In 2020, Microsoft announced huge layoffs across MSN and Azure organizations, among others, due to the company replacing its editor and curators with AI algorithms. Now, the algorithms seem to have caused an issue between Microsoft and The Guardian. Today, The Guardian accused Microsoft of damaging its reputation after an inappropriate AI-generated poll appeared beside the tragic news of the death of 21-year-old Lilie James in Sydney. Appearing right beside it, the distasteful poll asked users what the reason for the woman’s death was and gave readers the option to choose between murder, suicide, or accident. Naturally, the poll disturbed readers and was soon taken down from the website. Nevertheless, the damage was already done as some highly critical comments from readers were still up until Tuesday morning on the article. Some of the Microsoft Start readers, according to The Guardian, were also unaware that it was Microsoft that created the poll. This affected The Guardian's reputation. One of such comments called out The Guardian stating, “This has to be the most pathetic, disgusting poll I’ve ever seen,” while another wrote, “Tamsin [the Guardian journalist] should be sacked for that poll. No community guidelines at play here obviously??” Following this, the chief executive of the Guardian Media Group, Anna Bateson, wrote a letter to Microsoft president, Brad Smith discussing the issue. The two-page letter, as shared by The Guardian with The Verge, argues that the AI-generated poll makes it seem as if The Guardian had displayed it, hence, damaging its reputation. Moreover, the letter calls out Microsoft saying that there is a “strong case” for the company attaching a note with the article taking full responsibility for the incident. The letter also adds: “We would also like your assurance that a) Microsoft will not apply these experimental technologies on or alongside Guardian licensed journalism without our explicit prior approval; and b) that Microsoft will always make it clear to users of of your platforms wherever genAI is involved in creating additional units and features as they apply to third party journalism from trusted news brands like the Guardian.” Bateson even went as far as to call this an “inappropriate use” of generative AI and an incident that emphasizes the “important role that a strong copyright framework plays” in helping journalists and publishers to discuss how their work is shared online. The Guardian has asked Microsoft to comment, however, Microsoft has not sent a reply to the letter or shared a statement addressing the issue yet.

The European Data Protection Board has extended the temporary ban on targeted advertising on Facebook and Instagram, imposed by the Norwegian Data Protection Authority (DPA) in July. As the Norwegian DPA (Datatilsynet) explained in July, Meta uses content preferences, the info users post on Facebook and Instagram, and their location information to build personalized profiles for targeted advertising, a tactic commonly known as behavioral advertising. The European watchdog's 27 October urgent binding decision instructs Ireland's Data Protection Commission (DPC) to ban the processing of personal data for behavioral advertising across the entire European Economic Area (EEA) within two weeks. Meta will have a week to comply with the order once the Irish data regulator finishes evaluating the company's proposal to rely on a consent-based approach as a legal basis for processing its users' data. "After careful consideration, the EDPB considered it necessary to instruct the IE SA to impose an EEA-wide processing ban, addressed to Meta IE. Already in December 2022, the EDPB Binding Decisions clarified that contract is not a suitable legal basis for the processing of personal data carried out by Meta for behavioural advertising," said EDPB Chair Anu Talus. "In addition, Meta has been found by the IE SA to not have demonstrated compliance with the orders imposed at the end of last year. It is high time for Meta to bring its processing into compliance and to stop unlawful processing." The Norwegian data protection agency said today that Meta had been informed that their business model and the use of personal data are in breach of European privacy regulations and, although the company said it would ask users for consent to use their data for behavioral marketing in the future, it has yet to introduce any changes. "The Norwegian Data Protection Authority is very concerned about the illegal tracking, monitoring, and profiling on Facebook and Instagram. Although it has long been clear that Meta is breaking the law, and despite the Norwegian Data Protection Authority's ban, Meta continues with its illegal processing of personal data," Datatilsynet said (automated translation). "This is why we have chosen to raise the matter to the Personal Data Protection Board (EDPB), which has now agreed that there is an urgent need for a permanent ban on illegal activities at the European level." In December 2022, the Irish DPC also fined Meta a total of €390 million (~$438 million) for illegal behavioral advertising by forcing Instagram and Facebook users to consent to personal data processing for targeted advertising. Meta rejected DPC's findings and said it would appeal the fine, blaming the decision on a "lack of regulatory clarity." The Court of Justice of the European Union (CJEU) found that Meta's GDPR approach to behavioral advertising was still non-compliant with EU regulations even though the Irish watchdog ordered Meta to bring its current data processing operations into compliance with GDPR's regulations within the next three months. In November 2022, Meta was slapped with another €265 million ($275.5 million) fine for failing to protect Facebook users' data from scrapers after data linked to 533 million accounts leaked on a hacker forum.

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No comments Save article Please Sign in to your account to use this feature Source: Netflix ‘The Sandman’ Screen reveals a snapshot of the latest high-end TV and film productions shooting in the UK for the big studios and streamers. Productions that are still on hold following the SAG-AFTRA strike (which concluded earlier this month) are noted. Please contact us here to add or update changes to the following or new productions taking place in the UK. Films Deadpool 3 The third instalment in the comedic superhero franchise, this time joined by Wolverine. Dir: Shawn Levy Production company: Marvel Studios Where: Pinewood Studios When: May - July, Nov - ongoing Distributor: Disney Cast: Ryan Reynolds, Hugh Jackman, Matthew Macfayden Speak No Evil Remake of the Danish thriller about two families who go on a vacation together that quickly turns sinister. Dir: James Watkins Production company: Blumhouse Productions Where: Gloucester When: May - July, Nov Distributor: Universal Pictures Cast: James McAvoy, Mackenzie Davis Land Of Legend A misfit teenager travels through a magical portal where he discovers his destiny as a warrior. Dir: Niall Johnson Production company: Straightwire Entertainment Group, Baldoni Entertainment, Brit Film Services Where: South Wales, Gloucestershire When: Nov - Dec Distributor: N/A Cast: Rupert Everett, Tamsin Greig, Harry Gilby Hamlet A modern re-telling of the Shakespeare classic, set in London. Dir: Aneil Karia Production company: Left Handed Films, Storyteller Productions Where: London When: Nov - Dec Sales: WME Entertainement Cast: Riz Ahmed, Morfydd Clark and Joe Alwyn Cleaner A group of activists ambush an energy company’s meeting at the Shard and take 300 people hostage. Dir: Martin Campbell Production company: Anton Where: London When: September - ongoing Sales: Anton Cast: Daisy Ridley, Clive Owen, Taz Skylar By The Throat Horror follows a carer who has been booked by a couple grappling with the loss of their daughter. Dir: David Luke Rees Producers: David Luke Rees, Richard Fletcher and Simon Crowe Where: Yorkshire When: Oct 17 - ongoing Sales: SC Films International Cast: Patricia Allison, Jeany Spark, Rupert Young and Matthew Cottle Sonic The Hedgehog 3 Plot under wraps. Filming was taking place without actors during the strike. Dir: Jeff Fowler Production company: Blur Studio, Sega Where: Pinewood Studios When: Sep - ongoing Distributor: Paramount Cast: Idris Elba, James Marsden, Ben Schwartz Albion Two old friends reunite across four seasons. Dir: Giles Borg Production company: Far Away Films Where: Buckinghamshire When: summer - ongoing Distributor: Cast: Ian Bonar, Ankur Bahl How To Train Your Dragon ON HOLD Live-action remake of the 2010 animation about a hapless Viking who befriends a dragon. Dir: Dean DeBlois Production company: Universal, Marc Platt Where: Titanic Studios, Belfast When: August Distributor: Universal Cast: Mason Thames, Nico Parker Hedda ON