Why didn't The Social Reckoning enjoy the box office success of 2010's The Social Network, asks IndieWire/A>: [T]here wasn't the same urgency in the story being told. The Social Reckoning focuses less on Zuckerberg, and more on data engineer Frances Haugen's decision to blow the whistle on how Facebook's algorithms were promoting political content that radicalized users, as well as the company's awareness of how its products were contributing to a rise in bullying and teen suicide... [B]ut The Social Reckoning arrives as a much greater threat has emerged from Silicon Valley. Artificial intelligence is dominating the headlines, as fears mount about the economic disruptions it will unleash when millions of jobs are replaced by machines, and, graver still, its potential to trigger a world-ending event... And it's not like Haugen's testimony led to lasting change at Facebook... As IndieWire's Ryan Lattanzio put it, "'The Social Reckoning' argues that the aftermath of their whistleblowing is still somehow felt today. In actuality, living as we do in 2026, it pretty much feels like... no one cared, and nothing changed?"
After the first movie's director bowed out, Sony Pictures shied away from selling it as a sequel — but the problems run deeper, the article adds. "The Social Reckoning isn't just a financial failure, it's a critical one, too. The reviews were blistering..." Although on the bright side, "Sony wisely kept The Social Reckoning's budget at $30 million, meaning it won't face losses on the scale of a Digger... "

Variety writes that Digger "cratered in its second weekend with $3.2 million from 3,321 theaters, a 60% decline from its dismal $8 million debut. So far, the Tom Cruise satire has limped to $14 million domestically and $35.3 million globally. Warner Bros. spent above $160 million to produce the film, which is shaping up to be one of the biggest bombs ever..."

There was some Blade Runner news at New York Comic-Con this weekend — and also some news about Godzilla. Ars Technica reports: We got our first look at Prime Video's new sci-fi series Blade Runner 2099 in July at San Diego Comic-Con. With the show's premiere roughly six weeks away, the streamer unveiled the full trailer this weekend at New York Comic-Con... Prime Video will drop all eight episodes of Blade Runner 2099 on November 25, 2026. [It's already earned 2.1 million views in the last 17 hours].

We also got a new trailer for Godzilla Minus Zero, the sequel to director Takashi Yamazaki's gloriously grounded kaiju epic, Godzilla Minus One, which became a major international hit and snagged an Oscar for best visual effects. [1.2 million views in its first five hours]
And StarWars.com brings news from the Star Wars universe: Kevin Smith has already announced his Star Wars/Marvel: Hope Assembles crossover comic, interweaving the Marvel universe and the Star Wars galaxy like never before. Now, you're cordially invited to add your own creative ideas to the mix through a LEGO Ideas challenge celebrating the milestone 50th anniversary of Star Wars: A New Hope.
Using physical or virtual LEGO bricks, fans are challenged to build "their own epic mash-ups," according to Lego's web site, "in three categories: Character Fusion, Vehicle Fusion, and Scene Fusion." ("Write an engaging description and upload great images of your creation without using AI tools...")

Meanwhile, Star Trek fan site TrekMovie.com covered the major Star Trek announcements:

• There were an interview with 95-year-old William Shatner by Star Trek super-fan Ben Stiller, which ended "with Stiller surprising Shatner by revealing the original Gorn head from his personal Star Trek memorabilia collection."
• Also announced was a new documentary about the disastrous fan-organized convention in 1982 that tried reuniting cast members from the original series. (Its title? The Con of Wrath: The Craziest Convention Ever!)
• Gates McFadden (who played Dr. Beverly Crusher on Star Trek: The Next Generation) will write a new comic book to "bridge the 20 year in-universe gap in Crusher's story between the events of the film Star Trek Nemesis and the television series Star Trek: Picard."
• Paramount+ offered a panel about their series Star Trek: Starfleet Academy (which returns for a second season in 2027).
• Nacelle Toys even announced new action figures of Star Trek creator Gene Roddenberry and Lucile Ball, owner of Desilu Productions.

Reuters also has photos of costumed attendees.

