"James Cameron has a confession: he can't write Terminator 7..." according to the Guardian, "because reality keeps nicking his plotlines." "I'm at a point right now where I have a hard time writing science-fiction," Cameron told CNN this week. "I'm tasked with writing a new Terminator story [but] I don't know what to say that won't be overtaken by real events. We are living in a science-fiction age right now...."

What Cameron should be looking for is a complete system reboot to reinvigorate the saga in the way Prey brought fans back to Predator and Alien: Romulus restored interest in slimy Xenomorphs. All evidence suggests that the 70-year-old film-maker is far more interested in the current challenges surrounding AI, superintelligences and humankind's constant efforts to destroy itself, which doesn't exactly lend itself to the sort of back-to-basics, relentless-monsters-hunt-a-few-unlucky-humans-for-two-hours approach that has worked elsewhere. The challenge here seems to be to fuse Terminator's core DNA — unstoppable cyborgs, explosive chase sequences, and Sarah Connor-level defiance — with the occasionally rather more prosaic yet equally scary existential anxieties of 21st-century AI doom-mongering. So we may get Terminator 7: Kill List, in which a single, battered freedom fighter is hunted across a decimated city by a T-800 running a predictive policing algorithm that knows her next move before she does. Or T7: Singularity's Mom, in which a lone Sarah Connor-type must protect a teenage coder whose chatbot will one day evolve into Skynet. Or Terminator 7: Terms and Conditions, in which humanity's downfall comes not from nuclear warfare but from everyone absent-mindedly agreeing to Skynet's new privacy policy, triggering an army of leather-clad enforcers to collect on the fine print.

Or perhaps the future just looks terrifying enough without Cameron getting involved — which, rather worryingly for the future of the franchise, seems to be the director's essential point.
"The only way out is through," Cameron said in the CNN interview, "by using our intelligence, by using our curiosity, by using our command of technology, but also, by really understanding the stark probabilities that we face."

In the meantime, Cameron is working on a new film inspired by the book Ghosts of Hiroshima, a book written by Charles Pellegrino, one of the consultants on Titanic. "I know what a meticulous researcher he is," Cameron told CNN in a recent interview. (Transcript here.) CAMERON: He's talked about this book for ages and ages and sent me early versions of it. So, I've read it with interest, great interest a number of times now. What compels me out of all that and what I think the human hook for understanding this tragedy is, is to follow a handful, specifically two will be featured of survivors, that actually survived not only the Hiroshima blast, but then went to Nagasaki and three days later were hit again.... This film scares me. I fear making this film. I fear the images that I'm going to have to create, to be honest and to be truthful.
CNN also spoke to former U.S. Energy secretary Ernest Moni, who is now a CEO at the nonprofit global security organization, the Nuclear Threat Initiative: MONI: There remains a false narrative that the possession of these nuclear weapons is actually making us safer when they're not. That's the narrative I think, ultimately, we need to change. Harry Truman said, quite correctly, these nuclear weapons, they are not military weapons. Dropped on a city, they indiscriminately kill combatants, non-combatants, women, children, etc. They should not be thought of as military weapons, but as weapons of mass destruction, indiscriminate mass destruction when certainly dropped in an urban center.
Thanks to long-time Slashdot reader schwit1 for sharing the article.

An anonymous reader quotes a report from the New York Times: There's an overwhelming sense of deja vu at multiplexes these days. In August alone, "Black Swan" (2010) is returning to theaters, along with the Tim Burton "Batman" movies from 1989 and 1992. Audiences will be able to revisit the oceanic terror of "Jaws" (1975), as well as the comic mystery (and multiple endings) of "Clue" (1985). Or they could groove to Prince's "Sign o' the Times" concert film from 1987. And it doesn't look like the rerelease trend is slowing down. In September, "The Breakfast Club" (1985) is returning, Pixar is bringing back "Toy Story" (1995), and "Apollo 13" (1995) is blasting off again. "Casper" (1995) will haunt screens for nearly the entire month of October, while "Avatar: The Way of Water" (2022) will run for about five days, teeing up the forthcoming "Avatar: Fire and Ash." And there are still more to come before the end of the year.

