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plucky-crew-of-star-trek:-discovery-seeks-a-strange-artifact-in-s5-trailer

Plucky crew of Star Trek: Discovery seeks a strange artifact in S5 trailer

Their final adventure begins —

“It has been a hell of a journey. But everything ends someday.”

Star Trek: Discovery returns for its fifth and final season after a two-year hiatus.

It’s been two years since we had new episodes of Star Trek: Discovery, which debuted in 2017. Now Paramount+ has dropped the official trailer for the fifth and final season of the spinoff series.

(Spoilers for prior seasons below.)

As previously reported, Sonequa Martin-Green plays Michael Burnham, an orphaned human raised on the planet Vulcan by none other than Sarek (James Frain) and his human wife, Amanda Grayson (Mia Kirshner)—aka, Spock’s (Ethan Peck) parents. So, she is Spock’s adoptive sister. As I’ve written previously, the S2 season-long arc involved the mysterious appearances of a “Red Angel” and a rogue Starfleet AI called Control that sought to wipe out all sentient life in the universe.

The big reveal was that the Red Angel was actually a time-travel suit worn by Michael’s biological mother. She had accidentally jumped 950 years into a bleak future in which Control had achieved its nefarious goal and had been traveling through time, leaving signals (in the form of the visions), hoping to alter that future. In the S2 finale, Michael donned a copy of her mother’s suit to lead Discovery over 900 years into the future. The crew of the Enterprise told Starfleet that Discovery was destroyed in the battle and was ordered never to speak of the ship or her crew again.

In S3, Michael, Discovery, and her crew arrived in the future and found that Control’s plan had been thwarted: Life still exists. But the galaxy was very different thanks to something called The Burn, a catastrophic event that caused all the dilithium in the Milky Way to explode and destroy much of Starfleet in the process. In the aftermath, with no warp drive possible, all the planets had become disconnected and were no longer governed by the Federation. Michael did, however, manage to locate one sole Federation liaison on a remote space station with the help of a new ally, Book (David Ajala).

The Discovery crew reunited with what was left of Starfleet, figured out what caused The Burn, and managed to defeat a rival syndicate known as the Emerald Chain, inspiring planets to start rejoining the Federation. Burnham finally became captain of Discovery after Saru (Doug Jones) opted to return to his home planet of Kaminar for a spell. And we bid a sorrowful farewell to Philippa Georgiou (Michelle Yeoh).

S4 opened with the plucky crew—including Saru as first officer—helping rebuild the Federation and celebrating the reopening of Starfleet Academy. They soon encountered a “gravitational anomaly” five light-years in diameter that destroyed Book’s home planet of Kwejian as it moved through the galaxy. It turned out to be a powerful technology belonging to an alien species with interconnected minds called 10-C, whose language employed mathematical equations. In the S4 finale, the aliens ultimately agreed to turn off their technology, thereby sparing Earth and other Federation planets.

The fifth season was already in development by March 2020, and the plan was to film those episodes back-to-back with S4. Then, the COVID-19 pandemic hit and put those plans on hold. Filming didn’t happen until 2022. While S5 was originally meant to air last year, once Paramount decided to pull the plug and make it the final season, they needed to shoot additional footage in order to wrap up the series properly. Per the official premise:

The fifth and final season will find Captain Michael Burnham (Sonequa Martin-Green) and the crew of the U.S.S. Discovery uncovering a mystery that will send them on an epic adventure across the galaxy to find an ancient power whose very existence has been deliberately hidden for centuries. But there are others on the hunt as well… dangerous foes who are desperate to claim the prize for themselves and will stop at nothing to get it.

In addition to Martin-Green, Jones, and Ajala, much of the main cast is returning for S5: Anthony Rapp as Stamets; Mary Wiseman as Tilly; Wilson Cruz as Dr. Culber; Blu del Barrio as Adira Tal; and Callum Keith Rennie as Rayner. Eve Harlow and Elias Toufexis will reprise their recurring roles as Moll and L’ak, respectively. Returning as notable guest stars in S5: Oded Fehr as Starfleet Commander-in-Chief Charles Vance; Chelah Horsdal as Lair Rillak; Tara Rowling as T’Rina; David Cronenberg as Kovich; and Tig Notaro as Jett Reno.

The first two episodes of the fifth and final season of Star Trek: Discovery will premiere on Paramount+ on April 4, 2024; the remaining eight episodes will air weekly after that through May 30.

Listing image by Paramount+

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Will Smith parodies viral AI-generated video by actually eating spaghetti

Mangia, mangia —

Actor pokes fun at 2023 AI video by eating spaghetti messily and claiming it’s AI-generated.

The real Will Smith eating spaghetti, parodying an AI-generated video from 2023.

Enlarge / The real Will Smith eating spaghetti, parodying an AI-generated video from 2023.

On Monday, Will Smith posted a video on his official Instagram feed that parodied an AI-generated video of the actor eating spaghetti that went viral last year. With the recent announcement of OpenAI’s Sora video synthesis model, many people have noted the dramatic jump in AI-video quality over the past year compared to the infamous spaghetti video. Smith’s new video plays on that comparison by showing the actual actor eating spaghetti in a comical fashion and claiming that it is AI-generated.

