A Michigan federal magistrate judge has banned a lawyer from using a cartoon dragon watermark on legal filings, calling the practice "juvenile and impertinent." Judge Ray Kent of the Western District of Michigan issued the order on April 28 after receiving a complaint featuring a purple, suit-wearing dragon on every page.

"Each page of plaintiff's complaint appears on an e-filing which is dominated by a large multi-colored cartoon dragon dressed in a suit," Kent wrote. "The Court is not a cartoon." The watermark belongs to Jacob A. Perrone of Dragon Lawyers, who told The New York Times he purchased the image online for $20 because "people like dragons."

Perrone said it plans to continue using the logo in his practice but will tone it down in future court submissions.

Spotify has submitted an iOS app update that would allow US customers to use payment options beyond Apple's system, the company said Thursday. The move follows Wednesday's Epic Games v. Apple ruling, which prohibits Apple from taking a cut of non-Apple payment systems and from controlling how developers inform users about alternative payment methods.

If approved, the update would enable US users to view subscription pricing details and promotions directly in-app, purchase subscriptions via external links, seamlessly switch between Premium plans, and access payment options beyond Apple's system. Spotify suggested the update could eventually facilitate additional purchasing opportunities, including audiobooks. "While other governments around the world have taken steps against Apple's harmful practices, this is, by far, the most consequential action to date," Spotify said, calling it "absurd" that these "basic services" weren't permitted despite being ordered by a judge four years ago. Patreon has similarly announced plans to submit an iOS app update allowing creators to accept non-Apple payments.

Its goal was to "support workers to reclaim the power of future-making". A 2022 pilot project saw over 25 Amazon workers meeting online "to discuss how science fiction shed light on their working conditions and futures." 13 of them then continued meeting regularly in 2023 with the "Worker as Futurist" project (funded by Canada's Social Sciences and Humanities Research Council, according to an article by the project's leaders in the socialist magazine Jacobin). "Our team of scholars, teachers, writers, and activists has been able to pay Amazon workers (warehouse workers, drivers, copy editors, MTurk workers, and more) to participate in a series of skill-building writing workshops and information sessions...."

And when it was over, "the participants were supported to draft the stories they wanted to tell about The World After Amazon...."

Six months ago they held the big launch event for the book's print edition, while also promising that "you can read the workers' stories online, or download the book as a PDF or an ebook, all for free." The Amazon-worker stories have tempting titles like "The Museum of Prime", "The Dark Side of Convenience", and even "The Iron Uprising." ("In a dystopian future of corporate power, humans and robots come together in resistance and in love.")

And the project also created a 13-episode podcast offering "interviews with experts on Amazon, activists and organizers, science fiction writers and others dedicated to reclaiming the future from corporate control." As they wrote in Jacbon: This isn't finding individual commercial or literary success, but dignity, imagination, and common struggle... Our "Worker as Futurist" project returns the power of the speculative to workers, in the name of discovering something new about capitalism and the struggle for something different...

We must envision the futures we want in order to mobilize and fight for them together, rather than cede that future to those who would turn the stars into their own private sandbox... The rank-and-file worker — the target of daily exploitation, forced to build their boss's utopia — may have encrypted within them the key to destroying his world and building a new one.

80-year-old George Lucas appeared this week at a 45th anniversary screening of The Empire Strikes Back, reports CNN — and finally gave a good explanation for why Yoda speaks the way he does. "He explained that it came about in order to ensure that the little alien's usually profound messages really landed with audiences." "Because if you speak regular English, people won't listen that much," Lucas said at the 2025 TCM Classic Film Festival, per Variety . "But if he had an accent, or it's really hard to understand what he's saying, they focus on what he's saying." Yoda was "basically the philosopher of the movie," the filmmaker added. "I had to figure out a way to get people to actually listen — especially 12-year-olds."

Also this week, the verified Instagram accounts for Disney+, Star Wars and LucasFilm — Lucas' film and television production company — posted clips of Yoda doing bloopers on the set of "Star Wars" films, with [Frank] Oz continuing to do the voice and manipulate the heavy Yoda puppet even on takes that were unusable. Suffice it to say: One for the ages, Yoda is.
Lucas also remembered how he'd "mounted a guerilla campaign to generate excitement" for the first Star Wars movie, reports Variety. ("I got the kids walking around Disneyland and the Comic Cons and all that kind of stuff... that's why Fox was so shocked when the first day the lines were all around the block.") And Variety says Lucas described a condition in his contract for Star Wars "that would again be life-changing, both for him and the entertainment industry as a whole." "I said, 'besides that, I'd like licensing.' They went, 'What's licensing?'" Unimpressed by the film, and colored by the history of movie merchandising to that point, the studio capitulated to his demands. "They talked to themselves, and they went, 'He's never going to be able to do that. It takes them a billion dollars and a year to make a toy or make anything. There's no money in that at all.'"

