An anonymous reader shares a report: If you've ever researched anything online, you've probably used the Internet Archive (IA). The IA, founded in 1996 by librarian and engineer Brewster Kahle, describes itself as "a non-profit library of millions of free books, movies, software, music, websites, and more." Their annals include 37 million books, many of which are old tomes that aren't commercially available. It has classic films, plenty of podcasts and -- via its Wayback Machine -- just about every deleted webpage ever. Four corporate publishers have a big problem with this, so they've sued the Internet Archive. In Hachette v. Internet Archive, the Hachette Publishing Group, Penguin Random House, HarperCollins and Wiley have alleged that the IA is committing copyright infringement. Now a federal judge has ruled in the publishers' favor. The IA is appealing the decision.

[...] Not only is this concern-trolling disingenuous, but the ruling itself, grounded in copyright, is a smack against fair use. It brings us one step closer to perpetual copyright -- the idea that individuals should own their work forever. The IA argued that their project was covered by fair use, as the Emergency Library provides texts for educational and scholarly purposes. Even writers objected to the court's ruling. More than 300 writers signed a petition against the lawsuit, including Neil Gaiman, Naomi Klein and -- get this -- Chuck Wendig. Writers lost nothing from the Emergency Library and gained everything from it. For my part, I've acquired research materials from the IA that I wouldn't have found anywhere else. The archive has scads of primary sources which otherwise might require researchers to fly across the country for access. The Internet Archive is good for literacy. It's good for the public. It's good for readers, writers and anyone who's invested in literary education. It does not harm authors, whose income is no more dented by it than any library programs. Even the Emergency Library's initial opponents have conceded this. The federal court's decision is a victory for corporations and a disaster for everyone else. If this decision isn't reversed, human beings will lose more knowledge than the Library of Alexandra ever contained. If IA's appeal fails, it will be a tragedy of historical proportions.

The Super Mario Bros. Movie "has now earned the largest global animated opening weekend in box office history," reports the Wrap, with a worldwide five-day launch of $377 million, passing the $358 million record set by Disney's Frozen II on Thanksgiving weekend in 2019." Domestically, "Mario" was projected when it opened in theaters on Wednesday to earn a five-day opening of at least $125 million from 4,343 theaters, and it has shattered that figure with $204.6 million grossed. Both that and its three-day total of $143 million are a studio record for Illumination, with the three-day total being the third highest seen on Easter weekend and second only to the $182 million earned by Pixar's "Incredibles 2" among all animated films. It is also the new animation record holder for Imax with $21.6 million grossed worldwide.

And of course, the film has blasted past every box office opening record for video game adaptations, nearly doubling the three-day domestic record of $72.1 million set by "Sonic the Hedgehog 2" last year and shattering the $210 million global record set by "Warcraft" in 2016. "This weekend's record-breaking debut proves audiences of all ages and demographics will pour into theaters for a hysterically funny and authentic universe expansion of an already iconic franchise," said Universal's domestic distribution president Jim Orr. "Nintendo and Illumination's creative synergy along with Shigeru Miyamoto and Chris Meledandri's extraordinary leadership created an entertaining juggernaut that will be sure to power up the box office for weeks to come...."

Thanks in large part to "Super Mario Bros.," overall weekend estimates have risen to $194 million, 76% above the same weekend in 2019.

AI now "automates creative impulses," writes New Yorker staff writer Kyle Chayka — then wonders where that will lead. Chayka's first example is a Berlin-based photographer using AI tools to create a viral video showing Harry Potter characters as fashion models for the upscale French label Balenciaga: A.I. tools were involved in each step of Alexander Niklass's process, and in each element of the video. He created the basic static images with Midjourney, evoking the Harry Potter actors and outfits through text prompts such as "male model, grotesque, balenciaga commercial." Then he used ElevenLabs — a "voice-cloning" tool — to create models of the actors' voices based on previously recorded audio. Finally, he fed the images into a service called D-ID, which is used to make "avatar videos" — subtly animated portraits, not so far off from those that appear in the newspapers of the Potter world. D-ID added the signature lip synchs and head nods, which Niklass explained were a reference to fashion models tilting their chins for the cameras.

