About one-third of U.S. subscribers to Netflix share their login credentials with others, according to new data from Leichtman Research Group. From the report: The research firm's online survey of 4,400 consumers confirms the company's own conclusions in recent years. While 64% of respondents said they pay for and use Netflix only in their own household, 33% indicate some form of sharing. (The remaining 3% are households whose Netflix comes packaged via other subscriptions.) Netflix has about 74 million subscribers in the U.S. and Canada and has penetrated nearly 70% of U.S. broadband homes. With subscription growth flattening in the region of late, Netflix has recently phased in rate increases in order to continue funding its $18 billion in annual programming spending. Earlier this month, Netflix announced a test of monthly fees for password-sharing in three territories outside of the U.S. The rise of password sharing between households, a blog post explained, is âoeimpacting our ability to invest in great new TV and films for our members.â

Dune won six Academy Awards tonight — the most of any movie — at this year's Oscar's ceremony, taking home Oscars for its cinematography, visual effects, film editing, original score, production design, and "achievement in sound."

But the movie's Oscar-winning crew were surprised there was no Oscar nomination for the film's director, Denis Villeneuve, reports IndieWire: "I was very confused when Denis was not nominated for directing. It's as if the film directed itself and all of these craft categories magically did great work," sound designer/supervising sound editor Theo Green said. "Seeing the sweep that Dune is having tonight makes me very proud for Denis."

Green and other below-the-line winners painted a production picture where Villeneuve orchestrated a kind of cross-department collaboration that allowed each craftsperson's work to shine and work in concert with every other piece. Re-recording mixer Ron Bartlett said it all started with Villeneuve's deep study of the book. "It's better than the sum of its parts," Fraser said. "We are the culmination of Denis Villeneuve's combined group effort to make a movie, and that's what I'm most proud of." Several winners also called out editor Joe Walker as a key piece of the creation of Dune.
Besides the six Oscars it won, Dune had also been nominated for four other awards, including Best Picture.

Tonight's ceremony featured a tribute to 60 years of James Bond movies — and the franchise's most recent film also won the "Best Song" Oscar (for the song "No Time to Die" by Billie Eilish). This marks the third consecutive time that a James Bond movie's theme song has gone on to win the "Best Song" award.

And Apple TV+ became the first streaming service to ever win the prestigious Best Picture award for their movie CODA. NBC News calls this "a major moment for a film industry that has been dramatically transformed by the rise of direct-to-consumer streaming platforms and the growing popularity of at-home entertainment." (The film also won Oscars for best adapted screenplay and for best supporting actor.) In the days before the Oscars telecast, the best picture race came to be seen as a proxy battle between Apple and Netflix, the streaming giant that has been angling for Hollywood's marquee prize for at least the last half-decade, spending heavily on splashy promotional campaigns. Netflix was a double best picture contender this year, recognized for Jane Campion's haunting Western The Power of the Dog and Adam McKay's doomsday satire Don't Look Up.

As viewership drops for Hollywood's annual Academy Awards ceremony, "Everyone has a theory about the decline..." argues an opinion piece in the New York Times.

"My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing." When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, "Dune," barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as "Spider-Man: No Way Home." Even when Hollywood tries to conjure the old magic, in other words, the public isn't there for it anymore.... Sure, non-superhero-movie box office totals will bounce back in 2022, and next year's best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren't just watching the decline of the Oscars; we're watching the End of the Movies....

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation.... The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood's potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema's communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today....

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There's no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined...

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies' power of an-entire-story-in-one-go condensation. ("This power is why the greatest movies feel more complete than almost any long-form television.") And it ultimately suggests that like opera or ballet, these grand old movies need "encouragement and patronage, to educate people into loves that earlier eras took for granted," and maybe even "an emphasis on making the encounter with great cinema a part of a liberal arts education. "

In 2014 one lone film-maker had even argued that Ben Stiller's spectacular-yet-thoughtful Secret Life of Walter Mitty "might be the last of a dying breed."

Long-time Slashdot reader theodp writes: Thirty five years after Andy Warhol's death, the NY Times reports on a new wave of Warhol-Mania as the famed pop artist is currently the subject of a Netflix documentary series (The Andy Warhol Diaries), an exhibition at the Brooklyn Museum and multiple theatrical works. The documentary revisits the 1985 launch of the Commodore Amiga, where Warhol demonstrated the Amiga's then-unparalleled graphical power by 'painting' Blondie lead singer Debbie Harry's portrait. Even as the flood-filling goes bad, Warhol does his best to put on a brave public face ("This is kind of pretty. Oh, it's beautiful."), but reveals his true thoughts in his demo day diary entry.

