An anonymous reader quotes a report from the New York Times: Rex Heuermann, the meticulous architectural consultant who the authorities say murdered three women and buried them on a Long Island beach more than a decade ago, may have been among the last of the dying breed of American serial killers. Even as serial killers came to inhabit a central place in the nation's imagination -- inspiring hit movies, television shows, books, podcasts and more -- their actual number was dwindling dramatically. There were once hundreds at large, and a spike in the 1970s and '80s terrified the country. Now only a handful at most are known to be active, researchers say. The techniques that led to the arrest of Mr. Heuermann, who has pleaded not guilty to the crimes, help explain the waning of serial killing, which the F.B.I. defines as the same person killing two or more victims in separate events at different times.

It is harder to hide. Rapid advances in investigative technology, video and other digital surveillance tools, as well as the ability to analyze mountains of information, quickly allow the authorities to find killers who before would have gone undetected. At the same time, Americans have adopted more cautious habits in their everyday lives -- hitchhiking, for example, is less common, and children are driven to and from school. That reduces easy targets. And, some theorize, those bent on killing now opt for spectacular mass murders. "The 'perfect crime' concept is more of a concept than it ever has been before," said Adam Scott Wandt, an assistant professor at John Jay College of Criminal Justice. More than a decade ago, prosecutors said, Mr. Heuermann tried to cover his digital tracks by communicating with victims using so-called burner phones, prepaid units purchased anonymously for temporary use. But thanks to exponential progress in technology since 2010, investigators were able not only to chart Mr. Heuermann's decade-old movements; they could also monitor exactly what he was searching online in recent months. They saw that he was using an anonymous account for internet queries like "Why could law enforcement not trace the calls made by the long island serial killer," prosecutors said. He had also been visiting massage parlors and contacting women working as escorts, they said.

The ubiquity of technology has made it harder to get away with murder, Mr. Wandt said. The amount of data people create in their daily lives is more than many can conceptualize, he said. Just by walking outside, people are now tracked by ever-present cameras, from Amazon's Ring units outside homes to surveillance at banks and retail stores, he said. Every use of a phone or computer creates streams of data that are collected directly on devices or immortalized on servers, he said. A concerted effort by the federal government to ensure that even the smallest police departments can use technology to their benefit has also helped give investigators an upper hand, Mr. Wandt said. In 1987, there were 198 known active serial killers -- people connected to at least two murders -- and 404 known victims across the United States, according to a report published three years ago by researchers who run Radford University and Florida Gulf Coast University's Serial Killer Database. By 2018, there were only 12 known serial killers and 44 victims, according to the report. "The big question is: Are they going underground and finding other techniques?â said Terence Leary, an associate professor in the psychology department at Florida Gulf Coast University and the team leader for the database.

He said that some serial murderers have killed for discrete periods before taking prolonged breaks: "Maybe they decided to give it up. Who knows?"

An anonymous reader shares a report: Production companies are scanning the faces and bodies of actors and actresses, who fear their likeness will be used to create fake AI doubles for TV shows and films in the future. Some workers spoke to NPR last week about being subjected to the scans, and feeling like they couldn't say no. Alexandria Rubalcaba, who was working as a background actor, described being called into a trailer and asked to stand in front of cameras.

"Have your hands out. Have your hands in. Look this way. Look that way. Let us see your scared face. Let us see your surprised face," she said. What was most concerning, however, was that she didn't know what or how her images were going to be used. "My first thought leaving the trailer was, 'Oh this might just be the future," Lubsey said. "We might just lose our jobs," Dom Lubsey, an actor from Los Angeles, added. Studios already use computational techniques to create synthetic images of people to create fake crowds for backgrounds in films.

It's not too far-fetched to think that extras can also be generated too. Andrew Susskind, an associate professor at Drexel University's film and TV department, explained how AI-made background actors would slash production budgets. "Imagine ballroom scenes, party scenes, any scenes that need tons of extras," Susskind said. "Imagine the amounts of money they would be saving. Not paying $180 a day. Plus meals. Plus costuming," he said.

