An anonymous reader quotes a report from Ars Technica: Disney is rapidly preparing to launch its own streaming service, dubbed Disney+, later this year. While the debut date is still unknown, we now know that the service will include the entire Disney movie library shortly after the service launches. According to a report in Polygon, Disney CEO Bob Iger explained the strategy to investors at a meeting in St. Louis, Missouri, pointing at the retirement of Disney's longstanding "vault." "The service... is going to combine what we call library product, movies, and television, with a lot of original product as well, movies and television," Iger said. "And at some point fairly soon after launch, it will house the entire Disney motion picture library, so the movies that you speak of that traditionally have been kept in a 'vault' and brought out basically every few years will be on the service. And then, of course, we're producing a number of original movies and original television shows as well that will be Disney-branded."

The Disney Vault has been a marketing and sales strategy for years. After a film's initial release run, Disney would sequester the title in its vault for a long period of time. That meant that customers who didn't buy a physical copy of the movie immediately would be out of luck until Disney brought it out of the vault as a new edition or a special release run. This strategy allowed Disney to control film sales and drum up anticipation for titles that were coming out of the vault once the company decided the time was right. But it also frustrated customers who ended up paying high prices for copies of movies that were widely unavailable during their vault stints. This exclusivity will be an important factor for Disney as it competes with other streaming giants like Netflix, Hulu, and Amazon Prime Video.

Netflix has addressed Steven Spielberg's concerns, after the legendary director indicated he'd throw his weight behind making Oscars harder to reach for Netflix films like "Roma". From a report: The streaming giant didn't name Spielberg directly in its tweet, but considering his views on Netflix films and the Academy Awards, it seems like the statement is associated with the director's thoughts about their participation as contenders in award season. "We love cinema," the official Netflix Twitter account wrote. They continue with a list of things they loved including: Access for people who can't always afford, or live in towns without, theaters; letting everyone, everywhere enjoy releases at the same time; and giving filmmakers more ways to share art. "These things are not mutually exclusive," they concluded in a tweet that could be considered a clap back at the filmmaker. IndieWire reported last week that Spielberg, who serves as the current governor of the Academy's directors branch, intends to argue in favor of changing the Oscars' rules to prevent streaming services from entering the campaign field at the Academy Board of Governors' next meeting. Because Netflix is a home-viewing platform, critics like Spielberg say that it's better-suited for the Emmys, which celebrate TV, a medium inherent to home-viewing.

"Amazon has apparently started removing anti-vaccine documentaries from its Amazon Prime Video streaming service," reports CNN: The move came days after a CNN Business report highlighted the anti-vaccine content available on the site, and hours after Rep. Adam Schiff wrote an open letter to Amazon CEO Jeff Bezos, saying he is concerned "that Amazon is surfacing and recommending" anti-vaccination books and movies....

Amazon did not respond to questions about why the films are no longer available on Prime Video.

However, while some anti-vaccine videos are gone from the Prime streaming service, a number of anti-vaccine books were still available for purchase on Amazon.com when CNN Business reviewed search results on Friday afternoon, and some were still being offered for free to Kindle Unlimited subscribers... Amazon also had not removed some anti-vaccine books that CNN Business had previously reported on, which users searching the site could mistake for offering neutral information accepted by the public health community.

The long wait is over for sci-fi and horror film buffs: the 1979 classic "Alien" will be released in 4K and HDR for the film's 40th anniversary. The remaster will be available on an UltraHD Blu-ray disc. From a report: 20th Century Fox and partners embarked on an effort to remaster the film in 4K last year, under supervision by Pam Dery and Director Ridley Scott. "Alien" was originally shot on 35mm film, and the remaster was made using the original negative. Remastering older films for the UltraHD era has sometimes proven challenging for studios. In many cases, original film masters have degraded, and 4K on a 65-inch TV is adept at revealing graininess and other flaws that result from aged or damaged film.

An anonymous reader shares a report: Every once in a while, we see Netflix test new plans in certain markets, and most of them involve price hikes. The same goes for the latest test that was spotted over in Italy, where the streaming giant is toying with a couple of different scenarios. First spotted by Italian-language blog SmartWorld, the tests suggest that Netflix is toying with the idea of either raising Standard and Premium subscription, or increasing all of its prices across the board.

Right now the default monthly Netflix streaming prices for Italy and other countries in the European Union are at Euro 7.99, or ~$9.1 (Base), Euro 10.99, or ~$12.5 (Standard), and Euro 13.99, or $16 (Premium). One of the tests that Netflix is currently conducting proposes that the Base subscription stays the same, but the Standard and Premium plans go up to Euro 12.99, or ~$14.8 and Euro 17.99, or ~$20.5 respectively.