Captioned “This is getting out of hand!”, the Instagram video uses a split screen layout to show the original AI-generated spaghetti video created by a Reddit user named “chaindrop” in March 2023 on the top, labeled with the subtitle “AI Video 1 year ago.” Below that, in a box titled “AI Video Now,” the real Smith shows 11 video segments of himself actually eating spaghetti by slurping it up while shaking his head, pouring it into his mouth with his fingers, and even nibbling on a friend’s hair. 2006’s Snap Yo Fingers by Lil Jon plays in the background.

In the Instagram comments section, some people expressed confusion about the new (non-AI) video, saying, “I’m still in doubt if second video was also made by AI or not.” In a reply, someone else wrote, “Boomers are gonna loose [sic] this one. Second one is clearly him making a joke but I wouldn’t doubt it in a couple months time it will get like that.”

We have not yet seen a model with the capability of Sora attempt to create a new Will-Smith-eating-spaghetti AI video, but the result would likely be far better than what we saw last year, even if it contained obvious glitches. Given how things are progressing, we wouldn’t be surprised if by 2025, video synthesis AI models can replicate the parody video created by Smith himself.

It’s worth noting for history’s sake that despite the comparison, the video of Will Smith eating spaghetti did not represent the state of the art in text-to-video synthesis at the time of its creation in March 2023 (that title would likely apply to Runway’s Gen-2, which was then in closed testing). However, the spaghetti video was reasonably advanced for open weights models at the time, having used the ModelScope AI model. More capable video synthesis models had already been released at that time, but due to the humorous cultural reference, it’s arguably more fun to compare today’s AI video synthesis to Will Smith grotesquely eating spaghetti than to teddy bears washing dishes.

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Lawsuit against Prime Video ads shows perils of annual streaming subscriptions

Priyanka CHopra (left) and Richard Madden (right) in the AMazon Prime Video original series Citadel.

Enlarge / Priyanka Chopra (left) and Richard Madden (right) in the Prime Video original series Citadel.

Streaming services like Amazon Prime Video promote annual subscriptions as a way to save money. But long-term commitments to streaming companies that are in the throes of trying to determine how to maintain or achieve growth typically end up biting subscribers in the butt—and they’re getting fed up.

As first reported by The Hollywood Reporter, a lawsuit seeking class-action certification [PDF] hit Amazon on February 9. The complaint centers on Amazon showing ads with Prime Video streams, which it started doing for US subscribers in January unless customers paid an extra $2.99/month. This approach differed from how other streaming services previously introduced ads: by launching a new subscription plan with ads and lower prices and encouraging subscribers to switch.

A problem with this approach, though, as per the lawsuit, is that it meant that people who signed up for an annual subscription to Prime Video before Amazon’s September 2023 announcement about ads already paid for a service that’s different from what they expected.

And that’s not the only risk people face when opting-in to a yearlong relationship with streaming services these days.

Paying extra “for something they already paid for”

The lawsuit recently filed against Prime Video names California resident Wilbert Napoleon as a plaintiff and argues that Amazon’s advertisements for Prime Video made “reasonable consumers” think that they would get ad-free movie and TV-show streaming for the duration of their subscription.

The lawsuit reads:

Reasonable consumers expect that, if you purchase a subscription with ad-free streaming of movies and tv shows, that the ad-free streaming for movies and tv shows is available for the duration of the purchased subscription.

… however, Plaintiff and class members’ reasonable expectations were not met. Instead of receiving a subscription that included ad-free streaming of [TV] shows and movies, they received something worth less.

Napoleon bought an annual subscription to Prime Video in June 2023, per the court filings. The lawsuit accuses Amazon of falsely advertising Prime Video.

“Subscribers must now pay extra to get something that they already paid for,” the lawsuit says.

The idea of expectations not being met is common for streaming customers. That said, the lawsuit hasn’t gotten far enough yet where we should expect big changes to Prime Video or financial penalties for Amazon. Changing the user experience mid-deal is aggravating for customers, but Prime Video’s terms of use claim that Amazon maintains the right to diminish the value of Prime Video:

Offers and pricing for subscriptions (also referred to at times as memberships), the subscription services, the extent of available Subscription Digital Content, and the specific titles available through subscription services, may change over time and by location without notice (except as may be required by applicable law).

But there’s still a broader point to be made around streaming services trying to lure people into yearlong commitments knowing that the product they offer today might drastically change over the next 12 months.

Amazon, for example, announced that it would bring commercials to Prime Video in September and didn’t confirm when it would introduce ads until December, about a month ahead of the changes. Yet, Amazon reportedly had plans to bring ads to the service as early as June, per a report from The Wall Street Journal that cited anonymous “people familiar with the situation.” Despite these reported plans to alter the user experience significantly, Amazon continued to sell annual subscriptions to Prime Video. For months, people were committing to something that they expected would include commercial-free viewing, which used to be a popular draw of Prime Video compared to rival streaming services.

Prime Video also seemingly didn’t give a heads-up that it was removing Dolby Vision and Dolby Atmos support unless subscribers agreed to pay $2.99 more per month for an ad-free plan.

Amazon declined to comment on this story. Lawyers for the lawsuit filed against Amazon didn’t respond to a request for comment.

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a-new-generation-of-storm-chasers-takes-on-mother-nature-in-twisters-trailer

A new generation of storm chasers takes on Mother Nature in Twisters trailer

“If you feel it, chase it!” —

“You don’t face your fears, you ride ’em.”

