5 hidden Google gems you aren’t using—yet

For a tool most of us use every day to find stuff on the web, Google has more than a few helpful tricks up its sleeve that aren’t super apparent unless you know where to look. Here are a few I’ve found recently that have saved me countless clicks, spared me visits to garishly designed apps, and generally made things a little less complicated. Order up some food There are enough food-ordering services out there that you might starve before flipping through them all to find something you want. Instead, just navigate to orderfood.google.com , and you’ll be presented with a map of nearby restaurants that offer pickup and delivery. Google pulls in listings from popular apps and services and lets you browse by category if you’re in the mood for a particular style of food. Once you’re ready to order, you can do so via a clean, easy, very Google-like interface instead of being shuttled off to a third-party app or site Read More …

How this Russian director’s Screenlife films went from gimmick to gold in Hollywood

When Kazakh-Russian director Timur Bekmambetov was producing the 2014 horror film Unfriended , a movie told entirely on Skype screens in which a group of high school kids are haunted by a friend who’d been bullied and—they thought—committed suicide, he was constantly asked the same question: Why didn’t any of the characters, who, one by one, are freakishly tortured by the former friend, shut down their computers and go into each other’s homes?   Back then, of course, the question was a natural one. Now, Bekmambetov says, “No one asks that.”   Thanks to COVID-19, leaving your house and going to visit someone else, even to save their life, is a potentially fatal risk. Indeed, today no one would ever wonder why characters in a film never physically interact with one another. After all, that’s essentially what life has looked like for almost a year now. But while the pandemic has been devastating to Hollywood—shutting down productions and causing major studios to shift many of their tentpole releases to digital distribution or punt them into the future—it has been a boon for Bekmambetov and his production company, Bazelevs Studio. The company, whose primary hubs are in Moscow and Los Angeles, pioneered and specializes in so-called Screenlife films that take place exclusively on computer and mobile screens and are shot using GoPros and other nontraditional cameras, often with actors and filmmakers in separate locations Read More …

How WarnerMedia just killed the Hollywood way of doing business

“It’s holy shit time.”   So proclaimed one Hollywood manager just minutes after WarnerMedia announced on December 3 that it will be releasing its entire 2021 slate of movies on HBO Max, the company’s fledgling streaming platform. The lineup of films, which includes major tentpole releases such as Suicide Squad 2 , Godzilla vs. Kong , Dune, and The Matrix 4 , will simultaneously be released in theaters.   The move marks the most significant milestone yet in the streaming-versus-theatrical debate that has been roiling for years now, growing more agitated and desperate in recent months due to COVID-19, which has all but decimated the theatrical moviegoing business. Yet even as COVID-19 has shuttered movie theaters around the world and caused movie studios to make historically unheard-of decisions—for instance, moving would-be theatrical films such as Hamilton and Mulan over to their streaming services (both of those were released on Disney Plus) or selling off otherwise worthy films to Netflix or another tech giant (such as Enola Holmes and Greyhound, which bowed on Netflix and Apple TV Plus respectively)—studios have nonetheless clung mightily to the belief that when it comes to big-budget films, there is simply no upside in releasing them on streaming. The reason? The box-office revenue for those films is simply too vast to justify a streaming release. This explains why, up until now, studios have been feverishly punting their most valuable gems into 2021 and beyond, praying that by the time their movies are set to debut in theaters, we’ll all be vaccinated and chomping on popcorn in close proximity to other humans again. (With Mulan , which cost a reported $200 million to make, Disney tried to insulate itself by charging subscribers $30 to see the movie during its first month in release.) But WarnerMedia’s move throws down the gauntlet on what has largely been an almost academic debate. One year from now, there will be actual data showing just how much money the company made or lost on its audacious bet. It won’t be a matter of hypotheticals; there will be actual numbers showing how movies like The Matrix 4 fared on streaming, at least in terms of how many new subscribers it attracted to HBO Max in the quarter it was released, if not actual viewing metrics. Nor is this a toe-dipping experiment, as the company has teed up for this Christmas with Wonder Woman 1984 , the first tentpole to be sacrificed to a combined HBO Max and theatrical release, a move prompted by the most recent surge in COVID-19 cases. This is a company going all in. Granted, WarnerMedia is being very clear that this is a one-year thing, driven wholly by the pandemic and (not that its executives are saying this) what was learned from the disastrous rollout of Tenet in theaters back on Labor Day weekend. But putting all of its planned 2021 movies on HBO Max at the same time as debuting them theatrically remains the biggest, most declarative statement yet in terms of the future of streaming.   As for the logistics of how this will work, the movies that WarnerMedia is releasing on HBO Max will be made available to subscribers for 31 days Read More …

