"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.

This year's Hugo Award winners were announced last weekend at Worldcon — the world's longest-running science fiction/fantasy convention. The Orange County Register reports there were fans "clad in capes, gowns and elaborate character costumes," with famous attendees including Game of Thrones author George R. R. Martin, who held a book signing: Martin attended his first Worldcon in 1971 in Boston, before he published his first novel. Fresh out of his graduate studies, Martin, then 22 years old, found a community of fellow comic book fans and genre enthusiasts... "It was a transformative experience," Martin said. "Worldcon is the heart of the science fiction fandom." Four years later, Martin won his first Hugo Award for his novella, "A Song for Lya," which made him the award's youngest winner — a record he held until Sunday night, when 25-year-old Los Angeles writer H. H. Pak took home the award for Best Novelette. [Read that novelette here...]

Notable writers and artists, such as "Star Trek: The Next Generation" screenwriter Ronald D. Moore and graphic artist Stan Sakai, announced the [Hugo award] categories. In their acceptance speeches, winners acknowledged the enduring strength of their community amidst rapidly evolving physical and social environments. They also praised the power of speculative fiction in facilitating dialogue on real-world issues and the importance of human-made art. Among the winners were C. B. Lee, whose novel "Coffeeshop in an Alternate Universe" won the Lodestar Award for Best Young Adult Book; the team behind Apple TV's "Murderbot: 'All Systems Red," which won for Best Dramatic Presentation, Short Form; and John Scalzi, who took home the trophy for Best Series [for Old Man's War]. The night concluded with its most anticipated award — Best Novel — which went to " The Everlasting" by Alix. E. Harrow, a fantasy time-loop novel about a scholar forced to rewrite his nation's history.
AppleTV's Murderbot episode beat nominated episodes from other several popular streaming series:

• Doctor Who (âoeThe Story & the Engineâ)
• Pluribus (âoeWe Is Usâ)
• Severance (âoeCold Harborâ)
• The Wheel of Time (âoeThe Road to the Spear)

Overall the awards committee had received 23,543 nominations this year for 4,299 works and individuals, according to the official Hugo Awards site. Other interesting winners:

• Best Graphic Story or Comic: A Wizard of Earthsea: A Graphic Novel, written by Ursula K. Le Guin, adapted and art by Fred Fordham
• Best Short Story: "In My Country" by Thomas Ha
• Best Novella: The River Has Roots
• Best Related Work: Inventing the Renaissance: The Myth of a Golden Age by Ada Palmer
• Best Dramatic Presentation, Long Form: Sinners
• Best Game or Interactive Work: Clair Obscur: Expedition 33

Inverse shares a movie success story from last weekend: Coyote vs. Acme debuted to $15.9 million at the box office, beating out iconic director Ridley Scott's latest sci-fi adventure, The Dog Stars. This success has only continued since, and the worldwide box office currently sits above $22 million. Strong reviews and word-of-mouth are sure to keep viewers coming in, especially during the holiday weekend.
What's impressive is Coyote vs. Acme had a limited marketing campaign that includes viral stunts. They photographed the movie's world premiere with a vintage Tasmanian Devil polaroid camera, and launched a phone number for the law firm suing Acme. ("If you've been injured by an enormous rubber band, press 7. If you've been injured by a painted train tunnel that suddenly sprang to life, press 8...")

