Slashdot Mirror

"With a $302 million international gross, Captain Marvel has earned $455 million overall to date, the largest ever global opening for a March release and the sixth highest of all-time," reports the Wrap. The superhero movie raked in $153 million just in America, reports Collider, "Suggesting that a sad, extremely vocal minority of idiots on the internet don't actually matter in the slightest."

They're referring to another Rotten Tomateos review-counting glitch Friday morning, as covered by the Hollywood Reporter: The Disney film had only been in theaters for hours on Friday when the female-driven superhero picture was torpedoed online via Rotten Tomatoes. As of 8 a.m., the film had more than 58,000 reviews. That is more than the total of audience score reviews for Avengers: Infinity War for its entire theatrical run.

Rotten Tomatoes explained in a statement to The Hollywood Reporter that a glitch was responsible for thousands of reviews showing up on the site when they shouldn't have. According to Rotten Tomatoes, it had included audience reviews given before the film was released, something which is no longer allowed.
Movieweb believes those pre-release reviews were generated by bots, suggesting a small handful of review-bombers who were attempting to amplify their impact. Yahoo Entertainment believes the attempted review-bombers were angry with the film's star "for, well, not giving a crap about what the trolls say. Perhaps that's the best superpower of all."

When asked about the attempt to review-bomb Captain Marvel, the film's star Brie Larson smilingly replied, "Oh... who cares?"

"Love what you love! Who cares what other people think?"

The U.S. Copyright Office is skeptical about Fresh Prince of Bel-Air actor Alfonso Ribeiro's ownership claim over the signature "Carlton Dance," which became famous after a 1991 episode of the Will Smith series. From a report: In correspondence last month that was surfaced on Wednesday in California federal court, Saskia Florence, a supervisory registration specialist in the Office's Performing Arts Division, told Ribeiro's attorney that registration must be refused because his claimed "choreographic work" was a "simple dance routine."

[...] Take-Two Interactive, publisher of the game NBA 2K, is now seizing upon the refusal in support of the argument that movements for the "Carlton Dance" are not protectable. Ribeiro is suing Take-Two as well as the publisher of Fortnite over special features that allow game players to have their avatars perform the dance. In a dismissal brief, Kirkland & Ellis attorney Dale Cendali makes some of the same arguments she did earlier in the week in an attempt to reject a similar lawsuit over Fortnite from the rapper 2 Milly. But there are particular contentions specifically directed at Ribeiro's claim.

This year's Sundance Film Festival opened with a new 93-minute documentary crafted entirely from archival footage of NASA's Apollo 11 mission, reports collectSpace -- including some never seen before: In the course of sourcing all of the known imagery, the National Archives (NARA) staff members made a discovery that changed the course of the project -- an unprocessed collection of 65mm footage, never before seen by the public. Unbeknownst to even the NARA archivists, the reels contained wide format scenes of the Saturn V launch, the inside of the Launch Control Center and post-mission activities aboard the USS Hornet aircraft carrier... The resulting transfer -- from which the documentary was cut -- is the highest resolution, highest quality digital collection of Apollo 11 footage in existence. "We knew that the clock was ticking, this material had been sitting around for 50 years," said director Todd Douglas Miller, commenting on the motivation behind the film scanning effort.

The other unexpected find was a massive cache of audio recordings -- more than 11,000 hours -- comprising the individual tracks from 60 members of the Mission Control team. "Apollo 11" film team members wrote code to restore the audio and make it searchable and then began the multi-year process of listening to and documenting the recordings. The effort yielded new insights into key events of the moon landing mission, as well as surprising moments of humor and camaraderie. "Much of the footage in 'Apollo 11' is, by virtue of both access and proper preservation, utterly breathtaking," wrote The Hollywood Reporter's Daniel Fienberg in his review of the film. "The sense of scale, especially in the opening minutes, sets the tone as [the] rocket is being transported to the launch pad and resembles nothing so much as a scene from 'Star Wars' only with the weight and grandeur that come from 6.5 million pounds of machinery instead of CG."

An anonymous reader quotes a report from Hollywood Reporter: Netflix has joined the membership ranks of the Motion Picture Association of America alongside the six major Hollywood studios, the top lobbying group said Tuesday, The unprecedented move -- coming on the same day that the streamer landed its first Oscar nomination for best picture -- was endorsed by Disney, Fox, Paramount, Sony, Universal and Warner Bros. It is the first time in history that a non-studio has been granted entry. It also is a defining moment for MPAA chairman-CEO Charles Rivkin 18 months into his tenure. The Netflix-MPAA union coincides with the streamer becoming a card-carrying member of the Oscar race after securing an unprecedented 15 nominations on Tuesday morning. Netflix CEO Reed Hastings and Sarandos are intent on upping the company's profile as a legitimate force in the movie business, and joining the MPAA will further that goal. Additionally, once Fox is merged with Disney, the MPAA will have one less member, meaning a loss of as much as $10 million to $12 million in annual dues. Sources say the MPAA is courting other new members as well (Amazon could be a candidate). Prior to joining the MPAA, Netflix "departed from the Internet Association -- a major industry trade group representing tech companies including Google, Amazon, and Facebook," Engadget notes. "Netflix had been a member of the internet association since 2013."

Nintendo's Reggie Fils-Aime warned that the NES Classic and SNES Classic will sell in the Americas through the holidays, but will be "gone" once they sell out. Engadget reports: If you want to walk down memory lane after that, you'll have to take advantage of the games that come with Switch Online. You might also want to tamp down your hopes for a Nintendo 64 Classic. Fils-Aime added that the existing systems are the "extent of our classic program." That wouldn't be completely surprising given that the N64 was considerably more complex than its predecessor. The executive likewise ruled out additional games for the mini NES and SNES models.

schwit1 shares a report from The Hollywood Reporter: Douglas Rain, the veteran Canadian stage actor who provided the soft and gentle voice of the rogue HAL 9000 computer for Stanley Kubrick's classic 2001: A Space Odyssey and its sequel, has died. He was 90. The first drafts of the 2001 script had HAL being voiced by a woman and was called Athena; afterward, it was decided that the computer should sound more like a man. Nigel Davenport, Martin Balsam and others were tried out -- and ruled out -- before and during filming of the 1968 sci-fi thriller.

"Well, we had some difficulty deciding exactly what HAL should sound like, and Marty just sounded a little bit too colloquially American, whereas Rain had the kind of bland mid-Atlantic accent we felt was right for the part,' Kubrick told Newsday film critic Joseph Gelmis in an interview for the 1970 book The Film Director as Superstar. Kubrick told Rain that he had made the computer "too emotional and too human." So, in late 1967, the actor flew to New York City and spent a day and a half -- about 9 1/2 hours in all -- to voice HAL. As reported on the blog 2010: The Year We Make Contact, Rain "did the recordings with his bare feet resting on a pillow, in order to maintain the required relaxed tone."

Stan Lee, who wrote and published a comic book legacy that spans from the Depression Era to the present day, who created Spider-Man, Iron Man, the Incredible Hulk and Thor, has died. He was 95. Lee was born Stanley Martin Lieber in New York City in 1922, the son of Romanian Jewish immigrants, and at the age of 17, he began work as an assistant at Timely Comics, the company that would become Marvel Comics. Filling inkwells and fetching lunch, Lee's career began just in time for Superman's 1930s debut in Action Comics #1, kicking off the history of superhero comics. From a report: Lee, who began in the business in 1939 and created or co-created Black Panther, Spider-Man, X-Men, The Mighty Thor, Iron Man, The Fantastic Four, The Incredible Hulk, Daredevil, Ant-Man and other characters, died early Monday morning in Los Angeles, a source told The Hollywood Reporter. (Joan Celia Lee, Stan's daughter, confirmed the news to TMZ.) Lee's final few years were tumultuous.

