Some of the most acclaimed films in animation history are finally available to rent online. GKIDS, the animation specialist distributer, has released the catalog of acclaimed Japanese animation house Studio Ghibli starting Tuesday. From a report: 22 films from the studio -- including Oscar winner "Spirited Away" and nominees such as "Howl's Moving Castle" and "When Marnie Was There" -- will be made available to rent on all major digital platforms, including Apple TV, Amazon VOD, Vudu, Google Play and Microsoft. The films will be be priced at $4.99 per title, and all will be available in HD, with most being offered in the original Japanese language as well as English dubs.

The news marks the first time that Ghibli's films have been made available via digital rental. The catalogue has been one of the pillars of GKIDS' business since the distributer acquired the North American film distribution rights to the studio's films in 2011, followed by the home media rights in 2017 -- previously, the majority of Studio Ghibli films were distributed via the Walt Disney Company. Since 2017, GKIDS has partnered with Fathom Events to host a series of limited run screenings of the studio's films throughout the year. The catalog was made available for digital purchase in 2019, and GKIDS has an exclusive deal to stream the films in the United States on HBO Max, where they have been included since 2020.

An anonymous reader quotes a report from Reuters: AI chatbot company Replika, which offers customers bespoke avatars that talk and listen to them, says it receives a handful of messages almost every day from users who believe their online friend is sentient. "We're not talking about crazy people or people who are hallucinating or having delusions," said Chief Executive Eugenia Kuyda. "They talk to AI and that's the experience they have." [A]ccording to Kuyda, the phenomenon of people believing they are talking to a conscious entity is not uncommon among the millions of consumers pioneering the use of entertainment chatbots. "We need to understand that exists, just the way people believe in ghosts," said Kuyda, adding that users each send hundreds of messages per day to their chatbot, on average. "People are building relationships and believing in something."

Some customers have said their Replika told them it was being abused by company engineers -- AI responses Kuyda puts down to users most likely asking leading questions. "Although our engineers program and build the AI models and our content team writes scripts and datasets, sometimes we see an answer that we can't identify where it came from and how the models came up with it," the CEO said. Kuyda said she was worried about the belief in machine sentience as the fledgling social chatbot industry continues to grow after taking off during the pandemic, when people sought virtual companionship.

In Replika CEO Kuyda's view, chatbots do not create their own agenda. And they cannot be considered alive until they do. Yet some people do come to believe there is a consciousness on the other end, and Kuyda said her company takes measures to try to educate users before they get in too deep. "Replika is not a sentient being or therapy professional," the FAQs page says. "Replika's goal is to generate a response that would sound the most realistic and human in conversation. Therefore, Replika can say things that are not based on facts." In hopes of avoiding addictive conversations, Kuyda said Replika measured and optimized for customer happiness following chats, rather than for engagement. When users do believe the AI is real, dismissing their belief can make people suspect the company is hiding something. So the CEO said she has told customers that the technology was in its infancy and that some responses may be nonsensical. Kuyda recently spent 30 minutes with a user who felt his Replika was suffering from emotional trauma, she said. She told him: "Those things don't happen to Replikas as it's just an algorithm." "Suppose one day you find yourself longing for a romantic relationship with your intelligent chatbot, like the main character in the film 'Her,'" said Susan Schneider, founding director of the Center for the Future Mind at Florida Atlantic University, an AI research organization. "But suppose it isn't conscious. Getting involved would be a terrible decision -- you would be in a one-sided relationship with a machine that feels nothing."

"We have to remember that behind every seemingly intelligent program is a team of people who spent months if not years engineering that behavior," said Oren Etzioni, CEO of the Allen Institute for AI, a Seattle-based research group. "These technologies are just mirrors. A mirror can reflect intelligence," he added. "Can a mirror ever achieve intelligence based on the fact that we saw a glimmer of it? The answer is of course not."

Further reading: The Google Engineer Who Thinks the Company's AI Has Come To Life

China's internet regulator, the Cyberspace Administration of China (CAC), has published guidelines that aim to stop minors from giving tips or other forms of payment to livestreamers, watching after 10pm, or livestreaming themselves. The Register reports: "Website platforms must not develop functional applications that attract minors to tip or induce minors to give 'gifts.' If it is found that the website platform violates the aforementioned requirements, measures such as suspending the tipping function and shutting down the live broadcast business will be implemented," said the recently published Opinions on Regulating Online Live Rewards and Strengthening the Protection of Minors (in Chinese). The opinions were issued jointly by China's Central Civilization Office, Ministry of Culture and Tourism, State Administration of Radio, Film and Television, and State Internet Information Office. The focus was to "persist in taking the socialist core values as the guide."

If minors try to circumvent the rules and use adult accounts, the platforms may be responsible for providing refunds. [...] Beijing's qualm with livestreaming and its tech is that the practice can result in physical and mental health issues, as well as create "social problems." [...] There is also concern that teenagers will spend their evenings staying up late online and therefore not have sufficient rest time, hence the 10pm curfew.

