Denis Villeneuve will get the chance to create the second film of his planned two-part adaptation of Frank Herbert's "Dune," Legendary Entertainment and Warner Bros. said Tuesday. From a report: The news comes after Villeneuve's "Dune" tallied $41 million at the domestic box office during its debut over the weekend, a solid haul considering the film also launched on HBO Max Friday. Globally, the film hauled in $220 million. While Warner Bros. seemed keen to greenlight a second film for Villeneuve, Legendary owns the cinematic rights to the novel and had to be onboard in order to continue the story on the big screen. The second film is expected to follow Paul Atreides (Timothee Chalamet) as he joins the Fremen and works to bring peace to the desert planet of Arrakis. "Dune: Part Two" will debut on Oct. 20, 2023.

Amazon is next on the list of companies getting into the live audio game. The company is building a new app, codenamed "Project Mic," that gives anyone the ability to make and distribute a live radio show, complete with music, according to a presentation viewed by The Verge. From a report: This project's big goal is to democratize and reinvent the radio. The app will be focused on the US initially. Listeners will be able to tune in through the app, as well as through Audible, Amazon Music, Twitch, and Alexa-equipped devices. With the Alexa devices, listeners will be able to interact with shows using just their voice. The app experience will also be optimized for the car, playing into Amazon's idea of trying to reinvent radio. A mockup app image viewed by The Verge depicts a screen listing shows that are currently live; trending topics, like #NBA or #hot100; and featured creators. Users will also be able to search for content by topic, name, or music.

AMC Entertainment, the largest movie theater chain in the world, will offer open captioning at 240 locations in the United States, a move that the company's chief executive described as "a real advance for those with hearing difficulties or where English is a second language." From a report: Movie theaters provide closed captioning through devices that some customers describe as inconvenient and prone to malfunctioning. Open captions, however, are displayed on the screen in a way similar to subtitles; everyone in the theater sees the same captions, on the same screen. Advocates for the deaf and hard of hearing have long sought more and higher-quality captioning, but theater owners worry that people who aren't deaf simply don't like seeing captions at the movies.

"In some cases, putting open captions on the screen diminishes ticket sales for the movie," said John Fithian, the president and chief executive of the National Association of Theatre Owners, although he noted that the evidence was mostly anecdotal. He said the industry, whose business has been battered by the pandemic, was studying the relationship between open captions and ticket sales. Christian Vogler, a professor at Gallaudet University, a school in Washington that serves the deaf, said in an email, "Detractors of open captions often have argued that the wider hearing audience would revolt over them, or that these would be a losing business proposition for theaters." He praised AMC's move, which was announced last week, saying, "The fact that a large national chain has had a change of heart is significant, and may even open the floodgates for others to follow suit."

An anonymous reader quotes a report from Motherboard: In the early hours of Sunday morning, hackers took down the corporate servers and systems of Sinclair Broadcast Group, a giant U.S. TV conglomerate that owns or operates more than 600 channels across the country. Days later, inside the company, "it's pandemonium and chaos," as one current employee, who asked to remain anonymous as they were not authorized to speak to the press, told Motherboard. Sinclair has released very few details about the attack since it was hacked Sunday. On Wednesday, Bloomberg reported that the group behind the attack is the infamous Evil Corp., a ransomware gang that is believed to be based in Russia and which was sanctioned by the U.S. Treasury department in 2019.

The ransomware attack interfered with several channels' broadcast programming, preventing them from airing ads or NFL games, as reported by The Record, a news site owned by cybersecurity firm Recorded Future. It has also left employees confused and wondering what's going on, according to current Sinclair workers. "Whoever did this, they either by accident or by design did a very good job," a current employee said in a phone call, explaining that there are some channels that haven't been able to air commercials since Sunday. "We're really running in the blind [...] you really can't do your job." The employee said that he was working on Sunday and was able to get two emails out to colleagues. "And one of them got it, and the other one didn't," they said.

Employees did not have access to their emails until Tuesday morning, according to the two employees and text messages seen by Motherboard. The office computers, however, are still locked by the company out of precaution, and Sinclair told employees not to log into their corporate VPN, which they usually used to do their jobs. Until Thursday, the company was communicating with employees via text, according to the sources, who shared some of the texts sent by the company. In one of them, they called for an all hands meeting. The meeting, according to the two current employees, was quick and vague. Both sources said that the company should be more transparent with its own employees.

