Rotten Tomatoes and Fandango are rolling out a new "Verified Hot" rating for users who actually bought a ticket to the movie being reviewed. "The designation is only given to theatrical movies that have reached an audience score above 90 percent among user ratings," adds IndieWire. From the report: Movie ticketing app Fandango is the parent company to Rotten Tomatoes, so if you bought your ticket through Fandango and then rated a movie using that same user info on Rotten Tomatoes, RT is able to confirm you bought a ticket and can filter out anyone else who may just be rating things blindly. A rep for RT tells IndieWire the goal is to work with other partners so that other people who don't use Fandango can still be considered verified.

Rotten Tomatoes also expanded its Popcornmeter designations. Anything with an audience score above 60 percent of people rating it as 3.5 stars or higher will be labeled "Hot," and movies below that 60 percent threshold are now "Stale." The "Certified Fresh" badge for movies that achieve a strong enough critics score has been around for a while, but in 2020 RT introduced a "Top Critics" feature such that you could filter out the dozens or hundreds of aggregated critics from unreliable sources who could be skewing a film's score. Anyone can vote or rate movies on Rotten Tomatoes if you're an audience member, but you can also filter out ratings from those not considered "verified."

Rotten Tomatoes made some other tweaks too under the hood: Both the Popcornmeter and Tomatometer need to meet a new minimum number of reviews published for a score to appear. Not everything gets reviewed widely, so the threshold varies depending on a film's total projected domestic box office forecast. A full list of "Verified Hot" films can be found here.

A new TV series is capturing the dramatic saga of the The Pirate Bay, the notorious file-sharing website that openly challenged the entertainment industry in the early 2000s. A just-launched teaser is available on YouTube. TorrentFreak reports: A few years ago, news broke that The Pirate Bay story was being turned into a TV series. Written by Piotr Marciniak and directed by Jens Sjogren, who also made the "I am Zlatan" documentary, production was in the hands of B-Reel Films, working for the Swedish broadcaster SVT. American distribution company Dynamic Television scooped up worldwide rights. As far as we know, international deals have not yet been announced. The Swedish premiere on November 8 is coming closer, however, and a few days ago SVT released an official teaser.

The founders of The Pirate Bay -- Anakata, Brokep and Tiamo -- are played by Arvid Swedrup, Simon Greger Carlsson and Willjam Lempling. The teaser doesn't give away much, but it's interesting that one of The Pirate Bay's infamous responses to legal threats features prominently. The teaser quotes from Anakata's response to a letter from DreamWorks, written twenty years ago. The movie company sent a DMCA takedown notice requesting the removal of a torrent for the film Shrek 2, but the reply was not what they had hoped for. "As you may or may not be aware, Sweden is not a state in the United States of America. Sweden is a country in northern Europe. Unless you figured it out by now, US law does not apply here," Anakata wrote. "It is the opinion of us and our lawyers that you are ........ morons, and that you should please go sodomize yourself with retractable batons."

The response was public information and made it into the series. Whether there will be any new revelations has yet to be seen, however, as none of the site's founders were actively involved in production. Instead, the producers used interviews with other people involved, plus the vast amount of public information available on the Internet. That includes the infamous responses to legal threats. Time will tell how the producers and director have decided to tell this story. Production took place in Stockholm, Sweden, but also ventured to other countries, including Chile and Thailand, where Fredrik Neij was arrested and paraded in front of the press in 2014.

An anonymous reader quotes a report from Fast Company's Jared Newman: With its new Pixel 9 phones, Google Assistant is getting a demotion. In its place, Google's will ship Gemini as the default voice assistant on its flagship phones. Gemini uses large language models to interpret questions and generate answers, which means it can respond in a more conversational way. But while Google is eager to showcase Gemini as an answer to OpenAI's ChatGPT, tossing out Assistant is a mistake. Too often, Gemini fails at performing basic tasks, and it's going to cause lots of frustration for folks who depend on their phone's voice control features. Although Google says Gemini can now handle many of the same instructions as Assistant, that hasn't been my experience at all. As evidence, I submit a list of useful Google Assistant actions that either aren't possible or don't work properly with Gemini. Here is a summary of the challenges Gemini faces, as documented by Newman:

