Sony Pictures Entertainment is consolidating its anime businesses under the Crunchyroll banner to better compete in the growing streaming market for Japanese animation. From a report: The company is adding hundreds of hours of programming and dozens of titles, including "Cowboy Bebop," to the Crunchyroll streaming service that were previously available through its Funimation outlet, the company said Tuesday. Culver City-based Sony Pictures, the film and TV entertainment arm of Tokyo electronics giant Sony Corp., made a big bet on the anime market last year when it bought streaming service Crunchyroll from AT&T for $1.175 billion. The problem was that Sony then had two subscription streamers focused on the market for Japanese animation. Fans had to subscribe to both Crunchyroll and Funimation to get everything they wanted, in addition to Netflix and other services, said Colin Decker, who runs Sony's anime businesses.

Disney World's "Star Wars: Galactic Starcruiser" hotel will be expensive and immersive, writes SFGate. ("For two adults, the starting price is about $5,000. For three adults and one child, it's nearly $6,000.")

And while the hotel doesn't open to paid guests until Tuesday, free previews have already been given to online influencers: Reviews so far are generally positive — particularly praised are the character actors who carry the experience — with a few caveats. Because the hotel itself, called the Halcyon, is supposed to be a luxury cruise ship in space, the biggest complaint is that rooms are small and cramped...

For some, the lack of windows may add to a sense of claustrophobia. Hotel rooms have a digital display showing outer space and no view of the real outside world. Folks needing some fresh air can, however, visit an outdoor communal space called a "climate simulator." Reporters from the YouTube channel Disney Food Blog, which has nearly 800,000 subscribers, were invited to the media preview. In their review of the hotel, they put it thusly: "Disney went all-in on an experience that seemingly puts only the wealthiest guests inside a windowless bunker for two full days."

But most reviewers agreed that guests will be spending minimal time in their room anyway. The two days are packed with lightsaber training, clandestine rendezvous, elaborate entertainment and exploration of the ship. Guests need to download an app for their smartphone to chat with characters on board, receive their missions and learn their storylines. This was the other major drawback: If you're an introvert, this may be the wrong trip for you.

A fourth movie in the rebooted Star Trek franchise will be produced by J. J. Abrams and star Chris Pine and Zachary Quinto, according to an announcement this week by Paramount.

But Variety remembers how Quentin Tarantino once approached Paramount with his own Star Trek idea with a "Pulp Fiction vibe" in 2017 — and both Paramont and J.J. Abrams loved it. Tarantino ultimately partnered with "The Revenant" screenwriter Mark L. Smith, who was tasked with writing a "Star Trek" film script based on Tarantino's idea while Tarantino was busy finishing post-production and touring the world for "Once Upon a Time in Hollywood." Smith revealed on the "Bulletproof Screenwriting" podcast in April 2021 that J.J. Abrams' production company Bad Robot gave him a call on Tarantino's behalf. "They just called me and said, 'Hey, are you up for it? Do you want to go? Quentin wants to hook up.' And I said, 'Yeah,'" the screenwriter said. "And that was the first day I met Quentin, in the room and he's reading a scene that he wrote and it was this awesome, cool gangster scene, and he's acting it out and back and forth. I told him, I was so mad I didn't record it on my phone. It would be so valuable. It was amazing."

Tarantino intended to bring a "Pulp Fiction" vibe to "Star Trek" with an idea that was a largely earthbound story set in a 1930s gangster setting. Tarantino's pitch appeared to take inspiration from "A Piece of the Action," the 17th episode of the second season of "Star Trek: The Original Series." The installment, which aired in 1968, followed the Enterprise crew as they visit a planet with an Earth-like 1920s gangster culture.... According to Smith, Tarantino's "Star Trek" idea was "really wild" and like "its own very cool episode." The plot included "a little time travel stuff going on" and "had a lot of fun" with Chris Pine's Captain Kirk.

He produced the science fiction film THX 1138 — George Lucas's first movie — in 1971. 28 years later he supervised the re-editing of the science fiction film Supernova.

