Longtime Slashdot reader UnknowingFool writes: A new documentary released last week on Netflix goes into detail about events leading up to the destruction of OceanGate's submersible, Titan that imploded on June 18, 2023 while attempting to visit the wreckage of the RMS Titanic off the coast of Newfoundland. The Titan used a carbon-fiber hull instead of more traditional materials like steel or titanium. "Through exclusive access to whistleblower testimony, pivotal audio recordings, and footage from the company's early days, the film provides an unprecedented look at the technical challenges, moral dilemmas, and shockingly poor decisions that culminated in the catastrophic expedition," explains Netflix in an article.

Some highlights:
- Titan's original carbon-fiber hull had been replaced with a second carbon-fiber one after the first one developed noticeable cracks.
- Three scale models of the second hull failed tests. OceanGate decided to manufacture the second hull regardless of these failures.
- Loud pops were heard in many dives; CEO Stockton Rush dismissed these as "seasoning".
- Many employees raised numerous safety concerns. They were fired like lead pilot and head of marine operations, David Lochridge. Or they quit.
- Some employees like Emily Hammermeister wanted to quit earlier, but external conditions like the COVID pandemic made it difficult. After the scale models failed, she refused to bolt anyone in the future submersible. She was given the two options of being fired or quit; she quit in the middle of the pandemic.
- Rush's blindness to inconvenient facts: After the crack was discovered, Rush questioned Director of Engineering, Tony Nissen, about why Nissen did not anticipate the possibility of a crack. Nissen: "I wrote you a report that showed you it was there." Nissen had warned repeatedly that the hull's fibers were breaking (the pops) with each dive. Rush: "Well, one of us has to go."
- Poor decisions by Rush extended beyond engineering decisions. After Rush fired Lochridge for raising safety concerns , Rush wanted Bonnie Carl, the company's accountant, to be his replacement pilot. While Carl was an experienced scuba diver, she quit as she was extremely uncomfortable being a pilot. Her explanation: "Are you nuts? I'm an accountant."

An anonymous reader quotes a report from the BBC: Social media and video networks have become the main source of news in the US, overtaking traditional TV channels and news websites, research suggests. More than half (54%) of people get news from networks like Facebook, X and YouTube -- overtaking TV (50%) and news sites and apps (48%), according to the Reuters Institute. "The rise of social media and personality-based news is not unique to the United States, but changes seem to be happening faster -- and with more impact -- than in other countries," a report found. Podcaster Joe Rogan was the most widely-seen personality, with almost a quarter (22%) of the population saying they had come across news or commentary from him in the previous week. The report's author Nic Newman said the rise of social video and personality-driven news "represents another significant challenge for traditional publishers." Other key findings from the report include:
- TikTok is the fastest-growing social and video platform, now used for news by 17% globally (up 4% from last year).
- AI chatbot use for news is increasing, especially among under-25s, where it's twice as popular as in the general population.
- Most people believe AI will reduce transparency, accuracy, and trust in news.
- Across all age groups, trusted news brands with proven accuracy remain valued, even if used less frequently.

Spain's newspaper El Pais found an entire fake album on YouTube titled Rumba Congo (1973). And they cite a study from France's International Confederation of Societies of Authors and Composers that estimated revenue from AI-generated music will rise to $4 billion in 2028, generating 20% of all streaming platforms' revenue: One of the major problems with this trend is the lack of transparency. María Teresa Llano, an associate professor at the University of Sussex who studies the intersection of creativity, art and AI, emphasizes this aspect: "There's no way for people to know if something is AI or not...." On Spotify Community — a forum for the service's users — a petition is circulating that calls for clear labeling of AI-generated music, as well as an option for users to block these types of songs from appearing on their feeds. In some of these forums, the rejection of AI-generated music is palpable.

Llano mentions the feelings of deception or betrayal that listeners may experience, but asserts that this is a personal matter. There will be those who feel this way, as well as those who admire what the technology is capable of... One of the keys to tackling the problem is to include a warning on AI-generated songs. YouTube states that content creators must "disclose to viewers when realistic content [...] is made with altered or synthetic media, including generative AI." Users will see this if they glance at the description. But this is only when using the app, because on a computer, they will have to scroll down to the very end of the description to get the warning....

