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.