HOLD Adaptation of the Herick Ibsen play surrounding a woman trapped in a marriage. Dir: Nia DaCosta Production company: Plan B, Orion Pictures, Viva Maude Where: UK When: Late summer Distributor: Cast: Tessa Thomspon, Eve Hewson, Callum Turner Amateur ON HOLD A CIA cryptographer is desperate to avenge the death of his wife after she’s killed in a London terror attack. Dir: James Hawes Production company: 20th Century Studios Where: UK When: June - ongoing Distributor: Cast: Rami Malek, Rachel Brosnahan Laurence Fishburne Wicked ON HOLD A film adaptation of the popular musical that serves as a prequel to The Wizard Of Oz. Dir: Jon M. Chu Production company: Marc Platt Productions, Universal Where: London, Sky Studios Elstree When: Dec 2022 - ongoing Distributor: Universal Cast: Ariana Grande, Cynthia Erivo, Michelle Yeoh, Jonathan Bailey TV Series The Sandman (series two) The second series of the comic book adaptation about metaphysical entities. Series creator: Neil Gaiman, David S. Goyer, Allan Heinberg Where: Pinewood Group, Shepperton When: June - July, Nov - ongoing Production company: PurePop Inc, The Blank Corporation, Phantom Four, DC Entertainment, Warner Bros Television Distributor: Netflix Cast: Tom Sturridge, Patton Oswalt, Boyd Holbrook Black Doves A spy and wife to a politician has her life turned upside down when her secret lover mysteriously dies. Series creator: Joe Barton Production company: Sister Productions, Noisy Bear Where: UK When: October - March Distributor: Netflix Cast: Keira Knightley, Ben Whishaw, Sarah Lancashire Gangs Of London (series three) The third series in the London-set crime drama following rivalling gangs. Series creators: Gareth Evans, Matt Flannery Production company: Pulse Films Where: London When: October - ongoing Distributor: Sky Cast: Joe Cole, Sope Dirisu Suspect: The Shooting of Jean Charles de Menezes A dramatisation of the manhunt for the terrorists involved in the 2005 London bombings. Series writer: Jeff Pope Production company: Etta Pictures Where: London When: October - ongoing Distributor: Disney Cast: TBC Insomnia A woman, about to turn 40, stops sleeping and fears she may suffer a psychotic breakdown. Series director: Börkur Sigthorsson Production company: Left Bank Pictures, Build Your Own Films Where: London When: September - ongoing Distributor: Sony Pictures Television Cast: Vicky McClure, Tom Cullen, Leanne Best Heartstopper (series three) Third series in the teen romance drama about two boys who fall in love. Series creator: Alice Oseman Where: Leavesden, Lyme Regis When: October - ongoing Production company: See-Saw Films Distributor: Netflix Cast: Kit Connor, Joe Locke, Yasmin Finney Toxic Town Four-part series based around the Corby poisonings, one of the UK’s biggest environmental scandals. Series creator: Jack Thorne Production company: Broke & Bones Where: UK When: August - ongoing Distributor: Netflix Cast: Jodie Whittaker, Aimee Lou Wood, Robert Carlyle, Rory Kinnear Silo (series two) ON HOLD The second series in AppleTV’s hit sci-fi set in the future where people are forced to live underground Series creator: Graham Yost Where: Hoddesdon, Hertfordshire When: June - July, Production company: AMC Studios Distributor: AppleTV Cast: Rebecca Ferguson, Common, Tim Robbins The Day Of The Jackal Inspired by Fred Zinnemann’s 1973 film. Also shooting in Budapest, Croatia and Austria. Series creator: Ronan Bennett Where: London When: June - Dec Production company: Carnival Films, Sky Distributor: Sky/Peacock Cast: Eddie Redmayne A Thousand Blows Follows two friends from Jamaica who get caught up in Victorian London’s illegal boxing scene. Series creator: Steven Knight Where: London, UK When: March - ongoing Production company: The Story Collective, Matriarch Productions, Water & Power Productions Distributor: Disney+ Cast: Malachi Kirby, Stephen Graham, Erin Doherty Andor (series two) ON HOLD Prequel series to Star Wars’ Rogue One. Series creator: Tony Gilroy Where: Pinewood Studios When: Nov 2022 - July, Production company: LucasFilm Distributor: Disney+ Cast: Diego Luna, Stellan Skarsgård

Actors Bella Ramsey and Vivian Oparah, and filmmakers Adjani Salmon and Raine Allen-Miller are among 32 talents selected for the 10th anniversary edition of the Bafta Breakthrough programme. The 2023 edition of the talent-spotting scheme includes 20 UK names, and 12 individuals from the US. Scroll down for the full 2023 Breakthrough list Those selected from the UK include Game Of Thrones and The Last Of Us star Ramsey, Dreaming Whilst Black creator Salmon, and Allen-Miller and Oparah, director and star of Rye Lane. Also included are Blue Jean writer-director Georgia Oakley and star Rosy McEwen; Scrapper filmmaker Charlotte Regan; and Kathryn Ferguson, writer-director of documentary Nothing Compares about the late Irish singer-songwriter Sinead O’Connor. Six of the 20 UK individuals on the list have previously been named Screen UK-Ireland Stars of Tomorrow: Ramsey, Allen-Miller, Regan, Salmon, McEwen and Is There Anybody Out There? filmmaker Ella Glendining. The 12 individuals from the US include Vuk Lungulov-Klotz, writer-director of Sundance 2023 title Mutt; and Maria Altamiro, producer of A24 feature All Dirt Roads Taste Of Salt. Bafta Breakthrough, previously known as Breakthrough Brits, began in 2013 and has featured over 200 names since its conception. Bafta Breakthrough 2023 UK Bella Ramsey – actor, The Last Of Us Vivian Oparah – actor, Rye Lane Raine Allen-Miller – director, Rye Lane Charlotte Regan – writer-director, Scrapper Adjani Salmon – writer-actor-exec producer, Dreaming Whilst Black Cash Carraway – creator-writer-exec producer, Rain Dogs Pete Jackson – writer-creator, Somewhere Boy Rosy McEwen – actor, Blue Jean Georgia Oakley – writer-director, Blue Jean Kat Morgan – hair & makeup designer, Blue Jean Kathryn Ferguson – writer-director, Nothing Compares Talisha ‘Tee Cee’ Johnson – writer-director-presenter, Too Autistic For Black Funmi Olutoye – producer, Black History Makers Ella Glendining – director, Is There Anybody Out There? Cynthia de la Rosa – hair & makeup artist, Everyone Else Burns Holly Reddaway – voice director, Bandai Namco Joel Beardshaw – designer, Desta: The Memories Between Michael Anderson – producer, Desta: The Memories Between Samantha Beart – performer, The Excavation of Hob’s Barrow Kitt (Fiona) Burn – 2D artist-game designer, Gibbon: Beyond the Trees US Aminah Nieves – actor, 1923 Jingyi Shao – writer-director, Chang Can Dunk Cheyenne Morrin – senior games writer, Star Wars Jedi: Survivor Sing J Lee – writer-director, The Accidental Getaway Driver Vuk Lungulov-Klotz – writer-director, Mutt Shelly Yo – writer-director, Smoking Tigers Edward Buckles Jr – director, Katrina Babies Amanda Kim – director, Nam June Paik: Moon is the Oldest TV Maria Altamirano – producer, All Dirt Roads Taste Of Salt Apoorva Charan – producer, Joyland Santiago Gonzalez – cinematographer, Shortcomings Gary Gunn – composer, A Thousand And One

While Edgar Wright has dabbled in action filmmaking before, a little with “Hot Fuzz” and ‘Scott Pilgrim,’ and much more with “Baby Driver,” he has yet to really do something that would be described as blockbuster filmmaking. However, back in the day, it appears Wright was offered the keys to one of the premier action franchises going today—the beloved “Mission: Impossible” film series—but he turned it down. READ MORE: Edgar Wright Says Franchises Should “Take a Breather” & Wishes Studio Would Remember ‘Alien’ & ‘Star Wars’ Were Original Projects Speaking on the Happy. Sad. Confused. podcast, Edgar Wright confirmed the reports about turning down the chance to make what would become “Mission: Impossible—Ghost Protocol.” This was at the time he was about to begin promotion of “Scott Pilgrim vs. the World,” and he had to make the massive choice. And though ‘Mission: Impossible’ is a massive franchise, the filmmaker doesn’t regret his decision at all. “It was literally a timing thing because to do it, I would have to not done the press for ‘Scott Pilgrim,’” explained Wright. “Things are sort of meant to be when they’re meant to be. Sometimes, if you love a series, you almost don’t want to be the thing that could possibly fuck it up. I don’t regret passing on [‘Ghost Protocol’] because Brad Bird’s film was fucking great.” READ MORE: Edgar Wright Turned Down An American ‘Shaun Of The Dead’ TV Series But Doesn’t Rule Out Other Adaptations He also mentioned that he has a wonderful relationship with ‘Mission: Impossible’ filmmaker Christopher McQuarrie, and he often gets the chance to consult a bit with him about the films. In fact, he joked about how McQuarrie called him about a musical request for “Top Gun: Maverick.” So, even though Wright didn’t follow through with ‘Mission: Impossible,’ it’s clear he still has a deep appreciation of the franchise and has the ear of the folks involved. That said, it would have been really interesting to see Wright’s style at play in the world of Tom Cruise’s Ethan Hunt. You have to imagine it would have been interesting, regardless of if it was good or bad. Also, there would have been a killer soundtrack.