The professor from the University of Sussex explains one of the intangibles that justifies the labeling of content: "In the arts, we can establish a connection with the artist; we can learn about their life and what influenced them to better understand their career. With artificial intelligence, that connection no longer exists."
YouTube says they may label AI-generated content if they become aware of it, and may also remove it altogether, according to the article. But Spotify "hasn't shared any policy for labeling AI-powered content..." In an interview with Gustav Söderström, Spotify's co-president and chief product & technology officer, he emphasized that AI "increases people's creativity" because more people can be creative, thanks to the fact that "you don't need to have fine motor skills on the piano." He also made a distinction between music generated entirely with AI and music in which the technology is only partially used. But the only limit he mentioned for moderating artificial music was copyright infringement... something that has been a red line for any streaming service for many years now. And such a violation is very difficult to legally prove when artificial intelligence is involved.

"Spaceballs 2" is officially in development nearly 40 years after the original parody hit theaters. The sequel, produced by Amazon MGM Studios and set for a 2027 release, will see Rick Moranis returning as Dark Helmet, Mel Brooks reprising his role as Yogurt, and Bill Pullman returning as Lone Starr. You can watch the teaser trailer on YouTube. IGN reports: A trailer for the sequel to the classic '80s sci-fi Star Wars parody arrived today. Although it mostly comes with a special message from Brooks himself and a familiar text crawl that pokes fun at the long, long list of sequels that have come to theaters in the last 38 years, this is the most official look at Spaceballs 2 we've seen yet.

"After 40 years, we asked, 'What do the fans want?' Brooks says in the Spaceballs 2 trailer. "But instead, we're making this movie." He added one final send-off: "May the Schwartz be with you."

Amazon has quietly doubled the ad load on Prime Video to 4-6 minutes per hour, up from the 2-3.5 minutes initially discussed when ads launched in 2024. AdWeek reports: According to six ad buyers and documents reviewed by ADWEEK, the current ad load on Prime Video now ranges from four to six minutes per hour. And while that could bring down CPMs, buyers will be watching whether this impacts user experience. "Prime Video ad load has gradually increased to four to six minutes per hour," an Amazon representative wrote to an ad buyer in an email obtained by ADWEEK. The exchange occurred earlier this month.

The increase, which Amazon had telegraphed to investors but has not publicly acknowledged to consumers, gives the company significantly more inventory to sell across its rapidly expanding streaming business. "They told us the ad load would be increasing," said Kendra Tang, programmatic supervisor at Rain the Growth Agency. "That's been confirmed recently when we noticed more avails in the system."

A mathematician on Reddit calculated that if all 8.2 billion humans were blended into a uniform goo, the resulting meatball would form a sphere just under 1 kilometer wide -- small enough to fit inside Central Park. ScienceAlert reports: "If you blended all 7.88 billion people on Earth into a fine goo (density of a human = 985 kg/m3, average human body mass = 62 kg), you would end up with a sphere of human goo just under 1 km wide," Reddit contributor kiki2703 wrote in a post ... Reasoning the density of a minced human to be 985 kilograms per cubic meter (62 pounds per cubic foot) is a fair estimate, given past efforts have judged our jiggling sack of grade-A giblets to average out in the ballpark of 1 gram per cubic centimeter, or roughly the same as water. And in mid-2021, the global population was just around 7.9 billion, give or take.

Warner Bros Discovery will split into two separate publicly traded companies -- one focused on its studios and streaming assets like HBO, DC Studios, and HBO Max, and the other on its declining cable networks including CNN and TNT Sports. The move, which unwinds the 2022 WarnerMedia-Discovery merger, is expected by mid-2026 and is "the latest unraveling of decades of media consolidation that created global conglomerates spanning content creation, distribution and in some cases, telecommunications," reports Reuters. From the report: The new streaming-and-studios company will include Warner Bros, DC Studios and HBO Max - the crown jewels of WBD's entertainment library. The networks unit, which will hold up to a 20% stake in its counterpart, will house CNN, TNT Sports and Bleacher Report. CEO David Zaslav will lead the streaming and studios unit, while CFO Gunnar Wiedenfels will head the networks unit. The separation will be structured as a tax-free transaction and is expected to be completed by mid-2026.

