Microsoft has shut down its Movies & TV storefront on the Microsoft Store, ending the ability to purchase new entertainment content on Windows PCs and Xbox consoles. The company announced that as of July 18, users can no longer buy or rent movies and TV shows through Microsoft.com, the Microsoft Store on Windows, or the Microsoft Store on Xbox.

Customers who previously purchased content from the Microsoft Store can continue accessing their libraries through the Movies & TV app, which remains available for download. Microsoft will not offer refunds for recent purchases. US customers can use the Movies Anywhere service to sync their purchased content to other compatible platforms.

Major US theater chains including Cinemark, Regal and Marcus have held preliminary talks about jointly marketing their big-screen theaters to compete with Imax, according to Bloomberg. The discussions have focused on setting shared standards for the chains' "premium large-format" theaters, with options including uniting around a new brand name or adding an industrywide designation that would serve as a stamp of approval for their locations.

The chains are motivated by Imax's growing influence in the industry, as the company consistently generates more than 10% of the box office for blockbusters despite operating only 372 US locations. AMC Entertainment, the largest chain and biggest operator of Imax screens in the US, is not participating in the deliberations, the report added.

Bruce66423 shares a report from The Guardian: They went viral, amassing more than 1m streams on Spotify in a matter of weeks, but it later emerged that hot new band the Velvet Sundown were AI-generated -- right down to their music, promotional images and backstory. The episode has triggered a debate about authenticity, with music industry insiders saying streaming sites should be legally obliged to tag music created by AI-generated acts so consumers can make informed decisions about what they are listening to. [...]

Several figures told the Guardian that the present situation, where streaming sites, including Spotify, are under no legal obligation to identify AI-generated music, left consumers unaware of the origins of the songs they're listening to. Roberto Neri, the chief executive of the Ivors Academy, said: "AI-generated bands like Velvet Sundown that are reaching big audiences without involving human creators raise serious concerns around transparency, authorship and consent." Neri added that if "used ethically," AI has the potential to enhance songwriting, but said at present his organization was concerned with what he called "deeply troubling issues" with the use of AI in music.

Sophie Jones, the chief strategy officer at the music trade body the British Phonographic Industry (BPI), backed calls for clear labelling. "We believe that AI should be used to serve human creativity, not supplant it," said Jones. "That's why we're calling on the UK government to protect copyright and introduce new transparency obligations for AI companies so that music rights can be licensed and enforced, as well as calling for the clear labelling of content solely generated by AI."

Liz Pelly, the author of Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist, said independent artists could be exploited by people behind AI bands who might create tracks that are trained using their music. She referred to the 2023 case of a song that was uploaded to TikTok, Spotify and YouTube, which used AI-generated vocals claiming to be the Weeknd and Drake. Universal Music Group said the song was "infringing content created with generative AI" and it was removed shortly after it was uploaded.

Aurelien Herault, the chief innovation officer at the music streaming service Deezer, said the company uses detection software that identifies AI-generated tracks and tags them. He said: "For the moment, I think platforms need to be transparent and try to inform users. For a period of time, what I call the "naturalization of AI', we need to inform users when it's used or not." Herault did not rule out removing tagging in future if AI-generated music becomes more popular and musicians begin to use it like an "instrument." At present, Spotify does not label music as AI-generated and has previously been criticized for populating some playlists with music by "ghost artists" -- fake acts that create stock music. Bruce66423 comments: "Artists demand 'a warning' on such material. Why? If it is what the people want..."

James Gunn's Superman "appears to be succeeding in rebooting DC Studios and its most iconic comic book franchise," writes The Hollywood Reporter, noting the film is "headed for a possible record domestic box office debut of $115 million to $120 million." Gunn is in a unique position, being both the film's writer-director and the co-head of the Warner Bros.-owned DC, which he co-runs with Peter Safran. Overseas, Superman is launching to $100 million-plus from 78 markets after earning $40 million midweek from its first raft of international markets for an early global total of $96.5 million through Friday. Superman will be the first superhero film to cross $100 million in its North American bow since Marvel Studios and Ryan Reynolds' Deadpool & Wolverine launched to $211 million in summer 2024 ("superhero fatigue" has become part of the Hollywood lexicon). And it's the first DC title to cross $100 million in eight long years since Wonder Woman debuted to $103.3 million in 2017.