1. Local results are worse: Gemini provides less useful information for local business queries compared to Google Assistant, lacking context and formatting.
2. Gemini can't take notes: Unlike Google Assistant, Gemini cannot take voice notes or save them in an app like Google Keep.
3. No-can-do on to-do lists: Gemini does not support adding items to to-do lists, a feature that Google Assistant handles efficiently.
4. Weather doesn't work right: Gemini struggles with weather forecasts, often giving incorrect locations, unlike Google Assistant which works reliably.
5. Turn-by-turn directions don't load: Gemini fails to provide direct turn-by-turn navigation, only offering a preview, whereas Google Assistant launches navigation immediately.
6. Music and podcast requests are YouTube-only: Gemini only supports YouTube Music, unlike Google Assistant which supports multiple streaming services.
7. Video (in)capabilities: Gemini cannot directly access streaming apps for movies or shows, only suggesting content with no direct links.
8. No photo search: Gemini cannot search for photos in Google Photos, a task that Google Assistant can easily handle.
9. Bye-bye to a useful news feature: Gemini fails to play or provide recent news effectively, unlike Google Assistant's useful daily news briefing feature.
10. No Routines: Gemini does not support the automation of multiple actions through Routines, a feature present in Google Assistant.
11. So much for Shortcuts: Gemini lacks the Shortcuts feature available in Google Assistant, offering no replacement for quick actions in third-party apps.
12. A slower experience: Responses from Gemini are slower by a second or two compared to Google Assistant when answering queries.

An anonymous reader shares a report: I'm not sure I knew of anyone, Borderlands fan or not, who believed that the movie adaptation of the game was going to be good, based on everything from casting to trailers. Now as reviews come in ahead of its release tomorrow, those fears have been validated. And then some. As I write this, the Borderlands movie has a flat 0% on Rotten Tomatoes. No positive reviews whatsoever, and the ones that are in are not just negative, but brutal.

An anonymous reader quotes a report from TorrentFreak: In Brazil, there was a [...] unbelievable display of public piracy last week that went on to make national headlines. The mayor of the municipality Acopiara, in the north-east of the country, invited citizens of the small town Trussu to join a screening of the blockbuster "Inside Out 2" at the local town square. With little more than a thousand inhabitants, many of whom have limited means, this appeared to be a kind gesture. The mayor, Anthony Almeida Neto, could use some positive marks too; he was removed from office three times on suspicion of being involved in corruption schemes, and was most recently reinstated in March. The mayor officially announced the public screening of 'Inside Out 2' via Instagram and Facebook, inviting people to join him. That worked well as a sizable crowd showed up, allowing the controversial mayor to proudly boast the event's popularity in public through his social media channels.

Taking place in an outside theater created just for this occasion, the screening was a unique opportunity for the small town's residents. There are no official movie theaters nearby, so locals would normally have to travel for several hours to see a film that's still in cinemas. Thanks to the mayor, people could see 'Inside Out 2' in their hometown instead. The mayor was pleased with the turnout too and proudly broadcasted it through a livestream on Instagram. Amidst all this joy, however, people started to notice a watermark on the film that was clearly associated with piracy. In addition, it was apparent that the copy had been sourced from pirate streaming site, Obaflix. All signs indicate that the public event wasn't authorized or licensed. Instead, it appeared to be an improvised screening of a low-quality TS release of the film, which is widely available through pirate sites. When this 'revelation' was picked up in the Brazilian press, mayor Anthony Almeida was quick to respond with assurances that he only had honest intentions.

No R-rated film has ever earned as much in its opening weekend, reports the Hollywood Reporter — a whopping $205 million. (The previous record was $133.7 million, set in 2016 by the original film Deadpool...)

It's also the very first R-rated film ever released by Disney... [Deadpool actor Ryan] Reynolds has his own theory about its success. "Disney probably doesn't want me to frame it this way, but I've always thought of Deadpool & Wolverine as the first four-quadrant, R-rated film," Reynolds tells the Hollywood Reporter. "Yes, it's rated R, but we set out to make a movie with enough laughs, action and heart to appeal to everyone, whether you're a comic book movie fan or not."

There's reason Disney and others may bristle at labeling it a four-quadrant film, which generally is reserved for movies that work equally for males and females over and under 25. Afterall, it is perhaps the most violent and bloody Deadpool movie yet. Still, here's evidence to back up Reynolds' theory that it's playing to a far more broad audience than the usual Marvel Cinematic Univerese movie, even if it's skewing male by anywhere from 60 to 63 percent. So far, 13.6 million people have bought tickets to see it, on par with last year's Barbie, which was rated PG-13, according to Steve Buck's leading research firm EntTelligence. That's the most foot traffic ever for an R-rated movie....

