A new statistical analysis has identified the films audiences "love to hate," with Battlefield Earth, Morbius, Grease 2, and Cats topping the list of cinema's most detested productions. The study, published by data analyst Daniel Parris, examined review data from MovieLens to calculate both the percentage of one-star reviews and total disapproval magnitude for each release.

A common thread among these widely derided titles: many were adaptations of popular books or shows, or attempted to capitalize on once-beloved franchises. Adam Sandler leads the actors most frequently appearing in widely disliked films, followed by comedians and action stars who have starred in productions with high one-star review rates.

The research also reveals an industry trend toward increasing one-star reviews over time, with family-oriented fare and horror films receiving disproportionately negative ratings despite consistent box office profitability - suggesting studios have prioritized risk-averse, commercially viable projects over critical acclaim.

Netflix has deployed AI upscaling on the 1987-1993 sitcom "A Different World," resulting in significant visual artifacts documented by technology commentator Scott Hanselman. The AI processing, intended to enhance the original 360p footage for modern displays, has generated distortions resembling "lava lamp effects" on actors' bodies, improperly rendered mouths, and misshapen background objects including posters and tennis rackets. This marks Netflix's second controversial AI implementation in recent months, following December's AI-powered dubbing and mouth morphing on "La Palma."

Sphere Entertainment Co, the company behind the Las Vegas Sphere, said they are considering opening scaled-down versions of the immersive venue in other cities. AV Magazine reports: While this has been been feasible for its high-profile residencies such as U2, the Eagles, Dead & Company and Anyma, smaller venues could attract a broader range of artists who might not have the budget or demand to fill the flagship Las Vegas location. By scaling down the size while retaining the signature technology, Sphere Entertainment Co can offer a similar spectacle at a more sustainable cost for artists and spectators.

The possibility of mini-Spheres follows news that a full-scale venue will open in the UAE as a result of a partnership between Sphere Entertainment Co and the Department of Culture and Tourism -- Abu Dhabi. Beyond concerts, the Las Vegas Sphere has proven successful with immersive films such as V-U2: An Immersive Concert Film and the Sphere Expeience featuring Darren Aronofsky's Postcard from Earth, which In January passed 1,000 screenings. "As we enter a new fiscal year, we see significant opportunities to drive our Sphere business forward in Las Vegas and beyond," said Dolan. "We believe we are on a path toward realizing our vision for this next-generation medium and generating long-term shareholder value."

An anonymous reader quotes a report from TechCrunch: When Bluesky CEO Jay Graber walked on stage at SXSW 2025 for her keynote discussion, she wore a large black T-shirt with her hair pulled back into a bun. At first glance, it might appear as though she's following the same playbook that so many women in tech leadership have played before: downplaying her femininity to be taken seriously. The truth is way more interesting than that. What might look like your average black T-shirt is a subtle, yet clear swipe at Mark Zuckerberg, a CEO who represents everything that Bluesky is trying to work against as an open source social network.

The Meta founder and CEO has directly compared himself to the Roman emperor Julius Caesar. His own shirt declared Aut Zuck aut nihil, which is a play on the Latin phrase aut Caesar aut nihil: "Either Caesar or nothing." Graber's shirt -- which directly copies the style of a shirt that Zuckerberg wore onstage recently -- says Mundus sine caesaribus. Or, "a world without Caesars." With the way Bluesky is designed, Graber is certainly putting her money where her mouth (or shirt) is. As a decentralized social network built upon an open source framework, Bluesky differs from legacy platforms like Facebook in that users have a direct, transparent window into how the platform is being built. "If a billionaire came in and bought Bluesky, or took it over, or if I decided tomorrow to change things in a way that people really didn't like, then they could fork off and go on to another application," Graber explained at SXSW. "There's already applications in the network that give you another way to view the network, or you could build a new one as well. And so that openness guarantees that there's always the ability to move to a new alternative."

Sony has removed more than 75,000 AI-generated deepfake songs mimicking artists including Harry Styles and Beyonce from online platforms, the company revealed in a submission to the UK government, adding this likely represents just a fraction of fake songs circulating online.

