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benrothke writes "In its first week, Going Clear: Scientology, Hollywood, and the Prison of Belief was #3 on the New York Times Best Sellers list and will likely be #1 soon. The fact that the book is in print is somewhat miraculous given the voracious appetite Scientology has for litigation. It is the first time that such an expose could have been written and found such wide-scale reading. An interesting analysis of this fact is found in Why the Media Is No Longer Afraid of Scientology by Kim Masters. But as mesmerizing an expose as the book is, I doubt that this will be more than a speed bump to Scientology's growth and fund raising." Keep reading to be clear about what Ben has to say. Going Clear: Scientology, Hollywood, and the Prison of Belief author Lawrence Wright pages 448 publisher Knopf rating 10/10 reviewer Ben Rothke ISBN 978-0307700667 summary Compelling and engrossing book, thoroughly researched and extensively fact checked Scientology has long called anyone who has written against them as having a vendetta. It calls former adherents heretics with a vendetta. But after such hyperbole, it is illogical and questionable that Pulitzer Prize winning author Lawrence Wright would risk a distinguished career to write an expose simply based on those with a vendetta. But to cover all bases, including those of litigation, the books nearly 50 pages of notes puts Wright and his publisher in a strongly defensible position in case the church decided to litigate.

Wright is aware of the dangers of writing against the church, as he details the story of Paulette Cooper. Cooper, whose 1971 book The Scandal of Scientology, was sued nearly 20 times by the church and harassed for years due to its contents. The book details that an FBI raid a few years later found a Scientology file about Operation Freakout, which had the purpose of getting Cooper in a mental institution or jail.

The book places Church President David Miscavige is a negative light (over 20 people in the book accuse him of abuse, including being kicked, punched, slapped, choked and more). Karin Pouw, a Scientology spokeswoman states that details about Miscavige are false and defamatory.

The church created a web site for what it believes are errors in the book. While Wright is short on drama, the web site hyperbolically states that the book is "so ludicrous it belongs in a supermarket tabloid". The web site states that British publishers have chosen not to print it "which speaks volumes about their confidence in its factual accuracy". The truth is that British libel laws are so onerous and archaic, that publishers are reticent to publish such a work. While it might not be published in the UK, it is easily available via the Amazon UK web site.

In Going Clear, Wright has created a fair and balanced overview (if such a thing is actually possible) about Scientology. The book has interview material and facts from over 200 current and former members of the Church of Scientology, and takes a historical look of its history, and that of its founder L. Ron Hubbard and successor, current President David Miscavige.

In the introduction, Wright notes that he was drawn to write the book by the questions that many people have about Scientology; such as: what is it that make the religion so alluring? What do its adherents get out of it? Why do popular personalities associate themselves with a faith that is likely to create a kind of public relations martyrdom? He notes that these questions are not unique to Scientology, but that they certainly underscore its story.

As 372 pages covering 3 parts and 11 chapters, Wright is a mesmerizing author that creates a non-fiction spellbinding page-turner. The 4 main characters of the book are Hubbard, Miscavige and actors Tom Cruise and John Travolta.

In chapter 2, the book details the many discrepancies between the legend of L. Ron Hubbard and fact. While Scientologist's may think that Wright has a vengeance against the group, he writes that it is a fact that Hubbard was genuinely a fascinating man. He writes that Hubbard was an explorer, best-selling author and the founder of a worldwide religious movement. At the same time, Wright's research found that the truth is counter to some of the postulated facts about Hubbard's naval career, his miraculous recovery from wartime injuries and overall naval accomplishments.

As to the manipulation of facts, in the final pages of the book, Wrights notes some of Hubbard's medical records do not corroborate his version of the actual events. Some of the naval medals that Hubbard supposedly won were not created until after Hubbard left active service. The supposed Purple Heart medal for being wounded while serving on duty that Hubbard claimed to receive was also different from the Purple Heart medals given out at the time.

In Dianetics: The Modern Science of Mental Health, Hubbard specifically names psychotherapy as being dangerous and impractical. Hubbard felt that other methods of mental science are based on principles that are opposed to the principles of Scientology, and Hubbard had an anathema of psychiatry and psychology until his dying day.

Wright observes that Dianetics arrived at a moment when the aftershocks of World War 2 were still being felt. And that behind the exhilarations of victory, there was immense trauma for millions of Americans. With Dianetics, Hubbard offered a do-it-yourself manual to that claimed to demystify the secrets of the human mind and produce guaranteed results, for free, and that was bound to attract a large audience.

Wright notes that given Hubbard's biography, it would be easy to dismiss Hubbard as a fraud. But that would fail to explain his total absorption in his project. Hubbard would spend the rest of his life elaborating his theory and obsessively construct the intricate bureaucracy design to spread and enshrine his understanding of human behavior.

Wright notes that for all of Hubbard's enormous wealth, he spent much of his time in his ship cabin alone, auditing himself with an E-Meter (the electronic device used Scientology auditing sessions) and developing his spiritual technology. Wright rhetorically notes that while Hubbard may have been grandiose and delusional, if Hubbard was a fraud and a con, why would he bother creating such a system?

