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Former ABC News president James Goldston will executive produce 'Crime Nation.'

https://www.hollywoodreporter.com/tv/tv-news/the-cw-true-crime-1235596039/

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The 'John Wick' prequel follows the origin story of Winston Scott (Colin Woodell), the powerful owner of the iconic hotel-for-assassins from the franchise films.

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submitted 1 year ago* (last edited 1 year ago) by simple@lemm.ee to c/moviesandtv@lemmy.film

DROP 01 is going to be a Netflix event for their upcoming animated shows. They'll show new trailers and sneak peaks (and maybe announcements) in the livestream on September 27, along with Castlevania Nocturne's premiere.

Get ready for Netflix's Drop 01, a livestream event featuring the worldwide digital premiere of Castlevania: Nocturne, epic trailers, shock drops, sneak peeks, and more! Join us for Drop 01 on September 27th, 9AM PST.

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EXCLUSIVE, updated with WGA/AMPTP statement: The Writers Guild and studios and streamers are set to meet again Thursday for further talks on a new contract for scribes. After a long, CEO-attended s…

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Tonight I pulled down a DVD that I got from a garage sale and promptly forgot about for years, Fortress (1992).

I can't believe I had never seen this movie before. I knew from quickly scanning the case that it starred Christopher Lambert (Highlander) and Kurtwood Smith (That 70s Show, RobCop), but I was not expecting to see my favorite actor of all time, Jeffrey Combs, especially in such a prominent role. There is almost no marketing copy on the case, so it was a hugely pleasant surprise.

The movie takes place in the distant future of 2017, when the United States has implemented a one-child policy and total ban on abortion, in a flatly contradictory scheme to control a booming population (and harvest babies from newly criminalized mothers). Lambert plays John Brennick, husband to Karen (Loryn Locklin) who is pregnant with her second child. While trying to cross the border into Canada, where they can have their child in peace, the couple are captured and sent to The Fortress, a massive underground Panopticon, lorded over by Poe (Kurtwood Smith) and the AI control system Zed-10 (Carolyn Purdy-Gordon).

The Fortress is a private prison run by Men-Tel, and they treat the prisoners to a hilarious guided tour with heavy reliance on the slogan/motto "Crime Does Not Pay." Zed-10 and Poe inform the prisoners of the security measures in place, including the 'Intestinator,' a combination belly bomb and remote pain device. There are also red and yellow lines that the prisoners are not supposed to cross, upon pain of death. As soon as this is established we see a prisoner cross those lines and set off his Intestinator, and then the lines are never seen or mentioned again. Just a tough break for that guy I guess. The cells within the prison have laser-grid bars, and a series of ceiling-tracked robot cameras serve as Zed-10's eyes and ears. We get to see a surprising amount of full frontal male nudity as the incoming prisoners are processed, which is the only nudity in the film apart from a psychedelic wet dream reconstructed by a computer later in the film, so points for breaking the mold there.

After the tour, Brennick meets his cell-mates, including Gomez (Clifton Collins Jr) the other newbie, Abraham (Lincoln Kilpatrick) the old timer, Stiggs (Tom Towles) the skinhead rapist, and D-Day (Jeffrey Combs) the hippie-dippy bomb-maker. Another prisoner, Maddox, is alluded to but not seen. Stiggs and Maddox are purely stereotypical prison skinheads, and they attempt to rape Gomez pretty much as soon as the prison part of the film starts. It's cheap, gross, homophobic, and easily the worst part of the film. It's a pretty graphic, if brief, depiction, and the only redeeming factor is that it's not played for laughs (in that one scene at least, there is some other homophobic stuff sprinkled throughout).