And Cartoon Brew reports that Wednesday "the famously silent Looney Tunes star participated in an AMA on Reddit's r/movies, answering questions about his career, his relationship with the Road Runner, and the Warner Bros. executive who nearly prevented audiences from seeing his latest movie." In keeping with tradition, Wile E. delivered his responses through images of himself holding signs. The format produced several interesting and occasionally thought-provoking exchanges, but one obvious highlight came when a user asked: "Rumor has it that David Zaslav was paid off by ACME to cancel your film; what is your opinion on this?" Wile E.'s response was an image of the coyote glaring at the camera while holding a sign that read, "It's a limited number of signs," pulled from a scene in the film when Mr. Coyote first meets his eventual attorney Kevin Avery, played by Will Forte.
Meanwhile, Boing Boing cites local news reports that a Southern California bird watcher Alexander DeBarros has actually captured a photo of a coyote holding a roadrunner bird in its mouth: In an incredible coincidence that is a movie publicist's dream, he snapped the rare, possibly unprecedented, photo on the opening weekend of the movie Acme vs. Coyote... In an even more incredible coincidence, DeBarros's father, Brian Mainolfi, is an animator whose first job in the field was working for Chuck Jones, the creator and director of the Roadrunner cartoon series.
Cartoon Brew notes a Reddit user specifically asked the Coyote for his reaction to the news. Wile E. responded with some unexpectedly healthy advice: "We cannot judge our worth on the work of others."
Aftermath calls the movie "a well made, deeply funny movie that pays a deep respect to the Looney Tunes in a way that Warner Brothers currently seems uninterested in doing."

BrianFagioli writes: Audacity 4.0 has been released with a rebuilt Qt interface, a new clip-editing model, customizable workspaces, native high-DPI rendering, and a new AUP4 project format. The open source audio editor also adds ASIO playback and recording support to official Windows builds, while bringing major changes to recording, playback, plugins, and project handling. The overhaul comes with some tradeoffs. Audacity 4.0 currently lacks several features found in Audacity 3, including Time Tracks, Note and MIDI tracks, Mixer, Macro Manager and scripting pipe, VAMP and LADSPA plugin hosting, and play-at-speed. The developers say they plan to bring the missing functionality back in future releases.

BrianFagioli writes: Perplexity has built a local artificial intelligence engine designed specifically for Apple silicon and the Qwen3.6-35B-A3B model. Called Lily, the engine uses a Rust runtime and custom Metal kernels, with neither PyTorch nor MLX in its execution path. Perplexity says Lily averaged 23 percent faster prompt processing and 35 percent faster token generation than MLX-LM on an M5 Max MacBook Pro with 128GB of unified memory. Lily is more specialized than MLX-LM, which supports a much wider range of models and architectures. Perplexity says it plans to release Lily as open source, but the code is not available yet, leaving its performance claims dependent on internal testing for now.

An anonymous reader quotes a report from Wired: Sonos has a new app. Stop me if you've heard this one before. The smart speaker company, long a darling of the audio industry, undid much of the goodwill it earned with its multiroom speakers through a bevy of software updates that broke its app in 2024. Almost all app users hated it, citing the loss of features like volume control and accessibility tools meant to help blind people use the wireless speaker system. Sonos eventually owned up to the mistake, considered bringing back the old app again, then booted its CEO and marched its new leaders out to apologize profusely to win back the company's furious customers.

Now, Sonos says it has a brand-new app update, infused with lots of generative AI features. The company also announced a new soundbar and its second pair of over-the-ear headphones. Sonos representatives say it doesn't want to be seen as a speaker company anymore, but as something bigger and more holistic. "For years people have been seeing us as a speaker company," says Brandon Holley, the interim hardware lead at Sonos. "What we actually are is an audio operating system." The company is calling that operating system Sonos 27, and it manifests in a few ways.

[...] This is a lot of change for Sonos, something the company hasn't always handled gracefully. Sonos' home systems already aren't the easiest to set up, sometimes requiring separate apps for older products. The company may be rejiggering itself as an "audio operating system," but its software has long been the source of its troubles with getting its products to work right. Will AI smarts fix that? Maybe for its newer devices. But anyone with an existing system may still struggle. The AI features on products and in the Sonos 27 app will be opt-in, meaning you can avoid them entirely. "That really is our new approach to our app release," Patel says. "We're going to bring our customers along. We're going to listen more." That would be a good plan. Sounds like Sonos' speakers will be listening more, too. Sonos is emphasizing a more "customer-centric feedback listening approach" after the backlash to its previous redesign. Improvements include easier tab navigation, better room sorting, revamped volume controls, and new system-health tools for diagnosing connection problems.

