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.

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.

A police officer in Santa Ana, California, admitted to blaring Disney favorites from a squad car PA system in an attempt to keep citizens' videos of their actions off of YouTube. Jalopnik reports: It just so happens they woke up a sleeping city council member, who took police to task for their annoying and suspicious tactic. Using copyright infringement against those who record police actions hasn't really work so far, which may be why this officer decided to really blare Disney tunes during an investigation of a car theft. At the moment, the video posted by Santa Ana Audits is still up after being posted six days ago, so it's safe to say this officer woke up an entire community for nothing.

Santa Ana PD release a statement on Twitter acknowledging the video. Santa Ana PD told Vice that using squad car audio system is not department policy. YouTube won't always remove a video for copyright infringement. Sometimes the site will place an ad on the video, with proceeds going to the copyright holder.

Sonos has acquired Dutch startup Mayht for approximately $100 million in a cash-only deal. "Mayht created a new type of speaker technology that makes it possible to pack a lot more oomph into much smaller spaces, with power savings as a nifty side-effect," reports TechCrunch. "Specifically, it created a new type of transducer -- the foundational element within speakers that create sound. Mayht has re-engineered them to enable smaller and lighter form factors without compromising on quality." From the report: Interestingly, outside of some reference speakers, the Mayht team was never planning to put its own products out to market, clearly flirting with existing speaker giants for an acquisition. Sonos liked what it saw and decided to put a $100 million ring on it to consummate the relationship, acquiring the startup. The acquisition was formally announced today.

"Mayht's breakthrough in transducer technology will enable Sonos to take another leap forward in our product portfolio," said Patrick Spence, CEO of Sonos. "This strategic acquisition gives us more incredible people, technology and intellectual property that will further distinguish the Sonos experience, enhance our competitive advantage, and accelerate our future roadmap." The Mayht team, in turn, was also pretty psyched to find a corporate partner to bring its tech to market. "We are very excited and proud to become a part of Sonos," said Scheek. "Our dream has always been to set a new standard in the audio industry. The integration of our technology into Sonos products will further revolutionize high quality sound."

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.

"English rock band Pink Floyd has released new music for the first time in 28 years," reports UPI, "with proceeds from the track going to humanitarian relief in Ukraine amid its ongoing conflict with Russia."

"The single will be available on all streaming and download platforms..." the band said on their official web site. [Including downloads on Amazon Music and Apple Music]. "This is the first new original music that they have recorded together as a band since 1994's The Division Bell." The track sees David Gilmour and Nick Mason joined by long-time Pink Floyd bass player Guy Pratt and Nitin Sawhney on keyboards and features an extraordinary vocal performance by Andriy Khlyvnyuk of Ukrainian band Boombox.... David, who has a Ukrainian daughter-in-law and grandchildren says: "We, like so many, have been feeling the fury and the frustration of this vile act of an independent, peaceful democratic country being invaded and having its people murdered by one of the world's major powers...."

"Recently I read that Andriy had left his American tour with Boombox, had gone back to Ukraine, and joined up with the Territorial Defense. Then I saw this incredible video on Instagram, where he stands in a square in Kyiv with this beautiful gold-domed church and sings in the silence of a city with no traffic or background noise because of the war. It was a powerful moment that made me want to put it to music." While writing the music for the track, David managed to speak with Andriy from his hospital bed in Kyiv where he was recovering from a mortar shrapnel injury. "I played him a little bit of the song down the phone line and he gave me his blessing...."

Speaking about the track David says, "I hope it will receive wide support and publicity. We want to raise funds for humanitarian charities and raise morale. We want to express our support for Ukraine and, in that way, show that most of the world thinks that it is totally wrong for a superpower to invade the independent democratic country that Ukraine has become".

All proceeds will go towards Ukrainian humanitarian relief.
On March 11 the band had posted another update on their official site: To stand with the world in strongly condemning Russia's invasion of Ukraine, the works of Pink Floyd, from 1987 onwards, and all of David Gilmour's solo recordings are being removed from all digital music providers in Russia and Belarus....

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.

Internet fads come and go faster than a hiccup, but one that's somehow lasted almost as long as the internet itself is the "Rick roll." From a report: The term refers to an online prank in which the "Rick rollee" receives a URL address and it leads them to the music video for singer Rick Astley's hit debut single "Never Gonna Give You Up." The opening synthed "doo-de-doo-doo-doo-doo" has created more grins and eye rolls than when the song scored an ungodly amount of airplay in 1987. Sky Elements Drone Shows found a way to Rick roll a sizable portion of the city for April Fools' Day with 300 of its customizable drones by forming a QR code in the sky that linked to Astley's music video.

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...

Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who've dared in recent weeks to put on their vests in San Francisco have been the target of a resistance of sorts. From a report: "Urgent: Stop wearing vests," implore flyers plastered around the city. "You live in San Francisco now. It's time to start acting like it." It's the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation's most expensive. NPR tried but was unable to track down the creator of the flyers. Not everyone who sports a Patagonia vest is a "tech bro," says proud Patagonia vest-wearer Sam Runkle.

"The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on," he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. "But there's another cohort of people who do wear Patagonia who are not at all part of that." For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city's trendy Marina neighborhood: "I live in a four-bedroom that's really a two-bedroom with a plywood wall, so I don't think I'm raising any rents."

And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula. "It's comfy," Runkle says. It gets the job done." Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it's most often sported by bros. In particular, bros who know something about venture capital or software engineering. "It's true," he says. The tension fueled by the vests comes as no surprise to historian Margaret O'Mara at the University of Washington and author of the book, The Code: Silicon Valley and the Remaking of America. She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.

OneHundredAndTen writes: A recent paper proposes a new way to put together a message for alien intelligent beings. It comes up with an elaborate mechanism to convey information in notably constrained bitmaps, but one can't help but wonder whether it is too elaborate. For example, for 1+1 = 2, the article proposes something far more visually complex than 1+1 = 2, which could also be, with small adjustments, easily coerced to have a representation as a bitmap with the limitations in the article. It is not clear why the representation that the authors are proposing would be easier for aliens to decode and understand than something much closer to 1+1 = 2: either representation would be, well, alien to them. "Calculation of the optimal timing during a given calendar year is specified for potential future transmission from both the Five-hundred-meter Aperture Spherical radio Telescope in China and the SETI Institute's Allen Telescope Array in northern California to a selected region of the Milky Way which has been proposed as the most likely for life to have developed," reads the paper.

"These powerful new beacons, the successors to the Arecibo radio telescope which transmitted the 1974 message upon which this expanded communication is in part based, can carry forward Arecibo's legacy into the 21st century with this equally well-constructed communication from Earth's technological civilization."

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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