As Netflix shares plunge to their lowest point in five years, the company risks losing its most valuable resource: its star employees. From a report: Working at Netflix has been one of the most desirable jobs in Hollywood, if not all of corporate America. The company ranks as one of the most beloved brands, pays well and offers a chance to work with the people that changed the way we watch TV. But a record decline in Netflix's share price, precipitated by its poor financial results, has shaken employees' confidence in the company's long-term trajectory. It has also erased the value of many employees' options. People who were sitting on tens or hundreds of thousands of dollars are left with nothing. More people are looking to leave Netflix right now than at any point in recent memory, current and former employees said this past week. Netflix employees also asked leadership to issue new stock grants to make them whole for the losses this past week, per The Information.

Streaming right now on Hulu: a three-hour live special in which two members of something called the "Red Bull Air Force" try to make aviation history, reports People: On Sunday, April 24, Aikins and Farrington will try to switch planes mid-air in a stunt at Sawtooth Airport in Eloy, Arizona, that can be seen exclusively on Hulu, according to a press release from Red Bull. The planes will be "completely empty" and facing the ground when Luke Aikins and Andy Farrington attempt the daring switch, which will air during a three-hour livestream event.

To complete the feat, Aikins and Farrington will fly a pair of Cessna 182 single-seat aircraft up to 14,000 feet before putting them into a vertical nosedive and jumping out, with the goal of skydiving into each other's planes.

The cousins will stop the planes' engines and aim them toward the ground as they complete the stunt. A custom airbrake with the ability to hold the planes in a controlled-descent terminal velocity speed of 140 mph will also be utilized to complete the trick. After catching up to the opposing stuntman's plane, Aikins and Farrington will enter the cockpits and turn the planes back on as normal, piloting them to land.

Aikins is an experienced skydiver, having completed more than 21,000 jumps throughout his career. Farrington, meanwhile, has completed 27,000 jumps.
"I call it more calculated than crazy," Aikins says in an interview with the web site Complex. "We work really hard to make sure that everything's going to be okay. We don't flip a coin and fingers crossed and hope it all works out. We mitigate the risk down to something that's acceptable and what's acceptable to me."

People using self-driving cars will be allowed to watch television on built-in screens under proposed updates to the Highway Code. From a report: The changes will say drivers must be ready to take back control of vehicles when prompted, the government said. The first use of self-driving technology is likely to be when travelling at slow speeds on motorways, such as in congested traffic. However, using mobile phones while driving will remain illegal.

No self-driving cars are currently allowed on UK roads, but the first vehicles capable of driving themselves could be ready for use later this year, the Department for Transport (DfT) said. The planned changes to the code are expected to come in over the summer. The updates, proposed following public consultation, were described as an interim measure to support the early adoption of the technology and a full regulatory framework is planned to be implemented by 2025.

An anonymous reader shares an excerpt from an opinion piece written by Elizabeth Spiers, former editor in chief of The New York Observer and the founding editor of Gawker: Among the many brilliant touches in the dystopian workplace thriller "Severance," on Apple TV+, are the perks offered by Lumon Industries, the cultlike, fluorescent-lit corporation where the series takes place: company-branded Chinese finger trap gag toys; cheery if mediocre caricature portraits; a baffling "waffle party"; the much-discussed "music dance experience"; and, more than once, a melon-ball buffet served on a rolling bar. It's hard not to see real-world analogues -- in the table tennis and kombucha taps of Silicon Valley, and especially in the post-pandemic flurry of office happy hours and gift card giveaways, as companies try to lure white-collar workers back to offices. At the high end, a real estate data company offered employees who returned to the office a daily chance to win $10,000, a trip to Barbados or a new Tesla; more common incentives are company swag, pop-up snack stands, Covid personal protection gift bags and stress balls.

