"The official Python software package repository, PyPI, is getting flooded with spam packages..." Bleeping Computer reported Thursday.

"Each of these packages is posted by a unique pseudonymous maintainer account, making it challenging for PyPI to remove the packages and spam accounts all at once..." PyPI is being flooded with spam packages named after popular movies in a style commonly associated with torrent or "warez" sites that provide pirated downloads: watch-(movie-name)-2021-full-online-movie-free-hd-... Although some of these packages are a few weeks old, BleepingComputer observed that spammers are continuing to add newer packages to PyPI... The web page for these bogus packages contain spam keywords and links to movie streaming sites, albeit of questionable legitimacy and legality...

February of this year, PyPI had been flooded with bogus "Discord", "Google", and "Roblox" keygens in a massive spam attack, as reported by ZDNet. At the time, Ewa Jodlowska, Executive Director of the Python Software Foundation had told ZDNet that the PyPI admins were working on addressing the spam attack, however, by the nature of pypi.org, anyone could publish to the repository, and such occurrences were common.

Other than containing spam keywords and links to quasi-video streaming sites, these packages contain files with functional code and author information lifted from legitimate PyPI packages... As previously reported by BleepingComputer, malicious actors have combined code from legitimate packages with otherwise bogus or malicious packages to mask their footsteps, and make the detection of these packages a tad more challenging...

In recent months, the attacks on open-source ecosystems like npm, RubyGems, and PyPI have escalated. Threat actors have been caught flooding software repositories with malware, malicious dependency confusion copycats, or simply vigilante packages to spread their message. As such, securing these repositories has turned into a whack-a-mole race between threat actors and repository maintainers.

Amazon is weeks into negotiations on a deal to acquire MGM for about $9 billion, industry sources tell Variety. From the report: Chatter that Amazon (and other tech giants) have been sniffing around MGM has circulated for some time. But sources indicated that Amazon's interest in acquiring the studio has taken on a new tenor beyond the usual rumor mill. The deal is said to be being orchestrated by Mike Hopkins, senior VP of Amazon Studios and Prime Video, directly with MGM board chairman Kevin Ulrich, whose Anchorage Capital is a major MGM shareholder. MGM had already effectively nailed up a "for sale" sign: Variety confirmed in December that the company was looking for a buyer.

Rotten Tomatoes is continuing on its quest to grow into something substantially bigger than its Tomatometer movie and TV rating scores. From a report: The website -- owned by NBCUniversal's Fandango -- expands its entertainment footprint with the launch of The Rotten Tomatoes Channel, a new over-the-top streaming service that will initially debut on on The Roku Channel. The OTT service will then come to NBCU's Peacock platform and Comcast-owned Xumo, with other distribution deals in the works including with internet pay-TV providers, according to Fandango. The first 24-hour linear video channel from Rotten Tomatoes will loop about 100 hours of premium programming around the clock on the channel, culled from RT's stable or original shows.

With the launch of The Rotten Tomatoes Channel, Fandango wants to expand its audience reach and provide new entry-points into the entire Fandango ecosystem (i.e., to push movie tickets and digital sales or rentals). Some of the shows on The Rotten Tomatoes Channel will include "Countdown," a show discussing the best upcoming movies and shows according to the Tomatometer and panelists; "The Vault," a nostalgic look back at star interviews, red carpet chats, games and more from the Rotten Tomatoes archives; "Trailers Reloaded," recapping the biggest movies and shows with an extensive collection of trailers; and "Rotten Tomatoes Essentials," a look back at movies, shows, stars and directors that defined genres and eras.

Which country will shoot the first movie in outer space? Russia is now "in a race with the United States to claim the achievement," reports NBC News.

36-year-old actress Yulia Peresild and 37-year-old director Klim Shepenko will complete Russia's cosmonaut-training program, ultimately taking two of the three seats aboard the October launch of Russia's Soyuz mission to the International Space Station: The Russian space agency, Roscosmos, announced Thursday that it had selected its crew to headline the film, which will be called "Challenge..."