But now 82-year-old Francis Ford Coppola — who has also made a second fortune in the wine business — has an even grander vision. GQ reports: It is a film called Megalopolis, and Coppola has been trying to make it, intermittently, for more than 40 years. If I could summarize the plot for you in a concise way, I would, but I can't, because Coppola can't either. Ask him. "It's very simple," he'll say. "The premise of Megalopolis? Well, it's basically... I would ask you a question, first of all: Do you know much about utopia?"

The best I can do, after literally hours talking about it with him, is this: It's a love story that is also a philosophical investigation of the nature of man; it's set in New York, but a New York steeped in echoes of ancient Rome; its scale and ambition are vast enough that Coppola has estimated that it will cost $120 million to make. What he dreams about, he said, is creating something like It's a Wonderful Life — a movie everyone goes to see, once a year, forever. "On New Year's, instead of talking about the fact that you're going to give up carbohydrates, I'd like this one question to be discussed, which is: Is the society we live in the only one available to us? And discuss it."

Somehow, Megalopolis will provoke exactly this discussion, Coppola hopes. Annually....

[T]his is Coppola's plan. He is going to take $120 million of his own fortune, at 82 years of age, and make the damn movie himself.
The article describes it as the kind of "personal" movie that Coppola had wanted to make back when his studio had insisted he instead direct The Godfather. This, of course, is the paradox of Coppola's career: that for all his success, he has, to some extent, been waiting to make his own films, rather than someone else's, for practically his entire life.... "If you're going to make art, let it be personal. Let it be very personal to you."
Megalopolis "remains in development for now," reports Variety. "Coppola has not yet announced a production start date."

Roku, the leading supplier of smart TV OS in North America, is looking at possibly building its own TV sets. Nexttv reports: According to Business Insider, Roku convened a focus group earlier this month in which participants were shown "different models, feature sets and names, sizes, price points," of smart TVs, according to an individual "familiar" with the event. This unnamed person told the news site that the moderator made it clear that Roku is exploring the possibility of "going it alone" with its own "manufacturing operation," and not merely attaching its brand to an existing smart TV manufacturer's product line.

An anonymous reader quotes a report from Bloomberg: The newest entrant in the fight for EV market share is going back to the future with an all-electric DeLorean. The infamous gull-winged car is being resurrected in Texas by a group of executives who most recently spent time at China-backed EV startup Karma Automotive. They're working with Stephen Wynne, who acquired the DeLorean branding rights in the 1990s and supplies parts for the 6,000 or so remaining vehicles. [...] The new company is called DeLorean Motors Reimagined LLC and its chief executive officer is Joost de Vries, Texas business records and LinkedIn postings show. The firm will set up a headquarters and an engineering outfit in San Antonio, with potential to bring 450 jobs, the city's development arm said in a statement.

It's not the first time the idea of a DeLorean redux has surfaced -- web searches turn up stories every few years about how Wynne has tried to revive the brand or produce low-volume models -- but using an electric powertrain is a new twist on the idea. The original car gained notoriety in the early 1980s both for its quality problems and for the legal woes of its creator, the late John DeLorean, before the "Back to the Future" film franchise turned it into a pop-culture icon.

The replicants are heading to the small-screen as Amazon Studios has put a live-action series set in the Blade Runner universe into development. Deadline reports: Ridley Scott, who directed the original 1982 Blade Runner movie, is executive producing the series, Blade Runner 2099, a follow-up to the feature film sequel Blade Runner 2049, which was released in 2017 and directed by Denis Villeneuve. Silka Luisa, showrunner of Apple TV+'s upcoming Elisabeth Moss-fronted drama series Shining Girls, is writing and exec producing Blade Runner 2099, which comes from Alcon Entertainment in association with Scott Free Productions and Amazon Studios. The project, which would mark the first Blade Runner live-action series, is in priority development at Amazon Studios, which is fast tracking scripts and eyeing potential production dates. Staffing is currently underway for writers to join a room. Scott may direct if the series moves forward, sources said.