[...] On his own and through his work with frequent artist-writer collaborators Jack Kirby, Steve Ditko and others, Lee catapulted Marvel from a tiny venture into the world's No. 1 publisher of comic books and later a multimedia giant. In 2009, the Walt Disney Co. bought Marvel Entertainment for $4 billion, and most of the top-grossing superhero films of all time -- led by The Avengers' $1.52 billion worldwide take in 2012 -- featured Marvel characters. An exchange from one of Stan Lee's last interviews, which appeared last month: Interviewer: Do you feel like your legacy is secure?
Stan Lee: Absolutely.

Interviewer: What's on your wish list?
Stan Lee: That I leave everyone happy when I leave.
Interviewer: You won't leave anyone happy.
Stan Lee: Well, I don't mean happy that I left. Happy that I took the right path.
Interviewer: You always do, pop. It was just the people around you. It was never you. You were always the good guy, and there were just creeps around you, and it was this town. Never you.

bestweasel writes: The Hollywood Reporter highlights an academic paper which finds that half of the criticism aimed at director Rian Johnson over Star Wars: The Last Jedi was politically motivated. From the report: [Researcher Morten Bay's paper] titled Weaponizing The Haters: The Last Jedi and the strategic politicization of pop culture through social media manipulation, examines the online response to the movie that has come to be considered controversial amongst the larger fanbase of the franchise. Bay suggests that reputation may not be earned, and instead "finds evidence of deliberate, organized political influence measures disguised as fan arguments." He continues, "The likely objective of these measures is increasing media coverage of the fandom conflict, thereby adding to and further propagating a narrative of widespread discord and dysfunction in American society. Persuading voters of this narrative remains a strategic goal for the U.S. alt-right movement, as well as the Russian Federation."

The paper analyzes in depth the negative online reaction, which is split into three different camps: those with a political agenda, trolls and what Bay calls "real fantagonists," which he defines as genuine Star Wars fans disappointed in the movie. His findings are fascinating; "Overall, 50.9% of those tweeting negatively [about the movie] was likely politically motivated or not even human," he writes, noting that only 21.9% of tweets analyzed about the movie had been negative in the first place. "A number of these users appear to be Russian trolls," Bay writes of the negative tweets. In response to a tweet announcing the release of the paper, Last Jedi director Rian Johnson shared the tweet, adding, "Looking forward to reading it, but what the top-line describes is consistent with my experience online."

At the 70th Emmy Awards, broadcast TV was almost shut out as Netflix and HBO battled each other. The Hollywood Reporter: This year, longtime Emmy nominations leader HBO was out-nominated by Netflix. Netflix then won the most Emmys on the main telecast, with seven noms to HBO's six. But earlier, HBO won one more award than Netflix at the Creative Arts Awards ceremonies, 17 to 16. So by the time the curtain came down on the 70th Emmy Awards, technically -- and sort of poetically -- Netflix and HBO had fought to a draw. Almost all of the major content providers left with several wins to celebrate.

[...] All in all, it was a terrible night for broadcast networks -- even as NBC aired the show and two stars of the network, Saturday Night Live's Michael Che and Colin Jost, hosted. SNL won the variety sketch award for the second year in a row, and ABC's The Oscars won for best direction of a variety show (that award's winner, Glenn Weiss, stole the night with his on-stage marriage proposal), but other than that, CBS, NBC, ABC, Fox and PBS had nothing -- nothing -- to show for their work of the past year. The times have certainly changed.

Vizio is reportedly working on a way to let TV owners know when it spies on their viewing habits. According to The Verge, the company is developing a "notice program with direct notification to the class through Vizio Smart TV displays." The Hollywood Reporter first spotted the news. From the report: The news popped up in a request to extend the time needed to submit a motion for a preliminary settlement in a class action lawsuit against the company. So basically, it's possible that Vizio users will get a pop-up notification that explains what the company is doing and when. The TV company already previously settled with the Federal Trade Commission for $2.2 million in 2017, along with the agreement to get users' consent before collecting data. The company was caught in 2015 tracking users' viewing habits and demographic data, which it combined to then sell to analytics and ad companies, thereby allowing them to better target their messaging.

Doug Grindstaff, a five-time Emmy Award winner behind Star Trek's Tribble coos, communicator beeps, and Enterprise bridge door whooshes, has died at 87. The Hollywood Reporter looks back at Grindstaff's contributions to the Star Trek universe: [Grindstaff] received 14 Emmy nominations in all -- including one for Star Trek in 1967 -- and won for his editing on The Immortal in 1970, Medical Story in 1976, Police Story in 1978, Power in 1980 and Max Headroom in 1987. Working with Jack Finlay and Joseph Sorokin, Grindstaff created the background sounds and effects used on NBC's Star Trek. These sounds included red alert klaxons, the whoosh of Enterprise bridge doors opening/closing, heartbeats, boatswain whistles, sickbay scanners and communicator beeps and the acoustics that invoked phasers striking deflector shields and transporter materialization (and dematerialization).

In a 2016 interview for the Audible Range blog, Grindstaff noted that Star Trek creator Gene Roddenberry "wanted to paint the whole show [with sound] like you were painting a picture. "And he wanted sounds everywhere. One time I asked him, 'Don't you think we're getting too cartoony?' Because I felt it should be a little more dignified, but he wanted sound for everything. For example, I worked on one scene where [Dr. McCoy] is giving someone a shot. Gene says, 'Doug, I'm missing one thing. The doctor injects him and I don't hear the shot.' I said, 'You wouldn't hear a shot, Gene.' He said, 'No, no, this is Star Trek, we want a sound for it.' "So I turned around to the mixing panel and said, 'Do you guys have an air compressor?' And they did. I fired up the air compressor, squirted it for a long enough period by the mic, went upstairs, played with it a little bit and then put it in the show. And Gene loved it. So, that's how Gene was. He didn't miss nothing!" Grindstaff said he created Tribble coos by manipulating the sound of a dove.

Today Comic-Con attendees were treated to new trailers and previews for a slew of upcoming geek-friendly movies. An anonymous reader writes: Besides footage from Wonder Woman 1984, there were also trailers for DC's Aquaman movie, plus a new DC superhero franchise with a lighter tone, Shazam. (And there was also a very apocalyptic preview of Godzilla: King of the Monsters.)

Numerous celebrities were on-hand to tout their upcoming films. Johnny Depp introduced the trailer for Fantastic Beasts 2: The Crimes of Grindelwald -- in character -- while Bruce Willis and Samuel L. Jackson introduced the trailer for M. Night Shyamalan's Glass. Jamie Lee Curtis even plugged her return to the Halloween franchise 40 years after the original, revealing that her character has been waiting all these decades to kill Michael Myers after his release from prison.

TV Guide has collected most of the trailers for TV shows, including season 11 of Doctor Who, the revival of Star Wars: The Clone Wars, and new seasons of Marvel's Iron Fist and Fear the Walking Dead. There was apparently also a trailer for Marvel's mutant series The Gifted -- and a preview for the 30th season of The Simpsons featuring this Halloween's "Treehouse of Horror XXIX", which includes a parody of Invasion of the Body Snatchers.

