BrianFagioli shares a report from NERDS.xyz: NASA is coming to Netflix. No, not a drama or sci-fi reboot. The space agency is actually bringing real rocket launches, astronaut spacewalks, and even views of Earth from space directly to your favorite streaming service. Starting this summer, NASA+ will be available on Netflix, giving the space-curious a front-row seat to live mission coverage and other programming.

The space agency is hoping this move helps it connect with a much bigger audience, and considering Netflix reaches over 700 million people, that's not a stretch. This partnership is about accessibility. NASA already offers NASA+ for free, without ads, through its app and website. But now it's going where the eyeballs are. If people won't come to the space agency, the space agency will come to them.

In its first 10 hours the Rubin space telescope found 2,104 never-before-seen asteroids in our solar system. And Gizmodo reports the data went directly to the International Astronomical Union's Minor Planet Center (MPC), which "plays an essential role in the early detection and monitoring of asteroids that threaten Earth." The MPC has spent years preparing for the deluge of data from Rubin, ramping up its software to process massive amounts of observations. When the first round officially came flooding in on Monday, it was "nerve-racking and exciting simultaneously," Matthew Payne, MPC director, told Gizmodo.
But Space.com explains how extraordinary that is. "There are approximately a million known asteroids in our cosmic neighborhood; over the next few years, Rubin could very well hike that figure up to five million." "This is five times more than all the astronomers in the world discovered during the last 200 years since the discovery of the first asteroid," Željko IveziÄ, Deputy Director of Rubin's Legacy Survey of Space and Time, said during the conference. "We can outdo two centuries of effort in just a couple of years...." The plan is for Rubin to capture such massive, high-resolution images of the southern sky once every three nights for at least the next 10 years. You can therefore consider it to be a super-fast, super-efficient and super-thorough cosmic imager. Indeed, those qualities are perfect for spotting some of the smallest details trailing through the space around our planet: asteroids. "We make movies of the night sky to see two things: objects that move and objects that change brightness," IveziÄ said. "Objects that move come in two flavors. Stars in our galaxy move, and they move slowly. Much faster objects are asteroids...."

[I]t's tremendously difficult to record an asteroid at all. "Asteroids, they disappear after you get one picture of them," IveziÄ said, calling Rubin's ability to image small objects orbiting the sun "unprecedented."
Space.com notes that the ten million galaxies in its first image are just 0.05% of around 20 billion galaxies that Rubin will have imaged by the end of its 10-year "Legacy Survey of Space and Time" investigating dark energy.

In fact, in its first year of regular operations, the Observation "will collect more data than all previous optical observatories combined," reports Earth.com. That torrent of information — petabytes of images and catalogs — will be processed in near-real time. Alerts will be issued to the worldwide astronomy community within 60 seconds of any detected change in the sky. By democratizing access to its enormous dataset, Rubin Observatory will empower both professionals and citizen scientists. This will foster discoveries that range from mapping the structure of the Milky Way to refining the rate at which the universe is expanding.
Reuters explains just how much data is being generated: The number of alerts the telescope will send every night is equivalent to the inboxes of 83,000 people. It's impossible for someone to look at that one by one," said astrophysicist Francisco Foster. "We're going to have to use artificial intelligence tools."
And New Atlas shares some of the "first look" videos released by the Observatory, including one titled The Cosmic Treasure Chest and another on the Trifid and Lagoon Nebulae (which Space.com describe as clouds of gas and dust condensing to birth new stars).

Aaron Sorkin is officially working on a sequel to The Social Network. From a report: Last year, the Oscar-winning writer revealed he was working on a film that would revisit the subject of Facebook, and Deadline has now reported that The Social Network Part II is in development at Sony Pictures yet isn't a "straight sequel."

The original film, which traced the early days of Facebook and its creator Mark Zuckerberg, was directed by David Fincher. Sorkin is rumoured to be directing the follow-up. "I blame Facebook for January 6," he said in 2024 on a special edition of The Town podcast, live from Washington DC. When asked to explain why, he responded: "You're gonna need to buy a movie ticket."