Daisy Edgar-Jones, Anthony Ramos, and Glen Powell star in Twisters, a standalone film inspired by the 1996 classic.

Like so many others, I adored the 1996 film Twister, now a classic in the “disaster porn” genre and still in frequent weekend and holiday rotation on broadcast and cable networks nearly 30 years later. We’re finally getting a follow-up with Twisters, directed by Lee Isaac Chung (Minari). Universal Pictures dropped the official trailer during the Super Bowl on Sunday.

(Some spoilers for the original film below.)

Twister rocked the 1996 box office, racking up $495 million worldwide and snagging an Oscar nomination for special effects. Critics’ reactions were more mixed. The film earned well-deserved  praise for its special effects and sheer entertainment value.  Who can forget the flying cows, the jaw-dropping CGI twisters, and that classic scene when a tornado suddenly rips through a drive-in movie screen right in the middle of The Shining? But others criticized the thin character development and dismissed the film as “loud,” “dumb,” and “a triumph of technology over storytelling and the actor’s craft.”

Was the film often ridiculously over-the-top (especially that final encounter with the F5)? Yes indeed. Were the supporting characters a bit one-note? Granted, especially Cary Elwes’ smarmy corporate-funded rival scientist. But Helen Hunt and Bill Paxton had genuine chemistry as estranged storm-chasing spouses Jo and Bill; their relationship was the heart of the film and clearly resonated with viewers.

And yes, the scientific elements were exaggerated for the big screen, although flying cows (plus pigs, horses, and various vehicles) are absolutely a thing during real tornadoes. The fictional sensing system DOROTHY was inspired by a 1970s instrument to measure real-time conditions of tornadoes called TOTO (Totable Tornado Observatory).  And so many young people loved the movie so much they wanted to become tornado scientists themselves. The number of meteorological majors in the US grew by 10 percent in the 1990s, and the University of Oklahoma doubled its meteorology program. That’s pretty impressive for supposedly loud and dumb mindless entertainment.

  • Kate (Daisy Edgar-Jones), Javi (Anthony Ramos), and Tyler (Glen Powell) are the next generation of storm chasers.

    YouTube/Universal Pictures

  • Tyler is clearly the Cary Elwes character this time around.

    YouTube/Universal Pictures

  • A storm is brewing

    YouTube/Universal Pictures

  • We’ve still got the storm tracking system, DOROTHY

    YouTube/Universal Pictures

  • Fly, little sensors, fly! Into the tornado!

    YouTube/Universal Pictures

  • Now that’s what we call a twister.

    YouTube/Universal Pictures

  • Kate gives her best “OMG, twister!” face

    YouTube/Universal Pictures

  • Double the fun for our intrepid storm chasers

    YouTube/Universal Pictures

  • “We got twins. TWINS!!!”

    YouTube/Universal Pictures

Rumors were circulating back in 2020 about a possible remake of Twister, with Joseph Kosinski directing, but that had dissipated by the following year. Hunt then proposed a sequel, with herself writing and directing, but the studio nixed that idea. (Apparently Hunt killed off her own character, Jo, in the draft script. Bold move.) Eventually the project morphed into Twisters, centered on the daughter of Hunt’s and Paxton’s characters from the original. It’s now being touted as a standalone sequel, however, so that connection might have fallen by the wayside during development. Per the official premise:

[Daisy] Edgar-Jones stars as Kate Cooper, a former storm chaser haunted by a devastating encounter with a tornado during her college years who now studies storm patterns on screens safely in New York City. She is lured back to the open plains by her friend, Javi (Anthony Ramos) to test a groundbreaking new tracking system. There, she crosses paths with Tyler Owens (Glen Powell), the charming and reckless social-media superstar who thrives on posting his storm-chasing adventures with his raucous crew, the more dangerous the better. As storm season intensifies, terrifying phenomena never seen before are unleashed, and Kate, Tyler and their competing teams find themselves squarely in the paths of multiple storm systems converging over central Oklahoma in the fight of their lives.

The cast also includes Maura Tierney, Brandon Perea, Daryl McCormack, Sasha Lane, Kiernan Shipka, Nik Dodani, Harry Hadden-Paton, David Corenswet, Tunde Adebimpe, and Katy O’Brian.

The trailer itself is just a series of spectacularly frenetic storm chasing sequences interspersed with a bit of human interaction, such as a few romantic sparks between Kate and Tyler the exhibitionist YouTuber (at least Tyler seems to feeling it). Screenwriter Mark L. Smith (The Revenant) consulted with all kinds of scientific experts while working on the screenplay and the storyline incorporates more of the causes and effects of climate change as it pertains to more frequent and violent weather—including tornadoes.

Twisters seems to have all the same requisite elements of its predecessor, including the DOROTHY system—an unusual choice for something meant to be a completely original story—but it still can’t help feeling at best like a pale reflection. And the performances come off as much more shrill and over-the-top, at least in the trailer. The cast is game enough, but screaming “Twins! We got TWINS!” when a tornado splits in two is far less effective than Hunt’s Jo casually glancing at random livestock flying past their truck and blithely commenting, “Cow.” Even Bill’s citified fiancee (Jami Gertz) only managed a wide-eyed “I gotta go, we got cows” over her cell phone. Sometimes less is more.