The 2nd Circuit denies an immediate appeal in a case that challenges how news organizations used embedded photos of Tom Brady. The Hollywood Reporter: Back in February, a New York judge caused a bit of a freakout by issuing a copyright decision regarding the embedding of a copyrighted photo of NFL superstar Tom Brady. Now comes another surprise with potentially big ramifications to the future of embedding and in-line linking: The 2nd Circuit Court of Appeals has denied an interlocutory appeal. Justin Goldman is the plaintiff in the lawsuit after finding the photo of the New England Patriots quarterback he shot and uploaded to Snapchat go viral. Many news organizations embedded social media posts that took Goldman's photo in stories about whether the Boston Celtics would recruit NBA star Kevin Durant with Brady's assistance. Breitbart, Heavy, Time, Yahoo, Vox Media, Gannett Company, Herald Media, Boston Globe Media Partners and New England Sports Network were defendants in the lawsuit, but many of these companies have since settled.

Heavy has not, and in February, U.S. District Court Judge Katherine Forrest shocked many legal observers with a decision that refused to apply the "Server Test," where the direct liability of a website publisher for copyright infringement turns on whether the image is hosted on the publisher's own server or is embedded or linked from a third-party server. Although the Server Test has been adopted in other jurisdictions, Forrest wrote, "The plain language of the Copyright Act, the legislative history undergirding its enactment, and subsequent Supreme Court jurisprudence provide no basis for a rule that allows the physical location or possession of an image to determine who may or may not have 'displayed' a work within the meaning of the Copyright Act." She added, "Nowhere does the Copyright Act suggest that possession of an image is necessary in order to display it. Indeed, the purpose and language of the Act support the opposite view."

AT&T recently acquired HBO, as part of the Time Warner acquisition, "and it is already considering an overhaul that would see HBO produce more video that can compete for the attention of smartphone users," reports Ars Technica. "AT&T wants to boost revenue both in advertising and subscriptions, even if that means upending HBO's longtime strategy of producing a relatively small number of high-quality shows."

At a recent corporate town hall meeting, John Stankey, the longtime AT&T executive and new head of Warner Media, laid out the challenges and opportunities he saw for the network to around 150 employees. He said, in part: "It's going to be a tough year. It's going to be a lot of work to alter and change direction a little bit. [...] You will work very hard, and this next year will -- my wife hates it when I say this -- feel like childbirth... You'll look back on it and be very fond of it, but it's not going to feel great while you're in the middle of it. She says, 'What do you know about this?' I just observe, 'Honey. We love our kids.'" Audio of the meeting was obtained by The New York Times. From the report: The talk, held at HBO headquarters in New York City, was hosted by HBO CEO Richard Plepler. HBO must compete with smartphones for people's attention, Stankey said in this exchange with Plepler: "We need hours a day," Mr. Stankey said, referring to the time viewers spend watching HBO programs. "It's not hours a week, and it's not hours a month. We need hours a day. You are competing with devices that sit in people's hands that capture their attention every 15 minutes." Continuing the theme, he added: "I want more hours of engagement. Why are more hours of engagement important? Because you get more data and information about a customer that then allows you to do things like monetize through alternate models of advertising as well as subscriptions, which I think is very important to play in tomorrow's world."

Slashdot reader Dave Knott brings news: Steve Ditko, the legendary comics artist best known for co-creating Spider-Man and Doctor Strange, has died at age 90. No cause of death was announced.
Neil Gaiman posted on Twitter, "I know I'm a different person because he was in the world." Entertainment Weekly reports: Ditko's most enduring characters were created during his tenure at Marvel Comics, where he worked alongside editor-in-chief Stan Lee to develop the look of Spider-Man in 1961. Jack Kirby had previously taken a swing at the webslinger, but Lee was unconvinced by that artist's interpretation of the now-iconic character.

When Spider-Man -- whose red-and-blue costume, Spidey senses, and web-shooters all came directly from Ditko -- first appeared within the pages of Amazing Fantasy No. 15, the friendly neighborhood superhero proved a surprisingly massive hit for Marvel Comics, paving the way for a solo comic series titled The Amazing Spider-Man. Ditko's influence on Spider-Man was tremendous, his often dark sensibilities informing an at-the-time rare superhero whose life was often worsened and trauma-filled as a consequence of his good deeds. The artist additionally helped conceive many of the most memorable members of Spidey's rogues' gallery, including Green Goblin, Doctor Octopus, Vulture, and the Lizard...

Two years later, Ditko delivered another Marvel icon by creating Doctor Strange, the mystical Sorcerer Supreme who furthered the comic book empire's reach into more cosmic, even psychedelic realms... As a freelancer, he continued contributing to Marvel and created cult-favorite character Squirrel Girl for them in 1992.

Zorro shares a report from The Hollywood Reporter: To borrow one of Han Solo's lines from Star Wars: The Force Awakens, "That's not how the Force works!" It's an apt way to sum up the troubled performance of Solo: A Star Wars Story. In one of the biggest box-office surprises in recent times, Solo is badly underperforming and will become the first of the Star Wars movies made by Disney and Lucasfilm to lose money. Wall Street analyst Barton Crockett says Solo will lose more than $50 million. Industry financing sources, however, say that figure could come in at $80 million or higher, although no one knows the exact terms of Disney's deals for home entertainment and television, among other ancillary revenues.

MoviePass has changed its terms of service to prevent subscribers from seeing the same movie more than once. First spotted by iMore, the new limitation will apply to all subscribers, new and existing. MoviePass' website says, "We recently updated our Terms of Service to reflect that MoviePass subscribers are only permitted to see a select movie in theaters once with your MoviePass. We hope this will encourage you to see new movies and enjoy something different!" Engadget reports: This isn't the first time the company has done this, however. It limited users to seeing titles just once in its earlier days as well and CEO Mitch Lowe said the rule's reinstatement is to cut down on fraud. "When we took that policy down, we saw some people turning MoviePass into a cottage industry, standing in front of a theater selling their tickets to Star Wars, or whatever," he told The Hollywood Reporter. Lowe also said that new features are in the works including couples plans and options that include 3D and IMAX movies.

An anonymous reader quotes Syfy.com: There's a new documentary warning about the perils of artificial intelligence out there, and Elon Musk wants you to see it. So much so that he's making it available to stream for free this weekend. The documentary -- Do You Trust This Computer? -- explores the rise of machine intelligence and its possible consequences... Check out the trailer, and then proceed to be creeped way the hell out.... "It's a subject that I feel we should be paying close attention to," said Musk in a news release. "I think it's important that a lot people see this movie, so I'm paying for it to be seen to the world for free this weekend."
Musk attended the premier of the film with the creator of HBO's Westworld, and tweeted Saturday that the video had 5 million views in just 36 hours.

Musk himself is interviewed in the film, warning of the dire possibility of "an immortal dictator from which we can never escape."

Netflix has been banned from competing in the Cannes Film Festival, according to a report from The Hollywood Reporter. "Theirry Fremaux, the head of Cannes, told THR last week the ban is because Netflix refuses to release its films in theaters, choosing instead to debut them on its streaming service and, in some rare cases, do day-and-date releases so the film can be seen both online and off," reports The Verge. From the report: In the case of Bong Joon-ho's Okja and Noah Baumbach's The Meyerowitz Stories -- films that were entered into last year's Cannes to widespread protest from French filmmakers -- Netflix was unable to secure last-minute permits for one-week theatrical releases due to French media regulations. "Last year, when we selected these two films, I thought I could convince Netflix to release them in cinemas. I was presumptuous, they refused," Fremaux told THR. "The Netflix people loved the red carpet and would like to be present with other films. But they understand that the intransigence of their own model is now the opposite of ours." Starting with this year's Cannes, which takes place in May, films screened in competition will need to have a French theatrical release. Netflix is still allowed to show films at Cannes, Fremaux added, but its films will not be eligible for the prestigious Palme d'Or.