"Google-owned YouTube's revenue last year was estimated to be $54.2 billion," reports the Los Angeles Times, "which would make it the second-largest media company behind Walt Disney Co., according to a recent report from research firm MoffettNathanson, which called YouTube 'the new king of all media.'" YouTube, run by Chief Executive Neal Mohan since 2023, accounted for 12% of U.S. TV viewing in March, more than other rival streaming platforms including Netflix and Tubi, according to Nielsen... More people are watching YouTube on TV sets rather than on smartphones and computer screens, consuming more than 1 billion hours on average of YouTube content on TV daily, the company said on its website.
When YouTube first started its founders envisioned it as a dating site, according to the article, "where people would upload videos and score them. When that didn't work, the founders decided to open up the platform for all sorts of videos." And since this was 20 years ago, "Users drove traffic to YouTube by sharing videos on MySpace."

But the article includes stories of people getting rich through YouTube's sharing of ad revenue: Patrick Starrr, who produces makeup tutorial videos, said he made his first $1 million through YouTube at the age of 25. He left his job at retailer MAC Cosmetics in Florida and moved to L.A...

[Video creator Dhar Mann] started posting videos on YouTube in 2018 with no film background. Mann previously had a business that sold supplies to grow weed. Today, his company, Burbank-based Dhar Mann Studios, operates on 125,000 square feet of production space, employs roughly 200 people and works with 2,000 actors a year on family friendly programs that touch on how students and families deal with topics such as bullying, narcolepsy, chronic inflammatory bowel disease and hoarding. Mann made $45 million last year, according to Forbes estimates. The majority of his company's revenue comes through YouTube.
He tells the Times "I don't think it's just the future of TV — it is TV, and the world is catching on."

And then there's this... "My mom would always give me so much crap about it — she would say, 'Why do you want to do YouTube?'" said Chucky Appleby, now an executive at MrBeast. His reply: "Mom, you can make a living from this." MrBeast's holding company, Beast Industries, which employs more than 400 people, made $473 million in revenue last year, according to Business Insider. In the last 28 days, MrBeast content — which includes challenges and stunt videos — received 3.6 billion views on YouTube, Appleby said.

Appleby, 28, said he's since bought a Jeep for his mom.

An anonymous reader quotes a report from Ars Technica: Multiple studies and investigations have found that about half of American households watch TV and movies with subtitles on, but only a relatively small portion of those include someone with a hearing disability. That's because of the trouble many people have understanding dialogue in modern viewing situations, and Netflix has now introduced a subtitles option to help.

The closed captioning we've all been using for years includes not only the words the people on-screen are saying, but additional information needed by the hard of hearing, including character names, music cues ("dramatic music intensifies") and sound effects ("loud explosion"). For those who just wanted to make sure they didn't miss a word here and there, the frequent descriptions of sound effects and music could be distracting. This new format omits those extras, just including the spoken words and nothing else -- even in the same language as the spoken dialogue. The feature will be available in new Netflix original programming, starting with the new season of You in multiple languages. Netflix says it's looking at bringing the option to older titles in the library (including those not produced by Netflix) in the future.

Traditional closed captions are still available, of course. Those are labeled "English CC" whereas this new option is simply labeled "English" (or whatever your preferred language is).

TV producer Alex Berger criticized Apple TV+ as "the worst marketer in the universe" for failing to promote his French-language show La Maison, despite its success in Europe. Berger said he initially partnered with Apple out of hope, but ultimately felt they undermined their own content by not supporting it properly. 9to5Mac reports: Rafa Sales Ross at Variety recently interviewed TV producer Alex Berger, who made La Maison for Apple TV+. That partnership is apparently not one he intends to repeat: "Marketing makes a show," he emphasized. "Apple, for example, is probably the worst marketer in the universe -- the best for iPhones, the worst for television. They don't do marketing, and it was an issue for us with 'La Maison.' We did a great show that had an amazing success in France and other places in Europe, but they never promoted it. It drove me crazy."