The centerpiece is Sonos 27voice, a generative AI voice assistant that can handle conversational music requests, connect with services like ChatGPT through Model Context Protocol, and power customizable "Sonos Custom Agents" for tasks such as automatically activating certain speakers. "Obviously AI is something that's very hot these days," Sonos software VP Sid Patel said. "So we have integrated various pieces of AI into our system." However, the features will only work with the newer S2 app, and Sonos cautions that "not every product will support every new feature," with detailed compatibility information coming later.

Sonos is also branding its multiroom networking technology Sonos Fabric, which what Patel calls "the magic that has existed for what Sonos was built on." New Fabric features include portable surround, which lets users temporarily move speakers between rooms and have them automatically configure themselves for surround sound, and Headphone Linking, which lets users seamlessly switch audio between Sonos speakers and headphones.

Axios reports: Some of the world's largest music publishers filed a blockbuster lawsuit against Anthropic late Friday night, alleging "one of the largest and most blatant ongoing thefts of intellectual property in history."

The suit is the opening salvo in what is now likely to be a yearslong fight over music, AI, and how intellectual property is protected in a new era of technology... The Sony/Warner lawsuit is notable because it's broad. It alleges Anthropic unlawfully trained its models off "tens of thousands" of music publishers' copyrighted compositions, whereas other lawsuits have focused on a narrower set of works. BMG's lawsuit against Anthropic, for example, claims infringement against 493 compositions.

What they're saying: "Defendants Anthropic and its founders Dario Amodei and Benjamin Mann have conducted a brazen campaign of illegally torrenting, scraping, and downloading copyrighted works on a massive scale in order to develop, operate, and reap enormous profits from Anthropic's 'Claude' series of artificial intelligence ('AI') models," the plaintiffs write in the 48-page complaint. They also claim that Anthropic pirated thousands of copyrighted musical works...
More details from The Verge: The companies are asking for up to $150,000 per work, plus up to $25,000 for each instance when identifiable copyright data was stripped. In total, the damages could amount to several billion dollars if a court finds in Sony and Warner's favor and awards the maximum amount...

The suit alleges that Mann used BitTorrent to download over five million pirated books, and that employees downloaded at least two million more from Pirate Library Mirror. It also claims that Anthropic scraped lyrics from sites like MusixMatch and LyricFind, which paid to license content from the labels.

The Los Angeles Times first calls Ridley Scott's newest movie "a postapocalyptic thriller that trades zombies for pandemics and asks whether hope can outlast catastrophe." But besides The Dog Stars, Scott is also working on an adaptation of Robert Louis Stevenson's "Treasure Island" starring Hugh Jackman, and is thinking about turning one of his past films into a musical. ("I can't tell you which one because they're being difficult.") The common theme, they suggest, is a director who allows his stories to "speak through evocative, immersive images rather than unnecessary exposition." The British director says it's because he got his start in advertising after attending the Royal College of Art in London. After 1982's neon-coated sci-fi thriller "Blade Runner," Scott notably made the iconic Apple Macintosh computer ad "1984," a memorable Orwellian-themed clip that contained suggestions of the dystopias that would continue to fascinate Scott in his filmmaking. "Advertising in England at that point became a competitive art form," he says, pointing to the notorious "Adland Five," a group of directors that included Hugh Hudson, Adrian Lyne, Alan Parker, Scott and his brother Tony. "I've got a show reel which is 50 years old which would entertain the s — out you. Hasn't aged at all. Our visual drive changed the face of how films looked."

That's apparent in Scott's latest, "The Dog Stars" (in theaters Friday), a film about survival after the end of the world. It's based on Peter Heller's 2012 novel and set in Colorado 10 years in the future after an aggressive flu has decimated much of the population. Those remaining alive use any means necessary to stay that way, resulting in instability, brutality and, more hopefully, connection... These days, Scott develops movies with his production company, Scott Free, which he founded with his late brother Tony in 1995. Before that he says he struggled to find good scripts. And rarely has someone handed one to him. "I've only ever had three films land on my desk," he says. "One was 'Alien,' which I was fifth choice for after Robert Altman." He makes a face. "Can you imagine offering Robert Altman 'Alien'? How stupid can you get?"