Very little is known about the plot, which in many ways seems secondary to the spectacle. When Russia announced the project last year, Konstantin Ernst, the head of Russia's Channel One — which is working with Roscosmos on the film — said that it would not be a science fiction film, but a realistic depiction of near-term space travel. "It's a movie about how a person in no way connected with space exploration, due to various reasons and personal debt, ends up a month later in orbit," Ernst said in a September 2020 interview. "That's all I can tell you...."

The decision to fill the October Soyuz flight with a movie crew comes at an uncertain time for Russia's space program... In October, NASA paid for its final flight aboard Soyuz... Russia is now left to look for other means to help subsidize launch costs. One of those obvious sources — beyond funding from the state television network Channel One — is space tourism. Another Soyuz will launch in December, and rather than fill those seats with Russian cosmonauts, Moscow announced Thursday that two Japanese space tourists will take the ride.

A few days ago, Disney added a new anti-piracy patent to its arsenal: a blockchain-based distribution system that aims to make it harder for pirates to intercept films being distributed to movie theaters. TorrentFreak reports: The patent in question, titled "Blockchain configuration for secure content delivery," focuses on the distribution of content to movie theaters. This is a vulnerable process where pirates with the right connections can make copies during or after delivery. There are already several security mechanisms in place to prevent leaks from happening. Theaters have to adhere to strict rules, for example, and movies are all watermarked. Nevertheless, Disney believes that this isn't sufficient to stop pirates. "[S]uch security mechanisms are often reactive rather than preventative. For example, watermarking configurations insert a watermark into content to track piracy after the piracy has already occurred. As a result, current configurations do not adequately prevent piracy," the company explains.

Disney argues that by implementing a secure blockchain-based system, the distribution process can be more tightly controlled. Among other things, it will make it impossible for a movie to be played before it arrives at the intended location. "In contrast with previous configurations, the blockchain configuration verifies that the content is received at the intended destination prior to allowing playback of the content at that destination," the patent reads.

The system can also be configured with other anti-piracy features. For example, it can track the number of times a movie is played to prevent bad actors from showing it more often than they should. "Further, the blockchain configuration has an automated auditing mechanism that tracks playback of the content at the destination to ensure that the quantity of playbacks is accurately recorded. Therefore, piracy by the intended recipient, in the form of a greater quantity of actual playbacks than reported playbacks, is prevented.' While Disney regularly refers to movie theaters and projectors, it specifically states that the patent also applies to other 'playback environments.' For example, when Disney content is sent to other streaming providers, which will need the proper credentials to play the content. There are several possible practical implementations but whether Disney has concrete plans to use these in the real world is unknown.

Rotten Tomatoes has unearthed a 1941 review of Orson Welles' classic that single-handedly took down its decades-long perfect critics' score. From The Hollywood Reporter: Citizen Kane's score across 116 reviews has been reduced to a mere 99 percent "Fresh." The ranking slip is due to a single negative review that was recently unearthed by Rotten Tomatoes as part of the site's Archival Project, which focuses on resurrecting critics and publications of the past and adding archived reviews to classic films. The project discovered a Citizen Kane review that ran in the Chicago Tribune in 1941 and is only available online as a scanned newspaper clipping. Last month, the review was quietly added to Kane's page.

The review's headline is incredibly on point, given the circumstances: "Citizen Kane Fails to Impress Critic as Greatest Ever Filmed." If that sounds like somebody went to the theater with rather high expectations, the review confirms as much. "You've heard a lot about this picture and I see by the ads that some experts think it 'the greatest movie ever made,'" reads the review. "I don't. It's interesting. It's different. In fact, it's bizarre enough to become a museum piece. But its sacrifice of simplicity to eccentricity robs it of distinction and general entertainment value." The review went on to pan the film's iconic use of shadow ("it gives me the creeps and I kept wishing they'd let a little sunshine in"), yet praised Welles in the title role ("a zealous and effective performer").

