James Gunn's Superman "appears to be succeeding in rebooting DC Studios and its most iconic comic book franchise," writes The Hollywood Reporter, noting the film is "headed for a possible record domestic box office debut of $115 million to $120 million." Gunn is in a unique position, being both the film's writer-director and the co-head of the Warner Bros.-owned DC, which he co-runs with Peter Safran. Overseas, Superman is launching to $100 million-plus from 78 markets after earning $40 million midweek from its first raft of international markets for an early global total of $96.5 million through Friday. Superman will be the first superhero film to cross $100 million in its North American bow since Marvel Studios and Ryan Reynolds' Deadpool & Wolverine launched to $211 million in summer 2024 ("superhero fatigue" has become part of the Hollywood lexicon). And it's the first DC title to cross $100 million in eight long years since Wonder Woman debuted to $103.3 million in 2017.

And if the $225 million tentpole comes in north of $116.6 million, it will beat Zack Snyder's 2013 film Man of Steel ($116.7 million) to rank as the biggest domestic launch ever for a solo Superman pic, not adjusted for inflation. Snyder's mash-up Batman v Superman: Dawn of Justice scored the biggest DC opening of all time when earning $166.6 million over Easter weekend in 2016... Gunn's movie is only the third Hollywood title of 2025 to launch north of $100 million after fellow Warners tentpole A Minecraft Movie, which opened to $162.8 million, and Disney's live-action Lilo & Stitch, which sewed up $146 million in its debut. Crossing the century mark is no small feat for any movie in the post-pandemic era, and particularly for the troubled superhero genre.

The pic should enjoy a long run thanks to strong word-of-mouth. Critics and audiences alike are embracing the film. The pic earned an A- CinemaScore from moviegoers, the same grade given to Man of Steel and ahead of Superman Returns' B+. The audience score on Rotten Tomatoes is a stellar 94 percent, while the critics' score is a pleasing 82 percent...

Other upcoming DC Studios projects include HBO's Green Lantern series, Lanterns, and a Supergirl movie due out in 2026.
Superman's weekend debut at nearly $130 million domestically smashes early estimates of around $90 million (according to a senior media analyst at Comscore).

And the film also got a positive reaction from the author of the cultural history Superman: The Unauthorized Biography (writing for NPR): Recent attempts to tell live-action Superman stories have shied away from his bright, hopeful, altruistic nature in favor of making him more cool and relatable (read: dark and brooding). That's not who he is; it never has been. Superman is an ideal. He represents the best we can aspire to be. He's not the hero you relate to, à la Peter Parker/Spider-Man's ongoing struggle to pay his rent and buy Aunt May her damn medicine. He's the hero who inspires you, who shows you the way...

It doesn't have to be about slogging through trauma and shame and shadow-selves and endlessly tedious redemption arcs. Sometimes, it's simpler, cleaner, brighter. And also? Not for nothing? More fun.

Warner Bros. releases a $225 million Superman reboot this week that executives consider the studio's final chance to build a successful cinematic universe rivaling Marvel's dominance. The film, written and directed by James Gunn, serves as the foundation for DC Studios' planned expansion into multiple films and television shows.

Warner Bros. Discovery CEO David Zaslav appointed Gunn and producer Peter Safran to lead the newly unified DC Studios in 2022, ending decades of corporate infighting that prevented the company's superheroes from matching Marvel's success. The Disney-owned Marvel Cinematic Universe has generated $32 billion across 36 films since 2008. Warner executives want the movie to gross over $500 million globally, according to WSJ. If successful, this would mark the first year since 2008 that DC outperforms Marvel at the box office.

An anonymous reader quotes a report from the Associated Press: Filmmaker Peter Jackson owns one of the largest private collections of bones of an extinct New Zealand bird called the moa. His fascination with the flightless ostrich-like bird has led to an unusual partnership with a biotech company known for its grand and controversial plans to bring back lost species. On Tuesday, Colossal Biosciences announced an effort to genetically engineer living birds to resemble the extinct South Island giant moa -- which once stood 12 feet (3.6 meters) tall -- with $15 million in funding from Jackson and his partner Fran Walsh. The collaboration also includes the New Zealand-based Ngai Tahu Research Centre. "The movies are my day job, and the moa are my fun thing I do," said Jackson. "Every New Zealand schoolchild has a fascination with the moa."

The moa had roamed New Zealand for 4,000 years until they became extinct around 600 years ago, mainly because of overhunting. A large skeleton brought to England in the 19th century, now on display at the Yorkshire Museum, prompted international interest in the long-necked bird. Unlike Colossal's work with dire wolves, the moa project is in very early stages. It started with a phone call about two years ago after Jackson heard about the company's efforts to "de-extinct" -- or create genetically similar animals to -- species like the woolly mammoth and the dire wolf. Then Jackson put Colossal in touch with experts he'd met through his own moa bone-collecting. At that point, he'd amassed between 300 and 400 bones, he said.

