Site under construction !!! Unfortunately keep you probably know that this site will be back online after the holidays, the person responsible for the repair is out of the country ( That said, we wish you happy holidays with your loved ones with you and hope to return us in the coming year. Merry Christmas and a good new year, Happy Birthday !!

New way to WIN in 2015 !!! Play The Lottery The game will be simple and explained in the forums. You could win upload credit, a show choice for staff pick, custom title or even VIP, but you could lose too... But you can't win if you Don't PLAY. Watch the forums for the rules to be posted in the next weeks. Game to officially start January 1st 2015.

TP.BZ 2014 X-Mas Banner Competition Please Welcome Back... TP staff would like to ring in the New Year with a quick competition. All members are invited to show off their graphical prowess, win oodles of upload credit and get your visual masterpiece posted on TP.bz for this holiday season! Now get those creative hats on... We would be delighted if you, our wonderful community, could design us a X-Mas or otherwise festive banner. We are looking for a design which is clear and punchy and reads well stylistically with the rest of the site. There will be one winner and two runners up. Deadline for entries: 23:59:59 GMT/UTC 23rd December 2014. JUST BEFORE CHRISTMAS. Winners will be announced about 24-48 hours after this date. To spice things up, and provide some incentive for you, we have been given the green light to award ratio to the best entries! 1st Place ~ 30GB ratio 2nd Place ~ 15GB ratio 3rd Place ~ 10GB ratio Wooden Spoon for Cheesiest Entry - 4GB ratio Additionally, there will be a ** 2GB ** bonus just for entering!! Only Thing To Do Now... Is Let The Festivities Begin

Tracker Name : FWTZ Signup Link : http://www.fwtz.org/?p=signup&pid=16 Genre : General Closing Date : open for new members Additional Information : We are always looking for new members to join our uploader team. Please be sure you live up to our demands. - Be 20 years old or above. - Be active on our forum, and site. - You need to upload ( min. 30 ) torrents pr week. - You have to place it at the right catagory. - Remeber the NFO, and atleast a ratio above 1 What you get: A free seedbox to use for uploading. No downloads count. Get points for uploading. Be a part of staff. Help our site to be the best. Hope to hear from you. FWTZ.org Staff You can use our app for it: http://www.fwtz.org/?p=uploaderapplication&pid=99 Or you can contact staff on forum, or a pm

"I really believe it's year two when you tend to see those titles come through that start to define the whole generation." Though the PlayStation 4 has gotten off to a hot start, the console's best days are still to come, according to Sony UK executive Fergal Gara. In a new interview, Gara said the PS4 software lineup has been great so far, but explained that generation-defining games are still to come. "I really believe it's year two when you tend to see those titles come through that start to define the whole generation," he told IGN. "The best is yet to come on PS4. We've seen a brilliant start with the mega-franchises, like the FIFAs, Call of Duties, and the Assassin's Creeds, but we've also seen some strong new IPs launch--the likes of Destiny and Watch Dogs. But I think that the ones that are truly to define the generation are probably still to come, to be honest." Gara went on to say that history bears this out. He said the Original PlayStation didn't get its first "truly memorable" game until 1996, which was two years after the console's initial debut in Japan. "It shows that it does take some time for a platform to mature and for developers to make the best of it," he said. "In fact, you look at PS3, two of the highest-rated games of the entire cycle came in the last year with The Last of Us and GTA V. So it's a great sign of how things can progress over several years." Sony has a number of big-name games already lined up for PS4 in 2015, including Bloodborne, Uncharted 4: A Thief's End, The Order: 1886, and No Man's Sky, among others. As we look to the future, what are you looking for from PS4? Let us know in the comments below!

This looks amazing. 2015 will be a big year for Mad Max fans. In addition to the new game from Just Cause developer Avalanche Studios, a new movie, Mad Max: Fury Road, hits theaters next summer. Warner Bros. released a new trailer for the film today, and it does not disappoint, delivering two-and-a-half minutes of insanity. There's automotive mayhem, explosions, hand-to-hand combat, and some bizarre-looking bad guys. It's definitely worth a look, even if you're unfamiliar with the long-running action movie series. Fury Road arrives May 15, 2015 starring Tom Hardy, Charlize Theron, and Nicholas Hoult. George Miller, who directed the original Mad Max movies, is also directing Fury Road.

[uPDATE] Techland releases statement, says "things can still change." [uPDATE] Following the publication of this story, a Techland representative provided a statement to GameSpot on Dying Light's resolution and frame rate for PS4. "1080p/30 fps is what we have right now, it is what is constant, and what we're sure we can deliver in the final product," the representative said. "But the work is still ongoing, and even though we have no more than two weeks left, things can still change.": "So even though the answer is accurate I would change the question--it's not what we target, it is what we will deliver 100 percent." As for whether or not 1080p/30fps can be achieved across both PS4 and Xbox One, the Techland representative added: "It's too early to tell, but we're trying to squeeze as much as we can from both consoles. Please stay tuned." The original story is below. The PlayStation 4 version of Dying Light will run in 1080p at 30fps, developer Techland (Dead Island) has confirmed. Lead designer Maciej Binkowski revealed the figure in response to a fan question on Ask.fm. Resolution and frame rate details were not provided for the Xbox One edition of the game. We've followed up with Techland to find out what kind of graphical benchmarks Xbox fans can expect. Back in 2013, Techland said it was hoping Dying Light would run in 1080p/60fps across PS4 and Xbox One. Game development is a fluid, ongoing process, so it's not entirely surprising to see the frame rate drop, at least on PS4, to 30fps for the final version of the game. That said, Techland has not yet explained why it wasn't able to reach its original frame rate target for the open-world zombie game. We'll update this post with anything we hear back from Techland. Dying Light's release date is January 27, 2015 for PS4, Xbox One, and PC. The game was originally expected to also come to PlayStation 3 and Xbox 360, but those versions were recently canceled.