The combination of child-friendly film and adult luxury fashion held no particular symbolism nor expressed an artistic intent. It's "entertainment," Niklass said. Yet the video's most compelling aspect might be its vacuity, a meaningless collision of cultural symbols. The nonsense is the point.
The article also cites a song where the French group AllttA performs with an AI-generated simulation of Jay-Z. Chayka marvels at a world where "The A.I. content has the appearance of realism, without actual reality — reality solely as a style.... it seems that a Rubicon has been crossed: It doesn't matter that these artifacts are generated by A.I.; we can just enjoy them for what they are. It happened faster than I thought possible, but now that A.I.-generated pop culture has entered the mainstream, it seems unlikely that we'll ever get rid of it."

Chayka asked ChatGPT how AI-generated imagery is changing our perceptions, and "It responded that there has been a 'blurring of the lines between real and artificial.'"

The article ultimately ponders the possible implications of "a world in which every style, every idea, and every possible remix is generated as fast and frictionlessly as possible, and the successful ones stick and get attention." But at the same time, Chayka believes the final output's quality still depends on the humans involved (arguing that the Harry Potter fashion video was still more "appealingly odd" than later AI-generated videos copying the idea, like "Matrix by Gucci," "Star Wars by Balenciaga," and "The Office by Balenciaga".) A.I. tools may have been able to replicate actors' faces and generate fashionable outfits, but only Niklass could have come up with the concept, which required keen observation of both high fashion and the wizarding world — and also a very specific, extremely online sense of humor. With tools like Midjourney publicly available to anyone online, "everybody can create something visually appealing now," he said. "But A.I. can't generate taste yet," he continued....

To put it another way, execution may have been democratized by generative A.I., but ideas have not. The human is still the originator, editor, and curator of A.I.'s effects.

Apple plans to spend $1 billion a year to produce movies that will be released in theaters, Bloomberg News reported Thursday, citing people familiar with the company's plans, part of an ambitious effort to raise its profile in Hollywood and lure subscribers to its streaming service. From the report: Apple has approached movie studios about partnering to release a few titles in theaters this year and a slate of more films in the future, said the people, who asked not to be identified because the plans are private. The list of potential releases includes Martin Scorsese's Killers of the Flower Moon, which stars Leonardo DiCaprio; the spy thriller Argylle, from director Matthew Vaughn; and Napoleon, Ridley Scott's drama about the French conqueror. The investment is a significant increase from years past. Most of Apple's previous original movies have either been exclusive to the streaming service or released in a limited number of theaters. The company has pledged to put movies in thousands of theaters for at least a month, said the people, though it hasn't finalized any plans.

On March 27th, Nintendo's eShop for its 3DS and Wii U consoles will be shut down. With many of the titles being original to those consoles and not available anywhere else, it's left archivists and historians scrambling to preserve them before it's too late. However, those preservation plans get complicated given Nintendo's litigious nature on matters of intellectual property. Techdirt's Timothy Geigner writes: Preventing the gaming public from continuing to buy games that rely on a company-operated backend infrastructure is one thing. After all, Nintendo can do what it wants when it comes to putting its products into commerce. But what really annoyed a ton of people, myself included, was how this would impact archivists and historians, or anyone else interested in preserving video game history and culture. With the impending shutdown, some of those entities are once again expressing concern: "While it's unfortunate that people won't be able to purchase digital 3DS or Wii U games anymore, we understand the business reality that went into this decision,' the Video Game History Foundation (VGHF) tweeted when the eShop shutdowns were announced a year ago. 'What we don't understand is what path Nintendo expects its fans to take, should they wish to play these games in the future.'"

Because Nintendo is litigious, utilizes DRM, and the DMCA exists, all of that combines to make it wildly unsafe for museums and archivists to actually retain copies of these games that will shortly no longer be found anywhere else. And, no, the exemptions built into the DMCA for content such as movies and literature simply don't exist for the video game space. [...] So what can be done? Not a whole lot, honestly, but some hobbyists are at least going to make a go of it: "In an effort to address this -- or at least address it in a single place on as few consoles as possible -- YouTuber The Completionist decided to sit down and spend almost a year of his life (328 days in total) buying his way through both libraries. He's now done, and the statistics are staggering. The dude bought 866 Wii U games and 1547 3DS titles, numbers that include DSiWare, Virtual Console releases and downloadable content. That adds up to 1.2TB of data for the Wii U, and 267GB for the 3DS. Or, for the 3DS purists reading, 2,136,689 blocks."