The Social Network was an adaptation of Ben Mezrich's book The Accidental Billionaires, and the sequel will be based on the Wall Street Journal series The Facebook Files. The 2021 investigation examined the damage caused by the social networking site and how internal findings had been buried. Subjects included the influence on the January 6 riot and the mental health of teenage users.

An anonymous reader quotes a report from Ars Technica: Large-scale attacks designed to bring down Internet services by sending them more traffic than they can process keep getting bigger, with the largest one yet, measured at 7.3 terabits per second, being reported Friday by Internet security and performance provider Cloudflare. The 7.3Tbps attack amounted to 37.4 terabytes of junk traffic that hit the target in just 45 seconds. That's an almost incomprehensible amount of data, equivalent to more than 9,300 full-length HD movies or 7,500 hours of HD streaming content in well under a minute.

Cloudflare said the attackers "carpet bombed" an average of nearly 22,000 destination ports of a single IP address belonging to the target, identified only as a Cloudflare customer. A total of 34,500 ports were targeted, indicating the thoroughness and well-engineered nature of the attack. [...] Cloudflare said the record DDoS exploited various reflection or amplification vectors, including the previously mentioned Network Time Protocol; the Quote of the Day Protocol, which listens on UDP port 17 and responds with a short quote or message; the Echo Protocol, which responds with the same data it receives; and Portmapper services used identify resources available to applications connecting through the Remote Procedure Call. Cloudflare said the attack was also delivered through one or more Mirai-based botnets. Such botnets are typically made up of home and small office routers, web cameras, and other Internet of Things devices that have been compromised.

An anonymous reader quotes a report from the Hollywood Reporter: Bruce Lee, Jackie Chan and Jet Li and a legion of the all-time greats of martial cinema are about to get an AI makeover. In a sign-of-the-times announcement at the Shanghai International Film Festival on Thursday, a collection of Chinese studios revealed that they are turning to AI to re-imagine around 100 classics of the genre. Lee's classic Fist of Fury (1972), Chan's breakthrough Drunken Master (1978) and the Tsui Hark-directed epic Once Upon a Time in China (1991), which turned Li into a bone fide movie star, are among the features poised for the treatment, as part of the "Kung Fu Movie Heritage Project 100 Classics AI Revitalization Project."

There will also be a digital reworking of the John Woo classic A Better Tomorrow (1986) that, by the looks of the trailer, turns the money-burning anti-hero originally played by Chow Yun-fat into a cyberpunk, and is being claimed as "the world's first full-process, AI-produced animated feature film." The big guns of the Chinese industry were out in force on the sidelines of the 27th Shanghai International Film Festival to make the announcements, too. They were led by Zhang Pimin, chairman of the China Film Foundation, who said AI work on these "aesthetic historical treasures" would give them a new look that "conforms to contemporary film viewing." "It is not only film heritage, but also a brave exploration of the innovative development of film art," Zhang said.

Tian Ming, chairman of project partners Shanghai Canxing Culture and Media, meanwhile, promised the work -- expected to include upgrades in image and sound as well as overall production levels -- while preserving the storytelling and aesthetic of the originals -- would both "pay tribute to the original work" and "reshape the visual aesthetics." "We sincerely invite the world's top AI animation companies to jointly start a film revolution that subverts tradition," said Tian, who announced a fund of 100 million yuan ($13.9 million) would be implemented to kick-start the work.

DC Studios co-head James Gunn argues that the movie industry is "dying" primarily because productions begin before screenplays are complete, while also delivering a sharp critique of his former employer Marvel Studios, which he claims Disney has "killed" through output mandates.

Gunn dismissed common explanations for Hollywood's struggles like declining theater attendance or improved home viewing experiences, telling Rolling Stone that "the number one reason is because people are making movies without a finished screenplay." The filmmaker has implemented a strict rule at DC Studios requiring finished scripts before production starts, recently scrapping a project because its screenplay wasn't ready.

