An anonymous reader quotes a report from Ars Technica: In late October, a Swedish software engineer named Linus Akesson unveiled a playable accordion -- called "The Commodordion" -- he crafted out of two vintage Commodore 64 computers connected with a bellows made of floppy disks taped together. A demo of the hack debuted in an 11-minute YouTube video where Akesson plays a Scott Joplin ragtime song and details the instrument's creation.

A fair amount of custom software engineering and hardware hackery went into making the Commodordion possible, as Akesson lays out in a post on his website. It builds off of earlier projects (that he says were intentionally leading up to this one), such as the Sixtyforgan (a C64 with spring reverb and a chromatic accordion key layout) and Qwertuoso, a program that allows live playing of the C64's famous SID sound chip.

So how does the Commodordion work? Akesson wired up a custom power supply, and when he flips the unit on, both Commodore 64 machines boot (no display necessary). Next, he loads custom music software he wrote from a Commodore Datasette emulator board into each machine. A custom mixer circuit board brings together the audio signals from the two units and measures input from the bellows to control the volume level of the sound output. The bellows, composed of many 5.25-inch floppy disks cut and taped into shape, emit air through a hole when squeezed. A microphone mounted just outside that hole translates the noise it hears into an audio envelope that manipulates the sound output to match. The Commodordion itself does not have speakers but instead outputs its electronic audio through a jack.

Mitch Lowe and Ted Farnsworth already settled with the FTC over fraudulent activity affecting MoviePass customers, but now the former heads of MoviePass and its parent company, Helios and Matheson Analytics (HMNY), are facing criminal allegations of securities fraud and wire fraud. The Verge reports: The Department of Justice announced the charges today, saying false statements made by both men defrauded investors in HMNY when the execs pretended like the company's money-losing $9.95 "unlimited" moviegoing plan had any hope of profitability. HMNY's own auditor cast doubt on the company's viability in a report in 2018, but at the time, Farnsworth downplayed the advisory, telling Insider that "pretty much most" companies running at a loss would have a similar warning.

But the big problem is his claims that HMNY's analytics prowess could somehow monetize data generated from MoviePass simply didn't hold up: prosecutors now allege "Farnsworth and Lowe knew HMNY did not possess these technologies or capabilities to monetize MoviePass's subscriber data or incorporate these technologies into the MoviePass application." [...] The DOJ says each man is facing one count of securities fraud and three counts of wire fraud over the lies they allegedly told in "press releases, SEC filings, interviews on podcasts and on television, and in print and online media."

According to the Hollywood Reporter, HBO has "switched off Westworld" after its recent fourth season. From the report: It's an unexpected fate for a series that was once considered one of HBO's biggest tentpoles -- an acclaimed mystery-box drama that racked up 54 Emmy award nominations (including a supporting actress win for Thandiwe Newton). Last month, co-creator Jonathan Nolan said in an interview that he hoped HBO would give the series a fifth season to wrap up the show's ambitious story, which has chronicled a robot uprising that changed the fate of humanity. "We always planned for a fifth and final season," Nolan said. "We are still in conversations with the network. We very much hope to make them." Co-creator Lisa Joy likewise said the series has always been working toward a specific ending: "Jonah and I have always had an ending in mind that we hope to reach. We have not quite reached it yet."

Yet linear ratings for the pricey series fell off sharply for its third season, and then dropped even further for season four. Westworld's critic average on Rotten Tomatoes likewise declined from the mid-80s for its first two seasons to the mid-70s for the latter two. Fans increasingly griped that the show became confusing and tangled in its mythology and lacked characters to root for. Looming over all of this is the fact Warner Bros. Discovery CEO David Zaslav has pledged aggressive cost cutting mandate, though network insiders maintain that saving money was not a factor in the show's cancelation. HBO said in a statement: "Over the past four seasons, Lisa and Jonah have taken viewers on a mind-bending odyssey, raising the bar at every step. We are tremendously grateful to them, along with their immensely talented cast, producers and crew, and all of our partners at Kilter Films, Bad Robot and Warner Bros. Television. It's been a thrill to join them on this journey."