Popular sandbox game comes to yet another platform. Microsoft, the new owner and operator of the Minecraft franchise (that's still somewhat weird to write), today released the Windows Phone version of the popular sandbox game. It's available now to download from the Windows Store for $7, the same price as the iOS and Android Pocket Editions. The Windows Phone version of Minecraft comes with everything found in the other mobile versions, including Survival mode, Creative mode, and multiplayer over Wi-Fi. Notably, however, the game is only playable on Windows Phones running 8.1. Microsoft, in one of the biggest game industry news events of the year, acquired Minecraft and developer Mojang in September for $2.5 billion. As part of the deal, three of Mojang's founders, including creator Markus "Notch" Persson, left the studio. With its release today for Windows Phones, Minecraft is now essentially available on all major, modern platforms. The game is already available for PC, Mac, Linux, Raspberry Pi, Xbox 360, Xbox One, PlayStation 3, PlayStation 4, PlayStation Vita, iOS, and Android. For more on the Windows Phone version of Minecraft, check out the image gallery below.

Police in Sweden carried out a raid in Stockholm today, seizing servers, computers, and other equipment. At the same time The Pirate Bay and several other torrent-related sites disappeared offline. Although no official statement has been made, TF sources confirm action against TPB. For many years The Pirate Bay has been sailing by the seat of its pants so any downtime is met with concern from its millions of users. This morning, for the first time in months, The Pirate Bay disappeared offline. A number of concerned users emailed TF for information but at that point technical issues seemed the most likely culprit. However, over in Sweden authorities have just confirmed that local police carried out a raid in Stockholm this morning as part of an operation to protect intellectual property. “There has been a crackdown on a server room in Greater Stockholm. This is in connection with violations of copyright law,” read a statement from Paul Pintér, police national coordinator for IP enforcement. Police are staying quiet on the exact location of the operation and the targets involved but the fact that the national police IP chief is involved at this early stage suggests something sizable. In addition, expert file-sharing case prosecutor Fredrik Ingblad has commented on the raid, further adding weight to the incident. “There were a number of police officers and digital forensics experts there. This took place during the morning and continued until this afternoon. Several servers and computers were seized, but I cannot say exactly how many,” Ingblad told SR. Ingblad would not be drawn on any arrests during the operation but TorrentFreak has learned that police may have detained at least one man connected to the site. While it seems certain that The Pirate Bay has been targeted today, it was not the only casualty. Several other torrent related sites including EZTV, Zoink, Torrage and the Istole tracker are also down. Update: The Pirate Bay’s forum Suprbay.org is also offline. The same goes for Bayimg.com and Pastebay.net. Update: According to the police the raid targeted a data center in Nacka which is built into a “mountain.” Update: No, the Pirate Bay is not back yet. Breaking news story, more as we have it. http://torrentfreak....offline-141209/

Australians who illegally download copyrighted material won't face any new regime to slow down or suspend their Internet connections. However, proposals being presented to cabinet today will outline a new mechanism allowing copyright holders to have 'infringing' sites blocked at the ISP level. For many years Australia has been struggling with a reputation for being a nation of file-sharing pirates and throughout the summer the most serious debate thus far consumed the nation. Leading the charge were rightsholders who tabled demands for ISPs to take greater responsibility for their subscribers, under weight of legislation if necessary. Once this liability had been clearly established, rightsholders argued that ISPs should be forced to send notices to their subscribers. These would warn customers that their connections were being used for piracy and that consequences, including the slowing down or disconnection of Internet services, would follow. Finally, copyright holders sought a formal ‘pirate’ site blocking mechanism. This would allow individual domains to be targeted by legal action in order to have them rendered inaccessible to Australians. After intense debate it appears that a watered-down version of the rightsholders wish-list will today be presented to the Australian Cabinet. According to Fairfax, Attorney-General George Brandis and Communications Minister Malcolm Turnbull will present the reforms to colleagues during the final meeting of the year. According to the report, new punishments for Internet downloaders are not part of the proposals, meaning that calls for connection throttling and account suspensions are off the table. Downloaders won’t get a completely free ride though. The ministers’ proposals envision ISPs and rightsholders working together on a voluntary code aimed at educating consumers who persist in sharing files without permission. Administered by telecoms regulator the Australian Communications and Media Authority, the code would see entertainment companies monitoring and gathering information on Internet users who share copyrighted material using BitTorrent. That information would be sent to ISPs who would then be required to forward written notices to subscribers informing them they are breaching copyright. Of course, entertainment companies and ISPs have been here several times before, with negotiations on this very topic breaking down time and again on various issues, including who will pay to implement the scheme. This time, however, the government is threatening to legislate if agreement can’t be reached and if that happens ISPs might find themselves less well off. While they are likely to negotiate hard, it may be in ISPs interests to reach some kind of agreement. The proposals for “extended authorization liability” – holding ISPs responsible for users’ piracy – appear to be off the table, at least for now, and the last thing they need is for that to rear its head again. But whatever happens on those fronts, ISPs will still find themselves in the spotlight on another matter – the controversial issue of site blocking. Today, Brandis and Turnbull will ask the Cabinet to approve the development of a new legal mechanism which will allow rightsholders to obtain site blocking injunctions against ISPs. If approved, movie companies like Village Roadshow will be able to head off to court and have sites like The Pirate Bay blocked by all the major ISPs without too much difficulty. The news of these proposals to Cabinet comes a day after consumer group Choice published the results of a survey which found that 67% of Australians have never pirated movies or TV shows online. Of the 33% that do, half said their motivation was high prices, while 41% complained that content takes too long to arrive in Australia. The research found that 55% of consumers try to obtain content legally before turning to pirate sources. In common with other similar studies, Choice also found that regular pirates are also avid consumers of legitimate content. Of those who pirate at least once a month, 56% will pay to go to the movies, a figure that drops to 36% for the non-pirating group. http://torrentfreak....ections-141209/

