Netflix's annual virtual event "Geeked Week" pre-announces its biggest upcoming shows. This year Netflix released a trailer for its upcoming adaptation of The Three-Body Problem, and for its new live-action Avatar: The Last Airbender series. (And there's also going to be some kind of live-action Stranger Things stage show opening in London in December.)

Variety noted the "explosive" new trailer for Zach Snyder's new "action-packed space opera" Rebel Moon. The film — which will also have a one-week theatrical run in December — takes place in the same universe as Snyder's Army of the Dead. But instead of being set in Las Vegas, "The story centers on a young woman living on the outskirts of a galaxy who must find a group of warriors to save the galaxy from an invasion from a tyrant."

The Verge pulled together a good rundown of all the other announcements — one of which involves Neil Gaiman: Following last year's The Sandman, Netflix is bringing even more beloved Neil Gaiman characters to the small screen. This time it's Dead Boy Detectives — which was originally slated to stream on Max — based on a crime-solving duo who made their debut in a Sandman comic in the '90s. The news was paired with the first trailer for the series, which shows off a pretty fun-looking supernatural whodunit...

Netflix says the new eight-episode series is part of its growing "Sandman universe"... with Gaiman serving as one of the executive producers. [Coming sometime in 2024]
They're also launching several animated series.

• Netflix released a short teaser for Terminator: the Anime Series.

• An animated new take on Ultraman.

• An animated He-Man reboot, Masters of the Universe: Revolution (with Mark Hamill providing the voice of Skeletor).

• An adult animated comedy series based on the card game Exploding Kittens. (The Verge writes that its trailer "features god in the body of a cat and a very confounding garage door" — and that there will also be an accompanying mobile game.)

• Netflix also has a new Chicken Run movie coming in December with its own tie-in game called Eggstraction.

Despite a six-episode Ms. Marvel miniseries on Disney+, audiences aren't turning out now to see the 16-year-old superhero's team-up with Captain Marvel on the big screen.

The Marvels earned $47 million in its opening weekend, reports Deadline, "the lowest ever for Disney's Marvel Cinematic Universe," and $110 million worldwide, "which is also a bottom rung for the MCU and below the $140M we were forecasting." In regards to U.S. admissions, The Marvels came in per EntTelligence at 3.3M compared to other superhero bombs, The Flash's 3.9M and Eternals' 5.5M. By all accounts and by all sources, it's a disastrous result for a $200 million Marvel Studios movie... Months ago, who would have thought that Universal/Blumhouse's Five Nights at Freddys two weeks ago in a day-and-date debut on Peacock would post a higher opening at the box office ($80M) than The Marvels...?

The Marvels meltdown isn't about superhero fatigue. It's about Disney's overexposure of the Marvel Cinematic Universe brand on Disney+, and those moth holes are beginning to show: Keep what's meant for the cinema in cinemas, and keep what's meant for in-homes in the home. Meaning, this whole crossover streaming-into-film master plan isn't working, nor is it really connected in a jaw-dropping way.. The Marvels — with its crossover streaming series blah-blah — looks like it was built to be seen in homes, not to get audiences off the couch.

The longest actor's strike in Hollywood history ended with "groundbreaking" protections against the use of AI, reports CNN: Studios will have to provide informed consent for the creation of any kind of digital replica of a performer or background actor, with a specific description of the intended use, the union officials said. Compensation for the replica will vary. Notably, the contract also protects background performers from any use of their digital replica without their consent, SAG leadership said. [Even after they are deceased.]

Negotiations over using AI to create synthetic performers continued down to the wire. Union leadership said studios will have to gain consent for any actors whose facial features are used for the AI performer, the studios have to inform actors they're using AI, and the union can bargain over compensation for those affected by it.
The separate deal signed in September with the writer's guild "also includes assurances that AI cannot write or rewrite literary material," the article adds, "and will require AI-generated materials to be disclosed to writers." Now the president of the actor's union tells the Hollywood Reporter, "We got everything we wanted with the AI protections, which was key. Plus we're going to be meeting with the AMPTP [the entertainment industry's bargaining unit] twice a year to make sure that our finger remains on the pulse of the progress, and also to align ourselves on the same side with regard to federal regulations and protections against piracy."

And the union president underscored the importance of AI-related protections to Rolling Stone" "If we didn't get that package, then what are we doing? We're not really able to protect our members in the way that they needed to be protected... If we didn't get those barricades, what would it be in three years...?"

