It's official: Netflix has shipped its last DVD. "For 25 years, we redefined how people watched films and series at home, and shared the excitement as they opened their mailboxes to our iconic red envelopes," says Netflix in a blog post. "It's the end of an era, but the DVD business built our foundation for the years to come -- giving members unprecedented choice and control, a wide variety of titles to choose from and the freedom to watch as much as they want."

Netflix announced the shut down of its DVD business in April. Here's an infographic the company shared in its post:

Two designers from New Zealand built a wildly popular social network for movie buffs. Now, they're cashing in (and sticking around for the sequel). The New York Times: The "Barbie" star Margot Robbie created an account. Ditto Rian Johnson, the "Knives Out" auteur. Christopher McQuarrie, Tom Cruise's directing partner, has used his to heap praise on another action star (Sylvester Stallone). Letterboxd, the social network for recommending and reviewing movies, has become a kind of shibboleth for film nerds over the past decade. Roughly 10 million people now use the service to share their favorites: You like Studio Ghibli, too? What's your favorite Spike Lee joint?

The service has not undergone any revolutionary changes since it was founded in 2011. But Letterboxd is undergoing two big changes: a new owner and, eventually, user recommendations and review of TV shows. Matthew Buchanan and Karl von Randow, Letterboxd's founders, announced on Friday that they were selling a majority stake in the service to Tiny, a public company in Victoria, British Columbia. The deal values Letterboxd at more than $50 million, said a person familiar with the sale, who spoke on the condition of anonymity to discuss confidential financial information.

Mr. Buchanan and Mr. von Randow, two entrepreneurs based in New Zealand, have reassurances for their users who may be afraid of what a sale could mean for their corner of the internet. First, neither co-founder is planning to leave any time soon, and both will remain shareholders. And the service itself isn't changing immediately. The proposal to incorporate TV is still in its infancy, and the founders said they did not expect that the addition would disrupt their existing products.

An anonymous reader shared this report from the New York Times' media reporter: In a nondescript office park minutes from Disneyland sits a nondescript warehouse. Inside this nameless, faceless building, an era is ending.

The building is a Netflix DVD distribution plant. Once a bustling ecosystem that processed 1.2 million DVDs a week, employed 50 people and generated millions of dollars in revenue, it now has just six employees left to sift through the metallic discs. And even that will cease on Friday, when Netflix officially shuts the door on its origin story and stops mailing out its trademark red envelopes. "It's sad when you get to the end, because it's been a big part of all of our lives for so long," Hank Breeggemann, the general manager of Netflix's DVD division, said in an interview. "But everything runs its cycle. We had a great 25-year run and changed the entertainment industry, the way people viewed movies at home."

When Netflix began mailing DVDs in 1998 — the first movie shipped was "Beetlejuice" — no one in Hollywood expected the company to eventually upend the entire entertainment industry... At its height, Netflix was the Postal Service's fifth-largest customer, operating 58 shipping facilities and 128 shuttle locations that allowed Netflix to serve 98.5 percent of its customer base with one-day delivery...

Netflix's DVD operations still serve around one million customers, many of them very loyal... To ease the backlash, Netflix is allowing its DVD customers to hold on to their final rentals.
"One hundred people at Netflix still work on the DVD side of the business, though most will soon be leaving the company."

Visual effects workers at Marvel Studios have unanimously voted to unionize with the International Alliance of Theatrical Stage Employees, marking a historic milestone for the industry. Rolling Stone reports: Following the successful vote with the NLRB, Marvel's VFX union will now enter into collective bargaining negotiations with Marvel. A start date for those negotiations hasn't been announced yet. Underpinning the union drive were the poor working conditions visual effects professionals have endured on Marvel productions, including a lack of pay equity, grueling hours, understaffing, excessive requests for changes, and unfair turnaround times.

VFX crews have been a crucial part of film and TV productions since the introduction of visual effects in the first Star Wars films of the 1970s. But while many other backstage/behind-the-scenes crews and professions (such as production designers, editors, lighting, make-up, and props) have long been unionized under the IATSE umbrella, VFX workers largely remained non-union.