An anonymous reader quotes a report from Ars Technica: Film companies lost another attempt to force Reddit to identify anonymous users who discussed piracy. A federal court on Saturday quashed a subpoena (PDF) demanding users' names and other identifying details, agreeing with Reddit's argument that the film companies' demands violate the First Amendment. The plaintiffs are 20 producers of popular movies who are trying to prove that Internet service provider Grande is liable for its subscribers' copyright infringement because the ISP allegedly ignores piracy on its network. Reddit isn't directly involved in the copyright case. But the film companies filed a motion to compel Reddit to respond to a subpoena demanding "basic account information including IP address registration and logs from 1/1/2016 to present, name, email address and other account registration information" for six users who wrote comments on Reddit threads in 2011 and 2018.

"The issue is whether that discovery is permissible despite the users' right to speak anonymously under the First Amendment," US Magistrate Judge Laurel Beeler wrote in her ruling against the film copyright holders. "The court denies the motion because the plaintiffs have not demonstrated a compelling need for the discovery that outweighs the users' First Amendment right to anonymous speech." The film companies seeking Reddit users' identities include After II Movie LLC, Bodyguard Productions, Hitman 2 Productions, Millennium Funding, Nikola Productions, Rambo V Productions, and Dallas Buyers Club LLC. As Beeler's ruling on Saturday noted, they sought the identities of two users who wrote about torrenting on Grande's network in 2018 [...]. The companies also sought identities of four users who commented in a 2011 thread. "I have grande. No issues with torrent or bandwidth caps," one user comment said. Another Reddit user wrote, "I have torrented like a motherfucker all over grande and have never seen anything." Reddit's filing (PDF) pointed out that the statute of limitations for copyright infringement is three years. The film companies said (PDF) the statute of limitations is irrelevant to whether the comments can provide evidence in the case against Grande.

An anonymous reader shares a report: As Hollywood executives insist it is "just not realistic" to pay actors -- 87 percent of whom earn less than $26,000 -- more, they are spending lavishly on AI programs. While entertainment firms like Disney have declined to go into specifics about the nature of their investments in artificial intelligence, job postings and financial disclosures reviewed by The Intercept reveal new details about the extent of these companies' embrace of the technology. In one case, Netflix is offering as much as $900,000 for a single AI product manager.

[...] Netflix's posting for a $900,000-a-year AI product manager job makes clear that the AI goes beyond just the algorithms that determine what shows are recommended to users. The listing points to AI's uses for content creation: "Artificial Intelligence is powering innovation in all areas of the business," including by helping them to "create great content." Netflix's AI product manager posting alludes to a sprawling effort by the business to embrace AI, referring to its "Machine Learning Platform" involving AI specialists "across Netflix."

A research section on Netflix's website describes its machine learning platform, noting that while it was historically used for things like recommendations, it is now being applied to content creation. "Historically, personalization has been the most well-known area, where machine learning powers our recommendation algorithms. We're also using machine learning to help shape our catalog of movies and TV shows by learning characteristics that make content successful. We use it to optimize the production of original movies and TV shows in Netflix's rapidly growing studio."

Long-time Slashdot reader theodp writes: The number one movie in North America is Warner Bros. Discovery's Barbie, which Deadline reports has teamed up with Oppenheimer to fuel a mind-blowing $300M+ box office weekend. ["Oppenheimer Shatters Expectations with $80 Million Debut," read the headline at Variety.]

Now it seems everybody is trying to tap into Barbie buzz, including Microsoft's Xbox [which added Barbie and Ken's cars to Forza Horizon 5] and even Microsoft-backed education nonprofit Code.org. ("Are your students excited about Barbie The Movie? Have them try an HourOfCode [programming game] with Barbie herself!").
The idea is to inspire young students to become coders. But as Code.org shares Instagram images of a software developer Barbie, Slashdot reader theodp remembers when, nine years ago, Code.org's CEO "took to Twitter to blast Barbie and urge for her replacement." They'd joined a viral 2014 Computer Engineer Barbie protest that arose in response to the publication of Barbie F***s It Up Again, a scathing and widely reported-on blog post that prompted Mattel to pull the book Barbie: I Can Be a Computer Engineer immediately from Amazon. This may have helped lead to Barbie's loss of her crown as the most popular girls' toy in the ensuing 2014 holiday season to Disney's Frozen princesses Elsa and Anna, and got the Mattel exec who had to apologize for Computer Engineer Barbie called to the White House for a sit down a few months later. (Barbie got a brainy makeover soon thereafter)...

