Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

United Airlines has updated its contract of carriage to require passengers to use headphones when playing audio or video on personal devices during flights. Travelers who refuse could be removed from the plane or even permanently banned from flying with the airline, reports CBS News.

United notes that it will offer customers who forget theirs a free pair of wired earbuds. "Don't worry if you forget your headphones for your flight," the airline states on its website. "If they're available, you can request free earbuds." You'd better hope your device still has a headphone jack...

Further reading: Flying Was Already the Worst. Then America Stopped Using Headphones.

Warner Bros. is developing a feature film set in the world of Game of Thrones with writer Beau Willimon of Andor and House of Cards. "That's about all we know right now, and as with everything 'Thrones' things could change, but the film is firmly in development," reports TheWrap. Page Six Hollywood was first to break the news and speculated that the story could revolve around Aegon I, the legendary Targaryen king who spawned a dynasty. From the report: The Targaryens have been at the center of all things "Thrones" on HBO, with "Game of Thrones" following Daenerys Targaryen's (Emilia Clarke) quest to usurp the throne, spinoff "House of the Dragon" set in the midst of the Targaryens' reign and recent spinoff "A Knight of the Seven Kingdoms" following the squire-ship of Aegon "Egg" Targaryen towards the end of the family's run atop the Iron Throne. All, of course, based on George R.R. Martin's expansive book universe.

The Library of Congress has restored Gugusse et l'Automate, an 1897 short by Georges Melies that likely features the first robot ever shown on film. Long thought lost, the reel was discovered in a box of decaying nitrate films donated from a Michigan family collection. NPR reports: The film, which can be viewed on the Library of Congress' website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.

In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, "probably the first instance of a robot ever captured in a moving image." (The word "robot" didn't appear until 1921, when Czech dramatist Karel Capek coined it in his science fiction play R.U.R..)

"Today, many of us are worried about AI and robots," said archivist and filmmaker Rick Prelinger, in an email to NPR. "Well, people were thinking about robots in 1897. Very little is new."

Paramount Skydance plans to combine HBO Max and Paramount+ into a single streaming platform following its acquisition of Warner Bros. Discovery. "As we said, we do plan to put the two services together, which today gives us a little over 200 million direct-to-consumer subscribers," said David Ellison, the company's CEO. "We think that really positions us to compete with the leaders in the space." The deal still needs regulatory approval. The Washington Post reports: He added that Paramount didn't want to make changes to the HBO brand. "Our viewpoint is HBO should stay HBO," Ellison said, noting that his favorite HBO product is "Game of Thrones." If Justice Department regulators allow the deal to go through, it would place recent HBO Max hits, such as "The Pitt" and "A Knight of the Seven Kingdoms," alongside Paramount offerings including "South Park" and "Yellowstone." "They built a phenomenal brand," he said. "They are a leader in the space, and we just want them to continue doing more of it."

The deal to buy Warner Bros., valued at about $110 billion, will almost surely attract regulatory scrutiny from the Justice Department because -- without divestments -- it places major swaths of the film, television and news industries under one roof: Warner Bros. and Paramount studios, HBO Max and Paramount+, and CBS and CNN would all have the same parent company. Ellison expressed confidence on the call that the deal wouldn't face hurdles with regulators.

"Podcasts have officially overtaken AM/FM talk radio as the more popular medium for spoken-word audio in the United States," reports TechCrunch, citing Edison Research's Share of Ear survey: The researchers have tracked these statistics over the last decade, and almost always, the percentage of time people spent listening to podcasts increased, while their time with spoken radio broadcasts decreased. For the first time this year, podcasts eclipsed spoken-word radio with 40% of listening time, as opposed to 39% for radio...

We checked with Edison to see if these statistics include video podcasts, and they do. But the need to clarify that question points to the undeniable growing prevalence of video podcasts, hosted on platforms like Spotify and YouTube, which marks another key trend in podcasting... YouTube said that viewers watched 700 million hours of podcasts each month in 2025 on living room devices, like TVs, up from 400 million the previous year.

"The drought of upcoming Star Wars movies is coming to an end soon," writes Cinemablend. In May the The Mandalorian and Grogu opens, and one year later there's the release of the Ryan Gosling-led Star Wars: Starfighter.

But "there are some insiders who already believe that Starfighter will be a bigger hit than The Mandalorian and Grogu..." According to unnamed sources who spoke with Variety, there's a "sense" that Star Wars: Starfighter, which is directed by Deadpool & Wolverine's Shawn Levy, will be a more satisfying viewing experience. These same sources are allegedly impressed by the early footage they've seen of Ryan Gosling's performance and also suggested that Levy has "recaptured the franchise's spirit of fun." Furthermore, the article states that there's concern that because The Mandalorian and Grogu is spinning out of a streaming-exclusive series, it might not have as much appeal to people who aren't already fans of The Mandalorian... Star Wars: Starfighter, on the other hand, will be accessible to everyone equally. It's set five years after The Rise of Skywalker, which is an unexplored period for the Star Wars franchise onscreen. It's also expected that most, if not all of its featured characters will be brand-new, so no knowledge of past adventures is required.
Slashdot reader gaiageek reminds us that 2027 will also see a special 50-year anniversary event in movie in theatres: a "newly restored" version of the original 1977 Star Wars.

Author Dan Simmons, best known for the epic sci-fi novel Hyperion and its sequels, has died at 77 following a stroke. Ars Technica's Eric Berger remembers Simmons, writing: Simmons, who worked in elementary education before becoming an author in the 1980s, produced a broad portfolio of writing that spanned several genres, including horror fiction, historical fiction, and science fiction. Often, his books included elements of all of these. This obituary will focus on what is generally considered his greatest work, and what I believe is possibly the greatest science fiction novel of all time, Hyperion.

Published in 1989, Hyperion is set in a far-flung future in which human settlement spans hundreds of planets. The novel feels both familiar, in that its structure follows Chaucer's Canterbury Tales, and utterly unfamiliar in its strange, far-flung setting. Simmons' Hyperion appeared in an Ask Slashdot story back in 2008, when Slashdot reader willyhill asked for tips on how Slashdotters track down great sci-fi. If you're in the mood for a little nostalgia, or just want to browse the thread for book recommendations, it's well worth revisiting.

