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."

An anonymous reader quotes a report from Ars Technica: ABC's Jimmy Kimmel said he will be interviewing a Democratic candidate for Senate tonight, but the interview will be on YouTube only and not broadcast on TV because of threats made by the Federal Communications Commission. Kimmel has been a prime target in the Trump FCC's attacks on ABC and its owner, Disney. In his monologue last night, Kimmel said he'll be interviewing Democrat James Talarico, a state representative who is running against Texas Attorney General Ken Paxton for a seat in the US Senate.

In previous years, such an interview would have aired on the broadcast show via local stations throughout the country, Kimmel said. This time, it will only be on the Jimmy Kimmel Live YouTube channel in order to prevent further trouble for individual stations that hold FCC licenses, he said. "I'll be interviewing James Talarico tomorrow night under unusual circumstances," Kimmel told the audience on Wednesday. "For a lot of years, for the whole 20-plus years of our show, in fact, I've been interviewing Americans who are running for office with no problem at all, just like Letterman did, Leno did, Arsenio, et cetera, et cetera. I've interviewed a lot of political candidates, from Hillary Clinton to Ted Cruz to Donald Trump himself." But as Kimmel said, "something has changed." Disney suspended Kimmel briefly last year after FCC Chairman Brendan Carr threatened to revoke the licenses of ABC stations for "news distortion" if they continued to air Kimmel's show. [...]

Kimmel said the decision to put the interview on YouTube was made out of consideration for local stations that could face FCC threats to their broadcast licenses. "And so out of consideration for our local stations, especially our ABC affiliates in Texas who would have to deal with this nonsense, my interview tomorrow with James Talarico will not air on television," Kimmel said. "It will be posted on YouTube instead. It will not be on TV. So if you want to learn about a candidate for the Senate tomorrow, you will have to go to the Jimmy Kimmel Live YouTube channel where you will see it in its entirety, and thank goodness we have that because in the America we live in right now, that is the best that we can do, until November, of course." "Jimmy Kimmel's decision to keep his interview with a Senate candidate off the air shows just how far this administration's campaign of censorship and control has gone," FCC Commissioner Anna Gomez, the commission's only Democrat, said today. Gomez said the FCC "has no lawful authority to threaten broadcast licenses over guest bookings or editorial decisions," and that "no host, local affiliate, or network should have to weigh federal retaliation before booking a guest for a newsworthy interview. Any attempt to pressure broadcasters into self-censorship undermines both press freedom and the public's right to hear from candidates in their communities seeking public office."

The report notes a similar controversy that occurred in February when Stephen Colbert said CBS forbade him from interviewing Talarico. CBS denied prohibiting the interview but said it gave Colbert "legal guidance that the broadcast could trigger the FCC equal-time rule for two other candidates [...] and presented options for how the equal time for other candidates could be fulfilled." That interview also ended up being published on YouTube.

"Star Trek" marks its 60th anniversary today, September 8, six decades after the original series premiered in 1966 and went on to become one of the most successful science-fiction franchises in television history. Outlets across the web are commemorating the milestone with full health reports, hot takes, behind-the-scenes retrospectives, and reflections on the franchise's influence and what may lie ahead. The New York Times reports: As of 2026, the 60-year-old science fiction franchise boasts a fandom of carbon units -- sorry, humans -- that spans at least three generations. What began, in 1966, as a five-year space mission on the U.S.S. Enterprise to "boldly go where no man has gone before" now represents an anthology of space travel across more than 25 series and films in parts of two centuries. Where once it was James T. Kirk or bust, it's not unusual to find fans who prefer other captains, like Picard, Janeway or Sisko. There are so many series to keep track of that fans often communicate using country code-like abbreviations for each installment: TOS (the original series), TNG ("The Next Generation"), DS9 ("Deep Space Nine"), ENT ("Enterprise") and so on.

