Joe Russo, the co-director of Avengers: Endgame, in an interview on the impact he thinks AI is going to play out in the world of video games, movies and television. He said: This is like a mind-bending question, right? I mean, we've had conversations about how it can be used, and look, Gen Z is very unique because it's a generation that has -- If there were incremental movements in technology over the last, say, 100 years, 150 years, they were the first generation with an exponential movement, right? So there's a real possibility now for technology to become a really important factor in our lives because it's been embraced by Gen Z, and they grew up with it, they understand it, they know how to use it. That's important, right? We're not in a world where, you know, your uncle doesn't know how to send emails anymore. We're in a world where the entire generation has a facile expertise in it, and is also not afraid of it.

So potentially, what you could do with it is obviously use it to engineer storytelling and change storytelling. So you have a constantly evolving story, either in a game or in a movie, or a TV show. You could walk into your house and save the AI on your streaming platform. âoeHey, I want a movie starring my photoreal avatar and Marilyn Monroe's photoreal avatar. I want it to be a rom-com because I've had a rough day," and it renders a very competent story with dialogue that mimics your voice. It mimics your voice, and suddenly now you have a rom-com starring you that's 90 minutes long. So you can curate your story specifically to you.

That's one thing that it can do, but it can also, on a communal level, populate the world of the game, have intelligence behind character choice, you know, the computer-run characters in the game that can make decisions learn your play style, make it a little harder for you, make it a little easier for you, curate the story. Say you want Fortnite to be more of a horror game, right? Then you could ask the AI to ramp up the horror elements of it. So again, you could curate your experience.I think that's where it's going. How quickly we get there, I don't know, but that's where it's going.

Redbox CEO Bill Rouhana told The Hollywood Reporter that he'd like to buy the business, saying: "I wish Netflix would sell me that business instead of shutting it down." From the report: Redbox is already the biggest DVD rental company in the U.S., with a network of some 32,000 red DVD kiosks across the country. Just this week, it announced plans to add another 1,500 kiosks at Dollar General stores (Rouhana says the Dollar General kiosks are some of the company's most profitable). While the DVD business kickstarted Netflix's meteoric rise, in recent years it has been on the decline. In 2022, it had $146 million in revenue, down $40 million from the year prior. Q1 had revenue of $32 million, suggesting a further decline this year.

And Rouhana says he has reached out to Netflix over the years expressing a desire to acquire the DVD business, to no avail. "I have tried like three or four times to reach out to the corporate development people about it but just got rebuffed each time," Rouhana says. "So when I saw it being closed, I thought, 'Well, maybe they'll do it now.'" A Netflix source tells THR that the company is winding down the business, and not selling it. (As for what happens to those warehouses full of DVDs that fueled Netflix's red envelope business, they seem to be in limbo for now.)

Even if that is the case, Rouhana says he believes Netflix's decision to shutter the service will benefit his company. "This could be a great boon to us because now there are a whole bunch of people who are going to look for a new place to get their DVDs, and we're close to 90 percent of them based on where our kiosks are located," he says. And, he notes, he does not expect the DVD business to go away anytime soon. "We believe in it, and we believe it's going to be around for a while. Like most legacy things, it's a lot harder to kill them than people say, I believe," he adds.

In fact, he believes the DVD business is in a position for growth over the next few years, thanks to a larger slate of movies hitting theaters and a desire from studios to reengage with windowing strategies. "We programmed our business plan for us to get back to about 30 percent of the 2019 level," Rouhana says. "I feel that's pretty conservative, I think we'll be better than that. But, you know, that's how we built the business plan that we've articulated. So people can decide for themselves whether they think that's overly optimistic or overly pessimistic."

Amazon has introduced a new feature to Prime Video called Dialogue Boost. It's intended to isolate dialogue and make it louder relative to other sounds in streaming videos on the service. Ars Technica reports: Amazon describes how it works in a blog post: "Dialogue Boost analyzes the original audio in a movie or series and intelligently identifies points where dialogue may be hard to hear above background music and effects. Then, speech patterns are isolated and audio is enhanced to make the dialogue clearer. This AI-based approach delivers a targeted enhancement to portions of spoken dialogue, instead of a general amplification at the center channel in a home theater system."