As part of this effort, The Completionist has said he plans to donate all of this digital media to the VGHF. What they can do with all of that content still remains to be seen. All of the same copyright and DMCA rules still apply, so what access it can grant to researchers, never mind the public, is in question.

Variety has analyzed the often underappreciated process of selecting movie titles in Hollywood. As one of the most crucial aspects of a film's marketing strategy, the title serves as the first point of contact for potential audiences, shaping perceptions and driving intrigue. In a highly competitive industry, a captivating and effective title can be the difference between success and failure at the box office, the article argues.

The naming process typically involves collaboration between a diverse range of stakeholders, including studio executives, marketing teams, producers, directors, and screenwriters. The title must not only align with the film's story and themes, but also appeal to target demographics, meet legal requirements, and translate well into foreign languages. As a result, naming a film can be a complex and lengthy endeavor. Some movies adopt their titles from pre-existing source material, such as books or plays, while others rely on brainstorming sessions, market research, and even audience testing. High-profile examples of title changes include "Pretty Woman," originally named "3000," and "Scream," initially titled "Scary Movie."

India will not tolerate use of abusive language and display of obscene content in movies and TV shows on on-demand video streaming services, a key minister has warned in a move that illustrates how the nation's IT rules have "handed over direct ministerial power for censorship." From the report: Anurag Thakur, Union Minister of Information Broadcasting and Sports and Youth Affairs, said at a press conference that use of abusive language in the name of creativity will not be tolerated and that the government is receiving a growing list of complaints about increasing abusive and obscene content. Thakur warned that New Delhi will not shy away from "making any changes" in the rules to address this situation.

An anonymous reader quotes a report from TorrentFreak: In January, a month before Ant-Man and the Wasp: Quantumania was released in theaters, a link to a leaked script was posted on the Marvel Studios Spoilers subreddit. Last Friday, a Marvel Studios affiliate filed DMCA subpoena applications to compel Reddit and Google to expose the leakers. One named user account is shared among the subreddit's moderator team. Court documents indicate the plan is to force Reddit to expose them all. [...]

When information about the script/subtitle file was posted on Reddit mid-January, leak-loving Marvel fans were both excited and impressed. "Yeah this is some next level leak" and "This legit might be the biggest leak in this subs history" set the tone, but the fun didn't last. A moderator of the subreddit commented that since the information was receiving copyright notices, any "future sharing of the material will result in a ban." The thread is still live today and there's no doubt that Marvel is aware of it.

The DMCA subpoena application specifically mentions the thread alongside an email from Reddit's legal team, which had previously agreed to take the infringing content down. In common with the takedown notice sent to Google, the allegedly infringing content may have been deleted before Reddit could remove it. There's no mention of a copyright complaint, instead the post notes, "Sorry, this post was deleted by the person who originally posted it." At this point concern shifts to the rest of the thread, which talks about the document hosted by Google and how the mod team "took the google doc down" to ensure that existing links to the file would no longer lead to it. As a result, Marvel now wants Reddit to hand over "All Identifying Information for the user 'u/MSSmods'," which throws another unpredictable element into the mix. The DMCA subpoena applications can be found here (G1/G2, R1/R2)

Reddit is fighting a film-industry attempt to identify users who discussed piracy, telling a federal court that the studios' request for users' real names should be rejected and that one of the studios' arguments is "nonsense." From a report: "Courts have long recognized that the First Amendment protects online anonymity and have established a stringent standard to use in precisely this scenario, where a litigant seeks to unmask users for the purpose of providing evidence in litigation that does not involve those users... Plaintiffs are far from meeting that strict standard here," Reddit said Tuesday in a filing in US District Court for the Northern District of California.