Last week, Meta announced an AI-powered audio compression method called "EnCodec" that can reportedly compress audio 10 times smaller than the MP3 format at 64kbps with no loss in quality. Meta says this technique could dramatically improve the sound quality of speech on low-bandwidth connections, such as phone calls in areas with spotty service. The technique also works for music. Ars Technica reports: Meta debuted the technology on October 25 in a paper titled "High Fidelity Neural Audio Compression," authored by Meta AI researchers Alexandre Defossez, Jade Copet, Gabriel Synnaeve, and Yossi Adi. Meta also summarized the research on its blog devoted to EnCodec.

Meta describes its method as a three-part system trained to compress audio to a desired target size. First, the encoder transforms uncompressed data into a lower frame rate "latent space" representation. The "quantizer" then compresses the representation to the target size while keeping track of the most important information that will later be used to rebuild the original signal. (This compressed signal is what gets sent through a network or saved to disk.) Finally, the decoder turns the compressed data back into audio in real time using a neural network on a single CPU.

Meta's use of discriminators proves key to creating a method for compressing the audio as much as possible without losing key elements of a signal that make it distinctive and recognizable: "The key to lossy compression is to identify changes that will not be perceivable by humans, as perfect reconstruction is impossible at low bit rates. To do so, we use discriminators to improve the perceptual quality of the generated samples. This creates a cat-and-mouse game where the discriminator's job is to differentiate between real samples and reconstructed samples. The compression model attempts to generate samples to fool the discriminators by pushing the reconstructed samples to be more perceptually similar to the original samples."

An anonymous reader quotes a report from Ars Technica: According to the Recording Industry Association of America's Mid-Year 2022 report (PDF), vinyl is continuing a trend initiated in 2020, when vinyl revenue surpassed CD revenue -- a state of affairs we haven't seen since 1986, according to the RIAA [PDF]. The RIAA reported that vinyl revenue grew 22 percent in the first half of this year to $570 million, outpacing CDs ($200 million) and representing physical music's largest revenue share. Japanese audio brand Audio-Technica has seemingly taken note of this trend and has decided to rerelease its Sound Burger portable record player. The product is one of several that the company is releasing to celebrate its 60th birthday. Based on a plate on the player's side, the company is producing just 7,000 units.

Debuting in 1980, the original Sound Burger AT727 offered a way for people to listen to their 33-1/3 and 45 vinyl records outside of their homes. There were some caveats, though; records stuck precariously out of the unit and, as noted by SlashGear, the player needed to sit on a flat surface during operation. The new Sound Burger AT-SB2022 looks much like the old one, but Audio-Technica added Bluetooth 5.2 support, so you can listen to your vinyl through wireless headphones. There's also a 3.5 mm jack this time around instead of stereo RCA outputs, but Audio-Technica is also including a dual RCA adapter. Additionally, there's no longer a need for clunky batteries, as the refreshed portable record player charges over USB-C. Audio-Technica claims the record play will last for about 12 hours before needing a charge, which it says will take around 12 hours to complete.

As noted by Digital Trends, the original Sound Burger, also known as Mister Disc in some geographies, required user maintenance to make sure records continued spinning at the proper speed. But Audio-Technica's 2022 record player has a DC servo motor driving its belt-drive system for "stable rotation," the record player's product page says. "Designed for both portability and stability, the tonearm employs a dynamic balance system in which stylus pressure is applied through a spring," the page says. Audio-Technica says its ATN3600L stylus works with the new record player. Other specs for the Sound Burger include a 50 dB output and a 20-20,000 Hz transmission band. Audio-Technica is selling the 2022 Sound Burger for $200.

Amazon today announced a new benefit for its Prime members which could lure some subscribers away from other music services, like Apple Music or Spotify. From a report: The company said it will now offer Prime subscribers a full music catalog with 100 million songs, instead of the previously more limited selection of just 2 million songs, and will make most of the top podcasts on its service available without ads. In addition, the Amazon Music app is getting a revamp, which includes a new "Podcast Previews" feature that will allow customers to listen to short clips as a way to discover new podcasts they may like. The move is a direct shot at streaming music competitors, especially Spotify, which has been moving into the podcasts market as a means of generating additional revenue. But Spotify's paying subscriber base is growing frustrated with the fact that they still have to listen to podcast ads, despite paying for the service. Amazon Music's promise of ad-free podcasts along with a full music catalog could make for a compelling alternative, the retail giant hopes.