Then again, the original 1996 trailer for Twister captured nothing of that film’s charm, humor, and sheer entertainment value. We’ll have to wait and see if Chung can pull it off; he’s an able director and an interesting choice to helm this particular project. And who knows? Maybe Twisters will inspire another new generation of storm chasers and climate scientists.

Twisters hits theaters on July 19, 2024.

Listing image by YouTube/Universal Pictures

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Prime Video cuts Dolby Vision, Atmos support from ad tier—and didn’t tell subs

Surprise —

To get them back, you must pay an extra $2.99/month for the ad-free tier.

High King Gil-galad and Elrond in The Lord of the Rings: The Rings of Power

Enlarge / The Rings of Power… now in HDR10+ for ad-tier users.

On January 29, Amazon started showing ads to Prime Video subscribers in the US unless they pay an additional $2.99 per month. But this wasn’t the only change to the service. Those who don’t pay up also lose features; their accounts no longer support Dolby Vision or Dolby Atmos.

As noticed by German tech outlet 4K Filme on Sunday, Prime Video users who choose to sit through ads can no longer use Dolby Vision or Atmos while streaming. Ad-tier subscribers are limited to HDR10+ and Dolby Digital 5.1.

4K Filme confirmed that this was the case on TVs from both LG and Sony; Forbes also confirmed the news using a TCL TV.

“In the ads-free account, the TV throws up its own confirmation boxes to say that the show is playing in Dolby Vision HDR and Dolby Atmos. In the basic, with-ads account, however, the TV’s Dolby Vision and Dolby Atmos pop-up boxes remain stubbornly absent,” Forbes said.

Amazon hasn’t explained its reasoning for the feature removal, but it may be trying to cut back on licensing fees paid to Dolby Laboratories. Amazon may also hope to push HDR10+, a Dolby Vision competitor that’s free and open. It also remains possible that we could one day see the return of Dolby Vision and Dolby Atmos to the ad tier through a refreshed licensing agreement.

Amazon has had a back-and-forth history with supporting Dolby features. In 2016, it first made Dolby Vision available on Prime Video. In 2017, though, Prime Video stopped supporting the format in favor of HDR10+. Amazon announced the HDR10+ format alongside Samsung, and it subsequently made the entire Prime Video library available in HDR10+. But in 2022, Prime Video started offering content like The Lord of the Rings: The Rings of Power in Dolby Vision once again.

Amazon wasn’t upfront about removals

Amazon announced in September 2023 that it would run ads on Prime Video accounts in 2024; in December, Amazon confirmed that the ads would start running on January 29 unless subscribers paid extra. In the interim, Amazon failed to mention that it was also removing support for Dolby Vision and Atmos from the ad-supported tier.

Forbes first reported on Prime Video’s ad-based tier not supporting Dolby Vision and Atmos by assuming that it was a technical error. Not until after Forbes published its article did Amazon officially confirm the changes. That’s not how people subscribing to a tech giant’s service expect to learn about a diminishing of their current plan.

It also seems that Amazon’s removal of the Dolby features has been done in such a way that it could lead some users to think they’re getting Dolby Vision and Atmos support even when they’re not.

As Forbes’ John Archer reported, “To add a bit of confusion to the mix, on the TCL TV I used, the Prime Video header information for the Jack Ryan show that appears on the with-ads basic account shows Dolby Vision and Dolby Atmos among the supported technical features—yet when you start to play the episode, neither feature is delivered to the TV.”

As streaming services overtake traditional media, many customers are growing increasingly discouraged by how the industry seems to be evolving into something strongly reminiscent of cable. While there are some aspects of old-school TV worth emulating, others—like confusing plans that don’t make it clear what you get with each package—are not.

Amazon didn’t respond to questions Ars Technica sent in time for publication, but we’ll update this story if we hear back.

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wade-wilson-is-kidnapped-by-the-tva-in-deadpool-and-wolverine-teaser

Wade Wilson is kidnapped by the TVA in Deadpool and Wolverine teaser

Everyone deserves a happy ending —

“Your little cinematic universe is about to change forever.”

Wade Wilson (Ryan Reynolds), aka Deadpool, is back to save the MCU: “I am Marvel Jesus.”

After some rather lackluster performances at the box office over the last year or so, Marvel Studios has scaled back its MCU offerings for 2024. We’re getting just one: Deadpool and Wolverine. Maybe one is all we need. Marvel released a two-minute teaser during yesterday’s Super Bowl. And if this is the future of the MCU, count us in. The teaser has already racked up more than 12 million views on YouTube, and deservedly so. It has the cheeky irreverence that made audiences embrace Ryan Reynold’s R-rated superhero in the first place, plus a glimpse of Hugh Jackman’s Wolverine—or rather, his distinctive shadow. And yes, Marvel is retaining that R rating—a big step given that all the prior MCU films have been resoundingly PG-13.

(Some spoilers for the first two films below.)

Reynolds famously made his first foray into big-screen superhero movies in 2011’s The Green Lantern, which was a box office disappointment and not especially good. But he found the perfect fit with 2016’s Deadpool, starring as Wade Wilson, a former Canadian special forces operative (dishonorably discharged) who develops regenerative healing powers that heal his cancer but leave him permanently disfigured with scars all over his body. Wade decides to become a masked vigilante, turning down an invitation to join the X-Men and abandon his bad-boy ways.