Not all content will be eligible for the dialogue boost feature, though -- at least not yet. Amazon says it "has initially launched on select Amazon Originals worldwide" like The Marvelous Mrs. Maisel and The Big Sick. While this is partly an accessibility feature for people who are hard of hearing, Amazon is also responding to a widespread complaint among viewers. A 2022 survey found that 50 percent of 1,260 American viewers "watch content with subtitles most of the time," many of them citing "muddled audio" and saying that it's more difficult to understand dialogue in movies and TV shows than it used to be. [...] The company hasn't announced when the feature will expand to more content. But we wouldn't be surprised to see rapid expansion -- not just from Amazon, but from other streamers offering similar features, too.

Netflix is planning a "broad rollout" of the password sharing crackdown that it began implementing in 2022, the company said today in its Q1 2023 earnings report (PDF). MacRumors reports: The "paid sharing" plan that Netflix has been testing in a limited number of countries will expand to additional countries in the second quarter, including the United States. Netflix said that it was "pleased with the results" of the password sharing restrictions that it implemented in Canada, New Zealand, Spain, and Portugal earlier this year. Netflix initially planned to start eliminating password sharing in the United States in the first quarter of the year, but the company said that it had learned from its tests and "found opportunities to improve the experience for members." There is a "cancel reaction" expected in each market where paid sharing is implemented, but increased revenue comes later as borrowers activate their own Netflix accounts and existing members add "extra member" accounts.

In Canada, paid sharing resulted in a larger Netflix membership base and an acceleration in revenue growth, which has given Netflix the confidence to expand it to the United States. When Netflix brings its paid sharing rules to the United States, multi-household account use will no longer be permitted. Netflix subscribers who share an account with those who do not live with them will need to pay for an additional member. In Canada, Netflix charges $7.99 CAD for an extra member, which is around $6. [...] Netflix claims that more than 100 million households are sharing accounts, which is impacting its ability to "invest in and improve Netflix" for paying members.

Slashdot reader mpercy shares an email they received from Netflix announcing the shut down of its original business of delivering DVDs by mail: Just received an email from Netflix: "For 25 years, it's been our extraordinary privilege to mail movie nights to our members all across America. On September 29th, 2023, we will ship our final iconic red envelope. While times have changed since our first shipment in March 1998, our goal has remained the same: to provide you with access to the broadest collection of movies and shows possible, delivered directly to your door, with no due dates or late fees. As the DVD business continues to shrink, it's going to become increasingly difficult to achieve that goal. In our final season, we'll continue providing you the best service possible, all the way to the very last shipment." Here's an infographic the company shared in its post:

It's not HBO Max -- soon it's just going to be Max. From a report: Warner Bros. Discovery officially announced Max as the new name of its flagship streamer, lopping off the HBO part of the name as it mixes in a big bucket of new content from Discovery+ and other new original series. The company announced the name change at a press event Wednesday, where it also revealed a slate of upcoming projects. The rebuilt Max (on the web at max.com) is set to launch first in the U.S. on May 23, featuring what the company promises will be an average of more than 40 new titles and TV show seasons every month. "Max is the one to watch," WBD CEO David Zaslav said on stage at the event, featuring thousands of shows and movies on the service for every member of the household.

According to the service's website, Max will be available in three different versions. The first two plans align with the existing HBO Max pricing, and WBD said current HBO Max customers will not see their pricing change (for now) when the new service debuts. The third tier, "Max Ultimate," expands to up to four streams and includes 4K content. The trio of options are:
Max Ad-Lite ($9.99/month or $99.99/year): Two concurrent streams, 1080p HD resolution, no offline downloads, 5.1 surround sound quality
Max Ad Free ($15.99/month or $149.99/year): Two concurrent streams, 1080p HD, up to 30 offline downloads, 5.1 surround sound quality
Max Ultimate Ad Free ($19.99/month or $199.99/year): Four concurrent streams, up to 4K Ultra HD resolution, 100 offline downloads, Dolby Atmos sound quality

