Are Movies Dying?

As viewership drops for Hollywood’s annual Academy Awards ceremony, “Everyone has a theory about the decline…” argues an opinion piece in the New York Times.

“My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing.”

When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, “Dune,” barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as “Spider-Man: No Way Home.” Even when Hollywood tries to conjure the old magic, in other words, the public isn’t there for it anymore…. Sure, non-superhero-movie box office totals will bounce back in 2022, and next year’s best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren’t just watching the decline of the Oscars; we’re watching the End of the Movies….

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation…. The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood’s potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema’s communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today….

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There’s no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined…

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies’ power of an-entire-story-in-one-go condensation. (“This power is why the greatest movies feel more complete than almost any long-form television.”) And it ultimately suggests that like opera or ballet, these grand old movies need “encouragement and patronage, to educate people into loves that earlier eras took for granted,” and maybe even “an emphasis on making the encounter with great cinema a part of a liberal arts education. ”

In 2014 one lone film-maker had even argued that Ben Stiller’s spectacular-yet-thoughtful Secret Life of Walter Mitty “might be the last of a dying breed.”

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Creative Commons Opposes Piracy-Combatting ‘SMART’ Copyright Act

The non-profit Creative Commons (founded by Lawrence Lessig) opposes a new anti-piracy bill that “proposes to have the US Copyright Office mandate that all websites accepting user-uploaded material implement technologies to automatically filter that content.”

We’ve long believed that these kinds of mandates are overbroad, speech-limiting, and bad for both creators and reusers. (We’re joined in this view by others such as Techdirt, Public Knowledge, and EFF, who have already stated their opposition.)

But one part of this attempt stands out to us: the list of “myths” Sen. Tillis released to accompany the bill. In particular, Tillis lists the concern that it is a “filtering mandate that will chill free speech and harm users” as a myth instead of a true danger to free expression-and he cites the existence of CC’s metadata as support for his position.
Creative Commons is strongly opposed to mandatory content filtering measures. And we particularly object to having our work and our name used to imply support for a measure that undermines free expression which CC seeks to protect….

Limitations and exceptions are a crucial feature of a copyright system that truly serves the public, and filter mandates fail to respect them. Because of this, licensing metadata should not be used as a mandatory upload filter-and especially not CC license data. We do not support or endorse the measures in this bill, and we object to having our name used to imply otherwise.

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Kaspersky Named First Russian Company on Security Risk List

The U.S. placed internet-security provider AO Kaspersky Lab on a list of companies deemed a threat to national security, for the first time adding a Russian entity to a list dominated by Chinese telecommunications firms. Bloomberg reports: The Federal Communications Commission on Friday also added China Telecom (Americas) Corp, and China Mobile International USA Inc. to the list. Once a company is on the list, federal subsidies can’t be used to purchase its equipment or services. The action is part of the FCC’s efforts to “strengthen America’s communications networks against national security threats,” Jessica Rosenworcel, the agency’s chairwoman, said in a news release.

Kaspersky is a well known provider of anti-virus software, and has conducted investigations into a range of nation-state hacking incidents. It calls itself the world’s largest privately-owned cybersecurity company on its website. It says it protects over 400 million users and 240,000 companies. […] For Friday’s update of the list, the FCC said it relied on findings by the Department of Homeland Security and an executive branch interagency body called the Committee for the Assessment of Foreign Participation in the United States Telecommunications Services Sector.

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CDC Coding Error Led To Overcount of 72,000 COVID-19 Deaths

Last week, after reporting from the Guardian on mortality rates among children, the CDC corrected a “coding logic error” that had inadvertently added more than 72,000 Covid deaths of all ages to the data tracker, one of the most publicly accessible sources for Covid data. The Guardian reports: The agency briefly noted the change in a footnote, although the note did not explain how the error occurred or how long it was in effect. A total of 72,277 deaths in all age groups reported across 26 states were removed from the tracker “because CDC’s algorithm was accidentally counting deaths that were not Covid-19-related,” Jasmine Reed, a spokesperson for the agency, told the Guardian. The problem stemmed from two questions the CDC asks of states and jurisdictions when they report fatalities, according to a source familiar with the issue.

One data field asks if a person died “from illness/complications of illness,” and the field next to this asks for the date of death. When the answer is yes, then the date of death should be provided. But a problem apparently arose if a respondent included the date of death in this field even when the answer was “no” or “unknown.” The CDC’s system assumed that if a date was provided, then the “no” or “unknown” answer was an error, and the system switched the answer to “yes.” This resulted in an overcount of deaths due to Covid in the demographic breakdown, and the error, once discovered, was corrected last week. The CDC did not answer a question on how long the coding error was in effect.

“Working with near real-time data in an emergency is critical to guide decision-making, but may also mean we often have incomplete information when data are first reported,” said Reed. The death counts in the data tracker are “real-time and subject to change,” Reed noted, while numbers from the National Center for Health Statistics, a center within the CDC, are “the most complete source of death data,” despite lags in reporting, because the process includes a review of death certificates.

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Sony Addresses Troubled Gran Turismo 7 Launch, Gives Angry Fans One Million Free Credits

bbsguru writes: Sony/PlayStation has been taking a lot of heat for making the new Gran Turismo 7 more dependent on microtransactions. Gamers say the well-reviewed game had taken advantage of those reviews by waiting until after it was released to jack up the cost of playing the game. Acceptance wasn’t improved by the more-than-a-day outage that accompanied the changes. [To make matters worse, Gran Turismo 7 owners weren’t even able to play single player because the DRM servers that require an online check to play the game went down.] After several tentative responses, Sony is [finally] paying out, “gifting players with a million in-game credits and outlining the near-term updates for Gran Turismo 7 that will address the problems,” writes Eurogamer’s Martin Robinson. “We want to thank you for your continued patience and valuable feedback as we grow and evolve GT7 to make it as enjoyable and rewarding for as many players as possible,” wrote series creator Kazunori Yamauchi in a blog post. “We always want to keep communication lines open with our community so that we can work together to build the best racing experience possible.”

