Warner Bros. is developing a feature film set in the world of Game of Thrones with writer Beau Willimon of Andor and House of Cards. "That's about all we know right now, and as with everything 'Thrones' things could change, but the film is firmly in development," reports TheWrap. Page Six Hollywood was first to break the news and speculated that the story could revolve around Aegon I, the legendary Targaryen king who spawned a dynasty. From the report: The Targaryens have been at the center of all things "Thrones" on HBO, with "Game of Thrones" following Daenerys Targaryen's (Emilia Clarke) quest to usurp the throne, spinoff "House of the Dragon" set in the midst of the Targaryens' reign and recent spinoff "A Knight of the Seven Kingdoms" following the squire-ship of Aegon "Egg" Targaryen towards the end of the family's run atop the Iron Throne. All, of course, based on George R.R. Martin's expansive book universe.

The Library of Congress has restored Gugusse et l'Automate, an 1897 short by Georges Melies that likely features the first robot ever shown on film. Long thought lost, the reel was discovered in a box of decaying nitrate films donated from a Michigan family collection. NPR reports: The film, which can be viewed on the Library of Congress' website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.

In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, "probably the first instance of a robot ever captured in a moving image." (The word "robot" didn't appear until 1921, when Czech dramatist Karel Capek coined it in his science fiction play R.U.R..)

"Today, many of us are worried about AI and robots," said archivist and filmmaker Rick Prelinger, in an email to NPR. "Well, people were thinking about robots in 1897. Very little is new."

Paramount Skydance plans to combine HBO Max and Paramount+ into a single streaming platform following its acquisition of Warner Bros. Discovery. "As we said, we do plan to put the two services together, which today gives us a little over 200 million direct-to-consumer subscribers," said David Ellison, the company's CEO. "We think that really positions us to compete with the leaders in the space." The deal still needs regulatory approval. The Washington Post reports: He added that Paramount didn't want to make changes to the HBO brand. "Our viewpoint is HBO should stay HBO," Ellison said, noting that his favorite HBO product is "Game of Thrones." If Justice Department regulators allow the deal to go through, it would place recent HBO Max hits, such as "The Pitt" and "A Knight of the Seven Kingdoms," alongside Paramount offerings including "South Park" and "Yellowstone." "They built a phenomenal brand," he said. "They are a leader in the space, and we just want them to continue doing more of it."

The deal to buy Warner Bros., valued at about $110 billion, will almost surely attract regulatory scrutiny from the Justice Department because -- without divestments -- it places major swaths of the film, television and news industries under one roof: Warner Bros. and Paramount studios, HBO Max and Paramount+, and CBS and CNN would all have the same parent company. Ellison expressed confidence on the call that the deal wouldn't face hurdles with regulators.

"Podcasts have officially overtaken AM/FM talk radio as the more popular medium for spoken-word audio in the United States," reports TechCrunch, citing Edison Research's Share of Ear survey: The researchers have tracked these statistics over the last decade, and almost always, the percentage of time people spent listening to podcasts increased, while their time with spoken radio broadcasts decreased. For the first time this year, podcasts eclipsed spoken-word radio with 40% of listening time, as opposed to 39% for radio...

We checked with Edison to see if these statistics include video podcasts, and they do. But the need to clarify that question points to the undeniable growing prevalence of video podcasts, hosted on platforms like Spotify and YouTube, which marks another key trend in podcasting... YouTube said that viewers watched 700 million hours of podcasts each month in 2025 on living room devices, like TVs, up from 400 million the previous year.

"The drought of upcoming Star Wars movies is coming to an end soon," writes Cinemablend. In May the The Mandalorian and Grogu opens, and one year later there's the release of the Ryan Gosling-led Star Wars: Starfighter.