The first Deadpool was a big hit, racking up $782 million at the global box office, critical praise, and a couple of Golden Globe nominations for good measure. So 20th Century Fox naturally commissioned a sequel. Deadpool 2 was released in 2018 and was just as successful. The adult humor and playful pop culture references were a big part of both films’ appeal, including their respective post-credits scenes. The first film had a post-credits scene spoofing Ferris Bueller’s Day Off. The sequel’s mid-credits sequence showed a couple of X-Men repairing a time travel device for Deadpool, which he used to save his girlfriend Vanessa (Morena Baccarin‚—whose tragic death kicked off Deadpool 2—and kill Ryan Reynolds, just as the actor finished reading the script for Green Lantern.

This time around, Shawn Levy takes the director’s chair; he also directed Reynolds in the thoroughly delightful Free Guy (2021), which had similar tonal elements, minus the R-rated humorous riffs. Once we learned that Jackman had agreed to co-star, reprising his iconic X-Men role, fan anticipation shot through the roof. Filming (and hence the release date) was delayed by last summer’s Hollywood strikes but finally wrapped early this year.

Deadpool and Wolverine reunites many familiar faces from the first two films: Reynolds and Baccarin, obviously, but also Leslie Uggams as Blind Al; Karan Soni as Wade’s personal chauffeur, taxi driver Dopinder; Brianna Hildebrand as Negasonic Teenage Warhead; Stefan Kapičić as the voice of Colossus; Shioli Kutsuna as Negasonic’s mutant girlfriend Yukio; Randal Reeder as Buck; and Lewis Tan as X-Force member Shatterstar.

We’re also getting some characters drawn from various films under the 20th Century Fox Marvel umbrella: Pyro (Aaron Stanford)—last seen in 2006’s X-Men: The Last Stand—and Jennifer Garner’s Elektra who appeared in the 2003 Daredevil film as well as 2005’s Elektra. Apparently, the mutants Sabretooth and Toad will also appear, along with Dogpool. New to the franchise are Matthew MadFadyen as a Time Variance Authority agent named Paradox and Emma Corrin as the lead villain. There are rumors that Owen Wilson’s Mobius and the animated Miss Minutes from Loki will also appear in the film, which makes sense, given the TVA’s key role in the plot.

The teaser opens with Wade celebrating his birthday with Vanessa and all their friends, only to then have a group of formidable TVA agents knock on his door, brandishing their wands. (“Is that supposed to be scary?” Wade responds. “Pegging isn’t new for me, friendo, but it is for Disney.”) He’s tossed through a portal and ends up at TVA headquarters, face to face with Paradox, who offers him a chance to be “a hero among heroes.” And Wade decides he’s game, declaring himself a superhero Messiah: “I… am… Marvel Jesus.” He suits up as Deadpool, and violence inevitably ensues.

Then comes the shot we’ve all been waiting for: Deadpool lying on his back on icy terrain after being tossed through a wall, with a Wolverine-shaped shadow falling across his body. “Don’t just stand there, you ape—give me a hand up,” Deadpool says, and then sees the claws. We get the briefest glimpse of Wolverine’s trademark yellow X-Men uniform before the credits roll.

Deadpool and Wolverine hits theaters on July 26, 2024.

Listing image by YouTube/Marvel Studios

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Sony is erasing digital libraries that were supposed to be accessible “forever”

one piece

A shot from One Piece, one of the animes that Funimation made DVDs for.

How long is “forever”? When it comes to digital media, forever could be as close as a couple of months away.

Funimation, a Sony-owned streaming service for anime, recently announced that subscribers’ digital libraries on the platform will be unavailable after April 2. For years, Funimation had been telling subscribers that they could keep streaming these digital copies of purchased movies and shows, but qualifying it: “forever, but there are some restrictions.”

Funimation’s parent company, Sony, bought rival anime streaming service Crunchyroll in 2021. Since then, it was suspected that Sony would merge the offerings together somehow. This week, we learned how, as Funimation announced that its app and website would close on April 2, and Funimation accounts will become Crunchyroll accounts. Most of Funimation’s catalog is already on Crunchyroll, Funimation’s announcement claimed.

But in addition to offering video streaming, Funimation also dubbed and released anime as physical media, and sometimes those DVDs or Blu-rays would feature a digital code. Subscribers to the Funimation streaming service could add those digital codes to Funimation and then stream the content from the platform.

With Funimation claiming that customers could access these digital copies “forever,” I could see why someone might have thought this was a reliable way to access their purchased media. For people lacking the space, resources, or interest in maintaining a library of physical media, this was a good way to preserve treasured shows and movies without spending more money. It also provided a simple way to access purchased media online if you were, for example, away on a trip and had a hankering to watch some anime DVDs you bought.

But soon, people who may have discarded or lost their physical media or lack a way to play DVDs and Blu-rays won’t have a way to access the digital copies that they were entitled to through their physical copy purchase.

Funimation’s announcement says:

Please note that Crunchyroll does not currently support Funimation Digital copies, which means that access to previously available digital copies will not be supported. However, we are continuously working to enhance our content offerings and provide you with an exceptional anime streaming experience. We appreciate your understanding and encourage you to explore the extensive anime library available on Crunchyroll.