Yesterday, Roku told customers that it's unable to strike a deal to bring YouTube and YouTube TV apps to its channel store, citing anti-competitive demands in carriage agreements. These included "asking Roku to create a dedicated search results row for YouTube within the Roku smart TV interface and demanding certain features on Roku that they don't insist on getting from other streaming platforms," reports Axios. Now, a leaked email has surfaced allegedly showing that Google did in fact ask Roku for special search treatment for YouTube, an allegation that Google had previously called "baseless." 9to5Google reports: CNBC reports that an email from a Google executive to Roku called a "dedicated shelf for [YouTube] search results" a "must." The email was sent in 2019, well before the current fight between the two companies went public. Prior to this report, Roku has said on multiple occasions that "Google continues to interfere with Roku's independent search results." Google, in response, has denied those allegations and called them "baseless" while also claiming that it was Roku who decided to renegotiate the contract between the two companies. A previous statement from Google reads: "To be clear, we have never, as they have alleged, made any requests to access user data or interfere with search results. This claim is baseless and false."

This email puts the statements of both companies in a new light. It's possible Google did end up dropping this request between when the email was sent in 2019 and when the contract negotiations started, but it's also very possible the company is bending the truth around this request. Whatever the case, Google said that it "never" made such a request, but this email allegedly proves otherwise. ["The email from the Google executive to Roku reads: 'YouTube Position: A dedicated shelf for YT search results is a must,'" reports CNBC.]

"Vinyl was nearly at death's door not that long ago. After CDs came out, the predictions of vinyl's demise were an every day occurrence," writes Slashdot reader smooth wombat. "And for a time it looked like the vinyl record, something which had been around since the 1930s, would meet its end as so many other yesteryear products have. Except the COVID-19 pandemic changed all that. Now, with the sudden resurgence and demand for vinyl records, the few remaining manufacturers are struggling to meet the growing demand." The New York Times reports: In the first six months of this year, 17 million vinyl records were sold in the United States, generating $467 million in retail revenue (PDF), nearly double the amount from the same period in 2020, according to the Recording Industry Association of America. Sixteen million CDs were also sold in the first half of 2021, worth just $205 million. Physical recordings are now just a sliver of the overall music business -- streaming is 84 percent of domestic revenue -- but they can be a strong indication of fan loyalty, and stars like Taylor Swift and Olivia Rodrigo make vinyl an important part of their marketing.

Yet there are worrying signs that the vinyl bonanza has exceeded the industrial capacity needed to sustain it. Production logjams and a reliance on balky, decades-old pressing machines have led to what executives say are unprecedented delays. A couple of years ago, a new record could be turned around in a few months; now it can take up to a year, wreaking havoc on artists' release plans.

Music and manufacturing experts cite a variety of factors behind the holdup. The pandemic shut down many plants for a time, and problems in the global supply chain have slowed the movement of everything from cardboard and polyvinyl chloride -- the "vinyl" that records (and plumbing pipes) are made from -- to finished albums. In early 2020, a fire destroyed one of only two plants in the world that made lacquer discs, an essential part of the record-making process. But the bigger issue may be simple supply and demand. Consumption of vinyl LPs has grown much faster than the industry's ability to make records. The business relies on an aging infrastructure of pressing machines, most of which date to the 1970s or earlier and can be costly to maintain. New machines came along only in recent years, and can cost up to $300,000 each. There's a backlog of orders for those, too.

An anonymous reader quotes a report from CNET: Pricing right now on TVs is the highest since at least 2012," says Stephen Baker, vice president of Industry Analysis at NPD group. "Holiday pricing overall is likely to be at least $100 above normal. Last year the average price of a TV was $363 during the fourth quarter, which is fairly typical over the last few years. This year our forecast is for the average price to be approximately $500." For a lot of shoppers a $500 TV sounds pretty affordable, but that's the average of every TV sold in the US. The majority are entry-level models with small screens and modest features that bring down the average. [...] TVs come in a wide range of prices and sizes, and the higher average selling price will impact smaller, cheaper models more than larger, more-expensive ones. In fact, high-dollar TVs are selling better than ever, which of course helps drive up the average price. "Sales of TVs over $1,500 are at record levels, and sales of TVs 75-inch and above are performing much better than the overall market," says Baker.