But there was also some excitement when an unruly fan shouted over a panel for the Prime Video animated series Helluva Boss. Entertainment Weekly reports it culminated with series star Brandon Rogers shouting "You need to shut the f--- up right now. I'm going to jump over this fence and end you. It's not cute."

Long-time Slashdot reader badger.foo writes: As some of you may remember, in 2001 RFC1149 (TCP/IP over carrier pigeon) was implemented.

Now one of the packets preserved from that event is up for auction at Christies. Direct link to the auction (current bid: USD 2600) is here.

This is a unique chance to own a piece of Internet history!

"Nicolas Cage is speaking out against Amazon," reports Variety. Amazon developed the series Spider-Noir for Prime Video, but then allegedly asked Cage to sign an AI waiver: "Amazon is a very AI-friendly company, to the tune of $50 billion invested in OpenAI," Cage said Saturday during a panel on the Empire Stage at New York Comic Con. "I am not an AI-friendly actor, so it's like, connect those dots! I'm not a member of their club. I didn't sign the waiver to let him use AI on 'Spider-Noir.' I'm probably not going to be working with that studio again, but that's okay."
Last month Amazon canceled Spider-Man Noir after just one season, Variety reports. And the cancellation was just days before the Emmy Awards, where it then earned 11 nominations (the most of any Prime Video program this year).

ScreenRant reports: Spider-Noir was the actor's first TV role and was praised globally, with season 1 earning a near-perfect Rotten Tomatoes rating from critics of 92% and a 90% rating from audiences. Critics stated that "This sharply written homage to classic film noir — which includes a standout Nicolas Cage performance — is the novel superhero project fans need," and "Spider-Noir is one of the standout shows of the year...." The cancellation was certainly a huge shock as it had earned 11 Emmy nominations and reached 2.6 billion minutes viewed within its first six weeks on Prime Video.
More from Variety: Cage went on to tell the Comic-Con audience that he hopes to work with the rising class of Gen-Z filmmakers, praising Backrooms director Kane Parsons, who parlayed his YouTube fame into a Hollywood career... "I got to get with these young directors who are Gen Z, and they're going at it their own way, whether it's through the YouTube culture or whatever it is," Cage said. "They're doing it from scratch and by hand. I want to get with that."

Amazon Prime Video will become the exclusive global home of the Emmy Awards under a six-year deal beginning in 2027, the Television Academy announced on Tuesday. The Emmys will stream live for free to viewers in more than 240 countries and territories without requiring a Prime subscription. From the report: In the release, Prime Video was named as the "permanent home" for the Emmys, in contrast to the rotating agreement in place years prior. The switch ends the traditional "wheel-deal" setup to broadcast the awards, where ABC, CBS, NBC and Fox took turns hosting the Emmys each year. The system has been in place since at least 1994, with the most recent eight-year contract expiring this year. "Television has never been more global, and the Emmys should be a celebration that the world can share," Television Academy chair Cris Abrego said in a statement. "Having a dedicated home with Prime Video allows us to build on that legacy with unprecedented global reach and a broader commitment to the Television Academy and our mission throughout the year."

Amazon has removed Alexa voice control for the 3.5mm aux input on several older Echo speakers, meaning users can no longer ask Alexa to play or pause audio coming through the wired connection. It's unclear why the feature was removed. The Verge reports: Ars Technica points to this Reddit poster claiming they received a message from Amazon and says an unnamed spokesperson confirmed the change. When contacted by The Verge, Amazon did not provide an on-the-record statement. The message does not include any explanation for why the feature was removed. It also doesn't mention any changes to audio output functionality like connecting an external speaker to an Echo Dot, and it appears that control of the port from within the app's settings menu still works.

An anonymous reader quotes a report from ArsTechnica: Cable lobby groups notified the Federal Communications Commission that they will sue the agency to block its controversial repeal of the National Television Ownership Rule, which limits the number of broadcast TV stations a single company may own. The cable groups said that larger broadcast TV station groups will have leverage to demand higher retransmission fees from TV providers, resulting in "higher monthly TV bills for consumers." They said the FCC repeal order "arbitrarily and capriciously ignores the harms that will surely follow from allowing broadcast station groups to exceed the National Cap."