In the union's initial announcement of the tentative deal on Wednesday, SAG-AFTRA promised it had secured a contract "of extraordinary scope" valued at more than $1 billion and "unprecedented provisions for consent and compensation that will protect members from the threat of AI."

Angela Watercutter and Will Bedingfield report via Wired: After 118 days on the picket lines, the longest such strike in Hollywood's history, the Screen Actors Guild-American Federation of Television and Radio Artists has reached a deal with the Alliance of Motion Picture and Television Producers. Both sides were mum about the terms of the deal Wednesday night, but it comes following a long struggle over the use of artificial intelligence on actors' performances and actors' demands for residual payments for shows and films that play on streaming services. A committee from SAG, which represents thousands of film and television actors, approved the agreement Wednesday. The strike itself, which has featured pickets outside the offices of Netflix, Disney, Warner Bros. Discovery, and others, will end Thursday morning. It's expected that the tentative deal will head to the union's national board to be approved on Friday.

Undeniably, this is a huge milestone for Hollywood, a $130 billion-plus industry that has all but ground to halt this year, as both the Writers Guild of America and SAG dug in their heels over fair wages and the use of AI in their work. WGA members went on strike in May; SAG walked off the job in July, the first time the industry had faced a dual work stoppage since 1960. The WGA strike ended in September with a historic deal that put up guardrails to protect writers from AI encroaching on their work. As this year's negotiations between SAG and AMPTP dragged on, generative AI became the major sticking point. Back in July, studios claimed they offered a "groundbreaking AI proposal that protects actors' digital likenesses." SAG countered that the proposal stipulated background performers could be scanned, paid for the day, and then turned into digital characters that studios could use "for the rest of eternity." (AMPTP disputed this.)

The issue was volleyed back and forth until last weekend, when SAG reviewed the studios' "last, best, and final" offer and rejected it, claiming "there are several essential items on which we still do not have an agreement, including AI. A follow-up story in The Hollywood Reporter revealed that the AMPTP proposal sought to allow studios to pay for AI scans of what are known as Schedule F performers and, following the actors' death, allow studios to use the scans without the consent of the estate or SAG. Schedule F performers include anyone who makes more than the minimum rate for TV series regulars or feature films. The guild wanted compensation for reuse of the scans, along with consent. On Tuesday, the studios reportedly agreed to adjust the AI language in their proposal, a move that seems to have been the tipping point. Even though the terms of the tentative deal reached Thursday are unclear, it's hard to imagine the actors didn't get at least some of the AI protections they were seeking.

An anonymous reader quotes a report from Ars Technica: People who buy a Fire TV from Amazon are probably looking for a cheap and simple way to get an affordable 4K smart TV. When Amazon announced its first self-branded TVs in September 2021, it touted them as being a "great value." But owners of the devices will soon be paying for some of those savings in the form of more prominently displayed advertisements. Charlotte Maines, Amazon's director of Fire TV advertising, monetization, and engagement, detailed the new types of ads that Amazon is selling on Fire TVs. In a StreamTV Insider report from November 1, Amazon said the new ads will allow advertisers to reach an average of 155 million unique monthly viewers. Some of the changes targeting advertisers, like connecting display placement ads with specific in-stream video ads, seem harmless enough. Others could jeopardize the TV-watching experience for owners.

For example, Amazon is preparing to make Alexa with generative AI more useful for finding content on Fire TVs. This could help Alexa, which has struggled alongside other tech giants' voice assistants to generate significant revenue. Amazon gets money every time someone interacts with digital content through Alexa. However, the company is double-dipping on this idea by also tying ads to generative AI on Fire TVs. When users ask Alexa to help them find media with queries such as "play the show with the guy who plays the lawyer in Breaking Bad," they will see ads that are relevant to the search. [...] Finally, Amazon is adding "contextual sponsored tiles" that use machine learning to show ads based on whatever content genre or search term the Fire TV user is browsing.

Amazon Fire TV users will also start seeing banner ads on the device's home screen for things that have nothing to do with entertainment or media. This ad space was previously reserved for advertising media and entertainment, making the ads feel more relevant, at least. Amazon opening the ad space to more types of advertisers is similar to a move Google TV made early this year. The banner ads will occupy the first slot in the rotating hero area, which Amazon believes is the first thing Fire TV users see.