A filmmaker walks us through the reasons behind the 'dark cinematography' that's causing so many complaints. From a report: Take, for instance, Wes Craven's 1996 horror classic Scream -- a film often remarked on for just how lit everything in it is at all times. An early scene depicts protagonist Sidney Prescott embracing her boyfriend Billy Loomis in the wake of a terrifying home invasion and her near-death at the hands of a masked killer. After Sidney throws her arms around Billy, Craven cuts to a tight close-up on Billy's face, which is illuminated by a harsh, ominous, icy-cool light that telegraphs his sinister intentions. But where is that light coming from? The bedroom they're in has no lamps switched on. Could it be the moon? Hard to justify, as the only windows in the space are behind Billy, and the light we're staring at is so much brighter and closer than the moon could ever be. So what on Earth is that light?

The answer is, simply enough, nothing. Craven often didn't feel any real need to rationalize why a bright light would suddenly appear one second before disappearing again in the following shot. It's a purely stylistic choice, employed for that one moment to cast doubt on Billy's trustworthiness in the audience's mind. Itâ(TM)s an extremely stagey choice that fits neatly within the larger series' heightened, melodramatic style. Scream wouldn't really be Scream without it. The hyper-lit style was a staple of cinematography in American films during the '90s, and like all trends, it eventually fell out of fashion -- in this case, a few years after Scream hit theaters. The 2000s saw filmmakers embracing more directional, shadowy lighting styles, evoking a grittier, more "grounded" aesthetic while retaining a sense of classic Hollywood polish. The 2010s featured another huge shift in style, this time toward hyper-naturalism. Even broad, big-budget blockbusters like Harry Potter and the Deathly Hallows -- Part 1 embraced a look torn straight from indie cinema. Not only are the lights in that film always motivated, they're realistic. Where earlier films might have used the presence of the moon or a table lamp to justify much brighter lighting, movies like Deathly Hallows, Interstellar, and Dawn of the Planet of the Apes let the light of a lamp simply look like a lamp.

For the first time, you can now buy or rent every single Star Trek movie in the latest 4K and HDR standards. That includes all six movies based on the original series cast, all four featuring The Next Generation's cast, and the more recent J.J. Abrams films. Ars Technica reports: On April 4, Paramount released an UltraHD Blu-ray set that included Star Trek: Generations, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis along with several special features. The set marks the first time these films have been available in a 4K and HDR home video release. Alongside the Blu-rays, the films also became available on on-demand storefronts like Apple's TV app.

Last year, the original series films (Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock, Star Trek IV: The Voyage Home, Star Trek V: The Final Frontier, and Star Trek VI: The Undiscovered Country) received the same treatment. The reboot films (Star Trek, Star Trek Into Darkness, and Star Trek Beyond) have long been available in modern formats. So as of this week, all 13 theatrically released Star Trek films are finally available in 4K and HDR. The latest releases also support the Dolby Atmos audio standard in addition to Dolby Vision HDR.

An anonymous reader shares a report: If you've ever researched anything online, you've probably used the Internet Archive (IA). The IA, founded in 1996 by librarian and engineer Brewster Kahle, describes itself as "a non-profit library of millions of free books, movies, software, music, websites, and more." Their annals include 37 million books, many of which are old tomes that aren't commercially available. It has classic films, plenty of podcasts and -- via its Wayback Machine -- just about every deleted webpage ever. Four corporate publishers have a big problem with this, so they've sued the Internet Archive. In Hachette v. Internet Archive, the Hachette Publishing Group, Penguin Random House, HarperCollins and Wiley have alleged that the IA is committing copyright infringement. Now a federal judge has ruled in the publishers' favor. The IA is appealing the decision.

