Netflix on Thursday reported a 16% rise in memberships in the first quarter, reaching 269.6 million, beating Wall Street expectations. Starting next year, the company will no longer provide quarterly membership numbers or average revenue per user starting next year. CNBC reports: "As we've noted in previous letters, we're focused on revenue and operating margin as our primary financial metrics -- and engagement (i.e. time spent) as our best proxy for customer satisfaction," the company said in its quarterly letter to shareholders. "In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential." Netflix said now that it is generating substantial profit and free cash flow -- as well as developing new revenue streams like advertising and a password-sharing crackdown -- its membership numbers are not the only factor in the company's growth. It said the metric lost significance after it started to offer multiple price points for memberships. The company said it would still announce "major subscriber milestones as we cross them."

Netflix also noted that it expects paid net additions to be lower in the second quarter compared to the first quarter "due to typical seasonality." Its second-quarter revenue forecast of $9.49 billion was just shy of Wall Street's estimate of $9.54 billion Shares of the company fell around 4% in extended trading. Netflix reported first-quarter net income of $2.33 billion, or $5.28 per share, versus $1.30 billion, or $2.88 per share, in the prior-year period. The company posted revenue of $9.37 billion for the quarter, up from $8.16 billion in the year-ago quarter.

Film data researcher Stepehen, writing on his blog: This may surprise some, but since 2000, just over half of all movies released have been original screenplays. The most common source for adapted screenplays was real-life events, accounting for almost a fifth of movies made between 2000 and 2023. (Typically, in these cases, the filmmakers will have paid for the rights to a nonfiction book or two that covered those events, but we will classify that as 'based on real-life events' in this analysis.) Other sources include fictional books/articles (8.9%), previous movies (11.8%), stage productions (including plays, musicals, and dance performances) (1.5%), and TV/Web shows (0.9%). In the chart below, 'Other' includes myths, legends, poems, songs, games, toys, and more.

How has this changed over the years? Forty years ago, about the same proportion of movies being made were original screenplays as they are today. That's quite surprising -- both because I assume that many people expected it to be lower in recent years, but also because little stays the same in the film industry over such a long period of time. But when we look at a time series by year, we can see that it hadn't plateaued. During the late 1990s and 2000s, original screenplays declined markedly and only rose again in the 2010s.

Movie exhibitors still face "serious risks," the Los Angeles Times reported Tuesday: Attendance was on the decline even before the pandemic shuttered theaters, thanks to changing consumer habits and competition for people's time and money from other entertainment options. The industry has demonstrated an over-reliance on Imax-friendly studio action tent poles, when theater chains need a deep and diverse roster of movies in order to thrive... It remains to be seen whether the global box office will ever get back to the $40 billion-plus days of 2019 and earlier years. A clearer picture will emerge in 2025 when the writers' and actors' strikes are further in the past. But overall, there's a strong case that moviegoing has proved to be relatively sturdy despite persistent difficulties.
Which brings us to this year's CinemaCon convention, where multiplex operators heard from Hollywood studios teasing upcoming blockbusters like Joker: Folie à Deux, Furiosa: A Mad Max Saga, Transformers One, and Deadpool & Wolverine. Exhibitors pleaded with the major studios to release more films of varying budgets on the big screen, while studios made the case that their upcoming slates are robust enough to keep them in business... Box office revenue in the U.S. and Canada is expected to total about $8.5 billion, which is down from $9 billion in 2023 and a far cry from the pre-pandemic yearly tallies that nearly reached $12 billion... Though a fuller release schedule is expected for 2025, talk of budget cuts, greater industry consolidation and corporate mergers has forced exhibitors to prepare for the possibility of a near future with fewer studios making fewer movies....

As the domestic film business has been thrown into turmoil in recent years, Japanese cinema and faith-based content have been two of movie theaters' saving graces. Industry leaders kicked off CinemaCon on Tuesday by singing the praises of Sony-owned anime distributor Crunchyroll's hits — including the latest "Demon Slayer" installment. Mitchel Berger, senior vice president of global commerce at Crunchyroll, said Tuesday that the global anime business generated $14 billion a decade ago and is projected to generate $37 billion next year. "Anime is red hot right now," Berger said. "Fans have known about it for years, but now everyone else is catching up and recognizing that it's a cultural, economic force to be reckoned with.... " Another type of product buoying the exhibition industry right now is faith-based programming, shepherded in large part by "Sound of Freedom" distributor Angel Studios...

Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends... "Whenever we have a [blockbuster] film — whether it be 'Barbie' or 'Super Mario' ... records are set," added Bill Barstow, co-founder of ACX Cinemas in Nebraska. "But we just don't have enough of them."

A bill introduced in the US Congress on Tuesday intends to force AI companies to reveal the copyrighted material they use to make their generative AI models. From a report: The legislation adds to a growing number of attempts from lawmakers, news outlets and artists to establish how AI firms use creative works like songs, visual art, books and movies to train their software-and whether those companies are illegally building their tools off copyrighted content.

The California Democratic congressman Adam Schiff introduced the bill, the Generative AI Copyright Disclosure Act, which would require that AI companies submit any copyrighted works in their training datasets to the Register of Copyrights before releasing new generative AI systems, which create text, images, music or video in response to users' prompts. The bill would need companies to file such documents at least 30 days before publicly debuting their AI tools, or face a financial penalty. Such datasets encompass billions of lines of text and images or millions of hours of music and movies.

"AI has the disruptive potential of changing our economy, our political system, and our day-to-day lives. We must balance the immense potential of AI with the crucial need for ethical guidelines and protections," Schiff said in a statement. Whether major AI companies worth billions have made illegal use of copyrighted works is increasingly the source of litigation and government investigation. Schiff's bill would not ban AI from training on copyrighted material, but would put a sizable onus on companies to list the massive swath of works that they use to build tools like ChatGPT -- data that is usually kept private.

For decades, work has revolved around documents, spreadsheets, and slide decks. Word, Excel, PowerPoint; Pages, Numbers, Keynote; Docs, Sheets, Slides. Now Google is proposing to add another to that triumvirate: an app called Vids that aims to help companies and consumers make collaborative, shareable video more easily than ever. From a report: Google Vids is very much not an app for making beautiful movies... or even not-that-beautiful movies. It's meant more for the sorts of things people do at work: make a pitch, update the team, explain a complicated concept. The main goal is to make everything as easy as possible, says Kristina Behr, Google's VP of product management for the Workspace collaboration apps. "The ethos that we have is, if you can make a slide, you can make a video in Vids," she says. "No video production is required."

Based on what I've seen of Vids so far, it appears to be roughly what you'd get if you transformed Google Slides into a video app. You collect assets from Drive and elsewhere and assemble them in order -- but unlike the column of slides in the Slides sidebar, you're putting together a left-to-right timeline for a video. Then, you can add voiceover or film yourself and edit it all into a finished video. A lot of those finished videos, I suspect, will look like recorded PowerPoint presentations or Meet calls or those now-ubiquitous training videos where a person talks to you from a small circle in the bottom corner while graphics play on the screen. There will be lots of clip art-heavy product promos, I'm sure. But in theory, you can make almost anything in Vids. ou can either do all this by yourself or prompt Google's Gemini AI to make a first draft of the video for you. Gemini can build a storyboard; it can write a script; it can read your script aloud with text-to-speech; it can create images for you to use in the video. The app has a library of stock video and audio that users can add to their own Vids, too.

Disneyland is a proposing part of its park be dedicated to James Cameron's Avatar, reports SFGate. "The rendering isn't a carbon copy of the Pandora land in Disney World's Animal Kingdom; instead, it's themed more closely to the recent sequel, Avatar: The Way of Water." The teaser was dropped as part of Wednesday's company shareholders meeting. The concept art shows a large lake in the middle of the land, surrounded by the signature floating mountains that loom over Animal Kingdom's Pandora. Boats filled with guests can be seen in the water, suggesting some sort of ride. No attractions have been announced for the land yet. Animal Kingdom has two: the spectacular flight simulator Flight of Passage and bucolic indoor boat ride Na'vi River Journey...

There's no timeline for construction to begin. Disney officials have consistently referred to it as a "potential" project, often calling it an "experience" rather than a land.

