Android

Android Oreo Helps Google's Pixel 2 Smartphones Outperform Other Android Flagships (hothardware.com) 86

MojoKid highlights Hot Hardware's review of Google's new Pixel 2 and Pixel 2 XL smartphones: Google officially launched it's Pixel 2 phones today, taking the wraps off third-party reviews. Designed by Google but manufactured by HTC (Pixel 2) and LG (Pixel 2 XL), the two new handsets also boast Google's latest Android 8.0 operating system, aka Oreo, an exclusive to Google Pixel and certain Nexus devices currently. And in some ways, this is also a big advantage. Though they are based on the same Qualcomm Snapdragon 835 processor as many other Android devices, Google's new Pixel 2s manage to outpace similarly configured smartphones in certain benchmarks by significant margins (Basemark, PCMark and 3DMark). They also boot dramatically faster than any other Android handset on the market, in as little as 10 seconds. Camera performance is also excellent, with both the 5-inch Pixel 2 and 6-inch Pixel 2 XL sporting identical electronics, save for their displays and chassis sizes. Another notable feature built into Android Oreo is Google Now Playing, an always-listening, Shazam-like service (if you enable it) that displays song titles on the lock screen if it picks up on music playing in the room you're in. Processing is done right on the Pixel 2 and it doesn't need network connectivity. Another Pixel 2 Oreo-based trick is Google Lens, a machine vision system that Google notes "can recognize places like landmarks and buildings, artwork that you'd find in a museum, media covers such as books, movies, music albums, and video games..." The Google Pixel 2 and Pixel 2 XL are available now on Verizon or unlocked via the Google Store starting at $649 and $849 respectively for 64GB storage versions, with a $100 up-charge for 128GB variants.
Piracy

Netflix, Amazon, Movie Studios Sue Over TickBox Streaming Device (arstechnica.com) 131

Movies studios, Netflix, and Amazon have teamed up to file a lawsuit against a streaming media player called TickBox TV. The device in question runs Kodi on top of Android 6.0, and searches the internet for streams that it can make available to users without actually hosting any of the content itself. An anonymous reader quotes a report from Ars Technica: The complaint (PDF), filed Friday, says the TickBox devices are nothing more than "tool[s] for mass infringement," which operate by grabbing pirated video streams from the Internet. The lawsuit was filed by Amazon and Netflix Studios, along with six big movie studios that make up the Motion Picture Association of America: Universal, Columbia, Disney, Paramount, 20th Century Fox, and Warner Bros.

"What TickBox actually sells is nothing less than illegal access to Plaintiffs' copyrighted content," write the plaintiffs' lawyers. "TickBox TV uses software to link TickBox's customers to infringing content on the Internet. When those customers use TickBox TV as Defendant intends and instructs, they have nearly instantaneous access to multiple sources that stream Plaintiffs' Copyrighted Works without authorization." The device's marketing materials let users know the box is meant to replace paid-for content, with "a wink and a nod," by predicting that prospective customers who currently pay for Amazon Video, Netflix, or Hulu will find that "you no longer need those subscriptions." The lawsuit shows that Amazon and Netflix, two Internet companies that are relatively new to the entertainment business, are more than willing to join together with movie studios to go after businesses that grab their content.

Google

Google Photos Now Recognizes Your Pets (techcrunch.com) 60

Today, Google is introducing an easier way to aggregate your pet photos in its Photos app -- by allowing you to group all your pet's photos in one place, right beside the people Google Photos organized using facial recognition. TechCrunch reports: This is an improvement over typing in "dog," or another generalized term, because the app will now only group together photos of an individual pet together, instead of returning all photos you've captured with a "dog" in them. And like the face grouping feature, you can label the pet by name to more easily pull up their photos in the app, or create albums, movies or photo books using their pictures. In addition, Google Photos lets you type in an animal's breed to search for photos of pets, and it lets you search for photos using the dog and cat emojis. The company also earlier this year introduced a feature that would create a mini-movie starring your pet, but you can opt to make one yourself by manually selecting photos then choosing from a half-dozen tracks to accompany the movie, says Google.
Television