If UK Internet users want access to most recent popular film content they'll need to remember a lot of passwords. A new survey from KPMG has found that while overall availability is good, users wanting the best will have to use a patience-challenging 27 services. filmDuring September a new media availability report hit the United States, shouting loudly about how most popular content is legally accessible online. Released by research company KPMG and commissioned by NBC Universal, the report was praised by the MPAA and other similarly interested parties. Supporters said that the study provided yet more proof that studios are fulfilling their part of the consumer bargain by making content widely available. Less than three months on and KPMG has just published the results of a second study into availability of content online. In common with the US-focused September report, ‘UK Availability of Film and TV Titles in the Digital Age’ was also commissioned by NBC Universal. The study examined UK availability of the most popular film and TV titles across legal digital streaming and download services and according to KPMG, things looked good. “This report found that the vast majority of the most popular and critically acclaimed film and television content is available from legal digital platforms,” the report begins. The study found that as of December 2013, almost nine out of 10 of the 756 films reviewed were indeed available from online video services, which does sound like a great start. When 2012’s box office hits were examined 100% were available online, dropping slightly to 98% for those released in 2011. All-time box office hits also had good exposure, with 96% available online. Even 2013’s top 100 hits fared well, with 77% available digitally. These stats are admittedly a fairly impressive read, but the details take off some the shine. Accessing content online should be a relatively painless affair, but UK film fans are going to need quite a lot of patience if they want the broadest possible choice. In fact, in order to access content at the levels detailed above, users will need to use to more than two dozen services, 27 to be precise. “As at December 2013, 86% of the 756 unique films reviewed were available via online video on demand distribution on at least one of the 27 service offerings studied,” the report reads. When the researchers required that titles must be found on 5 out of 27 services, overall availability drops to 73%, meaning that more than a quarter of popular content is missing, even for consumers with five separate online movie accounts. In the US version of the KPMG report, notable was the poor availability of content on services such as Netflix. The findings showed that just 16% of the films studied were available through on-demand subscription services (SVOD). The UK does quite a bit better. “A relatively lower proportion of the most popular and critically acclaimed films were offered under the SVOD model (39%),” KPMG found. The UK online subscription market has grown quickly over the past couple of years fueled largely by Netflix. Ofcom’s Communications Market Report 2014 revealed that revenue for online subscriptions for audio-visual content reached £111.7m in 2013, up from £63.5m in the previous 12 months. Moving forward, Netflix’s growth faces similar challenges to that of its US-based service. According to KPMG, six out of 10 times consumers will not find the popular content they are looking for, meaning that additional payments to other services will be required. The other issues relate to reducing piracy. While having content around 60% of the time is better than nothing, most pirated titles are recent releases that simply aren’t available on Netflix, iTunes, Amazon or other similar services. And as far as Joe Public signing up to as many as 27 services in order to access most popular content, that isn’t going to happen in a hurry. An almost fully-comprehensive Spotify for movies might be a while off, but bringing one to market would simplify matters no end. http://torrentfreak....t-finds-141208/

Microsoft has filed a complaint at a federal court in Washington accusing person(s) behind an AT&T subscription of activating various pirated copies of Windows 7 and Office 10. The account was identified by Microsoft's in-house cyberforensics team based on suspicious "activation patterns." microsoft-pirateDespite being one of the most pirated software vendors in the world, Microsoft doesn’t have a long track record of cracking down on individual pirates. In fact, two months ago Microsoft CEO Satya Nadella noted that in some cases piracy can act as a conversion tool. “We’ve always had freemium. Sometimes our freemium was called piracy,” Nadella said, adding that the usage first approach has its advantages. This doesn’t mean that all pirates can have their way though. Microsoft does keep a close eye on the unauthorized use of its products with help from its in house cybercrime center. Late last week Microsoft filed a copyright infringement lawsuit against a person (or persons) who activated pirated copies of Windows 7 and Office 10 from an AT&T Internet connection. “Microsoft’s cyberforensics have identified a number of product key activations originating from IP address 76.245.7.147, which is presently assigned to ISP AT&T Internet Services..,” the complaints (pdf) reads. “These activations have characteristics that on information and belief, establish that Defendants are using the IP address to activate pirated software.” While many people believe that unauthorized copies are hard for Microsoft to detect, the company explains that its cybercrime team leverages state-of-the-art technology to detect software piracy. The company describes its investigative approach as cyberforensics. Among other things, they look for activation patterns and characteristics which make it likely that certain IP-addresses are engaged in unauthorized copying. “As part of its cyberforensic methods, Microsoft analyzes product key activation data voluntarily provided by users when they activate Microsoft software, including the IP address from which a given product key is activated,” the company writes. According to the complaint, the defendant(s) in this case have activated numerous copies of Windows 7 and Office 2010 with suspicious keys. These keys were likely stolen from Microsoft’s supply chain, used without permission from the refurbisher channel, and used more often than the license permits. Microsoft is now looking to identify the person or persons responsible for the copyright and trademark infringements, to recoup the damage they’ve suffered. From the descriptions used in the complaint it seems likely that the target is not an average user, but someone who sells computers containing pirated software. Time will tell whether that’s indeed the case. http://torrentfreak....oftware-141208/

The top 10 most downloaded movies on BitTorrent are in again. 'The Maze Runner' tops the chart this week, followed by ‘Nightcrawler.' 'Teenage Mutant Ninja Turtles' completes the top three. This week we have three newcomers in our chart. The Maze Runner is the most downloaded movie. The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are BD/DVDrips unless stated otherwise. RSS feed for the weekly movie download chart. Ranking (last week) Movie IMDb Rating / Trailer torrentfreak.com 1 (2) The Maze Runner 7.1 / trailer 2 (…) Nightcrawler (DVDscr) 8.2 / trailer 3 (1) Teenage Mutant Ninja Turtles 6.1 / trailer 4 (3) Guardians of the Galaxy 8.5 / trailer 5 (…) This Is Where I Leave You 6.7 / trailer 6 (5) Fury (DVDscr) 8.0 / trailer 7 (…) Stonehearst Asylum 6.9 / trailer 8 (4) Predestination 7.6 / trailer 9 (6) Lucy 6.5 / trailer 10 (7) Dawn of the Planet of the Apes 8.0 / trailer