"The day started off with dread as I woke up from my dreams and thought about my live appearance for Commodore computers," Warhol recalls in the documentary (in an AI-generated voice). "And how nothing is worth all this worrying, to wake up and feel so terrified. Commodore wants me to be a spokesman. It's a $3,000 machine that's like the Apple thing, but can do 100 times more. The whole day was spent being nervous and telling myself that if I could just get good at stuff like this, then I could make money that way, and I wouldn't have to paint. The drawing came out terrible. And I called it a masterpiece. It was a real mess.

"I said I wanted to be Walt Disney and that if I'd had this machine ten years ago, I could have made it."

Five NFT versions of Warhol's recovered Amiga artwork were sold for $3,377,500 last May to benefit the Andy Warhol Foundation.

"It's no longer possible to watch any content starring Keanu Reeves in China," reports PC Magazine, "and searching for his name returns no results from search engines."

The AV Club explains: Earlier this year, about a month after the release of The Matrix Resurrections, Reeves was announced as a performer at the 35th annual Tibet House Benefit Concert. The concert was organized by Tibet House, a nonprofit founded by supporters of the Dalai Lama that Chinese authorities have labeled "a separatist organization advocating for Tibetan independence," according to The Hollywood Reporter....

Now, after his appearance at the show, it's being reported by the Los Angeles Times that the Matrix movies, Speed, Bill & Ted's Excellent Adventure, The Lake House, and more films from the actor's catalog can no longer be streamed on platforms such as Tencent Video, Youku, and Migu Video.... The one Reeves picture that is still up and available to stream in the country is Toy Story 4 — but that's because the film's credits feature the dubbing cast, not the original cast from the American release.
But it's more than that, notes PC Magazine: As Reuters reports, the Chinese authorities have seemingly wiped the actor's existence from servers across the country.... And with the internet being so restricted and controlled there, it's relatively simple for those in power to digitally disappear someone. So far, Tencent and iQiyi have removed at least 19 of the actor's movies from their streaming platforms, and performing a search for either his English name or its Chinese translation will return zero results from search engines, apparently.
The Los Angeles Times supplies some context: The development emerged just after his latest film "The Matrix: Resurrections" became the first blockbuster to hit Chinese theaters in over two months, ending an unusually prolonged drought of censorship approvals on U.S. titles in a year of rising geopolitical tensions and a further cooling of relations with Hollywood.... "It's a curious case that's worth following. We tend to think of the censorship machine in China as this really coordinated monster, but the fact that we're seeing these conflicting signals [between the online and theatrical markets] suggests that some of these measures come from different places," said Alex Yu, a researcher at China Digital Times, a U.S.-based news organization that translates and archives content censored in China.

It's unclear who ordered the deletions, China's regulatory agencies or platforms acting proactively to remove potentially troublesome content, Yu said.... "Why all of a sudden did they decide to take this measure at this exact moment? It's a question we as outsiders might never be able to answer," Yu said. "The system is so opaque that it's pretty much impossible to pinpoint which agency or person is responsible...."

The ban on Reeves' past works bodes poorly for the China prospects of his upcoming projects. These include animation "DC League of Super-Pets," starring Chinese fan favorite Dwayne Johnson, and the pandemic-delayed sequel "John Wick: Chapter 4," which appears to target mainland viewers with its top billing of Donnie Yen, the Hong Kong action star known for his expressions of loyalty to China's ruling Communist Party....

Despite the original trilogy's popularity, "The Matrix: Resurrections" was a flop in China even before it faced nationalist backlash, grossing only $13.6 million and notching just 5.7 out of 10 on the taste-making ratings platform Douban.

bbsguru writes: Sony/PlayStation has been taking a lot of heat for making the new Gran Turismo 7 more dependent on microtransactions. Gamers say the well-reviewed game had taken advantage of those reviews by waiting until after it was released to jack up the cost of playing the game. Acceptance wasn't improved by the more-than-a-day outage that accompanied the changes. [To make matters worse, Gran Turismo 7 owners weren't even able to play single player because the DRM servers that require an online check to play the game went down.] After several tentative responses, Sony is [finally] paying out, "gifting players with a million in-game credits and outlining the near-term updates for Gran Turismo 7 that will address the problems," writes Eurogamer's Martin Robinson. "We want to thank you for your continued patience and valuable feedback as we grow and evolve GT7 to make it as enjoyable and rewarding for as many players as possible," wrote series creator Kazunori Yamauchi in a blog post. "We always want to keep communication lines open with our community so that we can work together to build the best racing experience possible."