The cable lobby groups represent top providers Comcast, Charter, and various other cable operators. Top cable companies have also expanded through mergers. Charter completed a purchase of Cox in August after the FCC rejected protests by advocacy groups that said the cable deal "would create unchecked gatekeeper power over Internet distribution" and make it easier for the biggest cable companies to raise prices. [...] The TV ownership rule prohibits any single broadcast station owner from reaching more than 39 percent of all TV households in the US. Congress directed the FCC to set the cap at 39 percent in 2004. On Friday, cable lobby groups submitted a petition asking the FCC to keep the TV ownership cap in place until litigation over the FCC's authority to repeal the rule is over.

The cable groups' filing said the FCC repeal of the TV ownership cap violates the 2004 action by US lawmakers. The decision by Congress to set the cap at a precise numerical threshold was unambiguous, the filing said. "Congress established the National Cap at 39 percent in the 2004 CAA [Consolidated Appropriations Act] in direct response to the FCC's attempt to aggressively raise the Cap to 45 percent and made repeated references to the 39 percent Cap in the statute," the petition said. The petition to the FCC is mainly a procedural step as the commission isn't likely to stay its own order. The cable groups said they intend to sue the commission in a US appeals court once the FCC order is published in the Federal Register. After the lawsuit is filed, they can ask the court to issue a preliminary injunction that would keep the TV ownership cap in place pending the outcome of litigation.

[...] The cable groups' petition said the FCC can't change the cap because the 2004 law "references the 39 percent Cap as statutory, not regulatory." A provision requiring divestiture of stations "specified that someone exceeding 'the 39 percent national audience reach limitation in paragraph (1)(B)' of 'section 202(c)' of '[t]he Telecommunications Act of 1996' 'shall have not more than 2 years to divest,'" the petition said. "Likewise, Congress singled out the Commission's only mechanism for setting aside statutory requirements -- the Commission's forbearance authority under 47 U.S.C. 160 -- and made clear that it 'shall not apply to any person or entity that exceeds the 39 percent national audience reach limitation,'" the cable lobby petition said. The FCC order argued that the agency's "ability to forbear from enforcement of its rules is distinct from its power to alter or eliminate those rules," and that the FCC forbearance authority doesn't apply to regulation of broadcasters.

James Cameron's Avatar is no longer the highest-grossing movie in box office history. That honor now goes to the Disney/Marvel Studios film Avengers: Endgame. Variety explains: "Avatar" spent a decade as the biggest release ever until "Avengers: Endgame" overtook the record in 2019 during its initial run on the big screen. "Endgame" dropped to No. 2 on all-time charts in 2021 when "Avatar" returned to theaters in advance of 2021's "Avatar: The Way of Water." Five years later, and Earth's Mightiest Heroes have triumphed over the Na'vi again. Disney is popping Champagne no matter which big-screen behemoth claims the No. 1 spot. "Avatar" was released by 20th Century Fox, which Disney now owns after the companies merged in 2019... [Last week's] re-release of "Endgame" has generated more than $126 million worldwide.
Together the 38 Marvel Studios movies "have generated more than $35 billion worldwide," notes an announcement on Disney's web site, "making the Marvel Cinematic Universe the most successful film franchise in history."

Their announcement adds that Disney "is responsible for seven of the 10 highest-grossing films of all time." That list also includes James Cameron's Titantic and his first two Avatar movies, but also this summer's Spider-Man: Brand New Dayand the earlier film Spider-Man: No Way Home, plus Marvel's 2018 film Avengers: Infinity War. Also among the top-10-of-all-time are Star Wars: The Force Awakens (2015) at #7 and last year's Zootopia 2.

Meanwhile Coyote vs. Acme was released for rent or purchase on streaming platforms Tuesday, and became the No. 1 most-watched movie in the Apple TV store for America and Canada, according to CBR. (Citing a report from FlixPatrol ) "On Rotten Tomatoes, Coyote vs. Acme has a near-perfect 96% Certified Fresh Tomatometer score based on critics' reviews, and a similar 94% Verified Hot Popcornmeter score based on audience reviews... Frank Scheck from The Hollywood Reporter called it "one of the best live-action/animation films ever."