As indicated by Blade Runner 2099's title, the latest installment of the neo-noir sci-fi franchise will be set 50 years after the film sequel. [...] Blade Runner 2099 is the latest extension in the Blade Runner franchise since Alcon Entertainment in 2011 acquired the film, television and ancillary franchise rights to produce prequels and sequels to the 1982 sci-fi classic. Kosove and his Alcon co-founder Broderick Johnson are exec producing the series along with Michael Green, who wrote Blade Runner 2049, Ben Roberts and Cynthia Yorkin as well as Scott Free Productions' David W. Zucker and Clayton Krueger. z

An anonymous reader shares a report: Chinese fans of U.S. sitcom "Friends" have expressed dismay online after noticing censorship in recently released episodes of the beloved show, including of LGBT issues. Several major Chinese streaming sites, including Tencent, Baidu's IQiyi, Alibaba's Youku, and Bilibili, started showing a version of the first season of the show on Friday, its first re-release in China for several years. But fans soon noticed parts of the long-running show were different to what they had seen before and complained of censorship which included the removal of lesbian, gay, bisexual and trans-related content, as well as mistranslations. In one example, a conversation where a main character, Ross, explained his wife was a lesbian, was deleted. Another scene where another character, Joey, suggested going to a "strip joint" was translated as "go out to play" on the version shown on Tencent Video. As users started to notice the changes, they began discussing and "boycotting" the move. The discussion was a "hot search topic" on Weibo on Sunday. Reuters adds: But in a sign the discussion itself may have caught the attention of censors, searches on Weibo on Sunday for several variations on the hashtag or search term #Friendshasbeencensored produced either zero or limited recent results. The development follows a similar treatment of David Fincher's 1999 cult classic "Fight Club." Fans were shocked to find that a version of the movie that was made available on Tencent Video had a new ending where the authorities win. After much uproar, the original ending for the movie was restored.

DevNull127 writes: More bad news for Spotify from Conde Naste via their music site Pitchfork:

Last month, in the tone of a band reluctantly summoned from some deep seabed, My Bloody Valentine issued a prickly public service announcement: "Just noticed that Spotify has put fake lyrics up for our songs without our knowledge," the Irish shoegazers tweeted. "These lyrics are actually completely incorrect and insulting." Cocteau Twins' Simon Raymonde chimed in to report that they, too, had found gibberish transcriptions of their famously elliptical songs on streaming services.

The lyric snafu was not limited to Spotify. Over the past decade, a data platform called Musixmatch has assumed dominion over the world of lyrics, securing sub-licensing deals with the major publishing companies. The lyrics you see on Spotify, Tidal, and Amazon Music usually come through Musixmatch, via a data pipeline that links the platform's enormous transcriber community with a small core of paid quality-control monitors. (Apple Music has a dedicated lyrics team handling most of its transcriptions.)

The affair illustrates tech capitalism's discombobulation when faced with a key element in art, which is the inexplicable. I think the problem, though, is not Musixmatch and its protocol so much as the service's unilateral rollout, with quasi-official imprimatur, on platforms already under fire for flattening artistic identity and repackaging music as scaleable content. Having sub-licensed the rights, Musixmatch is perfectly entitled to crowd-source transcriptions and sell them on. But artists should know whose words are being put in their mouths—and that, should they wish, they have the right to opt out.

MoviePass, the defunct discount ticketing service, will return this summer without the firm that ran it into the ground, says co-founder Stacy Spikes. The Verge reports: The company, recently bought by Spikes after his unceremonious ouster from MoviePass in 2018, held its launch event today at the Walter Reade Theater Lincoln Center in NYC. Spikes began by wasting absolutely no time addressing the Helios and Matheson Analytics-shaped elephant in the room. The firm is now infamous for being the parent company of MoviePass that managed to blow the entire thing up shortly after the firm bought the startup, which became famous for offering unlimited movie tickets for a monthly fee.
"A lot of people lost money, a lot of people lost trust," Spikes said, claiming he was among those who were hurt by the company's mismanagement. During the opening moments of the event, Spikes oscillated between addressing the disappointment of being pushed out of his company, joking about MoviePass' loyal consumers -- as well as its power users, who Spikes cracked are the reason the company went out of business -- and finally, the process of snapping the company back after its parent company went bankrupt in 2020. "We're looking at this from another point of view," Spikes said of the company's relaunch, adding that he now plans to run the business like a "co-op." Spikes added that MoviePass users will be able to hold partial ownership of the company, with its most premium tier inclusive of a lifetime subscription.