Companies aren't wrong to perceive a reluctance to return to offices among some workers. Even if bosses see the return as simply a resumption of the terms employees had agreed to, workers are increasingly aware of the ways that those terms have shortchanged them. After two years, those who were able to work from home have seen real benefits -- reclaiming time from commutes, flexibility for family responsibilities, freedom from perpetual distractions and restrictive dress codes -- and now they can't unsee them. Surveys taken last year indicated that two-thirds of workers would prefer to have continued remote work options and would sacrifice $30,000 in raises to keep them. Somewhat higher percentages of women and Black knowledge workers say they are reluctant to return to offices.

But among executives and managers, there's still a strong perception that in-person work is the only real work. So as younger workers in particular resist company mandates to return to their desks in the overly air-conditioned offices where many had never felt comfortable, companies are trying to sweeten the deal. [...] I've come to think of these corporate toys and rewards as the work equivalent of the cheap prizes you win at a carnival after emptying your wallet to play the games. The difference is that the point of the carnival is to have fun, and the prizes are incidental. In the workplace, this is just a laughably terrible trade-off. Who wants to give up the two hours a day they gain by not commuting for a coffee mug? "Putting in long hours at the office is often conflated with a strong work ethic and more productivity, though it may not be indicative of either," adds Spiers. "To make employees feel this approach is reasonable, many employers blur the line between work and the rest of life, while offering little diversions here and there to approximate fun."

Shares of Netflix cratered more than 20% on Tuesday after the company reported a loss of 200,000 subscribers during the first quarter. This is the first time the streamer has reported a subscriber loss in more than a decade. From a report: The company also said it expects to lose 2 million subscribers in the second quarter. A loss of 200,000 compared with 2.73 million adds expected, according to StreetAccount estimates. Netflix previously told shareholders it expected to add 2.5 million net subscribers during the first quarter. Analysts had predicted that number will be closer to 2.7 million. The company said that the suspension of its service in Russia and the winding-down of all Russian paid memberships resulted in a loss of 700,000 subscribers. Excluding this impact, Netflix would have seen 500,000 net additions during the most recent quarter.

Privacy is one of the selling points of Apple products. But for employees who develop these products, it can be a pain. The Information: Apple doesn't collect a lot of customer data from its services, including Apple Maps, the Siri voice assistant and its paid video-streaming service, according to more than a dozen former employees. And the customer data it does collect from products like the App Store and Apple Music aren't widely accessible to employees who work on those and other products, these people said. That makes it difficult for Apple to mimic popular features developed by its competitors, which collect more data and have fewer restrictions on employee access to such information, they said.

Look at Apple TV+. The paid video-streaming service, unlike its bigger rivals, doesn't collect demographic info about customers or a history of what they have watched, according to a person with direct knowledge of the situation at Apple. That means Apple TV+ employees can't analyze how customers move from one piece of content to another, making it next to impossible to recommend more videos to them based on their preferences -- a contrast to Netflix, Disney and other streaming services, which use such data to get customers to watch more videos. [...] From Apple's app recommendations to new features for Siri and the company's Goldman Sachs-backed credit card, Apple engineers and data scientists often have to find creative or costly ways to make up for the lack of access to data. In some cases, as with Apple TV+, employees simply have to accept limitations on what they can do.

After launching as "IMDb Freedive" back in 2019, IMDb TV quickly faded into the background of the ongoing streaming wars that parent company Amazon had already established a respectable foothold in. While that initial rebrand never quite managed to put the fledgling platform and its content on the map, Amazon's just announced its plan to reintroduce the streamer yet again under new branding ahead of a massive content push. From a report: Going forward, IMDb TV will be known as "Amazon Freevee," a name meant to emphasize that the ad-supported platform is free to viewers. In a press release detailing its vision for Freevee's future, director Ashraf Alkarmi framed the service as a supplemental platform meant to appeal to consumers interested in watching "premium" series and films with significantly fewer commercial interruptions.

Sonic the Hedgehog 2 "shattered early box office projections," reports the Los Angeles Times, bringing in $71 million in its opening weekend. That makes it the biggest first-weekend for a Paramount movie in at least four years — more than Terminator: Dark Fate ($29 million) and Mission: Impossible — Fallout ($61.2 million).