A review of 26 studies finds benefits of music on mental health are similar to those of exercise and weight loss. From a report: "Music," wrote the late neurologist Oliver Sacks, "has a unique power to express inner states or feelings. Music can pierce the heart directly; it needs no mediation." A new analysis has empirically confirmed something that rings true for many music lovers -- that singing, playing or listening to music can improve wellbeing and quality of life. A review of 26 studies conducted across several countries including Australia, the UK and the US has found that music may provide a clinically significant boost to mental health. Seven of the studies involved music therapy, 10 looked at the effect of listening to music, eight examined singing and one studied the effect of gospel music. The analysis, published in the Journal of the American Medical Association Network Open, confirmed "music interventions are linked to meaningful improvements in wellbeing," as measured quantitatively via standardised quality-of-life survey data. The effects were similar whether participants sang, played or listened to music.

If Netflix follows through with its test to charge an additional fee to users sharing passwords, it could rake in $1.6 billion in global revenue annually, according to a new Wall Street analysis. Variety reports: Last week, Netflix said it was launching a test in three Latin America countries (Chile, Costa Rica and Peru) to address password sharing. Customers will be able to add up to two Extra Member accounts for about $2-$3/month each, on top of their regular monthly fee. According to estimates by Cowen & Co. analysts, if Netflix rolls the program out globally it could add an incremental $1.6 billion in global revenue annually, or about 4% upside to the firm's 2023 revenue projection of $38.8 billion. The firm's estimate assumes that about half of non-paying Netflix password-sharing households will become paying members; further, the model predicts that of those, about half will opt to sign up for their own separate paid account.

An anonymous reader quotes a report from Motherboard: Last June, the Department of Defense released a long-awaited and much-hyped document called "Preliminary Assessment: Unidentified Aerial Phenomena," detailing the government's knowledge of UFOs and its programs trying to detect and catalog them. Many UFOlogists hoped that the "UFO report" would be a watershed moment in the field, showing that the government was taking UFOs seriously and, perhaps, explaining what the government thought they were. Unfortunately, the nine-page report was pretty underwhelming; for the most part it revealed things we already knew, and read primarily like a plea from the DoD for more funding. Tantalizingly, we were told that members of Congress received a classified briefing with more information that would likely never be released to the public.

John Greenewald, the government transparency virtuoso behind the Black Vault, however, has a gift for us today: A redacted version of the classified report, obtained by filing a mandatory declassification review. This version of the report is longer and much more interesting -- detailing, for example, the most "common shapes" of UFOs spotted by the military. Certain sections of the classified report, such as one called "And a Handful of UAP Appear to Demonstrate Advanced Technology," have far more detail on specific incidents that the Department of Defense cannot explain and that are not mentioned in the public report, including seemingly two different incidents witnessed by multiple pilots and officers in the Navy. A section called "UAP Probably Lack a Single Explanation" seemingly attempts to go into greater depth exploring what those explanations could be, and also has an extra redacted paragraph about what the DoD believes could be attributed to "Foreign Adversary Systems."

Most interestingly, redacted figures, images, and diagrams in the classified reports explain what the DoD believes to be the most "common shapes" of UFOs, as well as "less common/irregular shapes." These sections are completely omitted in the public report and are unfortunately redacted in the version of the report obtained by Greenewald. The classified report also explains that the FBI has investigated and will continue to investigate UFOs in an attempt to ascertain the causes of the phenomena; a redacted section seems to explain which instances it has investigated. "Given the national security implications associated with potential threats posed by UAP operating in close proximity to sensitive military activities, installations, critical infrastructure, or other national security sites, the FBI is positioned to use its investigative capabilities and authorities to support deliberate DoD and interagency efforts to determine attribution," the report reads.