The following year, Disney-owned Lucasfilm and Code.org teamed up on Star Wars: Building a Galaxy with Code, a signature tutorial for the 2015 Hour of Code. Returning to a Disney princess theme in 2016, Disney and Code.org revealed a new Hour of Code tutorial featuring characters from the animated film Moana just a day ahead of its theatrical release. It was later noted that Moana's screenwriters included Pamela Ribon, who penned the 2014 Barbie-blasting blog post that ended Barbie's short reign as the Hour of Code role model of choice for girls.

Interestingly, Ribon seems to bear no Barbie grudges either, tweeting on the day of the Barbie movie release, "I was like holy s*** can't wait to see it."
To be fair, the movie's trailer promises "If you hate Barbie, this movie is for you," in a deconstruction where Barbie is played by D.C. movies' "Harley Quinn" actress Margot Robbie (Suicide Squad, Birds of Prey), whose other roles include Tonya Harding and the home-wrecking second wife in The Wolf of Wall Street.

For a taste of Comic-Con, one San Diego newspaper is sharing photos of the 30 buildings in San Diego that had their exteriors covered this week with promotional "building wraps" for "the latest TV shows, movies and even a National Geographic special."

Some of the stranger announcements this year:

• Jamie Lee Curtis has co-authored a horror graphic novel with an environmentalist theme called Mother Nature.

• It was also announced that season 2 of Star Trek: Strange New Worlds would include a musical episode.

• Star Trek: the Next Generation star Jonathan Frakes has directed a Star Trek: Lower Decks episode in which the animated characters crossover into the live-action world of Star Trek: Strange New Worlds.

And the A.V. Club offers a slideshow with its choices for this year's hottest trailers. Some of the highlights:

• The Walking Dead: The Ones Who Live and The Walking Dead: Daryl Dixon
• Wheel of Time (Season 2)
• The Marvels (a new movie in the Marvel Cinematic Universe)
• Agatha Christie's A Haunting In Venice (starring Kenneth Branagh as Hercule Poirot)
• Anne Rice's Interview With The Vampire (Season 2)
• Harley Quinn (Season 4)

Ahead of the Oppenheimer release, IMAX's TikTok showed the massive 70mm film print and special IMAX extensions. The video interestingly featured an emulated Palm m130, commonly known as a Palm Pilot, a 2002 device running on a Motorola 33MHz DragonBall VZ processor and Palm OS 4.1. From a report: In an IMAX theater, the m130's job is to control the quick turn reel unit, or QTRU for short. (For many years, it appears, a non-emulated m130 sat holstered in most theaters.) The QTRU's job is to control the platters, which are those large horizontal shelves where all of a film's many reels are stitched together, stored, and then quickly spun out to and from the projector. The IMAX 1570 projector moves film at a little under six feet per second, so it's all happening really fast.

The m130 is apparently crucial to keeping the thing humming -- "PALM PILOT MUST BE ON ALL THE TIME," reads a notice above an image of a different m130 that has since been passed around the internet -- but doesn't often need to be used. "I've never had to interact with the Palm Pilot," says one person familiar with the technology. "It's really just a status screen." Its job is to keep the QTRU moving at a consistent speed and to help keep the film's video in sync with its audio.

sciencehabit shares a report from Science: This week, the much anticipated movie Oppenheimer hits theaters, giving famed filmmaker Christopher Nolan's take on the theoretical physicist who during World War II led the Manhattan Project to develop the first atomic bomb. J. Robert Oppenheimer, who died in 1967, is known as a charismatic leader, eloquent public intellectual, and Red Scare victim who in 1954 lost his security clearance in part because of his earlier associations with suspected Communists. To learn about Oppenheimer the scientist, Science spoke with David C. Cassidy, a physicist and historian emeritus at Hofstra University. Cassidy has authored or edited 10 books, including J. Robert Oppenheimer and the American Century. How did Oppenheimer compare to Einstein? Did he actually make any substantiative contributions to THE Bomb? And why did he eventually lose his security clearance?