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Once (or twice) a year is not customary, it is time to talk "small money" for the Tracker, and for the Retention Team which manages the annex servers. Concerning the tracker and the donations which make it possible to operate the site, 2 problems - 1) The results are pretty good, there's nothing too much - because there was a little left from last year, but it's not abundance either. We are finishing the year 2023 of course, but we are starting the next one without any advance, and at this rate there is no guarantee that we will last until 2024. - 2) If the proposals for donations via PayPal come in well, we lack volunteers to receive these “paypal” donations and send them back to us in BTC. For a little over 2 months we have no longer had anyone to carry out these operations, and proposals for PayPal donations remain "on hold". Conclusion : we are looking for a few volunteer members to help us carry out these transactions which will ensure both the future and the financial security of the site. Anyone handling BTC at all and wishing to help is asked to contact me by pm with the subject “ABN Donations” ( https://abn.lol/Inbox/Create?UserId=167 ). The prize is 100,000 choco's offered per PayPal/BTC transaction, freleech prompts and tokens, and the winning of a small golden star attached to your nickname (with personal option to make it appear, or not). --- --- --- --- --- --- --- --- --- Concerning the Team which manages the retention and reseed of your torrents These anonymous people who meet you every day began this adventure at the beginning of 2020 with around fifteen members who finance the rental and maintenance of all these servers ("Scene" and "P2P" upload server, seed and reseed server as well as as storage of torrents to make them available "on demand"), each of them making a "free" donation each month which has made it possible to finance the entire retention/reseed system for 3 years. If on behalf of the Team I speak to you about it and relay this request for help and recruitment of new members, it is because the donations made by these members in 2023 will not be enough to finish the year and will seriously handicap the team. year 2024. Some members have had to stop donations, others can no longer give as much as in previous years. In fact, around €100 is missing to pay for November and December and 4 or 5 new donor members who will commit for the year 2024 via PayPal donations. The team informs that without a helping hand, in mid-December they will have to stop one server out of the 3 currently used to make it all work and that they will no longer be able to upload and resee the numerous uploads of the so-called "P2P" Teams. Anyone willing/able to help and asked to contact me by pm with the subject "Retention" (). The key to the advantages that I will detail to future members (anonymity, FTP access, Streaming etc etc). Thank you all in advance.

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Cloudflare is a content-neutral Internet infrastructure service. The company aims not to interfere with the traffic of its clients and users but, in some cases, it has to take action. This means responding to DMCA subpoenas and takedown requests for hosted content, for example. In addition, Cloudflare now reports it has blocked access to 'abusive' content on its Ethereum gateway. Popular Internet infrastructure service Cloudflare serves millions of customers and provides a variety of connectivity and privacy features to the general public. People can freely use the company’s open DNS resolver 1.1.1.1, for example, or use its IPFS and Ethereum gateways to access content on these decentralized web services. One of Cloudflare’s main aims is to make the Internet more secure while respecting the privacy of its users. This laudable goal is broadly respected but in common with other internet services, abuse of Cloudflare’s services can lead to conflicting situations. The California-based company previously terminated service to controversial sites including the Daily Stormer and Kiwi Farms. These actions were taken voluntarily, with Cloudflare citing an immediate threat to human life as the reason for the Kiwi Farms intervention. Domain Blocking In addition to these rare events, the Internet infrastructure company is also subject to court orders from around the globe. In some cases, these orders require the company to block access to piracy-related domain names. Cloudflare mentions these blocking orders in its latest transparency report which covers the second half of 2022. The report doesn’t mention the number of court orders or blocked domains, but it confirms that Cloudflare complies with legitimate legal rulings. “If we determine that the order is valid and requires Cloudflare action, we may limit blocking of access to the content to those areas where it violates local law, a practice known as ‘geo-blocking’,” Cloudflare writes. DNS Blocking DNS blocking orders apply locally and shouldn’t affect people in other countries. However, things got more complicated recently when an Italian court required Cloudflare to restrict access to three torrent sites through its public DNS resolver 1.1.1.1. Cloudflare fiercely objected to the order but ultimately lost the legal battle. That left the company with no other option than to take action. But, instead of blocking content through its global DNS resolver, it geo-blocked the domains for Italians. “To the extent that those websites used Cloudflare services, Cloudflare took steps following the issuance of the order to disable access to those websites for users in Italy or from Cloudflare equipment in Italy. “Cloudflare took action to geoblock all three domains that were addressed by the court’s order and were using our service at the time the orders were issued via Cloudflare’s pass-through CDN and security services,” the company added. IPFS and Ethereum Restrictions In its most recent transparency report, Cloudflare further notes that it has implemented access restrictions on its public Ethereum gateway. The company doesn’t store any content on the Ethereum network, nor can it remove any. However, it can block access through its service. If Cloudflare receives valid abuse reports or copyright infringement complaints, it will take appropriate action. The same applies to the gateway for the decentralized IPFS network. In its previous transparency report, Cloudflare already mentioned more than 1,000 IPFS actions a figure that increased slightly in the second half of last year. At the same time, Cloudflare also restricted access to 99 ‘items’ on the Ethereum network. Since these are ‘gateway’ related restrictions there’s no impact on the content hosted on IPFS or Ethereum. Instead, it will only make it impossible to access content through Cloudflare’s service. It’s not clear how many of these restrictions are abuse or copyright-related, as not much context is provided. The Ethereum actions are, at least in part, a response to the U.S. Department of Treasury’s sanctions against the cryptocurrency tumbler Tornado Cash. “Those sanctions raise significant legal questions about the extent to which particular computer software, rather than individuals or entities that use that software, can be subject to sanctions,” Cloudflare writes. “Nonetheless, to comply with legal requirements, Cloudflare has taken steps to disable access through the Cloudflare-operated Ethereum Gateway to the digital currency addresses identified in the designation.” DMCA Notices and Subpoenas There are more obvious copyright responses as well. While Cloudflare generally doesn’t block content in response to DMCA notices for customers that use its CDN services, it does remove infringing content permanently hosted on its servers. These hosting services have expanded over the years and the same is true for the volume of valid DMCA notices received, up from 18 to 972 in the span of a year, as shown below. That’s still a fairly modest number for a company with millions of customers. Finally, Cloudflare reports that the number of civil subpoenas, including those issued under the DMCA, has decreased. Rightsholders including the Motion Picture Association (MPA) typically use these requests to obtain identifying information about Cloudflare customers. In the second half of last year, the company received 20 civil subpoenas which targeted 57 domain names. That’s the lowest number since Cloudflare first disclosed this statistic five years ago, signaling a downward trend.