"William Shatner is alive and well -- in fact, he turned 87 on Thursday, so the actor was not pleased when he saw an ad on Facebook sharing a story about his alleged death," writes the Hollywood Reporter. An anonymous reader quotes People: "@WilliamShatner I thought you might want to know you're dead," a Twitter user wrote, along with a screenshot of the ad. Less than a half hour later, Shatner posted his own message calling out the social media company for spreading the phony news... "Thought you were doing something about this?" he wrote. Several hours after Shatner's tweet, Facebook's director of product management Rob Leathern messaged the actor to let him know that the ad had been removed. "Thank you," Shatner replied. "I'm not planning on dying so please continue to block those kinds of ads..." Fortunately, Shatner's in good company when it comes to celebrity death hoaxes... News of Sylvester Stallone's fake death originally began circulating on Facebook in 2016.
In late 2016 Mark Zuckerberg posted that "We take misinformation seriously..." while adding that "we know people want accurate information. We've been working on this problem for a long time and we take this responsibility seriously." Ironically, that announcement appeared next to a similar fake ad announcing that Hugh Hefner was dead, though at the time Hefner was very much alive.

"We've made significant progress," Zuckerberg's post continued, "but there is more work to be done."

In a move to lure new subscribers, MoviePass has dropped the price of its monthly subscription service from about $10 per month to just under $7. From a report: The company said for $6.95 per month, new subscribers will get one movie ticket per day, a minor catch being that users must pay for a year up-front. There is also a one-time $6.55 processing fee. It's the umpteenth time that MoviePass has changed its price since launching six years ago at $40 per month (before raising it to $50), most significantly eight months ago when it was cut to just $9.95. The change had the desired effect, as subscribers swelled from 20,000 then to nearly 3 million today. Still, MoviePass is not without its critics, as some theater chains -- most notably AMC -- have criticized the service for allegedly cheapening the moviegoing experience. Also, industry executives worry that MoviePass cannot survive (it pays mostly full price for the movie tickets its subscribers use) and wonder if users that are left in the lurch when it folds will ever want to pay $9 (the average price in the U.S.) per ticket again.

HBO has released the first trailer of its film adaptation of Ray Bradbury's best-selling 1953 dystopian tale, Fahrenheit 451, which depicts a time period where history is outlawed and "firemen" burn books. The Hollywood Reporter reports: In the Ramin Bahrani-directed film, Michael B. Jordan stars as Guy Montag, a fireman who comes to question his role in enforcing the state's censorship laws, and in so doing finds himself at odds with his "mentor," Beatty (Michael Shannon). "By the time you guys grow up, there won't be one book left," Jordan is shown telling a group of students. Throughout the trailer, a reel of destruction is shown as Beatty's voiceover warns that "a little knowledge is a dangerous thing." "We are not born equal, so we must be made equal by the fire," Beatty explains. Jordan will also serve as the film's executive producer. Sofia Boutella, Martin Donovan, Laura Harrier, Keir Dullea, Jane Moffat and Grace Lynn Kung also star.

leathered writes: Jeff Bezos today announced that Amazon Studios has picked up the rights to adapt the late Iain M. Bank's acclaimed Culture novels to the small screen, beginning with the first in the series, Consider Phlebas. This comes after nearly three decades of attempts to bring Banks' utopian, post-scarcity society to film or television. A huge fan of the Culture series is Elon Musk, whose SpaceX drone ships are named after Culture space vessels. Here's how Amazon describes Consider Phlebas: "a kinetic, action-packed adventure on a huge canvas. The book draws upon the extraordinary world and mythology Banks created in the Culture, in which a highly advanced and progressive society ends up at war with the Idirans, a deeply religious, warlike race intent on dominating the entire galaxy. The story centers on Horza, a rogue agent tasked by the Idirans with the impossible mission of recovering a missing Culture 'Mind,' an artificial intelligence many thousands of times smarter than any human -- something that could hold the key to wiping out the Culture altogether. What unfolds, with Banks' trademark irreverent humor, ultimately asks the poignant question of how we can use technology to preserve our humanity, not surrender it."

An anonymous reader quotes a report from The Hollywood Reporter: [I]n the first significant decision referring to the repeal [of net neutrality] since FCC chairman Ajit Pai got his way, a New York judge on Friday ruled that the rescinding of net neutrality rules wasn't relevant to an ongoing lawsuit against Charter Communications. New York Attorney General Eric Schneiderman filed the lawsuit almost exactly a year ago today. It's alleged that Charter's Spectrum-TWC service promised internet speeds it knew it couldn't deliver and that Spectrum-TWC also misled subscribers by promising reliable access to Netflix, online content and online games. According to the complaint, the ISP intentionally failed to deliver reliable service in a bid to extract fees from backbone and content providers. When Netflix wouldn't pay, this "resulted in subscribers getting poorer quality streams during the very hours when they were most likely to access Netflix," and after Netflix agreed to pay demands, service "improved dramatically." This arguably is the kind of thing that net neutrality was supposed to prevent. And Charter itself pointed to the net neutrality repeal in a bid to block Schneiderman's claims that Charter had engaged in false advertising and deceptive business practices. New York Supreme Court Justice O. Peter Sherwood isn't sold.

He writes in an opinion that the FCC's order "which promulgates a new deregulatory policy effectively undoing network neutrality, includes no language purporting to create, extend or modify the preemptive reach of the Transparency Rule," referring to how ISPs have to disclose "actual network performance." And although Charter attempted to argue that the FCC clarified its intent to stop state and local governments from imposing disclosure obligations on broadband providers that were inconsistent with FCC's rules, Sherwood notes other language from the "Restoring Internet Freedom Order" how states will "continue to play their vital role in protecting consumers from fraud, enforcing fair business practices... and generally responding to consumer inquiries and complaints."

The Wixen Music Publishing company, which administers song compositions by Tom Petty, Dan Auerbach, Rivers Cuomo, Stevie Nicks, Neil Young, and others, has hit Spotify with a copyright lawsuit seeking $1.6 billion in damages. The publishing company filed the lawsuit on December 29, alleging the streaming giant is using Petty's "Free Fallin" and tens of thousands of other songs without license or compensation. SPIN reports: Back in September, Wixen objected to a $43 million settlement Spotify had arranged over another class action lawsuit brought by David Lowery (of Cracker and Camper van Beethoven) and Melissa Ferrick, stating it was "procedurally and substantively unfair to Settlement Class Members because it prevents meaningful participation by rights holders and offers them an unfair dollar amount in light of Spotify's ongoing, willful copyright infringement of their works." A judge has yet to rule on that settlement, and in the meantime, Wixen has moved to file its own lawsuit, which purports "as much as 21 percent of the 30 million songs on Spotify are unlicensed," according to The Hollywood Reporter.

"Spotify brazenly disregards United States Copyright law and has committed willful, ongoing copyright infringement," the complaint reads. "Wixen notified Spotify that it had neither obtained a direct or compulsory mechanical license for the use of the Works. For these reasons and the foregoing, Wixen is entitled to the maximum statutory relief."