Reddit has no involvement in the lawsuit that triggered the request for users' identities -- the studios behind films such as Hellboy, Rambo V: Last Blood, Tesla, and The Hitman's Bodyguard sued cable broadband provider RCN in a different court, alleging that RCN failed to terminate Internet subscribers who illegally downloaded copyrighted movies. (RCN is now known as Astound Broadband after being combined with several other cable ISPs in the same ownership group.) In an attempt to prove that RCN turned a blind eye to users downloading copyrighted movies, the film studios subpoenaed Reddit seeking identifying information for specific users who commented in piracy-related threads. After Reddit provided information on only one user, calling the other requests a "fishing expedition," the studios filed a motion to compel Reddit to respond to the subpoena.

A man who rented out servers configured for BitTorrent file-sharing use has been handed a three-month suspended sentence in Denmark. Known as 'seedboxes', these pre-configured servers are not illegal per se, but when customers used the devices to break copyright law on known pirate sites, rightsholders held the server provider liable. TorrentFreak reports: Local anti-piracy group Rights Alliance (Rettigheds Alliancen) mitigates all types of piracy but for the past few years, has maintained a keen focus on torrent sites. Working in partnership with the Danish government's SOIK IP-Task Force, Rights Alliance forced several sites to close down and successfully prosecuted site operators, staff members, and users who uploaded content to those sites. In 2021, Rights Alliance targeted specialized servers that not only supply content to torrent sites but also play a role in boosting download times while improving security.

In 2021, news broke that six people had been arrested in Denmark due to their alleged connections to several local torrent sites. Among them was Kasper Nielsen of internet services company HNielsen Networks, a supplier of servers under various brands that could be configured for 'seedbox' purposes. Available information indicated that the servers had been used by an unknown number of users to share content on private torrent sites ShareUniversity, Superbits and DanishBytes. [...] When Rights Alliance filed its criminal complaint against HNielsen Networks, the anti-piracy group referenced the landmark Filmspeler case which involved the sale of piracy-configured media players.

According to statements published by Rights Alliance and NSK (Saerlig Kriminalitet) Denmark's Special Crime Unit, Nielsen was convicted yesterday for selling seedboxes in the knowledge they were being used by others to share movies, TV shows, eBooks and other content, without permission from rightsholders. "On February 28, the Court in Aalborg ruled against the Danish owner behind a seedbox company for, in the period November 2020 to May 2021, having sold seedboxes and server capacity to an unknown number of people, knowing that they were used for illegal sharing of no less than 3,838 copyright-protected works on the Danish and Nordic file sharing services ShareUniversity, Superbits and DanishBytes," Rights Alliance reports. Nielsen was handed a three-month conditional (suspended) sentence and a confiscation order for DKK 300,000 (around $42,600), the amount users had paid his company to access the seedbox servers. The 35-year-old must also pay compensation of DKK 298,660 to Rights Alliance. "Providers of seedboxes have a responsibility to ensure that their services are not used for illegal uploading and downloading of copyrighted content, which the Rights Alliance can clearly see that they are doing," says Maria Fredenslund, Director of Rights Alliance. "Therefore, this case helps to send a signal to other providers that you cannot deliberately sell services to the illegal market."

Since Neilsen took a plea deal at an early stage, none of the claims made by Rights Alliance were needed to be proven in court. "The 3,838 figure and any evidence related to 'knowledge' of infringement carried out by seedbox customers on the sites, were accepted as true," reports TorrentFreak.

The Motion Picture Association (MPA) issued a DMCA notice to a GitHub repo that contained a playlist that let viewers watch Pluto TVs streams on their own apps, such as VLC, MPV, and Tvheadend. From a report: The move was first noticed by TorrentFreak, and GitHub has complied and removed the repo, which ultimately does nothing. If you still have a tiny text file, you can still do exactly what the MPA tried to stop. Pluto TV, for those who do not watch it, is a service owned by Paramount that allows users to legally stream movies and TV shows free of charge on many devices. They have a mobile app, apps for Xbox and PlayStation, smart TVs, and dongles. Users do not even need to sign up to use it. In turn, Pluto's business model is predicated on serving ads and tracking user behavior. It's part of a newer breed of streaming product called free ad-supported television, or FAST. The GitHub repo in question contained M3U playlists to watch Pluto TV's content via an app like VLC. The repo basically took links that were already available and gathered them in one place. It should be noted that M3U files aren't torrent files; it's just a simple playlist file that can direct to local files and web sources.