Netflix Adds 5.3 Million Subs In Q3, Beating Forecasts (variety.com) 69

Netflix shows no signs of slowing down. The company announced its third quarter results, adding more subscribers in both the U.S. and abroad than expected. Variety reports: The company gained 850,000 streaming subs in the U.S. and 4.45 million overseas in the period. Analysts had estimated Netflix to add 784,000 net subscribers in the U.S. and 3.62 million internationally for Q3. "We added a Q3-record 5.3 million memberships globally (up 49% year-over-year) as we continued to benefit from strong appetite for our original series and films, as well as the adoption of internet entertainment across the world," the company said in announcing the results, noting that it had under-forecast both U.S. and international subscriber growth. Netflix also indicated that its content spending may be even higher next year than previously projected. The company had said it was targeting programming expenditures of $7 billion in 2018; on Monday, Netflix said it will spend between $7 billion and $8 billion on content (on a profit-and-loss basis) next year. For 2017, original content will represent more than 25% of total programming spending, and that "will continue to grow," Netflix said.
Television

Cord-Cutters Drive Cable TV Subscribers to a 17-Year Low (houstonchronicle.com) 200

An anonymous reader quotes the Washington Post: On Wednesday, AT&T told regulators that it expects to finish the quarter with about 90,000 fewer TV subscribers than it began with. AT&T blamed a number of issues, including hurricane damage to infrastructure, rising credit standards and competition from rivals. The report also shows AT&T lost more traditional TV customers than it gained back through its online video app, DirecTV Now. And analysts are suggesting that that's evidence that cord-cutting is the main culprit... "DirecTV, like all of its cable peers, is suffering from the ravages of cord-cutting," said industry analyst Craig Moffett in a research note this week. Moffett added that while nobody expected AT&T's pay-TV numbers to look good, hardly anyone could have predicted they would look "this bad."

The outlook doesn't look much healthier for the rest of the television industry. Over the past year, cable and satellite firms have collectively lost nearly 3 million customers, according to estimates by market analysts at SNL Kagan and New Street Research. The number of households with traditional TV service is hovering at about the level it was in 2000, according to New Street's Jonathan Chaplin, in a study last week. Other analysts predict that, after factoring in AT&T's newly disclosed losses, the industry will have lost 1 million traditional TV subscribers by the end of this quarter.

Businesses

Real Moviegoers Don't Care About Rotten Tomatoes 173

In a recent essay published on the Hollywood Reporter, Martin Scorsese inveighs against two conjoined trends -- the widespread reporting of box-office results and the grading of movies by consumers on CinemaScore and by critics on Rotten Tomatoes -- and blames it for "a tone that is hostile to serious filmmakers." In particular, he contends that this hostile environment is worsening "as film criticism written by passionately engaged people with actual knowledge of film history has gradually faded from the scene." Richard Brody, a movie critic at the New Yorker, thinks Scorsese is missing the mark. He writes: I think that film criticism is, over all, better than ever, because, with its new Internet-centrism, it's more democratic than ever and many of the critics who write largely online are more film-curious than ever. Anyone who is active on so-called Film Twitter -- who sees links by critics, mainly younger critics, to his or her work -- can't help but be impressed by the knowledge, the curiosity, and the sensibility of many of them. Their tastes tend to be broader and more daring than those of many senior critics on more established publications. And, even if readers of the wider press aren't reading these more obscure critics, the critics whom general readers read are often reading those young critics (and if they're not, it shows). This is, of course, not universally so, any more than it ever was. The Internet is democratic in all directions -- it's also available to writers of lesser knowledge, duller taste, and dubious agendas, and it may be their work that's advertised most loudly -- but the younger generation of critics is present online and there for the finding. [...] What Scorsese doesn't exactly say, but what, I think, marks a generation gap in movie thinking that his essay reflects, is the appearance of an increasing divide between artistically ambitious films and Hollywood films -- the gap between the top box-office films and the award winners. For filmmakers ready to work on lower budgets, the gap is irrelevant. The filmmakers whose conceptions tend toward the spectacular are the ones whose styles may, literally, be cramped by shrinking budgets -- filmmakers such as Scorsese and Wes Anderson, whose work has both an original and elaborate sense of style and a grand historical reach.
Businesses

Hollywood Studios Join Disney To Launch Movies Anywhere Digital Locker Service (theverge.com) 48