The proliferation of these unauthorized AI replicas has caused "direct commercial harm to legitimate recording artists, including UK artists," Sony stated. The company's intervention comes as Britain considers new copyright legislation that would permit AI companies to train models using artist material, a proposal that would require rights holders to opt out rather than requiring permission.

Nominated for 10 Oscars, The Brutalist (directed and produced by Brady Corbet) has an "intriguing and controversial technical feature," according to the Baffler, that threatens to turn movie-viewing into "a drab appreciation of machine-managed flawlessness, and acting less interesting..." In January, the film's editor Dávid Jancsó revealed that he and Corbet used tools from AI speech software company Respeecher to make the Hungarian-language dialogue spoken by Adrien Brody (who plays the protagonist, Hungarian émigré architect László Tóth) and Felicity Jones (who plays Tóth's wife Erzsébet) sound more Hungarian. In response to the ensuing backlash, Corbet clarified that the actors worked "for months" with a dialect coach to perfect their accents; AI was used "in Hungarian language dialogue editing only, specifically to refine certain vowels and letters for accuracy...." Defenders of this slimy deception claim the use of AI in film is no different than CGI or automated dialogue replacement, tools commonly deployed in the editing suite for picture and audio enhancement. But CGI and ADR don't tamper with the substance of a performance, which is what's at issue here....

AI seems poised to decimate the voice acting industry; how long will it be before filmmakers give up on the whole time-wasting business of dialect coaching and language research and toss their performers' untrained vocalizations directly into the linguistic Instant Pot...? "Adrien and Felicity's performances are completely their own," Corbet has argued. Only, they're not. Brody and Jones's performances may now be authentic to spoken Hungarian, but they're no longer authentic to themselves: at least in the parts of the film with Hungarian dialogue, the acting stands more as a monument to the prowess of the voice-matching software than that of the actors...

AI is a different beast from color film, or the Louma crane, or the hand-held camera: it's steroidal, aesthetically corrupting, and unlike these earlier advances it confronts the filmmaker with real ethical questions... Use implies complicity. To incorporate AI into the production of art today, no matter how sparingly or subtly, is to endorse Silicon Valley's politics and worldview: its exploitation of both producers and "users," its blithe indifference to the social impact of post-automation layoffs and the environmental assault of industrial data processing, its cramped and uninteresting idea of imagination, its petrification of creation. It's a vote for the assholes...
In short, the essays calls this "recourse to corrective AI" a "filmmaking prosthesis that cheats the viewer and cheapens the performances." And ironically this clashes with the film's depiction of a "principled artist," according to the article. ("Some of the 'retro' digital renderings in the memorial video included in this scene were also, Corbet has admitted, produced with the help of AI.")

The essay notes that several of 2024's other Oscar-nominated films also employed Respeecher, including Dune: Part Two and Emilia Pérez. "What matters here is not this particular infraction but the precedent it sets, the course it establishes for culture."

Long-time Slashdot reader invisik saw this story on Yahoo News: Comedian and voice actor George Lowe, who is well-known as the voice of Space Ghost on "Space Ghost Coast to Coast," died on March 2. He was 67...

He did some voice-over work for TBWS and Cartoon Network in the 1980s to mid-1990s before getting his lead role of Space Ghost in 1994 with the premiere of "Space Ghost Coast to Coast" on Cartoon Network. Space Ghost was a parody of talk shows with live-action celebrity guests, hosted by the Hanna Barbera character Space Ghost, which aired from 1994 to 1999 on Cartoon Network. The show later returned in 2001, airing on Adult Swim's late-night programming block until 2004, Deadline reported.
When animation pioneer William Hanna died in 2001, Slashdot founder CmdrTaco posted "the thing that I respect most about Hanna is the fact that a show like Space Ghost Coast to Coast was allowed to take their characters and do something truly unique with them. He even lent his voice to the show in one episode. Not a lot of people would be willing to allow one of their creations to be twisted like that, but the original Space Ghost was one of my childhood staples, and Space Ghost Coast to Coast stands in a class all its own proving that creativity isn't dead on TV."