Internet provider Optimum faces a billion-dollar damages claim for allegedly turning a blind eye to pirating subscribers. These allegations are made by several music companies based on evidence provided by tracking company Rightscorp. Optimum is not convinced that the evidence is reliable and accurate; the ISP also questions Rightscorp's business practices. Under U.S. copyright law, Internet providers must terminate the accounts of repeat infringers “in appropriate circumstances.” This legal requirement remained largely unenforced for nearly two decades but a series of copyright infringement liability lawsuits, including a billion-dollar damages award against Cox, have shaken up the industry. Music Companies Sue Optimum While Internet terminations are more common today, that hasn’t stopped the lawsuits. Last December, a group of music rightsholders including BMG, UMG, and Capitol filed a complaint at the Eastern District of Texas, accusing Optimum’s parent company Altice USA of facilitating massive copyright infringement. The pirating activity of subscribers shouldn’t be a surprise for the ISP, plaintiffs argued, as the company received numerous copyright infringement notices. This included those sent by the tracking company Rightscorp, which were paired with settlement demands. “Rather than work with Plaintiffs or take other meaningful or effective steps to curb this massive infringement, Altice chose to permit infringement to run rampant, prioritizing its own profits over the Plaintiffs’ rights,” the complaint read. To make the music companies whole, they demanded roughly a billion dollars in damages and an order requiring Optimum to prevent repeat copyright infringements on its network going forward. Questioning the Evidence Optimum’s parent company fiercely denies the allegations and argues that it’s protected by the DMCA’s safe harbor. To mount a proper defense, the ISP is conducting discovery for the upcoming trial, showing particular interest in Rightscorp’s piracy evidence. Specifically, the ISP believes that the reliability and accuracy of Rightscorp’s detection system are central to its defense. Thus far, however, the piracy tracking company has failed to hand over all requested information. To force the matter, Altice submitted a motion to compel Rightscorp to comply with the subpoenaed information. In its request, the company also scolds the music companies for trying to turn ISPs into copyright police, while characterizing Rightscorp’s copyright notices as ‘spam’. “This case is the latest attempt by the music industry to engineer a copyright-liability regime that makes ISPs responsible for all infringement that takes place on the internet—and thereby turn ISPs into their de facto enforcers. “Rightscorp intentionally sends out millions of notices a year, and includes threatening settlement demands therein, as it stands to gain a portion of each settlement received as a result of each notice. In reality, the volume of these notices is so high that it risks crippling Altice’s systems,” the motion adds. More Information Needed If the music companies want to hold Optimum liable for the copyright infringements of its subscribers, the ISP wants to review all underlying evidence in detail. Although Rightscorp has handed over some information, including notices and spreadsheets with metadata, the ISP seeks more. For example, Rightscorp should be able to share information on its agreements with the music company plaintiffs, assessments of the accuracy of its piracy detection system, documents related to settlements with the ISP’s customers, and more. “Given that the notices are at the center of the lawsuit between the Plaintiffs and Altice, Altice is seeking evidence concerning the accuracy and reliability of Rightscorp’s systems for detecting infringement and sending notices, as well as the data, evidence, records, or information on how Rightscorp verified the files before sending such notices,” the motion reads. The complaint itself doesn’t include any of this information. Instead, the plaintiffs refer to Rightscorp, which takes a central role in this case as a result. Rightscorp has yet to file a response to the motion, which is due mid-December. After that, the court will decide whether the piracy tracking company must hand over additional information, or not.