An anonymous reader quotes a report from TechCrunch: As many as 1 in 5 people today are mooching off of someone else's account when streaming video from Netflix, Hulu or Amazon Video, according to a new study from CordCutting.com. Of these, Netflix tends to be pirated for the longest period -- 26 months, compared with 16 months for Amazon Prime Video or 11 months for Hulu. That could be because Netflix freeloaders often mooch off their family instead of a friend -- 48 percent use their parents' login, while another 14 percent use their sister or brother's credentials, the firm found. At a base price of $7.99 per month (the study was performed before Netflix's January 2019 price increase), freeloading users could save $207.74 over a 26-month period. At scale, these losses can add up, the study claims.

The report estimates Netflix could be losing $192 million in monthly revenue from piracy -- more than either Amazon or Hulu, at $45 million per month and $40 million per month, respectively. Millennials, not surprisingly, account for much of the freeloading. They're the largest demographic pirating Netflix (18 percent) and Hulu's service (20 percent). But oddly, it was Baby Boomers who were more likely to borrow someone else's account to access Amazon Prime Video. According to the study, 59.3 percent said they would pay for Netflix (or around 14 million people), contributing at least $112 million in monthly revenue, if they lost access. And 37.8 percent, or 2 million, said they'd pay for Hulu; 27.6 percent, or 1 million people, said they'd pay for Prime Video.

Okian Warrior writes: Free speech social network Gab has launched a new comments platform, Dissenter, which allows users to make comments on every single website on the Internet without fear of censorship or banning. The Dissenter platform, which integrates with Gab as either a website or a browser extension, allows users to comment on any web page in the world, with the ability to upvote, downvote, and reply to other comments.

"A free, open-source utility that allows people to dissent from orthodoxy and express what they are really thinking, without fear of reprisal, is essential in order to wrest control of the Internet and public discourse from Silicon Valley tech giants," said Gab founder Andrew Torba. "Gab.com and dissenter.com lead the way in keeping the Internet free. All people are welcome to use our products to express themselves freely." One example of recent comment censorship was review website Rotten Tomatoes' removal of comments for unreleased movies this week, which the review website claimed was due to "trolling."

Amid a growing measles outbreak in the United States, the role of powerful tech companies like YouTube and Facebook in spreading vaccine misinformation is under heavy scrutiny. But there is another massive platform offering spurious anti-vaccination content to people seeking information: Amazon, the world's largest online marketplace. CNN Business: And, asked about it, an Amazon spokesperson only pointed CNN Business to the company's content guidelines page, which says the following: "As a bookseller, we provide our customers with access to a variety of viewpoints, including books that some customers may find objectionable. That said, we reserve the right not to sell certain content, such as pornography or other inappropriate content." A recent search for "vaccine" on Amazon yielded a search page dominated by anti-vaccination content. Of the 18 books and movies listed on the search page, 15 contained anti-vaccination content. The first listing was a sponsored post -- that is, an ad for which Amazon was paid -- for the book "Vaccines on Trial: Truth and Consequences of Mandatory Shots" by Pierre St. Clair, which Amazon was also offering for free to Kindle Unlimited subscribers.
UPDATE (3/2/2019): Amazon "has apparently started removing anti-vaccine documentaries from its Amazon Prime Video streaming service," CNN reports.

However, "a number of anti-vaccine books were still available for purchase on Amazon.com when CNN Business reviewed search results on Friday afternoon, and some were still being offered for free to Kindle Unlimited subscribers."

An anonymous reader quotes a report from Motherboard: Study after study continues to show that the best approach to tackling internet piracy is to provide these would-be customers with high quality, low cost alternatives. That idea was again supported by a new study this week out of New Zealand first spotted by TorrentFreak. The study, paid for by telecom operator Vocus Group, surveyed a thousand New Zealanders last December, and found that while half of those polled say they've pirated content at some point in their lives, those numbers have dropped as legal streaming alternatives have flourished.

The study found that 11 percent of New Zealand consumers still obtain copyrighted content via illegal streams, and 10 percent download infringing content via BitTorrent or other platforms. But it also found that users are increasingly likely to obtain that same content via over the air antennas (75 percent) or legitimate streaming services like Netflix (55 percent). "In short, the reason people are moving away from piracy is that it's simply more hassle than it's worth," says Vocus Group NZ executive Taryn Hamilton said in a statement. "The research confirms something many internet pundits have long instinctively believed to be true: piracy isn't driven by law-breakers, it's driven by people who can't easily or affordably get the content they want," she said.