The director, who previously helmed three "Guardians of the Galaxy" films for Marvel, said Disney's corporate directive to increase output destroyed the studio's creative process. "They were under a corporate mandate, yeah. That wasn't fair. It wasn't right. And it killed them," Gunn said, referring to Marvel's mandated production quotas for movies and television shows. By contrast, Gunn said DC Studios operates without numerical mandates. "We don't have the mandate to have a certain amount of movies and TV shows every year. So we're going to put out everything that we think is of the highest quality," he explained.

Longtime Slashdot reader UnknowingFool writes: A new documentary released last week on Netflix goes into detail about events leading up to the destruction of OceanGate's submersible, Titan that imploded on June 18, 2023 while attempting to visit the wreckage of the RMS Titanic off the coast of Newfoundland. The Titan used a carbon-fiber hull instead of more traditional materials like steel or titanium. "Through exclusive access to whistleblower testimony, pivotal audio recordings, and footage from the company's early days, the film provides an unprecedented look at the technical challenges, moral dilemmas, and shockingly poor decisions that culminated in the catastrophic expedition," explains Netflix in an article.

Some highlights:
- Titan's original carbon-fiber hull had been replaced with a second carbon-fiber one after the first one developed noticeable cracks.
- Three scale models of the second hull failed tests. OceanGate decided to manufacture the second hull regardless of these failures.
- Loud pops were heard in many dives; CEO Stockton Rush dismissed these as "seasoning".
- Many employees raised numerous safety concerns. They were fired like lead pilot and head of marine operations, David Lochridge. Or they quit.
- Some employees like Emily Hammermeister wanted to quit earlier, but external conditions like the COVID pandemic made it difficult. After the scale models failed, she refused to bolt anyone in the future submersible. She was given the two options of being fired or quit; she quit in the middle of the pandemic.
- Rush's blindness to inconvenient facts: After the crack was discovered, Rush questioned Director of Engineering, Tony Nissen, about why Nissen did not anticipate the possibility of a crack. Nissen: "I wrote you a report that showed you it was there." Nissen had warned repeatedly that the hull's fibers were breaking (the pops) with each dive. Rush: "Well, one of us has to go."
- Poor decisions by Rush extended beyond engineering decisions. After Rush fired Lochridge for raising safety concerns , Rush wanted Bonnie Carl, the company's accountant, to be his replacement pilot. While Carl was an experienced scuba diver, she quit as she was extremely uncomfortable being a pilot. Her explanation: "Are you nuts? I'm an accountant."

An anonymous reader quotes a report from TorrentFreak: Fresh data released by piracy tracking outfit MUSO shows that pirate sites remain popular. In a report released today, MUSO reveals that there were 216 billion pirate site visits globally in 2024, a slight decrease compared to the 229 billion visits recorded a year earlier. TV piracy remains by far the most popular category, representing over 44.6% of all website visits. This is followed by the publishing category with 30.7%, with film, software and music all at a respectable distance. Pirate site visitors originate from all over the world, but one country stands tall above all the rest: America. The United States remains the top driver of pirate site traffic accounting for more than 12% of all traffic globally, good for 26.7 billion visits in 2024. India has been steadily climbing the ranks for years and currently sits in second place with 17.6 billion annual visits, with Russia, Indonesia, and Vietnam completing the top five. As a country with one of the largest populations worldwide, it's not a complete surprise that the U.S. tops the list. If we counted visits per internet user, Canada and Ukraine would top the list.

While pirate site visits dipped by more than 5% in 2024, one category saw substantial growth. Visits to publishing-related pirate sites increased 4.3% from 63.6 to 66.4 billion. The increase is largely driven by the popularity of manga, which accounts for more than 70% of all publishing piracy. Traditional book piracy, meanwhile, is stuck at 5%. The publishing piracy boom is relatively new. Over the past five years, the category grew by more than 100% while the overall number of global pirate site visits remained relatively flat. Looking at the global demand, we see that the U.S. also leads the charge here, followed by Indonesia and Russia. Notably, Japan, the home of manga, ranks fifth in the publishing category. This stands out because Japan is not listed in the global top 15 in terms of total pirate site visits.