During the summer, UK broadcaster Sky obtained a High Court injunction to compel local ISPs to block pirate IPTV services offering its content illegally. Basic details pertaining to a novel aspect of the injunction were reported but little seemed wildly out of the ordinary. It transpires that the High Court initially had reservations concerning the order, but the biggest surprise is what Sky aimed to block: "relatively banal" content of limited value. News that Sky had won a new High Court injunction to tackle pirate IPTV services first appeared in the Financial Times on July 30, 2023. The article outlined an injunction similar to those previously obtained by the Premier League, noting that ISPs would be compelled to block Sky’s “best selling football games and blockbuster TV shows.” Why Sky would go to the trouble of obtaining an injunction to block access to matches, already being blocked by the Premier League, still makes little sense. Blocking TV shows was new, however. Means to Shut Down Sites at Certain Times The FT reported that the order obtained by Sky was designed to protect a “broader range of content” from across its programming. “Sky will now have the means to shut down individual pirate sites at certain times,” the article noted, adding: “For example, the ruling could be used to block illegal access to The Ashes on Sky Sports Cricket, or to a specific show such as House of the Dragon on Sky Atlantic when it is first broadcast and reaches its largest audience.” Apart from the apparent futility of blocking already blocked football matches, the report was entirely plausible and easily confirmed, had the actual High Court order been made available. Unfortunately, the UK’s system isn’t great and in the case of blocking injunctions, specific details are hidden to prevent circumvention. Even the names of the target IPTV providers can be difficult to determine, although not impossible. Sky Causes Major Disruption With almost no information accessible to the public and mystery surrounding Sky’s strategy, it’s impossible for outsiders to provide anything like a comprehensive overview. We certainly don’t claim to offer one here, but since all signs point to one of the most extraordinary mechanisms we’ve ever seen, taking a closer look seems warranted. As reported earlier, BunnyStream, Enigma Streams, GenIPTV, CatIPTV, GoTVMix and IPTVMain are among the priority targets and from the information available to us, Sky’s blocking efforts have not gone unnoticed. Providing exact dates is difficult and potentially unhelpful, but we estimate that over a period of four to six, maybe even eight weeks starting in August, Sky targeted between 80 and 100 domains/subdomains, most of them operated by the services listed above. Subdomains were already in use on some platforms, but there are fairly clear signs that some targets deployed new subdomains as a countermeasure against blocking. At least for a while that can pay off, but we get the impression that Sky doesn’t wait long to respond either. In other cases, blocked domains seem to have been abandoned, suspended for abuse, or put up for sale. Other countermeasures include the acquisition of new domains, backup domains being dusted off, and subscribers receiving advice to use a VPN to overcome blocking, as the text on one portal shows. IPTV streaming is increasingly being targeted by cable operators and their lawyers. This has led to some IPTV services being blocked by ISPs. One popular example is the blockage of IPTV services regularly exhibited during Premier League matches in the UK. Some IPTV services are able to circumvent this. However, the easiest and most reliable way to ensure you can still stream despite ISP blocks is to use a VPN. Another 300 Blocks – But Blocking What? With at least one of the targeted platforms resorting to what appear to be machine generated subdomains, Sky is certainly being kept busy, so at some point the High Court may be responsive to closing that loophole. On top of what may have been the first batch of 90 domains/subdomains blocked previously, our estimates suggest another 250+ blocks since, and potentially more than 300. Whatever the true number, the volumes are high but as mentioned earlier, impossible for outsiders to properly measure. That leaves the question of what Sky content these platforms are offering and how blocking that content dovetails with the order handed down in July. After obtaining a copy of the High Court order, the nature of the blocking is easily understood. Justice Meade’s key statements are as follows: – The order sought has two elements, a dynamic block and a static block. Each of these, individually, is well precedented in decisions going back now over ten years in the case of the static blocking orders and, in many respects, the order sought today is a straightforward combination of those two types of orders. – I do think it is appropriate to give some reasons in relation to the respects in which the orders sought today is different from what has come before. The significant difference, in my view, is that Sky seeks, in relation to the dynamic part of the order, to apply blocking measures at times and for periods of its choosing. The length of period and the amount of time that can be blocked per amount of calendar time is confidential (lest it facilitate evasion), and I will not state it in this judgment because I am sitting in open court. – Under the proposed dynamic blocking approach, it would be Sky that chooses when to apply blocking measures, and for how long. The reason why this might be a potentially significant change is that it somewhat diminishes the amount of foresight that the court can use about the proportionality of the blocking. It might have, I was concerned, a slightly unpredictable effect or at least the capacity for an unpredictable effect. Without, as I say, going through the details of the periods permitted because they are confidential, I would be concerned about the effect that the new approach might have on the ISPs. – That concern in relation to the ISPs is, of course, very substantially ameliorated by the fact that they have not opposed this order and have been in dialogue with Sky and its experts about what is proposed. On the evidence I have seen, I am satisfied that they are not unduly concerned. These details pertaining to the blocking aspects of the injunction are certainly interesting. Unfortunately, the nature of the content that effectively authorizes blocking under the terms of the injunction is even less clear now than it was in the summer. Not Particularly Valuable, “Relatively Banal” Content Blocking injunctions have nearly always been sought to protect specific, high-value content. Hollywood obtains injunctions to protect movies and the recording industry aims to protect music, it’s usually as simple as that. The overall goal of the Sky injunction is no different in that respect. However, it appears that unlicensed distribution of Sky’s most popular football matches, House of the Dragon, or other high-value content, isn’t the specific trigger for blocking under the terms of the injunction. Indeed, Justice Meade’s comments made at various points in the order indicate that the opposite is true. – This is quite a significant departure from previous orders which have been more specifically targeted at, particularly, valuable content in the nature of a particular sporting events and the like. – I do think the proportionality analysis is different and merits comment because the blocking is not, in this instance, targeted at particularly valuable or notable content. – [T]he fact that the blocking windows permitted are not around the clock and are to be targeted by Sky at its own election, and the fact that that will, in principle, allow Sky to deploy blocking windows against content which might, theoretically, at least be relatively banal… – Although the blocking is not necessarily to be directed to premium content, the goal of doing it is to protect that content and to protect the totality of Sky’s investment in its broadcast business as a whole. Such an unorthodox yet innovative blocking injunction could be a sign that a specific issue presented unique challenges. We have no clear information to show that was actually the case, but coming up with a hypothetical scenario that fits isn’t too difficult. Hypothetical Problem, Hypothetical Solution Under EU law, sporting events are not classifiable as works under the Copyright Directive. Football matches, for example, are subject to the rules governing the game, which leaves no room for creative freedom. As a result, live football matches are not protected by copyright law. However, if a live match is recorded before its onward transmission, augmented by unique copyrighted elements such as logos, graphics, incidental music, and other intellectual property already owned by a broadcaster, a match becomes a film protected under copyright law. That might lead to a theoretical injunction application requesting site-blocking to protect ancillary content, but has the ultimate goal of protecting all content, in and around it, while potentially avoiding time-consuming licensing intricacies. After all, site-blocking is a blunt instrument, so if a smash-hit TV show just happened to air seconds after a copyrighted advert, potentially containing copyrighted music theoretically owned by a broadcaster, blocking wouldn’t discriminate. Useful collateral damage then? Possibly, at least in theory.