"We've continued to analyze how our industry is evolving," Zaslav told investors. "The right path forward became increasingly clear ... to separate global networks and streaming and studios into two independent, publicly traded companies." Most of the company's debt would be held by the global networks company. WBD had gross debt of $38 billion as of March. The company said it secured a $17.5 billion bridge loan from J.P. Morgan that it would use to restructure its debt.

Mike Judge always seemed to have secret geek sympathies. He co-created the HBO series Silicon Valley, as well as the movie Office Space (reviewed in 1999 by Slashdot contributor Jon Katz).

Now comes the word that besides rebooting Buffy the Vampire Slayer — and an animated scifi/action/horror film called Predator: Killer of Killers — Hulu is also relaunching Judge's animated series King of the Hill on August 4th. And Cinemablend notes they took great pains to ensure the inclusion of internet-loving neighbor Dale Gribble despite the death of voice actor Johnny Hardwick: Co-creators Mike Judge and Greg Daniels joined the cast of returning voice actors for a revealing Q&A at ATX Fest while also revealing longtime cast member Toby Huss took over the role of Dale Gribble... Hardwick passed away in August 2023 at 64, with fans and co-stars paying tribute soon after. It was revealed at the time that he'd recorded some audio for the new season, but it was clear that another actor would be needed to fill those intimidating and conspiracy-obsessed shoes. Among other characters, Huss provided the voice of Cotton Hill and Kahn Sr. in the O.G. run, and feels to me like a natural fit to take over as Dale. And he sounds humbled to have been given the task, telling the ATX Fest crowd:

"Johnny was one-of-a-kind and a wonderful fellow. I'm not trying to copy Johnny...I guess I'm trying to be Johnny. He laid down a really wonderful goofball character...he had a lot of weird heart to him and that's a credit to Johnny. So all I'm trying to do is hold on to his Dale-ness. We love our guy Johnny and it's so sad that he's not here...."

I can already hear Dale himself questioning why he sounds different, and whether or not the government has replaced him with a lizard creature or some other sentient organism... In the immediate aftermath of Johnny Hardwick's death, the word was that the actor had filmed a couple of episodes' worth of material for the Hulu revival, but Mike Judge went on the record at ATX Fest to reveal that initial assessment undershot things entirely. From the voice of Hank Hill himself: "Johnny Hardwick is in six episodes. He's still going to be in the show."
Hulu uploaded the new opening credits to YouTube eight days ago — and it's already been viewed 2.1 million times, attracting 55,000 upvotes and 7,952 comments...

Long-time Slashdot reader theodp shared the official blurb describing the new show: After years working a propane job in Saudi Arabia to earn their retirement nest egg, Hank and Peggy Hill return to a changed Arlen, Texas to reconnect with old friends Dale, Boomhauer and Bill. Meanwhile, Bobby is living his dream as a chef in Dallas and enjoying his 20s with his former classmates Connie, Joseph and Chane.

Major Hollywood studios are extensively using AI tools while avoiding public disclosure, according to industry sources interviewed by New York Magazine. Nearly 100 AI studios now operate in Hollywood with every major studio reportedly experimenting with generative AI despite legal uncertainties surrounding copyright training data, the report said.

Lionsgate has partnered with AI company Runway to create a customized model trained on the studio's film archive, with executives planning to generate entire movie trailers from scripts before shooting begins. The collaboration allows the studio to potentially reduce production costs from $100 million to $50 million for certain projects.

Widespread usage of the new technology is often happening through unofficial channels. Workers are reporting pressure to use AI tools without formal studio approval, then "launder" the AI-generated content through human artists to obscure its origins.

Luca Guadagnino is in talks to direct Artificial, a dramatization of Sam Altman's dramatic firing and rehiring at OpenAI in 2023. The Amazon-MGM film is rumored to star Andrew Garfield, 'A Complete Unknown' scene-stealer Monica Barbaro, and 'Anora' actor Yura Borisov as lead roles in the story. From the Hollywood Reporter: Heyday Films' David Heyman and Jeffrey Clifford are producing the feature that is being put together at lightning speed at Amazon MGM Studios. Simon Rich wrote the script and will also produce, with Jennifer Fox also in talks to produce. How fast is this moving? Sources say Amazon is looking to get production going this summer, with an eye to shoot in San Francisco and Italy.