Preorders have just opened for its DVD and 4K disks, and Coyote vs. Acme is also coming to Blu-ray writes IGN, "along with some hilarious outtakes that he described as 'not PG-rated.'"

Celebrating the film's $100 million box office take last week, the movie's distributors posted a very Coyote-like koan on social media. "It's only over when you stop trying."

Paramount and Warner Bros. Discovery will operate under the Skydance name once their roughly $110 billion merger closes, which is expected on October 6. The combined company will bring together Paramount+, HBO Max, CBS, CNN, MTV and other networks, along with major franchises including The Lord of the Rings, Game of Thrones, DC and Yellowstone.

Ellison said the Paramount and Warner Bros. brands will remain prominent. "We never wanted a new corporate identity to diminish, alter or overshadow either one. Instead, we wanted a name that would give the combined company an identity of its own while allowing Paramount and Warner Bros. -- and all our extraordinary brands -- to remain in the spotlight."

"Weird Al" Yankovic's name has just been approved for a new asteroid — (14331) Alyankovic = 1981 EC26 — by the International Astronomical Union, reports Space.com.

Yankovic's asteroid was championed by planetary scientist Allison McGraw joined by "several heavy hitters in the planetary science field, according to the Tucson Star. (Astrophysicist Steve Desch from the School of Earth and Space Exploration at Arizona State University; Tim McCoy, one of the main curators of meteorites at the Smithsonian Institution; and University of Arizona research scientist Melissa Brucker, leader of the Spacewatch program, which has discovered more than 179,000 asteroids.) The scientists also convinced the International Astronomical Union to name an asteroid after one of Yankovic's major influences, famous musical humorist and political satirist Tom Lehrer, who died last year at age 97. Lehrer's work includes "The Elements," a 1959 song in which he recites the entire periodic table to the tune of Gilbert and Sullivan's "Major-General's Song." "He was a mathematician and teacher and also wrote math- and science-themed songs," McGraw said. "We felt that someone who had that kind of science enthusiasm really deserved to have their name up in the sky...." McGraw is hoping that naming space rocks after stars like Lehrer and "Weird Al" will cast some reflected light on two things she's passionate about: asteroid research and science communication.
Six years ago a 92-year-old Tom Lehrer released all his lyrics into the public domain. (Wikipedia notes he'd "largely retired" by the 1970s to become a mathematics teacher at the University of California, Santa Cruz.) Slashdot ran a brief career retrospective when Lehrer died last year at age 97.

And the IAU writes that "Generations of scientists have been inspired" by Weird Al Yankovic's "comedic musical works, including 'It's All About the Pentiums' and 'White and Nerdy'." ("I'm fluent in JavaScript as well as Klingon," Yankovic sings in the latter.) He appears in a song envisioning a rap battle between Bill Nye the Science Guy and Sir Isaac Newton... And in 1999 he recorded a five-minute summation of Star Wars: Phantom Menace, sung to the wistful tune of Don McLean's American Pie. Performing it last month in a NPR Tiny Desk concert, "most of the audience was singing along," remembers an interviewer at NPR. "It felt like something that was very personal to them." Weird Al: It's one of those songs that means a lot to people, particularly "Star Wars" fans, of course. But I mean, I see a lot of people in the audience cosplaying as Jedi Knights and waving their light sabers... I've even heard that, you know, they play that song at "Star Wars" conventions, and people get weepy... [I]t really hits people in a tender place somehow...

"Oh my, my, this here Anakin guy
may be Vader someday later, now he's just a small fry.
And he left his home and kissed his mommy goodbye,
sayin' soon, I'm gonna be a Jedi."
Yankovic has led a geek-friendly career. In the heyday of Napster, he released an anthem-style parody mocking the arguments of the Recording Industry Association of America, titled "Don't Download This Song. ("Even Lars Ulrich knows it's wrong...")

"Once in a while maybe you will feel the urge
To break international copyright law...
you start out stealing songs, then you're robbing liquor stores
And selling crack and running over school kids with your car..."

As a student at Cal Poly, San Luis Obispo, Yankovic bootstrapped a career in 1979 by recording his first novelty song "My Bologna" (a parody of "My Sharona" by the Knack) while playing his accordion in a bathroom for its acoustics. And even the IAU acknowledged the geeky themes in his 1999 song "It's All About the Pentiums" (a filk on Puff Daddy's "It's All About the Benjamins").

