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[Matilda Equiluz]

Does anyone know if Roku has plans to offer any profanity filter software apps that can be installed on the device? Is it even up for discussion? My family likes to watch tv and movies but are extremely limited in what we can see because we do not like to hear STREET TALK constantly. We would definitely pay an extra fee to have it.

There is no real practical profanity filter devised yet. Trying to use closed captioning is not reliable, especially anything live, and the processing power needed to properly analyze the audio would be quite high and still not reliable.

What is the point of watching Keven Hart, Dave Chappelle and other great comics if every other word is bleeped? It completely disrupts the flow of the routine. And yes, I agree, there are plenty of very funny clean comics and I love them, however, too many Netflix stand up specials are censored. WHAT IS THIS? SOVIET RUSSIA??"??""?

Disabling the ads on Roku is not going to hurry up your internet speeds except you are on some thing as sluggish as dialup. If you're experiencing gradual speeds as you can read, you ought to contact your ISP and feature them check your net.

Until Roku offers something, your only options are probably Clearplay and Vidangel. For a minimal monthly cost you can filter most movies and some TV shows. Filters work on Amazon, Netflix, Disney Plus and others. Vidangel can purchase from Amazon and cast it to your TV. Works great.

There was some drama this week when folks realized that Tubi, a free ad-supported video-on-demand (AVOD) service, was streaming movies that had been edited to remove some more adult-oriented content. Sex, violence, that sort of thing. Censorship! The last bastion of freedom in video streaming was dead!

Lots of filmmakers are willing to do this because the AVOD services are actually one of the best ways to make money as indie filmmakers because the payouts are directly tied to advertisements. But the ads are only going to be there if the content being advertised against is less salacious. I talked about AVOD payouts with Abe Goldfarb, my guest on The Bulwark Goes to Hollywood this week. You should listen to the whole thing when it drops tomorrow, but, as a sneak preview, Abe said AVOD has been a large and surprising source of revenue for his film, First Time Caller. The revenue in question comes from ads.

Been rewatching a bunch of Villeneuve this week as prep for our Arrival live show, and Sicario remains a searing picture. Beautifully lensed by Roger Deakins, powerfully acted by Benicio del Toro, Josh Brolin, and Emily Blunt, and every shot perfectly lined up by Villeneuve, is pretty much impeccable from start to finish.

Before we get started, I wanted to let you know that we\u2019re doing another Across the Movie Aisle live show! On Tuesday, April 9 we\u2019re going to be at the Bryant Street Drafthouse in Washington, D.C., to host a screening of Denis Villeneuve\u2019s Arrival. Tickets are going fast, so pick yours up now.

First things first: The \u201Ccensorship\u201D in question is roughly equivalent to saying TNT censors movies by trimming nudity or airing TV dubs that turn f-bombs into \u201Cfrozen.\u201D As Justin LaLiberty of the wonderful boutique Blu-ray producer Vinegar Syndrome noted, Tubi can\u2019t actually edit anything on its own. They just show what they\u2019re given. Now: they can ask for edits; they could even make edits a requirement for airing. One of my followers on Twitter, Geoff Ryan, noted he had to make some cuts to one of his films for AVOD services. But it\u2019s not like Tubi is taking scissors to the material.

That ads are, inevitably, going to lead to neutered content is something I\u2019ve tried to hammer home time and again, in interviews with folks like Matthew Ball and Peter Biskind. Shifting from a subscriber-based economic model to an advertising-to-subscribers-based economic model leaves creators and consumers alike beholden to the desires of suits who don\u2019t want their wares butting up against butts. The recent golden age of television never could\u2019ve come to pass if HBO had been forced to care about how Tony Soprano might offend cereal salesmen.