Outside the Trekiverse, disparities in generational slang, politics and social mores are practically a foregone conclusion. But "Star Trek" functions as connective tissue between fans past and present. Some of that tissue is just shared references: There will always be captain's logs, timelines by stardate, warp factors one through 10, phasers and photon torpedoes and, every now and then, a doctor who insists, "I'm a doctor, not a ____!" The Vulcan salute has become a general symbol of geek-recognize-geek, but real Trekkies (or Trekkers, as some prefer) know that "Live long and prosper" is only half the message; the recipient is meant to say "Peace and long life" in response. But the series' staying power, and the ease with which each generation finds its way into them, is an indication that fans of all ages share not only language, but values, in common. Here are some of our favorite Slashdot stories from the early days. The 2004 "Should Star Trek Die?" is an especially good callback today because it features LeVar Burton (Geordi La Forge in Star Trek: The Next Generation) arguing that Trek needs to disappear for several years to become special again...

Star Trek Lawsuit (1998)
Salon Writes on The Troubles with "Trek" (1999)
Star Trek's Next Series (2001)
Should Star Trek Die? (2004)
UPN Officially Cancels 'Star Trek: Enterprise' (2005)

An anonymous reader quotes a report from TechCrunch: Telluride just managed one of its best-kept secrets in years, per The Hollywood Reporter. On Sunday night, festival-goers filed into a 650-seat theater with their phones locked away, having no idea what they were about to see, told only that it ran nearly three hours, hadn't been shown anywhere, and that its principal creators would be in the audience. The surprise premiere they went on to enjoy is a new documentary from co-directors Nathan Fielder and Lance Oppenheim about Theranos founder Elizabeth Holmes.

Called "You Can See Everything," the film is said to capture Holmes and her husband, Billy Evans, in the 34 days before she reported to federal prison in May 2023 to begin an 11-year sentence for defrauding investors about her blood-testing technology. Since then, her legal fight has limped along without success. Her appeals to overturn the conviction and shorten her sentence were rejected in February of last year. She then went a different route last year, asking President Trump to commute her sentence. That clemency petition is still listed as pending, meaning it's officially been opened and remains under review.

Fielder apparently lived in the couple's guest house during filming -- the access they provided sounds shocking -- but some of the buzz also ties to an A-list actress who becomes part of the story itself. A24 is set to release the film in October. You can watch a trailer for the film on YouTube.

A Gamers Nexus investigation found that LG smart TVs are almost constantly logging and uploading data about owners and their homes, even while they are offline or in standby mode. "The company's TV sets scan Wi-Fi networks for nearby devices, record audio logs through their microphones, and use audio and video sampling to recognize exactly what you're watching from across the TV inputs," reports The Verge. From the report: Gamers Nexus partnered with fellow YouTubers Level1Techs and independent security researchers for the investigation, which involved testing retail LG OLEDs. Packet captures showed the TVs scanning the local area network for nearby hardware like phones or smartwatches, as well as logging location data and details of nearby Wi-Fi networks, and feeding the information back to LG Ad Solutions. Perhaps more concerningly, the TVs were capable of recording microphone audio when in standby; this continued even after the TV was disconnected from the internet, with audio files stored offline and uploaded once a connection was restored. Earlier this year, LG was found to be silently installing an adware-like app on Windows PCs that ran pop-up ads for other LG apps and even McAfee antivirus.

It looks like a spaceship hovering over South Los Angeles, writes CNN, with futuristic tube-like elevators and an exhibition of Banksy murals. There's a room featuring Luke Skywalker's X-34 Landspeeder, but in its gardens there's a 19th-century cast of a sculpture showing David conquering Goliath — and then a bronze statue of Princess Leia strangling Jabba the Hutt with a chain. Next to Rosie the Riveter. CNN argues it's the museum's message that "all forms of art and mythology on display here — from comic book illustrations and 'Star Wars' concept art to Impressionist masterpieces and reproductions of the Sistine Chapel — are worthy of equal consideration within the long arc of human history." More than 16 years after first proposing a cultural institution dedicated to visual storytelling, filmmaker George Lucas and his wife, businesswoman Mellody Hobson, will open their long-awaited museum in Los Angeles on September 22. The project made two false starts — plans to construct it in San Francisco and Chicago were both eventually abandoned — and has cost Lucas around $1 billion of his own money to build... Inside, visitors will find a significant slice of Lucas' private collection, amassed over five decades and spanning art, costumes, movie props and memorabilia, with more than 1,300 objects currently displayed across 30 galleries...