As objective as Wright is, he takes no quarter when he details Scientology's approach to children. Hubbard viewed children as adults in small bodies. While they were physically small, Hubbard felt that they were responsible for their own behavior. Young children would be sentenced to virtual prisons for weeks, for minor infractions such as messing up an incoming telex.

In Scientology parlance, such an individual was a suppressive person. One young girl, who was deaf and mute was placed in a locker for a week because Hubbard thought it might cure her deafness.

A large part of the book deals with celebrities and how Scientology sees celebrities as a boon to the church. Wrights notes that Scientology orients itself toward celebrities and by doing so, the church awards famousness a spiritual value. People who seek fame in the entertainment industry will gravitate to Hollywood, where the Scientology Celebrity Center is waiting for them, validating their ambitions and promising a recruits a way in. The church has long pursued a marketing strategy that relies on celebrity endorsements to promote the religion.

Some celebrities prominent in the book are Paul Haggis, Travolta, Nancy Cartwright (famous for being the voice of Bart Simpson) and Tom Cruise. Haggis is an ex-Scientologist, recently leaving the church after nearly 40 years, who is interviewed in the book.

Wright is highly critical of Cruise, who he notes that probably no member of the church derives as much material benefit as Cruise does. Cruise then consequently bears a moral responsibility for the myriad indignities (which the book points out in great detail) inflicted on members of the Sea Organization (a unit of the Church, encompassing its most dedicated members), sometimes directly because of his membership.

Wright concludes with the notion that Scientology wants to be understood as a scientific approach to spiritual enlightenment, but has no grounding in science at all. Serious academic study of the church has to date been constrained by the church's vindictive and litigious reputation. Researchers and academics are terrified by Scientology and reluctant to direct their research into the church. The book observes that compared with other religions, the published literature on Scientology is improvised and clouded by bogus assertions.

In Going Clear: Scientology, Hollywood, and the Prison of Belief, Wright has composed a bombshell of an expose. This is a compelling and engrossing book, thoroughly researched and extensively fact checked. The book is a perfect read for a long flight as it is riveting and fascinating. Wright has a unique ability to keep the narrative flowing and interesting.

But with all that, it is not a Silent Spring, which 50 years ago helped launch the environmental movement. Had the book come out 20 years ago, it is likely that lawsuits from the church would have prevented its release until today. Yet the passive public has a short memory and Scientology has believers that sign billion year contracts with the church. As salacious as every page of this book is, one is hard-pressed to envision the church of Scientology contracting or being hurt in any way by this book.

Ben Rothke is the author of Computer Security: 20 Things Every Employee Should Know.

You can purchase Going Clear: Scientology, Hollywood, and the Prison of Belief from amazon.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.

Hugh Pickens writes writes "Eriq Gardner writes that Warner Brothers is suing California resident Mark Towle, a specialist in customizing replicas of automobiles featured in films and TV shows, for selling replicas of automobiles from the 1960s ABC series Batman by arguing that copyright protection extends to the overall look and feel of the Batmobile. The case hinges on what exactly is a Batmobile — an automobile or a piece of intellectual property? Warner attorney J. Andrew Coombs argues in legal papers that the Batmobile incorporates trademarks with distinctive secondary meaning and that by selling an unauthorized replica, Towle is likely to confuse consumers about whether the cars are DC products are not. Towle's attorney Larry Zerner, argues that automobiles aren't copyrightable. 'It is black letter law that useful articles, such as automobiles, do not qualify as "sculptural works" and are thus not eligible for copyright protection,' writes Zerner adding that a decision to affirm copyright elements of automotive design features could be exploited by automobile manufacturers. 'The implications of a ruling upholding this standard are easy to imagine. Ford, Toyota, Ferrari and Honda would start publishing comic books, so that they could protect what, up until now, was unprotectable.'"

An anonymous reader writes "The Tolkien Estate has filed an $80 million copyright infringement lawsuit in U.S. District Court over the use of Lord of the Rings slot machines. The complaint hinges on a contract between the estate and Warner Bros. which allows the creation of LotR merchandise but not LotR 'intangibles,' like the experience of playing a slot machine game. According to the estate (PDF), 'Not only does the production of gambling games patently exceed the scope of defendants' rights, but this infringing conduct has outraged Tolkien's devoted fan base, causing irreparable harm to Tolkien's legacy and reputation and the valuable goodwill generated by his works.'"

An anonymous reader writes "The Tolkien Estate has filed an $80 million copyright infringement lawsuit in U.S. District Court over the use of Lord of the Rings slot machines. The complaint hinges on a contract between the estate and Warner Bros. which allows the creation of LotR merchandise but not LotR 'intangibles,' like the experience of playing a slot machine game. According to the estate (PDF), 'Not only does the production of gambling games patently exceed the scope of defendants' rights, but this infringing conduct has outraged Tolkien's devoted fan base, causing irreparable harm to Tolkien's legacy and reputation and the valuable goodwill generated by his works.'"