The company's original engineering team is returning for the business's relaunch, according to Spikes, and the service will launch this summer. Under the new model, MoviePass will run on tradable credits that roll over month to month. Subscribers will also be able to use their credits to bring a friend, a markedly different approach from the single-user card system that MoviePass used previously, which could prove annoying for non-cardholders. MoviePass 2.0 will also work on a tiered system, Spikes said. Spikes shared images of a beta version of the new app and the credit-based system, which will vary based on things like peak moviegoing hours. MoviePass' ambitions for subscribers are, charitably, ambitious. Spikes wants to claim 30 percent of the moviegoer market by 2030, MoviePass' "moonshot" goal. Somewhat unsurprisingly, MoviePass will incorporate aspects of Spikes' existing business PreShow, a technology that has been used to allow gamers to trade ad views for in-game currency. [...] Spikes told attendees at the event that MoviePass' most loyal fans will be "deputized" to beta users and will be able to use the experience for its first year for free. At some point during the summer, these users will be contacted about the beta programming.

"Hulu has ordered a(nother) revival of Futurama," writes Slashdot reader aitikin, sharing a report from Variety. From the report: Variety has learned that the streaming service has ordered 20 new episodes of the adult animated sci-fi comedy series. The revival hails from David X. Cohen and Matt Groening. Cohen developed the original series with Groening, the series creator.

Original series cast members Billy West, Katey Sagal, Tress MacNeille, Maurice LaMarche, Lauren Tom, Phil LaMarr and David Herman will all return. John DiMaggio, who voiced Bender and several minor characters, is not currently attached. According to an individual with knowledge of the project, the producers are hopeful DiMaggio will return. Should that not happen, Bender will be recast. Production will begin this month with an eye towards a 2023 premiere. "I'm thrilled to have another chance to think about the future... or really anything other than the present," said Cohen. "It's a true honor to announce the triumphant return of 'Futurama' one more time before we get canceled abruptly again," added Groening.

Drivers of certain vehicles in Seattle and other parts of Western Washington are shouting at their car radios this week. Not because of any particular song or news item that's being broadcast, but because an apparent technical glitch has caused the radios to be stuck on public radio station KUOW. From a report: The impacted drivers appear to all be owners of Mazda vehicles from between 2014 and 2017. In some cases the in-car infotainment systems have stopped working altogether, derailing the ability to listen to the radio at all or use Bluetooth phone connections, GPS, the rear camera and more. According to Mazda drivers who spoke with GeekWire, and others in a Reddit thread discussing the dilemma, everyone who has had an issue was listening to KUOW 94.9 in recent weeks when the car systems went haywire. KUOW sounded unsure of a possible cause; at least one dealership service department blamed 5G; and Mazda told GeekWire in an official statement that it identified the problem and a fix is planned.

Douglas Trumbull, the visual effects mastermind behind Blade Runner, Close Encounter of the Third Kind, 2001: A Space Odyssey and numerous others, died on Monday at age 79. His daughter Amy Trumbull announced the news on Facebook, writing that her father's death followed a "two-year battle" with cancer, a brain tumor and stroke. Engadget reports: Trumbull was born on April 8, 1942 in Los Angeles, the son of a mechanical engineer and artist. His father worked on the special effects for films including The Wizard of Oz and Star Wars: A New Hope. The younger Trumbull worked as an illustrator and airbrush artist in Hollywood for many years. His career really took off after he cold-called Stanley Kubrick, a conversation which led to a job working on 2001: A Space Odyssey.

One of his most significant contributions to 2001 was creating the film's Star Gate, a ground-breaking scene where astronaut Dave Bowman hurtles through an illuminated tunnel transcending space and time. In order to meet Kubrick's high aesthetic standards for the shot, Trumbull essentially designed a way to turn the film camera inside-out. Trumbull's ad hoc technique "was completely breaking the concept of what a camera is supposed to do," he said during a lecture at TIFF. Trumbull earned visual effects Oscar nominations for his work on Close Encounters, Star Trek: The Motion Picture and Blade Runner. He also received the President's Award from the American Society of Cinematographers in 1996.