An anonymous reader quotes the Hollywood Reporter: Looking at the most-ordered comic books in the North American comic market, DC Entertainment had a particularly strong year, with seven of the top 10 issues of the year being published by the home of Superman, Batman and the Justice League... just three years ago, not one DC title made it to the list, with nine titles coming from Marvel alone. (By comparison, Marvel takes just three places this year, with one of those due to its inclusion in a subscription mystery box service)... Perhaps surprisingly, the big winner of 2017 looking at the top 10 list is DC's crossover between its DC Universe and Watchmen properties. The first issue of the Doomsday Clock series charted third â" and could end up higher on the final list for the year, depending on re-order numbers in December â" but all four issues of the prologue storyline "The Button," from summer issues of Batman and The Flash, also made it into the top 10.

it's worth noting that, across the board, order numbers for comics in the North American market fell 10 percent compared with last year. The market is shrinking, unless something turns it around soon... One last thing to note about the year's top 10, and also the comic market as it currently exists in general: It's probably time to stop pretending that mass media projects significantly impact comic book orders. In a year with Justice League, Wonder Woman, Guardians of the Galaxy Vol. 2, Logan, Thor: Ragnarok and Spider-Man: Homecoming in theaters, there isn't a Justice League, Wonder Woman, Guardians of the Galaxy, Wolverine, Thor or Spider-Man title in the top 10. Indeed, Marvel has just canceled the Guardians of the Galaxy comic book series.
Mavel had the most-ordered comic book of the year -- Marvel Legacy No. 1 -- though the article notes that all of its numbers are inevitably skewed by "ordering incentives put in place by publishers that require that a certain number of copies are ordered by stores in order to achieve a specific discount."

An anonymous reader quotes the Hollywood Reporter: Looking at the most-ordered comic books in the North American comic market, DC Entertainment had a particularly strong year, with seven of the top 10 issues of the year being published by the home of Superman, Batman and the Justice League... just three years ago, not one DC title made it to the list, with nine titles coming from Marvel alone. (By comparison, Marvel takes just three places this year, with one of those due to its inclusion in a subscription mystery box service)... Perhaps surprisingly, the big winner of 2017 looking at the top 10 list is DC's crossover between its DC Universe and Watchmen properties. The first issue of the Doomsday Clock series charted third â" and could end up higher on the final list for the year, depending on re-order numbers in December â" but all four issues of the prologue storyline "The Button," from summer issues of Batman and The Flash, also made it into the top 10.

it's worth noting that, across the board, order numbers for comics in the North American market fell 10 percent compared with last year. The market is shrinking, unless something turns it around soon... One last thing to note about the year's top 10, and also the comic market as it currently exists in general: It's probably time to stop pretending that mass media projects significantly impact comic book orders. In a year with Justice League, Wonder Woman, Guardians of the Galaxy Vol. 2, Logan, Thor: Ragnarok and Spider-Man: Homecoming in theaters, there isn't a Justice League, Wonder Woman, Guardians of the Galaxy, Wolverine, Thor or Spider-Man title in the top 10. Indeed, Marvel has just canceled the Guardians of the Galaxy comic book series.
Mavel had the most-ordered comic book of the year -- Marvel Legacy No. 1 -- though the article notes that all of its numbers are inevitably skewed by "ordering incentives put in place by publishers that require that a certain number of copies are ordered by stores in order to achieve a specific discount."

Combined, Disney and Lucasfilm's Star Wars: The Last Jedi, Rogue One: A Star Wars Story and Star Wars: The Force Awakens have surpassed $4.06 billion in ticket sales at the worldwide box office. That's more than what Disney paid to buy George Lucas' Star Wars franchise. From the Hollywood Reporter: While an interesting benchmark, it doesn't, of course, account for the hundreds of millions spent to produce and market the trio of films, or the fact that Disney splits box-office grosses with theater owners. Conversely, Disney has minted additional money from lucrative ancillary revenue streams, merchandising sales and theme park attractions. Opening in North America on Dec. 15, The Last Jedi zoomed past the $900 million mark on Thursday, finishing the day with $934.2 million globally, including $464.6 million domestically and $469.6 internationally (it doesn't land in China until Jan. 5). The sequel to The Force Awakens was directed by Rian Johnson, and has dominated the Christmas corridor. The Last Jedi will jump the $1 billion mark over New Year's weekend on its way to becoming the top-grossing 2017 release, eclipsing the $1.264 billion earned by fellow Disney title Beauty and the Beast. In December 2015, filmmaker J.J. Abrams' The Force Awakens shattered numerous records on its way to grossing $2.068 billion globally, including an all-time best $936.7 million in North America, not accounting for inflation.

Quentin Tarantino reportedly has a pitch for a Star Trek film, and he has shared his vision with J.J. Abrams. According to Hollywood Reporter, "Tarantino and Abrams have plans to bring together a writers room to develop a film at Star Trek studio Paramount. Tarantino has an eye to direct the potential project." From the report: Abrams rebooted the franchise with 2009's Star Trek and also helmed 2013's Star Trek Into Darkness, before pivoting to Lucasfilm's Star Wars: The Force Awakens. He remains a producer on the Star Trek franchise even as he readies 2019's Star Wars: Episode IX. Paramount previously stated it was developing a fourth Star Trek film to star Chris Hemsworth as Captain Kirk's (Chris Pine) father, but no director has been attached and it's unclear where this Tarantino development leaves the project. The latest installment, Justin Lin's Star Trek Beyond (2016), was well-liked by critics but earned just $343.4 million worldwide, the lowest in the rebooted universe. In a 2015 Nerdist podcast interview, Tarantino revealed that he would be more likely to direct a Star Trek film over a Star Wars pic, noting he was a big fan of the original series.

phalse phace writes: During CBS's Thursday evenings conference call for their 3rd quarter earnings, CEO Leslie Moonves revealed that CBS was planning to reboot the classic fantasy science-fiction television series "The Twilight Zone." According to the Hollywood Reporter, "the show hails from Jordan Peele's Monkeypaw banner, with Marco Ramirez set to pen the script and serve as showrunner." This wouldn't be the first time CBS has brought the show back. "The network revived the series in the 1980s that ran for three seasons and again in 2002 for a season on UPN with host Forest Whitaker. The franchise has also been licensed to a new stage play set to premiere in December at the Almeida Theatre in London and run through January. The original series won three Emmys during its 156-episode run and explored topics including humanity's hopes, despairs, prides and prejudices."

schwit1 quotes the Hollywood Reporter: John Mollo, the costume designer who brought to life Ralph McQuarrie and George Lucas' conceptual vision for Star Wars, has died. He was 86... "We discussed a few concepts when I joined the team, and George Lucas had a clear vision of what he was looking for. He liked the idea of the baddies having a fascist look about them, with the heroes reflecting the look of heroes of the American Wild West," he told www.starwarshelmets.com.

With McQuarrie's sketches and a meager budget of $1,173 for one costume, the London-born Mollo began shaping and fine-tuning Darth Vader's image through his knowledge of World War 1 trench armour and Nazi helmets, ultimately creating the look of one cinema's most memorable villains. His military influence is also visible in the regalia worn by the crew of the Death Star.
Working on Ridley Scott's Alien, " Molloâ(TM)s focus was to create used and well-worn clothing for the crew of the Nostromo on their long return trip to Earth as well as designing the patches and emblems emblazoned across their suits."

Verizon announced on Thursday that its FiOS video service lost 18,000 net pay TV subscribers in the third quarter, compared with the addition of 36,000 subscribers in the year-ago period and 15,000 subscriber drop in the second quarter. Hollywood Reporter reports: The company said the drop in the latest quarter was "reflecting the ongoing shift from traditional linear video to over-the-top offerings." Verizon, led by chairman and CEO Lowell McAdam, ended the third quarter with a total of 4.6 million subscribers to its FiOS video service, which competes with cable and satellite TV companies. Asked about a planned over-the-top (OTT) TV service from Verizon, Ellis said that the company continues to feel that "there's an opportunity for us to play," but signaling a delay, he emphasized that the company "doesn't want to launch a me-too product." He didn't provide any guidance on when the OTT service would launch, saying that was still "TBD" (to be determined), or what content it could offer beyond saying it was likely to be built "around live programming." Verizon also reported Thursday that it added 66,000 net new FiOS broadband connections in the third quarter to end it with 5.8 million.