"You're usin' a 286? Don't make me laugh
Your Windows boots up in what, a day and a half?
You could back up your whole hard drive on a floppy diskette
You're the biggest joke on the Internet..."

The movie Coyote vs. Acme earned more than Warner Bros.' $30 million tax write-off in just two weeks. And last week the movie officially earned more than its production budget of $70 million. But today the movie passed the $100 million mark. "You asked for it, we delivered, and you showed up!" distributor Ketchup Entertainment posted on social media (adding "Thank you to the fans for making this a massive hit!")

With a break-even number of $120 million, the movie "will probably make up any theatrical deficit (should there be any) with its impending releases on video on demand and streaming," writes ScreenRant. Almost three years after the completed film was initially shelved for a $30 million write-off, its cumulative domestic box office has apparently even beat Warner Bros. dinosaur movie The End of Oak Street: In addition to officially joining the chart of the Top 30 movies of the year so far at the domestic box office, by surpassing The End of Oak Street, Coyote vs. Acme has outgrossed five of the eight movies that Warner Bros. has put out in domestic theaters this year.... [It's just $17.6 million behind Supergirl, and within $30 million of Mortal Kombat II and Wuthering Heights.] Their anticipated sci-fi sequel Dune: Part Three also seems guaranteed to land higher than 2026's Coyote vs. Acme on the chart (2021's Dune earned $108.9 million in domestic theaters, while Dune: Part Two earned $282.1 million).
With its a small marketing budget of just $10 million, the movie seems to be relying on oddball marketing stunts like their AMA on Reddit's r/movies. And commemorating the spirit of the movie, Crayon-maker Crayola even released a special "Coyote Secret Plan" web page for children to print and color — and partnered with the film's stars for a video on the importance of creativity:

Lana Condor: Crayola is all about encouraging kids and grown-ups to turn imagination into action.

Will Forte: Which is exactly what Coyote does in Coyote versus Acme. He sees a problem and thinks, "Could this be solved with a rocket, a catapult, or a suspiciously affordable mail order anvil?"

Lana Condor: Usually no.

Will Forte: Usually very no.

Paramount Skydance just "emerged victorious" reports Reuters, "from a legal battle over its $110 billion acquisition of Warner Bros Discovery" that will "dramatically concentrate power across Hollywood's film, TV, streaming and news businesses."

The victory comes "after settling with a California-led group of US states and a Hollywood writers union, paving the way for one of the largest media mergers in history." Paramount agreed to abide by temporary film quotas and a news oversight committee, avoiding a forced sale of cable assets such as CNN or any of its lucrative film franchises... The Writers Guild of America settled its parallel case against Paramount, while saying it still believes the deal will damage the industry. The states' settlement forced the union to "contend with the reality of forging ahead alone, with no backing from government enforcers" in a complex case that would have cost millions of dollars...

Paramount promised in the state settlement to bring more film production to the US — spending at least $300 million more each year in domestic production — and adhere to US theatrical release quotas for five years. The company will produce 30 movies in each of the first two years of the deal, and 32 movies in each of the following three years, Bonta said. Each year, at least four of those films must be independent films and at least 20% must be blockbusters. If it falls below that threshold, it will pay $30 million per film, most of it into funds to support workers. Paramount also promised not to raise rates on theater operators for three years.
The article notes that California attorney general Rob Bonta still said "I don't think these two companies should merge" at a press conference announcing the settlement, "but that's not something that we are focused on with our resolution here." He call their agreement "a strong antitrust outcome."

And Politico notes that Bonta acknowledged at the press conference that "Some of you who may be watching this may have wanted a different outcome. I understand that." But he argued he'd reached a settlement capable of "providing more film production that protects Hollywood workers and their livelihoods, that places guardrails allowing for robust cable negotiations, that protects competition and creates more choice for consumers about what this merger could mean for the industry." It "resolves the antitrust concerns at the heart of our lawsuit against the company and Warner Brothers," he said...