You can watch its trailer here — but here's how the Times summarizes its plot. "The titular furry blue protagonist (voiced by Ben Schwartz) faces an equally fluffy new threat, Knuckles the Echidna (Idris Elba), who has joined Dr. Robotnik's (Jim Carrey) ongoing quest conquer Earth."

Engadget calls this the best opening weekend ever for a videogame movie. The previous record-holder was Sonic the Hedgehog 1, a movie which Paramount+ now "plans to expand into a cinematic universe" — or at least, expand into a spin-off TV series. Before the pandemic shut down theaters throughout the U.S, and other parts of the world, the first Sonic film went on to gross $319 million globally. Sonic the Hedgehog 2 is currently on track to beat those earnings having grossed approximately $141 million globally.

As with the first movie, timing appears to have been a significant factor in Sonic 2's early success. Its main competitor at the box office was Sony's much-maligned Morbius, which saw a drastic 74 percent drop in ticket sales from its opening weekend last Friday. It only earned $10.2 million in additional domestic revenue after a $39 million debut.

An anonymous reader shares a report: Bad news for everyone who loved watching Bill Nye the Science Guy during middle school science class: your fave is problematic. This week, Coca-Cola, one of the world's biggest plastic polluters, teamed up with TV's favorite scientist for a campaign to create a "world without waste," a joke of a corporate greenwashing campaign. In a video innocuously titled "The Coca-Cola Company and Bill Nye Demystify Recycling," an animated version of Nye -- with a head made out of a plastic bottle and his signature bow tie fashioned from a Coke label -- walks viewers through the ways "the good people at the Coca-Cola company are dedicating themselves to addressing our global plastic waste problem." Coke, Nye explains, wants to use predominantly recycled materials to create bottles for its beverages; he then describes the process of recycling a plastic bottle, from a user throwing it into a recycling bin to being sorted and shredded into new material.

"If we can recover and recycle plastic, we can not only keep it from becoming trash, but we can use that plastic again and again -- it's an amazing material," quips Shill Nye the Plastic Guy. "What's more, when we use recycled material, we also reduce our carbon footprint. What's not to love?" What's not, indeed! The video is, on the surface, an accurate depiction of the process of recycling a beverage bottle. The problem lies in what recycling can actually do. Nye paints a rosy picture in the video of plastic Coke bottles being recycled "again and again" -- but if everything worked like he's said, we wouldn't be facing plastic pollution that has grown fourfold over the past few decades. Thanks to concerted lobbying efforts, the public has been led to believe that recycling is the cure for our disastrous plastic addiction. What it does in actuality is place the burden of responsibility on the consumer and allow companies like Coca-Cola to get away with no repercussions for their waste.

Ben Thompson, making a case for why Netflix should sell ads: Here Netflix's biggest advantage is the sheer size of its subscriber base: Netflix can, on an absolute basis, pay more than its streaming competitors for the content it wants, even as its per-subscriber cost basis is lower. This advantage is only accentuated the larger Netflix's subscriber base gets, and the more revenue it makes per subscriber; the user experience of getting to that unique content doesn't really matter. All of these factors make a compelling case for Netflix to start building an advertising business. First, an advertising-supported or subsidized tier would expand Netflix's subscriber base, which is not only good for the company's long-term growth prospects, but also competitive position when it comes to acquiring content. This also applies to the company's recent attempts to crack down on password sharing, and struggles in the developing world: an advertising-based tier is a much more accessible alternative.

Second, advertising would make it easier for Netflix to continue to raise prices: on one hand, it would provide an alternative for marginal customers who might otherwise churn, and on the other hand, it would create a new benefit for those willing to pay (i.e. no advertising for the highest tiers). Third, advertising is a natural fit for the jobs Netflix does. Sure, customers enjoy watching shows without ads -- and again, they can continue to pay for that -- but filler TV, which Netflix also specializes in, is just as easily filled with ads. Above all, though, is the fact that advertising is a great opportunity that aligns with Netflix's business: while the company once won with a differentiated user experience worth paying for, today Netflix demands scarce attention because of its investment in unique content. That attention can be sold, and should be, particularly as it increases Netflix's ability to invest in more unique content, and/or charge higher prices to its user base.

