You know it's bad when James Bond still can't get out of the house. "No Time to Die," the 25th film in the Bond franchise, was delayed for a third time late Thursday, the surest sign yet that Hollywood does not believe the masses will be ready to return to movie theaters anytime soon. From a report: Daniel Craig's final outing as 007 will now arrive on 8 October, the official Bond Twitter account announced. It had been set to be released in April following multiple pandemic-enforced delays. No Time To Die is the latest major release to be pushed back as Hollywood studios scramble to protect their films from certain box office doom, with cinemas remaining closed in markets around the world. Earlier this month Warner Bros announced it was delaying the release of Sopranos prequel The Many Saints Of Newark. And after MGM released the Bond news, Sony said Peter Rabbit 2: The Runaway was moving from April to June, Ghostbusters: Afterlife was pushed from June to November and Cinderella, which stars singer Camila Cabello, will now arrive in July.

As of December 8, Apple has been requiring developers to provide privacy label information to their apps, outlining the data that each app collects from users when it is installed. Many app developers have included the labels, but there's one notable outlier -- Google. schwit1 shares a report from MacRumors: Google has not updated its major apps like Gmail, Google Maps, Chrome, and YouTube since December 7 or before, and most Google apps have to date have not been updated with the Privacy Label feature. The Google Translate, Google Authenticator, Motion Stills, Google Play Movies, and Google Classroom apps do include privacy labels even though they have not been updated recently, but Google's search app, Google Maps, Chrome, Waze, YouTube, Google Drive, Google Photos, Google Home, Gmail, Google Docs, Google Assistant, Google Sheets, Google Calendar, Google Slides, Google One, Google Earth, YouTube Music, Hangouts, Google Tasks, Google Meet, Google Pay, PhotoScan, Google Voice, Google News, Gboard, Google Podcasts, and more do not display the information.

On January 5, Google told TechCrunch that the data would be added to its iOS apps "this week or the next week," but both this week and the next week have come and gone with no update. It has now been well over a month since Google last updated its apps. "To lightly paraphrase former Google CEO Eric Schmidt: If your data harvesting is something that you don't want anyone to know, maybe you shouldn't be doing it in the first place," adds schwit1.

Early last decade, Matthew Buchanan and Karl von Randow, web designers based in Auckland, New Zealand, were seeking a passion project. Their business, a boutique web design studio called Cactuslab, developed apps and websites for various clients, but they wanted a project of their own that their team could plug away at when there wasn't much else to do. From a report: Buchanan had an idea for a social media site about movies. At the time, he reflected, he used Flickr to share photos and Last.fm to share his taste in music. IMDb was a database; it wasn't, in essence, social. That left a gap in the field. The result was an app and social media network called Letterboxd, which its website describes, aptly, as "Goodreads for film." After it was introduced at the web conference Brooklyn Beta in the fall of 2011, Letterboxd steadily developed a modest but passionate following of film fans eager to track their movie-watching habits, create lists of favorites, and write and publish reviews. In 2020, however, the site's growth was explosive. Letterboxd has seen its user base nearly double since the beginning of the pandemic: They now have more than 3 million member accounts, according to the company, up from 1.7 million at this time last year.

The pandemic has ravaged the movie industry, as theaters have remained mostly shuttered and high-profile would-be blockbusters like "Tenet" have drastically underperformed. But for Letterboxd, all that time at home has been a boon. "We love talking about movies," said Gemma Gracewood, Letterboxd's editor in chief. "And we're talking even more about what we love lately because we're all stuck indoors." In the beginning, Letterboxd mainly attracted film obsessives: hard-core cinephiles, stats fanatics and professional critics looking to house their published work under one roof. Mike D'Angelo, a longtime contributor to Entertainment Weekly and Esquire, used Letterboxd to retroactively log every movie he has seen, by date, since January 1992. In addition to uploading his old reviews to the platform, he uses the site as a kind of diary for more off-the-cuff musings.