A year after its largest quarterly loss and a significant drop in subscribers, Netflix has made a remarkable recovery by adding 5.9 million global subscribers in the second quarter of 2023, surpassing analyst expectations. TechCrunch reports: The subscriber addition far exceeds industry guidance; analysts forecasted an increase of 1.7 million subs. Netflix ended Q1 with 232.5 million users. Netflix's quarterly earnings results arrive a few hours after news broke out that the streamer dropped its basic plan in the U.S. and the U.K.

Netflix's significant subscriber gain this quarter reflects the impact of its paid sharing rules. Netflix wrote in its letter to shareholders, "In May, we successfully launched paid sharing in 100+ countries, representing more than 80% of our revenue base." The company added that today it's rolling out paid sharing to "almost all the remaining countries," including Croatia, Kenya, Indonesia and India. Netflix reported $8.2 billion in revenue and a net income of $1.5 billion.

An anonymous reader quotes a report from The Verge: During today's press conference in which Hollywood actors confirmed that they were going on strike, Duncan Crabtree-Ireland, SAG-AFTRA's chief negotiator, revealed a proposal from Hollywood studios that sounds ripped right out of a Black Mirror episode. In a statement about the strike, the Alliance of Motion Picture and Television Producers (AMPTP) said that its proposal included "a groundbreaking AI proposal that protects actors' digital likenesses for SAG-AFTRA members."

When asked about the proposal during the press conference, Crabtree-Ireland said that "This 'groundbreaking' AI proposal that they gave us yesterday, they proposed that our background performers should be able to be scanned, get one day's pay, and their companies should own that scan, their image, their likeness and should be able to use it for the rest of eternity on any project they want, with no consent and no compensation. So if you think that's a groundbreaking proposal, I suggest you think again."

The use of generative AI has been one of the major sticking points in negotiations between the two sides (it's also a major issue behind the writers strike), and in her opening statement of the press conference, SAG-AFTRA president Fran Drescher said that "If we don't stand tall right now, we are all going to be in trouble, we are all going to be in jeopardy of being replaced by machines." The SAG-AFTRA strike will officially commence at midnight tonight.

Chicken Soup for the Soul Entertainment, the parent company of Redbox, has partnered with TikTok to stream the platform's short-form videos on screens atop approximately 3,000 Redbox kiosks across the United States. Deadline reports: Third-party brands will also have their ads run alongside the TikTok videos via Chicken Soup's ad platform Crackle Connex. The agreement covers roughly 10% of the total network of Redbox kiosks, which are generally located outside of grocery, convenience and big box retail stores. The out-of-home ad deal is part of a growing effort across the industry to identify alternatives to linear TV and place brand messages in venues like gas stations, elevators and other locations. "TikTok is the go-to destination for short-form video consumption by over a billion people globally," said Philippe Guelton, chief revenue officer of Crackle Connex. "This new partnership provides advertisers a unique opportunity to reach new audiences and drive engagement. Our Redbox kiosks are in high-traffic locations where millions of people frequently shop, such as grocery stores or value retailers. We look forward to working with TikTok on expanding this partnership as our DOOH network expands."

The Video Game History Foundation: The Video Game History Foundation, in partnership with the Software Preservation Network, has conducted the first ever study on the commercial availability of classic video games, and the results are bleak. 87% of classic video games released in the United States are critically endangered. Imagine if the only way to watch Titanic was to find a used VHS tape, and maintain your own vintage equipment so that you could still watch it. And what if no library, not even the Library of Congress, could do any better -- they could keep and digitize that VHS of Titanic, but you'd have to go all the way there to watch it. It sounds crazy, but that's the reality we live in with video games, a $180 billion industry, while the games and their history disappear.