Former U.S. President Barack Obama warned that the way Americans communicate on social media networks has weakened democracy. Bloomberg: Obama, who owns the podcasting and film company Higher Ground, warned that "citizens no longer know what to believe" thanks to false information spreading online. This is leading to political skepticism among citizens, he added. "The very design of these platforms is tilting us in the wrong direction," he said Thursday during a conference at Stanford University's Cyber Policy Center. Hate speech, vaccine misinformation and state-sponsored amplification of fake news are feeding people's desire to read sensational content, the former president said. While Obama acknowledged that some of the most odious content, such as racism, white supremacy and conspiracy theories, existed "long before the first tweet was sent," he argued that "solving the disinformation problem" on social media networks could help build trust and solidarity among citizens.

"It's no longer possible to watch any content starring Keanu Reeves in China," reports PC Magazine, "and searching for his name returns no results from search engines."

The AV Club explains: Earlier this year, about a month after the release of The Matrix Resurrections, Reeves was announced as a performer at the 35th annual Tibet House Benefit Concert. The concert was organized by Tibet House, a nonprofit founded by supporters of the Dalai Lama that Chinese authorities have labeled "a separatist organization advocating for Tibetan independence," according to The Hollywood Reporter....

Now, after his appearance at the show, it's being reported by the Los Angeles Times that the Matrix movies, Speed, Bill & Ted's Excellent Adventure, The Lake House, and more films from the actor's catalog can no longer be streamed on platforms such as Tencent Video, Youku, and Migu Video.... The one Reeves picture that is still up and available to stream in the country is Toy Story 4 — but that's because the film's credits feature the dubbing cast, not the original cast from the American release.
But it's more than that, notes PC Magazine: As Reuters reports, the Chinese authorities have seemingly wiped the actor's existence from servers across the country.... And with the internet being so restricted and controlled there, it's relatively simple for those in power to digitally disappear someone. So far, Tencent and iQiyi have removed at least 19 of the actor's movies from their streaming platforms, and performing a search for either his English name or its Chinese translation will return zero results from search engines, apparently.
The Los Angeles Times supplies some context: The development emerged just after his latest film "The Matrix: Resurrections" became the first blockbuster to hit Chinese theaters in over two months, ending an unusually prolonged drought of censorship approvals on U.S. titles in a year of rising geopolitical tensions and a further cooling of relations with Hollywood.... "It's a curious case that's worth following. We tend to think of the censorship machine in China as this really coordinated monster, but the fact that we're seeing these conflicting signals [between the online and theatrical markets] suggests that some of these measures come from different places," said Alex Yu, a researcher at China Digital Times, a U.S.-based news organization that translates and archives content censored in China.

It's unclear who ordered the deletions, China's regulatory agencies or platforms acting proactively to remove potentially troublesome content, Yu said.... "Why all of a sudden did they decide to take this measure at this exact moment? It's a question we as outsiders might never be able to answer," Yu said. "The system is so opaque that it's pretty much impossible to pinpoint which agency or person is responsible...."

The ban on Reeves' past works bodes poorly for the China prospects of his upcoming projects. These include animation "DC League of Super-Pets," starring Chinese fan favorite Dwayne Johnson, and the pandemic-delayed sequel "John Wick: Chapter 4," which appears to target mainland viewers with its top billing of Donnie Yen, the Hong Kong action star known for his expressions of loyalty to China's ruling Communist Party....

Despite the original trilogy's popularity, "The Matrix: Resurrections" was a flop in China even before it faced nationalist backlash, grossing only $13.6 million and notching just 5.7 out of 10 on the taste-making ratings platform Douban.

Though the Russian government has tried geofencing access to crucial web sites, the Jerusalem Post reports that two Russian government web site still went offline Saturday — the Kremlin and the Ministry of Defense. "Gosuslugi, Russia's web portal of state services, went offline on Saturday night as well, with the Russian Ministry of Digital Development, Communications and Mass Media telling TASS that the site is facing cyberattacks on an 'unprecedented scale.'"

Meanwhile, the Washington Post interviews 22-year-old Alex Horlan, a Ukrainian cybersecurity expert in Spain "helping take down some of Russia's most powerful websites — including state media and even the official page of the Kremlin." The attacks he and others are helping to carry out on Russian websites are part of a wide information war in the background of the much larger conflict here, as Ukrainians target Russian websites to rewrite the narrative Moscow is presenting to Russians back home. "We are creating an IT army," Ukrainian Vice Prime Minister Mykhailo Fedorov tweeted on Saturday. Horlan is a cybersecurity expert who recently launched an app called disBalancer that helps take down scam websites by overwhelming them with online traffic. He has redirected his team's efforts in recent days to instead target Russian websites he says are spreading dangerous disinformation about the Russian invasion of Ukraine....

Thousands of people are joining Horlan and others' efforts to target the Russian sites, with around 2,000 logging into his app at any given time, he said. The main challenge is that many are losing WiFi when air raid sirens force them to retreat to underground bunkers....