Plex has an audacious plan to become the daily go-to app for everyone's streaming needs: The media center app rolled out new universal search, watchlist and discovery features Tuesday that are designed to help people find and keep track of all of the shows and movies available across a growing universe of streaming services. From a report: "The app dance, going from app to app to find something to watch, just doesn't make any sense," said Plex's senior product and design director, Jason Williams. Instead, Williams hopes that people will just open Plex to browse everything that's new on various streaming services, and then follow deep links to directly launch playback on Netflix, Hulu or anywhere else. "You're going to open up Plex every day," Williams said. "It's going to be your trusted source." Universal search and discovery have long been a holy grail for the streaming industry, but efforts by platform operators to integrate these types of features directly into the smart TV home screen have been held back by industry power struggles. Plex hopes it can avert some of those issues, and is betting on the ingenuity of its power users to help out along the way. In addition to universal search and a universal watchlist across multiple streaming services as well as personal media, Plex is also launching a dedicated discovery section in its app that highlights new titles on Netflix and other services.

The Paramount+ streaming service already has five ongoing Star Trek series (including Discovery and Picard).

But they've just released a trailer for another one — and it's now derived directly from the original 1960s TV show, even including some of its original characters. The upcoming show's title?

Star Trek: Strange New Worlds.

Ars Technica reports: As we've reported previously, one of the highlights of Star Trek: Discovery's second season was the appearance of classic original series (TOS) characters Capt. Christopher Pike (Anson Mount), Number One (Rebecca Romijn), and Spock (Ethan Peck). All three reprise their roles for Strange New Worlds....

"If you want to seek out new life, go where the aliens are," Pike tells us. But that alien life might not be receptive to first contact, as Pike and the Enterprise find themselves under fire by aliens who consider their presence to be "blasphemy." And romance blooms for both Pike and Spock (separately, not with each other).

Star Trek: Strange New Worlds debuts on Paramount+ on May 5, 2022. The streaming platform has already greenlighted a second season, with Paul Wesley (Vampire Diaries ) joining the cast as future Enterprise Capt. James T. Kirk.
Ars Technica reports the cast as:

• Babs Olusanmokun playing Dr. M'Benga
• Celia Rose Gooding filling Nichelle Nichols' shoes as Cadet Nyota Uhura
• Jess Bush playing Nurse Christine Chapel
• Melissa Navai playing Lt. Erica Ortegas
• Bruce Orak playing an Aenar named Hemmer.
• Christina Chong playing La'An Noonien-Singh (a relation of the classic revenge-obsessed Star Trek villain Khan).

And on an unrelated note...

"I don't know if you know a lot about what is actually happening right now in Ukraine...."

CNN reports: There's silence on the other end of the line. "The real truth is that it is a terrible invasion..."

This is one of dozens of cold calls that Marija Stonyte and her husband make every day to people in Russia from their home in Lithuania as part of a volunteer initiative aimed at penetrating Russia's so-called digital iron curtain.... [M]any Russians know little about what is unfolding....

Desperate to break through, people around the world are trying creative ways to connect with Russians. Online activists Anonymous claim to have hacked Russian TV channels to broadcast footage from Ukraine. Others, like Stonyte, are trying a more individual approach. They're cold calling or messaging strangers in Russia, hoping their personal pleas will disrupt the Kremlin's propaganda — and potentially even help put an end to the deadly war.... The couple began calling businesses, museums and restaurants in Moscow and St. Petersburg, hoping to tell them about what was happening. Days later they stumbled across CallRussia.org, an initiative launched March 8 with the tagline: "Make the most important call of your life."