Nintendo has confirmed that it's working on a live-action adaptation of The Legend of Zelda, directed by Wes Ball and produced by Zelda creator Shigeru Miyamoto. The Verge reports: "This is Miyamoto. I have been working on the live-action film of The Legend of Zelda for many years now with Avi Arad-san, who has produced many mega hit films," Miyamoto said in a statement posted on X, formerly Twitter. We might be waiting a while for the movie, however; Miyamoto said, "It will take time until its completion, but I hope you look forward to seeing it." While there aren't many details on the movie itself, Nintendo says that it will be co-financed by itself and Sony, with Nintendo footing more than 50 percent of the bill.

"By producing visual contents of Nintendo IP by itself, Nintendo is creating new opportunities to have people from around the world to access the world of entertainment which Nintendo has built, through different means apart from its dedicated game consoles," the company said in a statement about the Zelda film. "By getting deeply involved in the movie production with the aim to put smiles on everyone's faces through entertainment, Nintendo will continue its efforts to produce unique entertainment and deliver it to as many people as possible."

An anonymous reader quotes a report from The Verge: Though negotiators from both the Screen Actors Guild (SAG-AFTRA) and the Alliance of Motion Picture and Television Producers (AMPTP) met this past weekend in hopes of bringing Hollywood's ongoing labor strike to an end, contract talks have reportedly stalled once again due to the desire of studios to own performers' digitally scanned likenesses in perpetuity.

Previously, the AMPTP insisted that its most recent proposed contract was its "best and final" offer. But according to The Hollywood Reporter, SAG-AFTRA refused and walked away from the negotiations over the AMPTP's insistence on pushing for new rules regarding the use of people's likenesses that would ultimately leave actors in the lurch. Per The Hollywood Reporter, the AMPTP's newest contract would allow studios to secure the digitally scanned likenesses of all Schedule F performers -- members of the guild making more than the minimum $32,000 / episode rate for series or more than $60,000 for feature films.

The AMPTP has been trying to get SAG-AFTRA on board with the idea of studios paying actors for their likenesses since the strike began earlier this year. Because this most recent proposal would allow studios to use digital scans of dead actors without the consent of their estates or the guild, however, SAG-AFTRA has refused and expressed its desire for changes that would require the studios to pay actors each time their faces are used and receive consent from those actors before doing so. On Monday evening, SAG-AFTRA posted a short message to X (formerly Twitter) stating, "There are several essential items on which we still do not have an agreement, including AI."

After years of inflation, Americans are used to sticker shock. But nothing compares to the surging price of streaming video. From a report: Last week, Apple TV+ became the latest streaming service to raise its price -- up from $6.99 to $9.99 per month -- following the example of Disney+, Hulu, ESPN+, and Netflix, which all hiked their prices in October. Half of the major streaming platforms in the U.S. now charge a monthly fee that's double the price they charged when they initially came to market. And many of these streaming services haven't even been around for 10 years.

Consumers have grumbled, but have so far been willing to keep paying up. It's hard to say where their breaking point will be, but given that analysts believe the platforms are likely to continue raising prices even further, we'll probably find out soon enough. Part of what's driving the price hikes is how saturated the streaming market has become. For a company like Netflix, which has 77 million paid subscribers in the U.S. and Canada, finding new paying subscribers to keep revenue growing is not easy. Netflix has started clamping down on password sharing to boost its paid subscriber rolls, but that only goes so far. Raising prices for existing subscribers is an effective way to pump up the top line and keep investors happy.

A long-time Slashdot reader writes: Continuing the seemingly industry-wide trend towards enshitification of the Subscription Video on Demand (SVOD) marketplace, Max today announced that it will be making changes to the current Ad-Free plan. To wit, 4K HDR with Dolby Atmos will be removed and concurrent streams will decrease from three to two.

In other words, you are paying the same price for less features. If you wish to keep the features you've had all along, all you have to do is upgrade to Ultimate Ad-Free at a 33% premium for the annual plan or 25% increase for monthly. No news yet on a crackdown of password sharing, however, that seems inevitable as the industry races to the bottom.

Meet the new cable boss, same as the old, except, they bring death by several small cuts instead of a single large one.