"Once thought of as a sure-fire way to limit potential box office, the R rating, when properly applied, can be the key to unlocking massive box office, and this has proven to be the secret sauce for the Deadpool franchise," says chief Comscore box office analyst Paul Dergarabedian. "The creative freedom afforded by the less restrictive rating has enabled filmmakers to push the envelope and, particularly in the case of Deadpool & Wolverine, can deliver the kind of edgy, intense, profanity-filled comedy action that modern audiences are fired up to see on the big screen...."

It's also the biggest July opening of all time, the biggest opening of 2024 so far and Marvel Studios' biggest launch since Spider-Man: No Way Home in December 2021.
ScreenRant notes that Deadpool & Wolverine has already surpassed the entire global box office for The Marvels in just three days. It's the biggest debut for a film since James Cameron's Avatar: The Way of the Water in December of 2022 (according to the Hollywood Reporter). And they add that though the figures haven't been adjusted for inflation — it's still the eighth-biggest box office opening of all time.

But at the end of the day, it's just people enjoying a movie together. "Well, I'm not saying that other people should do this, but my 9-year-old watched the movie with me and my mom, who's in her late 70s," Reynolds reportedly told the New York Times, "and it was just was one of the best moments of this whole experience for me. Both of them were laughing their guts out, were feeling the emotion where I most desperately hoped people would be."

As Comic-Con hits San Diego, "part of the big news in 2024 is that the con won't have a corresponding virtual or online event this year," according to Polygon, "for the first time since 2019."

But there's still some big scifi media news, according to CNET's Comic-Con coverage: Disney revealed a new Doctor Who addition to the franchise that will jump back to the 1970s with the Sea Devils, an ancient group of beings who arise from the sea. Made in partnership with the BBC, the series... will air on Disney Plus, where fans can currently stream season 14 of Doctor Who starring Ncuti Gatwa.
And there's also an upcoming Doctor Who Christmas special.

Meanwhile, Saturday night, USA Today ran a special article with late-breaking announcements about Marvel's Cinematic Universe: Marvel has already won Comic-Con, with a raucous screening of "Deadpool & Wolverine" followed by a high-tech drone show, and the box office, with the new movie on track to have one of the best openings of all time... Robert Downey Jr. returns to the MCU as Doctor Doom in Avengers: Doomsday. Kevin Feige says the Fantastic Four will be in the next two Avengers movies... And here comes the Fantastic Four [movie] a year from now. It starts filming Tuesday in the UK...
The article says Marvel's Fantastic Four presentation included "a Fantasti-Car that hovers across the stage — and that castmembers also appeared from the upcoming Thunderbolts* movie.

More geeky news:

• Amazon Prime showed a new four-minute trailer with clips from season two of its J.R.R. Tolkein prequel, "The Rings of Power". (And there was also a three-minute blooper reel for Season 4 of Prime's superhero-themed series, "The Boys".)

• Paramount+ showed a trailer for the Star Trek universe's first streaming movie, Section 31. There was also a trailer for season 5 of the animated comedy Star Trek: Lower Decks — plus a particularly strange clip from the fourth season of Star Trek: Strange New Worlds.

• Keanu Reeves accepted the Inkpot award for his contribution to the world of film and comics — partly because since 2021 Reeves has been co-authoring a Kickstarter-funded comic book called BRZRKR. (Netflix plans to adapt it into a movie.)

• Next February will see the release of Captain America: Brave New World, in which the Incredible Hulk may get some competition from Harrison Ford, who's been cast as the Red Hulk.

But things got a little too real Friday when a fire at a nearby steakhouse forced the evacuation of the immersive "Penguin Lounge" — which was promoting Max's new prequel series to 2022's movie The Batman.

Marvel Studios President Kevin Feige, who has overseen the Marvel Cinematic Universe's unprecedented success, has expressed his longstanding appreciation for sequels and world-building in cinema at a time when Disney's top executive has admitted that the company has diluted audience's attention by making too many TV shows and movies.