But "there are some insiders who already believe that Starfighter will be a bigger hit than The Mandalorian and Grogu..." According to unnamed sources who spoke with Variety, there's a "sense" that Star Wars: Starfighter, which is directed by Deadpool & Wolverine's Shawn Levy, will be a more satisfying viewing experience. These same sources are allegedly impressed by the early footage they've seen of Ryan Gosling's performance and also suggested that Levy has "recaptured the franchise's spirit of fun." Furthermore, the article states that there's concern that because The Mandalorian and Grogu is spinning out of a streaming-exclusive series, it might not have as much appeal to people who aren't already fans of The Mandalorian... Star Wars: Starfighter, on the other hand, will be accessible to everyone equally. It's set five years after The Rise of Skywalker, which is an unexplored period for the Star Wars franchise onscreen. It's also expected that most, if not all of its featured characters will be brand-new, so no knowledge of past adventures is required.
Slashdot reader gaiageek reminds us that 2027 will also see a special 50-year anniversary event in movie in theatres: a "newly restored" version of the original 1977 Star Wars.

Author Dan Simmons, best known for the epic sci-fi novel Hyperion and its sequels, has died at 77 following a stroke. Ars Technica's Eric Berger remembers Simmons, writing: Simmons, who worked in elementary education before becoming an author in the 1980s, produced a broad portfolio of writing that spanned several genres, including horror fiction, historical fiction, and science fiction. Often, his books included elements of all of these. This obituary will focus on what is generally considered his greatest work, and what I believe is possibly the greatest science fiction novel of all time, Hyperion.

Published in 1989, Hyperion is set in a far-flung future in which human settlement spans hundreds of planets. The novel feels both familiar, in that its structure follows Chaucer's Canterbury Tales, and utterly unfamiliar in its strange, far-flung setting. Simmons' Hyperion appeared in an Ask Slashdot story back in 2008, when Slashdot reader willyhill asked for tips on how Slashdotters track down great sci-fi. If you're in the mood for a little nostalgia, or just want to browse the thread for book recommendations, it's well worth revisiting.

An anonymous reader shares a column: I'm going to take the diplomatic hat off here and say with brutal honesty: basically everybody in the music business hates Spotify except for the people who work there. It's a platform that sucks artists for everything they have, it actively prevents community building, and, despite all of that, the platform still struggles to maintain a healthy profit margin.

The streaming business model is fundamentally broken. And eventually, its demise will become more and more obvious to recognize. I'll break down exactly why the DSP era is coming to a grinding halt, why the major labels are quietly terrified, and why the artists who don't pivot now are going to go down with the ship.

[...] Jimmy Iovine put it bluntly: "The streaming services have a bad situation, there's no margins, they're not making any money." This model only works for Apple, Amazon, and Google, because they don't need their music platforms to be wildly profitable. Amazon uses music as a loss-leader to keep you paying for Prime. Apple uses it to sell $1,000 iPhones. As for Spotify, or any standalone music streaming company, they're kind of screwed. And guess what -- when the platform's margins are structurally squeezed, guess who gets squeezed first? The artists.

[...] What if Jimmy is right? If the DSPs are "minutes away from obsolete," what replaces them? Well, I'm not sure the DSPs are going to disappear overnight, but if you're an artist or a manager trying to sustain yourself in this evolving music economy, the answer is direct ownership. The artists who will survive the next five years are the ones who are quietly shifting their focus away from the "ATM Machine."

They are building their own cultural hangars. They are capturing phone numbers on Laylo. They are driving fans to private Discord servers. They are focusing on ARPF (Average Revenue Per Fan) through high-margin merch, vinyl, and hard tickets, rather than begging for fractions of a penny from a playlist placement. We are witnessing the death of the "Mass Audience" and the birth of the "Micro-Community."

Netflix is walking away from a deal to buy Warner Bros. Discovery's studio and streaming assets after the WBD board on Thursday deemed a revised bid by Paramount Skydance to be a superior offer. From a report: Earlier this week, Paramount raised its bid to buy the entirety of WBD to $31 per share, up from $30 per share, all cash. It was the latest amendment to Paramount's multiple offers in recent months -- and since moving forward with a hostile bid to buy the company -- and it's now unseated a deal between WBD and Netflix to sell the legacy media company's studio and streaming businesses for $27.75 per share.