[...] Not only is this concern-trolling disingenuous, but the ruling itself, grounded in copyright, is a smack against fair use. It brings us one step closer to perpetual copyright -- the idea that individuals should own their work forever. The IA argued that their project was covered by fair use, as the Emergency Library provides texts for educational and scholarly purposes. Even writers objected to the court's ruling. More than 300 writers signed a petition against the lawsuit, including Neil Gaiman, Naomi Klein and -- get this -- Chuck Wendig. Writers lost nothing from the Emergency Library and gained everything from it. For my part, I've acquired research materials from the IA that I wouldn't have found anywhere else. The archive has scads of primary sources which otherwise might require researchers to fly across the country for access. The Internet Archive is good for literacy. It's good for the public. It's good for readers, writers and anyone who's invested in literary education. It does not harm authors, whose income is no more dented by it than any library programs. Even the Emergency Library's initial opponents have conceded this. The federal court's decision is a victory for corporations and a disaster for everyone else. If this decision isn't reversed, human beings will lose more knowledge than the Library of Alexandra ever contained. If IA's appeal fails, it will be a tragedy of historical proportions.

The Super Mario Bros. Movie "has now earned the largest global animated opening weekend in box office history," reports the Wrap, with a worldwide five-day launch of $377 million, passing the $358 million record set by Disney's Frozen II on Thanksgiving weekend in 2019." Domestically, "Mario" was projected when it opened in theaters on Wednesday to earn a five-day opening of at least $125 million from 4,343 theaters, and it has shattered that figure with $204.6 million grossed. Both that and its three-day total of $143 million are a studio record for Illumination, with the three-day total being the third highest seen on Easter weekend and second only to the $182 million earned by Pixar's "Incredibles 2" among all animated films. It is also the new animation record holder for Imax with $21.6 million grossed worldwide.

And of course, the film has blasted past every box office opening record for video game adaptations, nearly doubling the three-day domestic record of $72.1 million set by "Sonic the Hedgehog 2" last year and shattering the $210 million global record set by "Warcraft" in 2016. "This weekend's record-breaking debut proves audiences of all ages and demographics will pour into theaters for a hysterically funny and authentic universe expansion of an already iconic franchise," said Universal's domestic distribution president Jim Orr. "Nintendo and Illumination's creative synergy along with Shigeru Miyamoto and Chris Meledandri's extraordinary leadership created an entertaining juggernaut that will be sure to power up the box office for weeks to come...."

Thanks in large part to "Super Mario Bros.," overall weekend estimates have risen to $194 million, 76% above the same weekend in 2019.

AI now "automates creative impulses," writes New Yorker staff writer Kyle Chayka — then wonders where that will lead. Chayka's first example is a Berlin-based photographer using AI tools to create a viral video showing Harry Potter characters as fashion models for the upscale French label Balenciaga: A.I. tools were involved in each step of Alexander Niklass's process, and in each element of the video. He created the basic static images with Midjourney, evoking the Harry Potter actors and outfits through text prompts such as "male model, grotesque, balenciaga commercial." Then he used ElevenLabs — a "voice-cloning" tool — to create models of the actors' voices based on previously recorded audio. Finally, he fed the images into a service called D-ID, which is used to make "avatar videos" — subtly animated portraits, not so far off from those that appear in the newspapers of the Potter world. D-ID added the signature lip synchs and head nods, which Niklass explained were a reference to fashion models tilting their chins for the cameras.

The combination of child-friendly film and adult luxury fashion held no particular symbolism nor expressed an artistic intent. It's "entertainment," Niklass said. Yet the video's most compelling aspect might be its vacuity, a meaningless collision of cultural symbols. The nonsense is the point.
The article also cites a song where the French group AllttA performs with an AI-generated simulation of Jay-Z. Chayka marvels at a world where "The A.I. content has the appearance of realism, without actual reality — reality solely as a style.... it seems that a Rubicon has been crossed: It doesn't matter that these artifacts are generated by A.I.; we can just enjoy them for what they are. It happened faster than I thought possible, but now that A.I.-generated pop culture has entered the mainstream, it seems unlikely that we'll ever get rid of it."

Chayka asked ChatGPT how AI-generated imagery is changing our perceptions, and "It responded that there has been a 'blurring of the lines between real and artificial.'"

