“It’s only common sense that the devaluation creative industries face is having a sustained negative effect on the investment available for sustainable artistic careers. Through new groups like the Content Creators Coalition, artists have begun to advocate for themselves. But forging an internet that takes individual rights (including privacy), cultural diversity and sustainable progress seriously also requires that consumers get on board.”

“A Montreal filmmaker fears that she could lose the centrepiece of a federally subsidized art installation after Canadian customs officers intercepted her material and deemed that it contravened the country’s trade sanctions against Iran.”

The mega-conglomerate would certainly have been Hollywood’s heaviest hitter, but the risks of meshing the two studios would have been risky for everyone involved, including the entire Los Angeles area.

Nathan Rabin: “So I’d like to take this opportunity to apologize to pop culture: I’m sorry for creating this unstoppable monster. Seven years after I typed that fateful phrase, … I would welcome its erasure from public discourse.”

“It’s as if, through sales figures, profits and other assorted fiscal headlines video games will be able to buy their way to legitimacy. How fitting that a medium which typically encourages its players to exert dominance over the competition would frame its worth as a battle, usually with cinema, as if this were a fight to be won, as if the winner would somehow usurp the loser, as if each venue for human expression didn’t have unique capacity for joy, wonder and meaning.”

“SAG-AFTRA reported a year-end surplus of $8 million “due to expense management efforts and increased revenue from dues and initiation fees.”

“The only thing standing between the show keeping the audience on its side and outright mutiny is often the warm-up (and his reliable sidekick, the DJ), who aims to keep those long gaps between scenes light-hearted and funny, then drop the audience right back into the action when taping resumes.”

“We need to be responsive to the way the industry is evolving and reflective of the kind of shows being produced … So much production is being done around town, and they don’t all fit into nicely, cleanly defined boxes.”

“The future of photography is the past, both as subject and technique. Time-lapse photography is coming to your smartphone, and when it does, expect to see the passage of time take over all your albums, feeds, and streams.”

“Thus far the majority of Internet Culture has yet to stray from its medium of birth. And why would it? Not all mediums are equipped to handle all forms of expression.”

“Familiarity also breeds contempt. Contempt breeds indifference. And when audiences feel like they’ve seen something, or someone, once too often, they start consulting their iPhones to check the weather and put off the movies for another week.”

“BBC director general Tony Hall has unveiled plans to allow the Corporation’s in-house production teams to make content for rival broadcasters, as part of a shake-up he has described as a ‘competition revolution’.”

Here’s the complete list of Emmy nominees for 2014.

“Tablets have become as mundane as the PCs whose decline they hastened. Instead of radical hardware innovations, the maxed-out market is racing toward as many screen sizes as shoe sizes.”

On the last day of 2020, Anders Weberg will release Ambiancé, which is, he says, “an abstract nonlinear narrative summary of the artist’s time spent with the moving image.” The film will “be shown in its full length on a single occasion syncronised in all the continents of the world and then destroyed.” (includes trailer)

“The romantic comedy has created, on top of everything else, a new genre: the obituary for the romantic comedy. … Because the truth is that [today's] romantic comedies are, as works of art and pieces of culture, terrible. They are usually some ungodly, unseemly, unsexy combination of: stale, trite, silly, and formulaic.”

“What actually gets people moving? Do grant-supported media projects incite change, or are they simply an expensive way of preaching to the choir? Ultimately, the answers may help determine which projects get financed, which formats are favored and how stories are structured.”

It stopped being fun. It just stopped being fun. It really wasn’t. That’s a big deal to me. It may sound like “Why do you have to have fun to go to work?” I don’t know. I like to be in a good mood. The ratio of bullshit to the fun part of doing the work was really starting to get out of whack.

“A movie’s Friday matinees would determine whether it even gets an evening screening, or whether the projector switches back to last week’s blockbuster. … This bleak future is the direction the industry is pointed in, but even if it arrives it will not last. Once movies can no longer be defined by technology, you unmask powerful fundamentals – the timelessness, the otherworldliness, the shared experience of these narratives.”

On the Media‘s Bob Garfield talks with Daniel Alarcón (whom you might as well think of, for now, as the Latino Ira Glass) about his Spanish-language series, Radio Ambulante. (audio)

“Their crude variables and simplistic results reflect a larger problem video game research continues to face as it grows, one that makes rigorous experiments hard to recognize: Scientists don’t even know how video games’ real-world effects should be measured.”

“The emerging world enthusiasm for Hollywood films does not extend to comedies, or at least not relative to its love of action movies and animated films. In China, for example, U.S. comedies account for only 10% of box office spending, compared to 25% in the U.S.”

“In recent years, adult television viewers have reveled in an overflow of quality programs that critics have called a new golden age. So why shouldn’t preschoolers be equally spoiled?”

“I understand that the black audience is not monolithic. There are many different types of films that black people want and I’ve never had a feeling that all my films would appeal to all black people. Never, ever, ever.”

“Interactive fiction, which once went by the name ‘text adventure,’ is having a moment.”

Ignore (or listen to, should you prefer) the specific movie recommendations in this piece, but revel in the knowledge of boutique streaming options that can fill up the empty hours until Season 3 of Orange Is the New Black drops.

“Not only was it an astute embodiment of the phenomenon we might call ‘Beatletime’ – frantic, fractured, breathless and intoxicating – it was born of speed itself. To be ready when the lights went down for the command performance before Princess Margaret in London in July, 1964, the movie had to be shot and completed in only four months.”

“The glory days are back in the nation’s film heartlands. Buoyant, expanding and home to some of the world’s biggest stars, the leading studios are full to capacity and taking unprecedented bookings from international film-makers.”

“At the very least, the worst movies ever made offer some comfort: Even in absolute disaster, there’s something to be learned about why we make entertainment, and how it can go wrong. Occasionally, the failure even succeeds, albeit on a different rubric than the one it originally had in mind.”