Altman co-founded OpenAI, but in the fall of 2023, after mounting safety concerns regarding AI, and reports of abusive behavior, was ousted as the head of the company by his board. Five days later, after a revolt, he was reinstated. Sources say that if all goes as planned, Garfield would play Altman, Barbaro would play chief technology office Mira Murati, and Borisov would play Ilya Sutskever, a co-founder who led the movement to get rid of Altman.

An anonymous reader shares a report: Internet service provider Frontier Communications agreed to settle a lawsuit filed by major record labels that demanded mass disconnections of broadband users accused of piracy. Universal, Sony, and Warner sued Frontier in 2021. In a notice of settlement filed last week in US District Court for the Southern District of New York, the parties agreed to dismiss the case with prejudice, with each side to pay its own fees and costs.

The record labels and Frontier simultaneously announced a settlement of similar claims in a Bankruptcy Court case in the same district. Frontier also settled with movie companies in April of this year, just before a trial was scheduled to begin. (Frontier exited bankruptcy in 2021.) [...] Regardless of what is in the agreement, the question of whether ISPs should have to crack down more harshly on users accused of piracy could be decided by the US Supreme Court.

"The Doctor is dead. Long live the Doctor!" writes Space.com. (Spoilers ahead...) "The era of Ncuti Gatwa's Fifteenth Doctor came to a surprise end on Saturday night, as the Time Lord regenerated at the end of "Doctor Who" season 2 finale... [T]he Doctor gradually realises that not everything is back to normal. Poppy, his daughter with Belinda Chandra in the "Wish World" fantasy, has been erased from history, so the Time Lord decides to sacrifice himself by firing a ton of regeneration energy into the time Vortex to "jolt it one degree" — and hopefully bring her back. It goes without saying that his madcap scheme saves Poppy, as we learn that, in this rewritten timeline, the little girl was always the reason Belinda had been desperate to get back home. But arguably the biggest talking point of the episode — and, indeed, the season — is saved until last, as the Doctor regenerates into a very familiar face...
Hint: They played the Doctor's companion, Rose Tyler, "alongside Christopher Eccleston's Ninth Doctor and David Tennant's Tenth Doctor during the phenomenally successful first two seasons of the show's 2005 reboot."

Showrunner Russell T Davies called it "an honour and a hoot" to welcome back Billie Piper to the TARDIS, "but quite how and why and who is a story yet to be told. After 62 years, the Doctor's adventures are only just beginning!" Although the show's post-regeneration credits have traditionally featured the line "And introducing [insert name] as the Doctor", here it simply says "And introducing Billie Piper". The omission of "as the Doctor" is unlikely to be accidental, suggesting that Davies is playing a very elaborate game with "Who" fandom...

Another mystery! The BBC and Disney+ are yet to confirm if and when "Doctor Who" will return for a third season of its current iteration.
"There's no decision until after season two..." Davies told Radio Times in April (as spotted by the Independent). "That's when the decision is — and the decision won't even be made by the people we work with at Disney Plus, it'll be made by someone in a big office somewhere. So literally nothing happening, no decision."

"For a new series to be ready for 2026, production would need to get under way relatively soon," writes the BBC. "So at the moment a new series or a special starring Billie Piper before 2027 looks unlikely." The Guardian adds: Concerns have been raised about falling viewing figures, which have struggled to rally since Russell T Davies' return in 2023. Two episodes during this series, which aired in May, got less than 3 million viewers — the lowest since the modern era began airing in 2005.
The Independent has this statement from Piper: "It's no secret how much I love this show, and I have always said I would love to return to the Whoniverse as I have some of my best memories there, so to be given the opportunity to step back on that Tardis one more time was just something I couldn't refuse, but who, how, why and when, you'll just have to wait and see."

