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Scott Ertz Following Live Theater is a Live Movie Streamed to Theater
(2016-12-18)
The usage of live video has grown rapidly in the past 2 years. Between specialty services like Livestream and Twitch, and general services like Periscope and Facebook Live, consumers have encouraged the growth of the medium. The addition of professionally produced content, like NBC's Hairspray Live and FOX's Grease: Live on television have brought attention from producers and Rifftrax Live has brought the idea of live content to movie theaters.

It would appear that what is either the next logical step, or possibly the bazar conclusion to the process, is Woody Harrelson producing what he is calling a live movie production. The movie, titled Lost in London, is a telling of Harrelson's personal experiences being arrested in London in 2002. The movie will be live streamed to 550 movie theaters nationwide on January 19, 2017.

It will, obviously star Woody Harrelson, but will also include big name participants like Owen Wilson and Willie Nelson. But, how does this production separate itself from an NBC live musical? Apparently it will be the overall scale of the production. Unlike Hairspray Live, which took place entirely on Universal's Hollywood backlot, Lost in London will be shot in 14 locations across London with a continuous shot.

The real question that must be asked here is why is this happening? The idea of bringing live theater to your living room makes sense; it allows people outside of New York and other big cities to experience live theater. What does a live movie streamed to movie theaters bring to the world? Other than the danger of something going wrong, or schadenfreude, it seems like there is no benefit.

Is this idea one that seems destined to create a new genre, or a one-off vanity project? Let us know your thoughts in the comments.
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Scott Ertz Facebook Wants to Thwart 'Fake News' With New 'Head of News'
(2016-12-18)
Facebook Wants to Thwart 'Fake News' With New 'Head of News' After the election, a surprisingly high number of people blamed Trump's win on social media and what is currently being called "fake news" shared, particularly, on Facebook. The complaining has been enough that Facebook has been forced to respond to the issue, continuously reminding people that they neither create nor promote this content, and it is, instead, brought to them care of their friends.

After weeks of pleading from users, Facebook has been bullied into responding in a different way, implementing a fact-checking system for content shared on their network. The system will work similar to its other reporting platforms, like fake profiles or offensive ads. You will mark a post as inaccurate, and it will be flagged to Facebook. From there, it will be run through a 3rd party fact checking system and, if the link is found to be inaccurate, it will be marked as such on Facebook. This initiative will be head up by a new hire, whose job title will be Head of News.

The issue here is, who believes that it should be Facebook's responsibility to determine the validity content written by a non-Facebook controlled website and shared by a non-Facebook employee on their network? The idea of inaccurate content is not a new concept. For decades, while checking out at the grocery store, you can read about Elvis's secret performances from beyond the grave, or proof that *insert celebrity name here* is actually an alien, yet no one has ever blamed Kroger's for the belief in bigfoot.

In fact, people used a skill that the internet seems to have diminished called critical thinking to determine that these types of stories were obviously nonsense. For example, using critical thinking, anyone would know that Hillary Clinton was not holding children as sex slaves inside of a pizza parlor, or that the Pope had endorsed Trump. These are the kinds of stories that a generation ago would have been easily identifiable.

Rather than trying to force Facebook to police the content created by people outside of their network, people should actually be concerned about the educational system that has produced people who are unable to discern between obvious nonsense and potential reality.
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Scott Ertz Super Mario Run is Full of Love and Hate
(2016-12-18)
Super Mario Run is Full of Love and Hate After showing off Super Mario Run at Apple's iPhone event, the anticipation for the release of the game has been high. Being another Nintendo-related, though the first Nintendo owned and operated, mobile game brought about the obvious comparisons to Pokémon GO, the game thought to be the clear winner for most popular mobile game of 2016. With the game finally on the market, let's start with the games' comparisons.

Pokémon GO, in its first day in the store, was downloaded about 1 million times. This is a great achievement for any mobile app, let alone mobile game. Super Mario Run, on the other hand, received as many as 10 million downloads on day 1. While this looks like a huge success for Mario, you must consider the phased roll-out that Pokémon GO used, rather than the 150 markets that Super Mario Run launched in all at once.

The real test is in average gameplay session length. While Super Mario Run averaged about 15 minutes per user per session on its first day, Pokémon GO averaged 22 minutes per user per session. That is a 50% decrease from one game to another. Part of that has to do with the lack of incentive to keep Mario running, and part of it has to do with an overall lack of content included in the game.

While the game has been downloaded a lot, there are also a lot of reviews, and they are not great. In fact over half of the almost 50,000 reviews in the App Store are 1-star reviews. If you read through the lowest ratings, you will find that many players were surprised and disappointed by the fact that so little of the game is available for free.