For accessing nearly 9 in 10 classic games, there are few options: seek out and maintain vintage collectible games and hardware, travel across the country to visit a library, or... piracy. None of those options are desirable, which means that most video games are inaccessible to all but the most diehard and dedicated fans. That's pretty grim! This is where libraries and archives should come in. Anyone should be able to easily explore, research and play classic video games, in the same way that they can read classic novels, listen to classic albums, and watch classic movies. But outdated copyright laws are preventing institutions like ours from doing our jobs.

G/O Media is the owner of top sites like Gizmodo, Kotaku, Quartz, and the Onion. Last month they announced "modest tests" of AI-generated content on their sites — and it didn't go over well within the company, reports the Washington Post.

Soon the Deputy Editor of Gizmodo's science fiction section io9 was flagging 18 "concerns, corrections and comments" about an AI-generated story by "Gizmodo Bot" on the chronological order of Star Wars movies and TV shows. "I have never had to deal with this basic level of incompetence with any of the colleagues that I have ever worked with," James Whitbrook told the Post in an interview. "If these AI [chatbots] can't even do something as basic as put a Star Wars movie in order one after the other, I don't think you can trust it to [report] any kind of accurate information." The irony that the turmoil was happening at Gizmodo, a publication dedicated to covering technology, was undeniable... Merrill Brown, the editorial director of G/O Media, wrote that because G/O Media owns several sites that cover technology, it has a responsibility to "do all we can to develop AI initiatives relatively early in the evolution of the technology." "These features aren't replacing work currently being done by writers and editors," Brown said in announcing to staffers that the company would roll out a trial to test "our editorial and technological thinking about use of AI."

"There will be errors, and they'll be corrected as swiftly as possible," he promised... In a Slack message reviewed by The Post, Brown told disgruntled employees Thursday that the company is "eager to thoughtfully gather and act on feedback..." The note drew 16 thumbs down emoji, 11 wastebasket emoji, six clown emoji, two face palm emoji and two poop emoji, according to screenshots of the Slack conversation...

Earlier this week, Lea Goldman, the deputy editorial director at G/O Media, notified employees on Slack that the company had "commenced limited testing" of AI-generated stories on four of its sites, including A.V. Club, Deadspin, Gizmodo and The Takeout, according to messages The Post viewed... Employees quickly messaged back with concern and skepticism. "None of our job descriptions include editing or reviewing AI-produced content," one employee said. "If you wanted an article on the order of the Star Wars movies you ... could've just asked," said another. "AI is a solution looking for a problem," a worker said. "We have talented writers who know what we're doing. So effectively all you're doing is wasting everyone's time."
The Post spotted four AI-generated stories on the company's sites, including io9, Deadspin, and its food site The Takeout.

At least two of those four stories had to be corrected after publication.

George Church was part of the team that pioneered CRISPR gene editing. In 2021 he co-founded a kind of real-world "Jurassic Park" — Colossal Biosciences, a biotech startup working to de-extinct the Woolly Mammoth.

For the 30th anniversary of the movie Jurassic Park, Rolling Stone brought in Colossal's co-founder and CEO, Ben Lamm, to share how the movie inspired and influenced their plans. Lamm writes that in 1993 he was 11 years old when he'd first seen the movie Jurassic Park. And even then, "Yes, as an 11-year-old I thought, what if dinosaurs could be real?"

Lamm says he's now excited at "not just de-extincting animals but at the possibility for endless discoveries that would arise from the pursuit of doing so..." When I first told my lawyer that I was interested in starting Colossal and bringing back the woolly mammoth, he asked me if I had read Michael Crichton's book or seen Spielberg's Jurassic Park movie. Since then, it's a question that has come up in nearly every meeting with investors, journalists, and lawyers. I have, which meant that I spent a number of years thinking about if we should de-extinct animals before I set out to figure out if we could. (Thanks, Dr. Ian Malcolm.) Before ever setting foot in a lab, I spent many years and countless hours thinking about the moral questions at the heart of the story.