Master Moose sends this quote from Stuff.co.nz: "Kim Dotcom claims the United States criminal case against him is collapsing but he is offering to go there without extradition provided federal authorities unfreeze his millions of dollars. In a now hallmark style, he made the offer on Twitter. 'Hey DOJ, we will go to the US,' he tweeted, 'No need for extradition. We want bail, funds unfrozen for lawyers & living expenses.' In an interview with The Hollywood Reporter Dotcom says the department knows it does not have a case. 'If they are forced to provide discovery, then there will be no extradition. That's why they don't want to provide discovery. If they had a case, they would not need to hide what they have.'"

kodiaktau writes "Film makers keep touting increased frame per second rate as improving viewing and cinema experience, however the number of theaters who actually have the equipment that can play the higher rate film is limited. It makes me wonder if this is in the real interest of creating a better experience and art, or if it is a ploy by the media manufacturers to sell more expensive equipment and drive ticket prices up. From the article: 'Warner Bros. showed 10 minutes of 3D footage from The Hobbit: An Unexpected Journey at 48 frames per second at CinemaCon earlier this year, and Jackson said in a videotaped message there that he hoped his movie could be played in 48fps in “as many cinemas as possible” when it opens in December. But exhibitors must pay the cost of the additional equipment, and some have wondered how much of a ticket premium they would charge to offset that cost.'"

suraj.sun writes "Christopher Dodd, the former Connecticut senator who now leads the MPAA, hasn't given up on his dream of censoring the Internet. In an interview with Hollywood Reporter, he said that Hollywood and the technology industry 'need to come to an understanding' about new copyright legislation. Dodd said that there were 'conversations going on now,' about SOPA-style legislation, but that he was 'not going to go into more detail because obviously if I do, it becomes counterproductive.' Asked whether the White House's decision to oppose SOPA had created tensions with Hollywood, Dodd insisted that he was 'not going to revisit the events of last winter,' but said he hoped the president would use his 'good relationships' with both Hollywood and the technology industry to broker a deal."

Hugh Pickens writes "The Hollywood Reporter reports that members of the iconic disco-era musical group Sister Sledge have filed a major class action lawsuit against Warner Music Group claiming that the music giant's method for calculating digital music purchases as 'sales' rather than 'licenses' has cheated them out of millions of dollars from digital music sales. Songwriters typically make much less money when an album is 'sold' than they do when their music is 'licensed' (the rationale derives from the costs that used to be associated with the physical production of records) but record labels have taken the position that music sold via such digital stores as iTunes should be counted as 'sales' rather than licenses. The difference in revenue can be significant as Sister Sledge claim their record deal promises 25 percent of revenue from licenses but only 5-1/2% to 6-1/2% of net from sales. Eminem's publisher brought a nearly identical claim against Universal Music Group and won an important decision at the 9th Circuit Court of Appeals in 2010 when the 9th Circuit ruled that iTunes' contract unambiguously provided that the music was licensed. The lawsuit argued that record companies' arrangements with digital retailers resembled a license more than it did a sale of a CD or record because, among other reasons, the labels furnished the seller with a single master recording that it then duplicated for customers. 'Unlike physical sales, where the record company manufactures each disc and has incremental costs, when they license to iTunes, all they do is turn over one master,' says attorney Richard S. Busch. 'It's only fair that the artist should receive 50 percent of the receipts.'"

Hugh Pickens writes "Strengthening intellectual property enforcement has been a bipartisan issue for the past 25 years, but Stewart Baker writes in the Hollywood Reporter that when the fight went from the committees to the floor and Wikipedia went down, the Democratic and Republican parties reacted very differently to SOPA. 'Despite widespread opposition to SOPA from bloggers on the left, Democrats in Congress (and the administration) were reluctant to oppose the bill outright,' writes Baker. 'The MPAA was not shy about reminding them that Hollywood has been a reliable source of funding for Democratic candidates, and that it would not tolerate defections.' That very public message from the MPAA also reached another audience — Tea Party conservatives. Most of them had never given a second thought to intellectual property enforcement, but many had drawn support from conservative bloggers and they began to ask why they should risk the ire of their internet supporters to rescue an industry that was happily advertising how much it hated them." (Read on, below.) Pickens continues: "Pretty soon, far more Republicans than Democrats had bailed on SOPA, the Republican presidential candidates had all come out for what they called 'Internet freedom,' and now for Republicans, opposition to new intellectual property enforcement is starting to look like a political winner. 'It pleases conservative bloggers, appeals to young swing voters, stokes the culture wars and drives a wedge between two Democratic constituencies, Hollywood and Silicon Valley,' concludes Baker, adding that unfortunately for Hollywood, as its customers migrate to the Internet, it is losing not just their money but their hearts and minds as well."