"Adult Swim would not be the network it is today without Space Ghost Coast to Coast," argues ComicBook.com. (And as a tribute to Lowe, Adult Swim posted five minutes of surreal outtakes from Space Ghost Coast to Coast's 10th Anniversary celebration.)

A headline at Vulture.com makes the case that "Space Ghost Coast to Coast Only Worked Because of George Lowe." They've rounded up a collection of videos with surreal titles like "Marrying Bjork" and "Guesting on a MF DOOM track" (plus that time Lowe did a live interview — in his Space Ghost costume — with C-SPAN).

"TCL has emerged as a dominant force in the premium TV market, surpassing LG in global shipments and solidifying its position as a key competitor to Samsung," writes Slashdot reader jjslash. "According to Counterpoint Research, TCL's premium TV shipments more than doubled year-on-year in Q4 2024, capturing 20% of the market, while LG's share fell to 19%." TechSpot reports: The two companies' shipment figures have gone in opposite directions since Q4 2023, when LG held a 26% share and TCL was on 12%. Samsung remains the leader when it comes to premium TVs. Its share dropped from 41% to 29% year-on-year, but it's still comfortably ahead of second-place TCL. Chinese brands are showing impressive growth in this market. Hisense also saw its shipment share rise, from 10% in 2023 to 16% in Q4 2024.

Counterpoint writes that it classifies QD-MiniLED, QD-LCD, NanoCell, LCD 8K, QD-OLED, WOLED, and MicroLED TVs as premium TV models. The segment grew 51% YoY to reach a record high in the fourth quarter, with full year shipments up 38%. In terms of global shipments (i.e., not just the premium sector), TCL overtook LG in 2022, with Hisense doing the same a year later. Samsung also leads this area, though its share is only 2 percentage points higher than TCL's.

Daniel Parris: Some TV shows take a while to "get good." Modern classics like Breaking Bad, The Wire, Community, and Bojack Horseman are notorious for "starting slow" and are often recommended with a disclaimer like "Give it a few episodes; I promise it gets good!"

At the same time, some shows never get good. Recently, I started a spy series called The Agency, which could best be characterized as premium mediocre (at least so far). There are big-name actors (Michael Fassbender, Jeffrey Wright, Richard Gere), expensive sets, and glossy camerawork -- but after a few installments, I'm trapped in a liminal space between engaged and listless. At the end of each episode, I'm left with the same thought: "Maybe the next one will get good."

Committing to a mediocre program or continuing with a floundering series elicits a state of (mildly) torturous ambiguity. Should you cut your losses, or is this show some late-blooming classic like Breaking Bad? What is the optimal number of episodes one should watch before cleansing a subpar series from their life? Surely, a universal number must exist! Like 42, but for television. So today, we'll explore how long it takes a new show to reach its full potential and how many lackluster episodes you should grant an established series before cutting ties. His analysis reveals that viewers should watch six episodes before quitting TV shows. The study, based on IMDb user ratings, found most series require six to seven episodes before early ratings match or exceed the show's long-term average. After six consecutive subpar episodes, the likelihood of permanent decline exceeds 50%, making it the optimal point to abandon disappointing series.

Several acclaimed shows including Breaking Bad, Friends, and Seinfeld required multiple episodes before reaching their quality potential, with Seinfeld needing 16 episodes to match its series average. The research also identified a pattern where long-running shows typically experience quality decline around seasons five and six, with ratings dropping below first-season averages and continuing to fall.

It's a feature-length film "rendered on a free and open-source software platform called Blender," reports Reuters. And it just won the Oscar for best animated feature film, beating movies from major studios like Disney/Pixar and Dreamworks.

In January Blender.org called Flow "the manifestation of Blender's mission, where a small, independent team with a limited budget is able to create a story that moves audiences worldwide, and achieve recognition with over 60 awards, including a Golden Globe for Best Animation and two Oscar nominations." The entire project cost just $3.7 million, reports NPR — though writer/director Gints Zilbalodis tells Blender.org that it took about five and a half years.