And, with each successive year, I watched, heard, and learned about more and more animals dying due to climate change — a modern-day extinction. I came to the conclusion that the question is no longer should we practice de-extinction science but how long do we have to get it right... [T]he scary vision of the future isn't one where dinosaurs escape Isla Nubar and fly to the mainland, putting a healthy planet at risk, but instead a future where there aren't enough animals left to support food webs and ecosystems. And that includes humans, too... [I]t is our belief that it is possible to safeguard against or even stop that fatalist future vision using a similar approach in the original movie with some slight variations. It all goes back to genetics and a lot of what I learned about when I first met George...

In the same way that wireless headsets, CAT scans, LEDs, the computer mouse, and thermal blankets are all products of going to the moon, de-extinction efforts have created breakthroughs already for both conservation and human healthcare. In Colossal's first few years of work, our woolly mammoth research alone has not only accelerated genetic rescue in elephants, but also, it is working to cure a deadly elephant virus that kills 25% of all baby elephants worldwide each year. The de-extinction toolkit is also establishing a genetic backup of all living elephant species, and building the necessary tools for elephant cloning and gestation. And now, unlike Dr. Hammond, who bought an island and hid his experiment from the world, governments are coming to us asking if we can help them to restore their critically endangered animals and help safeguard their keystone species.
Lamm points out that you can get good DNA samples from specimens frozen in permafrost, skeletons preserved in caves, and from preserved specimens in museums.

But "You can't get DNA from amber. Trust us. It's porous and doesn't preserve well."

An anonymous reader quotes a report from NewScientist: Netflix researchers have created a new type of AI-powered green-screen technology that can produce realistic visual effects for film and television in real time. Green-screen technology is routinely used to capture footage of actors that can then be inserted in the foreground of virtual or prerecorded scenes. To do this, actors are filmed against a bright green background, which is easily isolated and removed digitally. This process can be done automatically with reasonable accuracy, such as in television weather forecasts, but it can be thrown by items of green clothing or by transparent or fine objects, like wisps of hair. When greater accuracy is needed in films or television series, specialist operators tweak settings manually, sometimes requiring hours to perfect a shot.

In a bid to create a technique that is both fast and accurate, Netflix has come up with a method it calls Magenta Green Screen (MGS). Actors are filmed against a background of bright green LEDs while being lit from the front with red and blue ones, which together create a magenta glow (see video, [here]). Because digital cameras work by taking an individual red, green and blue value for each pixel, this technique has the effect of creating a green channel that records only the background, with the foreground appearing black, and red and blue channels that record only the foreground, leaving the background looking black. Together these create the magenta and green look. Film editors can replace the green channel in real time, realistically and instantly placing the actors in the foreground of another scene, with even potentially tricky areas, such as transparent bottles or the area around strands of hair, working without problems.

But there is a problem with the method. Because the foreground is only recorded in blue and red, it leaves the actors looking magenta-tinted. To solve this, Netflix uses artificial intelligence to put the full range of color back into the foreground, using a photograph of the actors lit normally as a reference to create a realistic-looking green channel. This AI works quickly, but not yet in real time, although fast techniques such as averaging the red and blue channels to create an approximation of a green channel work effectively enough for the director to monitor while filming.

Tessa Kaur, writing at The Gamer: This week, Disney removed a film called Crater from Disney Plus, which had been released on May 12, 2023. This means it was on the streaming platform for just 48 days, or about seven weeks. Disney hasn't said why, but it seems most likely that it didn't perform well enough and the company decided to remove it to write down the value of its "content assets," therefore lowering their taxes. It's all about the money, and always has been, and there are unfortunate consequences that come with this.

Disney isn't the only streamer that's guilty of this -- every streaming service, including Netflix and HBO Max (now just Max), has taken shows and movies off their platforms without warning. Willow was cancelled and removed from Disney, as was the well-loved Single Drunk Female from Hulu. HBO pulled Westworld and Snowpiercer. Grease: Rise of the Pink Ladies was cancelled and pulled from Paramount Plus just last month. It seems like anything could be pulled at any time, and that sucks.