New submitter BraveThumb writes "One independent rap group found it impossible to post their song on YouTube. When they tried to put up their video, they were informed that the copyright belonged to Universal Music, even though the rap group wasn't signed to any label. Another group working with Universal had used the music in a video of their own, which then accidentally leaked online. YouTube's filtering software then blocked the original. The Hollywood Reporter shares what happened and concludes by saying, 'For an industry that's pursuing copyright reform, the portrayal of a copyright regime that works against young artists can't be a good thing.'"

First time accepted submitter Xondak writes "The cult series 'Arrested Development' is being resurrected and brought exclusively to Netflix streaming subscribers. This marks the first time a major studio has produced first-run content for the streaming service and perhaps this will afford other opportunities for cancelled Fox series. Firefly, anyone?"

An anonymous reader writes with a new twist in the recently resolved Canadian music label infringement lawsuit. From the article: "Earlier this year, the four primary members of the Canadian Recording Industry Association (now Music Canada) — Warner Music Canada, Sony BMG Music Canada, EMI Music Canada, and Universal Music Canada — settled the largest copyright class action lawsuit in Canadian history by agreeing to pay over $50 million to compensate for hundreds of thousands of infringing uses of sound recordings. While the record labels did not admit liability, the massive settlement spoke for itself. While the Canadian case has now settled, Universal Music has filed its own lawsuit, this time against its insurer, who it expects to pay the costs of the settlement."

itwbennett writes "Rumors of original, professionally-produced content channels coming to YouTube are heating up. Earlier this month, the Wall Street Journal reported on it, invoking pro skateboarder Tony Hawk as one of the star attractions. Now The Hollywood Reporter is saying the channels may be launched early next year, with an official announcement coming later this month. 'Originally the story was that YouTube was going to invest $100 million in this content, but now that number has been bumped up to $150 million,' says blogger Peter Smith. 'Does that sound like a lot? Consider Netflix is rumored to be spending $100 million on House of Cards, a single original series that the company is backing. YouTube is said to be delivering 24 channels of original content.'"

rainmouse writes "Hollywood, clearly after witnessing the staggering success and endless critical acclaim of other computer game adaptations with their typically engrossing story line and deep, believable character development, have now apparently picked up the rights to make a film based upon Space Invaders. 'The classic 1980s arcade game from Taito and Midway, which is ranked as the top arcade game of all time by Guinness World Records, is heading to the big screen courtesy of producers Lorenzo di Bonaventura and Odd Lot Entertainment's Gigi Pritzker.'" Please help out by providing appropriate plot-lines and character sketches below.

Tiger4 writes "Warner Bros. has announced that production has officially begun on Peter Jackson's movie adaptation of The Hobbit. Jackson even posted a couple of pictures of himself on one of the sets. This despite the strikes, bankruptcies, contract disputes, and legal actions that have swarmed Jackson and the project since his Lord of the Rings days. Admit it, secretly you've been dying to see this happen."

An anonymous reader writes "Apparently the estate of JRR Tolkien isn't just overprotective of his works, but of himself as well. The estate is in a bit of a legal spat with the author of a fictional work that includes JRR Tolkien as a character, and in part discusses his works. The estate is claiming that this infringes on Tolkien's publicity rights, but if that's the case, would it make almost all 'historical fiction' illegal?"

bigredradio writes "Empire Strikes Back director Irvin Kershner died at his home in Paris after suffering from illness, his goddaughter Adriana Santini confirmed to the AFP Monday. He was 87."

lbalbalba writes "Last we heard about The Hobbit, Guillermo Del Toro dropped out, Peter Jackson was unofficially directing and secretly auditioning actors, the movie had yet to be green-lit, and Ian McKellen was getting super-antsy about the whole thing and threatening not to play Gandalf. This shouldn't help the long-gestating movie happen any quicker: Actors guilds including SAG issued actual alerts yesterday against working on any of the Hobbit films, advising their members not to take parts in the non-union production, should they be offered them."

neoflexycurrent writes "Three adult media entertainment producers filed suit Thursday in the US District Court for the Northern District of Illinois alleging copyright infringement against hundreds of anonymous defendants accused of trading videos using Bittorrent. This kind of action resembles the much-criticized mass litigation undertaken by the US Copyright Group against hordes of unknown accused Bittorrent users trading movies like The Hurt Locker. In this case, the subject matter promises to be more provocative."

An anonymous reader writes "Techdirt has the details on how it was possible for the last Harry Potter movie to lose $167 million while taking in nearly $1 billion in revenue. If you ever wanted to see 'Hollywood Accounting' in action, take a look. The article also notes two recent court decisions that may raise questions about Hollywood's ability to continue with these kinds of tricks. For example, the producers of 'Who Wants To Be A Millionaire' now have to pay $270 million for its attempt to get around paying a partner through similar tricks."