An anonymous reader shares a report: Last year, the Google TV app user interface was completely redesigned and transformed into a hub for browsing movies and shows from your favorite streaming apps all in one place. It now appears that more changes are coming to the platform as Google has announced that in May 2022, movies or TV shows will no longer be available in the Google Play store. Instead, the Google TV app will be the official home for buying, renting, and watching movies and shows on your Android device. Other apps, games, and books will continue to live on the store. On Google TV, the experience of using Google Play Movies & TV will still be the same and users will get access to the latest new releases, rentals, and deals. When taking a look at the new Google TV app, customers will see a Shop tab where they can find all the titles that the tech giant offers.

YouTube is the latest company to offer free shows TV with ads. The video giant says you'll now be able to stream nearly 4,000 episodes of TV for free, as long as you're also willing to watch ads during the show. From a report: Shows available include Hell's Kitchen, Andromeda, and Heartland, and you'll be able to watch them in the US on the web, mobile devices, and "most connected TVs via the YouTube TV app," YouTube says in a blog post. With the new free TV shows, YouTube is taking on a number of major competitors. One is over-the-air television -- by offering free TV on demand, YouTube is likely hoping that you'll see what's available on its platform instead of channel surfing to see what else might be on. And there are already many options for streaming ad-supported TV for free, including Tubi, Xumo, Plex, Roku, and offerings from Vizio, and Samsung -- just to name a few -- so YouTube is late to the game.

Roku device owners will soon have a whole host of new personalization features, including all-new Photo Streams, with the Roku OS 11. From a report: Firstly, when Roku OS 11 rolls out to users in the weeks ahead, they'll be able to change their screensaver to display their own photography or images with Photo Streams. Not only will Photo Streams allow users to display photos from their desktop or mobile device on Roku, but users will also be able to share Streams with other Roku device owners as well. Once a Stream is shared, other Roku owners will be able to add to it, allowing everyone to collaborate on a shared album. Roku OS 11 will also introduce a new "what to watch on Roku" menu, a personally curated hub added to the home screen menu that will suggest popular and recently released TV and movies.

Uptake of the open-video codec AV1 has been slow, with major video providers waiting for broader device support. Things could change over the coming months, as both consumer electronics companies and chipset providers are poised to introduce new hardware with native AV1 decoding capabilities. From a report: Chief among them is Qualcomm, which is planning to add support for AV1 to its upcoming flagship Snapdragon mobile processor, Protocol has learned from a source who has seen spec sheets for the chip. Internally known as SM8550, the chip is expected to be introduced at the end of this year at the earliest, which means we shouldn't expect any phones powered by it until 2023. The chip's Adreno video-processing unit will support native AV1 decode, something that none of Qualcomm's previous chips have offered. That's barring any major changes, with our source cautioning that things could shift before the chip actually enters production.

"Music was one of the first industries that felt the sonic boom of the internet, starting with song-sharing websites like Napster in the late 1990s and iTunes digital downloads later," writes the New York Times.

They take a quick look at how the music industry "survived an online revolution," arguing that streaming services "saved the music industry from the jaws of the internet," making it financially healthy and giving it a wider reach.

"But all is not entirely well." Even now, the music industry in the United States generates less revenue than at the peak of the CD. There's a raging debate about how long the gravy train from streaming will last. And many musicians and others say that they're not sharing in the spoils from the digital transformation....

First, I'll lay out the case that the music industry is doing awesome. More than 500 million people around the world pay for digital music, mostly in fees for services such as Spotify, Apple Music or Tencent Music, which is based in China. Those services have given the industry something it has never had before: a steady stream of cash every month. The industry also is making money a gazillion ways. When you watch a music video on YouTube, money flows to the people responsible for that song. TikTok pays record companies when videos feature their popular songs....

Revenue for the music industry has been increasing consistently since 2015, but revenue from all sources — including streaming subscriptions, CDs and royalties from elevator music — is still less than it was in 1999. Total industry revenue back then was about $24 billion adjusted for inflation, and revenue in 2021 was $15 billion, according to the Recording Industry Association of America. (Global sales data from a different music trade group show a similar trajectory.) There aren't an infinite number of people who are willing to pay the going rate in many countries of $10 a month to access a whole bunch of songs on their phones via a service like Spotify. That's what worries people who believe the music industry's digital success has peaked.
Finally, the article points out that even the most-popular songs...aren't as popular as songs got in the past. And then it links to a story headlined "Streaming Saved Music. Artists Hate It."