Rereleases have long been part of the theatrical ecosystem. After all, "Star Wars" movies have been heading back to multiplexes routinely since 1981 -- before "Return of the Jedi" even debuted. But recently, studios have been digging deeper into their archives for a variety of reasons -- only some of which have to do with nostalgia. "Black Swan," from Searchlight, which is now owned by Disney, took over around 200 IMAX screens to commemorate its 15th anniversary. Universal's specialty arm, Focus Features, rereleased both "Pride & Prejudice" (2005) and "Brokeback Mountain" (2005) earlier this year. "Pride & Prejudice" ultimately grossed more than $6 million domestically this time around, about 16 percent of its original U.S. box office haul.

In total, Universal has 12 rereleases on its 2025 slate -- not including a partnership with another distribution company -- compared with just four in 2024 and two in 2023. "We very much pay a lot of attention to our repertory business," the studio's president of domestic theatrical distribution, Jim Orr, said by phone, explaining, "We just think it's not only great fun for audiences, but a great business to be in as well." Orr explained that the size of Universal's rerelease slate this year was "more coincidental" than anything else, with all the films hitting anniversaries in 2025. Still, there is a strong business motivation: The rereleases help studios and exhibitors pad out relatively thin slates. "The truth of the matter is studios don't have enough product right now to give theaters, so that's why you're seeing an influx of these nostalgia plays," said Jeff Bock, senior media analyst at Exhibitor Relations. He added, "It doesn't cost a lot for them to do an anniversary edition or a 4K edition." There are several other reasons why Hollywood is rereleasing old movies, according to Orr. Rereleases are far cheaper to put out than launching a brand-new title. Studios also target films that already have strong, enduring audiences, "whether that's 'Pride & Prejudice,' with its meme-able depiction of yearning, or 'Casper,'" which he said had elicited 'decent' interest every year.

Then there's what Orr calls "opportunistic dating." "There might be a window where something goes thematically or holiday-wise, whatever kind of fits in, or there might be some more screens available in specific formats," he said. Specialty format releases like IMAX, Dolby, or 3D also help bring moviegoers to the theaters.

BrianFagioli writes: Google is preparing to bring its television platforms in line with the rest of Android. Starting August 1, 2026, both Google TV and Android TV will require app updates that include native code to provide 64-bit support. The move follows similar requirements for phones and tablets, and it paves the way for upcoming 64-bit TV devices.

An analysis of Rotten Tomatoes data reveals average Tomatometer scores have climbed steadily since Fandango's 2016 acquisition of the review aggregation platform. The average number of reviewers per mainstream film release increased by 40 to 70 critics following the purchase. New additions to the critic pool include smaller outlets such as Denerstein Unleashed and KKFI-FM Kansas City. Prior to 2016, critic and audience scores demonstrated stable correlation year-over-year. Post-acquisition data shows the two metrics diverged sharply as Tomatometer ratings rose.

Fandango, America's largest movie-ticketing platform, is partially owned by NBCUniversal and Warner Bros. Discovery. In 2023 Vulture reported PR firms court reviewers from smaller outlets to secure higher Tomatometer scores before film releases.

Hollywood comedy production has declined 27% since 1990 despite audience demand ranking the genre second among those viewers "want to see more of," according to Letterboxd genre data and a 68,000-consumer survey. Comedy films average $26.5 million production budgets and double their investment returns at 102%, yet represent just 9.3% of sequel releases compared to action's 27.6%.

The shift reflects studios prioritizing internationally marketable franchises over domestically-focused comedies, which earn most revenue from US and Canadian audiences. Films like 1984's Beverly Hills Cop ($977 million inflation-adjusted) and Ghostbusters ($882 million) remain unmatched by contemporary releases -- with half of Letterboxd's most popular 2020s "comedies" being either non-comedic films like Saltburn or IP-driven movies like Barbie.