The good news? Inventory this holiday season likely won't be a problem. "Right now we don't expect significant shortages in TVs," says Baker. "While the port blockages are a concern, there are a lot of choices in the TV market. So if consumers can be flexible around brand and screen size, availability should be sufficient." He adds that over the last few months TV sales have been tepid, which allows TV makers to build up enough inventory to deal with the holiday rush. So what does all of this mean for TV shoppers? Traditional holiday price drops will still happen, but maybe those $100 doorbuster deals won't be as common. "There will be price drops, there will be promotions, the calendar does not disappear," says Baker. "But all of those pricing activities will happen on products priced substantially higher than in previous years." In other words, midrange and higher-end TVs, the ones selling at a historic clip, are still likely to see plenty of price reductions in the next couple months. In fact, some are happening already.

Thelasko shares a report from Ars Technica, written by Peter Opaskar: Frank Herbert's 1965 sci-fi novel Dune gets a new film adaptation -- this one helmed by Denis Villeneuve (Arrival, Blade Runner 2049) -- later this month. But before Ars Technica reviews the movie, there's the matter of its predecessor: 1984's Dune, made by a then up-and-coming filmmaker named David Lynch. Detractors call Lynch's saga -- a tale of two noble space families 8,000 years in the future, fighting over the most valuable resource in the universe amidst sandworms the size of aircraft carriers -- incomprehensible, stilted, and ridiculous. It lost piles of money. Yet fans, especially in recent years, have reclaimed Lynch's film as a magnificent folly, a work of holy, glorious madness.

So which group am I in? Both. Am I about to describe Dune as "so bad it's good"? No, that's a loser take for cowards. I once half-heard a radio interview with someone speculating that the then-current artistic moment was not "so bad it's good," and it wasn't "ironic" either -- it was actually "awesome." (I didn't catch who he was, so if any of this sounds familiar, hit me up in the comments.) Art can speak to you while at the same time being absurd. The relatable can sometimes be reached only by going through the ridiculous. The two can be inseparable, like the gravitational pull between a gas giant and its moon -- or Riggs and Murtaugh.

The example the radio interviewee gave was of Evel Knievel, the '70s daredevil who wore a cape and jumped dirt bikes over rows of buses. Absurd? Heavens, yes. A feat of motorcycling and physicality? Absolutely. But beyond that, we can relate to Knievel's need to achieve transcendence at such a, shall we say, niche skill. We might also marvel at our own ability to be impressed by something that should be objectively useless but is instead actually awesome. A more contemporary example might be Tenet. It's a relentless international thriller about fate and climate change and the need for good people to hold evil at bay. But it's also a "dudes rock!" bromance between Two Cool Guys in Suits spouting sci-fi mumbo-jumbo. It can't be one without the other. "I have faith in Denis Villeneuve and his new version of Dune starring Timothee Chalamet," says Opaskar. "But it will probably be a normal movie for normal people, in which characters with recognizable emotions talk in a recognizable way and move through a plot we understand to achieve clearly defined goals. Which is all fine and good, but how likely is it to inspire sick beats for '90s kids doing ecstasy?"

Netflix just released an action-packed teaser for its live-action adaptation of the 1998 Japanese anime series "Cowboy Bebop." From a report: A 10-episode series -- which chronicles a group of cosmos-hopping bounty-hunters and is based on the cartoon of the same name -- will premiere on Netflix next month [...]. The 2 1/2-minute trailer, titled "The Lost Session," featured characters Spike Spiegel (voiced by John Cho), Jet Black (Mustafa Shakir) and Faye Valentine (Daniella Pineda) running after a runaway target while squabbling about how to best catch the enemy. The trailer also teased the show's main villain, Vicious (Alex Hassell), as well as a snippet of the song "Green Bird" from the original series episode "Ballad for Fallen Angels." The group's spaceship, the Bebop, was also featured in the clip. A full trailer will be released on Oct. 26, just ahead of the Nov. 19 debut on Netflix.

At its Fall Mac event today, Apple announced the new third-generation AirPods, featuring a slightly revamped design with shorter stems and touch-based "force sensor" and support for spatial audio. Ars Technica reports: The new AirPods retain their usual hard plastic finish and do not have in-ear tips like the AirPods Pro, though Apple says they are now officially IPX4-rated for sweat and water resistance. Apple says the earbuds have six hours of battery life and up to 30 hours when including the charging case. (That's compared to five and 24 hours, respectively, on the second-gen model.) The included case supports MagSafe and wireless charging, though the earbuds do not feature active noise cancellation or a transparency mode like their pricier siblings.