Rotten Tomatoes is finally addressing its troll problem. The review aggregation website has unveiled a new initiative to "modernize its audience rating system through a series of product enhancements," -- the first of which includes banning user reviews and comments prior to a movie's theatrical release. Getting rid of pre-release user reviews means internet trolls will not be able to flood film pages with negative scores before a movie comes out. As we saw earlier this week, Captain Marvel was at the receiving end of what appeared to be a targeted campaign to lower the upcoming movie's audience rating. Rotten Tomatoes is not banning user reviews entirely. It says it will offer this functionality to users once the movie has hit the theaters.

Further reading on Rotten Tomatoes: Movie Studios Are Blaming Rotten Tomatoes For Killing Movies No One Wants To See
Hollywood Producer Blames Rotten Tomatoes For Convincing People Not To See His Movie
Rotten Tomatoes Scores Don't Correlate To Box Office Success or Woes, Research Shows
DC Fans Angry Over Rotten Tomatoes 'Justice League' Ratings
Why Don't We Care About The Rotten Tomatoes Scores Of TV Shows?
Real Moviegoers Don't Care About Rotten Tomatoes.

An anonymous reader shares a report: The fake Rotten Tomatoes review onslaught continues for Captain Marvel, giving the film the lowest-rating of all Marvel Cinematic Universe movies on the site nearly two weeks ahead of its release. As of this writing, Captain Marvel now has a 28% Audience Rating, a whopping 18 points below the next lowest MCU flick -- 2008's The Incredible Hulk. Starting earlier this week, a certain section of the internet -- for whatever reason -- decided to start filing fake negative reviews in an attempt to purposefully lower the film's Audience Rating.

An anonymous reader writes from a report via NPR: Netflix announced this week that it has acquired the rights to stream Chinese sci-fi blockbuster "The Wandering Earth," which has already grossed more than $600 million globally and hit number two in the all-time Chinese box office rankings since it was released in theaters Feb. 5. Netflix will translate the movie into 28 languages and release it in more than 190 countries. The movie, based on a short story by Hugo award winner Liu Cixin (author of "Three Body Problem" and "Ball Lighting") is set in a distant future in which the earth is about to be devoured by the sun. Using propulsive engines, humans turn earth into a spaceship and try to launch it out of the solar system and the planet is saved by a Chinese hero (rather than American ones as typically seen in Hollywood sci-fi movies.)

For China's film industry, the release marks a major milestone. "Filmmakers in China see science fiction as a holy grail," Raymond Zhou, an independent critic, told The New York Times. "It's like the coming-of-age of the industry." Two sci-fi movies, "The Wandering Earth" and "Crazy Alien," which is also inspired by Liu's work, topped this Chinese New Year movie season. Inkoo Kang wrote at Slate that the film "understands what American blockbusters are still loath to admit: Responding to climate change will pose infrastructural challenges on a massive order and require drastic measures on a planetary scale. Perhaps it takes a country like China, which is accustomed to a manic rate of construction and grandness of organizational possibility, to seriously consider how dramatically humanity will have to reimagine our ways of life to survive such a catastrophic force."

"It's an unnerving sensation, being alone with your thoughts in the year 2019," writes New York Times technology columnist Kevin Roose, in an article shared by DogDude. "I don't love referring to what we have as an 'addiction.' That seems too sterile and clinical to describe what's happening to our brains in the smartphone era." We might someday evolve the correct biological hardware to live in harmony with portable supercomputers that satisfy our every need and connect us to infinite amounts of stimulation. But for most of us, it hasn't happened yet... [S]ometime last year, I crossed the invisible line into problem territory. My symptoms were all the typical ones: I found myself incapable of reading books, watching full-length movies or having long uninterrupted conversations. Social media made me angry and anxious, and even the digital spaces I once found soothing (group texts, podcasts, YouTube k-holes) weren't helping...

Mostly, I became aware of how profoundly uncomfortable I am with stillness. For years, I've used my phone every time I've had a spare moment in an elevator or a boring meeting. I listen to podcasts and write emails on the subway. I watch YouTube videos while folding laundry. I even use an app to pretend to meditate. If I was going to repair my brain, I needed to practice doing nothing.
Another science journalist helped him through "phone rehab," and "now, the physical world excites me, too -- the one that has room for boredom, idle hands and space for thinking." After a final 48 hour digital detox, "I also felt twinges of anger -- at myself, for missing out on this feeling of restorative boredom for so many years; at the engineers in Silicon Valley who spend their days profitably exploiting our cognitive weaknesses; at the entire phone-industrial complex that has convinced us that a six-inch glass-and-steel rectangle is the ideal conduit for worldly experiences...