Rising subscription costs, shrinking content libraries, and regional restrictions are pushing viewers back toward piracy. Once seen as nearly dead, piracy has resurged through illicit streaming platforms as the fractured, ad-laden streaming market struggles to deliver convenience and value. The Guardian reports: According to London-based piracy monitoring and content-protection firm MUSO, unlicensed streaming is the predominant source of TV and film piracy, accounting for 96% in 2023 (PDF). Piracy reached a low in 2020, with 130bn website visits. But by 2024 that number had risen to 216bn (PDF). In Sweden, 25% of people surveyed (PDF) reported pirating in 2024, a trend mostly driven by those aged 15 to 24. Piracy is back, just sailing under a different flag.

"Piracy is not a pricing issue," Gabe Newell, the co-founder of Valve, the company behind the world's largest PC gaming platform, Steam, observed in 2011. "It's a service issue." Today, the crisis in streaming makes this clearer than ever. With titles scattered, prices on the rise, and bitrates throttled depending on your browser, it is little wonder some viewers are raising the jolly roger again. Studios carve out fiefdoms, build walls and levy tolls for those who wish to visit. The result is artificial scarcity in a digital world that promised abundance.

Whether piracy today is rebellion or resignation is almost irrelevant; the sails are hoisted either way. As the streaming landscape fractures into feudal territories, more viewers are turning to the high seas. The Medici understood the value linked to access. [The 2016 historical drama series tells of the rise of the powerful Florentine banking dynasty, and with it, the story of the Renaissance.] A client could travel from Rome to London and still draw on their credit, thanks to a network built on trust and interoperability. If today's studios want to survive the storm, they may need to rediscover that truth.

Samsung has finally launched a TV featuring the company's new Micro RGB backlight technology. From a report: The 115-inch TV is first launching in South Korea for over $32,000, according to SamMobile, but Samsung says it's coming to the US next, followed by a wider global rollout with more size options.

Samsung's Micro RGB technology is being positioned as an upgrade to Mini LED backlights that employ an array of tiny white or blue LEDs behind a TV's LCD panel. Micro RGB backlights instead use an ultra-fine pattern of individually controlled red, green and blue LEDs that are each less than than 100um in size.

The new backlight is powered by Samsung's Micro RGB AI engine, which the company says "analyzes each frame in real time and automatically optimizes color output for a more lifelike and immersive picture." The technology allows for improved color accuracy and better contrast by precisely controlling the intensity of the individual LEDs, and Samsung says it can even boost the color in dull scenes, making them appear more vivid and immersive.

Young listeners are accelerating audio and video consumption, with an Economist/YouGov poll finding 31% of Americans aged 18-29 using faster-than-1x playback versus 8% among those 45 and older, as Apple, Spotify, newspapers' audio, Netflix, and YouTube expand speed controls, including YouTube's 4x for premium users.

YouTube reports more than 900 years saved per day from fast playback; a meta-analysis led by University of Waterloo researchers finds minimal test-score change up to 1.5x and declines near or past 2x.

Warner Bros. Discovery is preparing to crack down on HBO Max password sharing by the end of 2025, with "aggressive" enforcement and messaging starting next month. Deadline reports: JB Perrette, head of streaming and gaming at Warner Bros. Discovery said on the company's second-quarter earnings call that messaging to consumers is about to get more "aggressive." The media company looking to close the loopholes by the end of 2025, with the impact starting to appear in its financials by 2026. Several months of testing has enabled WBD to determine "who's a legitimate user who may not be a legitimate user," Perrette said. Once that is determined, he continued, the next step is to "turn on the more aggressive language around what needs to happen" in order to and make sure that "we are putting the net in the right place, so to speak."

Asked about what "inning" the process is in, to use the baseball cliche, Perrette said only the first. By the fourth quarter, he said, the process will be happening "in a much more aggressive fashion." "The message language right now has been a fairly soft, cancel-able message," he said. It will "start to get more fixed and such that people have to take action as opposed to right now, sort of having to be a voluntary process." Once those directives are established, he said, "the real benefit will start probably in the fourth quarter and then kick in in 2026."