The agreement came as a disappointment to opponents of the transaction, including the Block the Merger Coalition, which cast the settlement as a sweetheart deal for Paramount Chief Executive David Ellison and his father, Oracle Co-Founder Larry Ellison, who is financially backstopping the acquisition. "This is a bad deal for the future of film, entertainment, independent journalism, and a strong democracy in this country," the coalition said in a statement. "We are disappointed and angry that the interests of average Americans have been trampled to benefit oligarch billionaires....."

The $111 billion deal allows Paramount to combine its namesake streaming service with HBO Max, creating a new offering with about 200 million subscribers. That would help Paramount compete against companies such as Netflix, which boasts more than 325 million subscribers worldwide.

The Rise and Fall of the Artificial State ultimately asks the question, "How did we cede control of our democracy to the machines, and can we get it back?" according to the Harvard's Arts and Sciences site, FAS Current: The new title finds Lepore, who used to teach a course at the College titled "The Rise and Fall of the Machine," charting the ascent of what she calls the artificial state: the digital communication infrastructure by which governments and private corporations automate and ultimately control public discourse. Following her Pulitzer Prize win for "We the People: A History of the U.S. Constitution" (2025), "I wanted to think about whether liberal constitutional democracies can survive this moment in time," Lepore shared in a phone interview...

[In the "current ChatGPT moment"] Lepore found herself asking: "Who are the people who are clamoring to be replaced by machines, to have movies made by machines, and novels written by machines?" And who, she continued, is pushing for our government to be determined by these machines? In the book, Lepore notes that technological tools are increasingly influencing elections around the world... However, she sees the 2026 U.S. midterms as an inflection point. In a recent piece in the Financial Times, Lepore wrote, "This year marks the first AI election. Voters are asking chatbots how they should vote. Campaigns and activists are using AI to analyze the electorate, send micro-targeted messages, produce tailored ads and even deepfakes...."

Lepore stresses in the book that "nobody should trust historians to make predictions," but she believes it's possible for democratic citizens to wrest back control. Referencing proposals such as New York's data center moratorium law, Lepore ends by describing a "growing and increasingly noisy tech backlash."

"It's not foreordained. This isn't inevitable," she said during the interview.
"In the book's epilogue Lepore predicts, as her title suggests, a fall of the Artificial State," writes the California Review of Books. "That argument turns out to be speculative, much more of a hope than a certainty." [Lepore] does support her prediction by positing that the Artificial State is "poorly designed and badly built," that it has not given people safety and happiness but rather a prison of glowing screens, and that a majority of Americans want more control over AI. To escape the Artificial State we will have to imagine a different future by gaining more knowledge of the past in a search for meaning. Of course, powerful forces want to deny that and turn us into servile automatons.
The Guardian adds that "While Lepore interprets much classic sci-fi, such as Isaac Asimov, as cautionary, she observes that "the architects of the Artificial State seem to have read these stories, unironically, as instruction manuals, guides for how to build robots that would one day rule the world". (The Atlantic writes that "What one gathers from these misreadings is not so much that science fiction itself is nefarious, but that arrested development might be...")

But The Indian Express writes that despite the author's bleak conclusion, "Lepore is not a pessimist. Because the Artificial State is a construct, neither alive, nor truly indestructible, she argues it is still possible to take it apart... [T]his is a clear-eyed reckoning rather than a doomsday tract. It is not an easy read, but an essential one for anyone unsettled by the pace of the AI wave."

The Los Angeles Times reports: Chen Yilong has racked up plenty of film and TV credits in his two decades as an actor, but with work getting scarcer he signed a contract in August to license the image of his face to a Chinese production studio. Chen's role will be to sit in front of a video camera and make facial expressions at the prompt of a director. A neutral stare. An angry glare. A look of surprise. Using artificial intelligence, the studio will use images of Chen's face to generate an avatar, also known as a "digital human," to star in an AI-generated movie. "If you can't beat it, join it," said Chen, 38, who works in Beijing.