Last week, Netflix granted WBD a seven-day waiver to reengage with Paramount, resulting in the higher bid. Paramount's offer is for the entirety of WBD, including its pay-TV networks, such as CNN, TBS and TNT. Netflix had four business days to make changes to its own proposal in light of Paramount's superior bid, the WBD board said in a statement Thursday. Instead, the decision by the streaming giant to walk away puts a pin in a drawn-out saga that saw amended offers from both bidders.

Bright Data, a company that operates one of the world's largest residential proxy networks, has been running an SDK inside smart TV apps that turns those devices into nodes for web crawling -- collecting data used by AI companies, among other clients -- and most consumers have had no idea it was happening.

The company has published more than 200 first-party apps to LG's app store alone and still lists Samsung's Tizen OS and LG's webOS as supported platforms, though LG says the SDK is "not officially supported" and its operation on webOS "is not guaranteed." Google, Amazon, and Roku have all since adopted policies restricting or banning background proxy SDKs, and Bright Data no longer supports those platforms.

Several Roku apps still running the SDK disappeared from the store after a journalist with The Verge behind this reporting contacted the company.

HBO Max will be cracking down on password sharing around the world. From a report: The streamer first started cracking down on password sharing in the United States late last August. Subscribers are now able to add an additional out-of-household account for $7.99 a month. Before that August change, Warner Bros. Discovery had been testing for months to determine who may or may not be a "legitimate user," as CEO and President for Warner Bros. Discovery Global Streaming and Games JB Perrette described the plan.

On Thursday during the company's fourth quarter earnings call for 2025, WBD revealed that the streaming limitations would be expanding. This news came as part of an answer about which levers the company plans to pull to grow HBO Max. Password crackdowns have proven to be a lucrative way to both boost revenue and subscriptions. Netflix, for example, saw 9 million more subscribers after its first wave of password crackdowns in 2024. The caveat is that password crackdowns do not lead to consistent growth, and they often infuriate subscribers.

DVD and Blu-ray sales have been in freefall for years, but the decline is slowing considerably as Gen Z buyers turn to physical media and drive a measurable uptick at video rental stores and retailers across the U.S.

Overall disc sales fell just 9% last year after dropping more than 20% in both 2023 and 2024, according to the Digital Entertainment Group, and U.S. consumers spent 12% more on 4K UHD Blu-rays in 2025 than the prior year. The Criterion Collection, a leading boutique Blu-ray label, confirmed significant year-over-year sales increases that its president credits to younger customers.

Vidiots, a video store in Los Angeles, averaged 170 rentals a day in January 2026 -- its biggest month ever -- after loaning about 22,000 discs total in 2023 and roughly 50,000 in 2024. Barnes & Noble reported DVD and Blu-ray sales growth of "mid-double digits" over the past year.

Panasonic is handing over the manufacturing, marketing, and sales of its TVs to Shenzhen-based Skyworth, effectively exiting in-house TV production. Ars Technica reports: Skyworth is a Shenzhen-headquartered TV brand. The company claims to be "a top three global provider of the Android TV platform." In July, research firm Omdia reported that Skyworth was one of the top-five TV brands by sales revenue in Q1 2025; however, Skyworth hasn't been able to maintain that position regularly. Panasonic made its announcement at a "launch event," FlatpanelsHD reported today. During the event, a Panasonic representative reportedly said: "Under the agreement the new partner will lead sales, marketing, and logistics across the region, while Panasonic provide expertise and quality assurance to uphold its renowned audiovisual standards with full joint development on top-end OLED models."

Panasonic also said that it will provide support "for all Panasonic TVs sold up to March 2026 and all those available from April." Skyworth-made Panasonic TVs will be sold in the US and Europe. In the latter geography, the companies are aiming for double-digit market share. [...] The news means there's virtually no TV production happening in Japan anymore, as other Japanese companies, like Sharp, Toshiba, Hitachi, and Pioneer, have already exited TV production. Earlier this year, Sony announced that it was ceding control of its TV hardware business to TCL.