Regarding refunds, Funimation’s announcement directed customers to its support team “to see the available options based on your payment method,” but there’s no mention of getting money back from a DVD or Blu-ray that you might not have purchased had you known you couldn’t stream it “forever.”

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plex,-where-people-typically-avoid-hollywood-fees,-now-offers-movie-rentals

Plex, where people typically avoid Hollywood fees, now offers movie rentals

Streaming is just cable again, Ch. 27 —

Users have one more place to turn when their usual options don’t pan out.

Movie rental offerings on Plex platform

Enlarge / Because sometimes your friend Tim, the one with all the legal media, is having server issues, but it’s movie night and the popcorn is already made.

Plex

Plex, the media center largely known as a hub for TV and movies that you and your friends obtained one way or another, now lets you pay for movie rentals. It’s both a convenient way to watch movies without having to hunt across multiple services, and yet another shift by Plex to be closer to the mainstream.

Plex’s first set of available films is more than 1,000 titles, with some notable recent-run offerings: Barbie, Aquaman and the Lost Kingdom, Mission: Impossible – Dead Reckoning, Wonka, PAW Patrol: The Mighty Movie, and so forth. As is typical of digital rentals, you have 30 days to start watching a movie and then 48 hours to finish it.

Prices at the moment range from $3.99 to $5.99. Conveniently, movies you rent on one platform can be played on any other. Even on Apple devices, or, as Plex puts it, “devices that don’t allow direct rentals on their platform.” Rentals are only available in the US, however.

Your mission, should you choose to accept it: Develop an audience of paying movie renters on a platform not exactly known for paid media.

Your mission, should you choose to accept it: Develop an audience of paying movie renters on a platform not exactly known for paid media.

Plex

Interestingly, Plex doesn’t offer movie purchases, and there is a reason why. Plex CEO Keith Valory told TechCrunch that a purchase option “creates some additional wrinkles—now you’ve got to keep this locker for people long-term and does that really make sense [for us]?” It’s true that platforms brokering purchases between users and media conglomerates can find themselves in awkward spots, like Sony almost having deleted all Discovery content bought by PlayStation users. That kind of scenario is also, of course, the kind of thing that initially made Plex appealing to people with their own content to store.

Plex had originally planned to offer media rentals as far back as 2020 but shifted priorities when the pandemic, and its seismic shift toward streaming, gave it new targets. As a company, Plex pivoted to becoming a kind of collector of streaming services so that when you wanted to watch something, you could head to Plex and head out from there. It has previously added free ad-supported streaming of TV and movies to its platform, along with support for over-the-air antenna TV.

In that view of Plex, movie rentals make total sense; you might see that Apple TV+ or Disney+ subscribers can see a certain movie for free, but rather than set up a new cancellation reminder on your calendar, you can just pay one time and watch it.

For lots of Plex users, however, movie rentals are likely to be something nice to have, if not essential. The service today serves as a refuge from app-switching, unreliable media availability, and rapidly escalating subscription prices. It can play your own legally rendered backups of media you rightfully own, or it can connect you to friends or superusers who have… a huge number of legally rendered backups of media they rightfully own.

Given a choice, however, Plex users might be glad to throw their fancy-coffee-plus-tip rental fees to Plex rather than any one streaming silo just to keep the service funded and updated.

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masters-of-the-air:-imagine-a-bunch-of-people-throwing-up,-including-me

Masters of the Air: Imagine a bunch of people throwing up, including me

Masters of People Vomiting Everywhere —

It’s a bad show. I wanted to love it, but it’s just not good.

Photograph showing two stars of the show standing in front of a B-17

Enlarge / Our two main heroes so far, Buck and Bucky. Or possibly Bucky and Buck. I forget which is which.

I’m writing this article under duress because it’s not going to create anything new or try to make the world a better place—instead, I’m going to do the thing where a critic tears down the work of others rather than offering up their own creation to balance the scales. So here we go: I didn’t like the first two episodes of Masters of the Air, and I don’t think I’ll be back for episode three.

The feeling that the show might not turn out to be what I was hoping for has been growing in my dark heart since catching the first trailer a month or so ago—it looked both distressingly digital and also maunderingly maudlin, with Austin Butler’s color-graded babyface peering out through a hazy, desaturated cloud of cigarette smoke and 1940s World War II pilot tropes. Unfortunately, the show at release made me feel exactly how I feared it might—rather than recapturing the magic of Band of Brothers or the horror of The Pacific, Masters so far has the depth and maturity of a Call of Duty cutscene.

Does this man look old enough to be allowed to fly that plane?

Enlarge / Does this man look old enough to be allowed to fly that plane?

Apple

World War Blech

After two episodes, I feel I’ve seen everything Masters has to offer: a dead-serious window into the world of B-17 Flying Fortress pilots, wholly lacking any irony or sense of self-awareness. There’s no winking and nodding to the audience, no joking around, no historic interviews with salt-and-pepper veterans to humanize the cast. The only thing allowed here is wall-to-wall jingoistic patriotism—the kind where there’s no room for anything except God, the United States of America, and bombing the crap out of the enemy. And pining wistfully for that special girl waiting at home.