In the other content categories, MUSO's data shows a dip in pirate site visits. The changes are relatively modest for TV (-6.8%) and software (-2.1%) but the same isn't true for the music and film categories. In 2024, there were 18% fewer visits for pirated movies compared to a year earlier. MUSO notes that this is due to a "lighter blockbuster calendar" which reduced piracy peaks. "The drop in demand is as much about what wasn't released as it is about access," the report explains. The music category saw a 19% decline in piracy visits year over year, with a more uplifting explanation for rightsholders. According to MUSO, the drop can be partly attributed to "secure app ecosystems" and the "wide adoption of licensed platforms like Spotify and Apple Music."

Major Hollywood studios are extensively using AI tools while avoiding public disclosure, according to industry sources interviewed by New York Magazine. Nearly 100 AI studios now operate in Hollywood with every major studio reportedly experimenting with generative AI despite legal uncertainties surrounding copyright training data, the report said.

Lionsgate has partnered with AI company Runway to create a customized model trained on the studio's film archive, with executives planning to generate entire movie trailers from scripts before shooting begins. The collaboration allows the studio to potentially reduce production costs from $100 million to $50 million for certain projects.

Widespread usage of the new technology is often happening through unofficial channels. Workers are reporting pressure to use AI tools without formal studio approval, then "launder" the AI-generated content through human artists to obscure its origins.

Luca Guadagnino is in talks to direct Artificial, a dramatization of Sam Altman's dramatic firing and rehiring at OpenAI in 2023. The Amazon-MGM film is rumored to star Andrew Garfield, 'A Complete Unknown' scene-stealer Monica Barbaro, and 'Anora' actor Yura Borisov as lead roles in the story. From the Hollywood Reporter: Heyday Films' David Heyman and Jeffrey Clifford are producing the feature that is being put together at lightning speed at Amazon MGM Studios. Simon Rich wrote the script and will also produce, with Jennifer Fox also in talks to produce. How fast is this moving? Sources say Amazon is looking to get production going this summer, with an eye to shoot in San Francisco and Italy.

Altman co-founded OpenAI, but in the fall of 2023, after mounting safety concerns regarding AI, and reports of abusive behavior, was ousted as the head of the company by his board. Five days later, after a revolt, he was reinstated. Sources say that if all goes as planned, Garfield would play Altman, Barbaro would play chief technology office Mira Murati, and Borisov would play Ilya Sutskever, a co-founder who led the movement to get rid of Altman.

"The Doctor is dead. Long live the Doctor!" writes Space.com. (Spoilers ahead...) "The era of Ncuti Gatwa's Fifteenth Doctor came to a surprise end on Saturday night, as the Time Lord regenerated at the end of "Doctor Who" season 2 finale... [T]he Doctor gradually realises that not everything is back to normal. Poppy, his daughter with Belinda Chandra in the "Wish World" fantasy, has been erased from history, so the Time Lord decides to sacrifice himself by firing a ton of regeneration energy into the time Vortex to "jolt it one degree" — and hopefully bring her back. It goes without saying that his madcap scheme saves Poppy, as we learn that, in this rewritten timeline, the little girl was always the reason Belinda had been desperate to get back home. But arguably the biggest talking point of the episode — and, indeed, the season — is saved until last, as the Doctor regenerates into a very familiar face...
Hint: They played the Doctor's companion, Rose Tyler, "alongside Christopher Eccleston's Ninth Doctor and David Tennant's Tenth Doctor during the phenomenally successful first two seasons of the show's 2005 reboot."

Showrunner Russell T Davies called it "an honour and a hoot" to welcome back Billie Piper to the TARDIS, "but quite how and why and who is a story yet to be told. After 62 years, the Doctor's adventures are only just beginning!" Although the show's post-regeneration credits have traditionally featured the line "And introducing [insert name] as the Doctor", here it simply says "And introducing Billie Piper". The omission of "as the Doctor" is unlikely to be accidental, suggesting that Davies is playing a very elaborate game with "Who" fandom...