And if the $225 million tentpole comes in north of $116.6 million, it will beat Zack Snyder's 2013 film Man of Steel ($116.7 million) to rank as the biggest domestic launch ever for a solo Superman pic, not adjusted for inflation. Snyder's mash-up Batman v Superman: Dawn of Justice scored the biggest DC opening of all time when earning $166.6 million over Easter weekend in 2016... Gunn's movie is only the third Hollywood title of 2025 to launch north of $100 million after fellow Warners tentpole A Minecraft Movie, which opened to $162.8 million, and Disney's live-action Lilo & Stitch, which sewed up $146 million in its debut. Crossing the century mark is no small feat for any movie in the post-pandemic era, and particularly for the troubled superhero genre.

The pic should enjoy a long run thanks to strong word-of-mouth. Critics and audiences alike are embracing the film. The pic earned an A- CinemaScore from moviegoers, the same grade given to Man of Steel and ahead of Superman Returns' B+. The audience score on Rotten Tomatoes is a stellar 94 percent, while the critics' score is a pleasing 82 percent...

Other upcoming DC Studios projects include HBO's Green Lantern series, Lanterns, and a Supergirl movie due out in 2026.
Superman's weekend debut at nearly $130 million domestically smashes early estimates of around $90 million (according to a senior media analyst at Comscore).

And the film also got a positive reaction from the author of the cultural history Superman: The Unauthorized Biography (writing for NPR): Recent attempts to tell live-action Superman stories have shied away from his bright, hopeful, altruistic nature in favor of making him more cool and relatable (read: dark and brooding). That's not who he is; it never has been. Superman is an ideal. He represents the best we can aspire to be. He's not the hero you relate to, à la Peter Parker/Spider-Man's ongoing struggle to pay his rent and buy Aunt May her damn medicine. He's the hero who inspires you, who shows you the way...

It doesn't have to be about slogging through trauma and shame and shadow-selves and endlessly tedious redemption arcs. Sometimes, it's simpler, cleaner, brighter. And also? Not for nothing? More fun.

Warner Bros. releases a $225 million Superman reboot this week that executives consider the studio's final chance to build a successful cinematic universe rivaling Marvel's dominance. The film, written and directed by James Gunn, serves as the foundation for DC Studios' planned expansion into multiple films and television shows.

Warner Bros. Discovery CEO David Zaslav appointed Gunn and producer Peter Safran to lead the newly unified DC Studios in 2022, ending decades of corporate infighting that prevented the company's superheroes from matching Marvel's success. The Disney-owned Marvel Cinematic Universe has generated $32 billion across 36 films since 2008. Warner executives want the movie to gross over $500 million globally, according to WSJ. If successful, this would mark the first year since 2008 that DC outperforms Marvel at the box office.

After discovering that ChatGPT was falsely telling users that Soundslice could convert ASCII tablature into playable music, founder Adrian Holovaty decided to actually build the feature -- even though the app was never designed to support that format. TechCrunch reports: Soundslice is an app for teaching music, used by students and teachers. It's known for its video player synchronized to the music notations that guide users on how the notes should be played. It also offers a feature called "sheet music scanner" that allows users to upload an image of paper sheet music and, using AI, will automatically turn that into an interactive sheet, complete with notations. [Adrian Holovaty, founder of music-teaching platform Soundslice] carefully watches this feature's error logs to see what problems occur, where to add improvements, he said. That's where he started seeing the uploaded ChatGPT sessions.