The mantra often heard from Hollywood's leaders is that pirates are thieves. However, not all people in the industry feel that way. Today we present the views of four regular filmmakers on this controversial topic, what the impact is on the industry, and what can be done in response. A few weeks ago we published an interview with Hollywood director Lexi Alexander in which she explained her support for file-sharers. This resulted in a lively discussion on Twitter and other media, so we decided to explore the topic a little further. Instead of letting movie industry bosses speak, we solicited the thoughts of various filmmakers. There are just as many opinions as there are people working in the film business and we aimed to cover a broad spectrum. Our main goal is to show that the piracy issue isn’t as black and while as it’s sometimes portrayed. The real challenge, perhaps, is to let people have their say without condemning their views. While this won’t solve the issue it’s a good way to move forward. That’s true for both “sides” of the debate. Below are the four filmmakers who were kind enough to participate and answer five questions about piracy, how it affects the movie industry, and what can be done in response. joshuaJoshua Caldwell (@ Joshuasl _Caldwell) won an MTV Movie Award for Best Film in 2006. Recent films he produced, wrote and directed are Layover (2014), Resignation (2014) and Assassin (2015). kevinKevin Koehler: (@kevrockcity) is a screenwriter whose work has been featured on the Hollywood blacklist. He worked with several well-known filmmakers including Wim Wenders and Gregg Araki. brentBrent Weichsel (@bsweichsel) is a Local 600 camera assistant. He worked on several popular movies and TV-shows including Person Of Interest and White Collar. johnkentJohn Kent (@JohnDoctorKent) works as a producer at Potent Media. He is known for his work on the films Booley (2010), Deer Crossing (2012) and Apocalypse Kiss (2014). DO YOU THINK PIRACY EQUALS THEFT? Joshua Caldwell: No. I believe the Supreme Court has been very clear on the issue of whether file-sharing constitutes ‘theft’ or ‘copyright infringement.’ I harp on this because it seems to be the core argument from a lot of people. “It’s stealing. They’re thieves.” Even when presented with this ruling they say, “Well, I don’t believe that.” Okay, well the court system you’re supposedly relying on to “enact justice” on file-sharers does, so now what? It’s an important distinction for me and how I think about this issue because of how it frames file-sharers. It’s a psychological thing. Thinking of someone as a thief is very different than thinking of them as an infringer. It’s much easier to think of a ‘thief’ as being an inherently bad person who must be punished by the law. Not to say that those who infringe upon copyright aren’t subject to consequences, but as a creator, I think of them as audience that we just haven’t been able to capture yet. So, I start from a place of “Why?” and ask questions in search of solutions rather than “sue them all and put them in jail.” Kevin Koehler: No, they are not equivalent. Piracy is copyright infringement. I know this is a boring, pedantic answer. Sorry. However, while it is not theft, it is taking compensation from the folks that make the content and shifting it to the folks that distribute the content – not just piracy sites, but also legal streaming sites (Netflix, Spotify, iTunes, et cetera) who can leverage the threat of piracy into more favorable deals. Brent Weichsel: Piracy in and of itself is not theft. It’s also not a loss. Studies have shown that people who pirate often spend far more money on media than those that do not. Now if you make money because of your piracy well that’s a gray area where I do not know what to think. John Kent: Piracy of media is theft, in the legal sense of the word, but I do not think it is always “illegal”. Films and television shows are created for corporations and investors to realize a financial return, or for artistic purposes. The financial return cannot be realized if the media is experienced without viewers paying for it. Without a financial return, no further media can be made. So everything can’t be free. However, there are thousands of hours of media which would be lost without YouTube, from old television shows their corporate masters no longer wish to exploit to a commercial fondly remembered from childhood. Should the films which were owned by Vestron Video in the 80s be lost forever because they are now a line item on the sheet of a corporation which put them out of business? My personal stance and practice is that if a film or television show is available from the legal owner for a fee, it should be paid for. HOW DO YOU THINK PIRACY IS AFFECTING THE MOVIE INDUSTRY? Joshua Caldwell: It’s affecting it without a doubt. Whether it’s doing so to such a degree that it’s having an overall impact? I don’t think we know for sure yet. For one, the jury’s still out on whether it has a negative or positive impact. On a film-by-film basis, it’s easy to suggest that it might have a negative impact, but for the industry as a whole? It’s hard to make that case when the films that make the most money at the box office are also the most pirated. No one complains about piracy when the movie does well, but when a movie tanks and it was leaked online, it becomes an easy place to point fingers. And yes, I’m sure it has some impact; but at the same time, maybe the film just wasn’t very good. I can’t say for sure, but I wouldn’t be surprised if the audiences that most studios rely on for box office aren’t file-sharers. I mean, /Film recently posted about how 70% of moviegoers don’t plan on a specific movie when going to the movie theater. It’s really, really difficult to equate a free download to a lost sale. There are just too many other factors. But piracy is an easy target for blame specifically because no one really knows. On the flipside, if piracy is as harmful financially and as widespread as is being argued, I can’t figure out why you would want to alienate such a large audience further than you already have. Kevin Koehler: Well, it has certainly helped obliterate the movie industry’s former business model, which was based around theatrical distribution (followed by timed DVD and television broadcast releases). This is no longer a workable model, so the industry is in search of a new one. For some releases – large studio tentpoles, franchised, with branded tie-ins, often in 3-D – they’ve found a successful model. For other kinds of films, they’re still looking, which is why the studios have stopped making certain genres altogether. Piracy isn’t the only reason, obviously, but it’s a contributing factor. Brent Weichsel: It’s become a scapegoat. People blame dwindling sales on it. The studios use it as an excuse to pay the crew and talent less. Producers use it in negotiations to have shittier contracts with the unions. Has it had a truly negative impact that doesn’t have to do with its perception? Probably not much. Not any more than the folks selling dvds or VHS on Canal Street. John Kent: Piracy has an effect on the film industry in different ways, depending on the genesis of the film. Downloading “The Avengers” probably doesn’t hurt the movie – it made a billion dollars in the theaters, and millions more through the secondary revenue streams. The people who worked on the film were paid for their work. Piracy might kill off some sequels – the revenue that would have made the studio heads greenlight part two was lost in no-pay downloads. But what I can tell you for sure is that piracy hurts the independent filmmaker financially. I produced a direct-to-DVD movie called DEER CROSSING – a horror film, no artistic masterpiece, but something people might want to kill an evening watching. During the first week of DVD release, on one popular torrent site only, there were over 30,000 downloads of the film. How many of these downloads could have been paid rentals or DVD purchases? When you add this to the deals that distributors offer for independent films, there is no way to make back the money the investors put in – and forget about a profit or paying off deferred deals. WHAT CAN THE MOVIE INDUSTRY ITSELF DO TO REDUCE PIRACY? Joshua Caldwell: Hollywood has always been slow to respond to emerging technologies and even when they finally do, it’s begrudgingly until they realize how they can make money from it. Home video, for example. As much as a lot of us may hate it, the audience is changing and we need to find a way to adapt with them. However, for the majority of file-sharers out there, I don’t think it’s entitlement, and I don’t think it’s just wanting everything they can get for free. I think that access is the biggest problem and that spreads out to include geo-blocking, non-day and date release schedules and so on. I can’t tell you how many people reach out to me and say, “Yeah, we have Netflix, but the selection is so terrible compared to the States.” So, I think we need to find a way to give people worldwide access to that content at a fair price in multiple different ways and at the same time as everyone else. That’s probably where it will eventually get to. The other thing is that I think there’s been a weird, slightly abusive relationship between studios and the audience, which hasn’t helped. Lately, Hollywood has put out a lot of really shitty content focused on a very narrow demographic. I mean, they’ve always put out really shitty content, but previously the ONLY way to see that was to pay for it in a theater or rent/buy it on VHS or DVD. Now, many of those really shitty films are thrown up on torrent sites and downloaded for free. Why? Maybe it’s because people don’t think they’re worth paying money for? Maybe it’s because it’s not worth it to them to take the time and energy to go and see it in a theater or buy it on DVD? I mean, who wants to spend money on something not really worth it? No one. And I know the easy answer is, “Well, then you don’t get to see it.” That’s fine, but it’s not a solution because people are seeing it, and they’re doing it for free. People want to know that what they’re spending their money on is worth the cost, whether it’s $.99 or $500,000. And I think Hollywood has been ripping people off for a long time now. Is this a course correction? A natural reaction to the