The article ultimately ponders the possible implications of "a world in which every style, every idea, and every possible remix is generated as fast and frictionlessly as possible, and the successful ones stick and get attention." But at the same time, Chayka believes the final output's quality still depends on the humans involved (arguing that the Harry Potter fashion video was still more "appealingly odd" than later AI-generated videos copying the idea, like "Matrix by Gucci," "Star Wars by Balenciaga," and "The Office by Balenciaga".) A.I. tools may have been able to replicate actors' faces and generate fashionable outfits, but only Niklass could have come up with the concept, which required keen observation of both high fashion and the wizarding world — and also a very specific, extremely online sense of humor. With tools like Midjourney publicly available to anyone online, "everybody can create something visually appealing now," he said. "But A.I. can't generate taste yet," he continued....

To put it another way, execution may have been democratized by generative A.I., but ideas have not. The human is still the originator, editor, and curator of A.I.'s effects.

Apple plans to spend $1 billion a year to produce movies that will be released in theaters, Bloomberg News reported Thursday, citing people familiar with the company's plans, part of an ambitious effort to raise its profile in Hollywood and lure subscribers to its streaming service. From the report: Apple has approached movie studios about partnering to release a few titles in theaters this year and a slate of more films in the future, said the people, who asked not to be identified because the plans are private. The list of potential releases includes Martin Scorsese's Killers of the Flower Moon, which stars Leonardo DiCaprio; the spy thriller Argylle, from director Matthew Vaughn; and Napoleon, Ridley Scott's drama about the French conqueror. The investment is a significant increase from years past. Most of Apple's previous original movies have either been exclusive to the streaming service or released in a limited number of theaters. The company has pledged to put movies in thousands of theaters for at least a month, said the people, though it hasn't finalized any plans.

On March 27th, Nintendo's eShop for its 3DS and Wii U consoles will be shut down. With many of the titles being original to those consoles and not available anywhere else, it's left archivists and historians scrambling to preserve them before it's too late. However, those preservation plans get complicated given Nintendo's litigious nature on matters of intellectual property. Techdirt's Timothy Geigner writes: Preventing the gaming public from continuing to buy games that rely on a company-operated backend infrastructure is one thing. After all, Nintendo can do what it wants when it comes to putting its products into commerce. But what really annoyed a ton of people, myself included, was how this would impact archivists and historians, or anyone else interested in preserving video game history and culture. With the impending shutdown, some of those entities are once again expressing concern: "While it's unfortunate that people won't be able to purchase digital 3DS or Wii U games anymore, we understand the business reality that went into this decision,' the Video Game History Foundation (VGHF) tweeted when the eShop shutdowns were announced a year ago. 'What we don't understand is what path Nintendo expects its fans to take, should they wish to play these games in the future.'"

Because Nintendo is litigious, utilizes DRM, and the DMCA exists, all of that combines to make it wildly unsafe for museums and archivists to actually retain copies of these games that will shortly no longer be found anywhere else. And, no, the exemptions built into the DMCA for content such as movies and literature simply don't exist for the video game space. [...] So what can be done? Not a whole lot, honestly, but some hobbyists are at least going to make a go of it: "In an effort to address this -- or at least address it in a single place on as few consoles as possible -- YouTuber The Completionist decided to sit down and spend almost a year of his life (328 days in total) buying his way through both libraries. He's now done, and the statistics are staggering. The dude bought 866 Wii U games and 1547 3DS titles, numbers that include DSiWare, Virtual Console releases and downloadable content. That adds up to 1.2TB of data for the Wii U, and 267GB for the 3DS. Or, for the 3DS purists reading, 2,136,689 blocks."

As part of this effort, The Completionist has said he plans to donate all of this digital media to the VGHF. What they can do with all of that content still remains to be seen. All of the same copyright and DMCA rules still apply, so what access it can grant to researchers, never mind the public, is in question.

Variety has analyzed the often underappreciated process of selecting movie titles in Hollywood. As one of the most crucial aspects of a film's marketing strategy, the title serves as the first point of contact for potential audiences, shaping perceptions and driving intrigue. In a highly competitive industry, a captivating and effective title can be the difference between success and failure at the box office, the article argues.

The naming process typically involves collaboration between a diverse range of stakeholders, including studio executives, marketing teams, producers, directors, and screenwriters. The title must not only align with the film's story and themes, but also appeal to target demographics, meet legal requirements, and translate well into foreign languages. As a result, naming a film can be a complex and lengthy endeavor. Some movies adopt their titles from pre-existing source material, such as books or plays, while others rely on brainstorming sessions, market research, and even audience testing. High-profile examples of title changes include "Pretty Woman," originally named "3000," and "Scream," initially titled "Scary Movie."