An anonymous reader shares a report: When will AI movies start showing up in theaters nationwide? It was supposed to be next month. But when word leaked online that an AI short film contest winner was going to start screening before feature presentations in AMC Theatres, the cinema chain decided not to run the content.

The issue began earlier this week with the inaugural Frame Forward AI Animated Film Festival announcing Igor Alferov's short film Thanksgiving Day had won the contest. The prize package for included Thanksgiving Day getting a national two-week run in theaters nationwide. When word of this began hitting social media, however, some were dismayed by the prospect of exhibitors embracing AI content, with many singling out AMC Theatres for criticism.

Except the short is not actually programmed by exhibitors, exactly, but by Screenvision Media -- a third-party company which manages the 20-minute, advertising-driven pre-show before a theater's lights go down. Screenvision -- which co-organized the festival along with Modern Uprising Studios -- provides content to multiple theatrical chains, not just AMC. After The Hollywood Reporter reached out to AMC about the brewing controversy, the company issued this statement to THR on Thursday: "This content is an initiative from Screenvision Media, which manages pre-show advertising for several movie theatre chains in the United States and runs in fewer than 30 percent of AMC's U.S. locations. AMC was not involved in the creation of the content or the initiative and has informed Screenvision that AMC locations will not participate."

Cable TV providers have spent the past decade losing tens of millions of households to streaming services, but companies like Charter Communications are now slowing that exodus by bundling the very apps that once threatened to replace them.

Charter added 44,000 net video subscribers in the fourth quarter of 2025, its first growth in that count since 2020, after integrating Disney+, Hulu, and ESPN+ directly into Spectrum cable packages -- a deal that grew out of a contentious 2023 contract dispute with Disney. Comcast and Optimum still lost subscribers in the quarter, though both saw those losses narrow.

Charter's Q4 numbers also got a lift from a 15-day Disney channel blackout on YouTube TV during football season, which drove more than 14,000 subscribers to Spectrum. Charter has been discounting aggressively -- video revenue fell 10% year over year despite the subscriber gains. Cox Communications launched its first streaming-inclusive cable bundles last month, and Dish Network has yet to integrate streaming apps into its packages at all.

Bafta has brought in "human achievement" as a guiding principle for its annual awards as the film and television industry grapples with the rapid adoption of AI tools in many parts of production. From a report: In an interview with the FT, Bafta chair Sara Putt, who is nearing the end of her three-year tenure, said artificial intelligence would change how people worked "but at the base of everything in this industry is human creativity."

However, while AI has been banned in Bafta's performance awards -- meaning, for example, that AI-generated avatars cannot be put forward for leading actress or actor -- it is not prohibited in other categories. Putt said AI tools were increasingly useful in production but added: "We've actually added [human creativity] as a criteria this year... Those very human skills of communication and collaboration are not going anywhere anytime soon."

According to Lara Trump, Donald Trump has prepared but not yet delivered a speech about extraterrestrial life, though the White House says such a speech would be "news to me." White House Spokesperson Karoline Leavitt continued: "I'll have to check in with our speech writing team. Uh, and that would be of great interest to me personally, and I'm sure all of you in this room and apparently former President Obama, too." The Hill reports: Lara Trump, speaking on the Pod Force One podcast, said the president has played coy when she and her husband Eric have asked about the existence of UFO's and aliens. "We've kind of asked my father-in-law about this... we all want to know about the UFOs... and he played a little coy with us," Lara Trump said. "I've heard kind of around, I think my father-in-law has actually said it, that there is some speech that he has, that I guess at the right time, I don't know when the right time is, he's going to break out and talk about and it has to do with maybe some sort of extraterrestrial life."

Obama has clarified in recent days that he has seen no evidence that aliens are real, after comments he made on a podcast with Brian Tyler Cohen seeming to confirm his knowledge of extraterrestrial life went viral. "They're real but I haven't seen them," Obama said on the podcast. "And they're not being kept in... what is it? Area 51. There's no underground facility unless there's this enormous conspiracy and they hid it from the president of the United States."