Though the second-gen AirPods were renowned more for their ease of use than their audio quality, Apple says it has updated them with a redesigned driver and an adaptive EQ feature that automatically tunes your music based on the AirPods' fit in your ear. The earbuds will also use Apple's spatial audio tech, which makes audio sound like it is coming from around the user's head. To help with that, the new AirPods support dynamic head tracking like the AirPods Pro and the over-ear AirPods Max. The third-gen AirPods cost $179 and are available to order online today, with in-store availability starting October 26. Notably, Apple will continue to sell the existing second-gen AirPods for $129 alongside the new pair.

Somewhere on Yahoo, one writer asks "Is the comic book industry dying or thriving?" There was a time when comic books were sold at newsstands alongside mainstream publications, according to Forbes, but that changed in the early 1980s when periodical comics all but disappeared from newsstands. From then on, the vast majority of comic books were sold through independently owned retail comic shops.
But GamesRadar+ notes a boom started in the 1990s — when comic books became an investment: Long story short, folks outside of regular comic book readers discovered that, in some cases, key comic book issues (such as those that debuted popular characters or titles) could be worth significant amounts of money on the secondary market, leading to some fans buying dozens of copies of a single issue in the hopes of someday capitalizing on their monetary value...

Someone should've explained supply and demand — the bubble burst because when everyone is buying and meticulously preserving a million copies of a comic book, there is no rarity to drive up the value to the level of less well-preserved comic books from earlier eras.
Their article also points out that this era saw the dawn of lucrative "variant covers". But the '90s also saw a rebellion of top Marvel artists who left to found Image comics, "the first major third-party publisher to challenge Marvel and DC's reign over the industry in years," which led to "a rise in independent and creator-owned comic books, both large and small, and helped the rising tide of indie publishers gain a solid foothold as an overall industry presence." (Presumably this "rising tide" would also include publishers of manga and anime-derived titles.)

So where are we now? The article on Yahoo notes the vast popularity of comic book movies, and also argues that "The billion-dollar comic business continues to boom." According to Publisher's Weekly, sales of comic books and graphic novels topped $1.28 billion in 2020, an all-time high. It's no fluke. With a few exceptions — sales fell a little in 2017, for example — comic book sales have been rising consistently for decades.
But who's actually reading comic books? Is it teenagers? Nostalgic adults? Investing collectors? People who saw the movies first? (If you're 12 years old, are you going to read some comic book, or watch The Avengers?)

Comic books now also have to compete with incredibly immersive videogames, virtual reality, and a gazillion cellphone apps — not to mention social media, and even online fan fiction. So I'd be interested to hear the experiences of Slashdot's readers. It seems like we'd be a reasonably good cross section of geek culture — but can we solve the riddle of the state of the comic book industry today?

Share your own thoughts in the comments. Is the comic book industry dying or thriving?

Netflix's hugely popular series Squid Game has become its biggest title ever at launch, the company said Monday. The Verge reports: The company's Netflix Geeked account tweeted Monday that Hwang Dong-Hyuk's survival thriller reached 111 million global accounts in its first 17 days on the service. Additionally, Squid Game is the first Netflix series to surpass 100 million in its first 28 days on the service, a spokesperson told The Verge. Netflix typically uses 28-day windows to measure the performance of a title on its platform. The spokesperson confirmed to The Verge that the figures it shared are based on the number of accounts that watched the series for at least two minutes, its standard metric for ranking titles (though it has used additional measurements to track the success of titles in the past).

Since debuting on Netflix on September 17th, Squid Game has reached the no. 1 position on the streaming service in 94 countries -- every country in the world where the service features a top 10 list, the company spokesperson said. Additionally, the show has held the no. 1 position for 21 days in the US, shattering the record for a non-English language title. Squid Game was previously announced as the first Korean title to reach the top spot in the US.