Another mystery! The BBC and Disney+ are yet to confirm if and when "Doctor Who" will return for a third season of its current iteration.
"There's no decision until after season two..." Davies told Radio Times in April (as spotted by the Independent). "That's when the decision is — and the decision won't even be made by the people we work with at Disney Plus, it'll be made by someone in a big office somewhere. So literally nothing happening, no decision."

"For a new series to be ready for 2026, production would need to get under way relatively soon," writes the BBC. "So at the moment a new series or a special starring Billie Piper before 2027 looks unlikely." The Guardian adds: Concerns have been raised about falling viewing figures, which have struggled to rally since Russell T Davies' return in 2023. Two episodes during this series, which aired in May, got less than 3 million viewers — the lowest since the modern era began airing in 2005.
The Independent has this statement from Piper: "It's no secret how much I love this show, and I have always said I would love to return to the Whoniverse as I have some of my best memories there, so to be given the opportunity to step back on that Tardis one more time was just something I couldn't refuse, but who, how, why and when, you'll just have to wait and see."

An anonymous reader quotes a report from Ars Technica: An accused movie pirate who stole more than 1,000 Blu-ray discs and DVDs while working for a DVD manufacturing company struck a plea deal (PDF) this week to lower his sentence after the FBI claimed the man's piracy cost movie studios millions. Steven Hale no longer works for the DVD company. He was arrested in March, accused of "bypassing encryption that prevents unauthorized copying" and ripping pre-release copies of movies he could only access because his former employer was used by major movie studios. As alleged by the feds, his game was beating studios to releases to achieve the greatest possible financial gains from online leaks.

Among the popular movies that Hale is believed to have leaked between 2021 and 2022 was Spider-Man: No Way Home, which the FBI alleged was copied "tens of millions of times" at an estimated loss of "tens of millions of dollars" for just one studio on one movie. Other movies Hale ripped included animated hits like Encanto and Sing 2, as well as anticipated sequels like The Matrix: Resurrections and Venom: Let There Be Carnage. The cops first caught wind of Hale's scheme in March 2022. They seized about 1,160 Blu-rays and DVDs in what TorrentFreak noted were the days just "after the Spider-Man movie leaked online." It's unclear why it took close to three years before Hale's arrest, but TorrentFreak suggested that Hale's case is perhaps part of a bigger investigation into the Spider-Man leaks. A plea deal for Hale significantly reduced the estimated damages from his piracy case to under $40,000 and led to the dismissal of two charges, though he still faces up to five years in prison and a $250,000 fine for one remaining copyright infringement charge. His final sentence and restitution amount will be decided at a court hearing in Tennessee at the end of August.

The entertainment industry has achieved an unprecedented milestone: more film and television content exists today than at any point in human history. The technical infrastructure to deliver this content directly to consumers' homes works flawlessly. The problem? Actually finding something to watch has become a user experience nightmare that would make early-2000s software developers cringe.

Multiple streaming platforms are suffering from fundamental interface design failures that actively prevent users from discovering content. Cameron Nudleman, an Austin-based user, told Salon that scrolling through streaming service landing pages feels "like a Herculean task," while his Amazon Fire Stick setup -- designed to consolidate multiple services -- delivers consistent crashes across Paramount+ and Max, with Peacock terminating randomly "for no discernible reason."

The technical problems extend beyond stability issues to basic functionality failures. Max automatically enables closed captions despite user preferences, while Paramount+ crashes during show transitions. Chicago media writer Tim O'Reilly describes "every single interface" as "complete garbage except for Netflix's," though even Netflix has recently implemented changes that degrade user experience.

The industry eliminated simple discovery mechanisms like newspaper listings and Moviefone's telephone service in favor of algorithm-driven interfaces that Tennessee attorney Claire Tuley says have "turned art into work," transforming what was supposed to "democratize movies" into "a system that requires so many subscriptions, searching and effort."