Rotten Tomatoes celebrated its 25th year of assigning scores to movies based on their aggregate review. Now Vulture writes that Rotten Tomatoes "can make or break" movies, "with implications for how films are perceived, released, marketed, and possibly even green-lit". But unfortuately, the site "is also erratic, reductive, and easily hacked."

Vulture tells the story of a movie-publicity company contacting "obscure, often self-published critics" to say the film's teams "feel like it would benefit from more input from different critics" — while making undisclosed payments of $50 or more.) A critic asking if it's okay to pan the movie was informed that "super nice" critics move their bad reviews onto sites not included in Rotten Tomatoes scores.

Vulture says after bringing this to the site's attention, Rotten Tomatoes "delisted a number of the company's movies from its website and sent a warning to writers who reviewed them." But is there a larger problem? Filmmaker Paul Schrader even opines that "Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do...." A third of U.S. adults say they check Rotten Tomatoes before going to the multiplex, and while movie ads used to tout the blurbage of Jeffrey Lyons and Peter Travers, now they're more likely to boast that a film has been "Certified Fresh...."

Another problem — and where the trickery often begins — is that Rotten Tomatoes scores are posted after a movie receives only a handful of reviews, sometimes as few as five, even if those reviews may be an unrepresentative sample. This is sort of like a cable-news network declaring an Election Night winner after a single county reports its results. But studios see it as a feature, since, with a little elbow grease, they can sometimes fool people into believing a movie is better than it is.

Here's how. When a studio is prepping the release of a new title, it will screen the film for critics in advance. It's a film publicist's job to organize these screenings and invite the writers they think will respond most positively. Then that publicist will set the movie's review embargo in part so that its initial Tomatometer score is as high as possible at the moment when it can have maximal benefits for word of mouth and early ticket sales... [I]n February, the Tomatometer score for Ant-Man and the Wasp: Quantumania debuted at 79 percent based on its first batch of reviews. Days later, after more critics had weighed in, its rating sank into the 40s. But the gambit may have worked. Quantumania had the best opening weekend of any movie in the Ant-Man series, at $106 million. In its second weekend, with its rottenness more firmly established, the film's grosses slid 69 percent, the steepest drop-off in Marvel history.

In studios' defense, Rotten Tomatoes' hastiness in computing its scores has made it practically necessary to cork one's bat. In a strategic blunder in May, Disney held the first screening of Indiana Jones and the Dial of Destiny at Cannes, the world's snootiest film festival, from which the first 12 reviews begot an initial score of 33 percent. "What they should've done," says Publicist No. 1, "was have simultaneous screenings in the States for critics who might've been more friendly." A month and a half later, Dial of Destiny bombed at the box office even though friendly critics eventually lifted its rating to 69 percent. "They had a low Rotten Tomatoes score just sitting out there for six weeks before release, and that was deadly," says a third publicist.

Google is killing off the last vestiges of Google Play Movies & TV, a service that sold premium Hollywood films and TV shows as part of Google's once-cohesive string of Google Play content stores. From a report: The company emailed users of Android TV to say that the "Google Play Movies & TV app will no longer be available on your Android TV device from 05 October 2023. You can continue to buy or rent movies directly through the Shop tab on your Android TV." Play Movies has been going through a slow death as Google shuffles around its media content. The smartphone Play Movies app became "Google TV" in 2022, and that same year, the Play Store app was stripped of movie and TV sales.

On third-party smart TVs (this is a different category than today's Android TV announcement) the app was killed in 2021. On Android TV, the new "Shop" tab seems to just be an OS-integrated Google TV content store. If you think this sounds confusing, you're not alone. Google's support page reflects the ridiculous state of Google's video apps, instructing users that "in Your Library, you can find content that you bought from: Google Play Movies & TV, YouTube, Android TV, Google TV." How any normal person is supposed to understand that pile of Google media brands, and how it works across phones, the web, and various smart TV OSes, is beyond me.