Zed-10 and Poe are the weirdest part of the movie. She has a camera that can see prisoner's dreams, and seems to be a fully general AI. She and Poe run the prison together, and neither one seems to be totally in charge. Zed-10 controls all of the infrastructure, but we see Poe talk her into all kinds of things, often by making emotional appeals. The best line in the movie is when he yells through a locked door, trying to convince Zed-10 to open it, "Do you know what they'll do to you? You'll be lucky if you end up a Speak-and-Spell!" Over the course of the film we learn that Poe is a cyborg, and that he himself was a baby taken by Men-Tel under the one-child policy. He was modified as an infant and spent his entire life in the control room of the Fortress. Clearly the experience has taken a toll on him, because he spends his time watching the wet dreams of prisoners, to Zed-10's consternation, when he should be punishing them for 'unauthorized thought processes'. The more we learn about Men-Tel and the cyborgs, the more horrific they become, and it's honestly a very effective slow-burn escalation.

A lot of crazy shit happens in this movie. There is a fun gyroscope ride that wipes your brain, leading Karen to use Zed-10's dream camera to Inception her brain-dead husband back to life. Brennick gets savaged by dogs, beaten to a pulp by Maddox, and Intestinated all in one day. D-Day uses the power of magnets to remove everyone's belly bombs, and some fun is had with them after that. Several people get just massive holes blown in their torsos, and once the cyborg soldiers start dying we see some excellently creepy practical effects for their innards, all caked in blue goo. Zed-10 possesses a truck.

I just love Jeffrey Combs' commentary on everything as it happens. When they first take out one of the cyborg guards, he pokes around in the innards, muttering to himself "the shit they're coming up with these days!" He also refers to the bombs in their Intestinators as 'TNT on PMS' which made me giggle a little. Unfortunately, this movie conforms to the standard model of dystopic actioner, and everyone apart from the core couple has to die before the runtime is over, and D-Day is no exception. He gets a triumphant send-off which is nice, but it would be great to see one of these super silly action movies where a few more of the secondary characters make it to the end credits. They even get Gomez in the last few moments, and Abraham was marked for death from the moment he appeared on screen, in all his budget Morgan Freeman glory (He's the other one I would have liked to see live, the non-rapist cellmates were both fun characters with more stories to tell, they should have lived).

This movie is pretty stupid from start to finish, but there are so many elements that I love about it, it's hard to decide what score it deserves. I think I'm going to call it a 2.5/5. If the completely unnecessary prison rape trope was excised completely, I would bump it up another half star at least, but it's more than just a line of dialogue and so it has to be reflected in the score. With that major caveat, I would still recommend this one for fans of Christopher Lambert's hilarious accent, Kurtwood Smith's unnerving smile, or Jeffrey Combs' genius everything.

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MINNEAPOLIS (AP) — What would Bob Ross think?

The artist who brought painting to the people, with works completed for PBS viewers in less than a half-hour with little more than a large bristle brush, putty knife and plenty of encouragement, certainly wouldn’t have envisioned one of his works going up for sale for nearly $10 million.

But that’s the price a Minneapolis gallery is asking for “A Walk in the Woods,” the first of more than 400 paintings that Ross produced on-air for his TV series “The Joy of Painting.”

“It is season one, episode one of what you would call the rookie card for Bob Ross,” Ryan Nelson, who owns the gallery, Modern Artifact, said of the work created in the show’s debut, which aired Jan. 11, 1983.

Growing up in a small town, Nelson said he was introduced to art through Ross’ show and loves his paintings. He doesn’t expect a quick sale given the high asking price, which he sees as an opportunity to display the painting for a larger audience.

On that first show where he painted “A Walk in the Woods,” Ross — sporting his beloved perm, full beard and unbuttoned shirt — stressed that painting didn’t need to be pretentious.

“We have avoided painting for so long because I think all of our lives we’ve been told that you have to go to school half your life, maybe even have to be blessed by Michelangelo at birth, to ever be able to paint a picture,” Ross said. “And here, we want to show you that that’s not true. That you can paint a picture.”

Ross, who died in 1995, hosted the show from 1983 until 1994. In each episode, he would speak directly to viewers whom he encouraged to paint with him as he created idealized scenes of streams backed by mountains, waterfalls and rustic cabins and mills — all done very quickly.