While public torrent sites are known to many, private torrent trackers, though less renowned, offer a world of advantages that elevate your torrenting experience to a new level. Public torrent sites, easily accessible to all, provide an array of content. However, they also come with their own set of challenges. From security risks to content of questionable quality, public torrenting can be a minefield for users looking for safety and a reliable source of premium content. This is where private torrent trackers emerge as the discerning choice for those in the know. These exclusive communities provide a sanctuary for those seeking secure, high-quality, and diverse digital content. The differences between public and private torrenting sites are marginal and transformative. But which ones are the best? We’ve curated a list of the 13 best private torrent trackers that cater to diverse interests. 1. IPTorrents IPTorrents is a versatile private torrent tracker with an expansive collection that spans movies, games, and applications. Its true strength lies in its user-friendly interface, making it accessible even to newcomers in the torrenting world. The thriving community ensures that content is consistently updated and well-maintained, guaranteeing a seamless experience for users. IPTorrents strikes a remarkable balance between quality and quantity, offering both high-quality releases and a vast selection to choose from. With its simplistic yet efficient design, it ranks among the top choices for torrent enthusiasts who want a reliable source for their downloading needs. 2. SpeedApp SpeedApp prioritizes two crucial elements in the torrenting world – privacy and speed. As a private torrent tracker, it caters to users who value online anonymity. SpeedApp goes the extra mile in implementing robust security measures, providing a secure platform for downloading digital content. What sets it apart is its commitment to fast downloads, ensuring that users not only maintain their online identity but also enjoy a seamless and speedy torrenting experience. For those who seek a trusted and secure torrenting environment, SpeedApp is an ideal choice. 3. AvistaZ AvistaZ specializes in a specific niche – Asian content, predominantly focusing on movies and TV shows. This private tracker has earned a reputation as a treasure trove for fans of K-dramas, Japanese anime, and other Asian entertainment. What makes AvistaZ a standout choice is its vast library, ensuring that enthusiasts of Asian content won’t miss out on the latest releases. Moreover, the vibrant community enhances the overall experience, allowing users to interact, share, and discover new gems from the Asian entertainment world. 4. JPTV JPTV carved a niche in Japanese content, offering a comprehensive platform for TV shows, movies, and music from Japan. For those with a deep appreciation for Japanese culture, JPTV serves as a paradise. It prioritizes both quality and variety, guaranteeing that users can access the best that Japan offers in entertainment. Whether you’re a fan of Japanese drama, music, or cinema, JPTV ensures that you’re well-catered to. 5. Bibliotik Bibliotik caters exclusively to book enthusiasts, offering a wide range of e-books and audiobooks. It serves as an invaluable resource for those with a passion for reading, whether it’s fiction or non-fiction. Bibliotik’s extensive collection means you have your library in the cloud. It’s where you can easily find the latest bestsellers, delve into classical literature, or explore hidden literary gems, making it a haven for bibliophiles. 6. Deildu Deildu might not be as specialized as some other private torrent trackers, but its versatility shines through. This Icelandic tracker houses an impressive collection that spans various content types. While it may not have a singular focus, it’s an excellent choice for users with diverse interests. Deildu ensures that whether you’re looking for movies, games, music, or other digital content, you’ll find something to satisfy your preferences. 7. Torrentday Torrentday has established itself as a well-known private torrent tracker with a massive library encompassing movies, TV shows, games, and more. The part we like is the vibrant and active community, ensuring that content is consistently updated and maintained. Users have access to high-quality content always here. With a straightforward interface and regular updates, Torrentday maintains its status as a trusted platform for torrent enthusiasts who seek a reliable source for their content needs. 8. Blutopia Blutopia is a private tracker that distinguishes itself by its unwavering commitment to delivering high-quality releases of movies and TV shows. For cinephiles who have a discerning eye for top-notch video and audio quality, this tracker is a cinematic treasure trove. What sets Blutopia apart is its dedication to offering a premium cinematic experience. It caters to those who appreciate the fine details in every frame and the immersive sound that only top-tier releases can provide. When you visit Blutopia, you can be confident that you’re accessing films and TV shows that meet the highest standards of visual and auditory excellence. 9. REDacted REDacted is a haven for music enthusiasts and a premier private music torrent tracker. What makes it truly special is the extensive collection it houses, which ranges from timeless classics to the latest chart-toppers. Whether you’re on the hunt for rare releases that are hard to find elsewhere or the hottest tracks making waves, you’re sure to find them within the vast catalog of REDacted. With a keen focus on curating music that appeals to a diverse range of tastes, it’s a musical sanctuary where you can explore, discover, and enjoy the harmonious world of sound. 10. Gazelle Games Gazelle Games caters to the gaming community as a private tracker, and its appeal lies in its diverse selection. From classic titles that evoke nostalgia to the very latest releases that push the boundaries of gaming, Gazelle Games has it all. What sets it apart is its community-driven approach. Quality is a top priority here, with users passionate about preserving the gaming experience in its purest form. Gamers who value quality gaming experiences, free from glitches and inferior versions, will find Gazelle Games their virtual haven. 11. PassThePopcorn As the name suggests, PassThePopcorn is a private tracker dedicated to the world of movies. With a focus on films, it houses an extensive library that spans various genres and eras. If you’re a devoted movie buff with a penchant for exploring cinematic gems, PassThePopcorn is the ultimate destination. It’s not just a platform for downloading movies; it’s a cinematic journey waiting to be embarked upon. With PassThePopcorn, you can dive into the captivating world of cinema, from timeless classics to the latest blockbusters, all from the comfort of your digital screen. 12. BroadcastTheNet BroadcastTheNet is a private tracker explicitly designed for TV show enthusiasts. It’s the go-to platform for those who want to stay up-to-date with their favorite series. With a big collection of TV shows spanning different genres and networks, BroadcastTheNet ensures you won’t miss a single episode. What sets it apart is its dedication to providing a comprehensive collection of television content, making it the ideal destination for those who can’t get enough of the small screen. The next episode you’re looking for is just a click away. 13. MyAnonaMouse MyAnonaMouse is a private tracker that carves a niche for book lovers, offering an extensive selection of e-books and audiobooks. What makes it unique is that it’s not just a library; it’s a thriving community of readers who share a passion for books. MyAnonaMouse is more than a platform for accessing literary works; it’s a place where readers come together to discuss, recommend, and explore the world of literature. It caters to various tastes, from fiction to non-fiction, ensuring every reader finds their literary paradise here.

Over the past several years, copyright holders have asked Google to remove URLs from five million unique domains. These include blatant pirate sites such as The Pirate Bay, but also legal streaming services such as Netflix and Disney+. What stands out most is that a tiny fraction of all domains are responsible for the majority of the trouble. Over the past few years, copyright holders have reported more than seven billion copyright-infringing URLs to Google. At one point, the search engine processed close to three million links per day. A dazzling number to say the least. In recent years the daily volume has slowly declined. This is in part due to Google’s active policy of making pirate sites less visible in search results. After years of complaints, these efforts were well received by copyright holders. Five Million ‘Pirate’ Domains In response to Google’s enforcement efforts and other anti-piracy measures, some pirate sites regularly switch to new domain names. That can help to get these sites back into the search results, albeit temporarily, since progress often doesn’t last. This week, the search engine reached a new milestone. Since its records began, Google has now received takedown notices for five million unique domain names. This ‘achievement’ prompted us to take a close look at the underlying data. Where are all these alleged pirate sites coming from? Who are the main offenders, and which domains shouldn’t be on the list? Top Offenders The two top-reported domain names, daft.sex and dsex.to, are relatively new. These adult sites were targeted in a massive enforcement effort by Pornhub’s parent company Mindgeek, which previously filed a lawsuit against the sites’ operator in a U.S. federal court. After the Daftsex site lost its .com domain, it moved to alternatives, which were then targeted by Mindgeek both in court and through Google. The daft.sex and dsex.to domains had only been active for a few months but triggered close to a quarter billion takedown notices in that short period. The other domain names in the top ten are a mixed bag. In third place, we find file-sharing service 4shared.com with more than 68 million targeted URLs. The majority of these were removed years ago. More recently, 4shared began actively working with rightsholders to prevent piracy by deploying filtering technologies. The list also includes unknown sites such as mp3toys.xyz. This domain has been inactive for more than half a decade but previously hosted pirated MP3s, triggering over 50 million reported URLs. 20 Domains Received 10% of All Notices While looking through the list of targeted domains it becomes apparent that it’s top-heavy. The 20 domains that were called out most frequently have nearly 750 million flagged URLs. This means that less than two dozen targeted domains account for more than 10% of all notices. This means that while five million domains is an impressive number, it doesn’t mean that all pose an equal threat. There’s a long tail of sites that were targeted less than a handful of times. Overall, we can say that the majority of the five million reported domains are only flagged incidentally. These may be smaller pirate sites or sites exploited by scammers to post spam links. However, it’s also very common for legitimate sites to be targeted, often by mistake. Legal Sites? The five million figure includes a wide variety of domains that obviously don’t deserve the ‘pirate’ brand. This includes dictionaries, which sometimes list terms that are associated with copyrighted content, for example. The same is true for many reputable news outlets such as The New York Times, the BBC, and TorrentFreak. Ironically, Google also received takedown requests for pretty much all legitimate streaming platforms. Netflix was flagged 259 times over the years, while Disney+, HBO, Hulu, Paramount+, and many others were reported too. These are all errors, but they still contribute to the overall total. Rightsholders have also reported Google.com URLs to Google, and not just a handful either. Over the years the company was asked to remove 775,454 Google.com URLs from its own search results. Tens of Thousands of Copycats Finally, it’s worth pointing out that the reported domain names include a lot of variations of the same pirate brands. Some of these are operated by the original owners, but popular names are also hijacked to draw search traffic. The list of five million domain names includes nearly 1,000 sites that have the phrase “piratebay” in their name and the same is true for “fmovies” and “YTS”. The “123movie” brand takes the crown, however, with well over 3,000 domain name variations. Overall, it is safe to say that the milestone of five million flagged domains should be seen in the proper context. On the one hand, it consists of a small group of notorious pirate sites. On the other, many more sites don’t deserve the piracy label.