A new report says that a PR firm has been paying Rotten Tomatoes critics for positive reviews for over five years. From a report: Moviegoers, critics, and the average internet user have all used the aggregation site Rotten Tomatoes at one point or another. The website categorizes films and shows from "fresh" to "rotten," with rotten being those with lower ratings. Now it looks like the site's scores have been manipulated for more than five years. As noted by Vulture, it looks like a PR firm has manipulated movie scores on Rotten Tomatoes by paying the critics directly. This has been happening for years.

The PR firm, named Bunker 15, is said to pay as much as $50.00 for a single Rotten Tomatoes review. The payments, which aren't typically disclosed, are usually given to obscure critics who happen to be part of a pool tracked by Rotten Tomatoes. Though it's worth noting that the aggregation site's rules prohibit "Reviewing based on a financial incentive." Director Paul Schrader, also a critic, spoke out against Rotten Tomatoes which he says is part of a "broken" system. "The system is broken. Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do." The site responded by delisting a variety of Bunker 15 films from their website. Furthermore, they issued a warning to any critics that reviewed them. The warning emphasizes that they do not tolerate manipulation on their platform.

Walt Disney Pictures' VFX team filed for a union election with the National Labor Relations Board on Monday. As Motherboard notes, the filing "marks the second time in history that workers in the visual effects industry have announced their intent to organize -- the first being Marvel VFX workers, who did so three weeks prior." From the report: The Walt Disney Pictures workers, who are behind the visual effects in movies like the live-action Aladdin and Pirates of the Caribbean, plan to join the VFX Union, a new branch of the International Alliance of Theatrical Stage Employees (IATSE), which represents much of the entertainment industry behind the scenes. Their filing comes after over 80 percent of the 18 in-house VFX crewmembers at Walt Disney Pictures in Los Angeles signed cards demonstrating their desire to unionize, according to a press release by the union.

"Today, courageous visual effects workers at Walt Disney Pictures overcame the fear and silence that have kept our community from having a voice on the job for decades," said Mark Patch, a IATSE VFX union organizer, in a statement. "With an overwhelming supermajority of these crews demanding an end to 'the way VFX has always been,' this is a clear sign that our campaign is not about one studio or corporation. It's about VFX workers across the industry using the tools at our disposal to uplift ourselves and forge a better path forward."

The number of titles on streaming services jumped 39% over the past two years to 2.35 million, according to a report released Monday by market researcher Nielsen. From a report: Add in traditional broadcast and cable channels and the number of individual viewing options climbed to 2.7 million. The figures reflect movies and shows available in the US, Canada, the UK, Mexico and Germany. Netflix and Disney+ are among 167 streaming providers, up from 118 two years ago. The average time it takes someone to find something to watch has risen to more than 10 minutes from a little over seven minutes in 2019, Nielsen said.

Last year movie theaters offered $3 movie tickets for "National Cinema Day," attracting a surge of more than 8.1 million movie-goers (compared to just 1.7 million the day after). So they're doing it again...

Today more than 3,000 movie theaters in the U.S. and Canada — with approximately 30,000 screens — are offering $4 tickets for every show (including IMAX and Dolby screenings) in a special one-day event. (The U.K. will also celebrate "National Cinema Day" — but in six days, on September 2nd.)

Variety notes that last year's event brought the highest one-day attendance for all of 2022, and "All of that foot traffic in theaters usually means there will be more popcorn and concession stand sales." So the National Association of Theatre Owners's nonprofit, the Cinema Foundation — decided to do it again this year just two days after the first event had ended. CNBC reports: While last year's event was held in part because of a need to lure audiences back to theaters after two years away following pandemic shutdowns, Bryan Braunlich, executive director of the non-profit Cinema Foundation, says that the hope for this year's Cinema Day is just for audiences to enjoy being at the movies... Nationwide chains including AMC and Regal will be participating. For a full list of theaters taking part in National Cinema Day, click here...