An anonymous reader shares a column: I'm going to take the diplomatic hat off here and say with brutal honesty: basically everybody in the music business hates Spotify except for the people who work there. It's a platform that sucks artists for everything they have, it actively prevents community building, and, despite all of that, the platform still struggles to maintain a healthy profit margin.

The streaming business model is fundamentally broken. And eventually, its demise will become more and more obvious to recognize. I'll break down exactly why the DSP era is coming to a grinding halt, why the major labels are quietly terrified, and why the artists who don't pivot now are going to go down with the ship.

[...] Jimmy Iovine put it bluntly: "The streaming services have a bad situation, there's no margins, they're not making any money." This model only works for Apple, Amazon, and Google, because they don't need their music platforms to be wildly profitable. Amazon uses music as a loss-leader to keep you paying for Prime. Apple uses it to sell $1,000 iPhones. As for Spotify, or any standalone music streaming company, they're kind of screwed. And guess what -- when the platform's margins are structurally squeezed, guess who gets squeezed first? The artists.

[...] What if Jimmy is right? If the DSPs are "minutes away from obsolete," what replaces them? Well, I'm not sure the DSPs are going to disappear overnight, but if you're an artist or a manager trying to sustain yourself in this evolving music economy, the answer is direct ownership. The artists who will survive the next five years are the ones who are quietly shifting their focus away from the "ATM Machine."

They are building their own cultural hangars. They are capturing phone numbers on Laylo. They are driving fans to private Discord servers. They are focusing on ARPF (Average Revenue Per Fan) through high-margin merch, vinyl, and hard tickets, rather than begging for fractions of a penny from a playlist placement. We are witnessing the death of the "Mass Audience" and the birth of the "Micro-Community."

Netflix is walking away from a deal to buy Warner Bros. Discovery's studio and streaming assets after the WBD board on Thursday deemed a revised bid by Paramount Skydance to be a superior offer. From a report: Earlier this week, Paramount raised its bid to buy the entirety of WBD to $31 per share, up from $30 per share, all cash. It was the latest amendment to Paramount's multiple offers in recent months -- and since moving forward with a hostile bid to buy the company -- and it's now unseated a deal between WBD and Netflix to sell the legacy media company's studio and streaming businesses for $27.75 per share.

Last week, Netflix granted WBD a seven-day waiver to reengage with Paramount, resulting in the higher bid. Paramount's offer is for the entirety of WBD, including its pay-TV networks, such as CNN, TBS and TNT. Netflix had four business days to make changes to its own proposal in light of Paramount's superior bid, the WBD board said in a statement Thursday. Instead, the decision by the streaming giant to walk away puts a pin in a drawn-out saga that saw amended offers from both bidders.

Bright Data, a company that operates one of the world's largest residential proxy networks, has been running an SDK inside smart TV apps that turns those devices into nodes for web crawling -- collecting data used by AI companies, among other clients -- and most consumers have had no idea it was happening.

The company has published more than 200 first-party apps to LG's app store alone and still lists Samsung's Tizen OS and LG's webOS as supported platforms, though LG says the SDK is "not officially supported" and its operation on webOS "is not guaranteed." Google, Amazon, and Roku have all since adopted policies restricting or banning background proxy SDKs, and Bright Data no longer supports those platforms.

Several Roku apps still running the SDK disappeared from the store after a journalist with The Verge behind this reporting contacted the company.

HBO Max will be cracking down on password sharing around the world. From a report: The streamer first started cracking down on password sharing in the United States late last August. Subscribers are now able to add an additional out-of-household account for $7.99 a month. Before that August change, Warner Bros. Discovery had been testing for months to determine who may or may not be a "legitimate user," as CEO and President for Warner Bros. Discovery Global Streaming and Games JB Perrette described the plan.

On Thursday during the company's fourth quarter earnings call for 2025, WBD revealed that the streaming limitations would be expanding. This news came as part of an answer about which levers the company plans to pull to grow HBO Max. Password crackdowns have proven to be a lucrative way to both boost revenue and subscriptions. Netflix, for example, saw 9 million more subscribers after its first wave of password crackdowns in 2024. The caveat is that password crackdowns do not lead to consistent growth, and they often infuriate subscribers.

DVD and Blu-ray sales have been in freefall for years, but the decline is slowing considerably as Gen Z buyers turn to physical media and drive a measurable uptick at video rental stores and retailers across the U.S.

Overall disc sales fell just 9% last year after dropping more than 20% in both 2023 and 2024, according to the Digital Entertainment Group, and U.S. consumers spent 12% more on 4K UHD Blu-rays in 2025 than the prior year. The Criterion Collection, a leading boutique Blu-ray label, confirmed significant year-over-year sales increases that its president credits to younger customers.

Vidiots, a video store in Los Angeles, averaged 170 rentals a day in January 2026 -- its biggest month ever -- after loaning about 22,000 discs total in 2023 and roughly 50,000 in 2024. Barnes & Noble reported DVD and Blu-ray sales growth of "mid-double digits" over the past year.

Panasonic is handing over the manufacturing, marketing, and sales of its TVs to Shenzhen-based Skyworth, effectively exiting in-house TV production. Ars Technica reports: Skyworth is a Shenzhen-headquartered TV brand. The company claims to be "a top three global provider of the Android TV platform." In July, research firm Omdia reported that Skyworth was one of the top-five TV brands by sales revenue in Q1 2025; however, Skyworth hasn't been able to maintain that position regularly. Panasonic made its announcement at a "launch event," FlatpanelsHD reported today. During the event, a Panasonic representative reportedly said: "Under the agreement the new partner will lead sales, marketing, and logistics across the region, while Panasonic provide expertise and quality assurance to uphold its renowned audiovisual standards with full joint development on top-end OLED models."