Of the many commentaries and analyses springing up about Obama's Supreme Court nominee, this community might be most interested in one from the Hollywood Reporter. Reader Hugh Pickens notes that Hollywood may have reason to be nervous about the nomination of Elena Kagan to be the next US Supreme Court justice. "As dean of Harvard Law School from 2003 to 2009, Kagan was instrumental in beefing up the school's Berkman Center for Internet & Society by recruiting Lawrence Lessig and others who take a strongly liberal position on fair use in copyright disputes. And Kagan got an opportunity to showcase her feelings on intellectual property when the US Supreme Court asked her, as US Solicitor General, to weigh in on the big Cablevision case. 'After Cablevision announced in 2006 that it would allow subscribers to store TV programs on the cable operator's computer servers instead of on a hard-top box, Hollywood studios went nuts, predicting that the days of licensing on-demand content would be over,' writes Gardner. Kagan's brief compared remote-storage DVRs to VCRs (PDF), brought up the Sony/Betamax case, and lightly slapped Cablevision on the wrist for not making fair use a bigger issue. 'It sounds to us like Kagan would love the Court to determine when customers have a fair-use right to copy, which should cheer those on the copy-left at the EFF, and worry many in the entertainment industry.' On the minus side, Kagan has surrounded herself with entertainment industry advocates in the Justice Department."

Of the many commentaries and analyses springing up about Obama's Supreme Court nominee, this community might be most interested in one from the Hollywood Reporter. Reader Hugh Pickens notes that Hollywood may have reason to be nervous about the nomination of Elena Kagan to be the next US Supreme Court justice. "As dean of Harvard Law School from 2003 to 2009, Kagan was instrumental in beefing up the school's Berkman Center for Internet & Society by recruiting Lawrence Lessig and others who take a strongly liberal position on fair use in copyright disputes. And Kagan got an opportunity to showcase her feelings on intellectual property when the US Supreme Court asked her, as US Solicitor General, to weigh in on the big Cablevision case. 'After Cablevision announced in 2006 that it would allow subscribers to store TV programs on the cable operator's computer servers instead of on a hard-top box, Hollywood studios went nuts, predicting that the days of licensing on-demand content would be over,' writes Gardner. Kagan's brief compared remote-storage DVRs to VCRs (PDF), brought up the Sony/Betamax case, and lightly slapped Cablevision on the wrist for not making fair use a bigger issue. 'It sounds to us like Kagan would love the Court to determine when customers have a fair-use right to copy, which should cheer those on the copy-left at the EFF, and worry many in the entertainment industry.' On the minus side, Kagan has surrounded herself with entertainment industry advocates in the Justice Department."

Hugh Pickens writes "The Hollywood Reporter reports that more than 20,000 individual movie torrent downloaders have been sued in the past few weeks in Washington, DC, federal court for copyright infringement, and another lawsuit targeting 30,000 more torrent downloaders on five more films is forthcoming in what could be a test run that opens up the floodgates to massive litigation against the millions of individuals who use BitTorrent to download movies. The US Copyright Group, a company owned by intellectual property lawyers, is using a new proprietary technology by German-based Guardaley IT that allows for real-time monitoring of movie downloads on torrents. According to Thomas Dunlap, a lawyer at the firm, the program captures IP addresses based on the time stamp that a download has occurred and then checks against a spreadsheet to make sure the downloading content is the copyright protected film and not a misnamed film or trailer. 'We're creating a revenue stream and monetizing the equivalent of an alternative distribution channel,' says Jeffrey Weaver, another lawyer at the firm." "The difference between the MPAA's past approach and the new one being offered by the US Copyright Group is that the MPAA took a less targeted approach going after a smaller sampling of infringers in a single suit for multiple films, to send a message. In contrast, the US Copyright Group is using the new monitoring technology to go after tens of thousands of infringers at a time on a contingency basis in hopes of coming up with the right cost-benefit incentive to pursue individual pirates."

You can buy and sell actor or movie "stock" for virtual cash on the website Hollywood Stock Exchange (HSX). Starting in April the company plans on letting you turn those movie performance predictions into real dollars. HSX filed with the US Commodity Futures Trading Commission for approval as an active trading site in November 2008 and has just entered the final phase of regulatory review. Richard Jaycobs, president of HSX's parent company, said, "The number of people who visit movie theaters each year and form opinions about a film's success is in the tens of millions. We believe that's the reason the public response to this product has been very positive."

DesScorp writes in to let us know about a White House piracy summit, which is going on this afternoon. Judging by the press accounts, the sort of intellectual property criminals they are interested in are large-scale DVD bootleggers, not individual downloaders. "Hollywood once again demonstrates its close ties to Washington DC, regardless of who is in power, with a White House summit on piracy to be attended by the top executives in Hollywood, as well as the music industry. Vice President Joe Biden will be leading the summit to discuss organized cooperation between the federal government and the entertainment industry on all matters of piracy. Also at the summit will be the Obama Administration's new Copyright Czar, Victoria Espinal. The summit comes after Congress has earmarked $30 million dollars of taxpayer funds for anti-piracy efforts." According to one attendee's tweet, the press was kicked out of the meeting around 20:45 GMT.