Among the ad-free podcasts are shows from top brands like CNN, NPR, The New York Times, and ESPN. Other ad-free shows include the Wondery catalog of podcasts, like "Dr. Death," "SmartLess," and "Even the Rich," and new Amazon Exclusive shows including "MrBallen Podcast: Strange, Dark & Mysterious Stories;" "Suspect: Vanished in the Snow;" "COLD Season Three: The Search for Sheree;" "Killer Psyche Daily;" "I Hear Fear," narrated by Academy Award-nominated actress Carey Mulligan; and a weekly bonus episode of "The Old Man and the Three," hosted by former NBA player JJ Redick. The Amazon Exclusive podcast series "Baby, this is Keke Palmer," from the actress and entrepreneur Keke Palmer (NOPE) also debuts today.

The animated series "Star Wars: Tales of the Jedi" premiered this week on Disney+, witih all six 15-minute episodes released on Wednesday.

CNN calls it a slick and well-produced "kind of super-service for the Star Wars faithful, rekindling old flames, and comfortably submerging them in the past." But they also add that animation "has also become a vehicle for greater experimentation, as witnessed in the Star Wars: Visions anime shorts that premiered last year." It's hardly a surprise that this latest addition to the mythology comes courtesy of producer Dave Filoni, who oversaw such series as The Clone Wars and Rebels before throwing his fertile mind for all things Star Wars into The Mandalorian and other live-action fare. Filoni wrote five of the six shorts, which are split between Ahsoka Tano (again voiced by Ashley Eckstein), soon to be featured in her own live-action spinoff; and Count Dooku (played in the movies by Christopher Lee, and voiced by Corey Burton).

Beyond a glimpse of a baby Ahsoka (just in time for holiday gift-giving, kids), in an episode that illustrates her home planet and its warrior streak, the episodes leap around in time. That includes additional insights into Dooku and his abandonment of the Jedi order to embrace the dark side and Darth Sidious (Ian McDiarmid). The anthology format creates the opportunity to drop in at different inflection points scattered across the "Star Wars" timeline.
"Fans will likely be particularly intrigued by some of the gradations surrounding Ahsoka, her relationship to Anakin Skywalker and the aftermath of the Clone Wars," the article teases...

According to Protocol, Amazon and Google have struck a deal in recent months that allows Fire TV models to be produced by Android TV partners. From the report: As a result of that deal, Amazon has been able to work with a number of consumer electronics companies -- including not only TCL, but also Xiaomi and Hisense -- to vastly expand the number of available smart TVs running Fire TV OS. All of these companies were previously barred from doing so under licensing terms imposed by Google. The agreement may also alleviate some of the pressure Google has been feeling as regulators around the world have investigated its Android platform. However, some experts are skeptical a singular deal will address the overarching concerns with Google's operation and licensing of Android to third parties.

The deal between Amazon and Google resolves a yearslong dispute over licensing restrictions Google imposes on hardware manufacturers that make Android-based phones, TVs, and other devices. In order to gain access to Google's officially sanctioned version of Android as well as the company's popular apps like Google Maps and YouTube, manufacturers have to sign a confidential document known as the Android Compatibility Commitment. The ACC prevents manufacturers from also making devices based on forked versions of Android not compatible with Google's guidelines. The ACC, which was previously known as the Anti-Fragmentation Agreement, had long been an open secret in industry circles. Its full impact on the smart TV space became public when Protocol reported terms of the agreement in March of 2020 and outlined how the policy effectively barred companies like TCL from making smart TVs running any forked version of Android, including Amazon's Fire TV OS.

Google has been justifying these policies by pointing to the harmful consequences of Android fragmentation, positing that the rules assured developers and consumers that apps would run across all Android-based devices. However, the crux of Google's requirements is that they apply across device categories. By making a Fire TV-based smart TV, TCL would have effectively risked losing access to Google's Android for its smartphone business -- a risk the company, and many of its competitors that develop both smartphones and TVs, weren't willing to take. At the time, both Google and Amazon declined to comment on the dispute. However, Amazon was a lot more forthcoming when it talked to Indian regulators for a wide-ranging probe into Google's Android policies. "Given the breadth of the anti-fragmentation obligations, Amazon has also experienced significant difficulties in finding [original equipment manufacturer] partners to manufacture smart TVs running its Fire OS," the company's Indian subsidiary told regulators in a submission that was included in last week's report. Amazon told regulators that "at least seven" manufacturers had told the company they weren't able to make Fire TV-based smart TVs because of Google's restrictions.