In a recent essay published on the Hollywood Reporter, Martin Scorsese inveighs against two conjoined trends -- the widespread reporting of box-office results and the grading of movies by consumers on CinemaScore and by critics on Rotten Tomatoes -- and blames it for "a tone that is hostile to serious filmmakers." In particular, he contends that this hostile environment is worsening "as film criticism written by passionately engaged people with actual knowledge of film history has gradually faded from the scene." Richard Brody, a movie critic at the New Yorker, thinks Scorsese is missing the mark. He writes: I think that film criticism is, over all, better than ever, because, with its new Internet-centrism, it's more democratic than ever and many of the critics who write largely online are more film-curious than ever. Anyone who is active on so-called Film Twitter -- who sees links by critics, mainly younger critics, to his or her work -- can't help but be impressed by the knowledge, the curiosity, and the sensibility of many of them. Their tastes tend to be broader and more daring than those of many senior critics on more established publications. And, even if readers of the wider press aren't reading these more obscure critics, the critics whom general readers read are often reading those young critics (and if they're not, it shows). This is, of course, not universally so, any more than it ever was. The Internet is democratic in all directions -- it's also available to writers of lesser knowledge, duller taste, and dubious agendas, and it may be their work that's advertised most loudly -- but the younger generation of critics is present online and there for the finding. [...] What Scorsese doesn't exactly say, but what, I think, marks a generation gap in movie thinking that his essay reflects, is the appearance of an increasing divide between artistically ambitious films and Hollywood films -- the gap between the top box-office films and the award winners. For filmmakers ready to work on lower budgets, the gap is irrelevant. The filmmakers whose conceptions tend toward the spectacular are the ones whose styles may, literally, be cramped by shrinking budgets -- filmmakers such as Scorsese and Wes Anderson, whose work has both an original and elaborate sense of style and a grand historical reach.

Customers who paid $99.99 to watch the Conor McGregor-Floyd Mayweather fight are suing Showtime due to the quality of their stream and buffering issues. From a report via Hollywood Reporter: Portland, Ore., boxing fan Zack Bartel paid to stream the fight in high-definition through the Showtime app but says all he saw was "grainy video, error screens, buffer events, and stalls." Bartel is suing Showtime for unlawful trade practices and unjust enrichment, alleging the network rushed its pay-per-view streaming service to the market without securing the bandwidth necessary to support the scores of cable-cutting fans. The complaint, which is largely composed of screenshots and tweets, is seeking for each member of the class actual damages or $200 in statutory damages, whichever is greater. The proposed class includes Oregon consumers who viewed Showtime's app advertisement on iTunes and paid $99.99 to stream the fight, but were unable to view the fight live on the app "in HD at 1080p resolution and at 60 frames per second, and who experienced ongoing grainy video, error screens, buffer events, and stalls instead." Showtime senior vp sports communications director, Chris DeBlasio, says: "We have received a very limited number of complaints and will issue a full refund for any customer who purchased the event directly from Showtime and were unable to receive the telecast." DeBlasio recommends users contact their cable or satellite provider if they experienced any issues.

Lesley Goldberg, writing for The Hollywood Reporter: Two years after signing off CBS' The Late Show, David Letterman is returning to the small screen. The longest-serving host in U.S. late-night TV history is set to topline a new talk show for Netflix. The untitled six-episode series will premiere in 2018. Unlike The Late Show, each hourlong episode of the Netflix series will be prerecorded and feature Letterman conducting longform conversations with a singular guest as well as exploring topics on his own -- outside of the studio. A guest list has not yet been revealed. "I feel excited and lucky to be working on this project for Netflix. Here's what I have learned, if you retire to spend more time with your family, check with your family first. Thanks for watching, drive safely," Letterman said.

Maggie Haberman, Michael D. Shear, and Glenn Thrush reporting for The New York Times: President Trump has decided to remove Anthony Scaramucci from his position as communications director (Editor's note: the link could be paywalled; alternative source), three people close to the decision said Monday, relieving him just days after Mr. Scaramucci unloaded a crude verbal tirade against other senior members of the president's senior staff. Mr. Scaramucci's abrupt removal came just 10 days after the wealthy New York financier was brought on to the West Wing staff, a move that convulsed an already chaotic White House and led to the departures of Sean Spicer, the former press secretary, and Reince Priebus, the president's first chief of staff. From a report: Anthony Scaramucci will be leaving his role as White House Communications Director," the statement read. "Mr. Scaramucci felt it was best to give Chief of Staff John Kelly a clean slate and the ability to build his own team. We wish him all the best." Press secretary Sarah Huckabee Sanders is scheduled to brief the press corps, on-camera, at 12:45 pm PST. Scaramucci was given the job on Friday, June 21, and by Thursday, July 27, became something of a national laughingstock when The New Yorker reported his profanity-laced conversation with the magazine's Washington correspondent the night before. He was hired by the president to take charge of a communications operation in disarray, and his hiring coincided with the departure of White House press secretary Sean Spicer. Scaramucci, in his conversation with The New Yorker's Ryan Lizza, was extremely critical of White House chief strategist Steve Bannon and predicted, correctly, that then-chief of staff Reince Priebus would be removed from his position. Following the publication of Lizza's article, it became an open question in Washington whether Scaramucci would keep his job.

From a report: 'Guardians of the Galaxy,' 'Avengers: Age of Ultron' and 'Beauty and the Beast' are now under the microscope for use of facial capture technology. Upping the stakes over a technology called "performance motion capture," Rearden LLC is going after The Walt Disney Company in a lawsuit filed this week. The plaintiff, a firm incubated by Silicon Valley entrepreneur Steve Perlman, is demanding an injunction prohibiting Disney from distributing Guardians of the Galaxy, Avengers: Age of Ultron and Beauty and the Beast. The new lawsuit comes a year after Rearden scored a startling injunction against two Chinese firms that purchased allegedly stolen technology known as MOVA, which was being licensed by Digital Domain 3.0. At the time, some legal observers were reading the ruling as notice to Hollywood studios that the facial motion capture technology was out of play. According to Rearden's latest lawsuit in California federal court, Disney didn't listen. "Disney used the stolen MOVA Contour systems and methods, made derivative works, and reproduced, distributed, performed, and displayed at least Guardians of the Galaxy, Avengers: Age of Ultron, and Beauty and the Beast, in knowing or willfully blind violation of Rearden Mova LLC's intellectual property rights."