Later in his career, Trumbull voiced distaste over the impact of computers on visual effects, decrying the cheapening and flattening impact of the new era of CGI. [...] He spent the last years of his life working on a new super-immersive film format he dubbed MAGI, which he believed would improve the experience of watching a film in theaters. But Trumbull struggled to draw the interest of today's film industry.

Last month streamers in China discovered that Fight Club had arrived on streaming platform Tencent — but with an entirely new ending where local authorities "rapidly figured out the whole plan and arrested all criminals....."

But now there's been another round of changes, according to the Hollywood Reporter. "After widespread online backlash to clumsy censorship of the film's ending, Chinese streaming service Tencent Video backtracked in recent days and restored most of the cuts it had made." Crucially, Fight Club's complete ending is now viewable in full in China...

News of the cuts went viral around the world and sparked much debate and embarrassment on Chinese social media about local censorship practices.... [I]t would appear that the backlash has been deemed more troublesome than the fictional film's ending, as Tencent has now restored 11 of the 12 minutes it originally cut from the 137-minute movie. The minute still missing is mostly comprised of brief nude sex scenes between Brad Pitt's and Helena Bonham Carter's characters.
Insider reports that changing the original ending provoked comments like these on China's Twitter-like platform Weibo:

- "This has become a Chinese-only joke. Even dogs won't want to watch this."

- "This is exactly why, even if you have streaming platform subscriptions, you still have to watch pirated versions."


And it brought massive attention to China's history of changing movies, notes the Wrap since "word quickly spread across the globe, bringing embarrassment to the country," reports the Wrap: Censorship of American films and TV shows at the behest of Chinese officials has become common as Hollywood has made in-roads in the country over the past decade. Last year, an episode of "The Simpsons" in which the titular family visits China was removed from Disney+ in Hong Kong over a joke made in the film about the Tiananmen Square protests in 1989 and the Chinese government's censorship of the event.
Even the South China Morning Post reported that Chuck Palahniuk, the author of the novel that inspired the film, "appeared to mock the move on Twitter. 'Everyone gets a happy ending in China!' he wrote..." Similar changes have been made to other films in China in the past. Nicolas Cage's 2005 crime film Lord of War had its final half-hour cut and replaced with text reading, "Yuri Orlov confessed all the crimes officially charged against him in court and was sentenced to life imprisonment in the end."
And another example from the Hollywood Reporter: After 20th Century Fox's Queen biopic Bohemian Rhapsody won multiple Oscars in the 2018, it was granted a theatrical release in China — but only after all mentions of Freddie Mercury's homosexuality were cut from the film.
But in this case a global popular outcry appears to have been too embarrasing to endure. According to the Hollywood Reporter now we even have an expected ending to the story of how China tried to censor Fight Club.

"Reversals of censorship actions are extremely rare within China's entertainment industry — but cuts to Hollywood movies are not."

"Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm." So writes Ted Gioia, author of the Substack music/pop culture newsletter "The Honest Broker". But it gets worse: "The new-music market is actually shrinking. All the growth in the market is coming from old songs. The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago....."

The signs are everywhere — including the fact that viewership for the music industry's Grammy awards plummeted 53% this year to just 8.8 million. "More people pay attention to streams of video games on Twitch (which now gets 30 million daily visitors)."

And even then, "When a new song overcomes these obstacles and actually becomes a hit, the risk of copyright lawsuits is greater than ever before.... Adding to the nightmare, dead musicians are now coming back to life in virtual form — via holograms and 'deepfake' music — making it all the harder for young, living artists to compete in the marketplace."

But in the end the real problem may ultimately be that "nothing is less interesting to music executives than a completely radical new kind of music." Who can blame them for feeling this way? The radio stations will play only songs that fit the dominant formulas, which haven't changed much in decades. The algorithms curating so much of our new music are even worse. Music algorithms are designed to be feedback loops, ensuring that the promoted new songs are virtually identical to your favorite old songs. Anything that genuinely breaks the mold is excluded from consideration almost as a rule. That's actually how the current system has been designed to work.