None of Ross’ paintings, including “A Walk in the Woods,” would be confused for masterpieces. But that wasn’t the point.

“What this piece represents is the people’s artist,” Nelson said. “This isn’t an institution that’s telling you that Bob Ross is great. It’s not some high-brow gallery telling you that Bob Ross is great. This is the masses, the population in the world that are saying that Bob Ross is great.”

The first season of “The Joy of Painting” was filmed in Falls Creek, Virginia, and the painting from Ross’ first show was sold months later to raise funds for the local PBS station. A volunteer at the station bought the painting for an undisclosed price and hung it in her home for 39 years until getting in touch with Nelson, who has bought and sold more than 100 of Ross’ works.

Nelson bought the painting last year and then gave it a “not for sale” price of $9.85 million, said publicist Megan Hoffman.

Hoffman said the asking price is far more than any other Ross painting has sold for, but “A Walk in the Woods” is unique and Nelson isn’t looking for a quick sale. She notes that Ross’ popularity has soared in recent years, with 5.63 million subscribers to a YouTube channel featuring his shows.

“Ryan would prefer to take it out, tour it around to museums and things like that so people can enjoy it and appreciate it,” Hoffman said. “He will take offers but he’s not in a hurry to sell it.”

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Yesterday, popular authors including John Grisham, Jonathan Franzen, George R.R. Martin, Jodi Picoult, and George Saunders joined the Authors Guild in suing OpenAI, alleging that training the company's large language models (LLMs) used to power AI tools like ChatGPT on pirated versions of their books violates copyright laws and is "systematic theft on a mass scale."

“Generative AI is a vast new field for Silicon Valley's longstanding exploitation of content providers," Franzen said in a statement provided to Ars. "Authors should have the right to decide when their works are used to ‘train’ AI. If they choose to opt in, they should be appropriately compensated.”

OpenAI has previously argued against two lawsuits filed earlier this year by authors making similar claims that authors suing "misconceive the scope of copyright, failing to take into account the limitations and exceptions (including fair use) that properly leave room for innovations like the large language models now at the forefront of artificial intelligence."

This latest complaint argued that OpenAI's "LLMs endanger fiction writers’ ability to make a living, in that the LLMs allow anyone to generate—automatically and freely (or very cheaply)—texts that they would otherwise pay writers to create."

Authors are also concerned that the LLMs fuel AI tools that "can spit out derivative works: material that is based on, mimics, summarizes, or paraphrases" their works, allegedly turning their works into "engines of" authors' "own destruction" by harming the book market for them. Even worse, the complaint alleged, businesses are being built around opportunities to create allegedly derivative works:

Businesses are sprouting up to sell prompts that allow users to enter the world of an author’s books and create derivative stories within that world. For example, a business called Socialdraft offers long prompts that lead ChatGPT to engage in 'conversations' with popular fiction authors like Plaintiff Grisham, Plaintiff Martin, Margaret Atwood, Dan Brown, and others about their works, as well as prompts that promise to help customers 'Craft Bestselling Books with AI.'

They claimed that OpenAI could have trained their LLMs exclusively on works in the public domain or paid authors "a reasonable licensing fee" but chose not to. Authors feel that without their copyrighted works, OpenAI "would have no commercial product with which to damage—if not usurp—the market for these professional authors’ works."

"There is nothing fair about this," the authors' complaint said.

Their complaint noted that OpenAI chief executive Sam Altman claims that he shares their concerns, telling Congress that "creators deserve control over how their creations are used” and deserve to "benefit from this technology." But, the claim adds, so far, Altman and OpenAI—which, claimants allege, "intend to earn billions of dollars" from their LLMs—have "proved unwilling to turn these words into actions."

Saunders said that the lawsuit—which is a proposed class action estimated to include tens of thousands of authors, some of multiple works, where OpenAI could owe $150,000 per infringed work—was an "effort to nudge the tech world to make good on its frequent declarations that it is on the side of creativity." He also said that stakes went beyond protecting authors' works.