"In several cases, the OEM has indicated that it cannot work with Amazon despite a professed desire to do so in connection with smart TVs," Amazon said in its submission. "In others, the OEM has tried and failed to obtain 'permission' from Google."

An anonymous reader shares a report: Last week, the Competition Commission of India published a damning report, alleging that Google was preventing major TV manufacturers from adopting Amazon's Fire TV operating system. This Thursday, Amazon announced that TCL, one of the manufacturers at the center of the dispute, is releasing two TV sets running its Fire TV software in Europe this fall. The unveiling of the two TV models is the direct result of a deal Google and Amazon struck in recent months, Protocol has learned from a source close to one of the parties involved in the agreement. As a result of that deal, Amazon has been able to work with a number of consumer electronics companies -- including not only TCL, but also Xiaomi and Hisense -- to vastly expand the number of available smart TVs running Fire TV OS. All of these companies were previously barred from doing so under licensing terms imposed by Google.

NASA's independent study to delve into the mysteries surrounding unidentified aerial phenomena kicked off today. CNN reports: The group will include experts across numerous disciplines -- including astrobiology, data science, oceanography, genetics, policy and planetary science -- as well as retired NASA astronaut Scott Kelly, a former fighter pilot and test pilot and retired US Navy captain. The space agency, which first announced it was forming the group in June, previously revealed that the team would be led by astrophysicist David Spergel, who is president of the Simons Foundation in New York City.

The new group won't necessarily seek to determine exactly what the UAPs, which have been seen moving through restricted military airspace over the past several decades, are. Rather, the team will look to hash out exactly how it's best for NASA to approach further study of the phenomenon. The space agency has already noted that the limited number of observations of UAPs has made it difficult to draw scientific conclusions about the nature of such events. "Without access to an extensive set of data, it is nearly impossible to verify or explain any observation, thus the focus of the study is to inform NASA what possible data could be collected in the future to scientifically discern the nature of UAP," according to a NASA news release.

This study, expected to last about nine months, will also be entirely unclassified and within the public domain. "Exploring the unknown in space and the atmosphere is at the heart of who we are at NASA," Zurbuchen said in a Friday statement. "Understanding the data we have surrounding unidentified aerial phenomena is critical to helping us draw scientific conclusions about what is happening in our skies. Data is the language of scientists and makes the unexplainable, explainable." Specifically, the team will look for data on "events in the sky that cannot be identified as aircraft or known natural phenomena -- from a scientific perspective," the agency said. Unidentified aerial phenomena are of interest, NASA said, from a security and safety perspective. There was no evidence UAPs are extraterrestrial in origin, NASA emphasized during the initial announcement in June.

Remember back in 2014 when every iTunes music library suddenly started showing U2's new album, Songs of Innocence?

In a new memoir (excerpted by the Guardian), U2's lead singer Bono says he's very sorry — and explains exactly how it happened: "Free music?" asked Tim Cook, the CEO of Apple, with a look of mild incredulity. "Are you talking about free music...? But the whole point of what we're trying to do at Apple is to not give away music free. The point is to make sure musicians get paid."

"No," I said, "I don't think we give it away free. I think you pay us for it, and then you give it away free, as a gift to people. Wouldn't that be wonderful...?"

Tim was not convinced. "There's something not right about giving your art away for free," he said. "And this is just to people who like U2?"

"Well," I replied, "I think we should give it away to everybody. I mean, it's their choice whether they want to listen to it." See what just happened? You might call it vaunting ambition. Or vaulting. Critics might accuse me of overreach. It is.....

At first I thought this was just an internet squall. We were Santa Claus and we'd knocked a few bricks out as we went down the chimney with our bag of songs. But quite quickly we realised we'd bumped into a serious discussion about the access of big tech to our lives. The part of me that will always be punk rock thought this was exactly what the Clash would do. Subversive. But subversive is hard to claim when you're working with a company that's about to be the biggest on Earth.

For all the custard pies it brought Apple — who swiftly provided a way to delete the album — Tim Cook never blinked. "You talked us into an experiment," he said. "We ran with it. It may not have worked, but we have to experiment, because the music business in its present form is not working for everyone."