"I think a certain level of naivety is necessary when starting a project," Zilbalodis tells Blender. "If I had known how difficult it would be, I might never have started. But because I didn't fully grasp the challenges ahead, I just dove in and figured things out along the way..." Zilbalodis: [A]fter making a few shorts, I realized that I'm not good at drawing, and I switched to 3D because I could model things, and move the camera... After finishing my first feature Away, I decided to switch to Blender [from Maya] in 2019, mainly because of EEVEE... It took a while to learn some of the stuff, but it was actually pretty straightforward. Many of the animators in Flow took less than a week to switch to Blender...

I've never worked in a big studio, so I don't really know exactly how they operate. But I think that if you're working on a smaller indie-scale project, you shouldn't try to copy what big studios do. Instead, you should develop a workflow that best suits you and your smaller team.
You can get a glimpse of their animation style in Flow's official trailer.

NPR says that ultimately Flow's images "possess a kinetic elegance. They have the alluring immersiveness of a video game..."

A malicious PyPi package effectively turned its users' systems "into an illicit network for facilitating bulk music downloads," writes The Hacker News.

Though the package has been removed from PyPI, researchers at security platform Socket.dev say it enabled "coordinated, unauthorized music downloads from Deezer — a popular streaming service founded in France in 2007." Although automslc, which has been downloaded over 100,000 times, purports to offer music automation and metadata retrieval, it covertly bypasses Deezer's access restrictions... The package is designed to log into Deezer, harvest track metadata, request full-length streaming URLs, and download complete audio files in clear violation of Deezer's API terms... [I]t orchestrates a distributed piracy operation by leveraging both user-supplied and hardcoded Deezer credentials to create sessions with Deezer's API. This approach enables full access to track metadata and the decryption tokens required to generate full-length track URLs.

Additionally, the package routinely communicates with a remote server... to update download statuses and submit metadata, thereby centralizing control and allowing the threat actor to monitor and coordinate the distributed downloading operation. In doing so, automslc exposes critical track details — including Deezer IDs, International Standard Recording Codes, track titles, and internal tokens like MD5_ORIGIN (a hash used in generating decryption URLs) — which, when collected en masse, can be used to reassemble full track URLs and facilitate unauthorized downloads...

Even if a user pays for access to the service, the content is licensed, not owned. The automslc package circumvents licensing restrictions by enabling downloads and potential redistribution, which is outside the bounds of fair use...
"The malicious package was initially published in 2019, and its popularity (over 100,000 downloads) indicates wide distribution..."

An anonymous reader quotes a report from Ars Technica: Thousands" of complaints about the volume of TV commercials have flooded the Federal Communications Commission (FCC) in recent years. Despite the FCC requiring TV stations, cable operators, and satellite providers to ensure that commercials don't bring a sudden spike in decibels, complaints around loud commercials "took a troubling jump" in 2024, the government body said on Thursday.

Under The Commercial Advertisement Loudness Mitigation (CALM) Act, broadcast, cable, and satellite TV providers are required to ensure that commercials "have the same average volume as the programs they accompany," per the FCC. The FCC's rules about the volume of commercials took effect in December 2012. The law also requires linear TV providers to use the Advanced Television Systems Committee's (ATSC's) recommended practices. The practices include guidance around production, post production, metadata systems usage, and controlling dynamic range. If followed, the recommendations "result in consistency in loudness and avoidance of signal clipping," per the ATSC [PDF]. The guidance reads: "If all programs and commercials were produced at a consistent average loudness, and if the loudness of the mix is preserved through the production, distribution, and delivery chain, listeners would not be subjected to annoying changes in loudness within and between programs."

As spotted by PC Mag, the FCC claimed this week that The Calm Act initially reduced complaints about commercials aggressively blaring from TVs. However, the agency is seeing an uptick in grievances. The FCC said it received "approximately" 750 complaints in 2022, 825 in 2023, and "at least" 1,700 in 2024 [PDF]. Since The Calm Act regulates a commercial's average loudness, some advertisers may be skirting the spirit of the law by making commercials very loud at the start (to get viewers' attention) before quieting down for the rest of the ad. In response to growing complaints, the FCC is reexamining its rules and this week announced that it's seeking comment from "consumers and industry on the extent to which The CALM Act rules are effective." The FCC is also asking people to weigh in on what future actions the FCC, the TV industry, or standard developers could take. The FCC is considering whether to extend the Calm Act to online streaming services, which are increasingly offering plans with ad-supported models and live event broadcasts.