Many fans will come for the "Star Wars" vehicles and sculptures of Yoda and Grogu, but the sci-fi mega-franchise only occupies about 7% of the museum. Lucas and Hobson are betting those visitors will stay for artworks by Frida Kahlo and Norman Rockwell, photographs by Gordon Parks, comics by Frank Miller and Cowboy Bebop anime, which will be screened in one of two theaters alongside early silent movies, Lucas' own student films and productions by famed historical artists like Man Ray... [M]ajor art institutions like New York's Museum of Modern Art and London's Tate Britain have reconsidered the cultural canon by rehanging their permanent collections, exhibiting overlooked or marginalized artists alongside more widely celebrated names. The Lucas Museum appears to follow a similar philosophy, contending that the gravitas of an artwork is not just determined by its display in space but by what it's in dialogue with. Lucas has even called his namesake museum "a temple to the peoples' art," elevating the work of illustrators and other underappreciated art forms...

The museum defines narrative art as any art that tells a story, and, moving through the space, one feels the enormity of the task of organizing and presenting such a broad vision... The open-plan, curvilinear design means the galleries are not fully divided, reinforcing the all-encompassing nature of the collection, though altogether the vast array of exhibits sometimes struggle for cohesiveness. Disjointed curation may reflect turbulence in the museum's management ahead of the opening. Last April, former director and CEO Sandra Jackson-Dumont departed, with Lucas himself assuming responsibility for "content direction." A month later, the museum laid off 15 full-time and seven part-time staff before chief curator Pilar Tompkins Rivas resigned in December, with no replacement planned...

After failing to secure a site in San Francisco, Lucas faced public opposition and a lawsuit in Chicago, with nonprofit Friends of the Parks arguing that his lakefront proposal would essentially privatize public land. Amid the delays and setbacks, simply opening the museum may feel like a victory to its founders.
Lucas's wife said she'd watched the awe-inspiring activity of genius at work, reports Variety. "And he was fanatical at times, but the thing about a fanatical person is they're a fan. He was a deep fan of these illustrators in this work, and he wanted them to be represented, and I became a deeper fan of his." Hobson teared up as she continued, "I was a fan already, but I saw something, the inspiration, the unwillingness to compromise, the determination, the lack of sleep, the lack of rest, the doggedness that actually taught me so much more than I ever could have imagined." The museum, which features 1,200 pieces from Lucas's private collection, has been in the works for about 20 years... "I thought I was tough. I thought I was strong, I thought I had a will, and then I saw George, and I was like, 'Oh, that's why you could only do six of those movies,'" Hobson said. "Any more would have killed you."
Artforum magazine notes the museum received "mixed reviews" before its September 22 opening: The billion-dollar, 300,000-square-foot museum, which opens to the public on September 22, encompasses 100,000 square feet of gallery space housing the collection of Lucas and Hobson. Intended to highlight storytelling in art, it presents the work of comic book artists John Romita Sr. and R. Crumb, illustrators Maxfield Parrish and Norman Rockwell, and fantasy painters Boris Vallejo and Frank Frazetta alongside masterworks by Artemisia Gentileschi, Lucas Cranach the Elder, and Pieter Brueghel the Younger, as well as Mary Cassatt, Frida Kahlo, and John Singer Sargent. All the works on display were chosen for their ability to tell a story, frequently in a single frame, Hobson told members of the press on September 2...

"Some visitors may be scandalized by the collision of so-called 'high' and 'low,'" wrote Min Chen in Artnet News. "But there's something liberating about watching those hierarchies collapse, seeing the breadth of human creativity arrayed beyond the bounds of genre or canon." Notably, most of the works appear without didactics, which is intentional. "We're encouraging people to have their own individual encounters with works of art and take away what they feel like speaks to them," Lucas told The Guardian.