An anonymous reader quotes a report from Ars Technica: On Monday, Nintendo of Europe announced a very region-specific -- and era-specific -- tweak for its upcoming collection of N64 games on Switch: an option to switch between the video standards PAL and NTSC. While the announcement may sound ho-hum to outsiders, anyone in Europe with a vested interest in classic gaming will appreciate what the toggle affords. The issue boils down to differences between NTSC and PAL, the leading video broadcast standards on CRT TVs during Nintendo's '80s and '90s heyday. North American and Japanese TV sets were configured for NTSC, which has a refresh rate standard of 60 Hz, while PAL sets dominated Europe with a slightly higher pixel resolution and a lower refresh rate standard of 50 Hz.

Should you merely watch TV series or films on both NTSC and PAL sets, the difference between each is noticeable yet mild. But for much of the '80s and '90s, many TV video games, especially the ones made by the largely Japanese console industry, suffered in PAL because they were coded specifically for NTSC standards. In order to port them to PAL, developers generally didn't go back and reconfigure all of the timings, especially in the case of early 3D games. Instead, their internal clock speeds were often slowed down to 83.3 percent to match European TV refresh rates. This meant both slower gameplay than originally coded and slower playback of music and sound effects. (These also often shipped with NTSC's pixel maximums in mind in such a way that they were squished to fit on PAL displays, as opposed to being optimized for them.)

Sure enough, last month's announcement of N64 games on Nintendo Switch Online put fear into European classic-gamer hearts. That region's reveal video included slightly slower timings of classic N64 games compared to videos posted by Nintendo of America and Nintendo of Japan, since they were emulating the original European retail releases. At that time, Nintendo of Europe did not immediately reply to social media questions about whether European Switch owners would get an option for 60 Hz N64 gameplay -- especially in an LCD TV era, where such CRT-related restrictions no longer technically apply to most EU and UK TV owners. Monday's announcement confirms that European players will get a 60 Hz option by default for every N64 game in the Nintendo Switch Online "Expansion Pack" collection, along with the option to access a game's original 50 Hz version if it launched with multi-language support. Reading between the lines, we believe this means that if a European N64 game only had English language support, its Switch Online version will be the North American NTSC ROM.

phalse phace shares a report from The Verge: British Satellite broadcaster Sky is moving away from the satellite dishes that have defined its TV service for decades. Sky Glass is launching today, an ambitious effort to sell television sets that stream Sky TV content over Wi-Fi directly to consumers. There's no external box, no satellite dish, and no need for a soundbar. Although announced for the UK today, Sky has global aspirations for Glass TV "built on technology borne of the collaboration as part of the Comcast Corporation." As such, we might be looking at the platform underpinning Comcast's rumored XClass TVs for the US. Sky Glass TVs will be available in three sizes: 43-inch, 55-inch, and 65-inch. Each 4K TV will stream Sky's TV channels, and integrates in voice control (Hello Sky) and 21 apps to access additional content like Netflix, Spotify, or Disney Plus.

Sky hasn't named the TV manufacturer it partnered with yet, but the full specifications include a UHD Quantum Dot display, support for Dolby Vision, HDR 10, HLG, three HDMI 2.1 ports, and a single USB-C port. The rather chubby TV fits six speakers for up to 215W of Dolby Atmos surround sound: 3 outward firing speakers, 2 upward, and 1 central subwoofer. There will also be five color options: white, pink, green, blue, and black. The price of a Sky Glass TV is designed to be baked into a monthly subscription to Sky's TV service, known as Sky Ultimate TV, but you can also pay for the TV upfront if you want to lower the monthly costs. Sky Ultimate TV includes access to Netflix and some basic Sky channels, but Sky Sports and Sky Cinema are separate add-ons. What you pay will depend on the size of TV and whether you want to spread payments. The report goes on to note Sky's collaboration with Microsoft to watch TV together with others. "Sky demonstrated a software experience that allows you to watch TV channels with others, and see each other's reactions to sport in real time," reports The Verge.

Furthermore, Sky claims it'll be the first TV manufacturer in the world to allow customers to "swap old Sky Glass TVs for newer models when they're available," the report adds.

As spotted by Kotaku, Sony has decided to discontinue credit card and PayPal payment options for both the PS3 and the PS Vita on October 27th, 2021, making it frustratingly difficult to use these stores. From the report: To actually buy video games on your video game device, you will need to go to a secondary location and purchase a physical gift card, which you can then use to purchase video games. Alternatively you can use the awkward wallet system to add funds via Sony's website, or by adding funds on your PS4 or PS5, and then spending them on the PS3 or Vita. Either way, this is extremely silly. Sony's complete lack of interest in games preservation, and for keeping games accessible to the people who bought the systems they run on, is deeply infuriating. The games industry has a short memory, made shorter by a constant focus on developing tech, and even shorter again by publishers with no interest in keeping their systems running. I've written before about the importance of libraries in game preservation, and I will take Sony's fuckery as an opportunity to get on my soapbox again. [...]