It seems Universal Studios has won the highly sought-after movie rights to the 1979 Atari game Asteroids. Disney's Matthew Lopez will be writing the adaptation, having previously worked on the scripts for Bedtime Stories, The Sorcerer's Apprentice and Race to Witch Mountain. The NY Times is skeptical about Hollywood's ability to do right by the 30-year-old game, already imagining what a director like Michael Bay would do with it: "In this $300 million, three-and-a-half hour spectacle, loud and expensive computer simulations of large boulders crashing into one another are briefly interrupted by the hilarious antics of Chip and Gravel, two living rocks with gold teeth who speak in hip-hop slang, and the nonstop shouting of John Turturro."

An anonymous reader writes "The World Trade Organization yesterday released its much-anticipated decision involving a US complaint against China over its protection and enforcement of intellectual property rights. The US quickly proclaimed victory, with newspaper headlines trumpeting the WTO panel's requirement that China reform elements of its intellectual property laws. Yet the reality is somewhat different. As Michael Geist notes, the US lost badly on key issues such as border measures and criminal IP enforcement, with the international trade body upholding the validity of China's laws."

TheSync writes "Hollywood Reporter claims that SMPTE (the Society of Motion Picture and Television Engineers) will 'establish an industry task force to define the parameters of a mastering standard for 3D content distributed via broadcast, cable, satellite, packaged media and the Internet, and played-out on televisions, computer screens and other tethered displays.' Already, Japanese Nippon BS viewers with Hyundai 3D LCD sets can watch an hour of 3D programming daily. Even your existing DLP TV set might be 3D capable today with the addition of LCD shutter glasses." Reader DaMan1970 makes note of another developing television technology; telescopic pixel displays. "Each pixel consists of 2 opposing mirrors where the primary mirror can change shape under an applied voltage. When the pixel is off, the primary & secondary mirrors are parallel & reflect all of the incoming light back into the light source."

NewYorkCountryLawyer writes "Lest there be anyone left who believes the RIAA's propaganda that its litigation campaign is intended to benefit the 'creators' of the music, Hollywood Reporter reports that the RIAA is asking the Copyright Royalty Board to lower songwriter royalties on song file downloads, from the present rate of 9 cents per song — about 13% of the wholesale price — down to 8% of wholesale. Meanwhile, the big digital music companies, such as Apple, want the royalty rate lowered even more, to something like 4% of wholesale. So any representations by any of these companies that they are concerned for the 'creators' of the music must henceforth be taken with a boxcar-load of salt."

The WTO's recent ruling on Antigua's complaint against the US over the banning of online gambling resulted in a payment to the island nation much less than they asked for. It appears, though, that this payment was just part of the WTO's compensation package for Antigua/Barbuda. Via Kotaku, the Hollywood Reporter notes that the Caribbean country can now freely ignore US copyright laws - legally. This dispensation is apparently limited to some $21 million a year. "The WTO often takes decisions awarding trade compensation in cases where one nation's policies are found to break its rules. But this is only the second time the compensation lets one country violate intellectual property laws. In this case, Antigua will -- in theory -- be allowed to distribute copies of American DVDs, CDs and games and software with impunity. 'That has only been done once before and is, I believe, a very potent weapon,' Antigua's lawyer Mark Mendel said. 'I hope that the United States government will now see the wisdom in reaching some accommodation with Antigua over this dispute.'"

njondet writes "The Hollywood Reporter reports that TF1, the French broadcaster of the hit TV show 'Heroes' has welcomed the success of its video-on-demand (VOD) offering. The service allows French internet users to watch episodes of the second season of Heroes just 24 hours after their original US broadcast. With more than 50,000 paid viewings of the first episode in three days, it is by far the most successful VOD product in France. And although these figures still pale in comparison with the estimated 1.5 million illegal downloads per episode for the first season in France, TF1 is confident that it is building a viable alternative to piracy."

Gamespot is reporting that Japanese Airlines such as Japan Airlines and ANA have banned the use of wifi-capable game devices, including the DS and PSP, over 'safety concerns'. From the article: "A law banning on gaming systems with wireless capabilities came into force on Monday, according to the Hollywood Reporter. Japan's transport ministry has concluded that the electromagnetic waves from the wireless networks can interfere with aircraft navigation systems, so it's no Nintendogs for passengers flying with Japanese airlines. The new law also bans wireless computer mice, and headphones that have not been provided by the airlines, although the use of electric razors, calculators, and cassette players is permitted, readers may be relieved to know."