Asked why, while believing Apple TV+ to lack in marketing efforts, did he decide to take "La Maison" to the streamer, Berger said simply: "Hope. We had hope." "Apple TV+ had never done a show in France and never really done a show in Europe," adds the producer. "'Slow Horses' started [things] in the U.K., but it was with the U.S.. I was hoping I would change them. We got very frustrated and just thought at one point that they were shooting themselves in the foot, and why? "La Maison faced the additional challenge of being a French-language series, at the time one of the only non-English shows on the streamer," notes 9to5Mac's Ryan Christoffel. "So it had an uphill battle already, making Apple's marketing struggles even more of a problem."

An anonymous reader quotes a report from Ars Technica: Comcast executives apparently realized something that customers have known and complained about for years: The Internet provider's prices aren't transparent enough and rise too frequently. This might not have mattered much to cable executives as long as the total number of subscribers met their targets. But after reporting a net loss of 183,000 residential broadband customers in Q1 2025, Comcast President Mike Cavanagh said the company isn't "winning in the marketplace" during an earnings call today. The Q1 2025 customer loss was over three times larger than the net loss in Q1 2024.

While customers often have few viable options for broadband and the availability of alternatives varies widely by location, Comcast faces competition from fiber and fixed wireless ISPs. "In this intensely competitive environment, we are not winning in the marketplace in a way that is commensurate with the strength of the network and connectivity products that I just described," Cavanagh said. "[Cable division CEO] Dave [Watson] and his team have worked hard to understand the reasons for this disconnect and have identified two primary causes. One is price transparency and predictability and the other is the level of ease of doing business with us. The good news is that both are fixable and we are already underway with execution plans to address these challenges." [...]

Cavanagh said that Comcast plans to make changes in marketing and operations "with the highest urgency." This means that "we are simplifying our pricing construct to make our price-to-value proposition clearer to consumers across all broadband segments," he said. Comcast last week announced a five-year price guarantee for broadband customers who sign up for a new package. Comcast said customers will get a "simple monthly price starting as low as $55 per month," without having to enter a contract, giving them "freedom and flexibility to cancel at any time without penalty." The five-year guarantee also comes with one year of Xfinity Mobile at no charge, Comcast said. [...] Additional offers are in the works, Cavanagh said. "We are not done. Providing more value to our customers with less complexity and friction is a top priority and you will see our go-to-market approach continue to evolve over the coming months," he said. Comcast investors shouldn't expect an immediate turnaround, though. "We anticipate that it will take several quarters for our new approach to gain traction and impact the business in a meaningful way," Cavanagh said.

As Warner Bros. Discovery prepares to crack down on password sharing, its Max streaming service is rolling out a new feature called the Extra Member Add-On. "Similar to Netflix's paid sharing model, the new feature allows users to add an extra person who does not live in the same household as the primary account holder to their subscription for a monthly fee," reports CNBC. From the report: Priced at $7.99 a month, the friend or family member of the account owner gets their own stand-alone account under the same subscription. Existing profiles attached to customers who do not live within the primary household can be transferred to these new account types, which means their watch history and recommendations will follow them to the new account. At least for now, the option is limited to one add-on profile per subscription.

"Extra Member Add-On and Profile Transfer are two key Max advancements, designed to help viewers with a new way to enjoy our best-in-class content at an exceptional value, and offer subscribers greater flexibility in managing their accounts," said JB Perrette, CEO of global streaming and games at Warner Bros. Discovery, in a statement Tuesday.

An anonymous reader quotes a report from Ars Technica: In 2019, Garrett Mitchell was already an Internet success. His YouTube channel, Cleetus McFarland, had over a million followers. If you perused the channel at that time, you would've found a range of grassroots motorsports videos with the type of vehicular shenanigans that earn truckloads of views. Some of those older videos include "BLEW BY A COP AT 120+mph! OOPS!," "THERE'S A T-REX ON THE TRACK!," and "Manual Transmission With Paddle Shifters!?!." Those videos made Mitchell, aka Cleetus McFarland, a known personality among automotive enthusiasts. But the YouTuber wanted more financial independence beyond the Google platform and firms willing to sponsor his channel. " after my YouTube was growing and some of my antics [were] getting videos de-monetized, I realized I needed a playground," Mitchell told Ars Technica in an email.