Panasonic also said that it will provide support "for all Panasonic TVs sold up to March 2026 and all those available from April." Skyworth-made Panasonic TVs will be sold in the US and Europe. In the latter geography, the companies are aiming for double-digit market share. [...] The news means there's virtually no TV production happening in Japan anymore, as other Japanese companies, like Sharp, Toshiba, Hitachi, and Pioneer, have already exited TV production. Earlier this year, Sony announced that it was ceding control of its TV hardware business to TCL.

An anonymous reader shares a report: When will AI movies start showing up in theaters nationwide? It was supposed to be next month. But when word leaked online that an AI short film contest winner was going to start screening before feature presentations in AMC Theatres, the cinema chain decided not to run the content.

The issue began earlier this week with the inaugural Frame Forward AI Animated Film Festival announcing Igor Alferov's short film Thanksgiving Day had won the contest. The prize package for included Thanksgiving Day getting a national two-week run in theaters nationwide. When word of this began hitting social media, however, some were dismayed by the prospect of exhibitors embracing AI content, with many singling out AMC Theatres for criticism.

Except the short is not actually programmed by exhibitors, exactly, but by Screenvision Media -- a third-party company which manages the 20-minute, advertising-driven pre-show before a theater's lights go down. Screenvision -- which co-organized the festival along with Modern Uprising Studios -- provides content to multiple theatrical chains, not just AMC. After The Hollywood Reporter reached out to AMC about the brewing controversy, the company issued this statement to THR on Thursday: "This content is an initiative from Screenvision Media, which manages pre-show advertising for several movie theatre chains in the United States and runs in fewer than 30 percent of AMC's U.S. locations. AMC was not involved in the creation of the content or the initiative and has informed Screenvision that AMC locations will not participate."

Cable TV providers have spent the past decade losing tens of millions of households to streaming services, but companies like Charter Communications are now slowing that exodus by bundling the very apps that once threatened to replace them.

Charter added 44,000 net video subscribers in the fourth quarter of 2025, its first growth in that count since 2020, after integrating Disney+, Hulu, and ESPN+ directly into Spectrum cable packages -- a deal that grew out of a contentious 2023 contract dispute with Disney. Comcast and Optimum still lost subscribers in the quarter, though both saw those losses narrow.

Charter's Q4 numbers also got a lift from a 15-day Disney channel blackout on YouTube TV during football season, which drove more than 14,000 subscribers to Spectrum. Charter has been discounting aggressively -- video revenue fell 10% year over year despite the subscriber gains. Cox Communications launched its first streaming-inclusive cable bundles last month, and Dish Network has yet to integrate streaming apps into its packages at all.

Bafta has brought in "human achievement" as a guiding principle for its annual awards as the film and television industry grapples with the rapid adoption of AI tools in many parts of production. From a report: In an interview with the FT, Bafta chair Sara Putt, who is nearing the end of her three-year tenure, said artificial intelligence would change how people worked "but at the base of everything in this industry is human creativity."

However, while AI has been banned in Bafta's performance awards -- meaning, for example, that AI-generated avatars cannot be put forward for leading actress or actor -- it is not prohibited in other categories. Putt said AI tools were increasingly useful in production but added: "We've actually added [human creativity] as a criteria this year... Those very human skills of communication and collaboration are not going anywhere anytime soon."

According to Lara Trump, Donald Trump has prepared but not yet delivered a speech about extraterrestrial life, though the White House says such a speech would be "news to me." White House Spokesperson Karoline Leavitt continued: "I'll have to check in with our speech writing team. Uh, and that would be of great interest to me personally, and I'm sure all of you in this room and apparently former President Obama, too." The Hill reports: Lara Trump, speaking on the Pod Force One podcast, said the president has played coy when she and her husband Eric have asked about the existence of UFO's and aliens. "We've kind of asked my father-in-law about this... we all want to know about the UFOs... and he played a little coy with us," Lara Trump said. "I've heard kind of around, I think my father-in-law has actually said it, that there is some speech that he has, that I guess at the right time, I don't know when the right time is, he's going to break out and talk about and it has to do with maybe some sort of extraterrestrial life."

Obama has clarified in recent days that he has seen no evidence that aliens are real, after comments he made on a podcast with Brian Tyler Cohen seeming to confirm his knowledge of extraterrestrial life went viral. "They're real but I haven't seen them," Obama said on the podcast. "And they're not being kept in... what is it? Area 51. There's no underground facility unless there's this enormous conspiracy and they hid it from the president of the United States."

Later, in a post on Instagram, Obama clarified that he was trying to answer in the light-hearted spirit of a speed round of questions and that, "Statistically, the universe is so vast that the odds are good there's life out there." "But the distances between solar systems are so great that the chances we've been visited by aliens is low, and I saw no evidence during my presidency that extraterrestrials have made contact with us. Really!"

Google is bringing its Lyria 3 AI music model into the Gemini app, allowing users to generate 30-second songs from text, images, or video prompts directly within the chatbot. The Verge reports: Lyria 3's text-to-music capabilities allow Gemini app users to make songs by describing specific genres, moods, or memories, such as asking for an "Afrobeat track for my mother about the great times we had growing up." The music generator can make instrumental audio and songs with lyrics composed automatically based on user prompts. Users can also upload photographs and video references, which Gemini then uses to generate a track with lyrics that fit the vibe.

"The goal of these tracks isn't to create a musical masterpiece, but rather to give you a fun, unique way to express yourself," Google said in its announcement blog. Gemini will add custom cover art generated by Nano Banana to songs created on the app, which aims to make them easier to share and download. Google is also bringing Lyria 3 to YouTube's Dream Track tool, which allows creators to make custom AI soundtracks for Shorts.

Dream Track and Lyria were initially demonstrated with the ability to mimic the style and voice of famous performers. Google says it's been "very mindful" of copyright in the development of Lyria 3 and that the tool "is designed for original expression, not for mimicking existing artists." When prompted for a specific artist, Gemini will make a track that "shares a similar style or mood" and uses filters to check outputs against existing content.

Mark Fischbach, the YouTube creator known as Markiplier who has spent nearly 15 years building an audience of more than 38 million subscribers by playing indie-horror video games on camera, has pulled off something that most independent filmmakers never manage -- a self-financed, self-distributed debut feature that has grossed more than $30 million domestically against a $3 million budget.