An anonymous reader quotes a report from Kotaku: A new patent recently filed by TV and streaming device manufacturer Roku hints toward a possible future where televisions could display ads when you pause a movie or game. For Roku, the time in which the TV is on but users aren't doing anything is valuable. The company has started leasing out ad space in its popular Roku City screensaver -- which appears when your TV is idle -- to companies like McDonald's and movies like Barbie. As tech newsletter Lowpass points out, Roku finds this idle time and its screensaver so valuable that it forbids app developers from overriding the screensaver with their own. But, if you plug in an Xbox or DVD player into the HDMI port on a Roku TV, you bypass the company's screensaver and other ads. And so, Roku has been figuring out a way to not let that happen.

As reported by Lowpass on April 4, Roku recently filed a patent for a technology that would let it inject ads into third-party content -- like an Xbox game or Netflix movie -- using an HDMI connection. The patent describes a situation where you are playing a video game and hit pause to go check your phone or grab some food. At this point, Roku would identify that you have paused the content and display a relevant ad until you unpaused the game. Roku's tech isn't designed to randomly inject ads as you are playing a game or watching a movie, it knows that would be going too far and anger people. Instead, the patent suggests several ways that Roku could spot when your TV is paused, like comparing frames, to make sure the user has actually paused the content. Roku might also use the HDMI's audio feed to search for extended moments of silence. The company also proposes using HDMI CEC -- a protocol designed to help devices communicate better -- to figure out when you pause and unpause content. Similarly, Roku's patent explains that it will use various methods to detect what people are playing or watching and try to display relevant ads. So if it sees you have an Xbox plugged in, it might try to serve you ads that it thinks an Xbox owner would be interested in.

An anonymous reader writes: In the early 70s, young filmmakers John Carpenter and Dan O'Bannon created a spaceship tale for a graduation project -- little knowing it would influence Alien and many other works. Made for $60,000 by film school students, horror maestro John Carpenter's directorial debut Dark Star is now regarded as a sci-fi cult classic. Having just turned 50 years old, it's a world away from much of the sci-fi that came before it and would come after, neither space odyssey nor space opera, rather a bleak, downbeat and often absurd portrait of a group of people cooped together in a malfunctioning interstellar tin can. Arguably its most famous scene consists of an existential debate between an astronaut and a sentient bomb. Dark Star was a collaboration between Carpenter, who directed and scored the film, and Dan O'Bannon, who in addition to co-writing the script, acted as editor, production designer, and visual effects supervisor, as well as playing the volatile, paranoid Sergeant Pinback. They met as budding filmmakers at the University of Southern California. "While [Carpenter and O'Bannon] couldn't be more dissimilar in personality, they were both very energetic and focused," says Daniel Griffiths, director of Let There Be Light: The Odyssey of Dark Star (2010), the definitive documentary about the making of the film.

The sci-fi films of this period tended to be bleak and dystopian, explains John Kenneth Muir, author of The Films of John Carpenter -- films like Silent Running (1972), in which all plant life on Earth is extinct, or George Lucas's 1971 debut THX-1138, in which human emotion is suppressed. "Dark Star arrived in this world of dark, hopeless imaginings, but took the darkness one step further into absurd nihilism." Carpenter and O'Bannon set out to make the "ultimate riff on Stanley Kubrick's 2001: A Space Odyssey," says Griffiths. While Kubrick's 1968 film, explains Muir, was one "in which viewers sought meaning in the stars about the nature of humanity, there is no meaning to life in Dark Star". Rather, says Muir, it parodies 2001 "with its own sense of man's irrelevance in the scheme of things". Where Kubrick scored his film with classical music, Dark Star opens with a country song, Benson, Arizona. (A road in the real-life Benson is named in honor of the film). The film was even released with the tagline "the spaced-out odyssey." Dark Star captured the mood of the time in which it was made, says Muir, the atmosphere of Nixon's America. "The 1960s was all about utopian dreaming and bringing change to America in the counterculture. The 1970s represent what writer Johnny Byrne called 'The wake-up from the hippie dream', a reckoning with the fact that the more things change, the more they stay the same." [...]