Mitchell found a road toward new monetization opportunities through the DeSoto Super Speedway. The Bradenton, Florida, track had changed ownership multiple times since opening in the 1970s. The oval-shaped racetrack is three-eighths of a mile long with 12-degree banking angles. By 2018, the track had closed its doors and was going unused. DeSoto happened to be next to Mitchell's favorite drag strip, giving the YouTuber the idea of turning it into a stadium where people could watch burnouts and other "massive, rowdy" ticketed events. Mitchell added: "So I sold everything I could, borrowed some money from my business manager, and went all in for [$]2.2 million." But like the rest of the world, Mitchell hit the brakes on his 2020 plans during COVID-19 lockdowns. Soon after his purchase, Mitchell couldn't use the track, renamed Freedom Factory, for large gatherings, forcing him to reconsider his plans. "We had no other option but to entertain the people somehow. And with no other racing goin' on anywhere, we bet big on making something happen. And it worked," Mitchell said. That "something" was a pay-per-view (PPV) event hosted from the Freedom Factory in April 2020.

The event led to others and, eventually, Mitchell running his own subscription video on demand (SVOD) service, FRDM+, which originally launched as Cleetervision in 2022. Today, a FRDM+ subscription costs $20 per month or $120 per year. A subscription provides access to an impressive library of automotive videos. Some are archived from Mitchell's YouTube channel. Other, exclusive videos feature content such as interviews with motorsports influencers and members of Mitchell's staff and crew, and outrageous motorsports stunts. You can watch videos from other influencers on FRDM+, and the business can also white-label its platform into other influencers' websites, too. "Today, bandwidth isn't a problem for FRDM+, and navigating the streaming service doesn't feel much different from something like Netflix," writes Ars Technica's Scharon Harding. "There are different 'channels' (grouped together by related content or ongoing series) on top and new releases and upcoming content highlighted below. There are horizontal scrolling rows, and many titles have content summaries and/or trailers. The platform also has a support section with instructions for canceling subscriptions."

"Due to wildly differing audiences, markets, costs, and scales, comparing FRDM+'s financials to the likes of Netflix and other mainstream streaming services is like comparing apples to oranges. But it's interesting to consider that FRDM+ has achieved profitability faster than some of those services, like Peacock, which also launched in 2020, and Apple TV+, which debuted in 2019."

Films made with the help of AI will be able to win top awards at the Oscars, according to its organisers. From a report: The Academy of Motion Picture Arts and Sciences issued new rules on Monday which said the use of AI and other digital tools would "neither help nor harm the chances of achieving a nomination."

[...] The Academy said it would still consider human involvement when selecting its winners. The Academy said its new language around eligibility for films made using generative AI tools was recommended by its Science and Technology Council. Under further rule changes announced on Monday, Academy members must now watch all nominated films in each category in order to be able to take part in the final round of voting, which decides upon winners.

A new Star Wars movie — starring Ryan Gosling and directed by Shawn Levy — will be released in 2027, the two announced Friday at the "Star Wars Celebration" (a fan event in Japan). CNN reports: Set to begin production this fall, the movie will be set approximately five years after "Star Wars: Episode IX — The Rise of Skywalker," released in 2019, but will sit outside the Skywalker story as a standalone film. "The film... is an entirely new adventure featuring all-new characters set in a period of time that has not been explored on screen," said a statement from Lucasfilm, the owner of the "Star Wars" franchise...

"The script is just so good, the story, it has so much adventure, so much heart and original character. It's an opportunity to shine the light into a side of the universe that we may not have seen," Gosling said. Levy, the director of "Deadpool & Wolverine," told the crowd the film would have all the "fun of 'Star Wars'" but it would be done "in ways that are new and original...."

The next movie in the franchise, "The Mandalorian & Grogu," a spin-off of "The Mandalorian" series, directed by Jon Favreau, will hit cinemas in May 2026.
USA Today notes that more new Star Wars movies have also been announced: Daisy Ridley is set to star in a film that will see her character, Rey, building a new Jedi Order after the events of "The Rise of Skywalker." [This is sometimes referred to as "Star Wars Episode X: New Jedi Order."]

"Logan" filmmaker James Mangold has also been tapped to direct a movie about the dawn of the Jedi, and [Dave] Filoni is directing one said to "close out the interconnected stories" told in the live-action Disney+ shows like "The Mandalorian."