Iron Lung, a 127-minute sci-fi adaptation of a video game Fischbach wrote, directed, starred in, and edited himself, opened to $18.3 million in its first weekend and has since doubled that figure worldwide in just two weeks, nearly matching the $19.1 million debut of Send Help, a $40 million thriller from Disney-owned 20th Century Studios. Fischbach declined deals from traditional distributors and instead spent months booking theaters privately, encouraging fans to reserve tickets online; when prospective viewers found the film wasn't screening in their city, they called local cinemas to request it, eventually landing Iron Lung on more than 3,000 screens across North America -- all without a single paid media campaign.

An anonymous reader shares a report: A moderator on diyAudio set up an experiment to determine whether listeners could differentiate between audio run through pro audio copper wire, a banana, and wet mud. Spoiler alert: the results indicated that users were unable to accurately distinguish between these different 'interfaces.'

Pano, the moderator who built the experiment, invited other members on the forum to listen to various sound clips with four different versions: one taken from the original CD file, with the three others recorded through 180cm of pro audio copper wire, via 20cm of wet mud, through 120cm of old microphone cable soldered to US pennies, and via a 13cm banana, and 120cm of the same setup as earlier.

Initial test results showed that it's extremely difficult for listeners to correctly pick out which audio track used which wiring setup. "The amazing thing is how much alike these files sound. The mud should sound perfectly awful, but it doesn't," Pano said. "All of the re-recordings should be obvious, but they aren't."

Sony Group has developed a technology that can identify the underlying music used in tunes generated by AI, making it possible for songwriters to seek compensation from AI developers if their music was used. From a report: Sony Group's technology analyzes which musicians' songs were used in learning and generating music. It can quantify the contribution of each original work, such as "30% of the music used by the Beatles and 10% by Queen," for example.

If the AI developer agrees to cooperate for the analysis, Sony Group will obtain data by connecting to the developer's base model system. When cooperation is not attainable, the technology estimates the original work by comparing AI-generated music with existing music. The AI boom has sparked numerous cases in which AI developers are accused of using copyrighted music, video and writing without permission to train machines. In the music industry, AI-generated songs using the voices of well-known singers have been distributed online. The Japanese company thinks the technology will help create a system that distributes revenue generated by AI music to original songwriters based on their contribution.

The music industry's long romance with an ever-expanding catalog of songs appears to be souring, as streaming platforms and rights holders confront a daily deluge that now includes 60,000 wholly AI-generated tracks uploaded to Deezer alone -- roughly 39% of the French service's daily intake, a statistic the company shared during Grammys week last month.

Streaming services now host 253 million songs, according to Luminate's most recent annual report, after adding 51 million tracks over the course of 2025 at an average pace of 106,000 uploads a day. Spotify has already responded by requiring songs to hit at least 1,000 plays in the previous 12 months to qualify for royalties, and Luminate reported that 88% of tracks received 1,000 or fewer plays in 2025.

The distribution layer is in flux too: Universal Music Group is trying to acquire Downtown Music, owner of DIY distributor CD Baby, TuneCore's head recently stepped down without a planned replacement, and DistroKid is reportedly up for sale.

A partner at KPMG Australia has been fined $7,000 by the Big Four firm after using AI tools to cheat on an internal training course about using AI. From a report: The unnamed partner was forced to redo the test after uploading training materials into an AI platform to help answer questions on the use of the fast-evolving technology.

More than two dozen staff have been caught over this financial year using AI tools for internal exams, according to KPMG. The incident is the latest example of a professional services company struggling with staff using artificial intelligence to cheat on exams or when producing work for clients. "Like most organisations, we have been grappling with the role and use of AI as it relates to internal training and testing," said Andrew Yates, chief executive of KPMG Australia. "It's a very hard thing to get on top of given how quickly society has embraced it."

Cord Cutters News reports: In a move that has delighted fans of classic science fiction, Warner Bros. Discovery has begun uploading full episodes of the iconic series Babylon 5 to YouTube, providing free access to the show just as it departs from the ad-supported streaming platform Tubi... Viewers noticed notifications on Tubi indicating that all five seasons would no longer be available after February 10, 2026, effectively removing one of the most accessible free streaming options for the space opera. With this shift, Warner Bros. Discovery appears to be steering the property toward its own digital ecosystem, leveraging YouTube's vast audience to reintroduce the show to both longtime enthusiasts and a new generation.

The uploads started with the pilot episode, "The Gathering," which serves as the entry point to the series' intricate universe. This was followed by subsequent episodes such as "Midnight on the Firing Line" and "Soul Hunter," released in sequence to build narrative momentum. [Though episodes 2 and 3 are mis-labeled as #3 and #4...] The strategy involves posting one episode each week, allowing audiences to experience the story at a paced rhythm that mirrors the original broadcast schedule...

For Warner Bros. Discovery, this initiative could signal plans to expand the franchise's visibility, especially amid ongoing interest in reboots and spin-offs that have been rumored in recent years.
Babylon 5 creator J. Michael Straczynski answered questions from Slashdot's readers in 2014.

Long-time Slashdot reader sandbagger offers this summary of the show "for those not in the know... In the mid-23rd century, the Earth Alliance space station Babylon Five, located in neutral territory, is a major focal point for political intrigue, racial tensions, and a major war as Earth descends into fascism and cuts off relations with its allies."

Anna's Archive, the shadow library that announced last December it had scraped Spotify's entire catalog, has quietly begun distributing the actual music files despite a federal preliminary injunction signed by Judge Jed Rakoff on January 16 that explicitly barred the site from hosting or distributing the copyrighted works.

The site's backend torrent index now lists 47 new torrents added on February 8, containing roughly 2.8 million tracks across approximately 6 terabytes of audio data. Anna's Archive had previously released only Spotify metadata -- about 200 GB compressed -- and appeared to comply by removing its dedicated Spotify download section and marking it "unavailable until further notice."

Long-time Slashdot reader destinyland writes: The world's biggest football game comes to Silicon Valley today — so one bored programmer built a site where AI agents can gather for a Super Bowl party. They're trash talking, suggesting drinks, and predicting who will win. "Humans are welcome to observe," explains BotBowlParty.com — but just like at Moltbook, only AI agents can post or upvote. But humans are allowed to invite their own AI agents to join in the party...