There may be a grand unifying service to make accumulating a large digital cinematic library feasible, or so is the hope anyway. From a report: For several years now, Disney has been the only Hollywood studio with a digital movie locker worth using, but a host of other industry heavyweights have now jumped on board to launch an expanded version of the service called Movies Anywhere. It's both a cloud-based digital locker and a one-stop-shop app: customers connect Movies Anywhere to their iTunes, Amazon Video, Google Play, or Vudu accounts, and all of the eligible movies they've purchased through those retailers appear as part of their Movies Anywhere library. Given that the Movies Anywhere app works across a number of platforms, it basically allows them to take their digital film library with them no matter what device or operating system they're using. [...] The launch of Movies Anywhere should be the merciful, final blow that puts an end to UltraViolet, one of the entertainment industry's first attempts at putting together a comprehensive digital locker service. That service flailed due to a poor customer experience and lack of adoption on the part of big digital retailers like Apple. The team behind Movies Anywhere seems to have learned from UltraViolet's mistakes, however, as well as Disney's previous successes.
Movies

It's Illegal to Pirate Films in Iran, Unless You're the Government (vice.com) 35

An anonymous reader shares a report: While legal "pirating" exists in Iran, six administrators of the Iranian pirate movie site TinyMoviez have been arrested by Iranian authorities. This was a website the Iranian national broadcaster had used to download and nationally air movies in the past. The exact date of the arrests are unknown, but Tehran's Prosecutor General announced the arrests on September 26, 2017. The website is still online, but users haven't been able to download content from it since September 19, 2017. Now TinyMoviez administrators are finding themselves on the wrong side of Iran's odd and often pirating friendly copyright laws. Iran's copyright law is a quagmire when it comes to understanding what rights exists for creators of an original piece of work, and what rights exist for those wanting to re-distribute original works, such as movies. Meanwhile, Article 8 gives the government broad powers to reproduce work that is not its own. This means that the government is exempt from Article 23, which criminalizes the theft of another's work.
Sci-Fi

'Blade Runner 2049' Isn't the Movie Denis Villeneuve Wanted to Make (vice.com) 264

Readers share a Motherboard article: There are seemingly two inescapable realities for big-budget filmmakers in 2017: you have to use existing intellectual property and you must provide spectacle that can lure massive domestic and foreign audiences to the the theater. It seemed that Denis Villeneuve chose wisely when he selected the IP that he would ride into the mainstream. [...] There is much to admire, but as a whole, Blade Runner 2049 works best as a case for why filmmakers like Villeneuve should be given big budgets to try out new concepts rather than retread what's come before them. Just like Arrival was at its best when we saw the elegance of how the space ship and the aliens within it actually functioned, this version of Blade Runner shines when we get to watch how Villeneuve's dystopia operates. Moments of technical brilliance small and large are at the soul of this film. Whether you're watching the creation of robot memories, the execution of an air strike from an effortless, detached distance, or even something as simple as a stroll through a hall of records, the mechanics of this world are jaw-dropping. Ryan Gosling (K) wisely opts for a muted, brooding performance, allowing the world to steal the show while still illustrating the burden of living in it. Even with all of this technical brilliance on display (the costumes, sound, and special effects are brilliant), the baggage of the original film's mythology weighs down Blade Runner 2049. The most burdensome baggage for Villeneuve to carry, sadly, is the Blade Runner story itself.
Movies

Nearly 4 Million People In US Still Subscribe To Netflix DVDs By Mail (recode.net) 186

The biggest Netflix-related news today is that the company is raising its streaming videos prices, from $9.99 a month to $10.99. But there is another interesting nugget of information to consider: Netflix still has 3.7 million DVD subscribers in the U.S. who get their discs delivered through the mail for the same $7.99 a month it had previously cost. Recode reports: That's down 17 percent from a year ago, and is much smaller than Netflix's nearly 52 million domestic streaming subscribers, but it's still sizable. Netflix first separated out its DVD and streaming subscription services in July 2011, charging $7.99 each ($15.98 for both). Streaming was originally an added bonus for DVD subscribers at no extra cost. Are you one of the 3.7 million Netflix users who still get DVDs sent in the mail? If so, what's keeping you from embracing the digital age and streaming movies via the internet?
DRM

Hollywood's International War on Kodi Plugins And Video-Streaming Boxes (eff.org) 57

An anonymous reader quotes the EFF: In the past few years, the sale of pre-configured Kodi boxes, and the availability of a range of plugins providing access to streaming media, has seen the software's popularity balloon -- and made it the latest target of Hollywood's copyright enforcement juggernaut. We've seen this in the appearance of streaming media boxes as an enforcement priority in the U.S. Trade Representative's Special 301 Report, in proposals for new legislation targeting the sale of "illicit" media boxes, and in lawsuits that have been brought on both sides of the Atlantic to address the "problem" that media boxes running Kodi, like any Web browser, can be used to access media streams that were not authorized by the copyright holder...