When Dark Star premiered at the FILMEX expo in 1974, the audience response was largely positive. "They recognized the film's absurdist humor and celebrated its student film roots," says Griffiths. It had a limited theatrical release in 1975, but it was not a commercial success. "The film met with negative reviews from critics, and general disinterest from audiences," says Muir. "Both Carpenter and O'Bannon realized that all the struggles they endured to make the film did not matter to audiences, they only cared about the finished product. I think they were discouraged," says Griffiths. The growth of the VHS market, however, helped it find its audience and propelled it towards cult status. Its influence can still be felt, perhaps most directly in Ridley Scott's Alien, for which O'Bannon, who died in 2009, wrote the screenplay. The two films share DNA. Alien is also set on a grotty working vessel with a bickering crew, only this time the alien wasn't played for laughs.

Disney said Thursday it planned to crack down on password sharing [non-paywalled link] for its streaming services starting with a few countries in June before implementing a wider rollout in September. From a report: Disney Chief Executive Bob Iger unveiled the timeline to limit password sharing in a CNBC interview Thursday morning, a day after the company defeated activist Nelson Peltz in a bruising proxy fight. Iger didn't say which countries would be first.

The company for months has said a crackdown was coming as it looks to cut costs and make Disney+ and Hulu profitable. Since Iger returned as CEO in 2022, the company has trimmed its streaming losses. Iger said the company is on track to have a profitable streaming business by the fourth quarter this year. "That's a huge, huge improvement," he said on CNBC. "Now what we have to do is turn it not just into a profitable business, into a growth business."

Godzilla x Kong "stomped all over expectations," writes Deadline, "with an $80M opening, the second best start of the year so far, $2.5M behind the $82.5M opening of Legendary's other big pic this spring, Dune: Part Two...

"EntTelligence reports that GxK is expected to pull in more than 5.5M admissions this weekend, the most attended opening weekend for any movie year-to-date." No one saw this coming... International delivered $114M for a great $194M global start. The Adam Wingard directed movie, not including preview night, commanded 56% of all foot traffic and 89% of all premium format admissions. Imax and PLF drove 38% of the gross with 3D responsible for 19%... Beamed Warner Bros Domestic Distribution Boss Jeff Goldstein, "This is a huge, fun Easter movie for the whole family...." For a fifthquel to bounce back the franchise, GxK being the second best start in the Legendary Monsterverse after Godzilla's $93.1M ten years ago, is pretty remarkable.
The article speculates that the first installments (of both the Dune and Godzilla vs. Kong franchise) underperformed because of their mid-pandemic release dates, with their sequels earning more in 2024. The pure theatricality of Godzilla x Kong: The New Empire "clearly underscores the value of the IP on the big screen, and moviegoers' preference to see such monster mashing in no other place but a theater." (Deadline calls the movie "a really fun creature feature with a lot of heart; heck, it's even better than Jurassic World: Dominion. Seriously.")

It also earned "the fifth best Easter weekend opening ever," the article points out, coming in behind Batman v. Superman ($181M), Super Mario Bros Movie ($166.4M), Furious 7 ($161.2M) and The Fate of the Furious ($107.3M), according to the article. Their headline? "They Have Risen: 'Godzilla x Kong' Conquers Easter Box Office..."

In 2019 Los Angeles film/TV producer Brian Morrison painted Blockbuster's logo onto an old newspaper box — and then filled it up with used DVDs. "The Free Blockbuster movement slowly gained traction," reports the New York Times — aided at times by social media — "and eventually more than 200 other community boxes had opened from Louisiana to Canada and even Britain."

Though it's not clear how many are still operational, a 37-year-old California opened a free "Blockbuster" library outside her home earlier this year, according to the article, "and stocks it with season-specific films, subversive books and free candy." "We are social animals; we want to go out into the world and engage with each other," said Brian Morrison, who keeps a lending library outside his home. He often refills it with DVDs and VHS tapes of TV series, horror movies and, on occasion, signed independent films, and said that it had encouraged interaction with his neighbors.

Andrew Kevin Walker, a Los Angeles-based screenwriter, said he had visited secondhand stores especially to seek out films to leave in the boxes, including two sealed James Bond box sets and a copy of "Cobra," a 1986 film written by Sylvester Stallone. "It's an opportunity for people to really share their love of cinema, whether it be their favorite guilty pleasure or their favorite movie of all time," he said.