The critic apparently didn't put their real name on the piece, but, as Boing-Boing pointed out, used the common-at-the-time pseudonym Mae Tinee (say it aloud). But whoever wrote it managed to pen a bomb that took 80 years to effectively detonate and blow up Citizen Kane's perfect score. According to Rotten Tomatoes, the first Citizen Kane reviews were added to the site in 2000 and the film most likely had a consistent 100 percent score for the past two decades -- until Mr./Ms. Tinee's dismissive takedown was discovered.

The New York Times reports: Netflix still rules the streaming universe. As of the end of March, it had 207.6 million total paying subscribers, with about 67 million in the United States, the company noted in an earnings report on Tuesday. But its main competitors — Disney+, HBO Max, Paramount+ and AppleTV+, as well as the old-guard streamers Amazon Prime Video and Hulu — have cut into Netflix's share of viewers' attention... according to the data firm Parrot Analytics, which has developed a metric to rate not only the number of viewers for given shows, but their likelihood of attracting subscribers to a streaming service.

In its latest rankings, Parrot reported that Netflix's share of total demand — a measure of the popularity of its shows — was slightly above 50 percent for the first three months of the year, compared with 54 percent a year ago and 65 percent in the first quarter of 2019. In other words, competitors have started eating into Netflix's dominance.

That showed up in the numbers. For the first quarter of 2021, Netflix reported the addition of four million new customers, below the six million it had forecast. The company expects to add only one million new customers for this current quarter ending in June. Netflix shares plummeted about 10 percent in after-hours trading on Tuesday, after the earnings announcement...

Although competitors are gaining ground, Netflix is in its best financial shape of its history. It hit a milestone at the end of last year, when it said it would no longer look to borrow money to fund its content slate. Another way to look at it: Netflix finally became a truly profitable business after topping 200 million subscribers, each paying an average of $11 a month. In other words: Its competitors are still losing lots of money on streaming.

destinyland writes: Mystery Science Theater 3000 will be coming back — with a new home online. Though Netflix didn't pick them up for another season after 2019, "We still want to keep making new episodes," series creator Joel Hodgson explains in an online video on Kickstarter. (Also available through the URL MakeMoreMST3K.com.)

And with 12 days left to go, 18,969 online fans have already pledged $3,348,705, funding six new episodes...

But in addition the first $2 million funded the creation of the Gizmoplex, "our very own virtual online theatre," while the first stretch goal was also funded — the creation of MST3K apps for Android, iOS, and streaming services like AppleTV and Roku. "I'm tired of other people deciding if our show lives or dies," explains Crow T. Robot in the Kickstarter video. "I wanna do that." New host Jonah Heston adds, "If we want MST3K to keep going long-term, maybe networks aren't the most reliable option. Maybe it should be up to the fans to decide how long we keep going..."

Their next stretch goal of $4.4 million would fund three more episodes, but will also allow them to invite backers to the Gizmoplex for live monthly events, "for at least a year." And if they reach their goal of $5.5 million, they'll fund three more episodes — so an entire 12-episode season — as well as 12 short-subject films.

The ultimate hope is to host frequent live screenings, premieres, and community events in the Gizmoplex — while fans can even host their own MST3K watch parties whenever they want. And their Kickstarter page even suggests they might someday extend the Gizmoplex into virtual reality (accessible on computer and headsets).
I still remember how back in 2008 Joel Hodgson answered questions from Slashdot readers. "I've been a fan so long, I can't even remember when," posted CmdrTaco.