market? I don’t know. I don’t have the answers, but it’s something I’ve wondered about. The expectation that we should pay for a shitty product is unfair; if there is a free version available, well, why wouldn’t you go for it? To be clear, I’m not advocating it, I’m just suggesting what the mindset might be. With my feature film LAYOVER, we decided against going through a traditional distributor and instead released it on our own through our own website. The film is available worldwide, DRM-free and at a fair price and the profits go directly back to myself and my cast and crew. No middleman, no distributor. Just us. My hope is that people respect that and pay for it. Aside from making it free, we’ve done everything else we can to make it easy for someone to get the film. Kevin Koehler: Same day worldwide release? More legal avenues for folks to access content in places they don’t already have it? Going after piracy sites seems like a case of whack-a-mole. I wish I had better answers. I don’t. Brent Weichsel: Day and date releases of films on various digital download sites (iTunes, Vudu, Amazon, etc). Get rid of DRM. Price these at a reasonable level. I would also suggest adding far more rental options for digital downloads. Also just don’t go after people for these “perceived losses” It’s fucking stupid and makes us all look like assholes. John Kent: I’m not really sure what the industry can do to reduce piracy. I think the “importance” of any particular film has been damaged. If you think back to the early 80s, there were less blockbuster films and many more independent voices out there making films of varying quality, both through studios and through private funding. People seemed to enjoy going to the theater to see a film. When a blockbuster hit, it was “the summer of Indiana Jones” – for the whole summer! From a business standpoint, you had multiple solid revenue streams for a film – theatrical, broadcast tv, cable, videocassette – and the blockbusters were given giant pushes. Theaters could actually make money on the MOVIE and not popcorn sales because a movie could play for months at a time. People collected DVDs. Where we are now is a summer with fifty blockbusters! Some weekends, there are no wide theatrical independent releases. The theatrical experience is 1000% more modern with intense sound systems and projection quality, but the sound system isn’t good enough to block out a group of people chatting and texting through an entire movie. The corporations took over every revenue stream and killed off the video stores. Some movies play theaters and the theater gets NOTHING from the premium-priced tickets during week one; is it a coincidence that Hollywood is all about “the first weekend”? The funds offered from the major outlets for streaming rights to an independent movie are an insult. Walmart has multipack DVDs with ten movies on it for ten bucks; no filmmaker is making anything from that deal. People who want to watch movies though are in a golden age. They have thousands of films accessible to them at any one time, and more through the torrent sites. You can get a film representative of any viewpoint with a little bit of searching. You just can’t get them from Hollywood. Lexi mentioned quality being a factor in piracy when I spoke to her on Twitter; I think thousands of choices, intense competition from everything else for a ticket buyer’s money, and a relentless corporate push to get you to the theater every weekend for the next installment of Franchise of the Week have raised a generation that don’t think of the movie theater as a place to watch movies. “Better” movies won’t make a difference if the audience doesn’t see the need for the theatrical experience – and why would a younger person pay for a single movie at all when they can watch hundreds of other movies through a Netflix or torrents? WHAT WOULD YOUR MESSAGE BE TO ALL THOSE PEOPLE WHO DOWNLOAD AND SHARE CONTENT WITHOUT PERMISSION? Joshua Caldwell: I’m not going to try and lecture them. Too many others are doing that. I’d simply be asking, “What can I do that would make you pay for my film vs. downloading it for free?” “What would compel you to buy?” “Why would you torrent this film vs. buying another?” Maybe people are already asking these questions, I don’t know. But I would find a way to make it a conversation rather than a one-sided lecture. To me, it’s about building a long-term relationship with your audience. It’s about building a trust with your audience. And it’s about putting them in a position of feeling like they’re supporting you, as an artist, directly. Kevin Koehler: My worry is that we are creating a generation of folks who do not value films. Once something is made of ones and zeroes, it ceased to be worth anything. Even the smallest movies are expensive, and people spend years of their lives working on them. If we want a diverse array of films, then the people who make those films must be fairly compensated for making them. There are tons of films – great films – that will never get made now because it’s no longer profitable to make them. Ten, fifteen years ago, these films would have been made. Not anymore. So my message is: If you like movies, go out and support them with your money. Brent Weichsel: You are going to keep doing it and that’s fine. I can’t stop you. All I can ask is if you like something buy it, rent it, or watch it on a streaming service. The only thing that makes a difference is the dollar. If you want to see more horror films, buy horror films. You want indie dramas, buy them. If you don’t want to see big action movies? Don’t buy them. I want to also stress that the lower the budget of the film the more the filmmaker needs the film to be profitable. If you pirate “big action movie 7″ It’s really not going to make a difference to the filmmaker’s bottom line. But you if pirate and don’t buy “first time director’s film” then you are doing them a disservice. Cory Doctorow has a great policy for this. If someone liked his book that they read for free, he encourages them to buy a copy of the book and then send it to a library or a school. Because in the end the only way he can keep writing his books and releasing them for free is if someone keeps buying them. Seems to be working out really well for him. John Kent: No comment. HOW DO YOU SEE THE FUTURE OF THE INDUSTRY, AND HOW DOES PIRACY FIT IN (OR NOT)? Joshua Caldwell: If I knew the answer to this, I’d probably be rich. I’ve focused much of my time lately on the independent film industry, though not with specific regard to piracy. At the moment, I’m much more focused on the future of the independent film industry, which is the side of Hollywood that could be most harmed by piracy (and has been). I wrote about the need to rethink indie film for Seed&Spark, and while it doesn’t focus on piracy, I think it speaks to some of the symptoms of piracy, especially in independent film.http://www.seedandsp...king-indie-film Mainly, as I mentioned earlier, it’s the importance of building the relationship with your audience and making your films at a responsible budget (i.e. what they’re worth) so that you can provide a return on the investment. If piracy is a natural course correction to the market and the direct result of emerging technologies, then it could have profound impact on the way Hollywood and Indie Film operate. However, this much is true: since the beginning of time, the human soul has always craved stories, and that will never change. It’s ingrained and it’s important, and it will always be a part of our humanity. What will change is its form. What that looks like is constantly evolving. Movies are only 100 years old. That’s nothing. So, it’s naïve to say that how they exist now is the only way they can be. What movies will involve, no matter what, is one person conveying a story to another. And that relationship, that transference, is the whole goddamn point. Kevin Koehler: I’m an optimist. People love movies, so the industry will live on. Perhaps technology is the answer, and someone will develop a digital means to restrict unauthorized copying/sharing. Maybe more filmmakers will tour with their films, like Kevin Smith, to make screenings more of an event. It’ll be something. The industry will evolve in ways that I am not smart enough to anticipate. Brent Weichsel: What’s happened to the music industry is a good idea of what will happen to the film industry. Subscription services will start to slowly take over. Ala carte is slowly coming which I truly believe to be a good thing. The biggest issue that is coming is distribution and handling the amount of content. If filmmakers are smart they will realize that they should accept that piracy will happen. Don’t worry about it and instead worry about making a better film. That will do more to put more money into your pocket then suing some random teenager that really loves you work. John Kent: Generalizations…I’ve had them throughout these answers. And they aren’t necessarily true – there are surely teenagers who love film and want to pay for the media they consume as much as there are fifty-year-olds who steal every movie they can get their hands on. But that’s part of the paradox of this business – Hollywood is infamous for taking something unique and making it fit a generic template. The fantastic life story of a musician has to hit all the beats of Hollywood’s standard narrative tale. At the same time, there are independents out there doing truly unique tales (and probably making no money from it) to represent something other than the white male viewpoint. I think that the future of the industry will be much the same as the industry is now. The gigantic corporations will make their large budget blockbusters, while the independents get their movies made and consigned to the choir of voices looking for recognition. The game changer will be something that achieves wide acceptance – a subscription service or a torrent service perhaps – that allows independent filmmakers to get money back for their productions without going through a corporation, for a small monetary transaction. Otherwise, all there will be to pirate is blockbusters. — We want to thank Joshua, Kevin, Brent and John for sharing their thoughts. Please feel free to continue the respectful discussion in the comment section. http://torrentfreak....k-out-141207/2/