"Writers should be fairly compensated for their work," Saunders said. "Fair compensation means that a person’s work is valued, plain and simple. This, in turn, tells the culture what to think of that work and the people who do it. And the work of the writer—the human imagination, struggling with reality, trying to discern virtue and responsibility within it—is essential to a functioning democracy.”

The authors' complaint said that as more writers have reported being replaced by AI content-writing tools, more authors feel entitled to compensation from OpenAI. The Authors Guild told the court that 90 percent of authors responding to an internal survey from March 2023 "believe that writers should be compensated for the use of their work in 'training' AI." On top of this, there are other threats, their complaint said, including that "ChatGPT is being used to generate low-quality ebooks, impersonating authors, and displacing human-authored books."

Authors claimed that despite Altman's public support for creators, OpenAI is intentionally harming creators, noting that OpenAI has admitted to training LLMs on copyrighted works and claiming that there's evidence that OpenAI's LLMs "ingested" their books "in their entireties."

"Until very recently, ChatGPT could be prompted to return quotations of text from copyrighted books with a good degree of accuracy," the complaint said. "Now, however, ChatGPT generally responds to such prompts with the statement, 'I can’t provide verbatim excerpts from copyrighted texts.'"

To authors, this suggests that OpenAI is exercising more caution in the face of authors' growing complaints, perhaps since authors have alleged that the LLMs were trained on pirated copies of their books. They've accused OpenAI of being "opaque" and refusing to discuss the sources of their LLMs' data sets.

Authors have demanded a jury trial and asked a US district court in New York for a permanent injunction to prevent OpenAI's alleged copyright infringement, claiming that if OpenAI's LLMs continue to illegally leverage their works, they will lose licensing opportunities and risk being usurped in the book market.

Ars could not immediately reach OpenAI for comment. [Update: OpenAI's spokesperson told Ars that “creative professionals around the world use ChatGPT as a part of their creative process. We respect the rights of writers and authors, and believe they should benefit from AI technology. We’re having productive conversations with many creators around the world, including the Authors Guild, and have been working cooperatively to understand and discuss their concerns about AI. We’re optimistic we will continue to find mutually beneficial ways to work together to help people utilize new technology in a rich content ecosystem.”]

Rachel Geman, a partner with Lieff Cabraser and co-counsel for the authors, said that OpenAI's "decision to copy authors’ works, done without offering any choices or providing any compensation, threatens the role and livelihood of writers as a whole.” She told Ars that "this is in no way a case against technology. This is a case against a corporation to vindicate the important rights of writers.”

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Sitting close to a giant tv just isn't the same as seeing something on a legit giant screen.

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I went ahead and made Deep Rising (1998) the finale to my underwater marathon.

Released in '98 rather than '89, Deep Rising is a fun, dumb, summer schlockbuster.

This movie has a pretty stellar cast. Treat Williams, who I will always love for playing Berger in the Hair film adaptation, plays Finnegan, a hopelessly trusting mercenary boat captain of some sort, who lives by the motto "If the cash is there, we do not care," a credo that immediately lands him in hot water as he takes on a crew of heavily armed criminals without even asking where they are going. Finnegan's ship is crewed by Joey the engineer (Kevin J O'Conner, Beni from The Mummy (1999)), and Leila (Una Damon) who dies so early and unceremoniously that I was sure it was a fake-out all the way until the credits rolled. The fabulous Wes Studi plays Hanover, the leader of the thieves, and his gang includes some great character actors, particularly Jason Flemyng and Djimon Hounsou. Simultaneously with Hanover's heist, cat burglar Trillian (Famke Janssen) is also attempting to rob the floating casino that serves as the location for most of the movie. Anthony Heald rounds out the main cast as the loathsome capitalist behind the Argonautica cruise ship, Simon Canton.