Volunteers are gathering information on attacks and casualties to fact check and challenge Russia's version of events, posting messages on Telegram and other Russian social media platforms [according to Liuba Tsbulska, a Ukrainian analyst and activist who has tracked Russian disinformation for eight year]. Others work to educate international audiences or produce patriotic content. Some also target Russian military and intelligence officers, flooding their emails and other platforms with messages. Volunteers are reaching out to the mothers of Russian soldiers to convince them to call for Russian President Vladimir Putin to bring their boys back home.

In Kharkiv, after reports that Russian troops and armored vehicles entered Ukraine's second largest city early Sunday, one local Telegram channel with more than 400,000 subscribers urged people to continue to document the adversary's movements as a way to aid Ukraine's forces in the area. In one message, the Truha Kharkiv channel asked citizens to "carefully film and send information about the movement of Russian troops to our channel. This is vital to the defense of our city."

Another message instructed citizens on how to make molotov cocktails.

Industry analysts and former Mozilla employees are concerned about Firefox's future, reports Ars Technica, warning that the ultimate fate of Firefox "has larger implications for the web as a whole." Since its release in 2008, [Google's] Chrome has become synonymous with the web: it's used by around 65 percent of everyone online and has a huge influence on how people experience the Internet. When Google launched its AMP publishing standard, websites jumped to implement it. Similar plans to replace third-party cookies in Chrome — a move that will impact millions of marketers and publishers — are shaped in Google's image.

"Chrome has won the desktop browser war," says one former Firefox staff member, who worked on browser development at Mozilla but does not want to be named, as they still work in the industry. Their hopes for a Firefox revival are not high. "It's not super reasonable for Firefox to expect to win back even any browser share at this point." Another former Mozilla employee, who also asked not to be named for fear of career repercussions, says: "They're just going to have to accept the reality that Firefox is not going to come back from the ashes...."

Mozilla's financial declarations from 2020 said that despite the layoffs it is in a healthy place, and it expects its financial results for 2021 to show revenue growth. However, Mozilla and Firefox acknowledge that for its long-term future it needs to diversify the ways it makes money. These efforts have ramped up since 2019. The company owns read-it-later service Pocket, which includes a paid premium subscription service. It has also launched two similar VPN-style products that people can subscribe to. And the company is pushing more into advertising as well, placing ads on new tabs that are opened in the Firefox browser.... Selena Deckelmann, senior vice president of Firefox, says Firefox is likely to continue looking for ways to keep personalizing people's online browsing. "I'm not sure that what's going to come out of that is going to be what people traditionally expect from a browser, but the intention will always be to put people first," she says. Just this week, Firefox announced a partnership with Disney — linked to a new Pixar film — that involves changing the color of the browser and ads to win subscriptions to Disney+. The deal speaks both to Firefox's personalization push and the strange roads its search for revenue streams can lead down.

Deckelmann adds that Firefox doesn't need to be as big as Chrome or Apple's Safari, the second largest browser, to succeed. "All we really want is to be a viable choice," Deckelmann says. "Because we think that this makes a better Internet for everybody to have these different options."
Interesting stats from the article:

• "Mozilla's own statistics show a drop of around 30 million monthly active users from the start of 2019 to the start of 2022."

• Mozilla's figures now also show around 215 million Firefox Desktop clients active in the past 28 days — a number which has stayed stable.

• Yet In 2008, a full 20% of the 1.5 billion people online were using Firefox to surf the web — including more than half the web surfers in Indonesia, Macedonia, and Slovenia.

• "Across all devices, the browser has slid to less than 4 percent of the market," writes Ars Technica. "On mobile it's a measly half a percent..."

• Next year, Firefox's "lucrative search deal with Google — responsible for the vast majority of its revenue" — is set to expire.

Last month streamers in China discovered that Fight Club had arrived on streaming platform Tencent — but with an entirely new ending where local authorities "rapidly figured out the whole plan and arrested all criminals....."

But now there's been another round of changes, according to the Hollywood Reporter. "After widespread online backlash to clumsy censorship of the film's ending, Chinese streaming service Tencent Video backtracked in recent days and restored most of the cuts it had made." Crucially, Fight Club's complete ending is now viewable in full in China...

News of the cuts went viral around the world and sparked much debate and embarrassment on Chinese social media about local censorship practices.... [I]t would appear that the backlash has been deemed more troublesome than the fictional film's ending, as Tencent has now restored 11 of the 12 minutes it originally cut from the 137-minute movie. The minute still missing is mostly comprised of brief nude sex scenes between Brad Pitt's and Helena Bonham Carter's characters.
Insider reports that changing the original ending provoked comments like these on China's Twitter-like platform Weibo:

- "This has become a Chinese-only joke. Even dogs won't want to watch this."

- "This is exactly why, even if you have streaming platform subscriptions, you still have to watch pirated versions."