Russian officials have expressed caution over proposals to introduce an Internet tax to compensate copyright holders for online piracy. The proposals, which were put forward by the Russian Union of Rightsholders, are said to be worth around $860m a year to creators. Over the years there have been many strategies put forward aimed at reducing online piracy. Rightsholders have often pushed for tough legislation in the hope that hefty fines and lengthy jail sentences will encourage the masses to buy rather than download for free. Recent proposals in Russia, however, look at the problem from another direction. During October the Russian Union of Right Holders (RUR) suggested that a fixed royalty fee should be paid to rightsholders in exchange for people receiving certain freedoms to deal with online content. “[People would] get the right to freely and lawfully use for private purposes – including to receive, distribute and share – absolutely any content that is not excluded from the system of global licensing,” RUR told Izvestia. The proposals envision Internet service providers obtaining “universal licenses” from rightsholders or their collecting societies in order to legitimize the ‘infringements’ of their subscribers. While nothing has been set in stone, figures appearing in the press suggest an annual fee of anything up to $5 per subscriber. While the ‘tax’ could inflate ISP subscriptions by as much as 5% per year, reports suggest it could also bring in $860m for rightsholders. Unsurprisingly, the proposals have a number of potential pitfalls. Every Internet subscriber would be required to pay the tax, whether they are downloading copyrighted material for free or purchasing it legitimately. Also, public sharing of content would not be licensed, a serious limitation for most file-sharers. Furthermore, royalty charges would be “per device”, including home connections and cellphones, meaning some people could end up paying multiple times, whether they ‘pirate’ or not. For their part, ISPs have also expressed concerns that by accepting the proposals the Internet piracy ‘problem’ would be placed on their shoulders as they would have to collect fees from customers. Even copyright holders seem to have issues with the proposals. Some say that no suitable system for distribution of royalties exists. Others are expressing concerns that the tax would amount to the legalization of piracy and the undermining of fledgling digital services. Still, reports now coming out of Russia suggest that the whole thing won’t easily or quickly get off the ground. Late Friday Mail.ru reported First Deputy Prime Minister Igor Shuvalov as saying that the government “won’t be rushed” into a decision on the licensing model. All stakeholders need to negotiate, Shuvalov said. http://torrentfreak....net-tax-141207/