Viewers with streaming fatigue say they are tired of chasing content that moves around an ever-expanding array of platforms or even disappears altogether, and some long for the physical media that was dominant until streaming took over. "I think it's great that folks are doing this, keeping the spirit of DVDs alive, circulating film[s] in and exchanging them," said Joe Pichirallo, a film producer and professor at New York University...

Alfonso Castillo, who co-founded a Free Blockbuster on Long Island, N.Y., with his son, said the lending library sees regular turnover with people both taking and dropping off movies, including older people. "My sense is that for them, it's less of this cool novelty sort of ironic thing and more like, finally, there's a place to get DVDs again," he said.
Award-winning filmmaker Ava DuVernay misses the commentary tracks on DVDs (along with director's cuts).

But more importantly, they told the Times that when it comes to art, "nothing beats holding it in your hand... It is a part of the experience of consuming and experiencing art."

It was March 24, 1999 that The Matrix premiered, premembers the Wall Street Journal. "To rewatch The Matrix is to be reminded of how primitive our technology was just 25 years ago. We see computers with bulky screens, cellphones with keypads and a once-ubiquitous feature of our society known as 'pay phones,' central to the plot of the film."

But the article's headline warns that "25 Years Later, We're All Trapped in 'The Matrix'". [I]n a strange way, the film has become more relevant today than it was in 1999. With the rise of the smartphone and social media, genuine human interaction has dropped precipitously. Today many people, like Cypher, would rather spend their time in the imaginary realms offered by technology than engage in a genuine relationship with other human beings.

In the film, one of the representatives of the AI, the villainous Agent Smith, played by Hugo Weaving, tells Morpheus that the false reality of the Matrix is set in 1999 because that year was "the peak of your civilization. I say your civilization, because as soon as we started thinking for you it really became our civilization." Indeed, not long after "The Matrix" premiered, humanity hooked itself up to a matrix of its own. There is no denying that our lives have become better in many ways thanks to the internet and smartphones. But the epidemic of loneliness and depression that has swept society reveals that many of us are now walled off from one another in vats of our own making...

For today's dwellers in the digital cave, the path back into the light doesn't involve taking a pill, as in "The Matrix," or being rescued by a philosopher. We ourselves have the power to resist the extremes of the digital world, even as we remain linked to it. You can find hints of an unplugged "Zion" in the Sabbath tables of observant Jews, where electronic devices are forbidden, and in university seminars where laptops are banned so that students can engage with a text and each other.

Twenty-five years ago, "The Matrix" offered us a modern twist on Plato's cave. Today we are once again asking what it will take to find our way out of the lonely darkness, into the brilliance of other human souls in the real world.

CNN looks back to when "dial-up internet (and its iconic dial tone) was 'still a thing..." "File-sharing services like Napster and LimeWire were just beginning to take off... And in sweaty dorm rooms and sparse basements across the world, people brought their desktop monitors together to set up a local area network (LAN) and play multiplayer games — "Half-Life," "Counter-Strike," "Starsiege: Tribes," "StarCraft," "WarCraft" or "Unreal Tournament," to name just a few. These were informal but high-stakes gatherings, then known as LAN parties, whether winning a box of energy drinks or just the joy of emerging victorious. The parties could last several days and nights, with gamers crowded together among heavy computers and fast food boxes, crashing underneath their desks in sleeping bags and taking breaks to pull pranks on each other or watch movies...

It's this nostalgia that prompted writer and podcaster Merritt K to document the era's gaming culture in her new photobook "LAN Party: Inside the Multiplayer Revolution." After floating the idea on X, the social media platform formerly known as Twitter, she received an immediate — and visceral — response from old-school gamers all too keen to share memories and photos from LAN parties and gaming conventions across the world... It's strange to remember that the internet was once a place you went to spend time with other real people; a tethered space, not a cling-film-like reality enveloping the corporeal world from your own pocket....

Growing up as a teenager in this era, you could feel a sense of hope (that perhaps now feels like naivete) about the possibilities of technology, K explained. The book is full of photos featuring people smiling and posing with their desktop monitors, pride and fanfare apparent... "It felt like, 'Wow, the future is coming,'" K said. "It was this exciting time where you felt like you were just charting your own way. I don't want to romanticize it too much, because obviously it wasn't perfect, but it was a very, very different experience...."