But there are, of course, varying schools of thought on that complaint. Many people have commented that, rather than occasionally paying $5 for just in-game items, like 100 Poke Balls, Mario makes it $10 to play the entire game. While some of us prefer this method of payment, it has seemed to cause a lot of ratings issues for the game.

Are you a fan of a pay once type game, or would you rather pay more over a period of time? Let us know in the comments.
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Scott Ertz In Defiance of California Law, Uber Tests Self-Driving Cars
(2016-12-18)
In Defiance of California Law, Uber Tests Self-Driving Cars The idea of self-driving cars is still a fairly new one, and governments all over are scrambling to both understand and regulate their existence. California, one of the earliest states to accept them as an inevitability, is one of the states having the hardest time creating their regulations and apply them evenly and fairly. For example, are driver-supported vehicles, like Tesla, the same as vehicles that have no human onboard, and if not, should they be treated differently?

In California, a fully-autonomous vehicle, like the ones being tested by companies like Google and Audi, require a special license to be operated on public roads. Vehicles like Tesla, which require a human to sit in the driver's seat while the vehicle operates itself, do not require any special license. That is, in theory, at least.

Uber began testing autonomous vehicles in California similar to those developed by Tesla. While Uber believes that their new vehicles belong in the same category as Tesla, the state of California disagrees. In fact, the state's DMV is demanding that Uber acquire a license to operate these vehicles on public roads. Uber believes that, if Tesla owners do not require a special license, Uber should not, either.

There are a couple of important pieces of information to consider here. First, Uber feels that they are better than others in their market. They don't want to be considered, and especially regulated like, a taxi service. They spend a lot of time and money fighting the possibility in cities, states and countries around the world. Often, especially in cities that have a thriving taxi economy, they fail despite spending the money.

This fight against the world is all because they consider themselves to be different from a taxi service, and instead a "ride sharing" service, which they are not. If they were, the driver and passenger would be splitting the cost of gas instead of one paying a 3rd party a pre-determined amount to be taken where they are going.

Second, Tesla drivers are private citizens, driving themselves and accepting the risk of the ride in a special vehicle for themselves and not others. In the case of Uber, the people getting into the vehicles are paying customers of a taxi/limousine service who, if accepting the risk of a ride in a unique vehicle, are doing so from a professional driver, whom they assume to be treated as such.

According to a letter sent to Uber on Friday, the state will be seeking "injunctive and other appropriate relief" with the intention of stopping the unlicensed program. Considering the state has 20 other companies that have already received the licensing, it seems like any legal relief will be easily granted. The letter was signed by the Supervising Deputy Attorney Generals Miguel A. Neri and Fiel D. Tigno, which lends the full weight of the state behind the effort. For Uber, continuing to fight this order will, inevitably cost far more than licensing the vehicles in the first place.
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Scott Ertz 2017 Will See 20 Unscripted Series Headed to Netflix
(2016-12-11)
2017 Will See 20 Unscripted Series Headed to Netflix Since Netflix announced its intentions to offer 50% original content, we have seen some big, but sometimes confusing, moves from their original content divisions. Just a couple of weeks ago, the company gave $40 million to Chris Rock to return to the stage after a long absence, bringing 2 new specials to the platform.

If you think that is strange, wait until you hear this week's move. The company will be bringing 20 new, original series to Netflix in 2017. The downside is that they are all "unscripted series," meaning that Netflix is joining the reality show/competition show bandwagon in a big way. This new catalog includes a series from the The Biggest Loser EP and Sylvester Stallone titled Ultimate Beastmaster. IMDB describes the series, saying,

Touted as the first international competition show of its kind, "Ultimate Beastmaster" will feature six country-specific versions, with local languages, competitors and hosts from each country: the U.S., Brazil, South Korea, Mexico, Germany and Japan. All 10 episodes will launch at the same time worldwide on Netflix. The series will feature 108 competitors, 18 from each country, with each hourlong episode featuring 12 contestants - two from each locale. The athletes will run a demanding new obstacle course known as "The Beast," and each episode will crown a "Beastmaster," with the nine individual winners competing against each other in the final episode of the season for the chance to become the Ultimate Beastmaster.

If this sounds familiar, it's because it is - they are describing the Japanese series Sasuke, known in the US as Ninja Warrior, adapted for G4TV, and then NBC, as American Ninja Warrior. Hopefully this is not a sign of the things to come. If Netflix is going to get into the unscripted world, hopefully the majority of these series (we can't say all) will actually be original. Where Netflix has shined in their original programming is when they work with entirely new IP, like Stranger Things, or working with established IP for new concepts, like Marvel.

Will all of the Netflix unscripted series be direct copies of existing IP, or will we see some truly unique content? Let us know your thoughts in the comments.
Variety: Netflix Has 30 Original Series Today, Will Double That in 2017, Content Chief Ted Sarandos Says
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