If you need any more clues as to why Steve Jobs picked Tim Cook to take on the leadership of Apple, this is one. Probably instinctively conservative, he was ready to try something different to solve a problem. When it went wrong, he was ready to take responsibility.
"A study six months later found that only a quarter of iTunes users actually listened to at least one Song of Innocence," remembers Rolling Stone. Elsewhere in the excerpt, Bono talks about actually meeting with Steve Jobs in 2004, a conversation that resulted in the iconic "Vertigo" iPod ad. Then a new single, U2 offered the track to Apple to use for free, though the band attempted to get "some Apple stock" in exchange.

"'Sorry,' said Steve. 'That's a dealbreaker,'" Bono wrote. Instead, U2 settled for their own branded iPod.
Bono suggested it be black and red, according to his article in the Guardian — describing Steve Jobs' reaction as "nonplussed." Apple, he said, is about white hardware. "You wouldn't want a black one." He thought for a moment. "I can show you what it would look like, but you will not like it."

When, later, he showed the design to us, we loved it. So much that he'd ask Jony Ive, the company's design genius, to look at it again, and OK, maybe even experiment with a red component on the device, too. To reflect our Atomic Bomb album cover....

Bruce66423 shares a report from the BBC: A hacker who stole two unreleased songs from Ed Sheeran and sold them on the dark web has been jailed for 18 months. Adrian Kwiatkowski traded the music by Sheeran and 12 songs by rapper Lil Uzi Vert in exchange for cryptocurrency. The 23-year-old, from Ipswich, managed to get hold of them after hacking the performers' digital accounts, the Crown Prosecution Service said. Kwiatkowski admitted 19 charges, including copyright infringement and possessing criminal property. He had made 131,000 pounds ($148,000) from the music, City of London Police said.

According to police, seven devices, including a hard drive that contained 1,263 unreleased songs by 89 artists, were seized. A document saved on the hard drive summarised the method he had used to obtain them along with a stash of Bitcoin which was seized. In August, Kwiatkowski pleaded guilty at Ipswich Magistrates Court to three charges of unauthorised access to computer material, 14 charges of selling copyrighted material, one charge of converting criminal property and two charges of possession of criminal property. Chief crown prosecutor Joanne Jakymec said Kwiatkowski had "complete disregard" for the musicians' creativity, hard work and lost earnings. "He selfishly stole their music to make money for himself by selling it on the dark web," she said. "We will be pursuing ill-gotten gains from these proceeds of crime."

An anonymous reader quotes a report from Bloomberg: A good fall TV run comes to an end on Sunday when HBO airs its House of the Dragon season one finale, a week or so after Amazon wrapped up the first season of The Lord of the Rings: The Rings of Power. The shows aren't done yet providing content, though. Both Amazon and HBO offer companion podcasts to keep fans engaged, and both devised wildly different approaches for their audio. The podcasts offer behind-the-scenes chats with cast and crew and strive to become the definitive place to hear conversations around their respective programming. The shows' similarities end there, however.

HBO, for example, released three episodes of The Official Game of Thrones Podcast: House of the Dragon before the actual TV series aired, choosing to hype listeners up for the debut through an interview George R.R. Martin, as well as an "everything we know"-style show. Since then, the program has been released weekly alongside new episodes of the series on Sunday evenings. Michael Gluckstadt, director of podcasts for HBO and HBO Max, says the podcast will continue even after the series breaks between seasons. "There's no end date for this in sight," he said, which is atypical for podcasts the network has released in the past, including for Succession and The Gilded Age. [...] The podcast is available on all platforms, as well as on YouTube and the HBO Max app.

Meanwhile, Amazon didn't release any episodes of its The Official The Lord of the Rings: The Rings of Power Podcast until the season finale. Marshall Lewy, chief content officer at Amazon's Wondery, said the team wanted the streaming series to "speak for itself." Wondery has created companion podcasts before, namely for its own podcasts that were adapted for streaming, like Dr. Death and WeCrashed, but this marks the first time the team has worked in coordination with an Amazon series. "This is really our first opportunity to do a partnership like this connected to Prime Video," Lewy said. The podcast now receives front-and-center promotion ahead of each streaming video episode, which is the first time the coveted space has promoted something other than a Prime video series, he said. A promotion for The Official The Lord of the Rings: The Rings of Power Podcast that surfaces on Prime Video. The podcast is only available on Amazon Music, the Wondery app and Audible, a critical difference from HBO's strategy. Lewy said this decision made sense given that anyone watching the show is a Prime subscriber and can freely access Amazon Music. "The effort put into these podcasts not only speaks to the need to increase fan engagement with the programming but to create an ongoing dialogue with viewers so they don't drop off from season to season," writes Bloomberg's Ashley Carman. "A person's podcast time likely differs from their streaming time, which in theory minimizes the risk of cannibalizing the hours that viewers could be spending on other Amazon or HBO series."