"We've kind of lost a lot of control, I think over our relationship to technology," K said. "We have lost a lot of privacy as well. There's less of a sense of exploration because there just isn't as much out there."
One photo shows a stack of Mountain Dew cans (remembering that by 2007 the company had even released a line of soda called "Game Fuel"). "It was a little more communal," the book's author told CNN. "If you're playing games in the same room with someone, it's a different experience than doing it online. You can only be so much of a jackass to somebody who was sitting three feet away from you..."

They adds that that feeling of connecting to people in other places "was cool. It wasn't something that was taken for granted yet."

"My favorite kind of science fiction involves stories rooted in real science..." writes NPR's reviewer. "[T]here is something special about seeing characters wrestle with concepts closer to our current understanding of how the universe works."

The Verge calls it an "impressive" and "leaner" story than the book, arguing "it's a good one — and very occasionally a great one" that introduces the author's key ideas, though channelling "the book's spirit but not its brilliance."

And Slate calls it a "downright transformative" adaptation, "jettisoning most of the novel's characters and plucking scenes from all three books," while accusing it of "making the trilogy's expansive and philosophical story into something much more pedestrian and digestible."

But Reuters notes there's huge interest in China over this adaptation (by the co-creator of Mem>Game of Thrones) for the first Asian novel to win the Hugo Award for best science fiction novel. "The new series was trending on Chinese social media platform Weibo on Friday," reports Reuters, "with 21 million views so far." (The show came in first on Weibo's "top hot" trend rankings, they add, "despite Netflix being officially inaccessible in China. Chinese viewers would have had to watch the Netflix series from behind a VPN or on a pirate site.")

So what was their verdict? CNN reports Netflix's adaptation "has split opinions in China and sparked online nationalist anger over scenes depicting a violent and tumultuous period in the country's modern history." Among the country's more patriotic internet users, discussions on the adaptation turned political, with some accusing the big-budget American production of making China look bad. The show opens with a harrowing scene depicting Mao Zedong's Cultural Revolution, which consumed China in bloodshed and chaos for a decade from 1966... "Netflix you don't understand 'The Three Body Problem' or Ye Wenjie at all!" read a comment on social media platform Weibo. "You only understand political correctness!"

Others came to the show's defense, saying the scene closely follows depictions in the book — and is a truthful reenactment of history. "History is far more absurd than a TV series, but you guys pretend not to see it," read one comment on Douban, a popular site for reviewing movies, books and music.

Author Liu said in an interview with the New York Times in 2019 that he had originally wanted to open the book with scenes from Mao's Cultural Revolution, but his Chinese publisher worried they would never make it past government censors and buried them in the middle of the narrative. The English version of the book, translated by Ken Liu, put the scenes at the novel's beginning, with the author's blessing... Various other aspects of the show, from its casting and visual effects to the radical changes to the story's original setting and characters, also attracted the ire of Chinese social media users. Many compared it to a Chinese television adaptation released last year — a much lengthier and closer retelling of the book that ran to 30 episodes and was highly rated on Chinese review platforms.

The Netflix adaptation featured an international cast and placed much of the action in present-day London — thus making the story a lot less Chinese.

"Dell's strict new RTO mandate excludes fully remote workers from promotion," reports Business Insider.

The site calls it "one of the most abrupt changes to remote work policies," noting that Dell "has had a hybrid working culture in place for more than a decade — long before the pandemic struck." "Dell cared about the work, not the location," a senior employee at Dell who's worked remotely for more than a decade, told Business Insider last month. "I would say 10% to 15% of every team was remote." That flexibility has enabled staff to sustain their careers in the face of major life changes, several employees told BI. It has also helped Dell to be placed on the "Best Place to Work for Disability Equality Index" since 2018. But in February Dell introduced a strict return-to-office mandate, with punitive measures for those who want to stay at home.