Even the music genres famous for shaking up the world — rock or jazz or hip-hop — face this same deadening industry mindset. I love jazz, but many of the radio stations focused on that genre play songs that sound almost the same as what they featured 10 or 20 years ago. In many instances, they actually are the same songs.

This state of affairs is not inevitable. A lot of musicians around the world — especially in Los Angeles and London — are conducting a bold dialogue between jazz and other contemporary styles. They are even bringing jazz back as dance music. But the songs they release sound dangerously different from older jazz, and are thus excluded from many radio stations for that same reason. The very boldness with which they embrace the future becomes the reason they get rejected by the gatekeepers. A country record needs to sound a certain way to get played on most country radio stations or playlists, and the sound those DJs and algorithms are looking for dates back to the prior century. And don't even get me started on the classical-music industry, which works hard to avoid showcasing the creativity of the current generation. We are living in an amazing era of classical composition, with one tiny problem: The institutions controlling the genre don't want you to hear it.

The problem isn't a lack of good new music. It's an institutional failure to discover and nurture it.
So while the author acknowledges that "The fear of copyright lawsuits has made many in the industry deathly afraid of listening to unsolicited demo recordings," far deeper than that is the problem that, "The people running the music industry have lost confidence in new music."

Yet if there's any hope, the author argues, it's that people "crave something that sounds fresh and exciting and different.... Songs can go viral nowadays without the entertainment industry even noticing until it has already happened. That will be how this story ends: not with the marginalization of new music, but with something radical emerging from an unexpected place...."

"The CEOs are the last to know. That's what gives me solace.... The decision makers controlling our music institutions have lost the thread. We're lucky that the music is too powerful for them to kill."

Tally includes broken vases, dislocated shoulders, injured girlfriends; "Why don't you go to the gym like a normal person?" WSJ: A few hours after Toby Robicelli first strapped on the $300 virtual-reality headset he got for Christmas, the Baltimore teenager, who was playing a shooter game called "Superhot VR," lost his balance and fractured his kneecap. "We set it up around 2:00," said Toby's mother, Allison Robicelli, of the tech gadget, "and by 8:00 we were on our way to the ER." She fainted when she saw his leg, she said, and Toby, 14, is now using crutches. Sales of VR headsets rose more than 70% last year from 2020, according to International Data Corp., to 7.9 million units. Demand is driven in part by rising hype around the metaverse, a term proponents use to describe a future 3-D version of the internet, comprising virtual worlds where people will get together to work, learn and play. With interest in the devices growing, so is their reputation for being a source of pain and embarrassment.

On Monday, famed singer-songwriter Neil Young had his music removed from Spotify as a protest against the platform's distribution of Joe Rogan, who's been widely criticized for spreading misinformation about COVID-19 vaccines on his Spotify-exclusive podcast. Now, Neil's fans are taking their frustrations out on Spotify. Ars Technica reports: Though the loss of Young's music likely represents a small percentage of overall streams on Spotify, Young pointed out that "Spotify represents 60% of the streaming of my music to listeners around the world." For Young and his fans, the hit was palpable, and his fans are apparently taking their frustrations out on Spotify. The hashtag #SpotifyDeleted trended on Twitter yesterday, and fans seem to have inundated customer support with so many messages that Spotify has had to take it offline at times. "We're currently getting a lot of contacts so may be slow to respond," a large red banner has read on the support page. Options to message the company, which have previously included live chat with a customer support agent or a chat bot, are now limited to an email address link.

"When I left Spotify, I felt better," Young wrote on his website today. "I support free speech. I have never been in favor of censorship. Private companies have the right to choose what they profit from, just as I can choose not to have my music support a platform that disseminates harmful information. I am happy and proud to stand in solidarity with the front line health care workers who risk their lives every day to help others." The artist, who has long criticized audio quality on streaming services, and on Spotify in particular, closed with one last dig. "As an unexpected bonus, I sound better everywhere else," he wrote.