Ubisoft said it will develop a new Star Wars game, indicating a longtime exclusivity agreement for Electronic Arts on the Walt Disney franchise will come to an end. From a report: The new Star Wars title is set to be the first not published by EA since Disney acquired Lucasfilm in 2012. The news sent shares of the two game companies diverging Wednesday. Ubisoft climbed more than 7%, and EA fell as much 3.2%. The agreement with EA is scheduled to expire in 2023. In an emailed statement, EA said: "We're proud of our long-standing collaboration with Lucasfilm Games, which will continue for years to come." Lucasfilm said in a blog post Wednesday morning that it had "a number of projects underway" with EA. Ubisoft said only that its game will be set in an open-world environment and will developed by the company's Massive Entertainment team in Sweden, best known for a series of shooting games called Tom Clancy's The Division. The group is also working on a game based on James Cameron's "Avatar" movies.

Netflix will release 70 original movies in 2021, the company said in a statement Tuesday, touting the streaming service's most ambitious slate yet as the theatrical movie business remains stuck in limbo. From a report: Netflix's lineup of movies includes one of its most expensive to date, "Red Notice," an action movie starring Dwayne Johnson, Ryan Reynolds and Gal Gadot, as well as sequels to its hit romantic comedies "The Kissing Booth" and "To All the Boys I've Loved Before." The streaming service has also commissioned more than a dozen dramas, including the directorial debut of Halle Berry and a feature starring Leonardo DiCaprio and Jennifer Lawrence. Once a naughty word among filmmakers loyal to movie theaters, Netflix is now one of the few reliable studios in town. Netflix is increasing its output as theaters remain closed in much of the world. The pandemic has made it hard for rival studios to release their projects, and many of them have delayed most of their top titles until more theaters are open.

An anonymous reader shares a report: Samsung's MicroLED televisions like The Wall are always some of the biggest products at CES -- literally. Last year's version was a 292-inch monster composed of individual modules that required custom installation and cost hundreds of thousands of dollars. The 2021 version is a MicroLED TV in fixed sizes of 110, 99 and 88 inches that costs a bit less, but is still ridiculously expensive. Launched in Korea last month, the 110-inch MicroLED costs 170 million won, or around $156,000 according to ZDNet -- the same as a Bentley Bentayga. On Tuesday at its First Look event ahead of CES, the company announced two more sizes, 99 and 88 inches, all three with 4K resolution. Samsung says the TVs will arrive in other markets later this year. For comparison's sake, Samsung's puny 98-inch 8K TV costs $60,000, but it uses standard LCD-based QLED display technology, not MicroLED. [...] The 110-inch MicroLED TV is basically the size of four 55-inch TVs stuck together, and a feature called MultiView lets you connect multiple devices simultaneously and watch up to four things at once. Lucky owners can "enjoy watching news, movies and other apps simultaneously on one screen -- so they can keep up with multiple sports at once, or stream a walkthrough while playing a video game, all in stunning quality and size," according to the release. MultiView is also available on the smaller 99- and 88-inch versions.

Neda Ulaby, writing for NPR: What a year it was for Anglo-American literature and the arts! 1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley ... and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd. As of today, every single one of those works has entered the public domain. "That means that copyright has expired," explains Jennifer Jenkins, a law professor at Duke University who directs its Center for the Study of the Public Domain. "And all of the works are free for anyone to use, reuse, build upon for anyone -- without paying a fee."

The past 12 months were billed as the year when a flood of new entrants would force streaming services to wage an all-out war for subscribers. Instead, incumbents and rookies alike feasted on a base of shut-in customers eager for more things to watch. From a report: The largest streaming services finished 2020 with combined U.S. subscriber numbers more than 50% higher than a year ago, according to a Wall Street Journal analysis of data from market-research firms MoffettNathanson and HarrisX. They enjoyed a captive audience. The coronavirus pandemic triggered lockdowns that sent millions of Americans home, leaving many people with more time to watch movies and shows from the couch. The virus also prompted movie theaters to shut down and sports leagues to go on hiatus for months, further boosting streaming services' appeal. "Instead of a streaming war, there's been streaming coexistence and parallel growth," said Dritan Nesho, HarrisX's chief executive. New services such as Walt Disney's Disney+ grew rapidly without necessarily harming established players such as Netflix and Hulu, he said. "Disney+ did not displace existing services," Mr. Nesho said. "It complemented them."