A series of arrests that began in late August and continued into last week has sparked concerns that a relatively rare 'Scene' crackdown targeting the top of the so-called 'Piracy Pyramid' may be underway in the Nordic region. A long-running investigation involving Denmark's Special Crime Unit appears to be the common denominator. Coincidentally, several groups have stopped releasing. Over the past few years, increased enforcement by players in both the private and public sectors has made Denmark one of the riskiest places in Europe for pirate site operators and prolific file-sharers. Relentless pushback from local anti-piracy group Rights Alliance and its partnership with Denmark’s Special Crime Unit (National enhed for Særlig Kriminalitet (NSK)) has led to many site closures, arrests, and subsequent prosecutions. The most recent reported conviction saw a 37-year-old man receive a 60-day suspended prison sentence in September for pirating more than a thousand works through local BitTorrent trackers. In connection with this and other successes over the past few years, last month Rights Alliance revealed that Thomas Heldrup, the anti-piracy group’s Head of Content Protection & Enforcement, had been running an undercover operation in piracy circles since 2016. Fears of Infiltration Concerns that a site might have a spy on board certainly aren’t unusual; for many site operators, however, it’s the kind of thing that only ever happens to someone else, usually those perceived to be less careful than them. In some cases that might be true but Denmark’s distinguishing features as a country may introduce complications. A relatively small population and a language rarely spoken outside Denmark’s borders, presents an increased chance of local piracy communities overlapping. Combine that with a shared reliance on locally attractive content and one site’s security issues risk becoming a much broader problem, as the last couple of years appear to show. Until recently, however, there were few signs to suggest those at the top of the so-called ‘Piracy Pyramid‘ may also have become targets in Denmark. Nevertheless, some of those with connections to Scene entities are starting to ask questions. 47-Year-Old Arrested in Denmark In a statement last week, Denmark’s National Unit for Special Crime (NSK) announced that as part of a long-running investigation, a man was arrested on November 22 and then charged with copyright infringement offenses. NSK said its officers searched the home of a 47-year-old man in South Zealand (Sydsjælland) and seized IT equipment in connection with illegal file-sharing and “copyright infringement of a particularly serious nature.” “The case is about an organized network that has illegally shared extremely large quantities of films and TV series via file sharing services,” said NSK Police Commissioner Anders-Emil Nøhr Kelbæk. While noting that NSK had no further information to offer at this time, Kelbæk said he was pleased that NSK had arrested another suspect believed to have played a ‘significant role’ in the unnamed network. At Least Five Arrests Thus Far Last week’s arrest was only the latest in a series of arrests carried out as part of the same long-running NSK investigation into the illegal distribution of movies and TV shows. In late August, NSK arrested four people on suspicion of sharing “extremely large quantities” of movies and TV shows. NSK raided addresses in South-West Jutland, North Zealand and Bornholmand. A 43-year old was arrested at the last location, but it’s claimed he lives elsewhere. In common with last week’s arrest, all were charged on suspicion of “particularly serious” copyright infringement offenses. In an almost identical statement to that issued last week, Commissioner Anders-Emil Nøhr Kelbæk said the case was about “an organized network that shares extremely large amounts of data, presumably in the form of films and series.” Does Available Information Really Indicate a ‘Scene’ Bust? TorrentFreak sources report concerns that last week’s arrest may be linked to Scene groups. Terminology used by NSK doesn’t instantly rule that out and does seem to suggest something potentially more significant than other arrests over the past few years. According to NSK, the August arrests took place on August 28, 2023. Using information in Scene release databases we looked for Danish Scene groups and/or groups that were releasing Denmark-focused content before that date but then made no releases afterward; while that wouldn’t provide conclusive proof that a group had been targeted, the method has proven useful in the past. Findings as follows: ⦿ Nordic blu-ray release group (including Danish) paused Aug 13, restarted Oct 16. Nothing since ⦿ TV show release group paused Aug 28 to Sep 1 but continued as normal ⦿ At least one TV show group made dozens of releases on Aug 28 suggesting little ‘panic’ on that date While activity late August suggests nothing especially out of the ordinary, activity since the arrest last week stands in contrast. Notable Danish content release group inactivity since November 22 arrest as follows: ⦿ ‘HYGGE’ | TV shows | 550+ releases since March 23 | Last release Nov 23, 2023 07:43:39 ⦿ ‘HiVE’ | TV shows | 650+ releases since March 23 | Last release Nov 23, 2023 05:03:52 ⦿ ‘DKiDS’ | TV shows | 3000+ release since March 23 | Last release Nov 21, 2023 10:34:50 ⦿ ‘DANES’ | TV shows | 640+ releases since May 23 | Last release Nov 22, 2023 08:13:21 ⦿ ‘JYSK’ | TV shows | 520+ releases since March 23 | Last release Nov 23, 2023 08:20:39 TF is informed that some groups may have gone dark simply out of an abundance of caution. That may or may not include all or none of the above. It’s also possible that the groups have nothing to release. Furthermore, there are many other global groups with no obvious links to Danish content or Denmark that also stopped releasing on November 21. The reasons for this are unknown but holidays in the United States may play a role. In an information vacuum, rumors are extremely common but if the authorities and/or Rights Alliance used intelligence obtained in other operations to infiltrate Scene groups or their affiliates, it wouldn’t be a surprise. It wouldn’t be surprise to hear that any group downtime was directly linked to turkey and/or alcohol consumption either but in any event, the next couple of weeks should prove informative.