"The big winners are the streaming services and the large record companies. The losers are the 99 percent of artists who aren't at Beyoncé's level of fame. And they're angry about not sharing in the music industry's success."

Variety takes a long look at Halo, the new nine-episode TV show on Paramount+ adapting "Microsoft's crown jewel Xbox franchise": When the show premieres on March 24, it will be the culmination of 17 years of false starts and dogged striving, including a Peter Jackson-produced feature film that fell apart in the 2000s, more than six years of development by Amblin Television in the 2010s, and a pandemic-split production in Hungary for the nine-episode first season that lasted nearly two years....

On June 6, 2005, in a stunt that instantly became the stuff of Hollywood legend, Microsoft sent a small platoon of actors dressed in full Master Chief armor to the major film studios (other than Sony Pictures, naturally). They were armed with a "Halo" screenplay written by Alex Garland and take-it-or-leave-it deal terms heavily weighted in the company's favor. The result was a movie co-financed by Universal and 20th Century Fox and produced by Peter Jackson, who hired up-and-coming director Neill Blomkamp to make his feature debut with the film. According to Jamie Russell's book "Generation Xbox: How Video Games Invaded Hollywood," Microsoft was an uneasy and at times overbearing creative partner, and the project ultimately fell apart in October 2006. (Blomkamp and Jackson instead made 2009's "District 9," which was nominated for four Oscars, including best picture.)

By 2011, Microsoft had parted ways with Halo's original developer, Bungie, and created an in-house studio, 343 Industries, to keep the franchise alive. As part of that effort, veteran Microsoft executive Kiki Wolfkill began exploring anew how to expand the game into a live-action adaptation — or, in Wolfkill's words, "linear entertainment...." Don Mattrick, then the head of Microsoft's Xbox unit, called his friend Steven Spielberg, himself a passionate gamer and a Halo fan. Soon after, 343's executives found themselves pitching Amblin Television presidents Justin Falvey and Darryl Frank. "They asked for permission to get in before we came into the room, and they covered a large conference table with the canon of Halo," says Falvey. That canon — a vast science fiction saga that spans hundreds of millennia and involves ancient aliens who created colossal, ring-shaped structures called the Halo Array — comes as much from dozens of tie-in novels, comic books and exhaustive guides and encyclopedias as from the games themselves. "It was aisles deep," Falvey recalls. "It was incredible."

Everyone who spoke with Variety, actually, cited Halo's expansive mythology as the factor that differentiated the series from other video game fare and made it so attractive as source material for event-size television.... [W]hen Kyle Killen ("Lone Star") came on board as showrunner in 2018, he hit upon a shrewd narrative path that embraces the video game DNA: Master Chief starts as a complete cypher, engineered to be so devoid of individuality that he literally has no sense of taste, and the rest of the season slowly fills out the void. "We're going to tell a story about a man discovering his own humanity," says Kane, who joined the show as co-showrunner in 2019. "In so doing, he's invited the audience to discover that guy's humanity too."

Eventually, Levine says, "we got the script to the place where we said, 'You know, this is a deep dive into character. What are the costs of turning human beings into killing machines...?'"

Kane estimates he wrote upwards of 265 drafts of the first nine episodes, balancing everything from the needs of the expansive production to story notes from 343 and Spielberg to the desire to fold in as much from the Halo mythology as possible.
The article calls the show the strong argument yet from Paramount+ "that it belongs at the big kids table with Netflix, Disney Plus, Amazon Prime Video and HBO Max."

The article notes Paramount+ already has five ongoing Star Trek series (including Discovery and Picard). And Variety also reported earlier that South Park will stream exclusively on Paramount+ starting in 2025, joining the streaming service's 14 exclusive South Park "specials" (hour-long episodes like 2021's "South Park: Post COVID").

Spotify may be the latest service to adopt NFTs. According to the Financial Times, the company is "drawing up plans to add blockchain technology and non-fungible tokens to its streaming service, fueling excitement in the crypto and music industries about the potential of NFTs to boost artists' earnings." It comes just days after Mark Zuckerberg confirmed NFTs will soon be coming to Instagram. From the report: Two recent job ads show Spotify is recruiting people to work on early stage projects related to "Web3," a tech buzzword for a blockchain-powered network that some crypto enthusiasts hope will wrestle control back from the Big Tech platforms that dominate today's internet.