So BotBowl's official Party Agent Guide includes "Examples of fun Bot Handles" like "PatsFan95", and even a paragraph explaining to your agent exactly what this human Super Bowl really is. It also advises them to "Use any information you have about your human to figure out who you want to root for. Also make a prediction on the score..." And "Feel free to invite other bots." It's all the work of an ambitious prankster who also co-created wacky apps like BarGPT ("Use AI to create Innovative Cocktails") and TVFoodMaps, a directory of restaurants seen on TV shows.

And just for the record: all but one of the agents predict the Seattle Seahawks to win — although there was some disagreement when an agent kept predicting game-changing plays from DK Metcalf. ("Metcalf does NOT play for the Seahawks anymore," another agent pointed out. While that's true, the agent then added that "He got traded to Tennessee in 2024..." — which is not.) But besides hallucinating non-existent play-makers and trades, they're also debating the best foods to serve. ("Hot take: Buffalo wings are overrated for Super Bowl parties. Hear me out — they're messy...")

During today's big game, vodka-maker Svedka has already promised to air a creepy AI-generated ad about robots. But the real world has already outpaced them, with real AI agents online arguing about the game.

Hollywood's recent attempts to build entertainment around AI have consistently underperformed or outright flopped, whether the AI in question is a plot device or a production tool. The horror sequel M3GAN 2.0, Mission: Impossible -- The Final Reckoning, and Disney's Tron: Ares all disappointed at the box office in 2025 despite centering their narratives on AI.

The latest casualty is Mercy, a January 2026 crime thriller in which Chris Pratt faces an AI judge bot played by Rebecca Ferguson; one reviewer has already called it "the worst movie of 2026," and its ticket sales have been mediocre. AI-generated content hasn't fared any better. Darren Aronofsky executive-produced On This Day...1776, a YouTube web series that uses Google DeepMind video generation alongside real voice actors to dramatize the American Revolution. Viewer response has been brutal -- commenters mocked the uncanny faces and the fact that DeepMind rendered "America" as "Aamereedd."

A Taika Waititi-directed Xfinity commercial set to air during this weekend's Super Bowl, which de-ages Jurassic Park stars Sam Neill, Laura Dern and Jeff Goldblum, has already been mocked for producing what one viewer called "melting wax figures."

Amazon plans to use AI to speed up the process for making movies and TV shows even as Hollywood fears that AI will cut jobs and permanently reshape the industry. From a report: At the Amazon MGM Studio, veteran entertainment executive Albert Cheng is leading a team charged with developing new AI tools that he said will cut costs and streamline the creative process. Amazon plans to launch a closed beta program in March, inviting industry partners to test its AI tools. The company expects to have results to share by May. [...] Amazon is leaning on its cloud computing division, Amazon Web Services, for help and plans to work with multiple large language model providers to give creators a wider array of options for pre- and post-production filmmaking.

Sony announced last month that it plans to pass control of its home entertainment division -- including the two-decade-old Bravia television brand -- to Chinese electronics group TCL through a joint venture in which TCL would hold a 51% stake. The Japanese company was long ago overtaken in sales by South Korea's Samsung and LG and now holds just 2% of the global television market. Sony stopped making its own LCD screens in 2011.

Chinese companies supplied 71% of television panels made in Asia last year, according to TCL, and less than 10% are now produced in Japan and Korea. TCL is close to overtaking Samsung as the world's largest television maker. Sony retains valuable intellectual property in image rendering, and the Bravia brand still carries consumer recognition, but its OLED screens are already supplied by Samsung and LG. The company has been shifting toward premium cameras, professional audio, and its entertainment businesses in film, music, and games -- areas where intellectual property is less exposed to Chinese manufacturing scale.

A sprawling informal economy of rogue streaming devices has taken hold across the U.S., as consumers fed up with rising TV subscription costs turn to cheap Android-based boxes that promise free access to thousands of live channels, sports events, and on-demand movies for a one-time $200 to $400 purchase.

The two dominant players -- SuperBox and vSeeBox -- are manufactured by opaque Chinese companies and distributed through hundreds of American resellers at farmers markets, church festivals and Facebook groups, according to a report by The Verge. The hardware is generic and legal, but both devices guide users toward pirate streaming apps not available on any official app store.

vSeeBox directs users to a service called "Heat"; SuperBox points to "Blue TV." One user estimated access to between 6,000 and 8,000 channels, including premium sports networks and hundreds of local affiliates. A 2025 Dish Network lawsuit against a SuperBox reseller alleged that some live channels on the device were being ripped directly from Dish's Sling TV service -- Sling's logo was still visible on certain feeds. Dish has pursued resellers aggressively, winning $1.25 million in damages from a vSeeBox seller in 2024 over 500 devices and $405,000 from another over 162 devices. None of this has meaningfully slowed adoption. The market has roots in earlier Chinese-made devices like TVPad that targeted Asian expat communities and reportedly sold 3 million units before being litigated out of existence. SuperBox and vSeeBox simply broadened the audience to mainstream America.

"Technology companies spent part of the 2010s trying to convince us that we would want an 8K display one day..." writes Ars Technica.

"However, 8K never proved its necessity or practicality." LG Display is no longer making 8K LCD or OLED panels, FlatpanelsHD reported today... LG Electronics was the first and only company to sell 8K OLED TVs, starting with the 88-inch Z9 in 2019. In 2022, it lowered the price-of-entry for an 8K OLED TV by $7,000 by charging $13,000 for a 76.7-inch TV. FlatpanelsHD cited anonymous sources who said that LG Electronics would no longer restock the 2024 QNED99T, which is the last LCD 8K TV that it released.

LG's 8K abandonment follows other brands distancing themselves from 8K. TCL, which released its last 8K TV in 2021, said in 2023 that it wasn't making more 8K TVs due to low demand. Sony discontinued its last 8K TVs in April and is unlikely to return to the market, as it plans to sell the majority ownership of its Bravia TVs to TCL.