The Chinese film and video industry is being transformed by AI-driven storytelling, fueled by rapid advances in video generation software, and at ground zero are the so-called micro dramas that play out on millions of smartphones. Typically just a minute or two in length, the videos are devoured by Chinese audiences... And the cost of producing them has been cut drastically through the use of AI software developed by Chinese technology juggernauts including Kuaishou Technology and TikTok's global owner, ByteDance. The number of Chinese-made micro dramas surged in the first three months of this year to 128,000, according to the China Netcasting Services Assn. More than 95% of them were made with AI, the association said....

Sun Wei founded Feixiang Universe, the Shenzhen-based studio that cast Chen. The fear of accidentally "stealing someone's face" was a big reason she said she decided to license real people's likenesses for an AI production set during China's Tang Dynasty more than 1,000 years ago. Thanks to AI's training data bias, AI-generated performers tend to have similar features and share a homogenous look, Sun said. Many have flawless skin and extremely symmetrical faces, requiring her and other Chinese AI filmmakers to cast a wide net to "buy" new faces and digitize actor's expressions.
Lu Beike, who directed the big-budget Chinese series "Three-Body," felt theAI-generated scenes he'd tried came out sub-standard. "Lu added that if 90% of a film was generated by AI, a real human performance could appear jarring. A real actor's expressions carried more nuance and emotion. The skin textures did not match. Sometimes the only solution was to process the live-action material until the person looked a little less real — until they fit back into the 'AI world,' Lu said."

But at Sun Wei's studio, they're thrilled they can produce a 90-minute AI film for $500,000 where professional productions used to cost millions of dollars. According to the article, Sun's team works with ChatGPT, Kimi or DeepSeek to flesh out entire screenplays from a short paragraph. The screenwriter takes over, but "to produce the finished product, Sun's team uses Chinese video-generation models to input the type of scenes, backgrounds and performers they want, with the AI generating 15 seconds of footage each time."

Still, the article points out that "Similar tools are being tested in the U.S., and the AI trends upending China's entertainment industry may be a harbinger for what's to come in Hollywood, said Michael Berry, a professor specializing in contemporary Chinese culture at UCLA. Already, Chinese companies that sell AI-powered video-generation software are seeking inroads in Hollywood..."

LG is pushing back against reports that its smart TVs are "spying" on users, saying wake-word detection happens locally and that features such as Automatic Content Recognition, voice recognition, and interest-based ads are optional. But critics note that researchers found TVs keeping logs of ambient conversations, and LG's response "did not address broader concerns about how much data it collects, who it shares it with, the potential for bad actors to exploit its features, or the misleading way in which its privacy options are presented," reports The Verge. Here's an excerpt from LG's statement: Some recent media coverage may have contributed to misconceptions about how LG smart TVs work. As an industry leader, LG believes we have a responsibility to provide customers with clear and accurate information about how our smart TVs operate and the privacy controls available to them. We would like to clarify how our smart TVs operate and explain our approach to user privacy.

LG smart TVs do not continuously record or transmit users' conversations. Speech-to-text processing begins only if a user activates a voice interaction through a supported wake-word feature or by pressing the voice (or AI) button on the remote control. Audio used for wake-word detection is processed locally on the TV and, if no wake word is detected, audio is not converted to text, stored, or transmitted. Voice-recognition results and related technical logs may be generated as part of processing a voice command. These records are associated with specific voice interactions and do not indicate continuous recording of conversations occurring outside an active voice recognition session.

Speech-recognition results may be used to support voice-related features but are not uploaded later when the TV is offline or when connectivity is restored. Features such as Automatic Content Recognition (ACR), voice recognition, and interest-based advertising are optional. These features are not enabled by default. Users can choose to enable these features and can manage or withdraw consent through TV settings.

ACR uses audio fingerprinting technology using the TV's internal audio processor (not a speaker) to identify content and does not collect screenshots, screen recordings, video recordings, voice recordings, or other audio recordings from the TV. Where ACR is available and enabled, ACR-related information may be used for audience segmentation and viewing or audience trend analysis. Interest-based advertising and cross-device advertising require separate user consent through the applicable advertising-related agreements. Protecting user privacy is a fundamental principle in the design and operation of LG products and services. The statement goes on to "provide additional details on how LG smart TV features work, how information may be processed, what choices users have, and how LG continues to strengthen privacy, transparency, and security."