Google has quietly admitted defeat in selling advertising for its smart TV platform, returning ad inventory to publishers and accepting a revenue share instead of controlling ad spots directly, according to The Verge. The policy reversal comes as Google spends hundreds of millions of dollars annually on Google TV without breaking even, while Amazon outspends the company on retail incentives that have already pushed Google TV sets out of Costco stores in favor of Fire TV models.

Amazon pays up to $50 per activated television to retailers and manufacturers, The Verge reported. Google TV has grown to 270 million monthly active devices worldwide since unifying Android TV and Chromecast under a single brand in 2020, but many devices operate in overseas markets that generate little revenue or run customized versions controlled by pay-TV operators. YouTube's success in the living room -- generating $9.8 billion in quarterly ad revenue and accounting for 12.5% of all US television viewing -- has reduced internal support for Google TV, with sales teams prioritizing the video platform and some YouTube executives arguing the smart TV budget should be redirected, the report adds.

A new War of the Worlds adaptation starring Ice Cube has achieved a 0% critical rating on Rotten Tomatoes after arriving on Prime Video in late July. The science fiction film, produced by Universal Pictures during the 2020 pandemic using actors filming separately through video calls, features alien tripods emerging from meteors to attack Earth.

The movie sat unreleased for approximately five years before streaming debut. Critics cite poor visual effects that "wouldn't pass muster on a whimsical Snickers ad" and performances where actors appear to be "performing in a Zoom-style vacuum." The film was shot using screenlife format with most action unfolding on computer screens.

Universal Pictures is taking a new approach to combat mass theft of its movies to teach AI systems. From a report: Starting in June with How to Train Your Dragon, the studio has attached a legal warning at the end credits of its films stating that their titles "may not be used to train AI." It's also appeared on Jurassic World Rebirth and Bad Guys 2. "This motion picture is protected under the laws of the United States and other countries," the warning reads. "Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution."

Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.

Disney scrapped plans to use a deepfake of Dwayne Johnson in Moana and an AI-generated character in Tron: Ares due to concerns over bad publicity and legal ownership. Ultimately, the studio decided the potential PR and copyright risks weren't worth the convenience. Deadline reports: Disney is working on a live-action remake of Moana, where Dwayne "The Rock" Johnson will reprise his role of Maui. In a recent report from The Wall Street Journal, the studio came up with the idea to digitally clone Johnson and use a body double for some shots. "Disney would work with AI company Metaphysic to create deepfakes of Johnson's face that could be layered on top of Reed's performance in the footage -- a 'digital double' that effectively allowed Johnson to be in two places at once," WSJ said (paywalled). Although the Black Adam star approved the idea, the studio "worried" that they "ultimately couldn't claim ownership over every element of the film if AI generated parts of it." The film studio and the AI company were seemingly unable to come to terms, and the footage was scrapped.

Disney's upcoming Tron: Ares revolves around AI and the real-world implications of it. According to WSJ sources, "executives pitched the idea of actually incorporating AI into one of the characters in the sequel to the 1980s hit movie Tron as a buzzy marketing strategy." The AI-generated character would be a sidekick to Jeff Bridges' character, but the idea was ultimately scrapped because "executives internally were told that the company couldn't risk the bad publicity."

Disney "cloned" Dwayne Johnson when filming a live-action Moana, reports the Wall Street Journal, using an AI process that they were ultimately afraid to use: Under the plan they devised, Johnson's similarly buff cousin Tanoai Reed — who is 6-foot-3 and 250 pounds — would fill in as a body double for a small number of shots. Disney would work with AI company Metaphysic to create deepfakes of Johnson's face that could be layered on top of Reed's performance in the footage — a "digital double" that effectively allowed Johnson to be in two places at once... Johnson approved the plan, but the use of a new technology had Disney attorneys hammering out details over how it could be deployed, what security precautions would protect the data and a host of other concerns. They also worried that the studio ultimately couldn't claim ownership over every element of the film if AI generated parts of it, people involved in the negotiations said. Disney and Metaphysic spent 18 months negotiating on and off over the terms of the contract and work on the digital double. But none of the footage will be in the final film when it's released next summer...