It's bad enough that streaming services are cancelling shows left and right because they don't meet arbitrary sales targets, but when they are pulled from these platforms, many of them disappear forever. A lot of these shows are made for streaming, never aired on cable, and were never physically released. Bigger prestige shows like Westworld and Snowpiercer appeared on cable originally and are more likely to have Blu-ray releases, but those Disney shows are gone. There is no legal way to watch them anymore, and these companies are not interested in even selling you access.

Consumers are winning from the streaming revolution but across most of Hollywood, the businesses churning out TV and movies are losing. From a report: Services such as Netflix, Disney+, Paramount+ and Max have become the default entertainment options for homes across America rather than cable, saving many consumers money. For the titans of Hollywood, that shift has been costly. Traditional media and entertainment companies have reported losses of more than $20 billion combined since early 2020 on their direct-to-consumer streaming businesses. Netflix, which brings in profits, is an exception, but the rest of the industry is wondering: While consumers love streaming, is it actually a good business?

Investors now care about profitability rather than growth, a change that makes finding new revenue streams and retaining customers critical. Studios that for years were able to splurge on content to feed viewers' insatiable appetite for new shows and films now must pull back to make the math work. The ad market is weakening, many companies have laid off staff to save money and Hollywood writers are on strike. Market values for Paramount Global, Comcast, Walt Disney and Netflix are down more than $280 billion combined since the end of 2020. Warner Bros. Discovery is worth about half of its total value since its 2022 trading debut as a combined company. The declines have come after many of the stocks rose during the early part of the pandemic, when consumers were stuck at home and hungry for entertainment.

"In a 2022 survey of 1,200 people, language learning company Preply determined that 50% of Americans used subtitles and closed captions the vast majority of the time they watch content," writes IndieWire.

They delve into the reasons why so many people want to read dialogue: The first is that, for a lot of people, it's become a lot harder to understand dialogue on the TV. That's the top reason cited in the Preply survey, with nearly 72% of respondents who use closed captions marking that as one of the main reasons why.

The causes behind muddled dialogue are many, multifaceted, and might vary between person to person. For some, the problem is the design of modern televisions; the majority of which place internal speakers at the bottom of the set instead of facing towards the audience, causing significantly worse audio quality. Other issues are caused by sound designs optimized for theatrical experiences, which can result in compressed audio when translated to home. Whatever the reason, a lot of people struggle to hear dialogue now, so turning on closed captioning to decipher what people are saying has become a no brainer move...

Gen Z is, overwhelmingly, the generation most likely to be turning on subtitles according to Preply's numbers, with 70% of respondents in the generation saying they use closed captions "most of the time" compared to 53% of Millennials, 38% of Gen X, and 35% of Baby Boomers. As to why Gen Z likes to turn on text while watching their shows, part of it is that people in the generation grew up watching videos on social media, where subtitles are the algorithmically encouraged default.

Another reason is that Gen Z displays starkly different viewing habits than Baby Boomers in terms of where they're watching their movies and shows. According to Preply, 57% of all Americans watch shows or movies or videos in public on their mobile devices, but a very significant 74% of Gen Z do the same. Even if you're (hopefully) using headphones while in public, it's likely you're getting poor audio quality and hearing background noise if you're watching "The Irishman" on public transit.
The article also cites a three-month study in 2020 by Parrot Analytics (which studies trends in entertainment) which discovered non-U.S. shows accounted for nearly 30% of the demand from U.S. audiences. (And even English-language shows may still have characters speaking with difficult-to-understand accents...)

In an opinion piece for NPR, guest host and TV critic on NPR's Fresh Air, David Bianculli, raises concerns about Discovery CEO David Zaslav's track record and the future of Turner Classic Movies (TCM) under his leadership. Here's an excerpt from his piece: When the dismissal was announced recently of most of the people who have guided Turner Classic Movies brilliantly for years -- the programmers, the producers of special material, even the executives who plan the TCM film festivals and party cruises -- many people in Hollywood reacted like there'd been a death in the family. Because, to people who really love movies, that's what the news felt like. [...] Warner Bros. Discovery CEO David Zaslav, in explaining his TCM changes, has said that, among other things, he wants to have filmmakers appear on TCM to curate and present movies of their choosing. Nothing wrong with that. Except you don't have to replace your current management team to make that happen -- and besides, it's already happening. Earlier this year, when Steven Spielberg was promoting his new autobiographical movie The Fabelmans, TCM host Ben Mankiewicz had Spielberg on to select, present and talk about three movies of his choice.