India will not tolerate use of abusive language and display of obscene content in movies and TV shows on on-demand video streaming services, a key minister has warned in a move that illustrates how the nation's IT rules have "handed over direct ministerial power for censorship." From the report: Anurag Thakur, Union Minister of Information Broadcasting and Sports and Youth Affairs, said at a press conference that use of abusive language in the name of creativity will not be tolerated and that the government is receiving a growing list of complaints about increasing abusive and obscene content. Thakur warned that New Delhi will not shy away from "making any changes" in the rules to address this situation.

An anonymous reader quotes a report from TorrentFreak: In January, a month before Ant-Man and the Wasp: Quantumania was released in theaters, a link to a leaked script was posted on the Marvel Studios Spoilers subreddit. Last Friday, a Marvel Studios affiliate filed DMCA subpoena applications to compel Reddit and Google to expose the leakers. One named user account is shared among the subreddit's moderator team. Court documents indicate the plan is to force Reddit to expose them all. [...]

When information about the script/subtitle file was posted on Reddit mid-January, leak-loving Marvel fans were both excited and impressed. "Yeah this is some next level leak" and "This legit might be the biggest leak in this subs history" set the tone, but the fun didn't last. A moderator of the subreddit commented that since the information was receiving copyright notices, any "future sharing of the material will result in a ban." The thread is still live today and there's no doubt that Marvel is aware of it.

The DMCA subpoena application specifically mentions the thread alongside an email from Reddit's legal team, which had previously agreed to take the infringing content down. In common with the takedown notice sent to Google, the allegedly infringing content may have been deleted before Reddit could remove it. There's no mention of a copyright complaint, instead the post notes, "Sorry, this post was deleted by the person who originally posted it." At this point concern shifts to the rest of the thread, which talks about the document hosted by Google and how the mod team "took the google doc down" to ensure that existing links to the file would no longer lead to it. As a result, Marvel now wants Reddit to hand over "All Identifying Information for the user 'u/MSSmods'," which throws another unpredictable element into the mix. The DMCA subpoena applications can be found here (G1/G2, R1/R2)

Reddit is fighting a film-industry attempt to identify users who discussed piracy, telling a federal court that the studios' request for users' real names should be rejected and that one of the studios' arguments is "nonsense." From a report: "Courts have long recognized that the First Amendment protects online anonymity and have established a stringent standard to use in precisely this scenario, where a litigant seeks to unmask users for the purpose of providing evidence in litigation that does not involve those users... Plaintiffs are far from meeting that strict standard here," Reddit said Tuesday in a filing in US District Court for the Northern District of California.

Reddit has no involvement in the lawsuit that triggered the request for users' identities -- the studios behind films such as Hellboy, Rambo V: Last Blood, Tesla, and The Hitman's Bodyguard sued cable broadband provider RCN in a different court, alleging that RCN failed to terminate Internet subscribers who illegally downloaded copyrighted movies. (RCN is now known as Astound Broadband after being combined with several other cable ISPs in the same ownership group.) In an attempt to prove that RCN turned a blind eye to users downloading copyrighted movies, the film studios subpoenaed Reddit seeking identifying information for specific users who commented in piracy-related threads. After Reddit provided information on only one user, calling the other requests a "fishing expedition," the studios filed a motion to compel Reddit to respond to the subpoena.

A man who rented out servers configured for BitTorrent file-sharing use has been handed a three-month suspended sentence in Denmark. Known as 'seedboxes', these pre-configured servers are not illegal per se, but when customers used the devices to break copyright law on known pirate sites, rightsholders held the server provider liable. TorrentFreak reports: Local anti-piracy group Rights Alliance (Rettigheds Alliancen) mitigates all types of piracy but for the past few years, has maintained a keen focus on torrent sites. Working in partnership with the Danish government's SOIK IP-Task Force, Rights Alliance forced several sites to close down and successfully prosecuted site operators, staff members, and users who uploaded content to those sites. In 2021, Rights Alliance targeted specialized servers that not only supply content to torrent sites but also play a role in boosting download times while improving security.