"The video services want more than just sixty minutes of their viewers' attention once a week -- they want to be a part of their day and part of their conversations with friends for as long as possible."

The RIAA has submitted its most recent overview of notorious markets to the U.S. Trade Representative. As usual, the music industry group lists various torrent sites, cyberlockers and stream-ripping services as familiar suspects. In addition, several 'AI-based' music mixers and extractors are added as an emerging threat. TorrentFreak reports: "There are online services that, purportedly using artificial intelligence (AI), extract, or rather, copy, the vocals, instrumentals, or some portion of the instrumentals from a sound recording, and/or generate, master or remix a recording to be very similar to or almost as good as reference tracks by selected, well known sound recording artists," RIAA writes.

Songmastr is one of the platforms that's mentioned. The service promises to "master" any song based on the style of well-known music artists such as Beyonce, Taylor Swift, Coltrane, Bob Dylan, James Brown and many others. The site's underlying technology is powered by the open-source Matchering 2.0 code, which is freely available on GitHub. And indeed, its purported AI capabilities are prominently in the site's tagline. "This service uses artificial intelligence and is based on the open source library Matchering. The algorithm masters your track with the same RMS, FR, peak amplitude and stereo width as the reference song you choose," Songmastr explains.

Where Artificial Intelligence comes into play isn't quite clear to us. The same can be said for the Acapella-Extractor and Remove-Vocals websites, which the RIAA lists in the same category. The names of these services are pretty much self-explanatory; they can separate the vocals from the rest of a track. The RIAA logically doesn't want third parties to strip music or vocals from copyrighted tracks, particularly when these derivative works are further shared with others. While Songmastr's service is a bit more advanced, the RIAA sees it as clearly infringing. After all, the original copyrighted tracks are used by the site to create derivative works, without the necessary permission. [...] The RIAA is clearly worried about these services. Interestingly, however, the operator of Songmastr and Acapella-Extractor informs us that the music group hasn't reached out with any complaints. But perhaps they're still in the pipeline. The RIAA also lists various torrent sites, download sites, streamrippers, and bulletproof ISPs in its overview, all of which can be found in the full report (PDF) or listed at the bottom of TorrentFreak's article.

The Apple TV HD (also called the fourth-generation Apple TV) is no longer available in Apple's US store after the addition of an updated Apple TV 4K yesterday. Ars Technica reports: The Apple TV HD debuted in 2015, and it was the first Apple TV to run tvOS, with its own App Store. Up until its discontinuation this week, it included a now-aging A8 chip (the one from the iPhone 6). By contrast, the new Apple TV 4K has the A15 chip found in the iPhone 13; it's dramatically faster. The 2015 model was also the first to introduce Apple's controversial touch-based remote, which was radically redesigned in response to user feedback in recent years.

Apple introduced the first iteration of the Apple TV 4K in 2017, but the company continued to offer the Apple TV HD alongside it in its store as a cheaper option compared to the 4K model, which currently starts at $129 -- still much more expensive than the dongles and set-top boxes most people use to stream to their TVs. At present, you can't even find the Apple TV HD in Apple's refurbished store, so this appears to mark the end-of-life for the non-4K Apple TV. It's not too surprising, though; 4K TVs have been a hit. More than half of United States households had a 4K TV as of last summer, and the percentage has been growing substantially year over year.

Inside Netflix's movie studio, top executives lobbied Ted Sarandos, the company's co-chief executive, for much of this year to experiment with releasing more Netflix original movies broadly in theaters WSJ is reporting. From the report: They outlined their case in a memo shared in June on the company network. Some argued that Netflix is leaving hundreds of millions in box-office receipts on the table with its current strategy of showing only select movies in a few hundred theaters for at most a few weeks before streaming them, according to people familiar with the matter. Other executives thought showing movies in more theaters would create valuable buzz for the streaming service. Soon after, in an internal meeting, Mr. Sarandos told Netflix studio leaders that he had doubts, and still felt that streaming is the future of entertainment, movies included. Instead, he suggested that studio chief Scott Stuber and other executives meet with their counterparts at Sony Pictures Entertainment to see if they would agree to let Netflix stream Sony's movies just four to six weeks after they came out in theaters, instead of after six to eight months, as spelled out in a partnership the two studios reached last year.