Warner Bros. Pictures is revamping the "Lord of the Rings" film franchise. Variety reports: On a Thursday earnings call, Warner Bros. Discovery CEO David Zaslav announced that newly-installed studio leaders Mike De Luca and Pam Abdy have brokered a deal to make "multiple" films based on the beloved J. R. R. Tolkien books. The projects will be developed through WB label New Line Cinema. The first "Lord of the Rings" trilogy, helmed by Peter Jackson, grossed nearly $3 billion worldwide; Jackson's follow-up trilogy based on Tolkien's "The Hobbit" matched those grosses.

No filmmakers have been attached to the projects as yet, but in a statement to Variety, Jackson and his main "Lord of the Rings" collaborators Fran Walsh and Philippa Boyens said Warner Bros. and Embracer "have kept us in the loop every step of the way." "We look forward to speaking with them further to hear their vision for the franchise moving forward," Jackson, Walsh and Boyens said.

An anonymous reader shares a report: Almost two decades after the release of the Guillermo del Toro-directed Hellboy, the character is getting yet another reboot. Millennium Media has confirmed that Hellboy: The Crooked Man will enter production next month in Bulgaria, Deadline reports. Casting for the titular character (originally played by Ron Perlman and then David Harbour) is yet to be announced, but the new film will be directed by Brian Taylor, best known for the Jason Statham action movie Crank.

Perhaps most interesting is that the comics' original creator Mike Mignola has written the script for the upcoming film alongside Chris Golden. Both were reported to have worked on the script for the 2019 reboot by The Hollywood Reporter, though Andrew Cosby ultimately ended up with sole credit for writing the screenplay. The 2019 reboot is widely considered to have been both a commercial and critical failure, bringing in roughly $55 million at the box office on a budget of $50 million.

Apple has released the first trailer for its movie Tetris, which tells the extraordinary true story of the struggle between Western publishers, Nintendo, and the Soviet Union itself for the rights to Alexey Pajitnov's classic puzzle game. Polygon reports: Taron Egerton plays Henk Rogers, the gaming entrepreneur who was instrumental in discovering Tetris and securing the console gaming rights, thus enabling its release on Nintendo's then-revolutionary Game Boy handheld. To do so, he had to negotiate directly with the Soviet regime, since Communist law dictated that the game belonged to the people of the Soviet Union (read: the government) rather than Pajitnov himself. All sorts of Cold War skullduggery ensued.

It's an incredible tale that forms the centerpiece of David Sheff's classic book Game Over, which chronicles Nintendo's early rise. The film, directed by Jon S. Baird, seems to take a pretty broad approach to the material, drenching it in '80s pop needle drops, car chases (for some reason), retro game effects reminiscent of the dreadful Adam Sandler vehicle Pixels, and Egerton tearing up as he describes "the perfect game." [...] Tetris will stream on Apple TV Plus from March 31.

Despite the absence of cryptocurrency ads, this year's Super Bowl still managed some geek-friendly advertisements. There was even a riff on "the classic intro from the Super Mario Bros. Super Show, the live-action series that ran from 1989-1991," according to Kotaku: the infamous Mario Rap, which advertised Mario's plumbing business (and in its 2023 version featured the URL for a website).

[T]hat website is indeed up and running, and is everything you would hope it would be from a struggling small business servicing the Brooklyn and Queens areas. There's excessive animation, broken image links, a careers page (still under construction, sadly) and even a novelty mouse cursor.
Kotaku's article includes both versions of the rap, along with reactions from Twitter. (Apparently the phone number in the advertisement really works).

There were also several ads from major tech companies. Google purchased a long ad touting their Pixel phone's ability to remove people from photos (starring Amy Schumer, Doja Cat, and Giannis Antetokounmpo), while Workday drew attention to its enterprise-grade finance and HR software with an ad in which actual rock stars like Ozzy Osbourne, Joan Jett, blues player Gary Clark and members of KISS all urged the software's corporate users to stop calling themselves "rock stars".