Interviews with more than 20 current and former employees and partners present an entertainment giant torn between the inevitability of AI's advance and concerns about how to use it. Progress has at times been slowed by bureaucracy and hand-wringing over the company's social contract with its fans, not to mention its legal contract with unions representing actors, writers and other creative partners... For Disney, protecting its characters and stories while also embracing new AI technology is key. "We have been around for 100 years and we intend to be around for the next 100 years," said the company's legal chief, Horacio Gutierrez, in an interview. "AI will be transformative, but it doesn't need to be lawless...." [As recently as June, a Disney/Comcast Universal lawsuit had argued that Midjourney "is the quintessential copyright free-rider and a bottomless pit of plagiarism."]

Concerns about bad publicity were a big reason that Disney scrapped a plan to use AI in Tron: Ares — a movie set for release in October about an AI-generated soldier entering the real world. Since the movie is about artificial intelligence, executives pitched the idea of actually incorporating AI into one of the characters... as a buzzy marketing strategy, according to people familiar with the matter. A writer would provide context on the animated character — a sidekick to Jeff Bridges' lead role named Bit — to a generative AI program. Then on screen, the AI program, voiced by an actor, would respond to questions as Bit as cameras rolled. But with negotiations with unions representing writers and actors over contracts happening at the same time, Disney dismissed the idea, and executives internally were told that the company couldn't risk the bad publicity, the people said...

Disney's own history speaks to how studios have navigated technological crossroads before. When Disney hired Pixar to produce a handful of graphic images for its 1989 hit The Little Mermaid, executives kept the incorporation a secret, fearing backlash from fans if they learned that not every frame of the animated film had been hand-drawn. Such knowledge, executives feared, might "take away the magic."
Disney invested $1.5 billion in Fortnite creator Epic Games, acccording to the article, and is planning a world in Fortnite where gamers can interact with Marvel superheroes and creatures from Avatar. But "an experiment to allow gamers to interact with an AI-generated Darth Vader was fraught. Within minutes of launching the AI bot, gamers had figured out a way to make it curse in James Earl Jones's signature baritone." (Though Epic patched the workaround within 30 minutes.)

But the article spells out another concern for Disney executives. "If a Fortnite gamer creates a Darth Vader and Spider-Man dance that goes viral on YouTube, who owns that dance?

It's a cultural milestone. Fiverr just released an ad mocking vibe coding.

The video features what its description calls a "clueless entrepreneur" building an app to tell if an avocado is ripe — who soon ends up blissfully singing with an avocado to the tune of the cheesy 1987 song "Nothing's Gonna Stop Us Now." The avocado sings joyously of "a new app on the rise in a no-code world that's too good to be true" (rhyming that with "So close. Just not tested through...")

"Let them say we're crazy. I don't care about bugs!" the entrepreneur sings back. "Built you in a minute, now I'm so high off this buzz..."

But despite her singing to the overripe avocado that "I don't need a backend if I've got the spark!" and that they can "build this app together, vibe-coding forever. Nothing's going to stop us now!" — the build suddenly fails. (And it turns out that avocado really was overripe...) Fiverr then suggests viewers instead hire one of their experts for building their apps...

The art/design site Creative Bloq acknowledges Fiverr "flip-flopping between scepticism and pro-AI marketing." (They point out a Fiverr ad last November had ended with the tagline "Nobody cares that you use AI! They care about the results — for the best ones higher Fiverr experts who've mastered every digital skill including AI.") But the site calls this new ad "a step in the right direction towards mindful AI usage." Just like an avocado that looks perfect on the outside, once you inspect the insides, AI-generated code can be deceptively unripe.
Fiverr might be feeling the impact of vibecoding themselves. The freelancing web site saw the company's share price fall over 14% this week, with one Yahoo! Finance site saying this week's quarterly results revealed Fiverr's active buyers dropped 10.9% compared to last year — a decrease of 3.4 million buyers which "overshadowed a 9.8% increase in spending per buyer."