They were creating a bunch of error logs. Instead of images of sheet music, these were images of words and a box of symbols known as ASCII tablature. That's a basic text-based system used for guitar notations that uses a regular keyboard. (There's no treble key, for instance, on your standard QWERTY keyboard.) The volume of these ChatGPT session images was not so onerous that it was costing his company money to store them and crushing his app's bandwidth, Holovaty said. He was baffled, he wrote in a blog post about the situation.

"Our scanning system wasn't intended to support this style of notation. Why, then, were we being bombarded with so many ASCII tab ChatGPT screenshots? I was mystified for weeks -- until I messed around with ChatGPT myself." That's how he saw ChatGPT telling people they could hear this music by opening a Soundslice account and uploading the image of the chat session. Only, they couldn't. Uploading those images wouldn't translate the ASCII tab into audio notes. He was struck with a new problem. "The main cost was reputational: New Soundslice users were going in with a false expectation. They'd been confidently told we would do something that we don't actually do," he described to TechCrunch.

He and his team discussed their options: Slap disclaimers all over the site about it -- "No, we can't turn a ChatGPT session into hearable music" -- or build that feature into the scanner, even though he had never before considered supporting that offbeat musical notation system. He opted to build the feature. "My feelings on this are conflicted. I'm happy to add a tool that helps people. But I feel like our hand was forced in a weird way. Should we really be developing features in response to misinformation?" he wrote.

Restaurants and bars face mounting financial pressure from music licensing fees as the number of Performing Rights Organizations has expanded from three dominant players to at least six nationwide. The National Restaurant Association reports members pay an average of $4,500 annually for music licenses, representing 0.5% of total sales for small establishments. Hotels have experienced even steeper increases, with one major chain seeing costs rise 200% from 2021-2025, and some properties facing 400% jumps.

The proliferation stems from streaming's revenue surge, which attracted new PROs seeking market share. Since many songs involve multiple songwriters affiliated with different organizations, venues must secure licenses from each PRO or risk lawsuits carrying penalties up to $150,000 per infringement.

Apple displayed a full-screen ad for "F1 The Movie" in its TV app that linked directly to a web browser for ticket purchases without showing warning screens that the company requires other developers to include when directing users outside their apps.

The "Buy Tickets" button sent users to the F1 movie website in their default browser without confirmation dialogs or interstitial warnings. Apple mandates that third-party developers show scare sheets when linking out of apps to sell digital content, but considers movie tickets a "real-world experience" exempt from its In-App Purchase system.

Further reading: iPhone Customers Upset By Apple Wallet Ad Pushing F1 Movie.

An anonymous reader shares a report: Netflix doubled down on its global anime strategy over the weekend, unveiling a slate of new titles and fresh footage during its showcase at Anime Expo in Los Angeles.

The company also shared updated viewership data highlighting just how far Japanese anime has come in expanding from its former niche into a powerhouse global content category. According to Netflix, more than 50 percent of its members -- amounting to over 150 million households, or an estimated 300 million viewers -- now watch anime. The company says anime viewership on the platform has tripled over the past five years, with 2024 marking a record-breaking year: 33 anime titles appeared in Netflix's Global Top 10 (Non-English) rankings, more than double the number in 2021.

"The China Film Foundation, a nonprofit fund under the Chinese government, plans to use AI to revitalize 100 kung fu classics including Police Story, Once Upon a Time in China and Fist of Fury, featuring Jackie Chan, Jet Li and Bruce Lee, respectively," reports the Los Angeles Times.

"The foundation said it will partner with businesses including Shanghai Canxing Culture & Media Co., which will license 100 Hong Kong films to AI companies to reintroduce those movies to younger audiences globally." The foundation said there are opportunities to use AI to tell those stories through animation, for example. There are plans to release an animated version of director John Woo's 1986 film A Better Tomorrow that uses AI to "reinterpret" Woo's "signature visual language," according to an English transcript of the announcement....