An anonymous reader quotes a report from the BBC: A lack of action by big tech firms is enabling the "industrial scale theft" of premium video services, especially live sport, a new report says. The research by Enders Analysis accuses Amazon, Google, Meta and Microsoft of "ambivalence and inertia" over a problem it says costs broadcasters revenue and puts users at an increased risk of cyber-crime. Gareth Sutcliffe and Ollie Meir, who authored the research, described the Amazon Fire Stick -- which they argue is the device many people use to access illegal streams -- as "a piracy enabler." [...] The device plugs into TVs and gives the viewer thousands of options to watch programs from legitimate services including the BBC iPlayer and Netflix. They are also being used to access illegal streams, particularly of live sport.

In November last year, a Liverpool man who sold Fire Stick devices he reconfigured to allow people to illegally stream Premier League football matches was jailed. After uploading the unauthorized services on the Amazon product, he advertised them on Facebook. Another man from Liverpool was given a two-year suspended sentence last year after modifying fire sticks and selling them on Facebook and WhatsApp. According to data for the first quarter of this year, provided to Enders by Sky, 59% of people in UK who said they had watched pirated material in the last year while using a physical device said they had used a Amazon fire product. The Enders report says the fire stick enables "billions of dollars in piracy" overall. [...]

The researchers also pointed to the role played by the "continued depreciation" of Digital Rights Management (DRM) systems, particularly those from Google and Microsoft. This technology enables high quality streaming of premium content to devices. Two of the big players are Microsoft's PlayReady and Google's Widevine. The authors argue the architecture of the DRM is largely unchanged, and due to a lack of maintenance by the big tech companies, PlayReady and Widevine "are now compromised across various security levels." Mr Sutcliffe and Mr Meir said this has had "a seismic impact across the industry, and ultimately given piracy the upper hand by enabling theft of the highest quality content." They added: "Over twenty years since launch, the DRM solutions provided by Google and Microsoft are in steep decline. A complete overhaul of the technology architecture, licensing, and support model is needed. Lack of engagement with content owners indicates this a low priority."

An anonymous reader quotes a report from Ars Technica: An accused movie pirate who stole more than 1,000 Blu-ray discs and DVDs while working for a DVD manufacturing company struck a plea deal (PDF) this week to lower his sentence after the FBI claimed the man's piracy cost movie studios millions. Steven Hale no longer works for the DVD company. He was arrested in March, accused of "bypassing encryption that prevents unauthorized copying" and ripping pre-release copies of movies he could only access because his former employer was used by major movie studios. As alleged by the feds, his game was beating studios to releases to achieve the greatest possible financial gains from online leaks.

Among the popular movies that Hale is believed to have leaked between 2021 and 2022 was Spider-Man: No Way Home, which the FBI alleged was copied "tens of millions of times" at an estimated loss of "tens of millions of dollars" for just one studio on one movie. Other movies Hale ripped included animated hits like Encanto and Sing 2, as well as anticipated sequels like The Matrix: Resurrections and Venom: Let There Be Carnage. The cops first caught wind of Hale's scheme in March 2022. They seized about 1,160 Blu-rays and DVDs in what TorrentFreak noted were the days just "after the Spider-Man movie leaked online." It's unclear why it took close to three years before Hale's arrest, but TorrentFreak suggested that Hale's case is perhaps part of a bigger investigation into the Spider-Man leaks. A plea deal for Hale significantly reduced the estimated damages from his piracy case to under $40,000 and led to the dismissal of two charges, though he still faces up to five years in prison and a $250,000 fine for one remaining copyright infringement charge. His final sentence and restitution amount will be decided at a court hearing in Tennessee at the end of August.

The entertainment industry has achieved an unprecedented milestone: more film and television content exists today than at any point in human history. The technical infrastructure to deliver this content directly to consumers' homes works flawlessly. The problem? Actually finding something to watch has become a user experience nightmare that would make early-2000s software developers cringe.

Multiple streaming platforms are suffering from fundamental interface design failures that actively prevent users from discovering content. Cameron Nudleman, an Austin-based user, told Salon that scrolling through streaming service landing pages feels "like a Herculean task," while his Amazon Fire Stick setup -- designed to consolidate multiple services -- delivers consistent crashes across Paramount+ and Max, with Peacock terminating randomly "for no discernible reason."