If a new deal could be struck, some executives said, it would help Netflix understand how the company might benefit from streaming a movie shortly after it had been shown on thousands of big screens across the country. The debate inside Netflix over how best to distribute its films -- details of which haven't been previously reported -- is one that is playing out across an entertainment industry that has been rapidly upended by the rise of streaming video. Every major company in Hollywood is facing some version of the same question: What is the best way to release a movie? Is it in a cinema, with stadium seating, popcorn and digital surround sound? Or is it at home, streamed on a flat-screen TV or a laptop? Should movies go to theaters first, then to streaming, or should they be released at the same time? How long should a studio wait between theatrical and streaming release? How many theaters should show a film? Should all movies go to the big screen, or just splashy action thrillers?

As part of Netflix's earning results today, which says the company reversed customer losses, Netflix plans to crack down on password sharing beginning in 2023. The Verge reports: After giving users the ability to transfer their profiles to new accounts last week, the streamer says it will start letting subscribers create sub-accounts starting next year in line with its plans to "monetize account sharing" more widely. [...] Earlier this year, Netflix reported losing subscribers for the first time in over 10 years, with the company's subscriber count dipping by another 1.3 million in the US and Canada and 1 million worldwide last quarter. To remedy this, Netflix has also been slowly nudging subscribers away from password sharing. The company conducted tests that prompted users in Chile, Costa Rica, and Peru to pay extra for a sub-account if Netflix detected someone was using the owner's subscription outside of their household.

It also tried out a way for users in Argentina, El Salvador, Guatemala, Honduras, and the Dominican Republic to buy additional "homes" for accounts located outside of the subscriber's primary household. More recently, Netflix widely introduced a Profile Transfer tool that lets users easily transfer their personalized recommendations, viewing history, My List, saved games, and other settings to a new account after testing it in other countries. Last month, a report from Rest of World revealed frustration from users subject to the tests in Latin America. The earnings report (PDF) projects that the company's new ad-supported streaming service, which starts at $6.99 per month and launches in November, will help attract 4.5 million subscribers by year's end. This quarter it added 2.4 million subscribers and grew by 104,000 paid subscribers in the U.S. and Canada over the last three months, up from 73,000 in the same period last year.

Wikipedia describes Homestar Runner as "a blend of surreal humour, self-parody, and references to popular culture, in particular video games, classic television, and popular music." But after launching in 2000, the web-based cartoon became a cultural phenomenon, co-creator Mike Chapman remembered in 2017: On the same day we received a demo of a song that John Linnell from They Might Be Giants recorded for a Strong Bad Email and a full-size working Tom Servo puppet from Jim Mallon from Mystery Science Theater 3000.... The Homestar references in the Buffy and Angel finales forever ago were huge. And there was this picture of Joss Whedon in a Strong Bad shirt from around that time that someone sent us that we couldn't believe. Years later, a photo of Geddy Lee from Rush wearing a Strong Bad hat on stage circulated which similarly freaked us out. We have no idea if he knew what Strong Bad was, but our dumb animal character was on his head while he probably shredded 'Working Man' so I'll take it!
After a mutli-year hiatus starting around 2009, the site has only been updating sporadically — and some worried that the end of Flash also meant the end of the Flash-based cartoon and its web site altogether. But on the day Flash Player was officially discontinued — December 31st, 2020 — a "post-Flash update" appeared at HomestarRunner.com: What happened our website? Flash is finally dead-dead-dead so something drastic had to be done so people could still watch their favorite cartoons and sbemails with super-compressed mp3 audio and hidden clicky-clicky easter eggs...!

[O]nce you click "come on in," you'll find yourself in familiar territory thanks to the Ruffle Project. It emulates Flash in such a way that all browsers and devices can finally play our cartoons and even some games.... Your favorite easter eggs are still hidden and now you can even choose to watch a YouTube version if there is one.