Other tech-company ads aired from E*Trade, SquareSpace, and a star-studded Uber One ad in which rapper Puff Daddy auditions singers for their new jingle.

There were also the obligatory celebrity reunions — like Snoop Dogg and Martha Stewart, or the actors from Breaking Bad. But for comic book geeks, a trailer for D.C.'s new movie The Flash included a surprise appearance by Batman — play by both Ben Affleck and by a 71-year-old Michael Keaton, a full 34 years after Keaton played the caped crusader in Tim Burton's 1989 movie Batman. "Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past," according to a press release cited by People. James Gunn, director of Guardians of the Galaxy and new co-CEO of DC Studios, recently said, according to Deadline, that The Flash "is probably one of the greatest superhero movies ever made." He added that the film's storyline "resets everything" for the franchise.
The last Blockbuster video rental store in America played its own advertising prank during the Super Bowl. They announced their own ad which could only be viewed on their Instagram feed during halftime -- or in person at their store in Bend, Oregon. But, as CNN points out, "the store is also renting VHS copies of it for $2."

And for those geeks concerned about the drawbacks of climate change-fighting vehicles, RAM trucks ran an ad about "Premature Electrification" — for consumers excited about electric vehicles but "lacking the confidence about getting and being able to keep a charge." (Although a disclaimer printed at the bottom of the ad warned "Get excited, but not too excited. Pre-production model shown. Availability in the U.S. expected late 2024. Range lengthening technology to come later.")

In J.R.R. Tolkein's The Two Towers, it's in Elrond's home city of Rivendell that Frodo chooses to destroy the ring of power.

And now Lego has created "a truly grand plastic-brick re-creation," reports CNET — costing $500 (£430, AU$800): The stronghold of the elves is a magical place, a sensation Lego managed to encapsulate in 6,167 pieces of plastic stretching 29.5 inches (75 centimeters) wide. "We know many of our fans have been anticipating a set like this for a long time — but a great Lego The Lord of the Rings set is never late, it arrives precisely when it means to!" said Lego design master Mike Psaiki in a statement Tuesday.

The colorful set is based on the design from the Peter Jackson movies. Lego's vision of Rivendell includes Frodo's bedroom, Elrond's study and the Council Ring where you can assemble the Fellowship. The rest of the set features an elven tower and a gazebo, river and bridge.... The set comes with a large cast of 15 minifigure characters, including Gandalf, Frodo, Samwise, Merry, Pippin, Legolas, Gimli and, of course, Elrond.

Film data researcher Stepehen on his blog: David Wilkinson got in touch yesterday asking for advice on his new crowdfunding campaign. One of the topics he wanted to chat about was the 'cost' of offering a "Thanks" credit to his backers. This involves awarding someone who backs the film a credit on the movie under the "With Thanks" section. This name check would appear at the end of the movie and, crucially, on IMDb. On the face of it, there is no cost to offering an almost infinite number of these as it would just be a case of a longer end credit crawl and IMDb doesn't charge for listing credits.

However, David brought up an anecdote from his time as a distributor. In conversations with fellow film sales professionals, the topic of 'how to spot a bad movie' came up. One participant said that they regard having too many 'With Thanks' credits as a red flag. The others agreed and added that the number of producers listed on a movie was similarly useful in spotting a bad film. These are just the kind of industry beliefs that I love to test. This week I'm going to tackle the 'With Thanks' credits and then next week I'll turn to producing credits. I gathered data on 8,096 movies released in US cinemas between 2000-19 (i.e. pre-pandemic), taking note of their number of credited/thanked individuals, their IMDb score (to stand in for audience views) and Metascore (to sample the views of critics). Conclusion: "A simple and pleasing result. The industry belief that having more than the average number of people thanked in the credits means the movie is bad is flat-out wrong."