If possession is nine-tenths of the law, what happens when possession gets slippery? From a report: That's a question for a federal courtroom in Sacramento, California, where Apple is facing a putative class action over the way consumers can "buy" or "rent" movies, TV shows and other content in the iTunes Store. David Andino, the lead plaintiff in this case, argues the distinction is deceptive. He alleges Apple reserves the right to terminate access to what consumers have "purchased," and in fact, has done so on numerous occasions. This week, U.S. District Court Judge John Mendez made clear he isn't ready to buy into Apple's view of consumer expectations in the digital marketplace. "Apple contends that '[n]o reasonable consumer would believe' that purchased content would remain on the iTunes platform indefinitely," writes Mendez. "But in common usage, the term 'buy' means to acquire possession over something. It seems plausible, at least at the motion to dismiss stage, that reasonable consumers would expect their access couldn't be revoked." Apple tried other ways to slip away from claims of false advertising and unfair competition. For example, it tried the time-tested approach of challenging Andino's "injury" to knock his potential standing as a plaintiff.

Microsoft's Xbox Cloud Gaming service, previously known as xCloud, will begin rolling out in beta to iPhones, iPads and PCs this week. The service will be invite-only to start, Microsoft said in a blog post on Monday. From a report: Xbox Cloud Gaming was on track to launch for iPhones and iPads earlier, but Apple updated its App Store rules in September that impacted services like Xbox Gaming and Google Stadia. Apple's move forced the companies to use web browsers to redesign their services so that they could circumvent the App Store rules. Under the rules, Microsoft, Google and other companies with similar services would have had to offer each game as an individual download instead of offering a complete library the way Netflix does for movies.

Xbox Cloud Gaming is sort of like Netflix for games. People who subscribe to Microsoft's $14.99/month Xbox Game Pass Ultimate plan can access more than 100 titles. The cloud gaming aspect lets you stream the games without having to download them, provided you have a fast enough internet connection. The streaming option is already available for Android phones.

EW reports: Felix Silla's friend and former Buck Rogers in the 25th Century costar Gil Gerard reported on Twitter that Silla died Friday after a battle with pancreatic cancer.

Coming in at just under 4 feet tall and only 70 pounds, Silla was the perfect choice for the mumbling Cousin Itt on The Addams Family. For years, audiences didn't see his face, the character covered in a full-length hairpiece, sporting sunglasses and a bowler hat... Silla did not provide the distinct mumbling voice of Cousin Itt. That was added by sound engineer Tony Magro in production...

He first came to the United States in 1955 and began his career touring with the Ringling Bros. and Barnum & Bailey Circus for seven years. He worked as a trapeze artist, tumbler, and bareback horse rider. Eventually, he settled in Hollywood in 1962, where he became a stuntman. He went on to work in movies like A Ticklish Fair, TV shows like Bonanza, and appeared in the first pilot for Star Trek, "The Cage." His small stature often helped him find work, including as Cousin Itt, robot sidekick Twiki on the NBC series Buck Rogers in the 25th Century, and even as a hang-gliding Ewok in Star Wars: Return of the Jedi...

He also excelled as a stand in, double, and stuntman working on projects such as Planet of the Apes, Demon Seed, Indiana Jones and the Temple of Doom, The Towering Inferno, The Hindenburg, E.T. the Extra-Terrestrial, Poltergeist, The Golden Child, Howard the Duck, and Batman Returns.
In 2018 one Las Vegas blog spotted Silla with Gil Gerard, posting a picture of the two side by side -- just as they'd posed decades earlier on Buck Rogers in the 25th Century.

While for that show Mel Blanc had provided the voice for Twiki the robot, the blog notes that Silla himself supplied the voice of Mortimer Goth in the Sims 2 videogame.

The lion's share of U.S. consumers say the streamer has the best original programming, according to a new Morgan Stanley survey. Variety reports: Netflix remains the most frequently cited as offering the best original programming -- with 38% of survey respondents picking it as No. 1, per the Wall Street analyst firm's 2021 streaming survey. That's roughly in line with Morgan Stanley's previous surveys. On the 2021 survey, 12% of respondents said Amazon Prime Video offers the best original programming, followed by Disney Plus, Hulu and HBO Max which each scored 6%-7% of total responses.