Under the new policy, staff were told that from May almost all will be classified as either "hybrid," or "remote." Hybrid workers will be required to come into an "approved" office at least 39 days a quarter — the equivalent of about three days a week, internal documents seen by BI show. If they want to keep working from home, staff can opt to go fully remote. But that option has a downside: fully remote workers will not be considered for promotion, or be able to change roles.
Workers have said Dell's approach might be intended to lower headcount without having to pay severance by inducing some employees to quit. But reached by Business Insider for a comment, Dell defended their approach as instead "critical to drive innovation and value differentiation."

But Professor Cary Cooper, an organizational psychologist and cofounder of the National Forum for Health and Wellbeing at work, tells the site Dell could be following a "pack mentality" among tech companies — or reacting to a sluggish world economy. "Senior execs somehow think that people in the office are more productive than at home, even though there's no evidence to back that up."

Business Insider added that Dell's approach "differs from founder and CEO Michael Dell's previous support for remote workers," who famously said "If you are counting on forced hours spent in a traditional office to create collaboration and provide a feeling of belonging within your organization, you're doing it wrong."

Michael McWhertor reports via Polygon: Warner Bros. Discovery is telling developers it plans to start "retiring" games published by its Adult Swim Games label, game makers who worked with the publisher tell Polygon. At least three games are under threat of being removed from Steam and other digital stores, with the fate of other games published by Adult Swim unclear. The media conglomerate's planned removal of those games echoes cuts from its film and television business; Warner Bros. Discovery infamously scrapped plans to release nearly complete movies Batgirl and Coyote vs. Acme, and removed multiple series from its streaming services. If Warner Bros. does go through with plans to delist Adult Swim's games from Steam and digital console stores, 18 or more games could be affected.

News of the Warner Bros. plan to potentially pull Adult Swim's games from Steam and the PlayStation Store was first reported by developer Owen Reedy, who released puzzle-adventure game Small Radios Big Televisions through the label in 2016. Reedy said on X Tuesday the game was being "retired" by Adult Swim Games' owner. He responded to the company's decision by making the Windows PC version of Small Radios Big Televisions available to download for free from his studio's website. Polygon reached out to other developers who had worked with Adult Swim Games as a publisher. Two studios responded to say that they'd received a similar warning from Warner Bros. Discovery, but they are still in the dark about what it means for their games. [...]

Polygon reached out to 10 studios and solo developers who had their games published by Adult Swim Games to see what they've heard. Some say they haven't been contacted by WB Discovery, but they expect to. "From what I've heard from others, I will probably be hearing from them soon," developer Andrew Morrish, who published Kingsway and Super Puzzle Platformer Deluxe through Adult Swim, told Polygon. "It's not looking good." Molinari said that if and when his game Soundodger+ is pulled from Steam, he'll republish it there "with as little downtime as possible between the two versions." The game is also available from Molinari's itch page.

Nikon, in a press statement: Nikon hereby announces its entry into an agreement to acquire 100% of the outstanding membership interests of RED.com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder.

Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions, celebrated by directors and cinematographers worldwide for its commitment to innovation and image quality optimized for the highest levels of filmmaking and video production.

This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers' needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies. Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED's knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.

Warner Bros. Discovery said a password crackdown for its Max streaming service is coming later this year, joining competitors Netflix and Disney. TheWrap reports: JB Perrette, WBD's CEO and president of global streaming and games, said the initiative would launch later this year with a broader rollout in 2025. "We think, relative to the scale of our business, it's a meaningful opportunity," Perrette said during Morgan Stanley's 2024 Technology, Media & Telecom Conference in San Francisco on Monday. The push to crack down on password sharing comes as Warner Bros. Discovery narrowed its streaming loss to $55 million during its fourth quarter of 2023, down from a loss of $217 million a year ago. For the full year, it swung to a profit of $103 million, compared to a loss of $1.59 billion in 2022.

Looking ahead, WBD said its DTC business would have "modestly negative" EBITDA in the first half of 2024 before turning profitable in the second half. WBD is targeting $1 billion of direct-to-consumer EBITDA in 2025. In its fourth quarter, Warner Bros. Discovery added 1.8 million subscribers in its direct-to-consumer division for a total of 97.7 million. The DTC segment's results include Max, Discovery+ and traditional HBO cable subscriptions. Parrette also discussed interest in transactional ads, notes Ars Technica. Per Perrette: "On the ad format size, we've made lots of improvements from where we were, but we still have a lot of ad format enhancements that will give us more things that we can go to marketers with, [like] shoppable ads [and] other elements of the ad format side of the house that we can improve."