If this year's installment proves to once again be a success, Braunlich says the hope is to make National Cinema Day an annual event. "If this continues every year, which we hope it will, the long term goal is to eventize it," he says. "Make it less about the price and more like little Comic Cons in every city where you never know what celebrity is going to hop into your theater."
This year's event includes a limited re-release of some classic films, including the original Jurassic Park.

An anonymous reader quotes a report from Teslarati: Tesla has won permit approval for its Diner and Drive-In Movie Supercharger in Los Angeles, according to documents seen by Teslarati from the LA Department of Building and Safety. Tesla has been teasing the possibility for several years of a drive-in movie theater and diner Supercharger site that would host 32 stalls, two screens to show famous movie clips, and a restaurant with rooftop seating. Initially, it was planned to be built on a series of lots in Santa Monica. However, the location was moved East to Hollywood and will now be placed on located at 7001 W. Santa Monica Boulevard. As the project has been moving through the normal regulatory processes, Tesla has been receiving some approvals and requests for corrections on many of its filed applications to begin construction at the Diner/Supercharger.

Amazon has filed a lawsuit against a group of online stores that sell pirated DVDs of key titles such as "The Lord of the Rings: The Rings of Power" and "The Peripheral." TorrentFreak reports: In a complaint filed at a California federal court, Amazon accuses seven websites of selling pirated discs. These sites, including dvdshelf.com.au, dvds.trade, and dvdwholesale.co.uk, are presumably operated by the same group, using a variety of companies. For the public at large, it may not be immediately obvious that these discs are pirated. However, since Amazon doesn't produce or sell DVDs for these Prime Video series, there is no doubt that they are created from illicit sources.

The piracy operation consists of at least seven websites and these all remain online today. According to Amazon, the sites ship to customers in the U.S. and abroad, twenty-four hours a day, seven days a week, resulting in mass copyright infringement. Before going to court, investigators conducted more than twenty test purchases of pirated DVDs. After these orders arrived, Amazon sent the discs to the Motion Picture Association which independently confirmed that they were all pirated.

The complaint lists Yangchun Zhang as a key suspect. This person presumably resides in China and obtained the 'DVD Shelf' trademark in Australia. In addition, Zhang is also listed as the registrant of several of the domain names involved. The complaint accuses Zhang and the others of both copyright and trademark infringement. Through the lawsuit (PDF), Amazon hopes to recoup damages, which can run in the millions of dollars. Another key priority is to shut the sites down and Amazon asks the court for an injunction to stop all infringing activity.

Hollywood studios have presented a new proposal to writers that includes the highest wage increase in 35 years, protections against the impact of artificial intelligence, and other provisions. CBS News reports: Writers have been picketing outside major studios for over 100 days, surpassing the 2007-2008 strike. One of the major sticking points between the two sides was their stark differences in wage increases and residuals. The proposal sent to the Writers Guild of America on Aug. 11 includes a 5% increase in the first year of the contract, then 4% the next year, and 3.5% in the third, totaling a compounded 13% increase. Before the WGA went on strike on May 2, the AMPTP offered writers 4%-3%- 2% in the respective years, or 9% over the duration of the contract. The recent offer does not match the WGA's demand of 6%-5%-5% in the respective years but does bring them from $9,888 a week to $11,371 a week for guarantees of up to 9 weeks.

They also moved to guarantee writers a minimum of 10 weeks of employment, a proposal they initially refused before the strike. AMPTP also increased the total domestic and foreign residuals for writers from $72,067 to $87,546 per episode over three years. Additionally, the union seemed to cave on the WGA's proposal to implement a viewership-based streaming residuals model. "For the first time, viewership data in the form of quarterly confidential reports is to be provided to the WGA that will include total SVOD view hours per title. This increased transparency will enable the WGA to develop proposals to restructure the current SVOD residual regime in the future," AMPTP wrote in the offer. Previously, the studios flat-out rejected the proposal and refused to make a counter, according to the WGA.