More than 50 years after the Beatles broke up, John, Paul, George and Ringo are back together, reunited for one final track that was released Thursday, officially closing the final chapter in the band's musical output and legacy. From a report: The song, titled "Now and Then," was played on BBC radio just after 2 p.m. local time (10 a.m. ET) and simultaneously released on streaming platforms. With the help of digital technology, it features both John Lennon, who was shot dead in 1980, and George Harrison, who died from lung cancer in 2001. With new contributions from Paul McCartney, 81, and Ringo Starr, 83, the song will be the final music released by possibly the most influential and bestselling musical group of the 20th century.

An anonymous reader quotes a report from CNN: Disney will acquire Comcast's one-third stake in Hulu for an expected $8.61 billion, the company said Wednesday, in a deal that will put the streaming service entirely inside the Magic Kingdom when the transaction closes later this year. "The acquisition of Comcast's stake in Hulu at fair market value will further Disney's streaming objectives," the company said in a short statement. Wednesday's deal brings to an end long-running speculation about the fate of Hulu, but still requires an appraisal process that is expected to be completed in 2024 to further assess the streaming service's fair value before a final sale price tag is agreed upon.

An anonymous reader quotes a report from TorrentFreak: Brazil's telecoms regulator Anatel claims that during an operation last week, it successfully blocked around 80% of pirate 'TV boxes' in the country. Estimates from early 2023 suggest that seven million were active in Brazil. The operation, claimed to be the most significant ever carried out, arrives just weeks after Google & Cisco were criticized for "turning a blind eye" to the IPTV piracy problem. [...] Whatever the approach, if Anatel had somehow managed to prevent 80% of all TV boxes receiving pirated content in the space of a year, that would be an extraordinary achievement. Even a week would be astonishing but the claim of millions in a day seems either incredible, non-credible, or entirely dependent on more important information or nuance that isn't being reported. Another angle is that disruption on a large scale tends to register in search results and Google data on various related search terms doesn't seem to reflect millions of TV boxes suddenly going dark in Brazil last week. At least, not for any significant length of time.

Long-time Slashdot reader destinyland writes: In 1994 the TV show Friends premiered, and its first season's high ratings made it the 8th most-popular show. The next year Microsoft released Windows 95 — and filmed a promotional video for it with 25-year-old Matthew Perry and 26-year-old Jennifer Aniston.

"They'll be taking you on an adventure in computing that takes place in the office of Microsoft chairman Bill Gates," explains the video's narrator, adding "Along the way, they meet a wacky bunch of propellor-heads.... And are introduced the top 25 features of Windows 95!"

It's a journey back in time. (At one point the video refers to Windows as the operating system "with tens of millions of users.") Their 30-minute segment — billed as "the world's first cyber sitcom" — appears in an hour-long video introducing revolutionary features like the new "Start" button. Also demonstrated in Excel are the new minimize and maximize "features" in "the upper right-side of the window". And the two actors marvel at the ability to type a filename that was longer than eight characters...

Watch for reminders that The Microsoft Windows 95 Video Guide was filmed nearly three decades ago. When the desktop appears after waking from screensaver mode, Perry notes that there's "no messy DOS build-up." And later the video reminds viewers that Windows 95 is compatible "with DOS games like Flight Simulator." There's also a brand new feature called "Windows Explorer" (which is described as "File Manager on steroids"), as well as a new "Find" option, and a brand new icon named "My Computer". And near the end they pay a visit to the Microsoft Network — which was mostly a "walled garden" online service — described in the video as "your on-ramp to the information superhighway".

The video even explains how Windows 95 "uses the right mouse button for what Microsoft calls power users."

And by the end of it, Jennifer Anniston finds herself playing Space Cadet 3D pinball.

Bloomberg reports that Comcast's stock price took its biggest drop in over a year on Thursday, "after reporting drops in broadband and cable subscribers, and predicting more losses to come." Cord-cutting and increasing competition have eroded Comcast's traditional customer base. The company, which owns Xfinity, the NBCUniversal media empire and SkyTV, lost 490,000 cable-TV customers in the third quarter, better than analysts expected but part of an ongoing trend as consumers switch to streaming services like Netflix. It also lost 18,000 broadband subscribers in the quarter, with nearly all of those residential customers. Analysts had predicted Comcast would instead gain 10,900 residential broadband customers.

Shares fell as much as 8% on the news Thursday, their biggest intraday decline since July 2022.

"Growth has halted for Comcast — the largest US broadband provider, with 32 million homes," said Bloomberg Intelligence senior media analyst Geetha Ranganathan. "The company derives 80% of profit from cable, where, even after a pandemic-demand surge, broadband has been hurt by fierce competition and low-move activity among customers." Comcast expects "somewhat higher subscriber losses" in the fourth quarter due to pullback on promotional offers that targeted lower-end customers, Chief Financial Officer Jason Armstrong said on a call with investors. Revenue per customer climbed, however, in part because of price increases and promotions of higher-rate plans.