Technicolor Group has filed for a court recovery procedure in France after failing to secure new investors, putting its VFX brands, including MPC, The Mill, Mikros Animation, and Technicolor Games, at risk of closure. Variety reports: A total shutdown of MPC and Technicolor's operations would affect thousands of visual effects workers in countries include the U.S., UK, Canada and India. The turn in business has raised the alarm and sparked sadness within the VFX community. Parot's memo explains, "In each country, the appropriate framework for orderly protection and way forward is currently being put in place to allow, when possible, to remain in business continuity."

Technicolor has already started to shut down U.S. operations. On Friday, it began alerting customers and employees, sending U.S. employees a WARN notice as required by law for large companies that anticipate closings and mass layoffs. At least one recovery effort already started for roughly 100 U.S. employees of The Mill. The creative leadership and most of the creative staff that was Technicolor's The Mill U.S. is joining forces with Dream Machine FX to launch a new venture, Arc Creative, Variety reported exclusively on Monday. A statement from the artists explains they they are working to launch the new entity amid "the complexities of Technicolor's Chapter 7 proceedings."

Questions remain about how studios will finish upcoming projects that are currently housed at MPC, which include Disney's live-action remake of "Lilo and Stitch" and Paramount's "Mission: Impossible -- The Final Reckoning," as well as Mikros' work, such as Paramount and Nickelodeon's upcoming "Teenage Mutant Ninja Turtles" sequel.

An anonymous reader shares a report: People now watch so many programs at so many different times in so many different ways -- with an antenna, on cable, in an app or from a website, as well as live, recorded or on demand -- that it is increasingly challenging for the industry to agree on the best way to measure viewership. In some cases, media executives and advertisers are even uncertain whether a competitor's show is a hit or something well short of that.

The scramble to sort out a suitable solution began nearly a decade ago, as Netflix rose to prominence. It has only intensified since. "It is more chaotic than it's ever been," said George Ivie, the chief executive of the Media Rating Council, a leading industry measurement watchdog. For decades, there was no dispute -- Nielsen's measurement was the only game in town.

But things started to go sideways after the emergence of streaming services like Netflix, Hulu and Amazon Prime Video. Nielsen had no ability -- at least at first -- to measure how many people clicked play on those apps. The streamers, of course, knew exactly how many people were watching on their own service but they either selectively disclosed some data or did not bother releasing it at all.

Over the past two years, as nearly all the major streaming services have introduced advertising, they have released more data. But the data they release makes apples-to-apples comparisons difficult. Netflix discloses what it calls "hours viewed" and "views" for its shows. Prime Video and Max prefer to describe how many million "viewers" watched a hit of their choosing. The disclosures can be helpful to compare one show with another on the same streaming service. Yet those figures, too, can lead to disagreements.

The Guardian: For some, the adverts that precede the start of a film are the bane of a trip to the cinema; for others, they are a useful buffer as you stand in the popcorn queue. But for one man in India, the lengthy marathon of cinema advertising was so infuriating that he took the matter to the courts -- and won. Abhishek MR, a 30-year-old man from the southern city of Bangalore, had booked a trip to the cinema with friends in December last year to watch wartime drama Sam Bahadur.

But while the scheduled time he had booked the ticket for was 4.05pm, he had to sit through 25 minutes of adverts for upcoming features and commercial items such as homewares, mobile phones and cars before the film actually began. Having planned to return to work straight after the film, Abhishek MR was angered by what he felt was a costly disruption to his life. He filed a lawsuit against PVR Inox, India's largest cinema multiplex chain, stating that: "The complainant could not attend other arrangements and appointments which were scheduled for the day and has faced losses that cannot be calculated in terms of money as compensation." Bruce66423 adds: Great outcome -- and only 25 minutes of garbage punished. Note that Indian cinemas also make patrons sit through 15 minutes of adverts in the middle of the film.