Joshua Topolsky, writing at Input Mag: Movies are, by their very nature, good. Movies are one of the best things to have happened to the human race, probably ranking right up there in the top 5 with eating, sex, indoor plumbing, and music. We've probably all had formative experiences in one way or another around movies, and for many of us those experiences took place in a classic multiplex, surrounded by other like-minded film fans. But over the last two decades or so, the movie-going experience has been degraded by turns, both in terms of the physical reality of packing hundreds of people into a shared experience with a world of increasing distractions, and in the quality of the "blockbuster" fare being peddled by studios. This pandemic has made us all take a long, hard look at what has really been working for humanity and what hasn't, and I think the theater experience -- at least the massive, multi-screen one we've been living with -- might be dying at just the right time.

There are myriad contributors to this realization. For me, it starts with the basic reality that a truly epic film-watching experience can now be had in your house, with all the big-screen bombast and overwhelming audio that theaters have long touted as their domain alone. A fairly cheap, big-screen 4K TV, and an accompanying surround sound setup will put you right back in the theater recliner, except you have full control over the experience. Whether that means being able to pause for bathroom and snack breaks, having the option to just switch the film if you don't like what you're seeing, or being able to return to something over a period of time, watching at home can not only be as good as watching in a theater -- it can be better.

When Warner Bros. announced that "Wonder Woman 1984" would land on the streaming service HBO Max on Christmas, the same time it debuts in theaters, many expected it to be an isolated case in response to an unprecedented pandemic. From a report: Instead, the studio will deploy a similar release strategy for the next twelve months. In a surprising break from industry standards, Warner Bros.' entire 2021 slate -- a list of films that includes "The Matrix 4," Denis Villeneuve's "Dune" remake, Lin-Manuel Miranda's musical adaptation of "In the Heights," Sopranos prequel "The Many Saints of Newark," and "The Suicide Squad" -- will debut both on HBO Max and in theaters on their respective release dates. The shocking move to simultaneously release movies day-and-date underscores the crisis facing movie theaters and the rising importance of streaming services in the wake of a global health crisis that's decimated the film exhibition community.

Disney has digitally removed a lone crew member who accidentally appeared in the background of a recent Mandalorian episode. The Verge reports: The crew member, who the internet lovingly dubbed "Jeans Guy," appeared at the 18:54 mark in season 2, episode 4. Back flat against the wall, the crew member was not in the shot for very long, but they made an impact on Star Wars fans everywhere. People even made mock designs for action figures based on the crew member! You can't buy that kind of love. The Verge has reached out to Disney about the digital erasure. Upon revisiting the scene, however, the crew member is nowhere to be found, something I was worried would happen. The beauty of digital editing technology is that shows and movies can be worked on in homes around the world at a time when it's impossible to be in a shared office space. The downside is that accidental gaffes we've come to love are erased, lost forever in the digital wavelengths of time.

Reuters reports: David Prowse, the English actor who played Darth Vader in the original Star Wars films, has died aged 85, his management company said on Sunday...

The champion weightlifter-turned-actor starred as the body, but not the voice, of one of cinema's best-known villains. Director George Lucas opted to dub another voice onto Prowse's portrayal of the towering, masked antagonist Darth Vader in "Star Wars", "The Empire Strikes Back" and "Return of the Jedi".
More from the Los Angeles Times: Born in Bristol, southwest England, in 1935, Prowse represented England in weightlifting at the Commonwealth Games in the 1950s before breaking into movies with roles that emphasized his commanding size, including Frankenstein's monster in a pair of horror films [and also in the 1967 comedy Casino Royale].

Director George Lucas saw Prowse in a small part in "A Clockwork Orange" and asked the 6-foot-6-inch actor to audition for the villainous Vader or the Wookiee Chewbacca in "Star Wars." Prowse later told the BBC he chose Darth Vader because "you always remember the bad guys."

Physically, Prowse was perfect for the part. His lilting English West Country accent was considered less ideal, and his lines were dubbed by actor James Earl Jones. Prowse was also known to a generation of British children as the Green Cross Code Man, a superhero in a series of road safety advertisements.
An anonymous reader writes: In 2011 he authored an autobiography titled Straight from the Force's Mouth (with a foreword by bodybuilder/Incredible Hulk actor Lou Ferrigno), and his differences with Lucasfilm are chronicled in a 2015 documentary about his career titled I Am Your Father. (You can watch its trailer on its page on Amazon Prime, though the full documentary is currently listed as "unavailable.")
Wikipedia lists some of Prose's other roles, including:

• A Minotaur in the Doctor Who serial The Time Monster
• The Black Knight in the Terry Gilliam film Jabberwocky
• A small role as Hotblack Desiato's bodyguard in the 1981 BBC TV adaptation of The Hitchhiker's Guide to the Galaxy.