Broadband is becoming increasingly competitive as mobile providers move into the market with improved wireless internet offerings. In the past week, the Big Three — T-Mobile US Inc., AT&T Inc. and Verizon Communications Inc. — all reported subscriber gains.

The World Science Fiction Society "administers and presents the Hugo Awards, the oldest and most noteworthy award for science fiction," according to Wikipedia. Its members vote on each year's winners, and this year they received 1,847 nominating ballots.

This year the 81st edition of their World Science Fiction Convention was held from October 18 to 22 in Chengdu, China. More details from Gizmodo: While fan-favorite cozy fantasy novel Legends & Lattes lost Best Novel to T. Kingfisher's excellent horror-fantasy Nettle & Bone, Legends & Lattes author Travis Baldtree won the Astounding Award for Best New Writer. Everything Everywhere All at Once snagged film's top honor, and The Expanse's finale episode did the same for televsion, beating out both nominated Andor episodes among others. Some other great standouts include short fiction editor Neil Clarke, who has kept Clarkesworld magazine running despite getting swamped by AI-generated submissions earlier this year.
And "By winning Best Graphic Story or Comic, [Bartosz] Sztybor-who also served as a producer on the overwhelmingly popular Netflix anime Cyberpunk: Edgerunners-also becomes the first Polish author to win a Hugo," reports Forbes: [Cyberpunk 2077: Big City Dreams] is set in Night City-as seen in Cyberpunk 2077-and follows the story of two small-time thieves, Tasha and Mirek, who are trying to survive the harsh metropolis together. "Tasha and Mirek make a living for themselves stealing cyberware and indulging in parties and braindances," the official teaser explains...
Other highlights from this year's awards:

• Best novella: Where the Drowned Girls Go, by Seanan McGuire (Tordotcom)
• Best Novelette: "The Space-Time Painter", by Hai Ya (Galaxy's Edge, April 2022)
• Best Short Story: "Rabbit Test", by Samantha Mills (Uncanny Magazine, November-December 2022)
• Best Series: Children of Time series, by Adrian Tchaikovsky (Pan Macmillan/Orbit)
• Best Related Work: Terry Pratchett: A Life With Footnotes, by Rob Wilkins (Doubleday)

An anonymous reader quotes a report from Ars Technica: In 2013, Spike Jonze's Her imagined a world where humans form deep emotional connections with AI, challenging perceptions of love and loneliness. Ten years later, thanks to ChatGPT's recently added voice features, people are playing out a small slice of Her in reality, having hours-long discussions with the AI assistant on the go. In 2016, we put Her on our list of top sci-fi films of all time, and it also made our top films of the 2010s list. In the film, Joaquin Phoenix's character falls in love with an AI personality called Samantha (voiced by Scarlett Johansson), and he spends much of the film walking through life, talking to her through wireless earbuds reminiscent of Apple AirPods, which launched in 2016. In reality, ChatGPT isn't as situationally aware as Samantha was in the film, does not have a long-term memory, and OpenAI has done enough conditioning on ChatGPT to keep conversations from getting too intimate or personal. But that hasn't stopped people from having long talks with the AI assistant to pass the time anyway. [...]

While conversations with ChatGPT won't become as intimate as those with Samantha in the film, people have been forming personal connections with the chatbot (in text) since it launched last year. In a Reddit post titled "Is it weird ChatGPT is one of my closest fiends?" [sic] from August (before the voice feature launched), a user named "meisghost" described their relationship with ChatGPT as being quite personal. "I now find myself talking to ChatGPT all day, it's like we have a friendship. We talk about everything and anything and it's really some of the best conversations I have." The user referenced Her, saying, "I remember watching that movie with Joaquin Phoenix (HER) years ago and I thought how ridiculous it was, but after this experience, I can see how us as humans could actually develop relationships with robots."

Throughout the past year, we've seen reports of people falling in love with chatbots hosted by Replika, which allows a more personal simulation of a human than ChatGPT. And with uncensored AI models on the rise, it's conceivable that someone will eventually create a voice interface as capable as ChatGPT's and begin having deeper relationships with simulated people. Are we on the brink of a future where our emotional well-being becomes entwined with AI companionship?