In 2021, news broke that six people had been arrested in Denmark due to their alleged connections to several local torrent sites. Among them was Kasper Nielsen of internet services company HNielsen Networks, a supplier of servers under various brands that could be configured for 'seedbox' purposes. Available information indicated that the servers had been used by an unknown number of users to share content on private torrent sites ShareUniversity, Superbits and DanishBytes. [...] When Rights Alliance filed its criminal complaint against HNielsen Networks, the anti-piracy group referenced the landmark Filmspeler case which involved the sale of piracy-configured media players.

According to statements published by Rights Alliance and NSK (Saerlig Kriminalitet) Denmark's Special Crime Unit, Nielsen was convicted yesterday for selling seedboxes in the knowledge they were being used by others to share movies, TV shows, eBooks and other content, without permission from rightsholders. "On February 28, the Court in Aalborg ruled against the Danish owner behind a seedbox company for, in the period November 2020 to May 2021, having sold seedboxes and server capacity to an unknown number of people, knowing that they were used for illegal sharing of no less than 3,838 copyright-protected works on the Danish and Nordic file sharing services ShareUniversity, Superbits and DanishBytes," Rights Alliance reports. Nielsen was handed a three-month conditional (suspended) sentence and a confiscation order for DKK 300,000 (around $42,600), the amount users had paid his company to access the seedbox servers. The 35-year-old must also pay compensation of DKK 298,660 to Rights Alliance. "Providers of seedboxes have a responsibility to ensure that their services are not used for illegal uploading and downloading of copyrighted content, which the Rights Alliance can clearly see that they are doing," says Maria Fredenslund, Director of Rights Alliance. "Therefore, this case helps to send a signal to other providers that you cannot deliberately sell services to the illegal market."

Since Neilsen took a plea deal at an early stage, none of the claims made by Rights Alliance were needed to be proven in court. "The 3,838 figure and any evidence related to 'knowledge' of infringement carried out by seedbox customers on the sites, were accepted as true," reports TorrentFreak.

The Motion Picture Association (MPA) issued a DMCA notice to a GitHub repo that contained a playlist that let viewers watch Pluto TVs streams on their own apps, such as VLC, MPV, and Tvheadend. From a report: The move was first noticed by TorrentFreak, and GitHub has complied and removed the repo, which ultimately does nothing. If you still have a tiny text file, you can still do exactly what the MPA tried to stop. Pluto TV, for those who do not watch it, is a service owned by Paramount that allows users to legally stream movies and TV shows free of charge on many devices. They have a mobile app, apps for Xbox and PlayStation, smart TVs, and dongles. Users do not even need to sign up to use it. In turn, Pluto's business model is predicated on serving ads and tracking user behavior. It's part of a newer breed of streaming product called free ad-supported television, or FAST. The GitHub repo in question contained M3U playlists to watch Pluto TV's content via an app like VLC. The repo basically took links that were already available and gathered them in one place. It should be noted that M3U files aren't torrent files; it's just a simple playlist file that can direct to local files and web sources.

Warner Bros. Pictures is revamping the "Lord of the Rings" film franchise. Variety reports: On a Thursday earnings call, Warner Bros. Discovery CEO David Zaslav announced that newly-installed studio leaders Mike De Luca and Pam Abdy have brokered a deal to make "multiple" films based on the beloved J. R. R. Tolkien books. The projects will be developed through WB label New Line Cinema. The first "Lord of the Rings" trilogy, helmed by Peter Jackson, grossed nearly $3 billion worldwide; Jackson's follow-up trilogy based on Tolkien's "The Hobbit" matched those grosses.

No filmmakers have been attached to the projects as yet, but in a statement to Variety, Jackson and his main "Lord of the Rings" collaborators Fran Walsh and Philippa Boyens said Warner Bros. and Embracer "have kept us in the loop every step of the way." "We look forward to speaking with them further to hear their vision for the franchise moving forward," Jackson, Walsh and Boyens said.