Studios also included a tenet regarding artificial intelligence protections in the proposed deal. "The Companies confirm that because [Generative Artificial Intelligence] is not a person, it is not a 'writer' or 'professional writer' as defined in this MBA and, therefore, written material produced by GAI will not be considered literary material under this or any prior MBA," the AMPTP wrote in the offer. The union continued: "The proposal provides important safeguards to prevent writers from being disadvantaged if any part of the script is based on GAI-produced material, so that the writer's compensation, credit and separated rights will not be affected by the use of GAIproduced material." Before the writers went on strike, the studios rejected the proposal and countered by "offering annual meetings to discuss advancements in technology," according to the WGA.

Nearly seven decades after he died, James Dean "has been cast as the star in a new, upcoming movie," reports the BBC: A digital clone of the actor — created using artificial intelligence technology similar to that used to generate deepfakes — will walk, talk and interact on screen with other actors in the film...

This is the second time Dean's digital clone has been lined up for a film. In 2019, it was announced he would be resurrected in CGI for a film called Finding Jack, but it was later cancelled. Travis Cloyd, chief executive of immersive media agency WorldwideXR (WXR), confirmed to BBC, however, that Dean will instead star in Back to Eden, a science fiction film in which "an out of this world visit to find truth leads to a journey across America with the legend James Dean". The digital cloning of Dean also represents a significant shift in what is possible. Not only will his AI avatar be able to play a flat-screen role in Back to Eden and a series of subsequent films, but also to engage with audiences in interactive platforms including augmented reality, virtual reality and gaming.

The technology goes far beyond passive digital reconstruction or deepfake technology that overlays one person's face over someone else's body. It raises the prospect of actors — or anyone else for that matter — achieving a kind of immortality that would have been otherwise impossible, with careers that go on long after their lives have ended. But it also raises some uncomfortable questions. Who owns the rights to someone's face, voice and persona after they die? What control can they have over the direction of their career after death — could an actor who made their name starring in gritty dramas suddenly be made to appear in a goofball comedy or even pornography? What if they could be used for gratuitous brand promotions in adverts...? Dean's image is one of hundreds represented by WRX and its sister licensing company CMG Worldwide — including Amelia Earhart, Bettie Page, Malcolm X and Rosa Parks...

Voice actors, in particular, have been leading the conversation and working across acting guilds to form a unified front in protecting the rights and careers of actors... Cloyd acknowledges the potential for fewer acting opportunities but offers a "glass-half-full" perspective toward employing dead actors. "At the end of the day, it creates lots of jobs," he says, referring to the other technical and film industry jobs the technology could generate. "So even though it could be jeopardising one person's role or job, at the same time, it's creating hundreds of jobs in regards to what it takes to do this at a high level."

If the dead — or rather, their digital clones — are damned to an eternity of work, who benefits financially? And do the dead have any rights? Simply put, the rules are murky and, in some regions of the world, non-existent.
In June Rolling Stone published this advice from Samuel L. Jackson. "Future actors should do what I always do when I get a contract and it has the words 'in perpetuity' and 'known and unknown' on it: I cross that shit out. It's my way of saying, 'No, I do not approve of this.'"

Netflix's 25-year-old delivery service for DVDs (in red envelopes) will go dark on September 29th. But that delivery service's final remaining customers can opt-in "to potentially receive up to 10 extra discs," reports NPR. "Let's have some fun for our finale!" says an email from the company. (Though Business Insider points out that "Customers won't know what movies they'll get; the films will be chosen from what's in their queue.")

NPR notes there's an even bigger mystery: Netflix's promotional email doesn't explicitly tell customers what to do with those discs. This is causing confusion among customers, and debate among the members of online communities like Reddit... A Netflix spokesperson told NPR the company is indeed expecting to get those discs back, and plans to release more specifics about winding down its DVD business in a month or so.

Attorney Lindsay Spiller of the San Francisco entertainment and business law firm Spiller Law said Netflix couldn't give the DVDs away even if it wanted to. "The filmmakers and property rights owners give Netflix a license, and then they can sub-license it to their subscribers," Spiller said. "But they can't give anybody ownership. They don't have it themselves."
At its peak, the service had 40 million subscribers, reports Today. (They add that the first DVD Netflix ever shipped was Beetlejuice — and the most-shipped DVD ever was The Blind Side.)