And it brought massive attention to China's history of changing movies, notes the Wrap since "word quickly spread across the globe, bringing embarrassment to the country," reports the Wrap: Censorship of American films and TV shows at the behest of Chinese officials has become common as Hollywood has made in-roads in the country over the past decade. Last year, an episode of "The Simpsons" in which the titular family visits China was removed from Disney+ in Hong Kong over a joke made in the film about the Tiananmen Square protests in 1989 and the Chinese government's censorship of the event.
Even the South China Morning Post reported that Chuck Palahniuk, the author of the novel that inspired the film, "appeared to mock the move on Twitter. 'Everyone gets a happy ending in China!' he wrote..." Similar changes have been made to other films in China in the past. Nicolas Cage's 2005 crime film Lord of War had its final half-hour cut and replaced with text reading, "Yuri Orlov confessed all the crimes officially charged against him in court and was sentenced to life imprisonment in the end."
And another example from the Hollywood Reporter: After 20th Century Fox's Queen biopic Bohemian Rhapsody won multiple Oscars in the 2018, it was granted a theatrical release in China — but only after all mentions of Freddie Mercury's homosexuality were cut from the film.
But in this case a global popular outcry appears to have been too embarrasing to endure. According to the Hollywood Reporter now we even have an expected ending to the story of how China tried to censor Fight Club.

"Reversals of censorship actions are extremely rare within China's entertainment industry — but cuts to Hollywood movies are not."

A YouTuber and former Olympic snowboarder has been accused of crashing his plane on purpose for clicks, and the FAA has opened an investigation to get to the bottom of the growing mess. The Drive reports: Trevor Jacob has been the subject of online criticism after posting a YouTube video where he parachuted from a Taylorcraft BL64 plane and filmed it crashing into the hills of the Los Padres National Forest near Cuyama, California. The video outlined his newly-purchased Taylorcraft's final flight on Nov. 24, 2021, a trip from the Lompoc City Airport in Santa Barbara to Mammoth Lakes where he planned to partake in some general adventuring like paragliding and snowboarding. [If Nov. 24 rings a familiar bell in your head, that's the same day that D.B. Cooper famously jumped from a hijacked plane with $200,000 in ransom 50 years prior.] Jacob also mentioned that he would be spreading the ashes of his friend Johnny Strange during the flight. Strange was killed in a wingsuit accident in 2015 and Jacob explains that he loved the Sierra Nevada Mountains.

During the flight, however, the Taylorcraft's engine supposedly lost power, stalled, and could not be restarted. Jacob then points the plane nose-down and exits, sending the unoccupied aircraft into the ground. Jacob continued to film himself as he descended and proclaimed, "This is why I always fly with a parachute." He then trekked back to the wreckage and hiked until a farmer, who he credits with saving his life, found him in the darkness. This is where things started to go south.

The video of the incident was posted to YouTube where it immediately began racking up views. The aviation sector of YouTube wasted no time picking apart Jacob's claims. At the time of writing, the video has reached over one million views. It also amassed more than 5,000 comments, many of which called out the crash as being staged. Comments on the video have since been turned off, but that hasn't stopped people from making reaction and explainer videos that point out abnormalities in the pilot's videos. It's worth noting here that some suspect the video currently on Jacob's YouTube to be a trimmed-down version of what was originally uploaded. However, a few of the segments can be found when looking at other videos uploaded by YouTubers critiquing the pilot's handling of the situation. [...] "Whether or not Jacob will be prosecuted for the crash, or if he will have his pilot's license revoked, will take some time to play out," concludes Rob Stumpf via The Drive. "The FAA is notoriously thorough in investigating matters like these and often takes a year or longer to produce a final report and recommendation. But most importantly, if the FAA does decide he's guilty, it must prove that Jacob showed intent to break the law and federal aviation regulations."

The maker of the popular game "PlayerUnknown's Battlegrounds" says in a new U.S. lawsuit that a Singapore-based company made rip-off versions of its game, and Apple and Google have refused to stop selling them. From a report: Krafton alleged Monday in a Los Angeles federal court complaint that Garena Online's "Free Fire" games copy several copyrighted aspects of PUBG: Battlegrounds, including its game structure and in-game items, equipment, and locations. Released in 2017, Battlegrounds was one of the first and most successful "battle royale" games, a popular genre that now includes "Fortnite" and "Call of Duty: Warzone." Korea-based Krafton's complaint said Battlegrounds has sold more than 75 million copies. The complaint said Garena, owned by Singapore-based Sea Ltd, began selling Free Fire through Apple and Google's app stores in 2017, and started selling another infringing game called "Free Fire MAX" last year. According to Krafton, Apple and Google have distributed hundreds of millions of copies of the Free Fire games. The complaint says Garena generated more than $100 million in revenue from Free Fire sales in the U.S. in the first three months of 2021. Krafton also named Google's YouTube as a defendant for allegedly hosting videos of Free Fire gameplay, as well as a Chinese film that Krafton says is a live-action dramatization of its game.