Another was 2015 space adventure "The Martian," which Scott says had been sitting on a shelf for two years before it was sent to him. Scott's grounded, semi-comedic take on Andy Weir's novel resulted in seven Oscar nominations. The third screenplay to materialize was "The Dog Stars." "I read it and I was blown away," Scott says.
Deadline notes that Scott is already re-writing the third prequel to Alien, citing Scott's comments to French outlet AlloCiné. "The one that just came out [2024's Alien: Romulus] was OK. I think it needs some help. So, I've gone back in." Scott continued, "I've already got a footprint for the next Alien.... I'm picking up where we left off in Covenant with Micheal Fassbender, who now thinks he's Ozymandius." With the sequel bringing back Fassbender's futuristic AI droid, Scott sees an opportunity to explore the repercussions of artificial intelligence in our current world. "I like the fact that AI has gone off the rails," said Scott of where the character is at the end of Covenant. "If we go AI, the moment we discover it's off the rails is too late. It could switch every digital thing off in the world like that. You'd have fucking chaos. It's that kind of stuff that's scary."
Scott tells the Los Angeles Times that the malfunctioning AI character fascinates him, and in the movie will be creating a "brave new world for himself... AIs can go off. And if they do, it's like a bomb..." So far, Scott says he hasn't implemented AI technologies into his filmmaking. He holds up his "Treasure Island" Ridleygrams [hand-drawn storyboards] and shakes them at the camera. "I can compete with an AI without any problem making images," he says. "But it's coming, inevitably."

Scott was not involved in the forthcoming Prime Video series "Blade Runner 2099," out in November. "I can't blame my lawyers and my agents at that time, but somehow we let 'Blade Runner' go," he says. "And when you're not the author of the actual written word, you don't have a piece." (He was more involved in Noah Hawley's recent "Alien: Earth" series, which he calls "pretty damn good....")

Does that mean he thinks about his legacy as a filmmaker? He does, but not often. "When you think of your legacy, you're too near the end," Scott says. "I'm not near the end." He looks up from his drawings. "I've had a riotous time," he says. He corrects himself: "I'm having a riotous time."

Australia's official music charts will no longer accept songs that are largely or entirely AI-generated, requiring eligible releases to be "substantially human made." The BBC reports: The Australian Recording Industry Association (ARIA) said the new code would help "promote the human nature of artistry." It follows a controversy around a cover of Madonna's Like A Prayer by Australian DJ Josh Fawaz which recently topped the ARIA dance singles chart and peaked at number 2 on the country's overall chart. The song has become a staple of commercial radio station playlists and been streamed more than 48 million times on Spotify alone. Fawaz later added generative AI credits to the song after a backlash.

ARIA said that Australian artists were competing for attention "in the most crowded market in history" and that it was "not interested in promoting or celebrating the success of AI-generated music that does not contain human artistry." Under the new rules, AI assistance can still be used, but humans must have written the song, and have performed the lead vocal and primary instruments. AI can also still be used for mastering songs and, for example, using drum machines and auto tune. [...]

Artists will be required to declare AI use when they submit a song for chart consideration. ARIA said that if it later emerged music was largely AI-generated it could retrospectively adjust chart positions, and if the piece topped the charts, it may request that awards given for reaching Number One were returned. Artists and their representatives will be able to challenge their exclusion. ARIA chief executive Annabelle Herd said: "These changes reflect our intent to remain dynamic and promote the human nature of artistry in what is, to say the least, a rapidly developing space. Artists already use AI tools in their work, the charts can and should evolve to keep room for that, but music generated wholesale by services built on artists' recordings is a different matter."

She added: "A chart that rewards unlicensed AI output would undercut the very basis of the recorded music we exist to represent."

Apple is raising Apple TV's U.S. price to $14.99 per month, up from $12.99, while the annual plan jumps from $99 to $119. It's the service's fourth price hike in four years and means the monthly cost has now tripled from its $4.99 launch price in 2019. Apple One's Individual plan is also rising from $19.95 to $21.95 per month.