The project raised eyebrows among U.S. artists, many of whom are deeply wary of the use of AI in creative pursuits. The Directors Guild of America said AI is a creative tool that should only be used to enhance the creative storytelling process and "it should never be used retroactively to distort or destroy a filmmaker's artistic work... The DGA strongly opposes the use of AI or any other technology to mutilate a film or to alter a director's vision," the DGA said in a statement. "The Guild has a longstanding history of opposing such alterations on issues like colorization or sanitization of films to eliminate so-called 'objectionable content', or other changes that fundamentally alter a film's original style, meaning, and substance."

The project highlights widely divergent views on AI's potential to reshape entertainment as the two countries compete for dominance in the highly competitive AI space.... During the project's announcement, supporters touted the opportunity AI will bring to China to further its cultural message globally and generate new work for creatives. At the same time, they touted AI's disruption of the filmmaking process, saying the A Better Tomorrow remake was completed with just 30 people, significantly fewer than a typical animated project. China is a "more brutal society in that sense," said Eric Harwit, professor of Asian studies at the University of Hawaii at Manoa. "If somebody loses their job because artificial intelligence is taking over, well, that's just the cost of China's moving forward.... You don't have those freestanding labor organizations, so they don't have that kind of clout to protest against the Chinese using artificial intelligence in a way that might reduce their job opportunities or lead to layoffs in the sector..."

The kung fu revitalization efforts will extend into other areas, including the creation of a martial arts video game.
The article also includes an interesting statistic. "Many people in China embrace AI, with 83% feeling confident that AI systems are designed to act in the best interest of society, much higher than the U.S. where it's 37%, according to a survey from the United Nations Development Program."

Neil Druckmann and Halley Gross, two pivotal creative forces behind HBO's The Last of Us adaptation, have stepped away from the series before work begins on Season 3. Druckmann is focusing on new projects at Naughty Dog, while Gross hinted at other upcoming creative endeavors, leaving showrunner Craig Mazin at the helm. Ars Technica reports: Both were credited as executive producers on the show; Druckmann frequently contributed writing to episodes, as did Gross, and Druckmann also directed. Druckmann and Gross co-wrote the second game, The Last of Us Part 2.

Druckmann said in his announcement post: "I've made the difficult decision to step away from my creative involvement in The Last of Us on HBO. With work completed on season 2 and before any meaningful work starts on season 3, now is the right time for me to transition my complete focus to Naughty Dog and its future projects, including writing and directing our exciting next game, Intergalactic: The Heretic Prophet, along with my responsibilities as Studio Head and Head of Creative. Co-creating the show has been a career highlight. It's been an honor to work alongside Craig Mazin to executive produce, direct and write on the last two seasons. I'm deeply thankful for the thoughtful approach and dedication the talented cast and crew took to adapting The Last of Us Part I and the continued adaptation of The Last of Us Part II."

And Gross said: "With great care and consideration, I've decided to take a step back from my day-to-day work on HBO's The Last of Us to make space for what comes next. I'm so appreciative of how special this experience has been. Working alongside Neil, Craig, HBO, and this remarkable cast and crew has been life changing. The stories we told -- about love, loss, and what it means to be human in a terrifying world -- are exactly why I love this franchise. I have some truly rad projects ahead that I can't wait to share, but for now, I want to express my gratitude to everyone who brought Ellie and Joel's world to life with such care."

Amazon plans to shut down its standalone Freevee app in August, according to an in-app notice to users. From a report: The free, ad-supported streaming service is directing viewers to continue watching Freevee content on Prime Video.

"Prime Video is the new exclusive home for Freevee Tv show, movies, and Live TV," the notice to readers states. "The Freevee app will be accessible until August 2025. Continue watching your favorite Free Originals and our library of hit movies, shows, and live TV on Prime Video for free, no subscription needed. Download Prime Video to get started and sign-in with your Amazon account."

An anonymous reader shares a report: Lorde [a popular New Zealand singer and songwriter] fans are clearly struggling to play the CD version of her new album. Customers who purchased the special edition of Virgin released on a transparent plastic disc are reporting on Reddit and TikTok that many CD players, car stereos, and other sound systems they've tried are unable to play it.