Via GamePolitics, an article at the Hollywood Reporter site on the ESRB's snappy comeback to 3D Realms. You may recall Scott Miller (3D Realms' co-founder) saying a short while back that he viewed the ESRB's smackdown as a 'sucker punch'. The Reporter article lays out the ESRB's response, courtesy of the board's president Patricia Vance: "It's unfortunate that Mr. Miller's feelings were hurt, but let's be clear ... The ESRB is the self-regulatory body for the video game industry. We were established by the industry and we simply enforce the rules and guidelines that the industry has imposed upon itself. The games industry determined that there should be rules with regard to the proper display of rating information and that ESRB should enforce those rules by notifying companies who are not in compliance ... Unfortunately, due to 3D Realms' lack of experience submitting games to the ESRB, it would appear that they were unaware of the various industry guidelines in place and the consequences of not complying with those guidelines."

superstick58 writes "Reboot, one of the first CG animated TV shows is returning as a trilogy of feature-length films. This was a great cartoon for me, perhaps it also helped stimulate other developing nerds to embrace the computers that are supposedly run by these enjoyable CG characters."

flyboy974 writes "Sony BMG Music Entertainment is suing the company that developed anti-piracy software for its CDs, claiming the technology was defective and cost the record company millions of dollars to settle consumer complaints and government investigations. The software in question is the MediaMax CD protection system, widely derided as a rootkit. Sony BMG is seeking to recover some $12 million in damages from the Phoenix-based technology company, according to court papers filed July 3."

orzetto writes "Italian newspapers are reporting that the European parliament's Commitee for Legal Affairs approved an amendment presented by EMP Nicola Zingaretti (PSE, IT), that makes piracy a felony—but only if a monetary profit is made. As in the EU parliament's press release: 'Members of the Legal Affairs' committee [...] decided that criminal sanctions should only apply to those infringements deliberately carried out to obtain a commercial advantage. Piracy committed by private users for personal, non-profit purposes are therefore also excluded.' The complete proposal was passed with 23 votes in favour, 3 against and 3 abstained, and is intended to be applied to copyright, trademark, design and other IP fields, but not patent right which is explicitly excluded. The proposal has still to pass the vote of the parliament before becoming law in all EU countries, some of which (like Italy) do have criminal laws in place for non-profit file sharing. A note: Most EU countries use civil law, not common law. Translation of legal terms may be misleading."

Via GameSetWatch, a story at the Hollywood reporter site on the process of writing a videogame. From the article: "'For me, writing is like gold,' says David Perry, president of Atari's Shiny Entertainment studio. 'It saddens me a lot that many video game companies don't hire triple-A writers and that they use their game designers instead. That's why, when real writers look at video game stories, they kind of roll their eyes. But that's something that I see changing, I really do.'" This guy probably has more than a little bit to do with that.

Thanks to The Hollywood Reporter for its article discussing the ever-larger sphere of music licensing for videogames. The in-depth licensing efforts for both Sega's ESPN NFL 2K5 and Sega's Madden NFL 2005 is discussed, and EA's Steve Schnur "says that he and his team of two listen to 4,000-plus songs before deciding, for example, the 21 that will be included in "Madden NFL 2005," which. features such artists as Hoobastank, Green Day, Alter Bridge, the Hives, and New Found Glory." Analyst Edward Williams adds: "When the technology allows it, gamers will be able to play, say, a Madden game and, when they hear a song they like, they'll be able to press a button, download that song, and their account will be charged. That is almost exactly what the game publishers want to get into, but they won't comment on it now, I'm sure, because it really depends on Microsoft, Nintendo, and Sony and what their next-generation console hardware will allow."

Thanks to The Hollywood Reporter for its article discussing Warner Bros. Interactive's decision to use average review scores in calculating the royalty rates videogame makers must pay to WB. The article explains: "Games based on Warner Bros. licenses must achieve at least a 70% rating [calculated via GameRankings.com and similar services], or incur an increase in royalty rates", with WB's Jason Hall commenting: "An escalating royalty rate kicks in to help compensate us for the brand damage... the further away from 70% it gets, the more expensive the royalty rate becomes... If the publisher delivers on what they promised -- to produce a great game -- it's not even an issue." However, Bruno Bonnell, CEO of Atari, makers of Enter The Matrix, which didn't include this contract clause, comments: "We sold four million copies. That's $250 million worldwide... and Warner Bros. would penalize us because we didn't achieve 70%? Are they joking?"

Lord_Dweomer writes "The Hollywood Reporter brings us the next trick up marketers' sleeves. A new t-shirt with an 11" display and 4 stereo speakers was unveiled at E3 last week playing a trailer of the new I, Robot movie soon to be released. Unfortunately the company behind them, San Francisco based Brand Marketers, has announced that they will not be for individual sale. When will I be able to watch a movie on my sleeve?!" Update: 05/20 15:38 GMT by M : i4u writes "We just reported about Irish Adwalker which uses Xybernaut equipment for a more high-end Video T-shirt. Also we saw the brandmarketers Video T-Shirt at the Wired Nextfest 2004."

Thanks to The Hollywood Reporter for its article discussing whether digital distribution can really work for videogames. The piece focuses on NP Cube, developers of PC MMO Dark And Light, who are based on the tiny Reunion Island, east of Madagascar, and intend to distribute free versions via "a peer-to-peer site", before charging a monthly fee later. Co-founder Laurent Paret argues of online distribution: "It's so much more cost-effective than signing a contract with a publisher... One peer-to-peer company wants to charge us $300 a month to distribute 'Dark And Light.' I have no idea how they can charge so little and I'm not asking." However, Mark Jacobs of Mythic Entertainment disagrees with the approach, suggesting: "I know they think they can make up some of their development costs earlier if they distribute online [thus getting higher profit margins]... But they're sacrificing long-term profits for short-term gains."