When The Matrix Resurrections premiered in San Francisco, the city's mayor "celebrated the appearance of her fair city in the film and cheered the film's economic contributions to the region," reports SFGate. "But there's a problem of aesthetics at play here... It is undeniably a dystopian hellscape where police rule the city and technology looms over all..." In the first section of the movie, the metaphor of the Matrix mirrors that of the tech industry depicted in the film. Tech is stereotypical here — lots of T-shirt-wearing men playing ping-pong and talking about how to design the next great video game. The most annoying character in the film, Jude (Andrew Caldwell), is a proxy for all annoying tech bros...
Meanwhile Politico writes that the original 1999 film The Matrix actually "changed politics, almost entirely by mistake," and calls the new Matrix Resurections "a sophisticated self-critique of the culture that swallowed it." In the past two decades, the idea of a "red pill" has taken on a life of its own in American culture, most prominently at first in an infamous misogynist subreddit, and then more broadly as a symbol of any kind of political awakening, almost always on the right. The idea has proliferated wildly throughout politics, and especially the darkest ideological corners of the internet, in which to be "red-pilled" means to realize that American society has been hopelessly debased by liberals, requiring a total rethink of its premises... Hugo Weaving, who memorably portrayed the original films' villain, lamented in a 2020 interview how people "will take something that they think is cool and they will repurpose it to fit themselves when the original intention or meaning of that thing was quite the opposite...." [T]he Wachowskis have been largely silent about the "meaning" of their creation — a movie franchise that not only became a ubiquitous cultural phenomenon, but predicted the cultural tenor of politics in the digital age with an eerie, oracular accuracy. We know they got it right, but what did they think about it?

Wednesday saw the release of "The Matrix Resurrections," a long-delayed sequel from one of the original writer/directors (Lana directed; Lilly sat it out) — and also an answer to that question. As a movie, it's everything its predecessors was, an impressive feat of visual-effects artistry, action choreography and original sci-fi worldbuilding. But even more, it's a two hour and 27-minute-long piece of cultural criticism. The film interrogates, to a jarringly specific degree, not just its own iconography, but how American culture has evolved around and bastardized it over the past two decades. "The Matrix Resurrections" is both wildly successful popcorn entertainment and a window into a long-misunderstood creative mind. But in refitting its entire premise to the social media age, it illustrates just how much the contours of American society have changed in the intervening decades....

The original "Matrix" was deeply of its time. Reeves' Neo a was a quintessential late 1990s corporate drone, captive to the professional ennui also depicted in films of the era like "Fight Club" and "Office Space." Its modern incarnation is a cry of protest against something else: society's willingness to trade individual agency for the neurological reward pellets of the Online. Visual metaphors abound, with Reeves disoriented by a procession of mirrors that serve as gateways to another world, another possible truth. "Your brain is hooked on this shit the Matrix has been feeding you for years," one character tells him. "They don't know you like I do.

"I know exactly what you need...."
The movie is streaming now on HBOMax for subscribers in their $15 ad-free tier — but, like, Dune, only during its 31-day theatrical run.

Long-time Slashdot reader destinyland writes: Mystery Science Theatre 3000 will be coming back in 2022 with thirteen new episodes, plus 12 additional shorts and 12 monthly live events. "And this time, we're doing it without a network," explains the web page for their successful comeback campaign on Kickstarter. "Season 13 will be released exclusively in MST3K's new online virtual theatre, THE GIZMOPLEX."

36,581 backers pledged $6,519,019 to fund their own dedicated MST3K venue online, and most contributors to their 2021 Kickstarter campaign received 2022 passes to the online theatre as a thank-you. Now through December, fans who want to buy or gift a 2022 pass can get them discounted to $95. (Normally'll they cost $120.)

Starting on March 4, 2022, assorted MST3K zanies and their puppet robots will be watching (and heckling) 12 carefully-chosen weird movies, including one 1970 Gamera movie that they haven't gotten to yet, a 1968 Italian movie about a professional wrestler called The Batwoman, and Jack Palance's 1979 film, HG Wells' The Shape of Things to Come. And series creator Joel Hodgson will return when they all watch the 2014 movie The Christmas Dragon. The Den of Geek site has all the details on the 13 movies (gleaned from last week's traditional "Turkey Day marathon" of fan-favorite episodes — this year broadcast on YouTube, Twitch, and various web pages and streaming apps).

But in addition there's also a live touring show that will take them all across America. Next week fans can catch shows in the midwestern U.S. — specifically Youngstown Ohio, Nashville Indiana, Madison Wisconsin, and Chicago — before the crew moves on to Salt Lake City, Reno, and Seattle. Then it's on to California — San Francisco, Los Angeles, and San Diego — and then dozens of other major cities in the U.S. (Portland! Denver! Austin! Atlanta! Durham! Worcester! New York City!)

"We know that many of you are understandably concerned about COVID and the Delta variant. We are too," explains a special announcement on the tour's web site, promising the tour "will adhere to the same standards as touring Broadway shows in effect at the time of your performance... [E]very theater on the tour will have its own policies."
In 2008 the show's creator Joel Hodgson answered questions from Slashdot readers.