The team that's been running TCM for years has been serving up treats like this with regularity, and with exceptional taste. There are pockets on the schedule for silent movies, for underground films, for film noir, for musicals, and so much more. And if you stay tuned between movies -- which you should -- you get even more treats. Salutes of actors by fellow actors. Short features on costume design and the uncomfortable but illuminating history of blackface in the movies. Some films are presented in newly restored form. Others are newly discovered and presented as the gems they are -- and TCM occasionally revives and showcases rare live television dramas, too. You can imagine how much I love that.

Zaslav says the TCM channel is on all the time in his office, too, and he's saying all the right things about valuing the curation of film as well as film itself. But Zaslav already has just shut down his overseas equivalent of Turner Classic Movies in the U.K. And he's the guy who, since taking over the reins at Warner Bros. Discovery, already has turned HBO Max into just Max, which makes no sense -- devaluing his own HBO brand. Zaslav's altered that Max streaming service so that, while a link to a TCM sub-menu does appear, it's buried way down in the menu. What's worse, its highlighted TCM movie offerings are almost all of the more recent, filmed in color, variety. It's presenting only a tepid taste of what TCM offers on its own 24-hour cable service. Zaslav also, since becoming CEO, has overseen the rapid, clumsy devaluation of CNN, by making poorly received moves like that Donald Trump town hall. In Zaslav's short time on the job, he's already considerably damaged CNN, one of Turner's more brilliant network ideas. I fear, with Turner Classic Movies, Zaslav is about to weaken another -- but I'd love to be proven wrong.

The "BepiColombo" mission, a joint European-Japanese effort, "has recently completed its third of six planned flybys of Mercury, capturing dozens of images in the process," reports the Byte: At its closest, the spacecraft soared within just 150 miles of Mercury. This occurred on the night side of the planet, however, too dark for optimal imaging. Instead, the first and nearest image was taken 12 minutes after the closest approach, at the still impressive proximity of some 1,100 miles above the surface.
Now the ESA has spliced together 217 images from that flyby into a short video, which culminates with a zoomed-in closeup of Mercury's cratered surface. And the music in that video had a little help from AI, reports Phys.org: Music was composed for the sequence by ILÄ (formerly known as Anil Sebastian), with the assistance of AI tools developed by the Machine Intelligence for Musical Audio group, University of Sheffield.

Music from the previous two flyby movies — composed by Maison Mercury Jones' creative director ILÄ and Ingmar Kamalagharan — was given to the AI tool to suggest seeds for the new composition, which ILÄ then chose from to edit and weave together with other elements into the new piece.

The team at the University of Sheffield has developed an Artificial Musical Intelligence (AMI), a large-scale general-purpose deep neural network that can be personalized to individual musicians and use cases. The project with the University of Sheffield is aimed at exploring the boundaries of the ethics of AI creativity, while also emphasizing the essential contributions of the (human) composer.
From the ESA's announcement: BepiColombo's next Mercury flyby will take place on 5 September 2024, but there is plenty of work to occupy the teams in the meantime... BepiColombo's Mercury Transfer Module will complete over 15 000 hours of solar electric propulsion operations over its lifetime, which together with nine planetary flybys in total — one at Earth, two at Venus, and six at Mercury — will guide the spacecraft towards Mercury orbit.

The ESA-led Mercury Planetary Orbiter and the JAXA-led Mercury Magnetospheric Orbiter modules will separate into complementary orbits around the planet, and their main science mission will begin in early 2026.
One spaceflight blog notes the propulsive energy required for an eventual entry into the orbit of Mercury "is greater than that of a mission to fly by Pluto.

"Only one other spacecraft has orbited Mercury, and that was NASA's MESSENGER probe, which orbited the planet from 2011 to 2015."