An anonymous reader quotes a report from Popular Mechanics: American composer Alvin Lucier was well-known for his experimental works that tested the boundaries of music and art. A longtime professor at Wesleyan University (before retiring in 2011), Alvin passed away in 2021 at the age of 90. However, that wasn't the end of his lifelong musical odyssey. Earlier this month, at the Art Gallery of Western Australia, a new art installation titled Revivification used Lucier's "brain matter" -- hooked up to an electrode mesh connected to twenty large brass plates -- to create electrical signals that triggered a mallet to strike the varying plates, creating a kind of post-mortem musical piece. Conceptualized in collaboration with Lucier himself before his death, the artists solicited the help of researchers from Harvard Medical School, who grew a mini-brain from Lucier's white blood cells. The team created stem cells from these white blood cells, and due to their pluripotency, the cells developed into cerebral organoids somewhat similar to developing human brains. "At a time when generative AI is calling into question human agency, this project explores the challenges of locating creativity and artistic originality," the team behind Revivification told The Art Newspaper. "Revivification is an attempt to shine light on the sometimes dark possibilities of extending a person's presence beyond the seemed finality of death."

"The central question we want people to ask is: could there be a filament of memory that persists through this biological transformation? Can Lucier's creative essence persist beyond his death?" the team said.

Netflix's Q1 revenue rose to $10.5 billion, a 13% increase from last year, while net income grew to $2.9 billion. The company says it expects more growth in the coming months when it sees "the full quarter benefit from recent price changes and continued growth in membership and advertising revenue." The Verge reports: Netflix raised the prices across most of its plans in January, with its premium plan hitting $24.99 per month. It also increased the price of its Extra Member option -- its solution to password sharing -- to $8.99 per month. Though Netflix already rolled out the increase in the US, UK, and Argentina, the streamer now plans to do the same in France. This is the first quarter that Netflix didn't reveal how many subscribers it gained or lost. It decided to only report "major subscriber milestones" last year, as other streams of revenue continue to grow, like advertising, continue to grow. Netflix last reported having 300 million global subscribers in January.

During an earnings call on Thursday, Netflix co-CEO Greg Peters said the company expects to "roughly double" advertising revenue in 2025. The company launched its own advertising technology platform earlier this month. There are some changes coming to Netflix, too, as Peters confirmed that its homepage redesign for its TV app will roll out "later this year." He also hinted at adding an "interactive" search feature using "generative technologies," which sounds a lot like the AI feature Bloomberg reported on last week. Further reading: Netflix CEO Counters Cameron's AI Cost-Cutting Vision: 'Make Movies 10% Better'

Amazon plans to release its first TV streaming device powered by Vega OS later this year while courting major publishers to bring their apps to the platform, according to Lowpass, which cites sources familiar with the company's plans and multiple leaks.

Vega, a Linux-based operating system, may eventually replace Amazon's Android-based Fire OS across its device ecosystem. The company has already implemented Vega in three products: the Echo Show 5 and Echo Hub smart displays, as well as the Echo Spot smart clock/speaker. The tech giant has moved more cautiously in transitioning its TV hardware to Vega, having previously delayed a Vega-powered streaming stick originally slated for release in late 2024.

LG is partnering with Zenapse to integrate AI-driven emotional intelligence into its smart TVs, enabling hyper-targeted ads based on viewers' psychological traits, emotions, and behaviors. Ars Technica reports: The upcoming advertising approach comes via a multi-year licensing deal with Zenapse, a company describing itself as a software-as-a-service marketing platform that can drive advertiser sales "with AI-powered emotional intelligence." LG will use Zenapse's technology to divide webOS users into hyper-specific market segments that are supposed to be more informative to advertisers. LG Ad Solutions, LG's advertising business, announced the partnership on Tuesday.

The technology will be used to inform ads shown on LG smart TVs' homescreens, free ad-supported TV (FAST) channels, and elsewhere throughout webOS, per StreamTV Insider. LG will also use Zenapse's tech to "expand new software development and go-to-market products," it said. LG didn't specify the duration of its licensing deal with Zenapse. Zenapse's platform for connected TVs (CTVs), ZenVision, is supposed to be able to interpret the types of emotions shown in the content someone is watching on TV, partially by using publicly available information about the show's or movie's script and plot, StreamTV Insider reported. ZenVision also analyzes viewer behavior, grouping viewers based on their consumption patterns, the publication noted. Under the new partnership, ZenVision can use data that LG has gathered from the automatic content recognition software in LG TVs.