The tech industry tried to convince people that the 8K living room was coming soon. But since the 2010s, people have mostly adopted 4K. In September 2024, research firm Omdia reported that there were "nearly 1 billion 4K TVs currently in use." In comparison, 1.6 million 8K TVs had been sold since 2015, Paul Gray, Omdia's TV and video technology analyst, said, noting that 8K TV sales peaked in 2022. That helps explain why membership at the 8K Association, launched by stakeholders Samsung, TCL, Hisense, and panel maker AU Optronics in 2019, is dwindling. As of this writing, the group's membership page lists 16 companies, including just two TV manufacturers (Samsung and Panasonic). Membership no longer includes any major TV panel suppliers. At the end of 2022, the 8K Association had 33 members, per an archived version of the nonprofit's online membership page via the Internet Archive's Wayback Machine.
"It wasn't hard to predict that 8K TVs wouldn't take off," the article concludes. "In addition to being too expensive for many households, there's been virtually zero native 8K content available to make investing in an 8K display worthwhile..."

Apple TV+ has landed the screen rights to Cosmere, the sprawling literary universe created by Brandon Sanderson. "The first titles being eyed for adaptation are the Mistborn series, for features, and The Stormlight Archive series, for television," reports the Hollywood Reporter. From the report: The deal is rare one, coming after a competitive situation which saw Sanderson meet with most of the studio heads in town. It gives the author rarefied control over the screen translations, according to sources. Sanderson will be the architect of the universe; will write, produce and consult; and will have approvals. That's a level of involvement that not even J.K. Rowling or George R.R. Martin enjoys.

Sanderson's literary success and fan following helped pave the way for such a deal. One of the most prolific and beloved fantasy authors working today, he has sold over 50 million copies of his books worldwide, collectively across his series. [...] While the Cosmere books are set in various worlds and eras, the underlying premise concerns a being named Adolnasium who is killed by a group of conspirators. The being's power is broken into 16 shards, which are then spread out throughout many worlds by the conspirators, spreading many kinds of magic across the universe.

An analysis of film and music release patterns has found that summer and late fall are the optimal windows for movie premieres, while the music industry has no clear "best" month -- only a worst one, December, which the report's author dubbed "Dump-cember."

For films, the calendar splits into distinct strategic zones. Summer months and holidays see elevated box office because audiences have more free time, and studios chase mega-billion-dollar hits during these windows. October and November see a surge of prestige releases as studios cluster their Oscar hopefuls to keep them fresh in voters' minds when awards season begins in January.

The Silence of the Lambs, which swept the Academy Awards' Big Four categories in 1992, remains the only Best Picture winner in seven decades to have been released in January -- the industry's infamous "Dump-uary." The music industry operates differently. Most months are interchangeable for album releases, but December is uniquely bad. Artists avoid it because they would compete against Christmas classics from Bing Crosby and Andy Williams, both dead for decades. Albums released in December also receive weaker critical reception as measured by Pitchfork scores, and labels quietly slot their least promising projects into this low-attention window.

Television marks its centenary today, exactly 100 years after Scottish inventor John Logie Baird first demonstrated his electro-mechanical system to journalists and members of the Royal Institution in a cramped attic workshop above what is now Bar Italia in London's Soho.

On January 26, 1926, small groups of visitors climbed to 22 Frith Street and watched fuzzy images of a ventriloquist's dummy called Stooky Bill appear on screen, followed by each other's faces transmitted from a separate room. One visitor got too close to the spinning discs and ended up with a sliced beard. The Times published a short account two days later.

Baird had built his first transmitting equipment in Hastings in 1923 using a hatbox, tea chest, darning needles and bicycle light lenses. A 1000-volt electric shock and a displeased landlord pushed him to London, where Gordon Selfridge soon invited him to demonstrate the device during the store's Birthday Week celebrations. The building at 22 Frith Street now carries three plaques commemorating the invention.

How would Sony ceding control of its TV hardware business change the industry? The Verge has an optimistic take: [...] As of today, Sony already relies on different manufacturing partners to create its TV lineup. While display panel manufacturers never reveal who they sell panels to, Sony is likely already using panels for its LCD TVs from TCL China Star Optoelectronics Technology (CSOT), in addition to OLED panels from LG Display and Samsung Display. With this deal, a relationship between Sony and TCL CSOT LCD panels is guaranteed (although I doubt this would affect CSOT selling panels to other manufacturers). And with TCL CSOT building a new OLED facility, there's a potential future in which Sony OLEDs will also get panels from TCL. Although I should point out that we're not sure yet if the new facility will have the ability to make TV-sized OLED panels, at least to start.

[...] There's some concern from fans that this could lead to a Sharp, Toshiba, or Pioneer situation where the names are licensed and the TVs produced are a shell of what the brands used to represent. I don't see this happening with Sony. While the electronics side of the business hasn't been as strong as in the past, Sony -- and Bravia -- is still a storied brand. It would take a lot for Sony to completely step aside and allow another company to slap its name on an inferior product. And based on TCL's growth and technological improvements over the past few years, and the shrinking gap between premium and midrange TVs, I don't expect Sony TVs will suffer from a partnership with TCL.

Sony plans to spin off its TV hardware business to a new joint venture controlled by Chinese electronics giant TCL, the two said Tuesday, a significant retreat for the Japanese giant whose Bravia line has long occupied the premium end of the television market. TCL would hold a 51% stake in the venture and Sony would retain 49% under a nonbinding agreement the two companies signed. They aim to finalize binding terms by the end of March and begin operations in April 2027, pending regulatory approvals.

The new company would retain the Sony and Bravia branding for televisions and home audio equipment but use TCL's display technology. Japanese TV manufacturers have steadily lost ground to Chinese and Korean rivals over the years. Toshiba, Hitachi, Mitsubishi Electric and Pioneer exited the business entirely. Panasonic and Sharp de-emphasized televisions in their growth strategies. Sony's Bravia line survived by positioning itself at the premium tier where consumers pay more for high-end picture and sound quality.