Even when issuing a buy recommendation, Seeking Alpha called it "a short-term rebound play, as the company faces longer-term risks from AI and active buyer churn."

An anonymous reader quotes a report from Variety: Edward Saatchi isn't totally sure people will flock to Showrunner, the new AI-generated TV show service his company is launching publicly this week. But he has a vote of confidence from Amazon, which has invested in Fable, Saatchi's San Francisco-based start-up. The amount of Amazon's funding in Fable isn't being disclosed. The money is going toward building out Showrunner, which Fable has hyped as the "Netflix of AI": a service that lets you type in a few words to create scenes -- or entire episodes -- of a TV show, either from scratch or based on an existing story-world someone else has created.

Fable is launching Showrunner to let users tinker with the animation-focused generative-AI system, following several months in a closed alpha test with 10,000 users. Initially, Showrunner will be free to use but eventually the company plans to charge creators $10-$20 per month for credits allowing them to create hundreds of TV scenes, Saatchi said. Viewing Showrunner-generated content will be free, and anyone can share the AI video on YouTube or other third-party platforms. [...] Fable's Showrunner public launch features two original "shows" -- story worlds with characters users can steer into various narrative arcs. The first is "Exit Valley," described as "a 'Family Guy'-style TV comedy set in 'Sim Francisco' satirizing the AI tech leaders Sam Altman, Elon Musk, et al." The other is "Everything Is Fine," in which a husband and wife, going to Ikea, have a huge fight -- whereupon they're transported to a world where they're separated and have to find each other. [...]

Showrunner is powered by Fable's proprietary AI model, SHOW-2. Last year, the company published a research paper on how it built the SHOW-1 model. As part of that, it released nine AI-generated episodes based on "South Park." The episodes, made without the permission of the "South Park" creators, received more than 80 million views. (Saatchi said he was in touch with the "South Park" team, who were reassured the IP wasn't being deployed commercially.) [...] Out of the gate, Showrunner is focused on animated content because it requires much less processing power than realistic-looking live-action video scenes. Saatchi said Fable wants to stay out of the "knife fight" among big AI companies like OpenAI, Google and Meta that are racing to create photorealistic content. "If you're competing with Google, are you going to win?" Saatchi said. "Our goal is to have the most creative models," he said.

Star Wars creator George Lucas made his first Comic-Con appearance ever on Sunday. The Hollywood Reporter describes the scene: Thousands waited hours just to get inside, chanted "Lu-cas, Lu-cas!" while they waited, and then gave a wild standing ovation as the filmmaker took to the stage, introduced by rapper-actress Queen Latifah, and sat down next to filmmaker Guillermo del Toro and Star Wars production designer Doug Chiang. If the 6,500-strong crowd was disappointed he didn't talk a whiff about Star Wars or Indiana Jones, it wasn't shown, as cries of "I love you, George!" and waving lightsabers punctuated the air several times.

Lucas even received a standing ovation when he left the presentation, which was devoted entirely to the Lucas Museum of Narrative Art. He, along with museum board member and fellow art collector del Toro and Chiang, were there to not only give a first look at the museum but also make a case for the importance and validity of narrative art, which includes comic book art, as a vital form of expression... A video presentation showed interior looks at the museum — there are no right angles anywhere, Latifah underscored — as well as images that will be in the collection.

A cover of DC comic Mystery in Space, featuring the first appearance of Adam Strange; the first ever Flash Gordon comic strip; a cover of 1950s EC comic Tales from the Crypt; strips of Peanuts and Garfield; art ranging from Brian Bolland and Hellboy creator Mike Mignola to underground cartoonist Robert Crumb, Windsor McKay and Moebius; art of Astro Boy and Scrooge McDuck. But there were also images of art by Norman Rockwell, N.C. Wyeth and Frieda Kahlo. Also in the museum will be concept and storyboard art from Star Wars and Raiders of the Lost Ark by Ralph McQuarrie and Jim Steranko, as well as the props of starships and speeders from various Star Wars movies.