With all this information, ZenVision will group LG TV viewers into highly specified market segments, such as "goal-driven achievers," "social connectors," or "emotionally engaged planners," an LG spokesperson told StreamTV Insider. Zenapse's website for ZenVision points to other potential market segments, including "digital adopters," "wellness seekers," "positive impact & environment," and "money matters." Companies paying to advertise on LG TVs can then target viewers based on the ZenVision-specified market segments and deliver an "emotionally intelligent ad," as Zenapse's website puts it.

About 18% of songs uploaded to Deezer are fully generated by AI, the French streaming platform said on Wednesday, underscoring the technology's growing use amid copyright risks and concerns about fair payouts to artists. From a report: Deezer said more than 20,000 AI-generated tracks are uploaded on its platform each day, which is nearly twice the number reported four months ago. "AI-generated content continues to flood streaming platforms like Deezer and we see no sign of it slowing down," said Aurelien Herault, the company's innovation chief.

Google is rolling out Veo 2 video generation in the Gemini app for Advanced subscribers, allowing users to create eight-second, 720p cinematic-style videos from text prompts. 9to5Google reports: Announced at the end of last year, Veo 2 touts "fluid character movement, lifelike scenes, and finer visual details across diverse subjects and styles," as well as "cinematic realism," thanks to an understanding of real-world physics and human motion. In Gemini, Veo 2 can create eight-second video clips at 720p resolution. Specifically, you'll get an MP4 download in a 16:9 landscape format. There's also the ability to share via a g.co/gemini/share/ link. To enter your prompt, select Veo 2 from the model dropdown on the web and mobile apps. Just describe the scene you want to create: "The more detailed your description, the more control you have over the final video." It takes 1-2 minutes for the clip to generate. [...]

On the safety front, each frame features a SynthID digital watermark. Only available to Gemini Advanced subscribers ($19.99 per month), there is a "monthly limit" on how many videos you can generate, with Google notifying users when they're close. It is rolling out globally -- in all languages supported by Gemini -- starting today and will be fully available in the coming weeks.

Alamo Drafthouse will not implement Meta's new Movie Mate technology during the April 30 nationwide rerelease of Blumhouse's "M3GAN," Variety reports. The specialty theater chain confirmed it will maintain its strict no-phones policy despite Universal's promotion of the second-screen experience, with staff instructed to remove patrons attempting to access the feature during screenings.

Movie Mate represents Meta's first integration of its interactive movie technology, which operates via Instagram direct messaging. Users message the film's official account to activate a chatbot delivering "sneak peeks, exclusive recorded messages from directors and talent" synchronized with the screening. The "M3GAN" event serves as Meta's technological debut ahead of potential wider theatrical implementation.

Long-time Slashdot reader sandbagger brings news that in June "a rare screening of the original 1977 Star Wars movie — complete with Han shooting first — will be shown at a theater in London..."

Petapixel reports: Subsequent alterations made to the film are well-documented: Han Solo being shot at by the bounty hunter Greedo first, rather than the original in which anti-hero Han killed Greedo without being shot at. Then there is the addition of a CGI Jabba the Hutt who was only mentioned by name in the 1977 release. Fans have also complained about the color grading painted on re-releases.

But for those attending the British Film Institute (BFI)'s Film on Film festival in London, they are in for a treat. Star Wars will play not once but twice on the opening night on June 12... BFI says the print is "unfaded" and "ready to transport us to a long time ago, and a galaxy far, far away, back to the moment in 1977 when George Lucas's vision cast a spell on cinema audiences."

Lucas has little sympathy for those who want to see his first version of the film, telling the Associated Press in 2004, "I'm sorry you saw half a completed film and fell in love with it. But I want it to be the way I want it to be."
The film festival promises "a glorious dye-transfer" of Star Wars — and will also show "a pristine 35mm print of the original US pilot episode of Twin Peaks, screening for the first time ever in the UK" — followed by a Q&A with the 1990 show's original star Kyle MacLachlan. On display to coincide with the opening night screening there is also a rare opportunity to view material from the original continuity script for Star Wars, which includes rare on-set Polaroids, annotations and deleted scenes. The script is from the collection of Ann Skinner, script editor on the original film, and is now cared for by the BFI National Archive.