"I was never cynical or rolling my eyes the way people still do today for some reason, even though there've been sequels since the '30s and they're an absolute pillar of the industry," Feige told Variety in an interview, highlighting his enthusiasm for returning to beloved characters and expanding on established narratives. The studio's ambitious expansion into streaming content for Disney+ has led to what Disney CEO Bob Iger described as "some disappointments" in theatrical releases. In July 2023, Iger cited the increased output for streaming as a factor that "diluted focus and attention" at Marvel. In response to these challenges, Disney announced a strategic shift in May, with plans to reduce Marvel's output to a maximum of three films and two TV series per year. This move aligns with Iger's commitment to prioritize quality over quantity, a strategy he believes is "particularly true with Marvel."

Re-visiting the Napster era, Stephen Witt's book How Music Got Free has been adapted into a two-part documentary on Paramount+. But the documentary's director believes "The real innovative minds here were a bunch of rogue teenagers and a guy working a blue-collar factory job in the tiny town of Shelby, North Carolina," according to this article in the Guardian: By day, [Glover] worked at Universal Music's CD manufacturing plant in North Carolina, from which he smuggled out hot albums by stars like Mary J Blige and 50 Cent before they were even released. For the documentary, Glover spoke openly, and largely without regret, as did others who worked at that plant who did their own share of stealing. Part of their incentive was class revenge: while they were paid piddling wages by the hour, the industry used the products they manufactured to mint millions. To maximize profits on his end, Glover set up a subscription service to let those in his circle know what CDs and movies were coming. "He was doing what Netflix would later do," Stapleton said...

In the meantime, the record companies and their lobbying arm, the RIAA, focused their wrath on the most public face of file-sharing: Napster. In truth, all Fanning's company did was make more accessible the work the pirates innovated and first distributed... For its part, the music industry reacted in the worst way possible, PR-wise. They sued the kids who made up their strongest fanbase. "One of the key lessons we learned from this era is that you can't sue your way out of a situation like this," Witt said. "You have to build a new technology that supersedes what the pirates did."

Eventually, that's what happened, though the first attempts in that direction made things worse than ever for the labels and stars. When Apple first created the iPod in 2001, there wasn't yet an Apple store where listeners could purchase music legally. "It was just a place to put your stolen MP3s," said Witt. Labels couldn't sue Apple because of a ruling dictating that the manufacturer of a device couldn't be held responsible for piracy enacted by its users. While Steve Jobs later modified his approach, creating a way for fans to buy individual songs for the iPod, "that did more damage to the industry than anything", Witt said. "Whereas, before they could sell a $15 CD to fans who really just wanted one song, now those fans could get that song for just a dollar...."

Eventually, the collective efforts of the streaming companies returned the music industry to massive profitability, though often at the expense of its artists, who often receive a meager slice of the proceeds.... Things ended less favorably for the pirates, some of whom now have criminal records. Likewise, Glover served a short prison sentence though, today, he is chief maintenance technician at the Ryder Truck manufacturing plant in his home town.
A Forbes senior contributor (and director Alexandria Stapleton) believe that for the younger generation it may be "their first introduction to why the music industry is the way that they're used to."

And Stapleton says their sympathies are with those factory workers. Stapleton: They were completely underpaid. They were making literally nothing. It's important for people to understand that while the industry was charging $20 for a CD, it cost like 20 cents to make. That's a big profit margin. And to have a factory that was paying barely enough for people to put food on the table, I think there's something wrong with that...

Witt: It's amazing to think about what they were really doing, which was essentially filling the technological vacuum that the record industry was refusing to fill, right? The record industry was not building out the successor technology to the compact disc because the compact disc was just too profitable for them. Instead, a bunch of random teenagers built the next generation of technology for them, and yeah, it caused a lot of damage. But I don't think that teenagers were necessarily trying to hurt anyone... They weren't malicious. They just were fascinated by how this stuff worked. And of course, they were also completely entranced by the celebrity of the musicians themselves.
In the interview Witt adds that a lot of those teenagers "were really kind of traumatized by their experience with the FBI I would say, and they wanted to get that story out there."

The documentary was produced by LeBron James and Eminem, "who rode the tail end of the CD boom to stratospheric heights," remembers a Fast Company opinion columnist. (And 25 years later, that columnist has gone back to listening to vinyl records, which "reignited for me a long-missing air of full engagement... Technology marches forward, except when it occasionally lurches backward...")