A quarter of a century later, Netflix "has sent out more than 5 billion DVDs to customers since launching in 1998," NPR notes. "The discs are not easily recyclable. Most of them end up in landfill."

At the Washington Post, David Betancourt's title is "reporter focusing on comic book culture."

Saturday he wrote that the Blue Beetle movie "isn't just a good superhero movie, it's the best film from DC in its modern era, this past decade marked by their struggle to catch up to Marvel Studios..." "Blue Beetle" has heart. "Blue Beetle" has soul... There's a feeling that those of us who love superhero cinema get when we know we've seen something special. The feeling that compelled us to buy a ticket for a midnight screening back in the day. That feeling that makes you see a superhero flick four to five times in theaters because you want to see it again and can't wait for it to arrive on home video. "Blue Beetle" will leave you feeling that way when you walk out of the theater. It certainly made me feel that way...

Xolo Maridueña as Jaime Reyes (the kid under the Blue Beetle armor) gives a performance that I can only describe as Downey-esque. Yes, I have no qualms in saying "Blue Beetle" gave me "Iron Man"-in-2008 vibes. Not just in the individual performance of the lead actor or the high-tech suit of armor, but also in the feeling that this is the start of something big. The second "Blue Beetle's" credits started rolling I knew I had seen the best DC movie of the last decade. The movie had heart. Humor. Multiple complex villains...
The DC movie has a 91% audience score and a 75% critics' score on Rotten Tomatoes, notes this analysis from Forbes: The DC movie is projected to make between $25 million to $32 million through Sunday, Variety reported, though Deadline puts it at $25 million, making it DC's latest underperforming film as it struggles to compete with rival Marvel... By comparison, Marvel's Guardians of the Galaxy Vol. 3 pulled in $118.4 million in its opening weekend in May, while Ant-Man and the Wasp: Quantumania grossed $106.2 million in its opening weekend in February and Sony's Spider-Man: Across the Spider-Verse grossed $120.7 million in its first weekend.
"Warner Bros. has experienced underperformance with recent superhero films like Black Adam, Shazam! Fury of the Gods, and The Flash," writes Collider: Originally designed as a direct-to-streaming title, Blue Beetle now serves as the second-last installment of a bygone era of the DC Extended Universe, which will be rebooted under the supervision of James Gunn and Peter Safran with Superman: Legacy in 2025. The current DCEU era will officially come to a close with Aquaman and the Lost Kingdom later this year, which has a larger overall connection with the series, while Blue Beetle is a mostly standalone story. The movie's opening is in the same range as Birds of Prey some years ago. That film is generally considered to have underperformed at the box office, finishing with less than $100 million domestically and just around $200 million worldwide...

Barbie will take second place with an estimated $20 million fifth weekend, after grossing $6 million on Friday. By Sunday, the film's running domestic box office haul should hit $566 million. A few days after that, it'll overtake The Super Mario Bros. Movie's $574 million lifetime haul to become the year's biggest film...

[Oppenheimer] is also passing $700 million as we speak.

Microsoft will close its Xbox 360 digital store next July, though anything purchased will still be accessible. From a report: On 29th July 2024, Xbox 360 users will no longer be able to purchase new games, DLC, or other entertainment content from either the console store or the web-based marketplace. In addition, the Microsoft Movies & TV app on the Xbox 360 will no longer function. Of course, the store will continue as normal until that date next July. After that time, any games purchased will still remain playable and deleted purchases can still be re-downloaded. Online multiplayer will also remain accessible for games already purchased (digitally or physically), as long as the publisher supports the servers. Further, users will still be able to play Xbox 360 games on Xbox One and Xbox Series X/S consoles via backward compatibility, and hundreds of games will remain available to purchase on those consoles.