Long-time Slashdot reader destinyland writes: It seems like it's inadvisable to sit in a movie theatre during a pandemic. Thousands of theatres still tried showing movies this weekend — but the number of open theatres is dropping, perhaps because the number of people actually buying tickets appears to be plummeting.

For example, there were 2,154 movie theatres open in America this weekend, according to The Hollywood Reporter — roughly 40% of about 5,449 theatres (according to figures they cite from the American media measurement/analytics company Comscore). But the previous weekend there were 2,800 locations still open — over 50%. "Heading into the weekend, 646 movie theaters in the U.S. closed down again virtually overnight amid an alarming surge in COVID-19 cases, according to Comscore. There were also 60 cinemas reclosures in Canada, meaning that in the span of several days, the North American box office lost 706 locations compared to a week ago... Factoring in Canada, the total number of theaters open in North American dropped from 3,096 sites over the Nov. 13-15 weekend to 2,390 theaters..."

But those figures don't tell the whole story. In that same week the box office dropped "as much as 50 percent" — bringing in a nationwide total somewhere around $5 million, the lowest figure since they started re-opening in August. In fact, the #1 film in America — the campy body-swapping horror film Freaky — pulled in a total of just $1.2 million. "The average gross per complex, with 60 percent of these having eight or more screens, was around $4,000 or $500 per screen," reports IndieWire. If you estimate a ticket cost around $10, that comes out to a total for the entire weekend of just 50 people at each screening. "That can't even cover operating costs, especially with half of the revenue going to film rental." (And they also report that some movies did even worse. Jackie Chan's new movie averaged $291 per theatre.)

It could be a chicken-and-egg effect. Movie theatres are reluctant to release their best movies to limited audiences — but then audiences have even less reason to go to the theatres. But another possibility is that millions of people who used to go to the movies decided that it just wasn't worth the risk during a surging pandemic.

78-year-old filmmaker Werner Herzog shared some interesting thoughts before the release of his new documentary on asteroids, Fireball: Visitors From Darker Worlds now available on Apple TV+.

From Herzog's new interview with the science site inverse: Herzog tells Inverse he's less concerned than ever that a meteorite will destroy the Earth, but that doesn't mean we shouldn't still be worried about our own extinction. "It may be 100 million years to go until then," Herzog says, before adding, "within the next thousand years, we may have done such stupid things that we are not around anymore to contemplate it...."

There's a theory that all life on Earth came from a meteorite. Do you think that's possible...?

[I]f you expand the question, it wouldn't surprise me if we found life somewhere outside of our solar system, or even within our solar system, because we share the same chemistry with the universe. We share the same physics with the universe. And we share the same history with the universe. So with trillions and trillions and trillions of stars out there, it's highly likely that somewhere there are some forms of life. Probably not as good and interesting as in movies. We can be pretty certain there are no creatures out there like in Star Wars...

Have you heard the theory that we're living inside a simulation?

Yes, but I don't buy it. Because when I kick a soccer ball from the penalty spot, I know this is for real. If the goalie saves it, oh shit, this is for real.
He also discusses the 1998 asteroid disaster film Deep Impact and his own appearance on Rick and Morty, as well as part on The Mandalorian — and the experience of watching its premiere with 1,000 hardcore Star Wars fans. ("It was unbelievable. The first credit appears and there's a shout of joy that you cannot describe... It's evident Star Wars is a new mythology for our times, whether you like it or not.")

But though Herzog's films "often feature ambitious protagonists with impossible dreams, people with unique talents in obscure fields, or individuals who are in conflict with nature," according to Wikipedia, Herzog insists to Inverse that Elon Musk's plan to build a city on Mars is a "mistake."
In a blistering criticism, Herzog describes the idea as "an obscenity," and says humans should "not be like the locusts...."

Herzog is not opposed to going to Mars at all. In fact, the German filmmaker would "love to go [to Mars] with a camera with scientists." But the long-term vision of a Mars city is a "mistake." Herzog's main concern is that humanity should "rather look to keep our planet habitable," instead of trying to colonize another one.