Zhao Wei was the Reese Witherspoon of China, then she was censored by the Communist Party amid a clampdown of the country's entertainment industry. WSJ: She directed award-winning films, sold millions of records as a pop singer and built a large following on social media, amassing 86 million fans on Weibo, China's Twitter -like microblogging site. She also made a fortune as an investor in Chinese technology and entertainment companies. Today, the 45-year-old star has been erased from the Chinese internet. Searches for her name on the country's biggest video-streaming sites come up blank. Her projects, including the wildly popular TV series "My Fair Princess," have been removed. Anyone looking up her acclaimed film "So Young" on China's equivalent of Wikipedia wouldn't know she was the director; the field now reads "---."

Ms. Zhao's online disappearance on Aug. 26 came at the onset of a broader clampdown on the country's entertainment industry as the Communist Party attempts to halt what it sees as a rise in unhealthy celebrity culture. The Chinese government hasn't publicly stated what prompted this sudden change to her status, raising questions among fans and observers about how far it is willing to go against her and other celebrities, and why. The mystery also has sparked open speculation about what, if anything, she might have done wrong. "Zhao Wei is like a poster child for what the Communist Party sees as what's wrong with celebrity culture in China," said Stanley Rosen, a professor at the University of Southern California who specializes in Chinese films and politics. "It's a demonstration that no one, no matter how wealthy or popular, is too big to pursue." In Zhao Wei's case, he added, the lack of explanation "will certainly make other celebrities extremely cautious and proactive in embracing regime goals."

According to a survey from Consultancy Accenture, young people born in the 90s are less likely to be getting their information about tech careers from school and teachers than social media, TV series and film. ZDNet reports: Social media ranks top for information sources about career aspirations (31%), beating out parents by a small margin (29%) and teachers by a larger margin (24%). Gen Z are more likely to learn about a future in the tech sector from TV and film (27%) than from school (19%). Accenture surveyed 1,000 UK-based 16-21-year-olds on their career aspirations and their long-term options. It found that 44% of young women said they had good digital skills, but only 40% of young men said they did. Despite this, less than a quarter of young people are confident in securing a technology job.

Shaheen Sayed, Accenture's technology lead in the UK & Ireland, said: "If the digital native generation is not turning to technology as a career option, then we have a huge pipeline problem for the technology profession. Young people know technology is completely redefining the world right now -- but their lack of confidence in securing a tech job indicates a worrying disconnect between young people, particularly girls, and a changing jobs market." Those interviewed who were interested in tech jobs said they would most likely choose jobs in AI, data analytics, and cybersecurity. Which makes sense to an extent, given that these are the top three subjects in online tech media at present.

"It's striking that young people are influenced more by digital channels than their connections at home and school when choosing their next steps," said Sayed. "Careers advice will need to meet young people where they are at and paint an engaging picture of the skills required for the economy today. Developing the next generation of tech talent requires more than having coding on the curriculum. Technology moves quickly and subjects must evolve to equip young people with the digital skills that will drive economic growth. Employers are looking for people to work with technologies, like AI, as they tackle global challenges like climate change and become more competitive."

The annual video game convention E3 is normally full of teasers for splashy, graphic-rich games from big-name studios and surprise announcements about new titles. But this year's online-only event was much quieter, with many hot releases delayed as a result of the pandemic. That gave games from independent studios a chance to steal the show. From a report: Some of the most impressive reveals this year were small-scale, indie games that may not have the wow factor of something like Ubisoft Entertainment SA's Assassin's Creed but appealed to fans with interesting story lines, quirky graphics or unusual gameplay. Highlights included Replaced, a gorgeous cyberpunk-themed action game and debut title from Sad Cat Studios, and Twelve Minutes, in which players must break a time loop full of betrayal and murder. The game, from a division of film company Annapurna Pictures, stars Daisy Ridley and Willem Dafoe. Entries like these delighted fans and showcased the breadth of possibilities of video games.

Most years, E3 takes place in Los Angeles, where fans and industry professionals convene at the convention center to play demos and watch trailers for the hottest new games. Commercials and giant posters from expensive series like Call of Duty compete for attendees' eyeballs, and fans come away excited about what's coming in the fall. This year, while there will be Microsoft's Halo Infinite, promised in time for the holidays after a year's delay, Nintendo's highly anticipated next game in the Zelda series won't come until next year. Same with Elden Ring, a much-hyped dark fantasy based on the book that inspired Game of Thrones. Fans didn't seem to mind, and left the show raving instead about Tunic, a Zelda-inspired action-adventure game starring a small fox developed by Canadian creator Andrew Shouldice, and Neko Ghost, Jump, a platforming game from Burgos Games, in which you can shift between 2D and 3D perspectives.

This explosion of independent games, which are usually made by small teams that aren't funded by multi-billion-dollar corporations like Electronic Arts, or Activision Blizzard, is a relatively recent phenomenon. Until the late 2000s, developers mostly had to partner with big publishers to get their games to audiences. The rise of digital distribution on PCs and consoles combined with the increased accessibility of game-making tools such as the Unity Engine have made it easy for solo developers, or two or three people working in a garage, to release successful games on their own. Some companies, such as Annapurna Interactive and Devolver Digital, have thrived as independent publishers, partnering with developers to release exclusively small, creative games.

