here in a few minutes. first, it's time for click. this week — a collection of collectables. welcome to click! this week, we're going to be talking about rare and collectible items. now, lara, you've been looking into something that's been getting a lot of hype recently, haven't you? i have. now, can you tell me what is the most collectible um... this shirt? oh, i know — this thing. everyone�*s always asking me about this online. well, i managed to dig out my peter andre doll! it's has been signed by peter andre himself! no way! all hail the andre! now, the thing is there are plenty of collectible, valuable things in the world, and by definition, each one of them is very rare. so it might surprise you to learn that people have started to buy digital collectables. see, the thing is, you can make an identical copy of a digital file — you can make millions of them if you want, just with a couple of button presses — so surely, that means that digital items can't be unique. can they? jack dorsey seems to think so. the founder of twitter has put his first—ever tweet up for auction, which may now sell for over $2.5 million — even though we can all access it whenever we want. the secret is that proof of ownership is stored elsewhere online, as something called an nft or non—fungible token — a unique marker that can't be copied, changed or disputed. synth pop artist grimes has sold limited edition copies of her digital art for almost $6 million. and musician blau sold limited edition copies of his ultraviolet album for a whopping $11 million — again, even though anyone can access them online. i don't know about you, but this sounds nuts! laughs. it is rather hard to get your head around. but the idea of somebody being able to prove that they own something completely digital is nothing new. you can prove who owns a bitcoin because there's a public, unchangeable record, and that sits on something called the blockchain. and these nfts use exactly the same technology, just with a bit of a tweak, allowing creators to attach all sorts of conditions to the item that they're selling. along with proof of ownership, they can say how it can be sold or how it can be used. nfts can serve as proof of sale for absolutely anything. buying a house is complicated. it's notjust a matter of being able to afford it, but also committing to that cash being tied up. so imagine you have a mortgage. ownership of your home is split between you and the bank. but the idea of tokenisation is that that ownership can be broken down into any number of pieces, and that means you could have any number of owners. it should also offer some flexibility for you to be able to buy and sell parts of your house if you want to. it's already happening in some places, including new york and dubai. in england and wales, the land registry has been looking at the idea. so we've run a couple of prototypes over the last two years, really to see whether actually technology could enable this. so rather than it being a barrier, could it become an enabler? so i think it opens up opportunities for homeownership but also equally, i think it opens up opportunities in terms of lending against a property. and we all know with increased opportunities becomes wider competition as well. i think the entries at the moment into the market are quite high, in terms of lending. what this allows is to lower those entries to market to own a property. the important thing is land registry issues that token, so it's almost kind of government issuing that token, and that adds an extra sense of assurance and credibility and guarantee. the proof of concept was run in 2019 and it showed that this could technically work, bringing the buying process down from weeks to minutes. however we do this, it's done in such a way that everyone can consume it, without understanding what blockchain is, without understanding what tokenisation is. co—owning a home can be daunting, even when it's with someone you know well, so the idea that we may be owning homes with strangers could feel intimidating. i think this is all about, you know, setting things up in the right way so homeowners should have the ability to own their own home and if they have sold off some of it to other investors, then they should have the right to call that back as part of the deal that they do with those investors. there is still a long way to go for both the lenders and us, whether buying or selling, to be ready to go digital. but in a world where we're used to doing so many things at the click of a button, i can certainly see the appeal. ultimately, tokenisation could simplify everything by leaving a trail of who owns what and what they need to know, with full transparency. but like every new bit of tech, it may bring with it its own problems. we had the 2008 financial crisis which was caused by fancy financial products that people did not really understand. theyjust saw a big number or "i can afford a house now" or something like that. and they got into really deep water. and when the system fell over, people lost everything. so we know about fancy financial products. they're dangerous because people don't understand them. they could lose everything and we don't need tokens as an excuse to do this bad idea again. you shrewd and naivsh sprite, what hast thou done? i know not. it's a midsummer night's dream but not as you know it. these are the final rehearsals for dream, a new show from the royal shakespeare company inspired by both shakespeare's original play and the times we live in. as em and jamie move around the space, their motion capture suits allow their movement to be married onto the characters of puck, peaseblossom