The tactic did not land for everyone. "Without [didactics], I left the Lucas without a clear sense of how the museum is positioning itself or, frankly, without learning much about anything beyond what I already knew...." wrote Maximiliano Durón in Artnews. "The Museum of Narrative Art lacks any kind of narrative." Mary McNamara of the Los Angeles Times was unfazed by the lack of information, calling the institution "gutsy" and "defiant."

"Critics will roar," wrote McNamara, "but the Lucas Museum is a win for 'the people's art.'"
Even the museum's web site is a visual extravaganza (and impossible to scroll). Reportedly there's two restaurants, including the rooftop Skywalker Grill, which offers offering everything from striped bass and ragu bolognese to lobster corn dogs and Skywalker ranch Waygu burgers.

A new streaming TV channel shows films made with genAI, reports Engadget. "Fairground AI Creator TV" is free — and supported with ads — describing its material as "AI Cinema": "AI-generated" can make it sound as though someone typed a sentence into a machine and came back five minutes later to find a finished movie. Fairground's catalog shows why that description can be too simple. Take Lost Garden: The Awakening of the Lantern Knight. According to its Fairground page, creator Frank Houbre wrote the world, characters, mythology, emotional arc and screenplay himself. AI tools were used mainly for animation and visual production, with other tools helping create voices and music before the episode was assembled in conventional video-editing software.
There's still one question, the article notes: "whether viewers actually want an AI-focused TV channel." More than 100 AI creators have contributed to the 24-hour slate of programming, although Variety points out several of them were discovered on social media.

The channel was recently profiled in an article by the Guardian. Its headline? "'Nightmare fodder': Roku's AI slop channel is even worse than expected." (And its subheading calls it "a 24/7 channel devoted to low-quality AI content for viewers sick of watching real people move...") What about people who hate plot and vision and the sight of people speaking convincing dialogue that synchronises perfectly with the movement of their lips? What about the people who just want to watch an unyielding torrent of eerily weightless nightmare fodder? Well, good news. Roku has finally caught up... Early reactions were, to put it mildly, not great. The Verge compared it to eating from a trough, while Futurism called it "bottom-of-the-barrel slop"...

On the plus side, the channel is evidence that artificial intelligence has come on in leaps and bounds over the last couple of years... However, it is still awful. Categorically, catastrophically awful. The channel doesn't so much offer shows as a drifting dreamscape of bad ideas rendered as horribly as possible with no thought paid to scheduling. At one point on Wednesday, a shrill high-frequency anime gave way to a long and staid German-language short about Nazi bureaucracy. After that came a sort of Gladiator ripoff that had all the dynamism of an exhibit you'd see at the fourth-best museum on a poorly planned family holiday.

TiVo is notifying customers about changes to "one of its longest-standing and most popular DVR features," reports the blog Cord Cutter News: Starting November 2, 2026, the current version of SkipMode that allows users to jump over commercial breaks with a single button press on the remote will no longer be available. The company is instead preparing to test a new paid add-on called Premium Auto Commercial Skip.

SkipMode has been a core part of the TiVo experience for years. After a supported show finished recording, the service added markers that let viewers leap from the end of one program segment directly to the start of the next, bypassing the ads in between. On newer TiVo Experience 4 devices, users could even set the feature to automatic so commercials were skipped without any remote interaction. The feature was limited to popular prime-time programming on major networks, typically appearing a short time after a show aired.

Under the new plan, that one-button and automatic functionality will disappear from the standard service. Viewers will still be able to skip commercials the traditional way by using the 30-second skip button or the fast-forward control on their remotes. Those manual methods have existed on TiVo boxes for more than two decades and do not rely on the company's commercial-detection data. In November, TiVo will offer a 30-day free trial of the new Premium Auto Commercial Skip service. After the trial ends, customers who want to keep the automatic or one-button skip capability will need to add it to their accounts for an extra monthly fee.

The company has not yet published the price.
Thanks to long-time Slashdot reader AmiMoJo for sharing the article.