The technical problems extend beyond stability issues to basic functionality failures. Max automatically enables closed captions despite user preferences, while Paramount+ crashes during show transitions. Chicago media writer Tim O'Reilly describes "every single interface" as "complete garbage except for Netflix's," though even Netflix has recently implemented changes that degrade user experience.

The industry eliminated simple discovery mechanisms like newspaper listings and Moviefone's telephone service in favor of algorithm-driven interfaces that Tennessee attorney Claire Tuley says have "turned art into work," transforming what was supposed to "democratize movies" into "a system that requires so many subscriptions, searching and effort."

An anonymous reader quotes a report from Ars Technica: For millions of music fans, the most controversial app ban of the past year was not the brief TikTok outage but the ongoing delisting of Musi from Apple's App Store. Those users are holding out hope that Musi can defeat Apple in court and soon be reinstated. However, rather than coming to any sort of resolution, that court fight has intensified over the past month, with both sides now seeking sanctions, TorrentFreak reported. [...] For Musi, the App Store removal came as an existential threat, prompting a lawsuit after Musi's attempts to work out the dispute with Apple outside of court failed. The music-streaming app has alleged that the Apple ban did not come at YouTube's request but at the request of Apple's apparent music industry friends who allegedly asked Apple to find a way to get the app removed -- prompting Apple to push YouTube to re-open a supposedly resolved complaint.

In a court filing, Apple claimed that this "conspiracy theory," as well as other "baseless" claims, were "false and misleading allegations" warranting sanctions. "Discovery thoroughly disproved Musi's baseless conspiracy theory that Apple schemed to eliminate the Musi app from the App Store to benefit 'friends' in the music industry," Apple argued. But Musi fired back over the weekend, calling (PDF) Apple's motion for sanctions "frivolous" and demanding sanctions be ordered instead against Apple for allegedly abusing the sanctions rule as a "tactic of intimidation and harassment." Musi noted that Apple's requested sanctions against Musi "are not appropriate if there is even 'some credible evidence,'" then included internal emails and references to testimony from Apple's own employees that seemingly met this low bar.

Most likely, this part of the dispute will not be settled until July 30, when a hearing is scheduled on the motions for sanctions. Apple is seemingly hoping that the court will agree that Musi's complaint misrepresents the facts and is so misleading that the complaint must be struck entirely, perhaps cutting out the heart of Musi's argument. However, Musi pointed out that Apple previously sought sanctions and withdrew that fight, allegedly recognizing that its bid for sanctions was "baseless." To convince the court that this second bid is "equally frivolous," Musi shared receipts, attaching internal communications from Apple employees that Apple allegedly worked hard to keep out of the courtroom.

Marvel Entertainment and DC Comics have announced their first crossover event since 2003's JLA/Avengers, featuring Deadpool and Batman in dual one-shot publications launching later this year. Deadpool/Batman one-shot launches September 17 and follows Wade Wilson hired for a Gotham City job that puts him against Batman.

DC's Batman/Deadpool counterpart launches in November. Both publications will include additional "backup adventures" featuring other character matchups, though creative teams for those remain unannounced. The crossover required extensive coordination between the companies' editorial schedules, which typically plan two to three years in advance.

More than 50 years after its debut, Uno has achieved unprecedented popularity among adults, but its resurgence is creating problems and confusions as players disagree on fundamental rules. WSJ, in a fun story [non-paywalled source]: Think politics divides? Try mixing competitors with different views on stacking "action" cards, or getting everyone to agree on the true power of the Wild card. And nobody can seem to decide whether staples of the game of their youth -- like mandating players yell "Uno!" when they have one card left -- are socially acceptable at a bar with strangers. Mattel has responded by actively settling rule debates on social media, definitively stating that stacking Draw 2 cards is prohibited, while simultaneously embracing the game's divisive nature through marketing campaigns. The company's "Show 'Em No Mercy" variant, featuring more aggressive rules, became the second-best-selling card game in the United States last year according to research firm Circana, trailing only classic Uno itself.