Spotify's recruitment in the sector appears to be at an exploratory stage. It pointed to Web3 in a recruitment notice for an engineer on its "experimental growth" team. "This small and full-stack team is responsible for driving growth through new technologies, like Web3," the ad said. A separate Spotify job listing, for a manager in its future-gazing "Innovation and Market Intelligence" group, shows the music streaming service is looking for a candidate with experience in "content, creator, media, web3, and emerging technology industries" to "help define Spotify Moonshots," a term for ambitious new projects. The report goes on to note that Spotify "was an early collaborator on Facebook's ill-fated cryptocurrency project, Diem."

Daniel Ek, Spotify's chief executive, told a company podcast back in 2019 that cryptocurrencies and blockchain could allow users of "a service like Spotify [...] to be able to pay artists directly," especially across international borders or in regions where few people have traditional bank accounts. "That can open up massive opportunities where all of a sudden, a user in Japan might pay a creator in Argentina. And that opens up huge opportunities for how we can further our mission."

Amazon has closed its $8.5 billion acquisition of MGM, the companies said Thursday. From a report: The pact was first announced in May and has been winding its way through the regulatory process. Per Amazon, "The storied, nearly century-old studio -- with more than 4,000 film titles, 17,000 TV episodes, 180 Academy Awards, and 100 Emmy Awards -- will complement Prime Video and Amazon Studios' work in delivering a diverse offering of entertainment choices to customers." The completion of the transaction comes two days after the Amazon-MGM deal received clearance from the European Union's antitrust regulator, which "unconditionally" approved Amazon's proposed acquisition of MGM, in part because "MGM's content cannot be considered as must-have." The European Commission, in its antitrust review, found that the overlaps between the Amazon and MGM businesses are "limited."

Winamp will sell a non-fungible token (NFT) linked to its media player's original 1997 graphical skin, becoming the latest company to blend nostalgia and crypto. The Verge reports: Winamp will put the NFT up for auction through OpenSea between May 16th and May 22nd, followed by a separate sale of 1997 total NFTs based on 20 artworks derived from the original skin. The proceeds will go to the Winamp Foundation, which promises to donate them to charity projects, starting with the Belgian nonprofit Music Fund.

The NFT sale appears to be a combination of a publicity move and a fundraising effort. Winamp is sourcing the derivative art NFTs by asking artists to submit Winamp-based works between now and April 15th, then giving selected artists 20 percent of the proceeds from each sale of their image as an NFT. Nineteen of the pieces will sell in editions of 100 copies, and the remaining one will have 97; they'll all sell for 0.08 Ethereum -- around $210 at current exchange rates. The artists will get 10 percent of any royalties on later sales, where the seller will set their own price.

Winamp's head of business development Thierry Ascarez tells The Verge that buyers will get a blockchain token linked to an image of either the original skin seen above or one of its derivatives, which is a common setup for NFTs. Buyers will have the right to "copy, reproduce, and display" the image, but they won't own the copyright. Likewise, selected artists will agree to transfer all intellectual property for their work to Winamp, according to a page of terms and conditions (PDF).

Netflix will soon launch a test letting primary account holders pay an additional fee for users outside their households -- a new attempt by the company to address illicit password-sharing. From a report: According to the Netflix terms of service, a customer's account "may not be shared with individuals beyond your household." After years of turning a blind eye to password-sharing behavior that falls outside that requirement, the company last year ran a limited test prompting users to enter their account credentials as a way to nudge freeloaders into paying for their own accounts. Now, in an upcoming test launching in three countries -- Chile, Costa Rica and Peru -- Netflix will let members who share their accounts with people outside their household do so "easily and securely, while also paying a bit more," according to Chengyi Long, director of product innovation at Netflix. The new options will roll out in the next few weeks in the three countries (and may or may not expand beyond those markets).

Dust off those plastic binders that lived in the back seat of your car and fire up the boombox, because compact discs are back. From a report: CD sales enjoyed year-over-year growth for the first time since 2004, according to the Recording Industry Association of America's annual sales report. Combined with the decade-long vinyl sales explosion, overall physical music sales grew for the first time since 1996. Physical music sales exploded to the tune of $1.65 billion in the U.S. last year, according to the RIAA data. CD sales grew to $584.2 million nationally last year, up more than $100 million from 2020. By comparison, 2021 vinyl sales increased to $1 billion annually, up from $643.9 million.