Chiang explained that comic art in particular had long been discounted. "It's not taken seriously," he said, and when he was younger was told, "You will outgrow it one day.... I'm so glad I didn't," he said, before driving home the point that one of the strengths of narrative art is that it's driven by story. "Story comes first. Art comes second...."

The museum, which has had its opening pushed back several times, is slated to open in 2026.
More Comic-Con highlights:

• Pennywise, the scary clown, returns in the upcoming HBO series "IT: Welcome to Derry"

• Comic-Con also saw a trailer for the new rock mockumentary Spinal Tap II: The End Continues. (Bassist Derek Smalls is now apparently into cryptocurrency...)

• Breaking Bad creator Vince Gilligan has a new series called Pluribus coming to AppleTV+, a nine-episode sci-fi drama starring Rhea Seehorn from Better Call Saul. (Watch its bizarre trailer here.)

Satirical singer-songwriter Tom Lehrer died Saturday at age 97. The Associated Press notes Lehrer had long ago "largely abandoned his music career to return to teaching math at Harvard and other universities." Lehrer had remained on the math faculty of the University of California at Santa Cruz well into his late 70s. In 2020, he even turned away from his own copyright, granting the public permission to use his lyrics in any format without any fee in return.

A Harvard prodigy (he had earned a math degree from the institution at age 18), Lehrer soon turned his very sharp mind to old traditions and current events... He'd gotten into performing accidentally when he began to compose songs in the early 1950s to amuse his friends. Soon he was performing them at coffeehouses around Cambridge, Massachusetts, while he remained at Harvard to teach and obtain a master's degree in math. [Lehrer also "spent several years unsuccessfully pursuing a doctorate..."]

He cut his first record in 1953, "Songs by Tom Lehrer"... After a two-year stint in the Army, Lehrer began to perform concerts of his material in venues around the world. In 1959, he released another LP called "More of Tom Lehrer" and a live recording called "An Evening Wasted with Tom Lehrer," nominated for a Grammy for best comedy performance (musical) in 1960. But around the same time, he largely quit touring and returned to teaching math, though he did some writing and performing on the side. Lehrer said he was never comfortable appearing in public...

He did produce a political satire song each week for the 1964 television show "That Was the Week That Was," a groundbreaking topical comedy show that anticipated "Saturday Night Live" a decade later. He released the songs the following year in an album titled "That Was the Year That Was"... [Lehrer's body of work "was actually quite small," the article notes, "amounting to about three dozen songs."] He also wrote songs for the 1970s educational children's show "The Electric Company." He told AP in 2000 that hearing from people who had benefited from them gave him far more satisfaction than praise for any of his satirical works...

He began to teach part-time at Santa Cruz in the 1970s, mainly to escape the harsh New England winters. From time to time, he acknowledged, a student would enroll in one of his classes based on knowledge of his songs. "But it's a real math class," he said at the time. "I don't do any funny theorems. So those people go away pretty quickly."

Marvel's Fantastic Four: First Steps "raked in about $57 million at the domestic box office for its opening day, according to multiple outlets," reports Forbes.

That haul makes it "the year's second-largest opening day so far and a win for Marvel and Disney about a year after they announced a reduction in film and TV show quantity to focus on quality." The roughly $57 million "Fantastic Four: First Steps" generated at the domestic box office Friday fell narrowly short of the opening day for "A Minecraft Movie" ($57.11 million) and just topped opening day for DC Comics rival "Superman" ($56.1 million), according to Variety. The film has netted about $106 million globally after securing $49.2 million overseas, setting itself up for an opening weekend of around $125 million, the same figure achieved by "Superman" earlier this month.

Fantastic Four: First Steps is receiving praise from critics and fans alike, boasting an 88% on Rotten Tomatoes and a 7.6/10 on IMDb... With its opening weekend alone, "Fantastic Four: First Steps" out-earned the entire domestic run of "Fantastic Four" (2015), an adaptation of the heroes that flopped hard at the domestic box office ($56.1 million) and received poor ratings...

Marvel's next movie is slated to release almost a full year from now, with Spider-Man: Brand New Day hitting theaters next summer before Avengers: Doomsday in December.