Every week we take a close look at the most pirated movies on torrent sites. What are pirates downloading? 'Oppenheimer' tops the chart, followed by 'The Creator'. ‘Leo' completes the top three. The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. Downloading content without permission is copyright infringement. These torrent download statistics are only meant to provide further insight into piracy trends. All data are gathered from public resources. This week we have three newcomers on the list. “Oppenheimer” is the most downloaded title. The most torrented movies for the week ending on November 27 are: Movie Rank (Rank Last Week) 1 (1) Oppenheimer 2 (2) The Creator 3 (…) Leo 4 (3) Mission: Impossible – Dead Reckoning Part One 5 (4) The Equalizer 3 6 (…) The Marsh King’s Daughter 7 (…) Trolls Band Together 8 (6) The Killer 9 (5) Barbie 10 (9) Indiana Jones and the Dial of Destiny

The impression of flawlessness is a tough standard to maintain. It’s what audiences have come to expect of Beyoncé since she debuted as one-fourth of Destiny’s Child in 1997, not merely because of her era-defining music and performances but because she executes it with such seeming ease. Surprise plays a role: It’s part of the reason why her unprecedented 2013 surprise-drop, self-titled album rewrote the release strategy playbook for the music industry, and why her elaborate headlining slot at Coachella in 2018 was instantly historic. She’s the bar, and has been for the past decade — and she’s raised it time and again. 2022’s “Renaissance,” an album centered in the Black experience drawing heavily from, and indebted to, ballroom and queer culture, came with a more traditional rollout — “Break My Soul,” a diva house whiff of ’90s revivalism, wasn’t exactly the expected direction — and although it was more polarizing than her other recent work, it connected in a way that many of her albums hadn’t, creating a sense of community among her diehard fans while drawing more casual listeners into its saucy, freewheeling gravitational pull. Related Stories VIP+ ‘The Creator’ Cratered, but 20th Century Shouldn’t Abandon New Franchises The 45 Best Christmas Movies of All Time “It’s always been about using my art and my influence to really celebrate all of our differences,” she says during a voiceover vignette in “Renassaince: A Film,” her concert movie that weaves a breathless amount of footage from various dates on her record-setting Renaissance World Tour. “My ultimate goal is to create a space where everyone is free and no one is judged, and everyone can be their childlike selves, their sexiest selves. They can all be on that stage. They are the vision. They are the new beginning. That’s what ‘Renaissance’ is about.” “Renaissance: A Film,” releasing to AMC Theatres on December 1, celebrates her community, interspersing slick performances with interludes that lift the curtain on what inspired both the album and tour. Written, produced, and directed by Beyoncé herself, the two-and-a-half-hour movie revisits the meticulous show that she says took four years to create, highlighting what the public saw in real-time and on social media (i.e. the heavy choreography, the surgical-cut vocal runs), but also the hesitations and self-doubt she faced while assembling it. It’s one thing to create a home video or Netflix-style documentary for a tour, both of which Beyoncé has released in the past. A theatrical release of a concert film is a taller order, although it’s safe to say she had the wind at her back for this one: By its conclusion in early October, the tour amassed a staggering $579 million worldwide, with 2.7 million fans attending across 56 dates in 39 cities — the highest-grossing tour by a Black artist and the eighth-highest-grossing tour of all time. In addition to the eye-popping performances, the film features Beyoncé speaking candidly about her decisions in a way that music fans have come to expect from such concert films, most recently reaching full cultural throttle with “Taylor Swift: The Eras Tour” documentary. Her family, for one, is a centerpiece, with frequent appearances from her mother Tina Knowles, daughter Blue Ivy Carter, and even her twins, Rumi and Sir. But she also reveals details about how far she’s come as an entertainer and where she sees herself heading, a creative with a clear vision of what she wants to accomplish without any of the “people pleasing” she describes as a former cornerstone of her business approach. “The biggest growth in my artistry has come from overcoming failure, conflict and trauma,” she says. “But the next phase of my life, I want it to come from peace and joy. I am who I am, and you take me, or you don’t. It’s a really beautiful place to be as a woman… It’s the best time of my life. I thought I was there at 30, but nah, it’s getting better. Life is getting better. I spent so much of my life a serial people pleaser, and finally, I don’t give a fuck.” One of the more poignant moments from the film focuses on her daughter, Blue Ivy Carter, who appeared on tour to perform with her mother on “My Power.” Beyoncé explains that she only wanted the 11-year-old to do just one date, worried for her exposure at such a young age and hesitant to give her the opportunity without having had to work for it. And then, one of Blue’s friends showed her negative reviews of her dancing online. It only fueled her ambition further, and Beyoncé details the growth she saw as the tour progressed. We witness it through stitched-together clips that show determination may run in the Knowles family. The vision of the “Renaissance” show comes across clearly: It includes nearly every song from the concert, and many of the performances are montages between separate shows with different costumes; the editing is stark. The seamless fast cuts in “Move” and the tight close-ups during “Pure/Honey” are riveting, and the stitching across the 56 tour dates makes it feel unified. But the film truly excels in its portrayal of life beyond the stage. Beyoncé invites viewers to join her on a trip to her native Houston, where she chows on local cuisine and visits her family home, unlocking memories lost to time. She speaks of her Uncle Johnny who she sings of making her dress on “Heated,” with her mother Tina Knowles describing his influence on a young Beyoncé and her sister Solange. But she also knows how much to give, and shows vulnerability in ways that undercut yet emphasize her perfectionism. Prior to the “Renaissance” tour, she underwent surgery on her knee from a stage accident that happened nearly two decades ago, and we see her in rehab working in double time to be able to perform on stage. “I was absolutely terrified because she had to rehab so quickly,” says Tina. “She rehearsed on that knee, she came out on tour on that knee, and so I was always scared that she was going to re-injure the knee, but she is always a trooper.” Cut to images of stitches in Beyoncé’s knee. “Usually I only rehearse in heels, but because of my knee, I haven’t gotten that far yet,” adds Beyoncé. “It’s been hurting like crazy, but the best thing to do is to just get back on the horse.” And she does so, quite literally. Beyoncé’s resilience is just one of her superpowers, and she simply shrugs off the hardships. Highlights include Beyoncé riding on her glittering disco horse over the crowd on “Summer Renaissance,” and the moment during “Energy” where everybody goes on mute — when the whole stadium goes quiet, including Cardi B, whose participation in the challenge went viral. We also see Beyoncé the boss, whether offering instructions about the backup singers’ harmonies or how the horns should crash in at just the right time. At times, mostly near the end, the performance clips can drag out, even when the artistry is at the highest level. Fans likely won’t tire of it, but the film’s long duration may leave some viewers restless. Of course, the audience is a main character in the film, and their reaction is as rapturous as one would expect: We see tears, flashy outfits and knowing nods when Beyoncé sings certain lyrics — and that extends to her crew members and dancers, singers and musicians. All of them lavish praise on her throughout, although it’s not hard to see why. Beyoncé pores over every detail but takes it all in stride. It’s water off her back when the mic cuts out during a performance — extra time to do a spontaneous costume change, a stagehand suggests — and she blames it on not having her “pregame sandwich” and ginseng shot beforehand. Throughout “Renaissance,” as ever, Beyoncé is in complete control of her narrative — that impression of flawlessness doesn’t happen by itself, and despite the film’s intimacy, we never truly get a glimpse behind the curtain. It’s satiating enough — there are tears, laughter and reflections — and delivers morsels of what it takes to be one of the biggest stars in music. It’s satisfying without being indulgent, but most of all, it’s a monument to Beyoncé’s status as one of pop’s most enduring figures, and everything it takes to get there.