In short, Mars is not a livable place. There is no liquid water at the surface, or air to breathe. Solar wind means inhabitants would be "fried like in a microwave," Herzog says.

An anonymous reader quotes a report from Ars Technica: AT&T has announced another round of price hikes for DirecTV satellite and U-verse TV services, with monthly prices set to rise up to $9 starting January 17, 2021. "Due to increased programming costs, we're adjusting the price of our video packages," AT&T said in a notice on its website. "Periodically, TV network owners increase the fees they charge DirecTV for the right to broadcast their movies, shows, and sporting events." Of course, AT&T itself determines some of these programming prices because it owns Time Warner.

A $5 monthly increase is coming to DirecTV's 160-channel "Entertainment" package, which currently has a standard rate of $97 a month. A $7 monthly increase is coming to the 185-channel Choice package, currently at $115 a month. A $9 increase is coming to both the 250-channel Ultimate package (currently $142) and the 330-channel Premier package (currently $197). New customers can get those packages for $64.99 to $134.99 under promotional pricing that expires after 12 months. "If you currently have a DirecTV TV promotion, you'll keep that discount until it expires," AT&T said. "Once your promo period ends, you'll pay the new price for your package."

There are also $1 and $3 increases for DirecTV's Basic and Preferred Choice packages for international customers, $6 increases for certain Spanish-language packages, and $8 increases for "Xtra" packages. Only the Minimum service, Family, and ChineseDirect Plus plans are not getting increases. AT&T is raising U-verse TV prices by $5 to $9 a month depending on the package, while keeping the price of the most basic U-verse package the same. U-verse provides TV over AT&T's wired network. As with DirecTV, customers on U-verse promotional pricing won't see the increase until the promotional period ends. DirecTV is also adding a "Federal Cost Recovery Fee of $0.19 per month," similar to a fee that used to be charged once per year. Despite the name, the fee is not mandated by the government. AT&T said the fee covers "expenses that DirecTV pays to the Federal Communications Commission." Ars Technica notes that AT&T did not include any increases for the Regional Sports Network and Broadcast TV fees. It's also decreasing the price of some premium channels. "That includes $3 decreases for Starz, Cinemax, and Showtime," the report says. "There are also decreases of up to $3 for certain add-on bundles that include sports channels. But even with premium channels, there are some price increases, including a $2.96 boost to an add-on bundle that includes HBO Max, Starz, Showtime, Cinemax, and a sports-channel pack."

The full list of price changes can be found here.

Although COVID-19 is surging in the United States and around the world, Warner Bros. still plans to release "Wonder Woman 1984" on Christmas Day -- but its plans are are no longer limited to a theatrical release. From a report: Director Patty Jenkins and star Gal Gadot both posted tweets last night announcing that in in the United States, the film will be released simultaneously in theaters and on WarnerMedia's streaming service HBO Max. "THE TIME HAS COME," Jenkins wrote. "At some point you have to choose to share any love you have to give over everything else. We love our movie as we love our fans, so we truly hope that our film brings a little bit of joy and reprieve to all of you this holiday season." A press release from HBO Max offers a few more details: The film will debut in theaters internationally on December 16, then launch in U.S. theaters and on HBO Max on December 25. It will be available to the streaming service's U.S. subscribers for one month at no additional cost.

In a Wall Street Journal article comparing Apple's HomePod Mini against the competition, a Google spokesperson hinted that the company is working on integrating its Chromecast streaming devices and Nest Audio speakers. The Verge reports: Being able to combine a streaming platform with a smart phone speaker makes a lot of sense for these companies. After all, customers already have all the hardware in their living room -- why not repurpose those speakers to improve the sound of your Netflix movies? Plus, there's the added bonus of inciting customers to stay within a company's ecosystem. You're more likely to buy a HomePod mini if it works with the Apple TV you already have. The ability to link smart speakers to streaming boxes is also something that both Apple and Amazon already offer.

Google's plans are extremely vague for now -- The Wall Street Journal makes no mention of which devices the company is looking to link together, when the feature will arrive, or what sort of use cases it's looking to achieve. But with Google increasingly looking to push users toward its smart home devices, making them all work better together just makes good sense.