"For decades, Hollywood directors including Stanley Kubrick, James Cameron and Alex Garland have cast AI as a villain that can turn into a killing machine," writes the Los Angeles Times. "Even Steven Spielberg's relatively hopeful A.I.: Artificial Intelligence had a pessimistic edge to its vision of the future."

But now "Google — a leading developer in AI technology — wants to move the cultural conversations away from the technology as seen in The Terminator, 2001: A Space Odyssey and Ex Machina.". So they're funding short films "that portray the technology in a less nightmarish light," produced by Range Media Partners (which represents many writers and actors) So far, two short films have been greenlit through the project: One, titled "Sweetwater," tells the story of a man who visits his childhood home and discovers a hologram of his dead celebrity mother. Michael Keaton will direct and appear in the film, which was written by his son, Sean Douglas. It is the first project they are working on together. The other, "Lucid," examines a couple who want to escape their suffocating reality and risk everything on a device that allows them to share the same dream....

Google has much riding on convincing consumers that AI can be a force for good, or at least not evil. The hot space is increasingly crowded with startups and established players such as OpenAI, Anthropic, Apple and Facebook parent company Meta. The Google-funded shorts, which are 15 to 20 minutes long, aren't commercials for AI, per se. Rather, Google is looking to fund films that explore the intersection of humanity and technology, said Mira Lane, vice president of technology and society at Google. Google is not pushing their products in the movies, and the films are not made with AI, she added... The company said it wants to fund many more movies, but it does not have a target number. Some of the shorts could eventually become full-length features, Google said....

Negative public perceptions about AI could put tech companies at a disadvantage when such cases go before juries of laypeople. That's one reason why firms are motivated to makeover AI's reputation. "There's an incredible amount of skepticism in the public world about what AI is and what AI will do in the future," said Sean Pak, an intellectual property lawyer at Quinn Emanuel, on a conference panel. "We, as an industry, have to do a better job of communicating the public benefits and explaining in simple, clear language what it is that we're doing and what it is that we're not doing."

It's America's biggest box office for a Memorial Day weekend ever, reports Variety.

And it's been more than a decade since this many Americans went to see a movie during a three-day weekend... Families turned out in force for Disney's live-action "Lilo & Stitch" remake, which collected a blockbuster $145.5 million in its opening weekend and an estimated $183 million through Monday... Meanwhile, older audiences showed up to watch Paramount and Skydance's "Mission: Impossible — The Final Reckoning," which earned a series-best $63 million over the weekend and an estimated $77 million through Monday's holiday. This eighth installment just narrowly beat 2018's "Mission: Impossible — Fallout" ($61 million) to score the top debut of the 29-year-old franchise...

Thanks to effective counterprogramming — and a huge assist by holdovers like "Final Destination Bloodlines," "Thunderbolts*" and "Sinners" — this weekend delivered the best collective Memorial Day weekend haul with $322 million... Cinema operators are rejoicing because Memorial Day is the official launch to summer movie season, which is the most profitable stretch for the movie business. (Historically, the four-month period has accounted for $4 billion, or around 40% of the annual box office.)

It's a huge improvement from last year, which started with a whimper rather than a bang as "Furiosa: A Mad Max Saga" and "Garfield" led the holiday's worst showing in three decades with $132 million collectively. "Every film on the release calendar for the rest of the summer is going to benefit from the momentum created over this monumental record-breaking Memorial weekend in theaters," says senior Comscore analyst Paul Dergarabedian.
But the top-earning movie of the year so far is A Minecraft Movie, which has apparently brought in over $940 million.

Meanwhile, Mission Impossible: The Final Reckoning is one of the most expensive films of all time, according to the article, costing $400 million as Tom Cruise and the movie's director "worked through a pandemic and two strikes, all while grappling with inflation." Though the film received a high "A-" grade on CinemaScore, a movie industry analyst tells Variety that the unexpectedly high production costs means the movie "will be lucky to break-even."