"Steve Jobs wasn't exaggerating when he described the iPhone as a kind of magical object, and it's truly wild that in the span of a few years, we've managed to turn these amazing talismanic tools into stress-inducing albatrosses. It's as if scientists had invented a pill that gave us the ability to fly, only to find out that it also gave us dementia."

Instead of trying to sell American ideas to a foreign audience, it's aiming to sell international ideas to a global audience. From an op-ed: In 2016, the company expanded to 190 countries, and last year, for the first time, a majority of its subscribers and most of its revenue came from outside the United States. To serve this audience, Netflix now commissions and licenses hundreds of shows meant to echo life in every one of its markets and, in some cases, to blend languages and sensibilities across its markets. In the process, Netflix has discovered something startling: Despite a supposed surge in nationalism across the globe, many people like to watch movies and TV shows from other countries. "What we're learning is that people have very diverse and eclectic tastes, and if you provide them with the world's stories, they will be really adventurous, and they will find something unexpected," Cindy Holland, Netflix's vice president for original content, told me.

The strategy may sound familiar; Hollywood and Silicon Valley have long pursued expansion internationally. But Netflix's strategy is fundamentally different. Instead of trying to sell American ideas to a foreign audience, it's aiming to sell international ideas to a global audience. A list of Netflix's most watched and most culturally significant recent productions looks like a Model United Nations: Besides Ms. Kondo's show, there's the comedian Hannah Gadsby's "Nanette" from Australia; from Britain, "Sex Education" and "You"; "Elite" from Spain; "The Protector" from Turkey; and "Baby" from Italy. I'll admit there's something credulous and naive embedded in my narrative so far. Let me get this straight, you're thinking: A tech company wants to bring the world closer together? As social networks help foster misinformation and populist fervor across the globe, you're right to be skeptical. But there is a crucial difference between Netflix and other tech giants: Netflix makes money from subscriptions, not advertising.

It's now easier than ever in France to act out Star Wars fantasies. The country's fencing federation has officially recognized lightsaber dueling as a competitive sport, granting the weapon from George Lucas's space saga the same status as the foil, epee and sabre, the traditional blades used at the Olympics. From a report: Of course, the LED-lit, rigid polycarbonate replicas can't slice an opponent in half. But they look and sound remarkably like the blades that Yoda and other characters wield in the blockbuster movies. The physicality of lightsaber combat is part of the reason why the French Fencing Federation is now equipping fencing clubs with lightsabers and training would-be lightsaber instructors. Like virtuous Jedi knights, the federation sees itself as combatting a Dark Side: the sedentary habits of 21st-century life.

"With young people today, it's a real public health issue. They don't do any sport and only exercise with their thumbs," says Serge Aubailly, the federation's secretary general. "That is why we are trying to create a bond between our discipline and modern technologies, so participating in a sport feels natural." In the past, Zorro, Robin Hood and The Three Musketeers helped lure new practitioners to fencing. Now, Luke Skywalker, Obi-Wan Kenobi and Darth Vader are joining them. "Cape-and-sword movies have always had a big impact on our federation and its growth," Aubailly says. "Lightsaber films have the same impact. Young people want to give it a try."

The major Hollywood movie studios last week filed a copyright infringement suit against Omniverse One World Television Inc., which provides streaming video to several online TV services. Omniverse claims to have legal rights to the content, but the studios say it doesn't. Ars Technica reports: The complaint was filed Thursday in U.S. District Court for the Central District of California by Columbia Pictures, Disney, Paramount Pictures, 20th Century Fox, Universal, and Warner Bros. The studios previously used lawsuits to shut down the maker of a streaming device called the Dragon Box and another called TickBox. The studios' new lawsuit says that Omniverse supplied content to Dragon Box and to other alleged pirate services that are still operating.