Disney+, the streaming service that launched one year ago today, grew to 73.7 million paid subscribers as of early October. TechCrunch reports: That's according to The Walt Disney Company's fourth-quarter earnings report, which covers the company's finances through October 3. The company previously said Disney+ had 60.5 million subscribers as of August 3. The release also includes subscriber numbers for Disney's other streaming services -- Hulu had 36.6 million (including 4.1 million subscribers to Hulu + Live TV), while ESPN had 10.3 million (more than doubling from 3.5 million a year earlier).

Overall, Disney's direct-to-consumer segment saw revenue grow 41% year-over-year to $4.9 billion, while its operating loss fell from $751 million in Q4 2019 to $580 million this year. Disney attributed the shrinking losses to "improved results at Hulu and ESPN+, partially offset by higher costs at Disney+, driven by the ongoing rollout." It was a tough quarter for Disney overall, with the pandemic forcing the company to keep some parks closed and the rest operating at reduced capacity. Disney's revenue fell to $14.7 billion (compared to $19.1 billion during Q4 2019), with a loss of $0.39 per share.

An anonymous reader quotes a report from TorrentFreak: Every week, Netflix sends out thousands of takedown requests, most of which target pirated copies of its movies and TV-shows. Yesterday, however, we spotted a series of copyright infringement notices with a different and rather uncomfortable theme. The streaming giant asked Twitter to remove dozens of tweets that included footage from the French coming-of-age film Cuties. This film hasn't been without controversy and the same can be said about the takedown requests too.

To provide some context, Netflix acquired the global distribution rights for Cuties and started promoting it this summer. This created quite some backlash as many people felt that the young actors had been sexualized after being filmed in all kinds of suggestive poses. We won't go into the various viewpoints on this topic or the lawsuit Netflix faces in Texas over 'lewd visual material.' Opinions from both sides are readily available all over the web, including social media. Netflix didn't cancel Cuties, however, but this week it actively started to pull Cuties clips from Twitter. Not just a handful, but several dozens. Legally the company is allowed to do this of course, as they own the rights. However, it is at least a bit peculiar that the company appears to have targeted only negative tweets. The good news is that the texts of the tweets remain online. We don't know if that is Twitter's decision or if Netflix had a say in it. The takedown requests, which are posted on Lumen, target the full tweet URLs. The flagged tweets, according to TorrentFreak, all condemn Netflix. "The language is quite harsh at times, including terms such as child exploitation, pedophilia, as well as repeated calls to cancel Netflix," it adds.

The company hasn't said why it's suddenly going after Cuties clips on Twitter. "The easy conclusion would be that Netflix is trying to shove these under the carpet," reports TorrentFreak. "However, there are still thousands of similar comments online, so that wouldn't be very effective."

In 1962 Sean Connery became the first actor to appear in movies as secret agent James Bond, and according to long-time Slashdot reader schwit1 was "The best of the many Bonds, by far."

An anonymous reader writes: Connery influenced the character deeply. The Huffington Post once wrote that James Bond wasn't Scottish until Sean Connery played the role. Ian Fleming was still writing his series of James Bond novels, and "After seeing Connery in Dr. No and thinking the actor did a superb job, Fleming wrote Connery's heritage into the character. In the book You Only Live Twice, Fleming wrote that James Bond's father was Scottish and was from the town of Glencoe. Coincidentally, Connery would film Highlander in Glencoe decades later."

Sir Sean Connery — he was also knighted in the year 2000 — performed many other iconic roles throught his long career, even playing the father of Harrison Ford's character in Indiana Jones and the Last Crusade. Leaving Bond behind, Connery appeared in many historical dramas, including the World War II movies The Longest Day and A Bridge Too Far, as well as The Man Who Would Be King, The Name of the Rose, and (in 2003) The League of Extraordinary Gentlemen. But throughout his life he was always in demand for high-quality action films, from The Hunt for Red October to The Rock, even co-starring with Catherine Zeta-Jones in the romantic caper film Entrapment at the age of 69.

And in Terry Gilliam's movie Time Bandits, Connery appears as more than one character, hinting that beneath the individual roles lay some timeless embodiment of strength and goodness itself.

Researchers have identified cells in the human brain that are responsible for episodic memories. The study has been published in the journal Proceedings of the National Academy of Sciences. NPR reports: The cells are called time cells, and they place a sort of time stamp on memories as they are being formed. That allows us to recall sequences of events or experiences in the right order. "By having time cells create this indexing across time, you can put everything together in a way that makes sense," says Dr. Bradley Lega, the study's senior author and a neurosurgeon at the University of Texas Southwestern Medical Center in Dallas. Time cells were discovered in rodents decades ago. But the new study is critical because "the final arbitrator is always the human brain," says Dr. Gyorgy Buzsaki, Biggs Professor of Neuroscience at New York University. Buzsaki is not an author of the study but did edit the manuscript.