Co-founded by Lithuania-based creative agency director Paulius Senuta, the initiative aims to cold call 40 million phone numbers across Russia. The team gathered publicly available phone numbers in Russia and created a platform that randomly generates a phone number from the list. A user can opt to call over the phone, Telegram, or WhatsApp, and at the end of the call, a site pop-up asks the user whether they got through, and if so, if the call went well. The idea is based on Senuta's belief that Russian people have the power to end the war if they have access to free information and understand the human suffering in Ukraine.... With the help of psychologists, Senuta's team of about 30 people put together a script to guide the calls. They didn't want to get into a confontation — instead the goal is to "convey the human tragedy and the fact that they don't know about it."

In just one week after the CallRussia launch, thousands of volunteers made 84,000 phone calls, he said....

Henkka, a Finnish man based in Estonia, who asked to only be identified by his first name, set his location on dating app Tinder to St. Petersburg, got tipsy, and went on a mission to tell Russians about the war in Ukraine. Although Instagram and Facebook have been blocked, dating apps are still accessible. "How To" guides have sprung up on social media platform Reddit, advising people how to use Tinder's passport feature — which allows users to connect with people in other countries — to share information about Ukraine with Russians. Users share tips on how to create a credible fake account and match with as many people as possible without getting banned by the Tinder algorithm — Tinder says it may delete accounts using the app to promote messages.
CNN actually has a two-minute audio recording of one of Stonyte's phone calls. "I know that it is not safe in Russia to speak about these things. So I will just tell you, and I really hope that you can spread this message in private or to the circles of people you know...." (Stonyte's voice seems to quaver.) "The thing is that, I know that there is a lot of propaganda that is happening..."

"I agree with you," responds the person on the other end of the line.

Stonyte eventually says "So just — as much as you feel safe, and as much as you feel comfortable, please just silently, but, spread this message, so that people know..."

CNN reports that "Stonyte says few people hang up. Instead, most fall into one of two categories — those who argue back, and those who listen, she said. Stonyte believes many people may not want to respond out of fear the call could be monitored and they could face punishment...."

An anonymous reader quotes a report from Mashable: YouTube recently added a bunch more movies and TV shows for its U.S. users to stream for free, provided you're willing to sit through some ads. Unfortunately, actually finding them all isn't easy. While YouTube has offered free, ad-supported movies before, this is the first time it has branched out to TV shows. Announced last week, YouTube's updated catalogue of free content now includes over 1,500 movies and 100 television shows, such as 10 Things I Hate About You, The Sandlot, Robin Hood: Men In Tights, Legally Blonde, two seasons of Kitchen Nightmares, and a decent number of more obscure titles such as 1970's Western The Return of a Man Called Horse.

However, YouTube has also made browsing its free titles much more annoying than it needed to be. The platform won't just show you all its free titles and let you scroll through them to find your next binge watch. It certainly won't let you filter them, so you can't narrow your search to all of YouTube's free action movies, or free romantic comedies. Rather, YouTube's algorithm selects a few hundred ad-supported titles to show you in its "free to watch movies" section, hiding the rest. Mashable only counted 360 ad-supported films available in this category, despite YouTube stating it offers over four times that number. Mashable also counted 100 free TV shows.

YouTube noted that viewers can use its search bar to look for titles, as well as browse through content in genre-themed sections which contain a mix of free, hire, and purchasable content. However there's no section only listing all of YouTube's free films or television shows, giving users no option but to trust that YouTube knows best what they should watch. [...] It seems like a strange lack of functionality, but then again, YouTube's bread and butter is in user-uploaded content rather than blockbuster films. "YouTube is personalized to users, so instead of seeing the entire library at once in the links, users see personalized selections for them," a YouTube spokesperson told Mashable. "Once users begin watching or when new titles cycle in or out, the makeup of the selection in the shelves will change."

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.

In 1983 the annual revenue at the electronics chain Crazy Eddie was roughly $134 million (or about $372 million today), remembers The Hustle. The next year they'd sold $44 million just in computers and games — and eventually grew to 43 stores. The company's stock ticker symbol was CRZY.

"There was just one major problem," the article notes. "Crazy Eddie had been lying about its numbers since its inception — and the higher the stock soared the further founder Eddie Antar went to maintain the illusion."