Services using Omniverse content are advertised as "Powered by Omniverse." Besides Dragon Box, they include "SkyStream TV, Flixon TV, and Silicon Dust's HDHomeRun Service," according to the lawsuit. SkyStream, for example, offers more than 70 live TV channels for $35 a month, while pricier packages, according to the complaint, also include premium channels such as HBO. SkyStream's website says its service "is delivered In Cooperation with Omniverse One World Television." According to its website, Omniverse "partners with key distributors across the USA to empower end users with the ability to view their favorite TV channels with no contracts, no credit checks, and no long-term obligations." [T]he movie studios' lawsuit alleges that Omniverse has no rights to distribute their video content. While Netflix, Amazon, Hulu, YouTube TV, and other legitimate streaming services purchase rights to the content, Omniverse has not, the lawsuit said. The complaint asks for an injunction shutting the company down and damages of up to $150,000 for each infringed work. "Defendant Jason DeMeo and his company, Omniverse, stream Plaintiffs' copyrighted movies and television shows without authorization to an already large, and rapidly growing, number of end users," the lawsuit said. "Defendants are not, however, just an infringing, consumer-facing service, akin to Dragon Box. Defendants operate at a higher level in the supply chain of infringing content -- recruiting numerous downstream services like Dragon Box into the illicit market and providing them with access to unauthorized streams of copyrighted content. Defendants function as a 'hub' of sorts, with the enlisted downstream services as the 'spokes.' Omniverse's offering is illegal, it is growing, and it undermines the legitimate market for licensed services."

The Guardian reports: Bruno Ganz, the Swiss actor who played Adolf Hitler in the film Downfall, has died in Zurich at the age of 77, his agent announced. The actor became internationally renowned for his 2004 portrayal of the German dictator's final days inside his Berlin bunker. In a Guardian review of Downfall Rob Mackie described Ganz as "the most convincing screen Hitler yet: an old, bent, sick dictator with the shaking hands of someone with Parkinson's, alternating between rage and despair in his last days in the bunker...." It is widely believed to be the cinematic footage most often shared online, as well as the cause of one of the world's most productive internet memes.
They're referring to "One climactic scene featuring a Ganz tour de force" that was "relentlessly parodied in widespread 'Hitler Finds Out...' videos, featuring anachronistic subtitles depicting his rage and fury over topical, mundane, or banal events and trivial gossip," explains long-time Slashdot reader Freshly Exhumed:

The spread of the meme was aided inestimably by the Streisand Effect caused when the production company, Constantin Films began sending DMCA takedown notices to YouTube. Eventually the company relented as the parodies constituted strong fair use cases.
When the director of the film was asked about the parodies, he admitted that "I think I've seen about 145 of them! Of course, I have to put the sound down when I watch. Many times the lines are so funny, I laugh out loud, and I'm laughing about the scene that I staged myself! You couldn't get a better compliment as a director."

According to a report from Forbes, Samsung may be exiting the 4K Blu-ray player market. "After launching its first 4K players in 2017, the company didn't add any new players to its lineup in 2018," reports CNET. "A high-end player for 2019 along the lines of its UBD-M9500 was in the works, the report says, but has now been scrapped." From the report: One of the reasons for pulling out could be that the existing players' format support has lagged behind the rest of the industry. For example, instead of supporting Dolby Vision, Samsung created its own version of HDR10, HDR10+, which was designed for use in streaming and physical media. Competitor Oppo was the first company to support both HDR10 and Dolby Vision but announced it was ending production of its 4K Blu-ray players in April 2018. Meanwhile Sony announced the M2 player at CES 2019 with support for Dolby Vision and Panasonic recently released the high-end DP-UB9000 player in Europe and Australia.

Slashdot reader Drakster writes: Hollywood producer and writer James Cameron, who is best known for his first two Terminator films, Titanic, Avatar, and Aliens, has released his most recent film this week, Alita: Battle Angel, to mostly mixed to positive reviews. First announced in 2003, based on Yukito Kishiro's Gunnm manga series, it was stuck in development for several years, finally starting production in 2008. Slashdot last discussed this fifteen years ago, so now that it's finally here. For those who have seen it, what did you think? Met or surpassed your expectations, or not worth the wait?

An anonymous reader quotes MovieWeb: The official Captain Marvel website is a blast from the past... Marvel Studios is preparing its final promotional push for the project. This includes TV spots, various forms of merchandise, posters, and in this case, a perfect retro website, tailor made to take us all back to a time when the internet was a whole lot simpler.

Instead of flashy high resolution images, we are treated to pixelated versions, which perfectly reimagines the 1990s websites. There's a lot of Word art, a ticker to count how many unique views that the site gets, a guest book, and even a game that lets fans spot the Kree. Instead of the trailers coming through YouTube, they are played using the "Kree Player," which is take on the old Real Player.
MovieWeb writes that the site "also gives younger Marvel Cinematic Universe fans a chance to see what the internet looked like back in the day...."

And though the movie's slogan is "Higher, further, faster," they argue that "The only thing that could have made the Captain Marvel site even better is slow page loading, just to give it a real touch of what it was like surfing the net in the dark ages."