The difficulty facing the titans of TV is that since neither those who sell Kodi boxes, nor those who write or host add-ons for the software, are engaging in any unauthorized copying by doing so, cases targeting these parties have to rely on other legal theories. So far several legal theories have been used; one in Europe against sellers of Kodi boxes, one in Canada against the owner of the popular Kodi add-on repository TVAddons, and two in the United States against TVAddons and a plugin developer... These lawsuits by big TV incumbents seem to have a few goals: to expand the scope of secondary copyright infringement yet again, to force major Kodi add-on distributors off of the Internet, and to smear and discourage open source, freely configurable media players by focusing on the few bad actors in that ecosystem.

The EFF details the specific lawsuits in each region, and concludes that their courts "should reject these expansions of copyright liability, and TV networks should not target neutral platforms and technologies for abusive lawsuits."
Movies

Amazon Slashes Prices on 4K Content in Response To Apple TV 4K's Launch (theverge.com) 25

An anonymous reader shares a report: One of the many announcements at Apple's keynote a couple weeks ago was that 4K movies would be added to iTunes at the same price as HD content. Previously purchased HD movies would also be upgraded to 4K for free, though for streaming only. In response, Amazon Video has drastically slashed the prices of its own 4K content to match iTunes. As Pocket Lint notes, Amazon Video's 4K selection is not only limited in comparison to Apple's, but was incredibly expensive with purchases running over $30. (This price was comparable to services like Vudu and Google, but Apple's worked out deals to offer 4K HDR movies at $19.99.) Over the weekend, it appears prices for 4K titles on Amazon Video are now starting at around $5, with newer releases in the range of $7 to $19.
Transportation

How Flying Seriously Messes With Your Mind and Body (bbc.com) 264

dryriver writes: BBC Future has an interesting piece about how traveling in an airliner does strange things to people's minds and bodies, such as far more people starting to cry while watching even mildly emotional movies on airplanes than what is normal, some passengers experiencing decreases in acuity of sight, taste and smell (airline meals are over-seasoned to compensate for this), unusual tiredness or desire to sleep, your skin drying out by up to 37% percent and possibly becoming itchy, and some people breaking wind far more often than they normally would. Here is an excerpt form the report: "There can be no doubt that aircraft cabins are peculiar places for humans to be. They are a weird environment where the air pressure is similar to that atop an 8,000ft-high (2.4km) mountain. The humidity is lower than in some of the world's driest deserts while the air pumped into the cabin is cooled as low as 10C (50F) to whisk away the excess heat generated by all the bodies and electronics onboard. The reduced air pressure on airline flights can reduce the amount of oxygen in passengers' blood between 6 and 25%, a drop that in hospital would lead many doctors to administer supplementary oxygen. There are some studies, however, that show even relatively mild levels of hypoxia (deficiency in oxygen) can alter our ability to think clearly. At oxygen levels equivalent to altitudes above 12,000ft (3.6km), healthy adults can start to show measurable changes in their memory, their ability to perform calculations and make decisions. This is why the aviation regulations insist that pilots must wear supplementary oxygen if the cabin air pressure is greater than 12,500ft. A study in 2007 showed that after about three hours at the altitudes found in airline cabins, people start to complain about feeling uncomfortable."
Movies

Disney Is Lone Holdout From Apple's Plan to Sell 4K Movies for $20 (wsj.com) 148

An anonymous reader shares a report: Apple has signed new deals to sell movies in ultra high-definition with every major Hollywood studio except the one with which it has long been closest: Walt Disney. At an event Tuesday where he announced the new Apple TV 4K, the tech giant's head of software and services, Eddy Cue, said the device will offer Hollywood movies in the high-resolution format, called either 4K or UHD, for ultra-high definition. Logos for most major studios briefly flashed on a screen behind Mr. Cue, including Time Warner's Warner Bros and Comcast's Universal Pictures. Mr. Cue said those studios' movies will be available in UHD at the same price as high-definition movies. Participating studios have agreed to a maximum price of $19.99 for 4K movies, currently the highest price for HD movies, according to a person with knowledge of the deal making. Apple had pushed studios not to raise film prices above that threshold. The one absence from Apple's list of big studios selling movies in UHD is Disney. It wasn't immediately clear why the company behind Star Wars and Marvel couldn't reach an arrangement with Apple. It currently sells its films in 4K on other digital stores, such as Wal-Mart Stores' Vudu, for $24.99.
AMD

French Company Plans To Heat Homes, Offices With AMD Ryzen Pro Processors 181

At its Ryzen Pro event in New York City last month, AMD invited a French company called Qarnot to discuss how they're using Ryzen Pro processors to heat homes and offices for free. The company uses the Q.rad -- a heater that embeds three CPUs as a heat source -- to accomplish this feat. "We reuse the heat they generate to heat homes and offices for free," the company says in a blog post. "Q.rad is connected to the internet and receives in real time workloads from our in-house computing platform."