The dialogue is truly terrible, but in a way that wraps around to being fun again. Everyone speaks exclusively in cliches, and the first few minutes include three different characters angrily shouting "X, my ass!" in a way that lets you know the screenwriters thought they were really doing something. The little moments between characters are frequently funny, even if no line of dialogue ever feels like it was delivered by an actual human being. I think my favorite moment is a one such quiet exchange between Finnegan and Joey; "Whatcha got there? Peanut. Peanut? Peanut."

The basic plot is that Hanover's crew have hired Finnegan to get them to an undisclosed location along with a cargo that turns out to be a bunch of torpedoes. They plan to rob the vault of the Argonautica and then scuttle the ship. Canton, the businessman, serves as their man on the inside, hoping to cash in on the insurance policy for the boat to bail him out of his poor financial decisions. These schemes are interrupted by the presence of giant, tentacled worm monsters from the deep. They aren't mutants, or aliens, or prehistoric crustaceans this time, just a nasty beastie that apparently lives in the area, according to the opening text dump. The creatures quickly consume nearly everyone aboard and our heroes have to make their way around the stricken vessel, avoiding the monsters and searching for the loot.

Treat Williams looks and acts bizarrely like Lonestar from SpaceBalls in this movie, but everyone else is so ridiculous that it doesn't stand out as an oddity. Famke Janssen is gorgeous and fun, while Hanover's crew all chew the scenery like mad dogs. Joey was the standout character for me though. He plays the long-suffering-nerd archetype, and does it well, although it really bothers me that his relationship with Leila is made use of in a scene exactly twice before she is killed, and he spends the whole movie not knowing that she's dead, until the end, and then he goes right back to wisecracking after a moment of emotion. The writers clearly did not have a strong direction for his character, so he ends up as the repository for all the comic relief jokes that didn't fit anyone else. The fact that Kevin J O'Conner is genuinely super funny turns the role from one that could have been incredibly abrasive into a solid comic sidekick.

The CGI for the monster is very inconsistent. There are a couple of shots that look very good, especially for 1998, and then there are plenty that look just bad, even for 1998. It was a very ambitious creature design, and I feel that it mostly works, but I will always dock points for CGI creatures where they could have been done more effectively with practical effects, and I do feel that is the case here. The limited locations in the film meant that they could have spent the time putting in place some really good looking animatronics and puppets, but they went 100% digital all the way. The explosions in this are also just terrible, copy-pasted stock effects. I should probably also mention the stupid guns Hanover's crew use. They have rotating-barrel assault rifles, like little mini-miniguns, apparently the cutting edge hardware in China. There are just so many problems with them, but the question that hangs over it all is why someone thought that this movie about CGI tooth-worms needed a fictional firearm in the first place. The prop designer must have been the director's nephew or something.

I had a blast watching this one, but it is truly trash-cinema. I'll give it 3/5, and that's probably too generous.

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"This is so long in coming; everyone’s feeling pain. Let’s get in there and nail things down," says one source familiar with Wednesday's meeting attended by Bob Iger, David Zaslav, Ted Sarandos and Donna Langley.

https://www.hollywoodreporter.com/business/business-news/writers-strike-studio-ceos-attend-bargaining-session-1235595081/

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Striking writers on expressed cautious optimism while Bob Iger and other execs appeared at the restart of negotiations

https://www.thewrap.com/wga-members-guardedly-optimistic-with-talks-resuming/

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She also opened up about crew members saying "super inappropriate" things to her on the set of 'Candyman,' compared to how much respect she's been getting from "these middle-aged white dudes" in her career now.

https://www.hollywoodreporter.com/movies/movie-news/the-marvels-director-nia-dacosta-turning-to-marvel-directors-stressed-1235594337/

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Elizabeth Wagmeister talks about the new round of negotiations starting up between striking writers and Hollywood studios and how daytime talk shows are affected

https://www.youtube.com/watch?v=JcZl4Qe0Gbo

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