AMC Theatres now warns customers that movies start 25-30 minutes after the listed showtime to account for ads and trailers, "making it easier for moviegoers to know the actual start time of their film screening," reports The Verge. From the report: Starting today, AMC will also show more ads than before, meaning its preshow lineup may have to be reconfigured to avoid exceeding the 30-minute mark. The company made an agreement with the National CineMedia ad network that includes as much as five minutes of commercials shown "after a movie's official start time," according to The Hollywood Reporter, and an additional 30-to-60-second "Platinum Spot" that plays before the last one or two trailers.

AMC was the only major theater chain to reject the National CineMedia ad spot when it was pitched in 2019, telling Bloomberg at the time that it believed "US moviegoers would react quite negatively." Now struggling financially amid an overall decline in movie theater attendance and box-office grosses, AMC has reversed course, telling The Hollywood Reporter that its competitors "have fully participated for more than five years without any direct impact to their attendance."

BrianFagioli shares a report from NERDS.xyz: NASA is coming to Netflix. No, not a drama or sci-fi reboot. The space agency is actually bringing real rocket launches, astronaut spacewalks, and even views of Earth from space directly to your favorite streaming service. Starting this summer, NASA+ will be available on Netflix, giving the space-curious a front-row seat to live mission coverage and other programming.

The space agency is hoping this move helps it connect with a much bigger audience, and considering Netflix reaches over 700 million people, that's not a stretch. This partnership is about accessibility. NASA already offers NASA+ for free, without ads, through its app and website. But now it's going where the eyeballs are. If people won't come to the space agency, the space agency will come to them.

Aaron Sorkin is officially working on a sequel to The Social Network. From a report: Last year, the Oscar-winning writer revealed he was working on a film that would revisit the subject of Facebook, and Deadline has now reported that The Social Network Part II is in development at Sony Pictures yet isn't a "straight sequel."

The original film, which traced the early days of Facebook and its creator Mark Zuckerberg, was directed by David Fincher. Sorkin is rumoured to be directing the follow-up. "I blame Facebook for January 6," he said in 2024 on a special edition of The Town podcast, live from Washington DC. When asked to explain why, he responded: "You're gonna need to buy a movie ticket."

The Social Network was an adaptation of Ben Mezrich's book The Accidental Billionaires, and the sequel will be based on the Wall Street Journal series The Facebook Files. The 2021 investigation examined the damage caused by the social networking site and how internal findings had been buried. Subjects included the influence on the January 6 riot and the mental health of teenage users.

The goal isn't to stop generative music, but to make it traceable, reports the Verge — "to identify it early, tag it with metadata, and govern how it moves through the system...."

"Detection systems are being embedded across the entire music pipeline: in the tools used to train models, the platforms where songs are uploaded, the databases that license rights, and the algorithms that shape discovery." Platforms like YouTube and [French music streaming service] Deezer have developed internal systems to flag synthetic audio as it's uploaded and shape how it surfaces in search and recommendations. Other music companies — including Audible Magic, Pex, Rightsify, and SoundCloud — are expanding detection, moderation, and attribution features across everything from training datasets to distribution... Vermillio and Musical AI are developing systems to scan finished tracks for synthetic elements and automatically tag them in the metadata. Vermillio's TraceID framework goes deeper by breaking songs into stems — like vocal tone, melodic phrasing, and lyrical patterns — and flagging the specific AI-generated segments, allowing rights holders to detect mimicry at the stem level, even if a new track only borrows parts of an original. The company says its focus isn't takedowns, but proactive licensing and authenticated release... A rights holder or platform can run a finished track through [Vermillo's] TraceID to see if it contains protected elements — and if it does, have the system flag it for licensing before release.