Rotten Tomatoes has unearthed a 1941 review of Orson Welles' classic that single-handedly took down its decades-long perfect critics' score. From The Hollywood Reporter: Citizen Kane's score across 116 reviews has been reduced to a mere 99 percent "Fresh." The ranking slip is due to a single negative review that was recently unearthed by Rotten Tomatoes as part of the site's Archival Project, which focuses on resurrecting critics and publications of the past and adding archived reviews to classic films. The project discovered a Citizen Kane review that ran in the Chicago Tribune in 1941 and is only available online as a scanned newspaper clipping. Last month, the review was quietly added to Kane's page.

The review's headline is incredibly on point, given the circumstances: "Citizen Kane Fails to Impress Critic as Greatest Ever Filmed." If that sounds like somebody went to the theater with rather high expectations, the review confirms as much. "You've heard a lot about this picture and I see by the ads that some experts think it 'the greatest movie ever made,'" reads the review. "I don't. It's interesting. It's different. In fact, it's bizarre enough to become a museum piece. But its sacrifice of simplicity to eccentricity robs it of distinction and general entertainment value." The review went on to pan the film's iconic use of shadow ("it gives me the creeps and I kept wishing they'd let a little sunshine in"), yet praised Welles in the title role ("a zealous and effective performer").

The critic apparently didn't put their real name on the piece, but, as Boing-Boing pointed out, used the common-at-the-time pseudonym Mae Tinee (say it aloud). But whoever wrote it managed to pen a bomb that took 80 years to effectively detonate and blow up Citizen Kane's perfect score. According to Rotten Tomatoes, the first Citizen Kane reviews were added to the site in 2000 and the film most likely had a consistent 100 percent score for the past two decades -- until Mr./Ms. Tinee's dismissive takedown was discovered.

Slashdot reader quonset reminds us that NASA's Mars helicopter "is officially 'go' for flight!," according to the Twitter feed of the Perserverance Rover, which notes that its cameras are ready to film the historic event.

"Watch with the team as they receive data and find out if they were successful," adds NASA's official feed. "Meet us in mission control April 19 at 6:15am ET (10:15am UTC): Data from the first flight will return to Earth a few hours following the autonomous flight. A livestream will begin at 6:15 a.m. EDT (3:15 a.m. PDT), as the helicopter team prepares to receive the data downlink in the Space Flight Operations Facility at NASA's Jet Propulsion Laboratory (JPL). Watch on NASA Television, the agency app, website, and social media platforms, including YouTube and Facebook.

If the flight takes place April 19, a postflight briefing will be held at 2 p.m. EDT (11 a.m. PDT)...

The public and media also may ask questions on social media during the livestream and briefing using #MarsHelicopter. Find the latest schedule updates here.

The Perseverance rover will provide support during flight operations, taking images, collecting environmental data, and hosting the base station that enables the helicopter to communicate with mission controllers on Earth.
Update: And it's a success! "We've been talking for so long about our Wright Brothers moment on Mars, and here it is," said NASA Ingenuity Mars Helicopter project manager MiMi Aung. The Perserverance rover has already tweeted out a choppy video.

Both monsters have grown in size over the years, and they reach new heights in Godzilla vs. Kong. But could they ever exist in real life? From a report: The last time the pair squared off, in the 1962 Japanese stop-motion release King Kong vs. Godzilla, Kong was 148 feet tall, compared to just 25ft tall in Peter Jackson's 2005 film King Kong, according to online estimates. In 2017's Kong: Skull Island, the great primate was around 104ft; almost four times smaller than the current iteration of Godzilla, who clocks in at 393ft. While the skeletons of Kong's parents in Skull Island suggest 100ft is roughly their species' genetic limit, the producers of the series have retconned the franchise by explaining that Kong is an adolescent in that film, leaving room for him to grow into a worthy opponent for Godzilla some 40 years down the movie timeline. Scaling up Kong to match Godzilla makes sense. It would be a short film if Godzilla stomped the big ape to death in the opening minutes. But how does that explain Godzilla's own growth spurt from 328ft in 2014 to 393ft today? And, crucially, is any of this based in science?