Keep in mind, Ruffle is still in development so not everything works perfectly. Games made after, say 2007, will probably be pretty janky but Ruffle plans on ulitmately supporting those too one day. And any cartoons with video elements in them (Puppet Jams, death metal) will just show you an empy box where the video should be. But hang in there and one day everything will be just like it was that summer when we got free cable somehow and Grandma still lived in the spare bedroom.
And since then, new content has quietly been appearing at HomestarRunner.com. (Most recently, Thursday the site added a teaser for an upcoming Halloween video.)

The Homestar Runner wiki is tracking this year's new content, which includes:

• Strong Bad livestreaming his play of a text adventure (titled "Disk 4 of 12 — Vampire's Castle") on September 19th
• Strong Sad streaming a demo of the expando deck for Trogdor!! The Board Game (July 2)
• A Twitch parody in which Strong Bad livestreams a speedrun on a horrific beef-themed game (titled "Strong-Play: Marzipan Beef Reverser") on April 25th
• A new Strong Bad Email on April 1st

And past videos are now also being uploaded on the site's official YouTube channel.

From a report: Filmmaker Craig Zobel has been tapped by HBO Max to direct the first two episodes of The Penguin, its much-awaited Batman spinoff. He will also serve as executive producer of the show, with Lauren LeFranc writing the script. Starring in The Penguin is Colin Farrell, who played the villainous Oswald Cobblepot in The Batman earlier this year. The Penguin will focus its attention on Cobblepot's notorious past and trace his rise to power in Gotham.

Zobel is already part of the family, having previously directed The Mare of Easttown for HBO Max. The prolific director also applied his talents to episodes of Westworld, The Leftovers, and American Gods...

If all goes according to schedule, viewers could be enjoying The Penguin by the end of 2023.
The article also notes that Zobel also helped co-create Homestar Runner in its original incarnation as a parody children's picture book.

Friday Amazon released the season finale for The Lord of the Rings: The Rings of Power. But Amazon's 8-episode first season "might have been best known for its extravagant price tag," jokes the Los Angeles Times. It ultimately cost $700 million — making it the most expensive TV show ever — and they note one viewer's assessment that "Visually, it's great. All the money in production shows..." (The Times' critic called it "visibly expensive.")

But can you quantify whether the show is good, great, or something out of Mordor? The Times cites reports that more than 100 million Amazon Prime viewers watched some part of the show (with the premier attracting 25 million viewers on its first day — a new record for the streaming service). Yet they also add that "It's no surprise that a long-gestating TV show based on the mythology behind a beloved fantasy series has garnered mixed reviews from audiences. (In the main, critics have been more positive, according to review aggregation sites like Rotten Tomatoes and Metacritic)."

And CNN is a little less charitable: After initial reviews admired the scope and visual grandeur, though, more critical voices have drifted into the naysaying column, pointing out — as the Daily Telegraph's Duncan Lay put it — that the series "managed to be both pretentious and boring." Forbes' Erik Kain sounded a similar note, writing that after the opening chapters, "The Rings of Power" has demonstrated "how quickly a badly written TV series can wear out its welcome once the shimmer fades."
But there's also this from Business Insider: Creators J.D. Payne and Patrick McKay promise that if viewers were disappointed with season one's story because they expected more Sauron, then they'll dig the second season, which started filming earlier this month. "There may well be viewers who are like, 'This is the story we were hoping to get in season one!,'" McKay told The Hollywood Reporter. "In season two, we're giving it to them."
Indeed, this season accomplished "the hard work of setting up who all those characters are," Amazon Studios head told Variety — possibly hinting again at that surprise reveal of Sauron in the season finale.

And according to The Hollywood Reporter, the show's creators have high hopes for its impact on Season Two: "There's something that Milton does in Paradise Lost that we talked about a lot. Where he makes Satan a really compelling character... Season one opens with: Who is Galadriel? Where did she come from? What did she suffer? Why is she driven?" says Payne. "We're doing the same thing with Sauron in season two. We'll fill in all the missing pieces."

"Sauron can now just be Sauron," McKay adds. "Like Tony Soprano or Walter White. He's evil, but complexly evil. We felt like if we did that in season one, he'd overshadow everything else. So the first season is like Batman Begins, and The Dark Knight is the next movie, with Sauron maneuvering out in the open."