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xbtmusic Christmas Amnesty 2014 Overwhelmed with Christmas cheer and positivity we are hereby announcing our annual amnesty. Send an amnesty request email to xbtmusic.amnesty(at)gmail.com. You need to include your nickname in the message title. We will unban you if and only if: [~] You were not banned manually by a staff member (for whatever reason) [~] You did not join during an open signup [~] You were not auto banned for your ratio (or if your ratio is not lower than 0.75) [~] You are not from a blacklisted country or you did not join illegally (e.g. over a proxy) [~] Your account is older than 6 months (counting from this December). We are looking forward to unban anybody not covered by the said conditions, yet, in any case, we reserve the right to ignore your request at our discretion. Good luck! Merry Christmas!

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Remarkable stunts and beautiful city life showcased by talented YouTubers. There's something so relentlessly enjoyable about roaming the urban and rural landscapes of Grand Theft Auto 5. The sheer freedom to experiment with its vehicles, people, and constructions, has resulted in a game with near-limitless potential on how much fun you can make for yourself. Now the game's developer, Rockstar, is putting the spotlight on undiscovered YouTubers who have created some of the most beautiful and bamboozling user-created videos for the game, from impossible stunts to professional-grade music videos. These new videos follow GTA 5's release on both PlayStation 4 and Xbox One, and expect more to follow when the game ships for PC on January 27. Rockstar's collection of nine fan videos can be found here, and below we've highlighted what we consider to be the best five: Los Santos by Night, by The XXI, offers a wonderful montage showcasing how GTA V is beautiful for all its little details. GTAV Online, from PS3 to PS4, by Kokonitos, is possibly the most unflatteringly generic title for this wonderful music video piece. The meticulously arranged footage features wonderful pop culture nods, such as the Terminator 2 chase scene, and is infused with mauve and purple hues. The music, a Daft Punk cover by indie folk band Daughter, makes for an excellent choice too. Freestyle Daytage, by Fishy Dizzle, is quite extraordinary. It's BMX stunt riding across the city, sometimes in third-person and sometimes in first, which makes ingenious use of Los Santos' many rails and platforms. The trick pulled off at 2:16 makes all that vulgar dubstep in the background completely worth it. Now for something completely different, called GTA5 Next Gen Skydive, by Ash0191. This is a highlight reel of improbable skydive stunts pulled off with god-like precision. As Woody once put it, this is falling with style. First Person Scorcher Tower Wallride, by VaNilla, is a quite possibly the coolest thing ever done in GTA V. We won't spoil it for you, but how this trick was even conceived is mind-boggling in itself.

Latest update now due for all platforms aside from Xbox One; Obscure chattiness bug may be fixed. A second update patch for Dragon Age: Inquisition is expected to go live on Tuesday for most systems, its developer has said. BioWare, the studio which created the acclaimed action-RPG, said the newest patch will implement a broad sweep of improvements, though the focus will be on enhancing stability. Full patch notes will be available soon, BioWare said, adding that the new update will include fixes to: Stability – Various crashes, freezes, audio/voice glitches, and many stability improvements. Gameplay – Conversations, quests, plot states, combat, UI, camera, controls, follower/enemy AI and path finding, exploits, radar, and search. Multiplayer – In addition to some of the gameplay improvements listed above, multiplayer fixes also cover areas such as animations, game mode bugs, stat reporting, and stability/crash fixes. PC – Numerous control & UI fixes, fixes to some hitching, improved Mantle performance, graphical glitches. It's not clear whether the patch will fix an obscure bug that was discovered to be limiting how chatty the game's NPCs are. BioWare notes that the patch does make improvements to "conversations", but has yet to elaborate. BioWare adds that the patch is expected to roll out on Tuesday for PC, PlayStation 4, PlayStation 3, and Xbox 360. There is no release date yet for the Xbox One patch, but the studio insists "we are working hard to this patch out on Xbox One as soon as possible". Dragon Age: Inquisition shipped on November 18 for Xbox 360, Xbox One, PlayStation 3, PlayStation 4, andPC. GameSpot's Dragon Age Inquisition review was glowing, with critic Kevin VanOrd writing: "Dragon Age: Inquisition is a wonderful game and a lengthy pilgrimage to a magical world with vital thematic ties to one we already know".