To celebrate this year's "Public Domain Day," the Internet Archive "asked people to submit short films highlighting anything that was going to be made available in the Public Domain in 2023." For the contest, vintage images and sounds were woven into creative films of 2-3 minutes. Many of the films were abstract while others educational, they all showcased the possibility when public domain materials are made openly available and accessible for download. "The Internet Archive has spent 24 years collecting and archiving content from around the world...now is the time to see what people can do with it," said Amir Saber Esfahani, director of special arts projects at the Internet Archive.
The counsel from Creative Commons helped judged all 47 entries, with winners finally chosen "based on creativity, technique, engagement, and variety of 1927 content."

The winning entries include "The Public Domain Race," a montage of newly-uncopyrighted 1927 film clips and cartoons. And the honorable mentions include short films showing, among other things, 2023 filmmaker Sam Dody serenading a lovestruck silent film star from 1927 — and the story of why Mae West once spent eight days in jail.

But the big first-place prize of $1,500 went to Gnats Gonzales for reciting a poem that was emblazoned over the artwork and title pages of 1927 works that have finally entered the public domain. "... Let not kings nor selective texts decide what is known among you. Ignore the temptation of hippocampal decay. Plunge into the dark depths. And feel the warmth of mortal creation at its purest."

That last quote appears over a 1927 movie poster showing a woman smashing pies into the face of Oliver Hardy.

Avatar: The Way of Water "has passed Star Wars: The Force Awakens as the fourth highest-grossing movie of all time," reports Variety: Director James Cameron's sci-fi epic has now earned $2.075 billion at the global box office. Star Wars: The Force Awakens, another sci-fi sequel released long after previous installments, finished its theatrical run with $2.064 billion after hitting theaters in December 2015.

With this latest box office milestone, Cameron now has three of the top four highest-grossing movies in history — the original Avatar is still the champion [with $2.92 billion], while Titanic sits in third place [with $2.2 billion].

[The second-highest grossing film of all time is Avengers: Endgame with $2.79 billion.] Avatar: The Way of Water has quickly moved up in the record books, surpassing Spider-Man: No Way Home ($1.92 billion) on Jan. 18 and Avengers: Infinity War ($2.05 billion) shortly after on Jan. 26....

A third "Avatar" entry has already been set for release in December 2024 and there are plans for a fourth and fifth to continue the intergenerational saga
Some context from The A.V. Club: The highlight of that big pile of planetary currency being a massive $229 million turnout in China, where it's one of the first Disney movies to play in the country's lucrative markets in some time.

As it happens, James Cameron told GQ back in November, ahead of his sequel's release, that his "fucking expensive" movie would have to post these kinds of numbers to be anything other than a loss for the studio. "You have to be the third or fourth highest-grossing film in history," he noted at the time. "That's your threshold. That's your break even."
Wikipedia points out that when box office figures are adjusted for inflation, the highest-grossing film of all time is still the 1939 Civil War drama Gone with the Wind. And the next top-grossing films of all-time?

• The original Avatar
• Titanic
• The original Star Wars (1977)
• Avengers: Endgame
• The Sound of Music (1965)
• E.T. the Extra Terrestrial (1982)
• The Ten Commandments (1956)
• Doctor Zhivago (1965)
• Star Wars: the Force Awakens

Will moviegoers ever get superhero fatigue? Marvel boss Kevin Feige doesn't buy it, saying on a new podcast interview that there are 80 years of "groundbreaking" stories told in the Marvel comics that they can adapt into "different genres." From a report: "I've been at Marvel Studios for over 22 years, and most of us here at Marvel Studios have been around a decade or longer together," Feige said on "The Movie Business Podcast," hosted by Jason E. Squire, an author and professor at the USC School of Cinematic Arts. "From probably my second year at Marvel, people were asking, 'Well, how long is this going to last? Is this fad of comic book movies going to end?'"

Feige continued, "I didn't really understand the question. Because to me, it was akin to saying after 'Gone With the Wind,' 'Well, how many more movies can be made off of novels? Do you think the audience will sour on movies being adapted from books?' You would never ask that because there's an inherent understanding among most people that a book can be anything. A novel can have any type of story whatsoever. So it all depends on what story you're translating. Non-comic readers don't understand that it's the same thing in comics." Referencing the rich catalog of Marvel comics, which date back to 1939, Feige said there are countless stories for the studio to adapt in various genres.