It's a colorful story from the early days of home PC sales. Antar's uncle hid up to $3.5 million in cash in a false ceiling at Antar's father's house, according to The Hustle. "Eddie Antar kept close tabs, usually calling his uncle twice a day to see how much money they were skimming.... The skimming strategy allowed Antar to not only hoard cash but also evade sales taxes. His employees were also paid off the books so Crazy Eddie could avoid payroll taxes." "Money was always in the house," said Debbie Rosen Antar, Antar's first wife, to investigators in the late 1980s. "And if I needed it and I asked him, he would say, 'Go underneath the bed and take what you need....'"

Why would a company built on a family fraud go public? Somebody told Antar he could keep making millions skimming cash, but he could make tens of millions if the company traded on the stock market. Strangely, Crazy Eddie's fraudulent history gave it an advantage. To provide the illusion of quickly increasing profits ahead of the IPO, the Antars simply reduced the amount of cash they were skimming. With millions more on the ledger instead of in the family's pockets, the company's profits looked more impressive.

As a public company, Crazy Eddie then made up for its inability to skim cash by initiating new fraud streams.

- The company embellished its inventories by millions of dollars to appear better-stocked and better positioned for profits.

- The Antar family laundered profits it had previously skimmed — and deposited in foreign bank accounts — back into the company to inflate revenues....

In November 1987, a hostile investment group led by Houston entrepreneur Elias Zinn pounced, purchasing Crazy Eddie. As Antar's cousin later recounted, Antar thought the sale would at least give them an opportunity to pin the fraud on the new owners. But Zinn immediately discovered $45 million of listed inventory was missing. Stores soon closed, and the company went bankrupt in 1989.
Two disgruntled ex-employees then brought fraud allegations to America's stock-regulating agency, the article reports, while the FBI "started sniffing around, too." Crazy Eddie fled the country, using forged passports to escape to Tel Aviv, Zurich, São Paulo, and the Cayman Islands. But he was eventually arrested in Israel, sentenced to 12.5 years in prison, and ordered to repay investors $121 million (though he apparently served only seven).

But Crazy Eddie also became a cultural phenomenon -- sort of. In the 1984 movie Splash, Darryl Hannah's character even watches a Crazy Eddie TV ad. The Hustle's article also includes photos of a Crazy Eddie stock certificate — and an actual "Wanted" poster issued the next year by the U.S. Marshalls office.

Yet just four years before his death in 2016, Antar — a high school dropout — was telling an interviewer from The Record that "I changed the business...."

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.

Apple argued in court papers this week that appeals filings by Epic Games don't point to legal errors by a US District Court judge who ruled last year that the iPhone maker hadn't violated antitrust laws with its App Store. Instead, Apple cited the many times the judge said Epic had "failed to demonstrate," "failed to show" and "failed to prove" the facts of its case. From a report: "On the facts and the law, the court correctly decided every issue presented in Epic's appeal," Apple lawyers wrote in the company's filing. They repeated earlier arguments that Epic is attempting to fundamentally change the App Store. "While these appeals are both important and complex, resolving the issues should not be difficult: Applying settled precedent to the adjudicated facts requires ruling for Apple across the board." Apple's 135-page filing is the latest in the legal battle it's been fighting with Epic since August 2020. On the surface, the two companies are battling over who gets how much when consumers spend money on the App Store. Apple is fighting to maintain control of its App Store, which has become such a key feature of its iPhones that the company's ads saying "there's an app for that" are referenced in crossword puzzles and on the trivia TV show Jeopardy.

Over the past couple of years, though, Apple's runaway success with its App Store has been challenged. Epic, which makes the hit online battle game Fortnite, argued that Apple should loosen its control. In emails, court filings and public statements, Epic has said Apple should allow alternative app stores onto the iPhone and iPad, something it currently doesn't allow. Epic also says Apple should free developers to use alternative payment processors in their apps, rather than Apple's current rule requiring they use only its App Store, through which Apple takes a cut of in-app purchases on its devices.