Some companies are going even further upstream to the training data itself. By analyzing what goes into a model, their aim is to estimate how much a generated track borrows from specific artists or songs. That kind of attribution could enable more precise licensing, with royalties based on creative influence instead of post-release disputes...

Deezer has developed internal tools to flag fully AI-generated tracks at upload and reduce their visibility in both algorithmic and editorial recommendations, especially when the content appears spammy. Chief Innovation Officer Aurélien Hérault says that, as of April, those tools were detecting roughly 20 percent of new uploads each day as fully AI-generated — more than double what they saw in January. Tracks identified by the system remain accessible on the platform but are not promoted... Spawning AI's DNTP (Do Not Train Protocol) is pushing detection even earlier — at the dataset level. The opt-out protocol lets artists and rights holders label their work as off-limits for model training.
Thanks to long-time Slashdot reader SonicSpike for sharing the article.

An anonymous reader quotes a report from the Hollywood Reporter: Bruce Lee, Jackie Chan and Jet Li and a legion of the all-time greats of martial cinema are about to get an AI makeover. In a sign-of-the-times announcement at the Shanghai International Film Festival on Thursday, a collection of Chinese studios revealed that they are turning to AI to re-imagine around 100 classics of the genre. Lee's classic Fist of Fury (1972), Chan's breakthrough Drunken Master (1978) and the Tsui Hark-directed epic Once Upon a Time in China (1991), which turned Li into a bone fide movie star, are among the features poised for the treatment, as part of the "Kung Fu Movie Heritage Project 100 Classics AI Revitalization Project."

There will also be a digital reworking of the John Woo classic A Better Tomorrow (1986) that, by the looks of the trailer, turns the money-burning anti-hero originally played by Chow Yun-fat into a cyberpunk, and is being claimed as "the world's first full-process, AI-produced animated feature film." The big guns of the Chinese industry were out in force on the sidelines of the 27th Shanghai International Film Festival to make the announcements, too. They were led by Zhang Pimin, chairman of the China Film Foundation, who said AI work on these "aesthetic historical treasures" would give them a new look that "conforms to contemporary film viewing." "It is not only film heritage, but also a brave exploration of the innovative development of film art," Zhang said.

Tian Ming, chairman of project partners Shanghai Canxing Culture and Media, meanwhile, promised the work -- expected to include upgrades in image and sound as well as overall production levels -- while preserving the storytelling and aesthetic of the originals -- would both "pay tribute to the original work" and "reshape the visual aesthetics." "We sincerely invite the world's top AI animation companies to jointly start a film revolution that subverts tradition," said Tian, who announced a fund of 100 million yuan ($13.9 million) would be implemented to kick-start the work.

Starting in summer 2026, Netflix subscribers in France will be able to watch commercially broadcast TV content "without ever having to leave the service." The Verge adds: The streaming giant has announced a distribution deal with French media company TF1 Group to make TF1's free-to-air live TV channels and on-demand TF1 Plus streaming content available to French Netflix users as part of their existing subscription plan.

DC Studios co-head James Gunn argues that the movie industry is "dying" primarily because productions begin before screenplays are complete, while also delivering a sharp critique of his former employer Marvel Studios, which he claims Disney has "killed" through output mandates.

Gunn dismissed common explanations for Hollywood's struggles like declining theater attendance or improved home viewing experiences, telling Rolling Stone that "the number one reason is because people are making movies without a finished screenplay." The filmmaker has implemented a strict rule at DC Studios requiring finished scripts before production starts, recently scrapping a project because its screenplay wasn't ready.

The director, who previously helmed three "Guardians of the Galaxy" films for Marvel, said Disney's corporate directive to increase output destroyed the studio's creative process. "They were under a corporate mandate, yeah. That wasn't fair. It wasn't right. And it killed them," Gunn said, referring to Marvel's mandated production quotas for movies and television shows. By contrast, Gunn said DC Studios operates without numerical mandates. "We don't have the mandate to have a certain amount of movies and TV shows every year. So we're going to put out everything that we think is of the highest quality," he explained.