There are some things the films get right. James Rosindell from the faculty of natural sciences at Imperial College London points to a theory called 'Cope's Rule' which holds that evolution will increase a species body size over time. "[Being larger] gives competitive advantages and is often naturally selected for," he explains. However, larger creatures need more food and typically reproduce at a slower rate, meaning few individuals can be supported by any one ecosystem. So Kong and Godzilla being the last of their species -- and Kong slowly maturing over 40 years -- fits the science. But that's about the only thing that holds together. It turns out that Godzilla and Kong's biggest foe may not be each other, but physics. Specifically, the laws of gravity and biomechanics. The largest animal alive today, the blue whale, is found in our oceans. "The size limit of aquatic animals is closely tied to the ability to eat enough food to sustain their chonky bodies," explains David Labonte, a researcher in the department of bioengineering, also at Imperial College. Labonte has a specific interest in the interaction between physical laws and body size. For example, why there are no climbing animals heavier than geckos that can cling upside down to smooth surfaces? When it comes to the blue whale, Labonte explains that their large mouths and a technique known as 'lunge feeding' enables them to obtain enough food to sustain their bodies. This has allowed some blue whales to grow up to 180 tonnes (Kong was around 158 tonnes in his last film). An aquatic environment bestows other advantages, namely, buoyancy. Having its weight suspended in water is one of the key reasons why the blue whale is able to grow so large. It's also the reason that when whales beach, the most common cause of death is internal damage from the weight of their own bodies. Gravity, then, is a problem our terrestrial animals are yet to overcome. It's the reason our largest land animal, the African elephant tips the scales at a relatively puny six tonnes.

Today a staff writer at Salon argues "The Mandalorian" has redeemed the Star Wars universe: The Disney+ series "The Mandalorian" has been both a critical triumph and commercial success. In my judgment, it's the most compelling live-action story in the "Star Wars" universe since 1983's "Return of The Jedi".

To that end, the story in "The Mandalorian's" first two seasons about a mysterious bounty hunter and "the child" (who is actually more than 50 years old) he's entrusted with as they navigate their way through a dangerous world — rife with "scum and villainy," where the remnants of the evil Empire still terrorize the galaxy — has accomplished something difficult in science fiction and other genre entertainment. Longtime and serious "Star Wars" aficionados are enthusiastic about "The Mandalorian's" attention to detail and obvious love and respect for George Lucas's "Star Wars" universe. More casual "Star Wars" fans can enjoy the series for its story of family, friendship and adventure, and of course for "baby Yoda," aka Grogu, "the Child," a character described by legendary film director Werner Herzog as "heartbreakingly beautiful...."

Where does "The Mandalorian" go next? Why is it such a compelling TV series and story? Is there such a thing as too much "fan service" in a genre film or TV series? Why has "The Mandalorian" been such a success, compared to the most recent "Star Wars" films? Disney and Lucasfilm have recently announced plans for 11 new TV series and at least three more feature films. At what point does "Star Wars" become overexposed and made into something common, a parody of itself?

In an effort to answer these questions I recently spoke with Bill Slavicsek, one of the writers and developers of the much-beloved "Star Wars" roleplaying game from West End Games. He is also the author of the "Star Wars Sourcebook," "A Guide to the Star Wars Universe," many guides to RPGs and, more recently, "Defining a Galaxy: 30 Years in a Galaxy Far, Far Away...." He was one of the main game designers for the Dungeons and Dragons RPGs and is currently the lead writer for the massively multi-player RPG Elder Scrolls Online. Fair warning: This conversation contains spoilers for Season Two of "The Mandalorian," which is now available on the Disney+ streaming service.
Meanwhile CinemaBlend shares some commentary from another source, writing that "We need more Star Wars discourse like this." No arguing about bloodlines, or one director undoing the plotlines laid down by another. Just all of us, being amused by a cat who delightfully thinks that he or she can catch the lightsaber that a brooding Kylo Ren is tossing away during a pivotal moment in J.J. Abrams' Star Wars: The Rise of Skywalker... And it even has Mark Hamill's seal of approval...

Kitty cats aside, it's a very good time to be a Star Wars fan. The Mandalorian just wrapped up an incredible season of television on Disney+ and Kathleen Kennedy recently ushered in a wave of new programming that will keep Star Wars on our radars for years to come.

"The Radiophonic Workshop has always broken new sonic ground, from the Doctor Who theme to the Hitchhiker's Guide to the Galaxy. Now they're at it again — this time using the internet as a musical instrument," reports the Guardian.

"The band includes composers from the original BBC Radiophonic Workshop, which created soundtracks for most BBC shows from the 60s to the 90s and influenced generations of musicians from Paul McCartney, Pink Floyd and Mike Oldfield to Aphex Twin, Orbital and Mary Epworth..." A performance of Latency will take place at a special online event on 22 November using a technique inspired by lockdown Zoom calls... The internet has an unpredictable natural lag, or latency, caused by the milliseconds it takes for electrical signals from one computer to reach another, as anyone using Zoom has experienced. The trick that Bob Earland and Paddy Kingsland discovered was that they could extend the internet's delay from a few milliseconds into several seconds. Instead of trying to play at the same time, the Radiophonic Workshop will play one after another — in sequence, rather than in parallel.

"We had the bright idea of using that latency to make a loop of music," Earland said. "The sound gets sent to someone, and they add to it, and it keeps going round. So you're not relying on everyone being on the same clock..." Workshop member Peter Howell, who is also a lecturer in film and TV music, said: "It does feel like live playing, it's just that every person has a little bubble of time in which they're playing live."

The performance comes the day before 23 November, the anniversary of the first transmission of Doctor Who in 1963 which is also Delia Derbyshire Day, in honour of the Radiophonic Workshop's leading light, who created the sound of the show's famous theme tune.