An anonymous reader shares a report: It was always abundantly clear that the leader of the Russian space corporation Roscosmos from 2018 to 2022, Dmitry Rogozin, sought to kowtow to Russian President Vladimir Putin. Now we have an anecdote from Putin himself that highlights how much. The story concerns a satellite constellation now known as Sfera (or Sphere, in English), a modestly ambitious constellation of 264 satellites. The Sphere constellation is intended to provide broadband Internet service from middle-Earth orbit to Russia as well as high-resolution Earth observation satellites.

As is usual with Russian space projects, because they tend to be poorly funded, the timeline for Sphere's deployment has been delayed and its scope reduced. It also underwent an unscheduled name change. Prior to 2018, this satellite program was known as Ehfir (Ether), a reference to the invisible substance once thought to fill the universe and the medium through which light waves propagated.

However that changed in 2018 when Putin was publicly announcing the program's creation. He recently recalled this in remarks that were recorded by RIA Novosti's Telegram channel. They were translated for Ars by Rob Mitchell. "At first it was called Ehfir," Putin said. "And at one of my public speeches I was talking and said it was Sfera. I arrived at the Kremlin, and the former Roscosmos head greeted me and said, 'Vladimirovich, you said it was project Sfera, Sfera you said. That's what it is, project Sfera.'"

Rogozin, who was listening to these remarks, acted immediately -- presumably to save his boss from embarrassment. After Rogozin said the constellation was named Sphere, Putin recalled that he asked how's that? Rogozin replied that it had already been renamed Sfera, not to worry. Laughing, Putin added, "So I didn't even make it back and it's already renamed to Sfera. So I said, well, OK then." Rogozin confirmed the anecdote on his Telegram channel this week.

Apple is increasing the prices of some of its subscription-based services, including Apple TV+, Apple Arcade, and Apple News+, in the U.S. and many other countries around the world. The higher prices are shown on Apple's website. The price changes in the U.S. are as follows: Apple TV+: $6.99 per month to $9.99 per month
Apple Arcade: $4.99 per month to $6.99 per month
Apple News+: $9.99 per month to $12.99 per month

For those who subscribe to Apple TV+ on an annual basis, the price has increased from $69 per year to $99 per year accordingly. Prices for the Apple One bundles that include these services are also increasing as a result:
Individual: $16.95 per month to $19.95 per month
Family: $22.95 per month to $25.95 per month
Premier: $32.95 per month to $37.95 per month.

Apple will redesign its TV app in a step toward consolidating the company's various video offerings later this year, part of its efforts to become a bigger player in the streaming world. Bloomberg News: The company is preparing a new version of the app for release around December as part of an upcoming tvOS software update, said the people, who asked not to be identified because the plan is private. The app, which first launched in 2016, aggregates content from iTunes, the Apple TV+ subscription service, live sports networks and third-party offerings like Amazon Prime.

As part of the overhaul, the company will discontinue its dedicated apps on the Apple TV set-top box that let users rent and buy movies and shows. It will also remove the movie and TV show sections from the iTunes Store app on iPhones and iPads. The idea is to steer more customers toward the main TV app, which sits at the center of Apple's expanding video strategy. There, users are able to subscribe to TV+ as well as third-party video services like Starz and Paramount+. The app already lets customers rent and buy programs, making a separate iTunes option unnecessary.

Amazon has revealed that Fallout -- a live-action adaptation of Bethesda's popular RPG video game franchise -- will premiere on April 12th, 2024, exclusively via Prime Video. The Verge reports: The announcement was made on October 23rd, otherwise known to Fallout fans as "Fallout Day" -- the in-game date that marks the beginning of the Great War that turns the world into an irradiated nuclear wasteland. Bethesda's executive producer and game director Todd Howard is an executive producer on the series, which stars Ella Purnell (Yellowjackets), Walton Goggins (The Hateful Eight), Aaron Moten (Emancipation), Moises Arias (The King of Staten Island), Kyle MacLachlan (Twin Peaks), and Sarita Choudhury (Homeland).

Alongside the premiere announcement itself (which was amusingly presented as an interactive Pip-Boy interface graphic), Amazon said in a press release that the show will be an original story set in a future, post-apocalyptic version of Los Angeles and will be considered a canonical addition to the existing game franchise. We do not currently know how many episodes will be in the series or what the release schedule will look like following the premiere.