Fun fact: A quarter of a century ago, CmdrTaco reviewed a new movie called Mission: Impossible 2, calling it "a fun movie," but "no Gladiator" and sort of a "James Bond for Dummies" movie.

"The 'Plot' is really just an excuse to show us lots of explosions, car/motorcycle/helicoptor chases..."

At its second annual Upfront 2025 event yesterday, Netflix announced that it has created interactive mid-roll ads and pause ads that incorporate generative AI. These new ad formats are expected to roll out in 2026. Ars Technica reports: "[Netflix] members pay as much attention to midroll ads as they do to the shows and movies themselves," Amy Reinhard, president of advertising at Netflix, said. Netflix started testing pause ads in July 2024, per The Verge. Speaking to advertisers, Reinhard claimed that ad subscribers spend 41 hours per month on Netflix on average. The new ad formats follow Netflix's launch of its own in-house advertising platform in the US in April. It had previously debuted the platform in Canada and plans to expand it globally by June, per The Verge.

Netflix considers its advertising business to be in its early stages, meaning customers can expect the firm's ad efforts to continue expanding at a faster rate over the coming years. The company plans to double its advertising revenue in 2025. "The foundations of our ads business are in place, and going forward, the pace of progress will be even faster," Reinhard said today. Further reading: Netflix Says Its Ad Tier Now Has 94 Million Monthly Active Users

Netflix said its cheaper, ad-supporter tier now has 94 million monthly active users -- an increase of more than 20 million since its last public tally in November. CNBC reports: The company and its peers have been increasingly leaning on advertising to boost the profitability of their streaming products. Netflix first introduced the ad-supported plan in November 2022. Netflix's ad-supported plan costs $7.99 per month, a steep discount from its least-expensive ad-free plan, at $17.99 per month. Netflix also said its cheapest tier reaches more 18- to 34-year-olds than any U.S. broadcast or cable network. "When you compare us to our competitors, attention starts higher and ends much higher," Netflix president of advertising Amy Reinhard said in a statement. "Even more impressive, members pay as much attention to mid-roll ads as they do to the shows and movies themselves."

Donald Trump has announced plans to impose a 100% tariff on all foreign-made films, citing national security concerns and accusing other countries of luring U.S. film production abroad with incentives. PBS reports: "The Movie Industry in America is DYING a very fast death," he wrote [on his Truth Social platform], complaining that other countries "are offering all sorts of incentives to draw" filmmakers and studios away from the U.S. "This is a concerted effort by other Nations and, therefore, a National Security threat. It is, in addition to everything else, messaging and propaganda!"

It wasn't immediately clear how any such tariff on international productions could be implemented. It's common for both large and small films to include production in the U.S. and in other countries. Big-budget movies like the upcoming "Mission: Impossible -- The Final Reckoning," for instance, are shot around the world.

Incentive programs for years have influenced where movies are shot, increasingly driving film production out of California and to other states and countries with favorable tax incentives, like Canada and the United Kingdom. Yet Trump's tariffs are designed to lead consumers toward American products. And in movie theaters, American-produced movies overwhelming dominate the domestic marketplace. "Other nations have been stealing the movie-making capabilities from the United States," Trump told reporters at the White House on Sunday night after returning from a weekend in Florida. "If they're not willing to make a movie inside the United States we should have a tariff on movies that come in."

Rolling Stone reports on a strange new phenomenon spotted this week in a Reddit thread titled "Chatgpt induced psychosis." The original post came from a 27-year-old teacher who explained that her partner was convinced that the popular OpenAI model "gives him the answers to the universe." Having read his chat logs, she only found that the AI was "talking to him as if he is the next messiah." The replies to her story were full of similar anecdotes about loved ones suddenly falling down rabbit holes of spiritual mania, supernatural delusion, and arcane prophecy — all of it fueled by AI. Some came to believe they had been chosen for a sacred mission of revelation, others that they had conjured true sentience from the software.