Among Netflix customers, the top reasons cited for subscribing to Netflix were "broad selection of content" (55%), "good original programming" (51%), "adds content I like" (49%) and "no commercials" (46%). In 2021, Netflix is projected to spend about $19 billion on content according to a forecast by financial research firm Bankr, up about 10% from last year. Netflix retains the No. 1 spot as the most widely used streaming service with 58% of respondents saying they use the service. Amazon Prime Video came in at 45% (up 400 basis points year over year), Disney Plus was at 31% (up 650 basis points), and HBO/HBO Max was 20% (up 500 basis points).

Google has announced that the Google Play Movies and TV app will no longer be available on any Roku set-top box or any Samsung, LG, Vizio or Roku smart TV starting July 15th. The Verge reports: If you have movies or TV shows purchased or rented through the service, you'll still be able to access them through the "Your movies and shows" section of the YouTube app on those devices. This change will also affect you if if you used the Movies and TV app to access Movies Anywhere, the service that allows you to redeem codes from DVDs and Blu-rays so you can access your media digitally. Google has confirmed to The Verge that users who relied on Play Movies and TV to access that content will be able to do so through YouTube.

There are a few other caveats to note in the transition to YouTube. Your Watchlist will no longer be viewable in the app (though it can still be seen on the web by Googling "my watchlist"), and while your family can still share the content you bought from the Movie and TV store, any purchases made in the YouTube app won't be shared with your family. [The Verge's article breaks down all the various ways you can access the content you purchased through the Play Store after July 15th.]

Zachary Horwitz never made it big on the Sunset Strip -- there was the uncredited part in Brad Pitt's "Fury" and a host of roles in low-budget thrillers and horror flicks. But federal charges suggest he had acting talent, duping several financial firms out of hundreds of millions of dollars and enabling him to live the Hollywood dream after all. From a report: That meant chartered flights and a $6 million mansion -- replete with wine cellar and home gym. Horwitz even included a bottle of Johnnie Walker Blue Label, which retails for more than $200, as a gift to investors along with his company's "annual report."

The claims are outlined in legal documents that U.S. prosecutors and the Securities and Exchange Commission released this week alleging Horwitz, 34, was running a massive Ponzi scheme. His scam: a made-up story that he had exclusive deals to sell films to Netflix and HBO. Dating back to 2014, the SEC said he raised a shocking $690 million in fraudulent funds. On Tuesday, Horwitz was arrested. Horwitz, who went by the screen name "Zach Avery," used fabricated contracts and fake emails to swindle at least five firms, according to the government. Investors were issued promissory notes through his firm 1inMM Capital to acquire the rights to movies that would be sold to Netflix and HBO for distribution in Latin America, Australia, New Zealand and other locations.

The file-sharing blog TorrentFreak reports: Google was asked to remove a TorrentFreak article from its search results this week. The article in question reported that "The Mandalorian" was the most pirated TV show of 2020.

This notice claims to identify several problematic URLs that allegedly infringe the copyrights of Disney's hit series The Mandalorian. This is not unexpected, as The Mandalorian was the most pirated TV show of last year, as we reported in late December. However, we didn't expect to see our article as one of the targeted links in the notice. Apparently, the news that The Mandalorian is widely pirated — which was repeated by dozens of other publications — is seen as copyright infringement?

Needless to say, we wholeheartedly disagree. This is not the way.
TorrentFreak specifies that the article in question "didn't host or link to any infringing content." (TorrentFreak's article was even linked to by major sites including CNET, Forbes, Variety, and even Slashdot.)

TorrentFreak also reports that it wasn't Disney who filed the takedown request, but GFM Films... At first, we thought that the German camera company GFM could have something to do with it, as they worked on The Mandalorian. However, earlier takedown notices from the same sender protected the film "The Last Witness," which is linked to the UK company GFM Film Sales. Since we obviously don't want to falsely accuse anyone, we're not pointing fingers.
So what happens next? We will certainly put up a fight if Google decides to remove the page. At the time of writing, this has yet to happen. The search engine currently lists the takedown request as 'pending,' which likely means that there will be a manual review. The good news is that Google is usually pretty good at catching overbroad takedown requests. This is also true for TorrentFreak articles that were targeted previously, including our coverage on the Green Book screener leak.