Butler clearly gives a solid performance, but the man’s face is too perfect, like an Army Air Corps recruiting poster, with his tall hair and his cap parked jauntily at an angle atop it. He’s pretty to the point of being a distraction in every single scene he’s in. He noted in interviews that he signed up to work with a dialect coach to drop the Elvis accent he picked up while filming with Baz Luhrmann, and being notionally a cowboy from Casper, Wyoming, he wears his character’s “well, aw, shucks” down-home attitude as comfortably as the silk aviator’s scarf around his neck. But at least to this native Texan’s ear, there’s still a lot of Memphis coming out of the man’s mouth.

Every member of the cast has their 1940s-ness dialed up to 11—and perhaps that’s appropriate, given that World War II ended 80 years ago and “World War II” is fully a period aesthetic at this point, with its own rules and visuals any audience will expect to see. But the show wastes no opportunity to ram home that ’40s feeling—every room is dimly lit, and every Allied office feels like a ramshackle clapboard mess. Each scene’s framing feels like it was carefully assembled from comic book clippings, with barely disguised CGI trickery to keep everything hanging together. Watching in 4K HDR was beautiful, but it also made me cringe repeatedly whenever a VFX shot with bad tracking or bad color matching would flash past. There’s just nowhere to hide the digital-ness of it all, and boy, does it ever shine through. The overall effect is less like Saving Private Ryan and more like Sucker Punch—with a bit of Sky Captain and the World of Tomorrow thrown in.

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Dungeons & Dragons turns 50 this year, and there’s a lot planned for it

Critical Success —

It started with “a new line of miniatures rules” and became a global phenomenon.

The three rulebooks fo Dungeons & Dragons Art & Arcana: A Visual History.” src=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/rulebooks-800×548.jpg”>

Enlarge / The three rulebooks fo “fantastic medieval wargames” that started it all, released at some point in late January 1974, as seen in Dungeons & Dragons Art & Arcana: A Visual History.

Wizards of the Coast/Ten Speed Press

“We have just fromed [sic] Tactical Studies Rules, and we wish to let the wargaming community know that a new line of miniature rules is available.”

With this letter, written by Gary Gygax to wargaming zine publisher Jim Lurvey, one of the founders of what would become TSR announced that a January 1974 release for Dungeons & Dragons was forthcoming. This, plus other evidence compiled by Jon Peterson (as pointed out by the Grognardia blog), points to the last Sunday of January 1974 as the best date for the “anniversary” of D&D. The first sale was in “late January 1974,” Gygax later wrote, and on the last Sunday of January 1974, Gygax invited potential customers to drop by his house in the afternoon to try it out.

You could argue whether a final draft, printing, announcement, sale, or first session counts as the true “birth” of D&D, but we have to go with something, and Peterson’s reasoning seems fairly sound. Gygax’s memory, and a documented session at his own house, are a good point to pin down for when we celebrate this thing that has shaped a seemingly infinite number of other things.

  • The evolution of The Beholder, through 3rd edition, in Dungeons & Dragons, from Art & Arcana: A Visual History.

    Wizards of the Coast/Ten Speed Press

  • The fourth and fifth edition versions of the Beholder, as seen in Art & Arcana: A Visual History.

As with playing a good campaign, you’ve got a lot of options for how you acknowledge D&D‘s long presence and deep influence. The game system itself, now under Wizards of the Coast, will this year push “One D&D,” a name the D&D leaders sometimes stick with and sometimes don’t. Whatever the next wave is called, it includes new handbooks, guides, and Monster Manual books that are not exactly a new “edition,” but also an evolution. Books like Xanathar’s Guide to Everything and Tasha’s Cauldron of Everything will be codified and unified by a new sourcebook at some point, but all of it will be compatible with 5th Edition material.

Also, at some point this year, stamps celebrating D&D‘s 50th will be available from the US Postal Service, at least if you rush. Ten different designs, leaning heavily on the dragons, were commissioned based on existing illustrations. There’s a documentary from Joe Manganiello (still in pre-production, seemingly). And there’s a 500-plus-page non-fiction book, The Making of Original Dungeons & Dragons: 1970-1976, with research help from the aforementioned Peterson, containing never-before-seen correspondence between co-creators Gygax and Dave Arneson.

I grew up in the 1980s and 1990s, never actually playing Dungeons & Dragons, but its influence shaped vast amounts of my playtime and curiosity. I loved playing Hero Quest, without knowing that it was essentially an on-rails D&D setup. My cousin and I spent large parts of one summer attempting to play Marvel Super Heroes without understanding its D&D roots (or that it would always be a bit awkward with just two people).

And, of course, every video game, comic, novel, and other media I consumed that made a point of explaining how different classes worked, or the theory behind spells, owed something to D&D—by way of J.R.R. Tolkien and centuries of folklore tradition, of course. Tales keep inspiring other tales, and it’s largely to our benefit.

Take a moment on this occasion to look back through some notable D&D coverage at Ars:

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netflix-won’t-have-a-vision-pro-app,-compromising-the-device’s-appeal

Netflix won’t have a Vision Pro app, compromising the device’s appeal

App Support —

You’ll be able to watch via the web browser, but that’s far from ideal.

Vision Pro will allow users to watch movies on a virtual TV set.

Enlarge / Vision Pro will allow users to watch movies on a virtual TV set.