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Windows 1.0 Easter Egg Managed To Stay Hidden For Nearly 37 Years

Lucas Brooks, an avid Windows fan who digs through and analyzes its early iterations, recently shared his discovery of an easter egg that’s been hiding in Windows 1.0 for nearly 37 years. PC Gamer reports: Brooks discovered the secret, a credits list of Windows developers and a “congratulations” message, buried in the data of a smiley face bitmap file that came with the OS. The data for the credits was encrypted, and according to Brooks, the tools he needed to extract the data didn’t even exist at the time of the OS’ release.

There’s also a name in the credits all PC gamers will recognize: Gabe Newell, co-founder and president of Valve. Newell began his career at Microsoft after dropping out of Harvard, and contributed to the development of the first three iterations of Windows. He also led the team that ported Doom to Windows from DOS, a crucial step in the transition between the operating systems.

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Startup Says Its Tech Can Inflict Actual Pain in the Metaverse

A Japanese startup called H2L Technologies wants you to be able to feel pain inside the metaverse, via a wristband that dishes out small electric shocks. Futurism reports: “Feeling pain enables us to turn the metaverse world into a real [world], with increased feelings of presence and immersion,” H2L CEO Emi Tamaki told the Financial Times. The Sony-backed startup’s wearable isn’t designed with only inflicting pain in mind. It’s also meant to convey “weight and resistance feeling to users and avatars on the Metaverse,” according to the company.

Thanks to the wristband’s electrical stimulation, it can mimic a range of sensations from catching a ball to a bird pinching the wearer’s skin. Tamaki’s goals are much greater than a simple wristband. She’s hoping to “release humans from any sort of constraint in terms of space, body and time” within the next decade.

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DirectStorage Shows Just Minor Load-Speed Improvements In Real-World PC Demo

Andrew Cunningham writes via Ars Technica: Microsoft’s DirectStorage API promises to speed up game-load times, both on the Xbox Series X/S and on Windows PCs (where Microsoft recently exited its developer-preview phase). One of the first games to demonstrate the benefits of DirectStorage on the PC is Square Enix’s Forspoken, which was shown off by Luminous Productions technical director Teppei Ono at GDC this week. As reported by The Verge, Ono said that, with a fast NVMe SSD and DirectStorage support, some scenes in Forspoken could load in as little as one second. That is certainly a monstrous jump from the days of waiting for a PlayStation 2 to load giant open-world maps from a DVD.

As a demonstration of DirectStorage, though, Forspoken’s numbers are a mixed bag. On one hand, the examples Ono showcased clearly demonstrate DirectStorage loading scenes more quickly on the same hardware, compared to the legacy Win32 API — from 2.6 seconds to 2.2 seconds in one scene, and from 2.4 seconds to 1.9 seconds in another. Forspoken demonstrated performance improvements on older SATA-based SSDs as well, despite being marketed as a feature that will primarily benefit NVMe drives — dropping from 5.0 to 4.6 seconds in one scene, and from 4.1 to 3.4 seconds in another. Speed improvements for SATA SSDs have been limited for the better part of a decade now because the SATA interface itself (rather than the SSD controller or NAND flash chips) has been holding them back. So eking out any kind of measurable improvement for those drives is noteworthy.

On the other hand, Ono’s demo showed that game load time wasn’t improving as dramatically as the raw I/O speeds would suggest. On an NVMe SSD, I/O speeds increased from 2,862MB/s using Win32 to 4,829MB/s using DirectStorage — nearly a 70 percent increase. But the load time for the scene decreased from 2.1 to 1.9 seconds. That’s a decrease that wouldn’t be noticeable even if you were trying to notice it. The Forspoken demo ultimately showed that the speed of the storage you’re using still has a lot more to do with how quickly your games load than DirectStorage does. One scene that took 24.6 seconds to load using DirectStorage on an HDD took just 4.6 seconds to load on a SATA SSD and 2.2 seconds to load on an NVMe SSD. That’s a much larger gap than the one between Win32 and DirectStorage running on the same hardware.

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Bipartisan Proposed Legislation To Curtail Secretive Email Seizure

“A bipartisan proposal in both the House and Senate would sharply limit the ability to seize emails without notice to the owner,” writes longtime Slashdot reader hawk. “It places a six-month limit on the length of gag orders in warrants.” The Hill reports: The Government Surveillance Transparency Act, sponsored by a bipartisan group of lawmakers from both chambers, puts limitations on gag orders that seek to block tech companies from altering users whose data has been seized. It targets a practice brought into the spotlight after journalists from CNN, The New York Times and The Washington Post all had their records seized by the Department of Justice (DOJ). The bill requires law enforcement agencies to notify surveillance subjects that their email, location and web browsing data has been seized, aligning with current practices for phone records and bank data.

“When the government obtains someone’s emails or other digital information, users have a right to know,” Sen. Ron Wyden (D-Ore.) said in a release. “Our bill ensures that no investigation will be compromised, but makes sure the government can’t hide surveillance forever by misusing sealing and gag orders to prevent the American people from understanding the enormous scale of government surveillance, as well as ensuring that the targets eventually learn their personal information has been searched.”

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