Early details emerge as streamers begin to record playthroughs. Destiny's first major expansion, The Dark Below, has now gone live in the west. Players based in North America and Europe can log in to access the premium add-on content, which costs $20 (£20). New details show that Eris Morn, an NPC vendor, is the new point of contact for the expansion, offering special bounty missions and vanity items. Morn--who stands at the Tower's main plaza--sells shaders, emblems, cloaks, and warlock bonds, as well as other materials. Players also have a new reputation to be aware of, Crota's Bane, which must be accumulated (by completing bounties) in order to have the chance to buy Morn's items. Meanwhile, a new six-player raid, called Crota's End, is now available for fireteams to conquer. A host of streamers have already begun to play through the game on Twitch (video embedded below). The Dark Below marks the first of what is expected to be multiple expansions for Destiny. It is available on PlayStation 4, Xbox One, PlayStation 3, and Xbox 360. More details of the expansion, which includes new story missions, can be found below. New weapons, armour, and gear to further customise your Guardian. The ability to increase your Light level to 32, and five additional bounty slots. Three new competitive multiplayer maps: Pantheon, Skyshock, and The Cauldron. New cooperative Strike: The Will of Crota. Purge a twisted horror from the Cosmodrome. An additional resident of the Tower: Eris, a resolute survivor of an ill-fated mission. And a new six-player Raid: Crota’s End. Face him in the deepest dark. Some exclusive content is also coming to the PS4 edition.

Two versions of the game to be available on PC. Sony Online Entertainment has confirmed a Steam Early Access release date for its post-apocalyptic zombie MMO game, H1Z1. It will be available on PC via Steam from January 15 next year for $19.99. Sony Online Entertainment president John Smedley announced via Reddit that the company was expecting to release two versions of the game. The first of these will be the Early Access version, and a "more expensive one" will be announced "shortly." According to Smedley the difference between the two versions would include features such as different game mode servers and "other specifics." Smedley confirmed that these different game mode servers could also be accessed by purchasing or earning tickets. Smedley reiterated that the Early Access version of H1Z1 would not be a finished game, posting "If that's what you're expecting, DO NOT BUY EARLY ACCESS. The goal here is to let you in early and help us mold it into a game you want to be a part of for quite a long time." Inspired by DayZ and The Walking Dead, H1Z1 was announced earlier this year. Earlier this year Sony Entertainment Online confirmed that H1Z1 will also launch for PS4, although a specific release date has not been revealed. You can check out our interview with SOE president John Smedley about the development of the game here.

Pick up your favorites now. Nintendo's first foray into the gaming figurine business with Amiibo has resulted in some confusion about how long some of the more obscure characters may remain in production. But the company clarified that stance somewhat today, revealing that some Amiibo will eventually be discontinued. A Nintendo representative told GameSpot: "We will aim for certain amiibo to always be available. These will be for our most popular characters like Mario and Link. Due to shelf space constraints, other figures likely will not return to the market once they have sold through their initial shipment." While Nintendo doesn't specify which character may not make a return, it's probably safe to say that if you want to pick up Marth, Villager, or the Wii Fit trainer, you should do that sooner rather than later. Pikachu, Link, and Mario, however...those are probably going to be around for a very long time. In other Amiibo news, a legless Peach figurine that a GameSpot reader sent us images for is currently at over $200 on ebay. And a faulty Samus figurine with two arm cannons recently sold for $2,500.

Life in the Void. Many games task you with saving the world. But what if the world you’re a part of is already gone? Q-Games’ The Tomorrow Children asks that question: what do you do, how do you behave when everything you know is dust? Do you work for the common good, harvesting food and mining for materials in exchange for money to buy tools to do your job, or do you prioritize yourself and earn renown? The Tomorrow Children’s story centers around an experiment gone wrong. In 1960s Russia, an attempt to create a "sublime" human race, melding all human minds into a single consciousness, has resulted in the complete destruction of the universe. The planet earth has been replaced by an endless Void, whiteness stretching on forever and ever in every direction. Over the course of 90 years, those who were able to survive the experiment have rebuilt a socialist society that requires everyone to contribute to the general good through work and production. You, the player, are a "projection clone," one of a number of tiny Russian-doll-like beings that hold some of the consciousness left behind after the experiment. You live in a town, a small scraggly collection of buildings, workbenches and kiosks in which you can trade credits--which you earn through work—for mining tools, water, a jetpack, and any number of goods that will help you do your job better. The game itself is a captivating mix of Minecraft and Dark Souls, mixing resource management, exploration, and a self-upgrade system with some truly horrifying gigantic creatures to fight. These creatures in The Tomorrow Children are an ever-present threat, flying bat-like things and giant Godzilla beasts that will slowly creep up over the horizon and make for your town. While mining for glowing mushrooms deep within a crystal cavern, I heard loud, thundering bangs passing by. I emerged from the cave to find one of these giant beasts, a silvery reptilian monster studding with glowing red lights towering over me. As I watched, other workers--other players--began firing rockets at it in a desperate attempt to bring it down before it crushed them. After a minute or so of pounding it with fire, the creature double over and fell, instantly crystallizing into a shimmering silver figure of what it once was. At its core, The Tomorrow Children is about working together to ensure humanity’s survival. But the fact that humanity has technically already wiped itself out makes for an interesting thematic twist. Unlike post-apocalyptic games like Sunset Overdrive or zombie outbreak stories like The Walking Dead andDay Z, the world has fallen beyond rock bottom to total annihilation, providing a completely blank slate on which to rebuild. The way The Tomorrow Children depicts this world state--empty stretches of white space and melancholy ambient music--evokes a feeling of sadness, maybe even hopelessness at times. Although the game is still in an alpha state, this beautiful melancholy permeates the small area I was able to play in. Your tiny Russian doll traipses from a kiosk where they buy a jackhammer to a vending machine where it spends its last credits on something to drink. You can almost feel the atmosphere under that white sky--cool, crisp, an endless night devoid of wind. The Tomorrow Children also subtly pushes you to work alongside other players. Others playing online will show up as ghostly black and red shimmering shadows, with their PlayStation Network IDs floating above them. You can work with these fragile comrades to mine or collect food, or simply explore. Resource management is a group activity, as everyone’s work will contribute to the good of their tiny colony. And if you become more prestigious, more well known for doing lots of work, others may want to tag along to siphon some of that renown. Its gamification of socialism is smartly done, wrapped in a visual and audio package that successfully communicates the melancholy--and hope--of rebuilding a world. The Tomorrow Children will launch exclusively on PlayStation 4 at an unannounced date.

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