Long-time Slashdot reader theodp writes: Bob Newhart, whose stammering, deadpan unflappability carried him to stardom as a standup comedian and later in television and movies, has died at age 94. He remains best known for the television shows, "The Bob Newhart Show" (1972-78) and "Newhart" (1982-90), both of which were built around his persona as a reasonable man put-upon by crazies. A younger crowd may remember Newhart from his roles in the movie "Elf" (2003) and TV's "The Big Bang Theory" (2013-18).

Less known about Newhart is that he was an early Commodore PET owner, recalling for the LA Times in 2001: "I remember leafing through a copy of Popular Science magazine and seeing an ad for a Commodore computer that had 8- or 16 kilobytes [in 1977]. It had an awful-looking screen, and it was $795. I thought I'd better get one because I had sons who were going to be in high school and might want to know about computers. Later, I moved up to the 64 KB model and thought that was silly because it was more memory than I would ever possibly need.

"I got them for the kids and then found I was fascinated by them. The first ones had tape drives. You would get a program like a word processor, put the tape in and then walk away for about a half an hour while the computer loaded it. But the first time I used a spell checker and it corrected a word, I thought, 'We are getting close to God here."

J. Michael Cline, the co-founder of Fandango, died from suicide this week after falling from the twentieth floor of a Manhattan hotel. The New York Times reports: Mr. Cline, who was 64, co-founded Fandango in 2000 and left the company in 2011, according to his LinkedIn profile. The company -- familiar to many from its splashy logo, an orange "F" in the shape of a ticket stub -- was later acquired by Comcast and is currently owned by NBCUniversal and Warner Bros. For years, the company dominated movie-ticket sales, handling ticketing for several major theater chains and making money by charging a processing fee for online ticket sales and by selling advertising on its site.

At the time of its launch, Mr. Cline offered a pithy explanation for the company's name: "A Fandango is fast and fun," he told Variety. "Fandango is the perfect match to a service designed to make going to the movies easier and more enjoyable than ever before." Art Levitt, the co-founder and former chief operating officer and president of Fandango, remembered Mr. Cline as brilliant, creative and loyal, sticking it out even in "tough" times. TechCrunch provides additional information about Mr. Cline: He left the company in 2011, roughly four years after the company was acquired by Comcast. Some early investors in the online ticketing service were General Atlantic and TCV. Cline was also managing partner of Accretive, a venture capital firm he founded in 1999. He built startups throughout his career, including R1 RCM, Accumen, Accolade, Everspring, Dresr and Insureon. Starting in 2018, Cline served as the executive chairman at the venture firm Juxtapose, which invests in technology businesses. During his time there, Cline enjoyed investing in healthcare companies, according to his staff page. Some of Juxtapose's portfolio companies include Tend, Nectar and Great Jones.

From The New York Times: The key to "Eno" comes near the beginning of the film — at least, the beginning of the first version I saw. The musician Brian Eno, the documentary's subject, notes that the fun of the kind of art he makes is that it's a two-way street. "The audience's brain does the cooking and keeps seeing relationships," he says.

Most movies are made up of juxtapositions of scenes, carefully selected and designed by the editor. But "Eno," directed by Gary Hustwit, turns that convention on its head. Writ large, it's a meditation on creativity. But every version of the movie you see is different, generated by a set of rules that dictate some things about the film, while leaving others to chance. (I've seen it twice, and maybe half the same material appeared across both films.)

Eno, one of the most innovative and celebrated musicians and producers of his generation, has fiddled with randomness in his musical practice for decades, often propelled along by new technologies. He agreed to participate in "Eno" only if it, too, could be an example of what he and others have long called generative art... "Brain One", programmed by the artist Brendan Dawes, generates a new version of the film on the fly every time the algorithm is run. Dawes's system selects from a database of 30 hours of new interviews with Eno and 500 hours of film from his personal archive and, following a system of rules set down by the filmmakers with code, creating a new film. According to the filmmakers, there are 52 quintillion (that is, 52 billion billion) possible combinations, which means the chances of Brain One generating two exact copies of "Eno" are so small as to be functionally zero.
"But the ambitions of Eno are greater than the film itself," writes the Verge, with director Hustwit hoping for a cinematic future exploring generative filmmaking with their software and hardware package. "We have a patent pending on the system, and we just launched a startup called Anamorph that is basically exploring this idea further with other filmmakers and studios and streamers."