Lega and his team found the time cells by studying the brains of 27 people who were awaiting surgery for severe epilepsy. As part of their pre-surgical preparation, these patients had electrodes placed in the hippocampus and another area of the brain involved in navigation, memory and time perception. In the experiment, the patients studied sequences of 12 or 15 words that appeared on a laptop screen during a period of about 30 seconds. Then, after a break, they were asked to recall the words they had seen. Meanwhile, the researchers were measuring the activity of individual brain cells. And they found a small number that that would fire at specific times during each sequence of words.

"The time cells that we found, they are marking out discrete segments of time within this approximately 30-second window," Lega says. These time stamps seemed to help people recall when they had seen each word, and in what order, he says. And the brain probably uses the same approach when we're reliving an experience like falling off a bike. The results help explain why people who have damage to the hippocampus may experience odd memory problems, Buzsaki says.

According to Nikkei, Sony is close to acquiring U.S. anime-streaming service Crunchyroll for more than $957 million. From the report: Sony has its own popular anime, titles like "Demon Slayer" and "Kimetsu no Yaiba," but has been licensing it to streaming services. Sony's Aniplex, the studio behind "Kimetsu no Yaiba," has a variety of content, including movies and music, that is mainly distributed by overseas companies. If the acquisition is realized, global competition for content among companies like Netflix and Hulu will intensify.

Crunchyroll was founded in 2006 and has its headquarters in San Francisco. In 2018, AT&T, the U.S. telecommunications giant, became its parent company. Sony recently obtained the exclusive right to negotiate for Crunchyroll. Crunchyroll has 70 million free members and 3 million paying subscribers in more than 200 countries and regions, including the U.S and Europe. Crunchyroll would also give Sony more than 1,000 titles that it can use to vary its offerings.

M.G. Siegler, former reporter at TechCrunch and now a VC at Google Ventures, writes: [...] It seems inevitable at this point that there's going to need to be a new path forward. And that path may very well be one that looks similar to a path forged at the beginning of the business. That is, studios owning theaters. People will remember that this type of vertical integration is what led to the Paramount Decree in the 1940s. The studios used to control not only the production of movies, but the exhibition of them and were forced to divest from the latter in the name of competition. As the above 400ish words should make clear: the world is very different now. And as a good bit of timing luck would have it, the consent decrees are being unwound. This doesn't mean studios will be able to partake in any kind of anti-competitive behavior, but it should mean they can own theaters again. Because, again, the world is a very different place than it was in the 1940s.

One could imagine Disney or the like stepping in to save AMC. Perhaps with the notion that they would still agree to show other studios' films as well. But perhaps they would go above and beyond to showcase their own. Or maybe Disney+ subscribers would get a deal. Etc. And then maybe ViacomCBS (Paramount) buys Regal. Comcast (Universal) buys Cinemark. Sony buys Cineplex. Etc. Or maybe Amazon buys one of them. Netflix has already bought/saved a couple of theaters, perhaps that continues. Again, in that case, it's less about the theatrical business model and more about marketing. And you know who loves marketing just as much as anyone else? Apple. A decade ago, it would have seemed comical to have Apple potentially owning movie theaters. Now with all the money they're pouring into Apple TV+ and wooing the best Hollywood talent, it may seem downright logical. Imagine a movie theater that isn't a public restroom, but instead is a cinematic palace. You know, like they were in the old days. Certainly, those still exist in places. But the AMCs of the world spent the last 20 years wiping them out and screening films in their hollowed out carcasses. It sounds crazy to hope for a world where some of the biggest companies on the planet -- the Amazons, the Apples, the Disneys -- step in to save movie theaters, but such is the state of the world.

Apple, Netflix and other streaming services explored the possibility of acquiring "No Time to Die," the upcoming James Bond movie that was originally slated to debut last April. From a report: The film's release has been postponed multiple times, with the Daniel Craig vehicle moving back to November before being pushed into 2021 as the number of coronavirus cases kept growing. MGM, the studio behind the film, reportedly lost between $30 million to $50 million due to the delays, insiders said. Bloomberg first reported the discussions, which have been the topic du jour in Hollywood this week. Other studios, such as Paramount and Sony, have raked in tens of millions by selling movies like "Greyhound," "Coming 2 America" and "Without Remorse" to streaming services while the exhibition sector continues to struggle during the pandemic.