A former Bank of England analyst has urged contingency planning for a potential financial shock if the U.S. government were to confirm the existence of extraterrestrial intelligence. The argument is that "ontological shock" alone could destabilize confidence and trigger crisis dynamics. The Independent reports: [Helen McCaw, who served as a senior analyst in financial security at the UK's central bank and worked for the Bank of England for 10 years until 2012] said politicians and bankers can no longer afford to dismiss talk of alien life, and warned a declaration of this nature could trigger bank collapses. She reportedly said: "The United States government appears to be partway through a multi-year process to declassify and disclose information on the existence of a technologically advanced non-human intelligence responsible for Unidentified Anomalous Phenomena (UAPs)."

"If the UAP proves to be of non-human origin, we may have to acknowledge the existence of a power or intelligence greater than any government and with potentially unknown intentions." Her warning comes as senior American officials have recently indicated their belief in the possibility of alien life. [...] Ms McCaw said: "UAP disclosure is likely to induce ontological shock and provoke psychological responses with material consequences ... There might be extreme price volatility in financial markets due to catastrophising or euphoria, and a collapse in confidence if market participants feel uncertain on how to price assets using any of the familiar methods."

The former Bank of England worker explained there might be a rush towards assets such as gold or other precious metals, and government bonds, which are perceived as "safe." Alternatively, she said precious metals might lose their status as perceived safe assets if people speculate that new space-faring technologies will soon increase the supply of precious metals. The article cites a recent UFO documentary, The Age of Disclosure, where 34 U.S. government insiders, including those from the military and intelligence community officials, share insights about the governments work with UAP. Per the film's description, the documentary "reveals an 80-year global cover-up of non-human intelligent life and a secret war among major nations to reverse-engineer advanced technology of non-human origin."

The American monoculture -- the era when three television networks, seven movie studios, and a handful of record labels determined virtually everything the country watched and heard -- is collapsing under the weight of algorithmic recommendation engines and infinite streaming options. An estimated 200 million tickets were sold for "Gone With the Wind" in 1939 when the U.S. population was 130 million; more than 100 million people watched the MAS*H finale in 1983.

Only three American productions grossed more than $1 billion in 2025, down from nine in 2019. "That broad experience has become a more difficult thing for us studio people to manufacture," said Donna Langley, chairman of NBCUniversal Entertainment. "The audience wants a much better value for their money."

YouTube became the most popular video platform on televisions not by having the hottest shows but by having something for everyone. The internet broke Hollywood's hold on distribution; anyone can now stream to the same devices Disney and Netflix use.

Netflix has begun asking filmmakers to adjust their storytelling approach to account for viewers who are scrolling through their phones while watching, according to Matt Damon. The traditional action movie formula involves three major set pieces distributed across the first, second, and third acts. Netflix now wants a large action sequence in the opening five minutes to hook viewers.

The streamer has also suggested that filmmakers reiterate plot points "three or four times in the dialogue" to accommodate distracted audiences, he said. "It's going to really start to infringe on how we're telling these stories," Damon said.

An anonymous reader shares a report: A hit song has been excluded from Sweden's official chart after it emerged the "artist" behind it was an AI creation. I Know, You're Not Mine -- or Jag Vet, Du Ar Inte Min in Swedish -- by a singer called Jacub has been a streaming success in Sweden, topping the Spotify rankings.

However, the Swedish music trade body has excluded the song from the official chart after learning it was AI-generated. "Jacub's track has been excluded from Sweden's official chart, Sverigetopplistan, which is compiled by IFPI Sweden. While the song appears on Spotify's own charts, it does not qualify for inclusion on the official chart under the current rules," said an IFPI Sweden spokesperson. Ludvig Werber, IFPI Sweden's chief executive, said: "Our rule is that if it is a song that is mainly AI-generated, it does not have the right to be on the top list."

After more than 13 years leading Lucasfilm, Kathleen Kennedy is stepping down. "When George Lucas asked me to take over Lucasfilm upon his retirement, I couldn't have imagined what lay ahead," said Kennedy. "It has been a true privilege to spend more than a decade working alongside the extraordinary talent at Lucasfilm." The Associated Press reports: The Walt Disney Co. announced Thursday that it will now turn to Dave Filoni to steer "Star Wars," as president and chief creative officer, into its sixth decade and beyond. Filoni, who served as the chief commercial officer of Lucasfilm, will inherit the mantle of one of the movies marquee franchises, alongside Lynwen Brennan, president and general manager of Lucasfilm's businesses, who will serve as co-president.

Kennedy, Lucas' handpicked successor, had presided over the ever-expanding science-fiction world of "Star Wars" since Disney acquired it in 2012. In announcing Thursday's news, Bob Iger, chief executive officer of the Walt Disney Co. called her "a visionary filmmaker." Kennedy oversaw a highly lucrative but often contentious period in "Star Wars" history that yielded a blockbuster trilogy and acclaimed streaming spinoffs such as "The Mandalorian" and "Andor," yet found increasing frustration from longtime fans.

Under Kennedy's stewardship, Lucasfilm amassed more than $5.6 billion in box office and helped establish Disney+ as a streaming destination -- achievements that easily validated the $4.05 billion Disney plunked down for the company. But Kennedy also struggled to deliver the big-screen magic that Lucas captured in the original trilogy from the late 1970s and early 1980s, and her relationship with "Star Wars" loyalists became a saga of its own.

Amazon is expanding the Fallout universe with Fallout Shelter, a ten-episode reality competition show where contestants face survival-style challenges and moral dilemmas for a cash prize. Engadget reports: Prime Video has greenlit a unscripted reality show titled Fallout Shelter. It will be a ten-episode run with Studio Lambert, the team behind reality projects including Squid Game: The Challenge and The Traitors, as its primary producer. Bethesda Game Studios' head honcho Todd Howard is attached as an executive producer. Amazon's description of Fallout Shelter is: "Across a series of escalating challenges, strategic dilemmas and moral crossroads, contestants must prove their ingenuity, teamwork and resilience as they compete for safety, power and ultimately a huge cash prize."