In an interview with the Verge, Hustwit points out that Brian Eno did the soundtrack for his previous film. "I was having these thoughts about, well, why can't showing a film be more performative? Why does it have to be this static thing every time?"


The film just began a two-week run at Greenwich Village's nonprofit theatre Film Forum, and in the U.K. is appearing this week at 17 Picturehouse Cinemas across England and Scotland. Check this online schedule for upcoming dates this week in Nashville (Thursday), Austin (Friday), Dallas (Saturday) — with later dates this month including Toronto, San Francisco, and Los Angeles, and more cities in August.

A report from TechSpot: For home videographers and data hoarders who still rely on optical discs for archiving, some bad news just dropped: Sony is winding down production of recordable Blu-ray media... In an interview Sony gave to AV Watch recently, the company admitted it's going to "gradually end development and production" of recordable Blu-rays and other optical disc formats at its Tagajo City plants in Miyagi Prefecture, Japan. Essentially, 25GB BD-REs, 50GB BD-RE DLs, 100GB BD-RE XLs, or 128GB BD-R XLs will soon not be available to consumers. Professional discs for video production and optical archives for data storage are also being discontinued. Sony says it's pulling the plug because the cold storage market never really took off like they hoped, and the overall storage media business has been operating in the red for years...

It's not all bad news, though. The commercial Blu-ray discs you buy movies and games on will still be produced, so there's no need to panic about the death of physical media just yet.
Share your thoughts and reactions in the comments. (Long-time Slashdot reader storkus wonders if it's possible there are still other companies, possibly Chinese, that are still making the disks?)

Speaking of Xbox, the Xbox 360 Store and Marketplace are coming to a close later this month. From a report: Microsoft announced this last year and put an official end date of July 29, according to its official FAQ page. In case you didn't notice, the end of July is fast approaching. All of the games, DLC and any gaming tidbits for Microsoft's second generation console won't be available to purchase or download on the Xbox 360 console. Your games and movie purchases are still safe, however, if you've got any throwback titles on your Xbox One or Series X/S console. You can also still watch your purchased movies and shows on Windows 10 and 11 devices.

DVD kiosk-rental business Redbox is all set to close the shutter. LowPass: The judge overseeing the bankruptcy case of Redbox's corporate parent Chicken Soup for the Soul Entertainment granted the debtors request to convert it from a Chapter 11 bankruptcy to a Chapter 7 bankruptcy, effectively paving the way for shutting down the company and liquidating its assets. Chicken Soup for the Soul Entertainment's CEO Bart Schwartz, who had only joined the company two weeks ago, stepped down this morning for unrelated reasons, according to the attorney representing the debtors in the case.

Companies use Chapter 11 bankruptcy cases to reorganize, allowing them to continue to operate while they rid themselves of debt, while a Chapter 7 bankruptcy generally results in a trustee selling off company assets to pay creditors, and winding down the company. "There is no means to continue to pay employees, pay any bills, otherwise finance this case. It is hopelessly insolvent," United States bankruptcy judge Thomas Horan determined during a hearing Wednesday, adding: "Given the fact that there may also be at least the possibility of misappropriation of funds that were held in trust for employees, there is more than ample reason why this case should be converted. So I am going to grant the motion." The firm operates a network of 24,000 DVD rental kiosks.

Mojang Studios, the creator of the globally popular video game Minecraft, is diversifying its revenue streams amid slowing growth in the gaming industry. Chief Executive Asa Bredin revealed in an interview that the company is exploring new partnerships in merchandising, education, and content streaming. The company is also venturing into film and television, with a Warner Bros. movie adaptation set to premiere in April and a Netflix series in development. From a report: Mojang's push follows repeated forays by Nintendo and Sony Group to broaden the appeal of their gaming properties at a time that spending in the industry has hit a lull. Nintendo is developing a live-action film based on the Legend of Zelda franchise, following the blockbuster success of The Super Mario Bros. Movie, while Sony has turned The Last of Us into an HBO series and created games based on the Spider-Man movies.

theodp writes: As with last year," tweeted College Board's AP Program Chief Trevor Packer, "the most challenging free-response question on this year's AP Computer Science A exam was Q4 on 2D Array." While it takes six pages of the AP CS A exam document [PDF] to ask question 4 (of 4), the ask of students essentially boils down to using Java to move from the current location in a 2-D grid to either immediately below or to the right of that location based on which neighbor contains the lesser value, and adding the value at that location to a total (suggested Java solution, alternative Excel VBA solution). Much like rules of the children's game Pop-O-Matic Trouble, moves are subject to the constraint that you cannot move to the right or ahead if it takes you to an invalid position (beyond the grid dimensions).