Apple

In the leadup to Vision Pro preorders tomorrow, Apple has seemingly been prioritizing the message that the device will be an ideal way to watch movies and TV shows. In many ways, that might be true, but there’s one major caveat: Netflix.

In a statement reported by Bloomberg today, Netflix revealed that it does not plan to offer an app for Vision Pro. Instead, users will have to use a web-based interface to watch the streaming service.

Netflix compares the experience to the Mac, but there are a few reasons this won’t be an ideal experience for users. First, the iPad and iPhone mobile apps support offline viewing of downloaded videos. That’s particularly handy for when you’re flying, which is arguably one of the best use cases for Vision Pro.

Unfortunately, Netflix doesn’t support offline downloads on the web. It also remains to be seen what resolution will be achievable—the maximum resolution of a Netflix stream depends on the browser, with most capping out at 720p. That wouldn’t look so great on a 100-foot virtual screen.

Granted, Netflix streams at up to 4K on Safari for macOS, but we don’t know if that will be the case for Safari on Vision Pro.

It will also make launching the app more complicated, and the interface won’t be as nice to use as a native app.

There are two ways Netflix could have supported visionOS more directly. The company could have developed a full-fledged mixed reality app like Disney+ did, with visionOS-specific features. Or it could have at least adapted its iPad app to work well within visionOS.

The latter, while not completely trivial, is relatively easy for a company with Netflix’s development resources, so it’s hard not to see this as a deliberate snub.

This isn’t the first time Netflix has chosen not to play nice with a new Apple initiative. Netflix is the most notable service missing from Apple’s useful TV app on Apple TV and iPhone, which aggregates your viewing activity and makes recommendations that link out to individual streaming apps.

Netflix and Apple now compete in the streaming space. In particular, both have courted awards for their original films with limited theatrical releases and aggressive campaigns. That could be a motivator, but we can’t know what Netflix’s leadership is thinking for sure.

Most other major streaming services, including Disney+, Peacock, Max, and Amazon Prime Video, will have working visionOS apps when the device launches in early February, making Netflix a notable outlier.

While not a deal-breaker for everyone, the omission cuts at the heart of Apple’s messaging around Vision Pro’s value proposition; the steep $3,499 price could be seen as worth the investment if you see the device as replacing both an iPad and a high-end TV. But that pitch is a little bit compromised if the experience on that high-end TV is subpar for one of the most popular streaming services.

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Watch Godzilla Minus One in dazzling black and white during limited US run

A masterful remastering —

“By eliminating color, a new sense of reality emerges.”

Watch Godzilla Minus One in dazzling black and white during limited US run

Toho Inc.

The critically acclaimed film, Godzilla Minus One, hit US theaters in early December and racked up $51 million in the US alone and over $96 million globally, shooting past 2016’s Shin Godzilla as the most successful Japanese-produced Godzilla film to date. The film is winding down its theatrical run, but director, writer, and VFX supervisor Takashi Yamazaki has remastered a black-and-white version of the film as an homage to the 1954 classic Godzilla, released in Japan last week. And now US audiences will have a chance to see that version when Godzilla Minus One/Minus Color arrives at AMC theaters in the US for a limited run from January 26 through February 1.

(Minor spoilers for Godzilla Minus One below.)

Yamakazi spent three years writing the script for Godzilla Minus One, drawing inspiration not just from the original 1954 film but also Jaws (1975), Godzilla, Mothra and Ghidorah (2001), Shin Godzilla, and the films of Hayao Miyazaki. He opted to set the film in postwar Japan, like the original, rather than more recent events like the Fukushima nuclear accident in 2011, in order to explore themes of postwar trauma and emerging hope. The monster itself was designed to be horrifying, with spiky dorsal fins and a bellowing roar produced by recording an amplified roar in a large stadium.

The plot follows a former WWII kamikaze pilot named Kōichi Shikishima (Ryunosuke Kamiki) who encountered Godzilla in 1945 when the monster attacked a Japanese base on Odo Island, but failed to act to help save the garrison. His parents were killed when Tokyo was bombed, so Shikishima is grappling with serious survivor’s guilt a few years later as he struggles to rebuild his life with a woman named Noriko (Minami Hamabe) and a rescued orphaned baby. Then Godzilla mutates and re-emerges for a renewed attack on Japan, and Shikishima gets the chance to redeem himself by helping to destroy the kaiju.

Godzilla Minus One was received with almost universal critical acclaim, with some declaring it not just one of the best films released in 2023 but possibly one of the best Godzilla films ever made. (We didn’t include the film in our own year’s best list because no Ars staffers had yet seen the film when the list was compiled, but it absolutely merits inclusion.) Among other accolades, the film made the Oscar shortlist for Best Visual Effects.

It was a painstaking process to remaster Godzilla Minus One into black and white. “Rather than just making it monochrome, it is a cut-by-cut,” Yamakazi said in a statement last month. “I had them make adjustments while making full use of various mattes as if they were creating a new movie. What I was aiming for was a style that looked like it was taken by masters of monochrome photography. We were able to unearth the texture of the skin and the details of the scenery that were hidden in the photographed data. Then, a frightening Godzilla, just like the one in the documentary, appeared. By eliminating color, a new sense of reality emerges.”

Godzilla Minus One/Minus Color will have a limited run in US AMC theaters from January 26 through February 1, 2024.

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