A few hours ago and after years of preparation, amendments to Japan's copyright law came into effect, aiming to criminalize those who download unlicensed manga, magazines, and academic texts from the Internet. From a report: While uploading pirated content has always been illegal, the new law is quite specific in that it criminalizes the downloading of unlicensed content. While that could take place in a simultaneous upload environment such as BitTorrent, it seems most likely that people will obtain content from websites instead. That presents some roadblocks to enforcement so we asked Ina how, from a technical perspective, will the authorities track, obtain evidence, and prosecute people who simply download content (comics, movies, music etc) to their machines but don't distribute? "The authorities shall use digital forensic technologies to track suspects' activities and collect evidence. The details of such technologies have not been publicly available," Masaharu Ina from Japan-based anti-piracy group CODA explained. "There are certain special units specialized in cyber crimes in each prefecture. For example, the Tokyo Metropolitan Police has its own Cyber Crime Control Unit. But the police do not investigate unless the person commits the crime repeatedly, intentionally and maliciously, i.e. innocent light downloaders shall not be prosecuted."

Like everybody else, book publishers will be happy to see the end of 2020. But for many of them, the year has brought some positive news, which has been as welcome as it was surprising: Business has been good. From a report: With so many people stuck at home and activities from concerts to movies off limits, people have been reading a lot -- or at least buying a lot of books. Print sales by units are up almost 8 percent so far this year, according to NPD BookScan. E-books and audiobooks, which make up a smaller portion of the market, are up as well. "I expect that at the end of the year, when you look at the final numbers," Madeline McIntosh, chief executive of Penguin Random House U.S., said of the industry, "it will have been the best year in a very long time." When the United States slammed shut in March, book sales dropped sharply, but the dip didn't last. While some parts of the industry have continued to struggle, like bookstores and educational publishers, publishing executives say that demand came rushing back around June.

Many of these sales went to Amazon, but big-box stores, especially Target, also did well. As essential businesses that sold things like groceries, they were allowed to stay open through the lockdowns. Dennis Abboud, chief executive of ReaderLink, a book distributor to major chains like Walmart, Target and Costco, said his company's online sales nearly quadrupled over last year. "It was really a tale of two cities," Mr. Abboud said. "The beginning of the year was mega soft, and the end of the year was mega strong." Even though the number of people commuting has plummeted this year, audiobook revenue is up more than 17 percent over the same period in 2019, according to the Association of American Publishers, and e-book sales, which had been declining for the past several years, are up more than 16 percent.

An anonymous reader shares a report: In November 2019, just a few days after Disney+ launched, Netflix (NFLX) content chief (now co-CEO) Ted Sarandos, speaking at a Paley Center for Media event, said that Disney (DIS) is "bound by" its content universes, a reference mostly to Marvel and Star Wars. He continued: "I do think the risk of being bound in a few universes is that there sometimes may be a melting ice cube of interest over time." That has been the most common knock on Disney for a few years now: that if Disney keeps hitting the Marvel and Star Wars pinatas, fans will get tired of it. But the numbers have proven the theory wrong -- so far. Moviegoers vote with their wallets, and have voted in favor of more Marvel Cinematic Universe installments, more Star Wars stories. Six of the top 10 biggest U.S. box office openings of all time were Marvel movies, four of them "Avengers" movies. "Avengers: Endgame" (2019) is the No. 1 box office release of all time. As for Star Wars, the final three films in the "Skywalker" saga, "The Force Awakens" (2015), "The Last Jedi" (2017), and "The Rise of Skywalker" (2019), each topped $1 billion at the global box office, despite fan criticism of the plot of the final film. Spinoff movie "Rogue One" (2017) also hit the $1 billion mark. But those were all movies, with much-hyped theatrical releases.

On Disney+ over the next two years, Disney will truly test the limits of the fatigue theory with Marvel and Star Wars original shows, and might discover that even the most hardcore fans have a threshold. The sheer mountain of original content Disney unveiled at its 2020 Investor Day this month was almost comical: 52 new shows or movies coming in the next three years across Disney Studios, Disney Animation, Pixar, Marvel, Lucasfilm, National Geographic, ESPN, and FX. In the first year of Disney+, only a single live-action original series, "The Mandalorian," was enough to propel the platform to 86.8 million subscribers. In 2021, Disney will hit the gas, with six Marvel shows hitting Disney+: "WandaVision" in January; "The Falcon and the Winter Soldier" in March; "Loki" in May; animated series "What If...?" in summer; and a "Ms. Marvel" series and "She-Hulk" series (no specific date given, but Disney said 2021). Can even diehard Marvel fans find the time to watch all of those? And those are just the television shows. In theaters over the next two years, Disney will release "Black Widow," "Shang-Chi and the Legend of the Ten Rings," "Eternals," "Dr. Strange in the Multiverse of Madness," "Thor: Love and Thunder," "Black Panther 2," and "Captain Marvel 2." The Star Wars faucet won't start blasting until 2022 and 2023, when Disney+ will get the Star Wars spinoff shows "Andor," "Ahsoka," "Obi-Wan Kenobi," "Star Wars: Visions," "The Bad Batch," "Rangers of the New Republic," and "Lando."