Netflix is officially bringing its games to more devices. So far, the company's impressive library of games has only been available on iOS and Android. Now, though, Netflix is starting to use its streaming tech to publicly test its titles on TVs and computers. From a report: "Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth and ubiquitous service," Mike Verdu, Netflix's vice-president of games, wrote in a blog post. "Today, we're taking the first step in making games playable on every device where our members enjoy Netflix." The test appears to be very limited for now. Just two games will be available at the outset: Oxenfree. The beta is only open to a small number of Netflix subscribers in the UK and Canada on Amazon Fire TV streaming media players, Chromecast with Google TV, LG TVs, NVIDIA Shield TV, Roku devices and TVs, Samsung smart TVs and Walmart ONN. The company will add support for more devices later.

Disney is raising prices on almost all of its streaming offerings as it looks to accelerate profitability for the business. CNBC reports: Commercial-free Disney+ will cost $13.99 per month, a 27% increase, beginning Oct. 12. Disney+ with ads will remain $7.99 per month. Disney will also expand its ad-tier offering to select markets in Europe and in Canada beginning Nov. 1. Disney is increasing the price of Hulu without ads to $17.99 per month, a 20% price hike. Hulu with ads will also stay the same price, at $7.99 per month. The decision to price Disney+ nearly as high as commercial-free Netflix and Max, and charge even more for Hulu, signals Disney believes its content library can compete with both of those services.

Disney is now betting consumers will pay more for its streaming services even as the Hollywood writers and actors strikes threaten its content pipeline in the coming months. For consumers who want both Disney+ and Hulu without commercials, they can pay $19.99 per month in a new "premium duo" offering -- a $12 per month savings. The Disney+ and Hulu bundle with ads will not change from its $9.99 per month price. Disney also increased the price of its bundle of Disney+ (no ads), Hulu (no ads) and ESPN+ (with ads) to $24.99 per month from $19.99 per month. The bundle of all three products with commercials will be $14.99 per month, an increase of $2 per month. Disney is also increasing the price of Hulu + Live TV with ads to $76.99 from $69.99 per month. The commercial-free Hulu + Live TV will jump to $89.99 per month from $82.99 per month.

An anonymous reader quotes a report from The Verge: Gizmodo editor-in-chief Daniel Ackerman has sued Apple and other parties over the 2023 Apple TV Plus film Tetris, alleging it rips off his 2016 book The Tetris Effect. Ackerman claims Apple, Tetris rightsholder the Tetris Company, the Tetris film's producers, and screenwriter Noah Pink copied "the exact same feel, tone, approach, and scenes" from The Tetris Effect -- particularly its framing of the game's release as a "Cold War spy thriller." Initially reported by Reuters, Ackerman's lawsuit (PDF) outlines a yearslong correspondence with the Tetris Company as he wrote The Tetris Effect. He claims that the Tetris Company was aware of his work and threatened him with legal action for trying to pursue film and TV adaptations of his own book, only to draw heavily from his framing of the Tetris story. "The film liberally borrowed numerous specific sections and events of the book," claims Ackerman.

Apple and the Tetris Company did not immediately respond to requests for comment from The Verge. But Ackerman's case may be difficult given the fact that Tetris and The Tetris Effect both draw on real historical facts, which are not generally protected by copyright law. As a result, the suit relies heavily on arguing that Tetris copies the feel of The Tetris Effect. (He also argues that some potential inventions of the film -- like a guide who turns out to be a secret KGB agent -- are based on speculations in his narrative.) "Ackerman's book took a unique approach to writing about the real history of Tetris, as it not only applied the historical record, but also layered his own original research and ingenuity to create a compelling narrative non-fiction book in the style of a Cold War spy thriller," the suit says. "Mr. Ackerman's literary masterpiece, unlike other articles and writings, dispelled of the emphasis on the actual gameplay and fans, and instead concentrated on the surrounding narrative, action sequences, and adversarial relationship between the players ... This was the identical approach Defendants adopted for the Tetris Film, without notable material distinction."

Ackerman says that he reached out after the Tetris trailer's release and unsuccessfully requested Apple and the other defendants address legal issues before the film's release. His suit alleges copyright infringement and unfair competition, among other offenses.