According to fluent Korean speaker Youngmi Mayer, Squid Game features "botched" subtitles that have changed the show's meaning for English-speaking viewers.

For those unaware of Squid Game, it's a Korean-language drama about an alternative world where people in debt compete in deadly games. The plot sees a group of people tempted into a survival game where they have the chance to walk away with 45.6 billion Korean won ($38 million) if they win a series of six games. According to a BBC article, it's currently on track to become Netflix's biggest original series. From the report: "The dialogue was so well written and zero of it was preserved [in the subtitles]," Youngmi said in a Twitter post. In a TikTok video that's had almost nine million views, Youngmi gave several examples of mistranslation. In one scene a character tries to convince people to play the game with her, and the closed-caption subtitles read: "I'm not a genius, but I still got it worked out." But what the character actually says, Youngmi explains, is: "I am very smart, I just never got a chance to study." That translation puts more emphasis on the wealth disparity in society -- which is also a theme in the Oscar-winning 2019 Korean film, Parasite. "Almost everything she says is being botched translation-wise... the writers, all they want you to know about her is that," Youngmi said. "[It] seems so small, but it's the entire character's purpose of being in the show." Youngmi later clarifies that her initial comments were about the automatically generated closed-caption subtitles rather than the English language subtitles, which are "substantially better." But she added: "The misses in the metaphors -- and what the writers were trying to actually say -- are still pretty present."

Back in 2014 Babylon 5 creator J. Michael Straczynski answered questions from Slashdot's readers.

And now this week, long-time Slashdot reader Jaegs writes: According to many sources and the Babylon 5 creator/writer/director/producer himself, J. Michael Straczynski (JMS), the CW — partly owned by the original Babylon 5 producer and rights holder, WarnerMedia — will be rebooting the popular franchise. JMS will be writing and executive producing the series.

Per JMS:

"[W]e will not be retelling the same story in the same way... There would be no fun and no surprises. Better to go the way of Westworld or Battlestar Galactica where you take the original elements that are evergreens and put them in a blender with a ton of new, challenging ideas, to create something fresh yet familiar. To those asking why not just do a continuation, for a network series like this, it can't be done because over half our cast are still stubbornly on the other side of the Rim.

The last part refers to the recent passing of Mira Furlan (Delenn), as well as the untimely deaths of other primary cast members after the conclusion of the original run of the series: Richard Biggs (Dr. Franklin), Michael O'Hare (Jeffrey Sinclair), Jerry Doyle (Michael Garibaldi), Stephen Furst (Vir Cotto), Jeff Conway (Zack Allan), and Andreas Katsulas (G'Kar).
Straczynski points out on Twitter that "The original Babylon 5 was ridiculously innovative: the first to use CGI to create ships and characters, and among the very first to shoot widescreen with a vigorous 5.1 mix." But his tweets also seem excited about the questions that this new reboot will answer. "if I were creating Babylon 5 today, for the first time, knowing what I now know as a writer, what would it look like? How would it use all the storytelling tools and technological resources available in 2021 that were not on hand then?

"How can it be used to reflect the world in which we live, and the questions we are asking and confronting every day? Fans regularly point out how prescient the show was and is of our current world; it would be fun to take a shot at looking further down the road..."

Netflix's co-CEO revealed a list Monday showing its top shows and movies of all-time, reports NBC News. The list revealed that the 19th-century drama Bridgerton "was its most watched TV series ever, with 82 million subscribers tuning in for at least two minutes in its first 28 days on the service..." French series "Lupin: Part 1" and season one of "The Witcher," a fantasy series starring Henry Cavill, tied for second on the list, with 76 million accounts.

Among movies, the action film Extraction earned the No. 1 spot. The film about a captured CIA agent was watched by 99 million accounts in the first 28 days, Netflix said. Bird Box, a post-apocalyptic horror film, and the action-comedy Spenser Confidential were the second- and third-most popular films, according to the company.