Reader McGruber writes: The Hollywood Reporter has the sad news that Joan Lee, the wife of Marvel Comics legend Stan Lee, died Thursday in Los Angeles. She was 95. In an earlier story, Stan described meeting Joan: "When I was young, there was one girl I drew; one body and face and hair. It was my idea of what a girl should be. The perfect woman. And when I got out of the Army, somebody, a cousin of mine, knew a model, a hat model at a place called Laden Hats. He said, 'Stan, there's this really pretty girl named Betty. I think you'd like her. She might like you. Why don't you go over and ask her to lunch.' Blah, blah, blah. "So I went up to this place. Betty didn't answer the door. But Joan answered, and she was the head model. I took one look at her -- and she was the girl I had been drawing all my life. And then I heard the English accent. And I'm a nut for English accents! She said, 'May I help you?' And I took a look at her, and I think I said something crazy like, 'I love you.' I don't remember exactly. But anyway, I took her to lunch. I never met Betty, the other girl. I think I proposed to [Joan] at lunch." After marrying, the couple returned to New York, where Lee worked at Marvel Comics forerunner Timely/Atlas Comics, a job he initially landed because his cousin Martin Goodman owned the company. Comics were a middling enterprise until Lee and Jack Kirby co-created the Fantastic Four in 1961 (followed by the Hulk, Avengers, Iron Man, X-Men and other characters) and turned the company, renamed Marvel Comics, into a pop culture powerhouse. In some versions of the origin of the Fantastic Four, Lee credits Joan with inspiring him. He was depressed about his career (Lee had dreams of becoming a serious novelist) and the state of comics (the industry in the 1950s was dominated by stories of war, science fiction and romance, genres he didn't like) and contemplated leaving the business. "Before you quit," Joan told him, "why don't you write one comic you are proud of?" And thus was born the Fantastic Four.

Reader McGruber writes: The Hollywood Reporter has the sad news that Joan Lee, the wife of Marvel Comics legend Stan Lee, died Thursday in Los Angeles. She was 95. In an earlier story, Stan described meeting Joan: "When I was young, there was one girl I drew; one body and face and hair. It was my idea of what a girl should be. The perfect woman. And when I got out of the Army, somebody, a cousin of mine, knew a model, a hat model at a place called Laden Hats. He said, 'Stan, there's this really pretty girl named Betty. I think you'd like her. She might like you. Why don't you go over and ask her to lunch.' Blah, blah, blah. "So I went up to this place. Betty didn't answer the door. But Joan answered, and she was the head model. I took one look at her -- and she was the girl I had been drawing all my life. And then I heard the English accent. And I'm a nut for English accents! She said, 'May I help you?' And I took a look at her, and I think I said something crazy like, 'I love you.' I don't remember exactly. But anyway, I took her to lunch. I never met Betty, the other girl. I think I proposed to [Joan] at lunch." After marrying, the couple returned to New York, where Lee worked at Marvel Comics forerunner Timely/Atlas Comics, a job he initially landed because his cousin Martin Goodman owned the company. Comics were a middling enterprise until Lee and Jack Kirby co-created the Fantastic Four in 1961 (followed by the Hulk, Avengers, Iron Man, X-Men and other characters) and turned the company, renamed Marvel Comics, into a pop culture powerhouse. In some versions of the origin of the Fantastic Four, Lee credits Joan with inspiring him. He was depressed about his career (Lee had dreams of becoming a serious novelist) and the state of comics (the industry in the 1950s was dominated by stories of war, science fiction and romance, genres he didn't like) and contemplated leaving the business. "Before you quit," Joan told him, "why don't you write one comic you are proud of?" And thus was born the Fantastic Four.

Five years later and it appears Warner Bros. and the estate of author J.R.R. Tolkien have settled their lawsuit over the digital exploitation of The Hobbit and The Lord of the Rings. "The Tolkien Estate and book publisher HarperCollins filed a $80 million lawsuit in 2012 alleging that Warners, its New Line subsidiary and Rings/Hobbit rightsholder Saul Zaentz Co. infringed copyright and breached contract by overstepping their authority," reports Hollywood Reporter. "The plaintiffs claimed that a decades-old rights agreement entitled the studio to create only 'tangible' merchandise based on the books, not other digital exploitations that the estate called highly offensive." From the report: The lawsuit brought the two sides into a new battle. Previously, New Line and the Tolkien Estate had fought over profit participation, coming to a deal in 2009 pegged as being worth more than $100 million. As Warner Bros. readied a Peter Jackson big-screen adaptation of The Hobbit, the Tolkien Estate began investigating digital exploitations when its attorney received a spam e-mail about the Lord of the Rings: The Fellowship of the Ring: Online Slot Game. The subsequent complaint filed in court talked about irreparable harm to Tolkien's legacy and reputation from the prospect of everything from online games to housing developments. In reaction, Warner Bros. filed counterclaims, alleging that repudiation of a 1969 contract and 2010 regrant caused the studio to miss out on millions in Hobbit licensing and decreased exposure to the Jackson films. Warners contended that digital exploitations was both customary and within its scope of rights. Those counterclaims became the subject of a side fight over whether Warners could sue for being sued. The 9th Circuit Court of Appeals agreed that Warner Bros. had properly asserted contract claims.

Rumors are true. Nintendo is gearing up to launch the SNES Classic, a miniaturized version of the glorious original Super Nintendo Entertainment System. The console will include 21 games when it launches September 29. A report adds: Among the big surprises: a never-before released Star Fox 2 is in the mix. Here's the full list of games: Super Mario World, Super Mario Kart, The Legend of Zelda: A Link to the Past, F-Zero, Super Metroid, Super Street Fighter II Turbo: Hyper Fighting, Super Punch Out, Super Castlevania IV, Donkey Kong Country, Mega Man X, Kirby Super Star, Final Fantasy III, Kirby's Dream Course, Star Fox, Super Mario World 2: Yoshi's Island, Super Mario RPG: Legend of the Seven Stars, Contra III: The Alien Wars, Secret of Mana, EarthBound, and Super Ghouls 'n Ghosts. It will retail at a price point of $80.

Two days after directors Phil Lord and Chris Miller were let go in the middle of shooting the Star Wars Han Solo spinoff movie, the spot has been filled. Ron Howard has been named the new direct of Lucasfilm and Disney's Han Solo movie, according to The Hollywood Reporter. From the report: Howard, sources tell The Hollywood Reporter, will meet with the actors -- Alden Ehrenreich is playing the iconic smuggler, Donald Glover is playing Lando Calrissian, with Woody Harrelson, Emilia Clarke and Thandie Newton also on the roll call -- to soothe a rattled set and will pore over a rough edit to see what the project needs. Filming will resume on July 10. Howard, who directed 1995's Apollo 13 and won an Oscar for helming 2002's A Beautiful Mind, comes to the Han Solo film with several connections to George Lucas and the worlds of Lucasfilm. He appeared in Lucas' 1973 breakout film American Graffiti and helmed Lucas' 1988 pet fantasy project Willow. Howard also revealed on a podcast in 2015 that Lucas had approached him to direct 1999's Star Wars prequel The Phantom Menace. Though his recent movies, including Inferno and In the Heart of the Sea, have been costly ventures that underperformed at the box office, Howard is considered to be a safe choice to complete the task, someone who will ably finish the movie while being a calming presence on set.

You may remember Disney's boss revealing that hackers had threatened to leak one of the studio's new films unless it paid a ransom. Bob Iger didn't name the film, but it was thought to be "Pirates of the Caribbean: Dead Men Tell No Tales." But now Iger says: "To our knowledge we were not hacked." From a report: Disney chairman-CEO Bob Iger confirmed Thursday that a hacker claiming to have stolen an upcoming Disney movie and demanding a ransom didn't appear to have the goods. "To our knowledge we were not hacked," Iger told Yahoo Finance. "We had a threat of a hack of a movie being stolen. We decided to take it seriously but not react in the manner in which the person who was threatening us had required." Iger continued, "We don't believe that it was real and nothing has happened." On May 15, as first reported by The Hollywood Reporter, Iger told ABC employees at a town hall meeting in New York that someone claiming to have stolen an upcoming movie would release the film on the internet unless the company paid a ransom. Iger told staff that the studio wouldn't meet any such demands.