and the rest of the inhabitants of fairyland. it has been a while since i've had a chance to get into a mocap suit and for some reason it's more of a squeeze than it was since before lockdown. i can't think pie — i mean why. in many ways, this is less like theatre acting and more like the kind of acting that hollywood performers have been doing in cgi films for quite a number of years now. you can interact with a fellow performer in the same space but what you actually end up looking like, well, that's up to the digital artist. who i think was only a background character in the original shakespeare text. in each of the 12 live performances, tom here will use a virtual camera to decide the shots the audience sees, but this is far from a passive show. viewers get to join in and control fireflies that guide puck through the forest, and that means the actors have to improvise depending on the path the audience chooses. now sweet friends, i need your help, light my way. the soundscape is also live. em please the �*gesturement�*, a gesture controlled instrument that puck plays in the air. so in theatre, the actors very much rely on each other onstage and also on the technical crew to get the lighting and the scenery sorted. in movies, it's much more about the technical side �*cause there�*s so much more that can go wrong. and it strikes me this is a mixture of the two, where it�*s live, you only get one take and you�*re also reliant on all of the technical staff working perfectly, including your balls. and when your balls don�*t register properly, your leg can drop off. laughs this is a very live environment. a real interesting challenge in working in a motion capture system, a performance capture system, in a controlled chaos. and interestingly, this is not the first live virtual environment that we�*ve looked at recently that has been built using unreal engine, created by the makers of the game fortnite. unreal engine allows us that flexibility to plug lots of different elements in that would be used in a live environment and control them in a game engine. example, if you move a fader on a lighting desk, a light in the unreal engine will work correspondingly. and it gives us that direct control and flexibility for live performances. this project has been in development for a couple of years now so rather than just being a quick stopgap while theatres are closed, this is a full—on r&d project to explore how theatre can continue to evolve as it has done for centuries. there are so many tools available to us, so many ways in order for us to tell a story, a narrative and connect with an audience, so this is another one of those tools. and also in terms of accessibility, it opens the door for so many people who might not be able to come to certain places. and when we are allowed back into the stalls and the circles, some of this technology could start being integrated into live performances and lead to... well, who knows what kind of show in the future? in this particular project we are testing the technology but who is to say we couldn�*t look at those motion capture suits and craft a beautiful costume around them? and i think that�*s what is exciting about this is if you put this technology in the hands of artists, expected and amazing things can happen. haste, make no delay. dream runs until the 20th of march online and as an added bonus, i won�*t be in it. anyway, that is it from the short version from us for this week. as ever, you can find the team on social media, on youtube, instagram, facebook and twitter at bbc click. thanks for watching and we�*ll see you soon. goodbye. hello and welcome to the film review with me, mark kermode, rounding up the best new home viewing releases as we look forward to cinemas reopening in may. in the oscar—tipped current release the united states vs billie holiday, a federal agent with deeply divided loyalties is sent to infiltrate and undermine a powerful voice of civil rights. that scenario is echoed injudas and the black messiah, a gripping drama inspired by real events from director and co—writer shaka king. it�*s not a question of violence or nonviolence, it�*s a question of resistance to fascism or nonexistence within fascism! cheering. you can murder a liberator, but you can�*t murder liberation! you can murder a revolutionary, but you can�*t murder revolution! and you can murder a freedom fighter, but you can�*t murder freedom! lakeith stanfield plays young car thief william o�*neill, who�*s strong—armed into spying on black panther leader fred hampton, charismatically portrayed by daniel kaluuya. hey! are you listening? jesse plemons is roy mitchell, a federal agent instructed by martin sheen�*s dracula—like j edgar hoover to bring hampton down by any means necessary. yet despite having no previous political allegiances, o�*neill finds himself torn between the desire to save his own skin and his growing admiration for hampton. these ain�*t no terrorists. it�*s a credit to stanfield that he manages to keep the complexities of his character alive throughout the movie, leaving us constantly wondering exactly where his loyalties lie. by contrast, kaluuya, who seems certain to earn a second oscar nomination next week, is steadfast and determined as hampton — unexpectedly shy in person, but inspirational in public. the result is a terrific drama that mixes fact and fiction with thrilling, thought—provoking results. i advise you to check it out. it�*s available for home rental now. whilejudas and the black messiah may be a worthy awards contender, never forget that all awards are essentially flawed and foolish.
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