Ironically, many of the AP CS A students who struggled with the grid coding problem were likely exposed by their schools from kindergarten on to more than a decade's worth of annual Hour of Code tutorials that focused on the concepts of using code to move about in 2-D grids. The move-up-down-left-right tutorials promoted by schools came from tech-backed nonprofit Code.org and its tech giant partners and have been taught over the years by the likes of Bill Gates, Mark Zuckerberg, and President Obama, as well as characters from Star Wars, Disney Princess movies, and Microsoft Minecraft.

The news of American high school students struggling again with fairly straightforward coding problems after a year-long course of instruction comes not only as tech companies and tech-tied nonprofits lobby state lawmakers to pass bills making CS a high school graduation requirement in the US, but also as a new report from King's College urges lawmakers and educators to address a stark decline in the number of UK students studying computing at secondary school, which is blamed on the replacement of more approachable ICT (Information and Communications Technology) courses with more rigorous computer science courses in 2013 (a switch pushed by Google and Microsoft), which it notes students have perceived as too difficult and avoided taking.

Chicken Soup for the Soul Entertainment, the parent of DVD rental operator Redbox, has filed for Chapter 11 bankruptcy protection after months of financial struggles and piling unpaid bills. The Associated Press reports: Chicken Soup for the Soul has accumulated nearly $1 billion in debt, the Chapter 11 filing submitted Friday in Delaware bankruptcy court shows, after reporting loss after loss over recent quarters. The filing also discloses that Chicken Soup for the Soul owes millions to over 500 creditors -- which range from big names in the entertainment world like Sony Pictures and Warner Bros, to major retailers like Walgreens and Walmart. As of March of this year, Friday's filing shows, Chicken Soup for the Soul had about $414 million in assets and $970 million in debts. Shares for the public company have fallen more than 90% over the last year. "Redbox, founded in 2002, is best known for red-colored, self-serve machines that sit outside of pharmacies or groceries stores to rent or sell DVDs," notes the report. It was acquired by Chicken Soup for the Soul in 2022. There are currently about 27,000 Redbox kiosks across the U.S. -- down from 36,000 at the Redbox acquisition was finalized in August 2022.

An anonymous reader shares a report: If you've been mindlessly scrolling through streaming services and have been feeling even less enthused than usual, you may not be entirely to blame: almost all major US streamers have been cutting their original TV output this year, according to new analysis (paywalled) from Variety.

From content monolith Netflix, which released 203 original shows in the first half of 2023 compared with 174 in H1 '24, to Disney+, which has halved its already-slim original TV library as it continues an apparent shift to quality over quantity, shrinkage has hit the streaming world hard. Indeed, of the 8 major streamers Variety studied from Luminate data, only Max and Peacock maintained their output level year over year. All told, the number of original seasons fell 19% at the 8 streamers tracked.

An anonymous reader shares a report: We're at a transitional moment in streaming -- user growth is slowing and major players are looking to consolidate, but the long-promised dream of profitability finally seems within reach (especially if you're Netflix). The perfect time, then, for The New York Times to interview many of the industry's big names -- including Netflix co-CEO Ted Sarandos, Amazon's Prime Video head Mike Hopkins, and IAC chairman Barry Diller -- about what they think comes next.

There seemed to be broad agreement on most of the big themes: More ads, higher prices, and fewer big swings on prestige TV. These changes are all united by the shift towards profitability, rather than growth-at-all-costs. If the initial prices of many streaming services seemed unsustainably low at launch, it turns out they were -- prices have been steadily rising, while the streamers have also introduced more affordable subscription tiers for viewers who are willing to watch ads. In fact, some execs told The Times that streamers will keep raising prices for the ad-free tiers with the aim of pushing more customers to sign up for ad-supported subscriptions instead. The growth of ad-supported streaming could also affect the kinds of movies and shows that get produced, since advertisers generally want to reach a mass audience -- think of the heyday of ad-supported network TV, with its endless shows about doctors and cops, compared to the more ambitious fare on subscription-supported HBO.