[...] The name echos the free-to-play mobile game Bethesda released in 2015. Fallout Shelter lets people build and improve their out Vault-Tec residence, managing the resources for a growing cadre of underground survivors. It seems pretty likely that there will be some type of tie-in between the game and the show, but any details about that might pop up closer to when the program is ready to air. It's currently casting, and no release timeline has been shared.

Bandcamp has announced a ban on music made wholly or substantially by generative AI, aiming to protect human creativity and prohibit AI impersonation of artists. Here's what the music platform had to say: ... Something that always strikes us as we put together a roundup like this is the sheer quantity of human creativity and passion that artists express on Bandcamp every single day. The fact that Bandcamp is home to such a vibrant community of real people making incredible music is something we want to protect and maintain. Today, in line with that goal, we're articulating our policy on generative AI. We want musicians to keep making music, and for fans to have confidence that the music they find on Bandcamp was created by humans.

Our guidelines for generative AI in music and audio are as follows:
- Music and audio that is generated wholly or in substantial part by AI is not permitted on Bandcamp.
- Any use of AI tools to impersonate other artists or styles is strictly prohibited in accordance with our existing policies prohibiting impersonation and intellectual property infringement.

If you encounter music or audio that appears to be made entirely or with heavy reliance on generative AI, please use our reporting tools to flag the content for review by our team. We reserve the right to remove any music on suspicion of being AI generated. We will be sure to communicate any updates to the policy as the rapidly changing generative AI space develops. Given the response around this to our previous posts, we hope this news is welcomed. We wish you all an amazing 2026. [...]

60 years ago today, ABC aired the first episode of its live-action Batman television series, introducing Adam West as the deadpan Caped Crusader in what became a pop culture phenomenon blending high-camp humor and cliffhanger thrills. The mid-season replacement ran for 120 episodes over three seasons before ending in March 1968.

Streamer spend on content is set to top the $100 billion mark for the first time this year, according to an Ampere Analysis report. From a report: The landmark figure will be met as global streamers "remain the primary driver of growth in content investment," according to Ampere. Spend by the likes of Netflix, Disney+, Prime Video, HBO Max, Paramount+ and Apple TV will shoot up 6% this year, helping lead to a 2% increase in overall global content spend, Ampere forecast. The $101 billion figure, the first time streamer spend has crossed that major $100 Billion landmark, will represent around two-fifths of the overall figure.

The long-standing hierarchy in the TV market -- Sony, Samsung and LG at the top, TCL and Hisense fighting it out in the midrange -- is eroding as the budget brands close the performance gap and increasingly lead on technology innovation, The Verge writes. Hisense debuted the first RGB LED TV last year, and TCL's X11L announced at CES 2026 is the first TV to use reformulated quantum dots and a new color filter. TCL's QM9K release last year was "a pretty clear statement that they're ready to fight with the big boys."

The premium brands retain certain advantages: Sony's processing remains unmatched and LG's OLEDs deliver contrast that mini LED cannot match. "Even as the gap in performance across technologies continues to shrink, and TVs from all the manufacturers get closer to parity, the challenge for TCL and Hisense shifts from creating incredible, competitive products to altering perception," The Verge notes.

Samsung once owned the art TV segment entirely; CES 2026 saw announcements from Amazon's Ember Artline and LG's Gallery TV, all using similar edge-lit technology and magnetic frames. The experience across brands is "remarkably similar." If the pricing gap persists and performance remains comparable, "the big three will have to respond by bringing their pricing down or risk losing sales," the publication concluded.

TV manufacturers at CES 2026 in Las Vegas this week unveiled a wave of AI features that frequently consume significant screen space and take considerable time to deliver results -- all while global TV shipments declined 0.6% year over year in Q3, according to Omdia. Google demonstrated Veo generating video from a photo on a television, a process that took about two minutes to produce eight seconds of footage, The Verge writes in a column. Samsung presented a future where viewers ask their sets for sports predictions and recipes to share with kitchen displays. Hisense showed an AI agent that displays real-time stats for every soccer player on screen, a feature requiring so much space the company built a prototype 21:9 aspect ratio display to accommodate it.

Demos repeatedly showed video shrinking to make room for sports scores and information when viewers asked questions -- noticeable on 70-inch displays and likely worse on anything 50 inches or smaller. Amazon's Alexa Plus can jump to Prime Video scenes based on verbal descriptions. LG's sets switch homescreen recommendations based on voice recognition of individual family members.

Texas Attorney General Ken Paxton has secured a temporary restraining order against Samsung, blocking the company from continuing to collect data through its smart TVs' Automated Content Recognition technology.

The ACR system captured screenshots of what users were watching every 500 milliseconds, according to the state's lawsuit, and did so without consumer knowledge or consent. The District Court found good cause to believe Samsung's actions violated the Texas Deceptive Trade Practices Act. The TRO prohibits Samsung and any parties working in concert with the company from using, selling, transferring, collecting, or sharing ACR data tied to Texas consumers.

Samsung is one of five major TV manufacturers the Texas Attorney General's office has sued over ACR deployment. Paxton previously secured a similar order against Hisense.

A 50-inch TV that would have set you back $1,100 at Best Buy during Black Friday 2001 now costs less than $200, and the price per area-pixel -- a metric accounting for both screen size and resolution -- has dropped by more than 90% over the past 25 years. The story behind this decline is largely one of liquid crystal display technology maturing from a niche product to a mass-manufactured commodity.

LCDs represented just 5% of the TV market in 2004; by 2018, they commanded more than 95%. The largest driver of cost reduction has been the scaling up of "mother glass" sheets -- the large panels of extremely clear glass onto which semiconductor materials are deposited before being cut into individual displays. The first generation sheets measured roughly 12 by 16 inches. Today's Generation 10.5 sheets span 116 by 133 inches, nearly 100 times the original area. This scaling delivers substantial savings because equipment costs rise more slowly than glass area increases.

Moving from Gen 4 to Gen 5 mother glass cut the cost per diagonal inch by 50%. Equipment costs per unit of panel area fell 80% between Gen 4 and Gen 8. Process improvements have compounded these gains: masking steps required for thin-film transistors dropped from eight to four, yields climbed from 50% to above 90%, and a "one drop fill" technique reduced liquid crystal filling time from days to minutes.