LG has announced a new offering to advertisers that promises to be able to reach the company's millions of connected devices in households across the country, pummeling TV viewers with -- you guessed it -- targeted ads. From a report: While ads playing on your connected TV might not be anything new, some of the metrics the company plans to hand over to advertisers include targeting viewers by specific demographics, for example, or being able to tie a TV ad view to someone's in-store purchase down the line. If you swap out a TV screen for a computer screen, the kind of microtargeting that LG's offering doesn't sound any different than what a company like Facebook or Google would offer. That's kind of the point.

Online ad spending reached more than $490 billion by the end of last year, and those numbers are only going to keep going up as more advertisers look for more ways to track and target more people online. Traditional TV ad spend, meanwhile, has tanked since its peak around 2016. In order to lure ad dollars back, folks in the television space, like LG, are using every tool at their disposal to claw back the ad dollars the internet's taken away. And it's clearly working. While traditional TV ad spend has plummeted, there's never been more money spent on advertising across the digitally connected TVs offered by companies like LG. Roku, for example, recently announced an upcoming Shopify integration that would let retailers target TV viewers with more ads for more of their products. Amazon rolled out a new beta platform that lets networks promote apps, movies, or TV shows to people right from the device's home screen. And I don't need to remind Samsung TV owners how their devices are getting absolutely plastered with ads from every conceivable angle.

Spotify has removed famed singer-songwriter Neil Young's recordings from its streaming platform. From a report: On Monday, Young had briefly posted an open letter on his own website, asking his management and record label to remove his music from the streaming giant, as a protest against the platform's distribution of podcaster Joe Rogan. Rogan has been widely criticized for spreading misinformation about coronavirus vaccines on his podcast, which is now distributed exclusively on Spotify. Late Wednesday, the musician posted two lengthy statements on his website, one addressing the catalyst of his request and the other thanking his industry partners. In the first, he wrote in part: "I first learned of this problem by reading that 200-plus doctors had joined forces, taking on the dangerous life-threatening COVID falsehoods found in Spotify programming. Most of the listeners hearing the unfactual, misleading and false COVID information of Spotify are 24 years old, impressionable and easy to swing to the wrong side of the truth. These young people believe Spotify would never present grossly unfactual information. They unfortunately are wrong. I knew I had to try to point that out."

As of last week, more than 1,000 doctors, scientists and health professionals had signed that open letter to Spotify. According to Rolling Stone, Young's original request on Monday, which was addressed to his manager and an executive at Warner Music Group, read in part: "I am doing this because Spotify is spreading fake information about vaccines -- potentially causing death to those who believe the disinformation being spread by them ... They can have Rogan or Young. Not both." The letter was quickly removed from Young's website. Spotify's scrubbing of Young from its service was first reported on Wednesday afternoon by The Wall Street Journal. His removal from the streaming platform makes him one of the most popular musical artists not to appear on Spotify, where his songs have garnered hundreds of millions of streams.

The first rule of Fight Club in China? Don't mention the original ending. The second rule of Fight Club in China? Change it so the police win. From a report: China has some of the world's most restrictive censorship rules with authorities only approving a handful of foreign films for release each year -- sometimes with major cuts. Among the latest movies to undergo such treatment is David Fincher's 1999 cult classic "Fight Club" starring Brad Pitt and Edward Norton. Film fans in China noticed over the weekend that a version of the movie newly available on streaming platform Tencent Video was given a makeover that transforms the anarchist, anti-capitalist message that made the film a global hit.

In the closing scenes of the original, Norton's character The Narrator, kills off his imaginary alter ego Tyler Durden -- played by Pitt -- and then watches multiple buildings explode, suggesting his character's plan to bring down modern civilisation is underway. But the new version in China has a very different take. The Narrator still proceeds with killing off Durden, but the exploding building scene is replaced with a black screen and a coda: "The police rapidly figured out the whole plan and arrested all criminals, successfully preventing the bomb from exploding". It then adds that Tyler -- a figment of The Narrator's imagination -- was sent to a "lunatic asylum" for psychological treatment and was later discharged. The new ending in which the state triumphs sparked head scratching and outrage among many Chinese viewers -- many of whom would likely have seen pirated versions of the unadulterated version film.
UPDATE (2/6/2022): After a widespread outcry and coverage around the globe, Fight Club's original ending has been restored for streamers in China.