All the films and series on the list were Netflix originals.
Using a different metric — which shows attracted the most hours of actual viewing time — Bridgerton still came in #1 for TV shows, followed by "Money Heist: Part 4" and "Stranger Things Season 3."

And the top three movies (based on hours of viewing) were Bird Box, Extraction, and Martin Scorsese's The Irishman.

In a statement released Thursday, Scarlett Johansson said she has resolved her legal dispute with Disney. "I am happy to have resolved our differences with Disney," said Johansson. "I'm incredibly proud of the work we've done together over the years and have greatly enjoyed my creative relationship with the team. I look forward to continuing our collaboration in years to come." The movie star filed the lawsuit against Disney in late July, alleging her contract was breached when the media giant released "Black Widow" on its Disney+ streaming service at the same time as its theatrical debut, thus negatively impacting her salary that was based in large part on the box-office performance of the film. Deadline reports: Unlike in their vitriolic filings and their shaming PR statements over the past few, Marvel-owner Disney had nothing but love today for the actor who brought Natasha Romanoff to life for them in nearly 10 separate films. I'm very pleased that we have been able to come to a mutual agreement with Scarlett Johansson regarding Black Widow, said Alan Bergman, Chairman, Disney Studios Content. "We appreciate her contributions to the Marvel Cinematic Universe and look forward to working together on a number of upcoming projects, including Disney's Tower of Terror."

As is almost always the case in cases like this, neither side gave any indication of how much money was involved in the settlement. However, when all is said and done, the deal will run to more than $40 million, sources tell me. Accordingly, the funds will not be paid by Disney in a single lump sum, if you pick up the creative accounting I'm putting down.

Ahmed Elgammal, Professor and Director of the Art & AI Lab at Rutgers University, writes via The Conversation: When Ludwig von Beethoven died in 1827, he was three years removed from the completion of his Ninth Symphony, a work heralded by many as his magnum opus. He had started work on his Tenth Symphony but, due to deteriorating health, wasn't able to make much headway: All he left behind were some musical sketches. Ever since then, Beethoven fans and musicologists have puzzled and lamented over what could have been. His notes teased at some magnificent reward, albeit one that seemed forever out of reach. Now, thanks to the work of a team of music historians, musicologists, composers and computer scientists, Beethoven's vision will come to life. I presided over the artificial intelligence side of the project, leading a group of scientists at the creative AI startup Playform AI that taught a machine both Beethoven's entire body of work and his creative process. A full recording of Beethoven's 10th Symphony is set to be released on Oct. 9, 2021, the same day as the world premiere performance scheduled to take place in Bonn, Germany -- the culmination of a two-year-plus effort.
[...]
The AI side of the project -- my side -- found itself grappling with a range of challenging tasks. First, and most fundamentally, we needed to figure out how to take a short phrase, or even just a motif, and use it to develop a longer, more complicated musical structure, just as Beethoven would have done. For example, the machine had to learn how Beethoven constructed the Fifth Symphony out of a basic four-note motif. Four notes famously serve as the basis for Beethoven's Fifth Symphony. Next, because the continuation of a phrase also needs to follow a certain musical form, whether it's a scherzo, trio or fugue, the AI needed to learn Beethoven's process for developing these forms. The to-do list grew: We had to teach the AI how to take a melodic line and harmonize it. The AI needed to learn how to bridge two sections of music together. And we realized the AI had to be able to compose a coda, which is a segment that brings a section of a piece of music to its conclusion. Finally, once we had a full composition, the AI was going to have to figure out how to orchestrate it, which involves assigning different instruments for different parts. And it had to pull off these tasks in the way Beethoven might do so.

In November 2019, the team met in person again -- this time, in Bonn, at the Beethoven House Museum, where the composer was born and raised. This meeting was the litmus test for determining whether AI could complete this project. We printed musical scores that had been developed by AI and built off the sketches from Beethoven's 10th. A pianist performed in a small concert hall in the museum before a group of journalists, music scholars and Beethoven experts. We challenged the audience to determine where Beethoven's phrases ended and where the AI extrapolation began. They couldn't. The success of these tests told us we were on the right track. But these were just a couple of minutes of music. There was still much more work to do. At every point, Beethoven's genius loomed, challenging us to do better. As the project evolved, the AI did as well. Over the ensuing 18 months, we constructed and orchestrated two entire movements of more than 20 minutes apiece.