When critics talk about Disney's franchise fatigue risk, they're mostly talking about Marvel and Star Wars, but if you look elsewhere in the Disney+ lineup there are additional examples of the argument. Disney's live-action releases coming over the next two years include a "Cheaper by the Dozen" remake movie, another "Lion King" live action movie, and live-action remakes of "The Little Mermaid," "Pinocchio," and "Peter Pan," plus a sequel to "Enchanted," a Cruella De Vil live-action origin movie, and "Sister Act 3." Disney is also planning a "Night at the Museum" animated series, a "Diary of a Wimpy Kid" animated series, and a "Chip N' Dale" animated movie. The criticism that almost everything Disney is doing is a prequel, sequel, remake, or spin-off is not unwarranted.

An anonymous reader quotes a report from The Intercept: Facebook is currently waging a PR campaign purporting to show that Apple is seriously injuring American small businesses through its iOS privacy features. But at the same time, according to allegations in recently unsealed court documents, Facebook has been selling them ad targeting that is unreliable to the point of being fraudulent. The documents feature internal Facebook communications in which managers appear to admit to major flaws in ad targeting capabilities, including that ads reached the intended audience less than half of the time they were shown and that data behind a targeting criterion was "all crap." Facebook says the material is presented out of context.

They emerged from a suit currently seeking class-action certification in federal court. The suit was filed by the owner of Investor Village, a small business that operates a message board on financial topics. Investor Village said in court filings that it decided to buy narrowly targeted Facebook ads because it hoped to reach "highly compensated and educated investors" but "had limited resources to spend on advertising." But nearly 40 percent of the people who saw Investor Village's ad either lacked a college degree, did not make $250,000 per year, or both, the company claims. In fact, not a single Facebook user it surveyed met all the targeting criteria it had set for Facebook ads, it says. The complaint features Facebook documents indicating that the company knew its advertising capabilities were overhyped and underperformed. A "February 2016 internal memorandum" sent from an unnamed Facebook manager to Andrew Bosworth, a Zuckerberg confidant and powerful company executive who oversaw ad efforts at the time, reads, "[I]nterest precision in the US is only 41% -- that means that more than half the time we're showing ads to someone other than the advertisers' intended audience. And it is even worse internationally. We don't feel we're meeting advertisers' interest accuracy expectations today." The lawsuit goes on to quote unnamed "employees on Facebook's ad team" discussing their targeting capabilities circa June 2016.

"Interest" and "behavior" are two key facets of the data dossiers Facebook compiles on us for advertisers; according to the company, the former includes things you like, "from organic food to action movies," while the latter consists of "behaviors such as prior purchases and device usage." The complaint also cites unspecified internal communications in which "[p]rivately, Facebook managers described important targeting data as 'crap' and admitted accuracy was 'abysmal.'" Facebook has said in its court filings that these quotes are presented out of context.

Warner Bros. ruffled some feathers when it announced it would release all of its new 2021 movies simultaneously on HBO Max, but the company seems to be betting that theaters won't become an apocalyptic wasteland. From a report: Variety reports that the company plans to release Furiosa, the prequel to Max Max: Fury Road, and The Color Purple first in theaters in 2023. Warner's plan to launch next year's films online is a great thing for consumers who would rather stay at home than risk contracting a deadly virus to see, say, Godzilla vs. Kong. But the plan immediately made enemies of some Hollywood veterans. Director Christopher Nolan called HBO Max "the worst streaming service" and accused Warner Bros. of not telling anyone about its plan until just 90 minutes before it was announced.