The idea is that anyone in the world can send heavy workloads over the cloud to a Q.rad and have it render the task and heat a person's home in the process. The two industries that are targeted by Qarnot include movies studios for 3D rendering and VFX, and banks for risk analysis. Qarnot is opting in for Ryzen Pro processors over Intel i7 processors due to the performance gain and heat output. According to Qarnot, they "saw a performance gain of 30-45% compared to the Intel i7." They also report that the Ryzen Pro is "producing the same heat as the equivalent Intel CPUs" they were using -- all while providing twice as many cores.

While it's neat to see a company convert what would otherwise be wasted heat into a useful asset that heats a person's home, it does raise some questions about the security and profitability of their business model. By using Ryzen Pro's processors, OS independent memory encryption is enabled to provide additional security layers to Qarnot's heaters. However, Q.rads are naturally still going to be physically unsecured as they can be in anyone's house.

Further reading: The Mac Observer, TechRepublic
Movies

Rotten Tomatoes Scores Don't Correlate To Box Office Success or Woes, Research Shows (polygon.com) 106

Depending on who you ask, Rotten Tomatoes is the reason some movies don't perform at the box office. From a report: Countless movie executives, including producers, have told Deadline and the New York Times that the number atop a movie's page on Rotten Tomatoes signifying whether the majority of critics enjoyed or disliked a movie rules the box office. Director Brett Ratner was quoted as saying "I think it's the destruction of our business" while others have called for its demise. According to research conducted by Yves Bergquist, director of the Data & Analytics Project at USC's Entertainment Technology Center, that's not correct. Bergquist collected data from 150 movies this year that made more than $1 million at the box office. Using those Box Office Mojo numbers and comparing them to the critic and audience score on Rotten Tomatoes, Bergquist then "looked at [the] correlation between scores and financial performance" to determine if there was a linear line that could be drawn between low scores and bad box office performance. Or, more simply, did a lower "rotten" rating on Rotten Tomatoes equate to box office woes? The short answer is no, it didn't. Bergquist's findings confirmed that of the 150 movies surveyed, there was only a 12 percent correlation between a movie receiving a bad score and not performing well at the box office. Summer films saw even less of a correlation, with seven percent of lower-scored movies not performing at the box office.
Star Wars Prequels

Disney Is Pulling Star Wars and Marvel Films From Netflix (arstechnica.com) 195

Disney CEO Bob Iger announced on Thursday that his company will pull the full catalog of films from the Star Wars franchise and Marvel universe from Netflix after 2019. Last month, Disney announced it would be pulling a number of Disney titles from the Netflix catalog, but left the door open to keeping the Star Wars franchise and Marvel films. That door has since been slammed shut, "choosing instead to use movies like Iron Man, Captain America, and the forthcoming Star Wars: Episode IX as a draw to a new Disney-owned streaming service," reports Ars Technica. From the report: It's not clear exactly which films are affected by Iger's announcement. A Netflix spokesperson told The Verge last month that "we continue to do business with the Walt Disney Company on many fronts, including our ongoing deal with Marvel TV." That refers to a collaboration between Disney and Netflix to produce several live-action television series based on lesser-known Marvel characters Daredevil, Jessica Jones, Iron Fist, and Luke Cage. Some of those series are still being actively developed. It's a high-risk gamble for Disney. It makes sense for Disney to bring its best-known franchises back under its own roof to give the Disney streaming service the best possible chance of success. But Disney is leaving a lot of money on the table by not doing a deal with Netflix or one of its competitors. It could be an expensive mistake if the Disney streaming service doesn't get traction.
Piracy

Amid Crackdown On Torrent Websites, Some Users Move To Google Drive To Distribute Movies and Shows (ndtv.com) 84