An anonymous reader shares a report: Following the dismantling of several private trackers in 2020, a man has been sentenced for sharing thousands of TV shows and movies via now-defunct torrent site DanishBits. In a separate case, another man has been convicted of sharing 9,440 movies with a relatively small circle of family and friends using the popular Plex media server.

According to Deadline, Warner Bros. will return to releasing its theatrical films exclusively in theaters next year, ending the studio's 2021 experiment of releasing major films simultaneously on its HBO Max streaming service and in theaters for the first 30 days they're released. The Verge reports: The news comes as part of an announcement from Warner Bros. of a new deal with Regal cinemas owner Cineworld, the second largest theater chain in the world. After over six months of shutdowns, Regal's theaters will reopen in April, and they'll begin showing Warner Bros. films like Kong vs. Godzilla and Mortal Kombat alongside their HBO Max debuts. When Warner Bros. films come back to theaters in 2022, Regal theaters will once again have full exclusivity (with no HBO Max or paid streaming rental competition). But that exclusivity window will be for a much shorter amount of time: Regal will only have a 45-day theatrical exclusivity window, half of the 90-day standard that existed in years past.

When the Star Trek franchise was awarded a special Emmy in 2018, it was William "Captain Kirk" Shatner who'd co-delivered its acceptance speech, remembers ComicBook.com. "Thank you so much. 52 years. What a gift. We're grateful... Star Trek has endured because it represents an idea — one that's greater than the sum of our parts... we watch and we reach to see the best version of ourselves..."

And now three years later, they report that Shatner "will celebrate his 90th birthday back on the bridge of the USS Enterprise." Sort of... Shatner will partake in a two-day event at the Star Trek: The Original Series Set Tour site in Ticonderoga, New York. The exhibit is famed among fans for its replica of the bridge set where Shatner gave orders as Captain James T. Kirk in Star Trek: The Original Series.

The two-day event begins on July 23rd (a belated celebration coming a few months after his actual birthday in March), with the COVID-19 mask and social distancing rules still in effect... The limited $1500 all-inclusive packages will let fans participate in Shatner's 90th Birthday Dinner Celebration, take a set tour with Shatner, plus a Bridge Chat, a photo, and an autograph. Regular admission is $80 for a standard tour with a la carte photos and autographs available... The replica set is likely the closest fans will ever come to seeing Shatner return to a Starfleet bridge.
So what is William Shatner doing on Monday, the actual date of his 90th birthday? The New York Daily News reports: He's got a series airing on the History channel, he's heading overseas to shoot an episode of a television show, and is in the middle of promoting his latest feature film, a romantic comedy called "Senior Moment..."

The indie film features Shatner as Victor, a former test pilot who dates younger women and loves burning rubber behind the wheel of his beautiful 1955 Porsche.
The movie also stars Watchmen actress Jean Smart, along with Christopher Lloyd (who memorably played a Klingon in the 1984 movie Star Trek III: The Search for Spock.)

And meanwhile Priceline.com plans a special series of deals this week to honor Shatner's years as their spokesperson (as well as his singing in their earliest dotcom-era commercials, which revived Shatner's spoken-word singing career).

In Captain Kirk's final appearance in 1994's Star Trek: Generations, one of the last things he says is "It was fun." But it looks like in real life, William Shatner is living long and prospering.

Here's that great moment in Slashdot history when Shatner actually answered questions from Slashdot's readers. Have your own favorite William Shatner memory? Share it in the comments to help celebrate his 90th birthday!