Thanks to The Hollywood Reporter for its column discussing game companies' continuing encouragement of 'modders' for content creation purposes. Valve's Doug Lombardi points out the obvious advantages his company received from modding: "In the typical scenario, even if a game is a mega-hit, within eight to 12 months on the store shelves, it's gone. But, in the case of 'Half-Life,' our revenue stream increased year after year for the first three years of the game's life. I attribute a lot of that to three mods -- 'Day Of Defeat,' 'Team Fortress,' and 'Counter-Strike.'" It's also mentioned that modding is starting even before a game hits the shelves, since Vivendi Universal has "even licensed an outside team that is building a mod, 'Starsiege 2845,' using the [as yet publically unreleased] 'Tribes Vengeance' engine."

KD writes "During the making of the 'Rings' trilogy, Jackson and his crew upped the ante on Apple's innovative iPod storage technology, using it for filmmaking sessions during production on The Two Towers and The Return of the King. Media was transferred from Weta to Pinewood Studios in London. There Jackson then viewed the QuickTime files on an Apple Cinema Display, tied to his G4 laptop, which drew directly from his iPod. The director's setup was mirrored in New Zealand, and crew could step through shots with the help of their iPods, with Jackson's guidance piped in over a videoconferencing system. During the course of two movies and four months, 'Rings' iPods stored and served up nearly one-half terabyte of digitized footage from 'Towers' and 'King.'"

Thanks to the Hollywood Reporter for its column discussing major videogames originally due to launch in time for Christmas 2003, but which didn't quite make it. In the course of discussing these titles, which include James Bond 007: Everything Or Nothing, the article notes: "Game publishers, in general, recognize that the Christmas rush... is a huge marketing problem. This past Christmas, they say, there were too many good games coming out at the same time and quite a few didn't sell well." A spokesperson for Microsoft elaborates on this: "My prediction is we'll be spreading out the releases and shipping some in early September and others in January and February of 2005... But we can only do that with really great games that can stand on their own." Is weak sales when launching outside the holiday season a genuine problem, or just a self-perpetuating myth?

akahige writes "According to The Hollywood Reporter, Martin Freeman (The Office, Love Actually), Mos Def (Showtime, The Italian Job), and Zooey Deschanel (Big Trouble, Elf) have signed on to play Arthur, Ford, and Trillian, respectively. Stephen Moore is once again doing the voice of Marvin. No word on who's playing Zaphod (but wouldn't Eddie Izzard be great?). It worries me when they say things like, "Adams adapted his own novel for the screen. After his death, Karey Kirkpatrick came aboard for a rewrite." But it's Disney, so what do you expect? Shooting begins in April."

skillio writes "The FBI arrested one Russell Sprague in Illinois on Thursday in connection with the previously reported Carmine Caridi dvd screener leak investigation. Given the FBI's figure of up to 60 screeners a year provided by Caridi, and Sprague's clearly sophisticated setup, one can't help but wonder if this will prove to be the main, if not sole, source of these dvd screener leaks. Caridi has yet to be charged, but after he's admitted to supplying Sprague with screeners for the last 3-5 years, I highly doubt his innocence will remain unchallenged for very long."

Thanks to GameGossip for pointing to a Hollywood Reporter article revealing that German uber-producer Uwe Boll has optioned the rights to movies based on Fear Effect and Hunter: The Reckoning. Boll, who had previously claimed his planned Dungeon Siege film had "major crossover potential because of its unique blend of action and fantasy, on the order of Lord of the Rings", and is behind the House Of The Dead and Alone In The Dark movies, says Hunter: The Reckoning (originally from the White Wolf pen-and-paper RPG) will be a "hard, brutal, fast-paced ensemble film in the tradition of 'X-Men.'" Hunter will "shoot this summer in downtown Vancouver", with budgets for the 2 movies "ranging from $15 million-$25 million", but it's not known why Eidos' Fear Effect was optioned.

nurble writes "The short list of films being considered for a best visual effects Oscar was released today. The biggest news is that the final two installments of the Matrix trilogy were snubbed in favor of Universal Studios' "The Hulk," New Line Cinema's "The Lord of the Rings: The Return of the King," 20th Century Fox's "Master and Commander: The Far Side of the World," Universal's "Peter Pan," Buena Vista Pictures' "Pirates of the Caribbean: The Curse of the Black Pearl," Warner Bros. Pictures' "Terminator 3: Rise of the Machines" and Fox's "X2". Finalists will be announced following the effects "bake-off" on January 21st."

lhouk281 writes "According to this article in the Hollywood Reporter, Universal is turning Firefly into a movie. Firefly lives!" This show deserved a chance to run a full season. If this comes out, I'll sure be there opening weekend.

cfish writes "The MPAA is launching expensive 30 second TV commercials to preach about movie piracy. Featuring starving artists in the movie industry."