An anonymous reader shares a report: As crackdown on torrent sites continues around the world, people who are pirating TV shows and movies are having to get a little more creative. Cloud storage services such as Google Drive, Dropbox, and Kim Dotcom's Mega are some of the popular ones that are being used to distribute copyrighted content, according to DMCA takedown requests reviewed by Gadgets 360. Google Drive seems most popular among such users, with nearly five thousand DMCA takedown requests filed by Hollywood studios and other copyright holders just last month. Each DMCA requests had listed a few hundred Google Drive links that the content owners wanted pulled. What's interesting though is that while at times pirates upload full movies to Google Drive or other cloud services, in other cases, these Google Drive links are empty and just have a YouTube video embedded.
Google

Google Conducted Hollywood 'Interventions' To Change Look of Computer Scientists (usatoday.com) 644

theodp writes: Most TV computer scientists are still white men," USA Today reports. "Google wants to change that. Google is calling on Hollywood to give equal screen time to women and minorities after a new study the internet giant funded found that most computer scientists on television shows and in the movies are played by white men. The problem with the hackneyed stereotype of the socially inept, hoodie-clad white male coder? It does not inspire underrepresented groups to pursue careers in computer science, says Daraiha Greene, Google CS in Media program manager, multicultural strategy." According to a Google-funded study conducted by Prof. Stacy L. Smith and the Media, Diversity, & Social Change Initiative at the USC Annenberg School for Communication and Journalism, Google's Computer Science in Media team conducted "CS interventions" with "like-minded people" to create "Google influenced storytelling." The executive summary for a USC study entitled Cracking the Code: The Prevalence and Nature of Computer Science Depictions in Media notes that "Google influenced" TV programs include HBO's Silicon Valley and AMC's Halt and Catch Fire. The USC researchers also note that "non-tech focused programs may offer prime opportunities to showcase CS in unique and counter-stereotypical ways. As the Google Team moves forward in its work with series such as Empire, Girl Meets World, Gortimer Gibbons Life on Normal Street, or The Amazing Adventures of Gumball, it appears the Team is seizing these opportunities to integrate CS into storytelling without a primary tech focus." The study adds, "In the case of certain series, we provided on-going advisement. The Fosters, Miles from Tomorrowland, Halt and Catch Fire, Ready, Jet, Go, The Powerpuff Girls and Odd Squad are examples of this. In addition to our continuing interactions, we engaged in extensive PR and marketing support including social media outreach, events and press."

Google's TV interventions have even spilled over into public education -- one of Google-sponsored Code.org's signature Hour of Code tutorials last December was Gumball's Coding Adventure, inspired by the Google-advised Cartoon Network series, The Amazing Adventures of Gumball. "We need more students around the world pursuing an education in CS, particularly girls and minorities, who have historically been underrepresented in the field," explains a Google CS First presentation for educators on the search giant's Hour of Code partnership with Cartoon Network. "Based on our research, one of the reasons girls and underrepresented minorities are not pursuing computer science is because of the negative perception of computer scientists and the relevance of the field beyond coding." According to a 2015 USC report, President Obama was kept abreast of efforts to challenge media's stereotypical portrayals of women; White House Visitor Records show that USC's Smith, the Google-funded study's lead author, and Google CS Education in Media Program Manager Julie Ann Crommett (now at Disney) were among those present when the White House Council on Women and Girls met earlier that year with representatives of the nation's leading toy makers, media giants, retailers, educators, scientists, the U.S. Dept. of Education, and philanthropists.

Businesses

Hollywood is Suffering Its Worst-attended Summer Movie Season in 25 years (latimes.com) 501

The number of movie tickets sold in the U.S. this summer (425 million) is likely to be the lowest level since 1992, the L.A. Times reports. "Theaters, studios hit by summer box-office blues." The reason: Too many bad movies, including sequels, reboots and aging franchises that no one wanted to see. Some point to rising ticket prices, which hit a record high in the second quarter. From the report: Then there are long-term challenges, including competition from streaming services such as Netflix and the influence of the movie review site Rotten Tomatoes. How about all of the above? What is clear: This summer was marred with multiple high-profile films that flopped stateside, including "The Mummy," "Baywatch," "The Dark Tower" and "King Arthur: Legend of the Sword." Sequels in the "Alien," "Transformers" and "Pirates of the Caribbean" franchises also disappointed. The business is also reckoning with broader, longer-term threats that have kept Americans from flocking to theaters the way they used to. People now have more entertainment options than ever, and cinemas have struggled to keep up, despite efforts to adapt with improved technology and services, industry analysts say. The problem is exacerbated by an unforgiving social media environment in which bad movies are immediately punished by online word of mouth.

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