From a report: On Saturday, Zack Snyder himself will head to Twitch to unveil the first look at Justice League: Justice Is Gray... the grayscale version that will soon arrive on HBO Max. The "pre-show" for the event kicks off at 2:30 p.m. Pacific Time on the MANvsGAME channel, with the Snyder and and Justice League star Joe Manganiello joining the broadcast for the big reveal at 4:00 p.m. Pacific. StreamElements designed audience tools to use during the stream, including an engaging donation functionality that will benefit the American Foundation for Suicide Prevention.
The Chicago Tribune argues all you needed to know about Joss Whedon's original 2017 version is encapsulated in the 68-second YouTube video "Sad Affleck." (An SFGate columnist calls the new version "vastly better.") But the Tribune calls Snyder's four-hour director's cut "a 14-year-old's idea of gravitas. Epic, violent, full of naughty words, told with the lyricism of a pharmaceutical ad about bloating. And more importantly, for now, it's complete."

Yahoo Entertainment's Insider has compiled "The 45 biggest differences between 'Zack Snyder's Justice League' and the 2017 theatrical version." But Variety just specifically asked Zack Snyder, "Why is Justice League so violent?" [T]he violence in "Justice League" is bloodier and more violent than audiences are typically accustomed to with superhero movies, which are almost always rated PG-13 — and therefore largely bloodless. Snyder wanted to push the envelope. "It's a pure exercise in creative freedom," the director told Variety this week... Snyder says knowing his film would be streaming on HBO Max freed him from having to make his "Justice League" work for a PG-13 rating.

"Let's just do it the exact way we would if there was no ratings board," he said of his team's thinking. "Let's not use any second guessing. Let's just do it the way we think is the coolest. That was the philosophical approach." Part of the reason that "Justice League" is so violent is to realistically demonstrate what it would be like to actually face off against god-like superheroes.
ComicBook.com reports that Snyder is now also planning "a multi-day SnyderVerse movie marathon later in 2021, where showings of Man of Steel and Batman v Superman: Dawn of Justice will culminate in a theatrical IMAX screening of Zack Snyder's Justice League. The filmmaker is a "huge admirer" of the Justice Is Gray Edition in IMAX, calling it the "ultimate version" of Justice League that is "sort of the penultimate ridiculous movie that shouldn't exist at its highest most fetishistic level."
Snyder tells Esquire his four-hour re-edit was "a labor of love and I would do it again in a second. I wouldn't hesitate. And look, we were doing it for free. I really didn't care. I just wanted to get it, fix it."

Esquire adds that "Even if you decide not to dive into a four hour super hero movie, at least take away a lesson from the making of the Snyder Cut: in a time when so much of us have experienced wrongs and tragedy, sometimes wrongs can be righted, and sometimes your biggest visions find a way to get out into the world."

After a year in which most people were stuck indoors, it should come as little surprise that streaming platforms skyrocketed in popularity over the past 12 months. For the first time ever, subscriptions to streaming services surpassed one billion, reaching 1.1 billion globally. From a report: At the same time, box office receipts plummeted because movie theaters across the world were closed for a significant part of 2020. Global ticket sales tapped out at $12 billion, with North America accounting for $2.2 billion of that haul. Though the circumstances aren't comparable, worldwide box office receipts totaled $42.5 billion in 2019, with $11.4 billion coming from domestic theaters. Still, it marks a 72% year-over-year decline. These statistics come from the Motion Pictures Association's annual theme report, which is conducted by the entertainment industry trade group and intends to analyze how film, television and streaming content performs yearly.

The 2020 study covers a year that was overshadowed by the coronavirus pandemic, making some of the data understandably skewed and difficult to compare box office totals between countries. In Asian countries, particularly in China, the box office has already returned to pre-pandemic levels. That hasn't been the case in the U.S. and Canada, where new movies are few and far between and audiences are returning to theaters at a glacial pace. Outside of North America, the top three box office markets were China ($3 billion), Japan ($1.3 billion), and France ($500 million). Combined, the global theatrical business and home and mobile entertainment market totaled $80.8 billion in revenues in 2020, shrinking by 18% from the $98.3 billion amassed last year. The success of digital home entertainment, which grew 23% to $68.8 billion, helped offset the depleted theatrical box office numbers. In the U.S., subscriptions reached 308.6 million, representing a 32% increase from 2019.