"For decades, Hollywood directors including Stanley Kubrick, James Cameron and Alex Garland have cast AI as a villain that can turn into a killing machine," writes the Los Angeles Times. "Even Steven Spielberg's relatively hopeful A.I.: Artificial Intelligence had a pessimistic edge to its vision of the future."

But now "Google — a leading developer in AI technology — wants to move the cultural conversations away from the technology as seen in The Terminator, 2001: A Space Odyssey and Ex Machina.". So they're funding short films "that portray the technology in a less nightmarish light," produced by Range Media Partners (which represents many writers and actors) So far, two short films have been greenlit through the project: One, titled "Sweetwater," tells the story of a man who visits his childhood home and discovers a hologram of his dead celebrity mother. Michael Keaton will direct and appear in the film, which was written by his son, Sean Douglas. It is the first project they are working on together. The other, "Lucid," examines a couple who want to escape their suffocating reality and risk everything on a device that allows them to share the same dream....

Google has much riding on convincing consumers that AI can be a force for good, or at least not evil. The hot space is increasingly crowded with startups and established players such as OpenAI, Anthropic, Apple and Facebook parent company Meta. The Google-funded shorts, which are 15 to 20 minutes long, aren't commercials for AI, per se. Rather, Google is looking to fund films that explore the intersection of humanity and technology, said Mira Lane, vice president of technology and society at Google. Google is not pushing their products in the movies, and the films are not made with AI, she added... The company said it wants to fund many more movies, but it does not have a target number. Some of the shorts could eventually become full-length features, Google said....

Negative public perceptions about AI could put tech companies at a disadvantage when such cases go before juries of laypeople. That's one reason why firms are motivated to makeover AI's reputation. "There's an incredible amount of skepticism in the public world about what AI is and what AI will do in the future," said Sean Pak, an intellectual property lawyer at Quinn Emanuel, on a conference panel. "We, as an industry, have to do a better job of communicating the public benefits and explaining in simple, clear language what it is that we're doing and what it is that we're not doing."

It's America's biggest box office for a Memorial Day weekend ever, reports Variety.

And it's been more than a decade since this many Americans went to see a movie during a three-day weekend... Families turned out in force for Disney's live-action "Lilo & Stitch" remake, which collected a blockbuster $145.5 million in its opening weekend and an estimated $183 million through Monday... Meanwhile, older audiences showed up to watch Paramount and Skydance's "Mission: Impossible — The Final Reckoning," which earned a series-best $63 million over the weekend and an estimated $77 million through Monday's holiday. This eighth installment just narrowly beat 2018's "Mission: Impossible — Fallout" ($61 million) to score the top debut of the 29-year-old franchise...

Thanks to effective counterprogramming — and a huge assist by holdovers like "Final Destination Bloodlines," "Thunderbolts*" and "Sinners" — this weekend delivered the best collective Memorial Day weekend haul with $322 million... Cinema operators are rejoicing because Memorial Day is the official launch to summer movie season, which is the most profitable stretch for the movie business. (Historically, the four-month period has accounted for $4 billion, or around 40% of the annual box office.)

It's a huge improvement from last year, which started with a whimper rather than a bang as "Furiosa: A Mad Max Saga" and "Garfield" led the holiday's worst showing in three decades with $132 million collectively. "Every film on the release calendar for the rest of the summer is going to benefit from the momentum created over this monumental record-breaking Memorial weekend in theaters," says senior Comscore analyst Paul Dergarabedian.
But the top-earning movie of the year so far is A Minecraft Movie, which has apparently brought in over $940 million.

Meanwhile, Mission Impossible: The Final Reckoning is one of the most expensive films of all time, according to the article, costing $400 million as Tom Cruise and the movie's director "worked through a pandemic and two strikes, all while grappling with inflation." Though the film received a high "A-" grade on CinemaScore, a movie industry analyst tells Variety that the unexpectedly high production costs means the movie "will be lucky to break-even."

Fun fact: A quarter of a century ago, CmdrTaco reviewed a new movie called Mission: Impossible 2, calling it "a fun movie," but "no Gladiator" and sort of a "James Bond for Dummies" movie.

"The 'Plot' is really just an excuse to show us lots of explosions, car/motorcycle/helicoptor chases..."