An anonymous reader quotes a report from TorrentFreak: YouTube says it has found a "smoking gun" to prove that a class-action lawsuit filed by Grammy award-winning musician Maria Schneider and Pirate Monitor Ltd was filed in bad faith. According to the Google-owned platform, the same IP address used to upload 'pirate' movies to the platform also sent DMCA notices targeting the same batch of content.

In a motion to dismiss filed in November, Pirate Monitor said YouTube had provided no "hard evidence" to back up these damaging claims, demanding that the court disregard the allegations and reject calls for the right to an injunction to prevent Pirate Monitor from submitting wrongful DMCA notices in the future. YouTube now provides a taster of some of the supporting evidence it has on file. "Pirate Monitor devised an elaborate scheme to prove itself sufficiently trustworthy to use YouTube's advanced copyright management tools," YouTube begins. "Through agents using pseudonyms to hide their identities, Pirate Monitor uploaded some two thousand videos to YouTube, each time representing that the content did not infringe anyone's copyright. Shortly thereafter, Pirate Monitor invoked the notice-and-takedown provisions of the Digital Millennium Copyright Act to demand that YouTube remove the same videos its agents had just uploaded."

In all, YouTube processed nearly 2,000 DMCA notices it received by Pirate Monitor in the fall of 2019. All of the targeted videos had a uniform length, around 30 seconds each, generated from "obscure Hungarian movies". They had been uploaded in bulk from users with IP addresses allocated to Pakistan. [...] While the nature of the uploads is indeed suspicious, YouTube says that it also found what it describes as a "smoking gun", i.e evidence that the uploads and DMCA notices were being sent by the same entity. "After considerable digging, YouTube found a smoking gun. In November 2019, amidst a raft of takedown notices from Pirate Monitor, one of the 'RansomNova' users that had been uploading clips via IP addresses in Pakistan logged into their YouTube account from a computer connected to the Internet via an IP address in Hungary," YouTube explains. The opposition to Pirate Monitor's motion to dismiss can be found here.

An anonymous reader quotes a report from The Hollywood Reporter: Providing relief via direct assistance and loans to struggling individuals and businesses hit hard by COVID-19 has been a priority for federal lawmakers this past month. But a gigantic spending bill has also become the opportunity to smuggle in some other line items including those of special interest to the entertainment community. Perhaps most surprising, according to the text of the bill being circulated, illegal streaming for commercial profit could become a felony.

It's been less than two weeks since Sen. Thom Tillis (R-NC) released his proposal to increase the penalties for those who would dare stream unlicensed works. In doing so, the North Carolina senator flirted with danger. About a decade ago, Minnesota Sen. Amy Klobuchar made a similar proposal before it ended up dying as people worried about sending Justin Bieber to jail. This time, Tillis' attempt was winning better reviews for more narrowly tailoring the provisions toward commercial operators rather than users. That said, it's had very little time to circulate before evidently becoming part of the spending package. If passed, illegal streaming of works including movies and musical works could carry up to 10 years in jail. That's not the only copyright change either.

The spending bill also appears to adopt a long-discussed plan to create a small claims adjudication system within the U.S. Copyright Office. [...] Among the other parts of the omnibus bill of interest to Hollywood is an extension of Section 181, a tax provision that allows for immediate deduction of television and film production costs up to $15 million. That incentive was scheduled to expire at the end of the year, but would now get an additional five years.

Aleksander Kubica is a postdoctoral fellow at Canada's Perimeter Institute for Theoretical Physics and Institute for Quantum Computing. And he's also the winner of the world's first quantum chess tournament. (It's now available for streaming on Twitch, and begins with a clip of the late Stephen Hawking playing a 2016 game against Ant-Man star Paul Rudd.)

"It's a complicated version of regular chess that incorporates the quantum concepts of superposition, entanglement, and interference," explains Ars Technica (in an article shared by John Trumpian): In quantum chess, there are multiple boards on which the pieces exist, and their number is not fixed. Players can perform "quantum moves" as well as regular chess moves; players just need to indicate which type of move they're performing. Any quantum move will create a superposition of boards (doubling the number of possible boards in the superposition with each quantum move), although the player will see a single board representing all boards at the same time. And any individual move acts on all boards at the same time.