The larger point here is that this is yet more proof we\u2019ve simply reinvented the wheel: we broke cable, shifted people to streaming, realized streaming wasn\u2019t a good way to make money, and are now bringing back basic cable. Ads? They\u2019re back! \u201CThis program has been edited for television\u201D? It\u2019s back! The interesting thing about Tubi is that it\u2019s the first reinvention of cable that might actually be slightly superior to what we moved away from: Tubi has an enormous selection of films and TV shows\u2014more than 50,000, according to their About page\u2014many of which aren\u2019t available anywhere else. It offers folks instant access to them, for free, and asks only that you deal with some annoying programmatic ads in exchange.

So yeah, some stuff on Tubi is probably edited. If you don\u2019t want to watch edited programming, track down the movie or show in question on DVD or Blu-ray or 4K. No one\u2019s sneaking into your house to get rid of offensive titles from your shelves. But Tubi is a free service that relies on ads. What do I always say? You get what you pay for.

This week I wrote about the newish Amazon show Mr. and Mrs. Smith, HBO\u2019s Tokyo Vice, and FX on Hulu\u2019s Shogun remake. Specifically, what I wanted to get folks to consider is the importance of place on these shows. How shooting in real locations imparts a bit of panache to Mr. and Mrs. Smith and drives home the sense of alienation felt by the lead in Tokyo Vice. How the inability to shoot in location or build city-sized sets for Shogun reduces its verisimilitude.

RIP Akira Toriyama, the creator of the Dragon Ball series of comics/cartoons. Gene Park wrote an obit for the Post, which you should read if you want to understand his impact on the world of action storytelling. You can\u2019t understand the boom in popularity of anime/manga in America amongst millennials and succeeding generations without understanding the way Dragon Ball Z burst onto the scene in the early 2000s.

Perhaps unsurprisingly, John Wick Chapter Four cleaned up at the stunt awards. It\u2019s not my favorite movie of the series, but it undoubtedly had four or five of the best individual action sequences of the year.

The armorer for the film Rust\u2014the Alec Baldwin picture on which cinematographer Halyna Hutchins was killed when a gun he was using on set fired a real bullet\u2014was convicted of involuntary manslaughter this week.

To start, I found an (admittedly old) post from someone at Netflix stating that their licensing requirements prohibited them from providing ways to control the player externally (everything needed to be wrapped up in a netflix-branded application, and providing ways to interact with the player externally would allow you to embed the netflix player in places it shouldn't go.) You can find that reply here (although it's four years old, I'd imagine not much has changed.)

I tried snooping around on the 'watch instantly' page myself, and there are objects like netflix.SilverLight and netflix.SilverLight.MoviePlayer (which has a getPlugin() method that returns some details about the plugin, and hookable events, but no methods for control,) but they mostly have to do with exposing the size of the player viewport, among other things necessary to place it on the page. I couldn't really find anything in any of the objects that suggested they interacted with the movie player that would seem to allow me access to it.

I also snagged the player binaries, and snooping through them I've found a ScriptInterface object internally with [ScriptableMember]-decorated methods in it called PlayMovie(), StopMovie(), ShowCurtain(), HideCurtain().

Then, I noticed there's another namespace in the player binaries called Netflix.Silverlight.CBPApp.HostedPlayer, which has its own interface - HostedPlayerScriptInterface. This has everything you want in it - data on play position, controls for increasing and decreasing play speed, pausing, playing, setting the play position, querying play state, etc. All of these are decorated as [ScriptableMember]s.

Now I break your heart - it looks like (for whatever reason) this interface is not exposed as a [ScriptableType], which to my understanding is a requirement for being able to access it from javascript. In fact, the only things that seem to be exposed this way are events that the player fires. My guess is that this code is for integrating with other partners, or left over from someone they inherited the original code for the video player from, but it seems intentionally that this [ScriptableType] parameter is left out. There may be a way to request a binary that's built to be 'Hosted', though I'm not sure what that means, and I also suspect it will be transparently obvious to the people watching what you're trying to do and have a stop put to it quickly.

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