An anonymous reader quotes a report from Hollywood Reporter: Walt Disney CEO Bob Iger revealed Monday that hackers claiming to have access to a Disney movie threatened to release it unless the studio paid a ransom. Iger didn't disclose the name of the film, but said Disney is refusing to pay. The studio is working with federal investigators. Iger's comments came during a town hall meeting with ABC employees in New York City, according to multiple sources. The Disney chief said the hackers demanded that a huge sum be paid in Bitcoin. They said they would release five minutes of the film at first, and then in 20-minute chunks until their financial demands are met. While movie piracy has long been a scourge, ransoms appear to be a new twist. UPDATE: According to Deadline, the movie in question appears to be the upcoming film Pirates of the Caribbean: Dead Men Tell No Tales. Disney appears to be working with the FBI and will not pay the ransom.

Jonathan Handel, writing for The Hollywood Reporter: Talks between the Writers Guild of America and AMPTP studio alliance went down to the wire Monday night but ultimately resulted in a three-year deal, averting a threatened walkout that could have cost jobs and homes, hit the California economy with a $200 million blow per week, accelerated cord-cutting and driven audiences off linear channels and onto digital platforms. David Young, executive director of WGA West, confirmed to The Hollywood Reporter that a deal had been reached. Leaving the closed door meetings, Patric Verrone, who was WGA president last time the guild went on strike in 2007-2008, told THR it was a good deal for the writers. Michael Winship, president of Writers Guild East, echoed Verrone's comments and added that the union effectively mobilized the membership with the authorization.

An anonymous reader shares a Hollywood Reporter article: It had taken years -- and the passionate support of Kirk Kerkorian, who financed the film's $100 million budget without expecting to ever make a profit -- for The Promise, a historical romance set against the backdrop of the Armenian genocide and starring Christian Bale and Oscar Isaac, to reach the screen. Producers always knew it would be controversial: Descendants of the 1.5 million Armenians killed by the Ottoman Empire shortly after the onset of World War I have long pressed for the episode to be recognized as a genocide despite the Turkish government's insistence the deaths were not a premeditated extermination. Before the critics in attendance even had the chance to exit Roy Thompson Hall, let alone write their reviews, The Promise's IMDb page was flooded with tens of thousands of one-star ratings. "All I know is that we were in about a 900-seat house with a real ovation at the end, and then you see almost 100,000 people who claim the movie isn't any good," says Medavoy. Panicked calls were placed to IMDb, but there was nothing the site could do. "One thing that they can track is where the votes come from," says Eric Esrailian, who also produced the film, and "the vast majority of people voting were not from Canada. So I know they weren't in Toronto." The online campaign against The Promise appears to have originated on sites like Incisozluk, a Turkish version of 4chan, where there were calls for users to "downvote" the film's ratings on IMDb and YouTube. A rough translation of one post: "Guys, Hollywood is filming a big movie about the so-called Armenian genocide and the trailer has already been watched 700k times. We need to do something urgently." Soon afterward, the user gleefully noted The Promise's average IMDb rating had reached a dismaying 1.8 stars. "They know that the IMDb rating will stay with the film forever," says Esrailian. "It's a kind of censorship, really."

An anonymous reader quotes a report from Rolling Stone: Verizon, AT&T, Johnson & Johnson and other major companies have pulled advertisements from YouTube after learning they were paired with videos promoting extremism, terrorism and other offensive topics, The New York Times reports. Among the other companies involved are pharmaceutical giant GSK, HSBC, the Royal Bank of Scotland and L'Oreal, amounting to a potential loss of hundreds of millions of dollars to the Google-owned company. The boycott began last week after a Times of London investigation spurred many major European companies to pull their ads from YouTube. American companies swiftly followed, even after Google promised Tuesday to work harder to block ads on "hateful, offensive and derogatory" videos. Like AT&T, most companies are only pulling their ads from YouTube and will continue to place ads on Google's search platforms, which remain the biggest source of revenue for Google's parent company, Alphabet. Still, the tech giant offered up a slew of promises to assuage marketers and ensure them that they were fixing the problems on YouTube. Due to the massive number of videos on YouTube -- about 400 hours of video is posted each minute -- the site primarily uses an automated system to place ads. While there are some failsafes in place to keep advertisements from appearing alongside offensive content, Google's Chief Business Officer Philipp Schindler wrote in a blog post that the company would hire "significant numbers" of employees to review YouTube videos and mark them as inappropriate for ads. He also said Google's latest advancements in artificial intelligence and machine learning will help the company review and flag large swaths of videos.

Yahoo has named a replacement for CEO Marissa Mayer once the merger with Verizon becomes official. The next leader of the Sunnyvale-based tech giant will be Thomas J. McInerney, a former chief financial officer of IAC. From a report: Yahoo said Monday that after it completes the sale of its core search business to Verizon and Marissa Mayer and co-founder David Filo step down as board members of Altaba (the new name for the remaining holdings), Mayer could get a $23 million "golden parachute" payment, and Thomas McInerney will run the remaining part of the business as CEO. Mayer's golden parachute, a large payment for top executives if they lose their position as a result of a deal, would include $19.97 million in equity and more than $3 million in cash, according to a regulatory filing. It would kick in if there is a change in control, as will be the case in the deal, and she is terminated "without cause" or "leaves for good reason" within a year.

A major pirated movie site went offline last month after seven Hollywood studios won a preliminary court injunction. An anonymous reader quotes the Hollywood Reporter: The MPAA-member studios sued the operators of PubFilm/PidTV in February, asking the court for a temporary restraining order to shut down what it described as a ring of six interconnected large-scale piracy sites. The suit was initially sealed, but was made public on Friday. Warner Bros, 20th Century Fox, Columbia Pictures, Universal, Disney, Paramount and Viacom are named as plaintiffs in the suit for direct and secondary copyright infringement, trademark infringement and unfair competition.

They're seeking statutory damages of $150,000 per infringement plus restitution of the sites' profits. So, depending on how many instances of infringement are discovered, the damages in this case could be astronomical. The studios claim the sites had more than 8 million visitors each month, nearly half of which were linked to IP addresses in the U.S... The sites are believed to be operated in Vietnam.
The court also ordered GoDaddy, VeriSign and Enom to disable all six domain names, to prevent the domains from being transferred, and to do it without communicating or warning the sites' owners first. In response, the defendants purchased a new domain, and then began publicizing it with ads on Google AdSense.

In October 2015, two gamers who used face-scanning tech found in 2K Games' NBA series to create more realistic avatars filed a lawsuit against the company as they were concerned about how 2K would store and use their biometric data. On Monday, however, a New York federal judge ruled that neither games' biometric face scanning tech had established 'sufficient injury' to the plaintiffs, implying that their concerns over privacy were unfounded. Engadget reports: Using your console's camera, the company employs face-scanning tech in its popular NBA series, with both 2K's NBA 2K16 and 2K15 using the data to help players create more accurate avatars. In order to use the tech, players must first agree to 2K's terms and conditions, consenting that after scanning them their face may be made visible to others. While the plaintiffs agreed to the publisher's terms, the court case arose because the gamers claimed that 2K never made clear made clear that scans would be stored indefinitely and biometric data could be shared. With little evidence to suggest how their privacy would be at risk, the judge gave 2K the benefit of the doubt. Still, no matter the outcome, it's a landmark case, with biometric data sure to play an increasingly important role in identifying individuals in the future. While there is certainly nothing that suggests that 2K will use the data for nefarious means, the result of this case does raise some interesting questions about who owns the right to your digital likeness.