However, multiple insiders at rival studios and companies said that a possible Bond sale was explored overtly, and believe that MGM was at least open to the possibility of unloading their crown jewel for a princely sum. The studio was said to be looking for a deal of roughly $600 million -- a price tag that was deemed too rich for two of the free-spending streaming services. A sale of this magnitude would be led exclusively by Kevin Ulrich, the chairman and CEO of MGM's majority owner Anchorage Capital Group, insiders said.

An anonymous reader quotes a report from Vox: As a compositor for venerable visual-effects house Industrial Light and Magic (ILM), [Charmaine Chan] has worked on films like The Last Jedi, assembling various digital elements into a beautiful, seamless image. Her job changed while working on The Mandalorian, one of the first shows to use ILM's upgrade for the green screen: LED panels that use the same technology as video game engines to place a realistic-looking world behind the actors.

The result was a huge improvement, as green screens actually have a lot of drawbacks. Removing the green screen is never as quick as VFX artists would hope, and it also casts green light over the set and the actors. Even green-screen substitutes, like projecting an image onto a screen behind the actor, fail to dynamically respond to camera movements the way they would in the real world. ILM's solution fixes a lot of those problems. It also led to creative breakthroughs in which the old Hollywood order of making a TV show or movie -- wherein VFX came last -- was suddenly reversed. Now, artists like Charmaine work alongside actors, set designers, and other crew members during filming. That collaboration means this technology doesn't just eliminate a screen -- it eliminates a creative barrier. Watch the video [here] to see how it happens.

Mega-chain AMC has begun to offer the option through its site, with prices for renting out a theater starting at a surprisingly reasonable $99 (though not in New York, Alaska and Hawaii). Split among ten friends, and you're already paying less than a normal movie ticket. From a report: Attendees can invite as many as 20 people to a screening, which consists of classic titles like Jurassic Park and Halloween-centric fare like The Nightmare Before Christmas. Prices go up from there. New titles like Tenet and The New Mutants, cost up to $349 for a single screening. The former, helmed by blockbuster director Christopher Nolan, was set to be a kind of litmus test for moviegoers' willingness to return to theaters.

In an interview with Kotaku, Xbox boss Phil Spencer said that Microsoft doesn't need to ship future Bethesda games on PlayStation in order to recoup the $7.5 billion it spent acquiring Bethesda's parent company, Zenimax Media, last month. Spencer also explained that the deal wasn't specifically signed to take games away from the platform. Pure Xbox reports: "This deal was not done to take games away from another player base like that. Nowhere in the documentation that we put together was: 'How do we keep other players from playing these games?' We want more people to be able to play games, not fewer people to be able to go play games. But I'll also say in the model -- I'm just answering directly the question that you had -- when I think about where people are going to be playing and the number of devices that we had, and we have xCloud and PC and Game Pass and our console base, I don't have to go ship those games on any other platform other than the platforms that we support in order to kind of make the deal work for us. Whatever that means."

Previously, Spencer noted to Yahoo Finance that the Xbox community should feel the Bethesda acquisition is a "huge investment in the experiences they are going to have in the Xbox ecosystem," and he wants that ecosystem to "absolutely be the best place to play, and we think game availability is absolutely part of that." However, the Xbox boss has also confirmed that decisions on whether games will be exclusive to Xbox will ultimately be made on a "case-by-case basis", so it might still be a while before we know more.

In the video here, you can watch excerpts from New Yorker journalist Michael Specter and Fauci's conversation, which encompassed the hard lessons of the AIDS epidemic, Americans' fraught relationship with scientific and medical authority, and possible time lines for the development and distribution of a coronavirus vaccine. The key questions, Fauci told Specter, are not just when a vaccine will be available but how effective it will be and how many people will receive it. These are just a few of the factors that will determine the answer to one of the more lighthearted questions posed by Specter, after months of distancing and isolation: "Will we ever be able to go to the movies again?" While cautious about making specific predictions, Fauci expressed optimism about whether Americans are ever again going to be able to watch a movie in a theatre. "Yes, we are, Michael," Fauci said. "And I'll even buy you a ticket."