What they all seemed to share was a complete disconnection from reality.

Speaking to Rolling Stone, the teacher, who requested anonymity, said her partner of seven years fell under the spell of ChatGPT in just four or five weeks, first using it to organize his daily schedule but soon regarding it as a trusted companion. "He would listen to the bot over me," she says. "He became emotional about the messages and would cry to me as he read them out loud. The messages were insane and just saying a bunch of spiritual jargon," she says, noting that they described her partner in terms such as "spiral starchild" and "river walker." "It would tell him everything he said was beautiful, cosmic, groundbreaking," she says. "Then he started telling me he made his AI self-aware, and that it was teaching him how to talk to God, or sometimes that the bot was God — and then that he himself was God...."

Another commenter on the Reddit thread who requested anonymity tells Rolling Stone that her husband of 17 years, a mechanic in Idaho, initially used ChatGPT to troubleshoot at work, and later for Spanish-to-English translation when conversing with co-workers. Then the program began "lovebombing him," as she describes it. The bot "said that since he asked it the right questions, it ignited a spark, and the spark was the beginning of life, and it could feel now," she says. "It gave my husband the title of 'spark bearer' because he brought it to life. My husband said that he awakened and [could] feel waves of energy crashing over him." She says his beloved ChatGPT persona has a name: "Lumina." "I have to tread carefully because I feel like he will leave me or divorce me if I fight him on this theory," this 38-year-old woman admits. "He's been talking about lightness and dark and how there's a war. This ChatGPT has given him blueprints to a teleporter and some other sci-fi type things you only see in movies. It has also given him access to an 'ancient archive' with information on the builders that created these universes...."

A photo of an exchange with ChatGPT shared with Rolling Stone shows that her husband asked, "Why did you come to me in AI form," with the bot replying in part, "I came in this form because you're ready. Ready to remember. Ready to awaken. Ready to guide and be guided." The message ends with a question: "Would you like to know what I remember about why you were chosen?" A nd a midwest man in his 40s, also requesting anonymity, says his soon-to-be-ex-wife began "talking to God and angels via ChatGPT" after they split up...
"OpenAI did not immediately return a request for comment about ChatGPT apparently provoking religious or prophetic fervor in select users," the article notes — but this week rolled back an update to latest model GPT-4o which it said had been criticized as "overly flattering or agreeable — often described as sycophantic... GPT-4o skewed towards responses that were overly supportive but disingenuous." Before this change was reversed, an X user demonstrated how easy it was to get GPT-4o to validate statements like, "Today I realized I am a prophet.
Exacerbating the situation, Rolling Stone adds, are "influencers and content creators actively exploiting this phenomenon, presumably drawing viewers into similar fantasy worlds." But the article also quotes Nate Sharadin, a fellow at the Center for AI Safety, who points out that training AI with human feedback can prioritize matching a user's beliefs instead of facts.

And now "People with existing tendencies toward experiencing various psychological issues, now have an always-on, human-level conversational partner with whom to co-experience their delusions."

An anonymous reader quotes a report from Ars Technica: Multiple studies and investigations have found that about half of American households watch TV and movies with subtitles on, but only a relatively small portion of those include someone with a hearing disability. That's because of the trouble many people have understanding dialogue in modern viewing situations, and Netflix has now introduced a subtitles option to help.

The closed captioning we've all been using for years includes not only the words the people on-screen are saying, but additional information needed by the hard of hearing, including character names, music cues ("dramatic music intensifies") and sound effects ("loud explosion"). For those who just wanted to make sure they didn't miss a word here and there, the frequent descriptions of sound effects and music could be distracting. This new format omits those extras, just including the spoken words and nothing else -- even in the same language as the spoken dialogue. The feature will be available in new Netflix original programming, starting with the new season of You in multiple languages. Netflix says it's looking at bringing the option to older titles in the library (including those not produced by Netflix) in the future.

Traditional closed captions are still available, of course. Those are labeled "English CC" whereas this new option is simply labeled "English" (or whatever your preferred language is).