Piracy was traditionally seen as something that predominantly young males were interested in. This is a largely outdated representation of reality, as girls and women began to catch up a long time ago. In some countries, including Indonesia, more women pirate music, movies, and TV-shows than their male counterparts. TorrentFreak reports: [N]ew findings published by researchers from Northumbria University Newcastle, which include gender, are worth highlighting. The survey data, looking at piracy trends in Thailand and Indonesia, was released by Marketing professor Dr. Xuemei Bian and Ms. Humaira Farid. The results were presented to WIPO's Advisory Committee on Enforcement recently and the associated presentation (PDF) was published online. Through an online survey and in-person interviews, the research aims to map consumer attitudes and behaviors in Indonesia and Thailand, particularly in connection with online copyright infringement.

One of the overall conclusions is that piracy remains a common activity in both Asian countries. Pirates are present in all age groups but and music, movies en TV-shows tend to be in highest demand and younger people. Those under 40, are more likely to pirate than their older counterparts. These findings are not out of the ordinary and the same trends are visible in other countries too. Interestingly, however, some notable differences between the two countries appear when gender is added to the mix. The tables below show that women are more likely to pirate than men in Indonesia. This is true for all content categories, except for software, where men are slightly in the lead. In Thailand, however, men are more likely to pirate across all categories. The researchers do not attempt to explain these differences. However, they show once again that 'dated' gender stereotypes don't always match with reality. And when they have little explanatory value, one can question whether gender is even relevant in a piracy context.

Looking at other differences between Thai and Indonesian consumers there are some other notable findings. For example, in Indonesia, 64% of the respondents say they're aware of the availability of pirated movies and TV-shows on YouTube, compared to 'just' 32% in Thailand. Indonesian consumers are also more familiar with music piracy sites and pirate much more frequently than Thai consumers, as the table below shows. Finally, the researchers also looked at various attitudes toward piracy. This shows that Thai pirates would be most likely to stop if legal services were more convenient, while Indonesian pirates see cheaper legal services as the largest discouraging factor.

"The Mandalorian & Grogu and Daisy Ridley's untitled Star Wars movie have received working titles ahead of their respective production starts," reports CBR: According to The Cosmic Circus, The Mandalorian and Grogu will be filmed under the working title "Thunder Alley", while Ridley's Star Wars movie will be known as "New Jedi Order..." The Mandalorian & Grogu will be the first Star Wars movie to enter production since 2019's The Rise of Skywalker, the ninth and final installment in The Skywalker Saga...

[In Ridley's untitled Star Wars movie], Ridley will reprise her role from the Star Wars sequel trilogy as Rey, with the new movie set to follow the fan-favorite Jedi as she rebuilds the Jedi Order roughly 15 years after the events of The Rise of Skywalker... Other Star Wars movies in the works include James Mangold's upcoming feature about the origins of The Force, set during the Dawn of the Jedi era; and Dave Filoni's feature-length film set in the New Republic era that will conclude post-Return of the Jedi storylines that began in The Mandalorian, The Book of Boba Fett, Ahsoka and the upcoming Skeleton Crew.
"California's Film Commission announced in a news release Monday that Lucasfilm's upcoming feature film The Mandalorian & Grogu will be produced entirely in the state," reports the Press Democrat, "one of 15 movie productions coming to fruition thanks to California's Film and TV Tax Credit Program." Based on the popular Disney+ series and directed by "The Mandalorian" creator Jon Favreau, "The Mandalorian & Grogu" is set to be the first film in the franchise's 46-year history to be shot entirely in the state and the biggest blockbuster in the history of the commission's tax credit program, bringing approximately $166 million to the state's economy through wages and expenditures, the release said. According to The Hollywood Reporter, the film will get $21.8 million in tax credits.

The Mandalorian & Grogu, which is due to begin filming later this year and is currently expected to be released sometime in 2026, will continue the story of the titular lone bounty hunter and his alien baby companion that began in the three-season series, Lucasfilm announced last month.