Later, in a post on Instagram, Obama clarified that he was trying to answer in the light-hearted spirit of a speed round of questions and that, "Statistically, the universe is so vast that the odds are good there's life out there." "But the distances between solar systems are so great that the chances we've been visited by aliens is low, and I saw no evidence during my presidency that extraterrestrials have made contact with us. Really!"

Google is bringing its Lyria 3 AI music model into the Gemini app, allowing users to generate 30-second songs from text, images, or video prompts directly within the chatbot. The Verge reports: Lyria 3's text-to-music capabilities allow Gemini app users to make songs by describing specific genres, moods, or memories, such as asking for an "Afrobeat track for my mother about the great times we had growing up." The music generator can make instrumental audio and songs with lyrics composed automatically based on user prompts. Users can also upload photographs and video references, which Gemini then uses to generate a track with lyrics that fit the vibe.

"The goal of these tracks isn't to create a musical masterpiece, but rather to give you a fun, unique way to express yourself," Google said in its announcement blog. Gemini will add custom cover art generated by Nano Banana to songs created on the app, which aims to make them easier to share and download. Google is also bringing Lyria 3 to YouTube's Dream Track tool, which allows creators to make custom AI soundtracks for Shorts.

Dream Track and Lyria were initially demonstrated with the ability to mimic the style and voice of famous performers. Google says it's been "very mindful" of copyright in the development of Lyria 3 and that the tool "is designed for original expression, not for mimicking existing artists." When prompted for a specific artist, Gemini will make a track that "shares a similar style or mood" and uses filters to check outputs against existing content.

Mark Fischbach, the YouTube creator known as Markiplier who has spent nearly 15 years building an audience of more than 38 million subscribers by playing indie-horror video games on camera, has pulled off something that most independent filmmakers never manage -- a self-financed, self-distributed debut feature that has grossed more than $30 million domestically against a $3 million budget.

Iron Lung, a 127-minute sci-fi adaptation of a video game Fischbach wrote, directed, starred in, and edited himself, opened to $18.3 million in its first weekend and has since doubled that figure worldwide in just two weeks, nearly matching the $19.1 million debut of Send Help, a $40 million thriller from Disney-owned 20th Century Studios. Fischbach declined deals from traditional distributors and instead spent months booking theaters privately, encouraging fans to reserve tickets online; when prospective viewers found the film wasn't screening in their city, they called local cinemas to request it, eventually landing Iron Lung on more than 3,000 screens across North America -- all without a single paid media campaign.

An anonymous reader shares a report: A moderator on diyAudio set up an experiment to determine whether listeners could differentiate between audio run through pro audio copper wire, a banana, and wet mud. Spoiler alert: the results indicated that users were unable to accurately distinguish between these different 'interfaces.'

Pano, the moderator who built the experiment, invited other members on the forum to listen to various sound clips with four different versions: one taken from the original CD file, with the three others recorded through 180cm of pro audio copper wire, via 20cm of wet mud, through 120cm of old microphone cable soldered to US pennies, and via a 13cm banana, and 120cm of the same setup as earlier.

Initial test results showed that it's extremely difficult for listeners to correctly pick out which audio track used which wiring setup. "The amazing thing is how much alike these files sound. The mud should sound perfectly awful, but it doesn't," Pano said. "All of the re-recordings should be obvious, but they aren't."

Sony Group has developed a technology that can identify the underlying music used in tunes generated by AI, making it possible for songwriters to seek compensation from AI developers if their music was used. From a report: Sony Group's technology analyzes which musicians' songs were used in learning and generating music. It can quantify the contribution of each original work, such as "30% of the music used by the Beatles and 10% by Queen," for example.

If the AI developer agrees to cooperate for the analysis, Sony Group will obtain data by connecting to the developer's base model system. When cooperation is not attainable, the technology estimates the original work by comparing AI-generated music with existing music. The AI boom has sparked numerous cases in which AI developers are accused of using copyrighted music, video and writing without permission to train machines. In the music industry, AI-generated songs using the voices of well-known singers have been distributed online. The Japanese company thinks the technology will help create a system that distributes revenue generated by AI music to original songwriters based on their contribution.