Pawns move the same as in regular chess, but other pieces can make either standard moves or quantum moves, such that they can occupy more than one square simultaneously. In a 2016 blog post, Chris Cantwell of Quantum Realm Games offered the example of a white queen performing a quantum move from D1 to D3. "We get two possible boards. On one board the queen did not move at all. On the other, the queen did move. Each board has a 50 percent chance of 'existence'..."
In 2016 Stephen Hawking had played a game of quantum chess against Paul Rudd in a video which also featured both Keanu Reeves and Alex Winter, stars of the "Bill and Ted" movies.

CNN reports: If it wasn't abundantly clear that content is king, especially in the Covid-19 era, Disney hammered that point home Thursday when it previewed dozens of new series and movies for its Disney+ streaming service. And investors are loving it. Shares of Disney jumped 13% Friday to a new all-time high. The stock is now up more than 20% this year, an impressive feat given that the pandemic has wreaked havoc on Disney's theme park business and forced its movie studios to delay big releases in theaters.

Investors are clearly betting that the streaming strength will offset any lingering weakness in other areas of the House of Mouse empire: Disney raised its forecast for subscriber growth and is upping prices for Disney+. Wall Street analysts rushed to upgrade Disney following Thursday's event. At least 13 analysts boosted their price targets on the stock Friday morning. While Disney initially predicted it would have 60-90 million subscribers by 2024, they're now predicting 230-260 million, CNN reported earlier this week. "The sheer scale of content announced on Thursday was a loud reminder to the rest of the streaming world that Disney+ had an amazing year, acting as a lifeboat to a company ravaged by coronavirus, and that Disney is fully committed to the future of streaming."

Besides the two new Star Wars series announced this week, Disney also announced several new series based on Marvel comic book characters:

• "The Falcon and the Winter Soldier" and "WandaVision"

• Samuel L. Jackson (as Nick Fury) in "Secret Invasion"

• Don Cheadle as War Machine in "Armor Wars"

• More Marvel-based shows about Hawkeye, Moon Knight, "Ironheart" Riri Williams, She Hulk, and Ms. Marvel

• A series of shorts titled "I Am Groot" and a "Guardians of the Galaxy Holiday Special"

Other newly-announced Disney+ shows include:

• A live action Pinocchio starring Tom Hanks
• A reboot of "The Mighty Ducks" starring Emilio Estevez

Christopher Nolan isn't too happy with Warner Bros' decision to send all 17 of its films slated for release in 2021 to HBO Max on the same day they're released. Nolan, whose blockbuster movies for Warner Bros have made billions, called HBO Max "the worst streaming service," adding that this shift in Hollywood is "a sign of great danger for the people who work in the movie industry." NPR reports: Nolan was asked whether the move to streaming is really about the pandemic or something bigger — Netflix had more 2020 Oscar nominations than any other studio. "There is this idea that that's been sort of put forward a lot, that the pandemic is sort of accelerating a trend that was already happening," he said. "But 2019 was the biggest year ever for movies financially. That doesn't suit the narrative that the tech companies or the big corporations kind of want to put out there right now.

"But the reality is there was enormous success in 2019 and 2018 wasn't bad either. If you're asking where moviegoing is going, I think the long-term health of the movie business depends on people's desire to get together and experience a story together. And I don't see any signs that that's going anywhere anytime soon." Would you agree with Nolan, or do you applaud Warner Bros' embrace of streaming?

New submitter Arthur, KBE writes: Harrison Ford will be grabbing his whip and ramming on his hat for a fifth "Indiana Jones" movie, Disney has confirmed -- a mere 41 years after the first installment, "Raiders of the Lost Ark," was released. Disney said in a tweet on Friday that the movie would be produced by its production arm Lucasfilm and released in July 2022, and that "Indy himself, Harrison Ford, will be back to continue his iconic character's journey." The entertainment giant also confirmed the news in an investor presentation, saying the movie was currently in "pre-production." There had been mounting speculation that a new movie was in the works. In February, Ford told Ellen DeGeneres in an appearance on her talk show that production on a new Indiana Jones movie would begin this year. "It's going to be fun. I am excited," he said on the show. "They're great fun to make." The last film from the franchise was 2008's "Indiana Jones and the Kingdom of the Crystal Skull," which came almost 20 years after the third movie, "Indiana Jones and the Last Crusade," which was released in 1989.

What are some good movies and TV shows that you watched this year? You do not have to narrow down your selection to titles that came out this year, but feel free to give one a shotout.