Inside the controversial rise of a top Twitter COVID-19 influencer

E ric Feigl-Ding picked up his phone on the first ring. “Busy,” he said, when asked how things were going. He had just finished up an “epic, long” social media thread, he added—one of hundreds he’s posted about society’s ongoing battle with the coronavirus. “There’s so many different debates in the world of masking and herd immunity and reinfection,” he explained, among other dimensions of the pandemic. “We at FAS, we’ve been kind of monitoring all the debates and how we’re seeing signals in which the data goes one way, the debate goes the other,” he said, referring to his work with the Federation of American Scientists , a nonprofit policy think tank. He rattled off a rapid-fire sampler of hot-button COVID-19 topics: the growing anti-vaxxer movement, SARS-CoV-2 reinfection and antibodies, the body of research suggesting masks could decrease viral load, along with a quick mention of the debate among experts about what airborne  means. This whirlwind tour through viral COVID-19 themes felt like the conversational equivalent of Feigl-Ding’s Twitter account, which has grown by orders of magnitude since the dawn of the pandemic. The Harvard-trained scientist and 2018 Congressional aspirant posts dozens of times daily, often in the form of long, numbered threads. He’s fond of emojis, caps lock, and bombastic phrases. The first words of his very first viral tweet were “HOLY MOTHER OF GOD.” Made in January, weeks before the massive shutdowns that brought U.S. society to a halt, that exclamation preceded his observation that the “R0” (pronounced “R-naught”) of the novel coronavirus—a mathematical measure of a disease’s reproduction rate—was 3.8. That figure had been proposed in a scientific paper, posted online ahead of peer review, that Feigl-Ding called “thermonuclear pandemic level bad.” Further in that same Twitter thread, he claimed that the novel coronavirus could spread nearly eight times faster than SARS. The thread was widely criticized by infectious-disease experts and science journalists as needlessly fear-mongering and misleading, and the researchers behind the preprint had already tweeted that they’d lowered their estimate to an R0 of 2.5, meaning that Feigl-Ding’s SARS figure was incorrect. (Because R0 is an average measure of a virus’s transmissibility, estimates vary widely based on factors like local policy and population density ; as a result, researchers have suggested that other variables may be of more use.) He soon deleted the tweet—but his influence has only grown. At the beginning of the pandemic, before he began sounding the alarm on COVID-19’s seriousness, Feigl-Ding had around 2,000 followers. That number has since swelled to more than a quarter million, as Twitter users and the mainstream media turn to Feigl-Ding as an expert source, often pointing to his pedigree as a Harvard-trained epidemiologist Read More …

Why is it so hard to buy a PlayStation 5 right now? ‘Grinch Bots’ are probably to blame

Phil Nichols, 45, of the Dallas-Fort Worth area, has been very good this year. In a concession to the pandemic, he’s managed his information technology job for the Internal Revenue Service from home and forgone weekly game nights, as well as restaurant and movie outings. To break up the monotony and also distract from his chronic pain, the disabled veteran plays video games. “You get to get out of your bubble, so to speak, and see a whole new world,” he said. So, when Sony released the new PlayStation 5 game console in mid-November, he decided to reward himself with an early Christmas present. But when we spoke, Nichols had been trying for more than a week to buy the console online without success. He blames bots, automated computer programs that people use to buy up in-demand items that they then resell for a profit. They function like ticket scalpers who have expanded into sneakers, toys, and electronics. While the nefarious software plagues e-commerce sites all year long, so-called “Grinch Bots” are especially active over the holidays, snatching up the season’s hottest gifts. When the PlayStation 5 consoles first dropped on November 12, the traffic crashed Walmart’s website . Nichols is sure that bots were beating him to the punch because every time Walmart and other retailers released more consoles, the products were gone in less than five seconds Read More …