.

MoviePass, a subscription service for movie theaters which shut down three years ago, is making a return. From a report: Remember the golden days of MoviePass, in early 2018, when $9.95 a month got you unlimited movies? And then, remember when right after, MoviePass reported a $40 million dollar loss in May 2018 and tried and failed over and over again to restructure, before finally calling it quits in 2019? Well, MoviePass is back! Starting on Aug. 25 at 9 am EDT, you can sign up for a waitlist at the MoviePass website for the beta version of the new model. But it's not the same MoviePass we once knew and loved, which, let's be real, was always too good to be true. Instead, this time there will be three subscription price tiers -- $10, $20, and $30 -- each with a different number of "credits" to use each month to see movies. MoviePass has not revealed how many credits each tier gets, nor how many credits are needed to reserve a ticket.

Slashdot reader alaskana98 writes: You may remember it — at the end of Return of the Jedi: Special Edition, a rare glimpse of Coruscant — the seat of the galactic empire — is shown in a celebratory state as news of the empire's defeat at Endor reverberated throughout the patchwork of worlds that make up the Star Wars universe.

One might imagine that most viewers at that time might have thought — "Oh, cool, so that's what Coruscant looks like" — then went on with their lives rarely to think about that scene ever again. In a recent ScreenRant article ,they take a deeper dive into what happened on Coruscant...
Yes, it turns out that both the later movies and licensed books revealed that Darth Vader's Galactic Empire survived: [C]itizens who set off fireworks, toppled statues of the Empire, and attacked stormtroopers were met with violent retaliation from Imperial forces, resulting in numerous extrajudicial killings and executions of civilians. Coruscant continued to serve as an Imperial stronghold until its liberation by the New Republic, which happened a year later in canon and two years later in Legends.... [T]he X-Wing novels mention that the Empire brutally quelled this initial uprising, and the Star Wars: Mara Jade — By the Emperor's Hand comic series showed Stormtroopers executing civilians via firing squad. Aftermath similarly describes civilians fighting against Imperial security forces after toppling a statue of Palpatine....

Netflix isn't planning to let users of its new ad-supported tier download shows and movies to their devices for offline viewing, according to code found inside of the company's iPhone app, removing a feature that customers enjoy on its regular service. From a report: The move suggests Netflix is doing what it can to distinguish the upcoming service from its current offerings. The streaming giant, which eschewed advertising for years, is planning to roll out the ad-supported level by early next year. But hints about the new service are already reflected in code hidden within its iPhone app. "Downloads available on all plans except Netflix with ads," according to text in the app that was discovered by developer Steve Moser and shared with Bloomberg News. The code also suggests that users won't be able to skip ads -- a common move in the streaming world -- and playback controls won't be available during ad breaks.

Walmart reached a deal with Paramount Global to include the Paramount+ streaming service as part of the retailing giant's Walmart+ membership program starting in September. Variety reports: The Paramount+ Essential plan, which includes ads, will be available for no extra cost to Walmart+ members. In the U.S., Paramount+ Essential is regularly $4.99/month. The Essential plan does not include local live CBS stations (available only in Paramount+ Premium, $9.99/month), but it does provide NFL and UEFA Champions League games available via separate live feeds.

The move by Walmart is intended to make Walmart+, which launched in September 2020, more competitive with Amazon's Prime by adding a streaming-entertainment component. Walmart+ costs $12.95 per month (or $98 per year), providing subscribers with same-day delivery on more than 160,000 products. Program members also can save up to 10 cents per gallon on gas at more than 14,000 participating stations nationwide and get up to six months of Spotify Premium for free. "In announcing Q2 earnings, Paramount said that Paramount+ now has 43.3 million paid customers, a net add of 3.7 million for the June quarter (including 1.2 million disconnects in Russia)," adds the report. Walmart does not disclose the number of Walmart+ members, but according to a Morgan Stanley survey in May, "the service has around 16 million members compared with about 15 million in November 2021."