In New Zealand, it's legal to buy and sell moa bones found on private lands, but not on public conservation areas -- nor to export them. The first stage of the moa project will be to identify well-preserved bones from which it may be possible to extract DNA, said Colossal's chief scientist Beth Shapiro. Those DNA sequences will be compared to genomes of living bird species, including the ground-dwelling tinamou and emu, "to figure out what it is that made the moa unique compared to other birds," she said. [...] The direction of the project will be shaped by Mori scholars at the University of Canterbury's Ngi Tahu Research Centre. Ngi Tahu archaeologist Kyle Davis, an expert in moa bones, said the work has "really reinvigorated the interest in examining our own traditions and mythology."

"The China Film Foundation, a nonprofit fund under the Chinese government, plans to use AI to revitalize 100 kung fu classics including Police Story, Once Upon a Time in China and Fist of Fury, featuring Jackie Chan, Jet Li and Bruce Lee, respectively," reports the Los Angeles Times.

"The foundation said it will partner with businesses including Shanghai Canxing Culture & Media Co., which will license 100 Hong Kong films to AI companies to reintroduce those movies to younger audiences globally." The foundation said there are opportunities to use AI to tell those stories through animation, for example. There are plans to release an animated version of director John Woo's 1986 film A Better Tomorrow that uses AI to "reinterpret" Woo's "signature visual language," according to an English transcript of the announcement....

The project raised eyebrows among U.S. artists, many of whom are deeply wary of the use of AI in creative pursuits. The Directors Guild of America said AI is a creative tool that should only be used to enhance the creative storytelling process and "it should never be used retroactively to distort or destroy a filmmaker's artistic work... The DGA strongly opposes the use of AI or any other technology to mutilate a film or to alter a director's vision," the DGA said in a statement. "The Guild has a longstanding history of opposing such alterations on issues like colorization or sanitization of films to eliminate so-called 'objectionable content', or other changes that fundamentally alter a film's original style, meaning, and substance."

The project highlights widely divergent views on AI's potential to reshape entertainment as the two countries compete for dominance in the highly competitive AI space.... During the project's announcement, supporters touted the opportunity AI will bring to China to further its cultural message globally and generate new work for creatives. At the same time, they touted AI's disruption of the filmmaking process, saying the A Better Tomorrow remake was completed with just 30 people, significantly fewer than a typical animated project. China is a "more brutal society in that sense," said Eric Harwit, professor of Asian studies at the University of Hawaii at Manoa. "If somebody loses their job because artificial intelligence is taking over, well, that's just the cost of China's moving forward.... You don't have those freestanding labor organizations, so they don't have that kind of clout to protest against the Chinese using artificial intelligence in a way that might reduce their job opportunities or lead to layoffs in the sector..."

The kung fu revitalization efforts will extend into other areas, including the creation of a martial arts video game.
The article also includes an interesting statistic. "Many people in China embrace AI, with 83% feeling confident that AI systems are designed to act in the best interest of society, much higher than the U.S. where it's 37%, according to a survey from the United Nations Development Program."

Amazon plans to shut down its standalone Freevee app in August, according to an in-app notice to users. From a report: The free, ad-supported streaming service is directing viewers to continue watching Freevee content on Prime Video.

"Prime Video is the new exclusive home for Freevee Tv show, movies, and Live TV," the notice to readers states. "The Freevee app will be accessible until August 2025. Continue watching your favorite Free Originals and our library of hit movies, shows, and live TV on Prime Video for free, no subscription needed. Download Prime Video to get started and sign-in with your Amazon account."

AMC Theatres now warns customers that movies start 25-30 minutes after the listed showtime to account for ads and trailers, "making it easier for moviegoers to know the actual start time of their film screening," reports The Verge. From the report: Starting today, AMC will also show more ads than before, meaning its preshow lineup may have to be reconfigured to avoid exceeding the 30-minute mark. The company made an agreement with the National CineMedia ad network that includes as much as five minutes of commercials shown "after a movie's official start time," according to The Hollywood Reporter, and an additional 30-to-60-second "Platinum Spot" that plays before the last one or two trailers.

AMC was the only major theater chain to reject the National CineMedia ad spot when it was pitched in 2019, telling Bloomberg at the time that it believed "US moviegoers would react quite negatively." Now struggling financially amid an overall decline in movie theater attendance and box-office grosses, AMC has reversed course, telling The Hollywood Reporter that its competitors "have fully participated for more than five years without any direct impact to their attendance."

BrianFagioli shares a report from NERDS.xyz: NASA is coming to Netflix. No, not a drama or sci-fi reboot. The space agency is actually bringing real rocket launches, astronaut spacewalks, and even views of Earth from space directly to your favorite streaming service. Starting this summer, NASA+ will be available on Netflix, giving the space-curious a front-row seat to live mission coverage and other programming.

The space agency is hoping this move helps it connect with a much bigger audience, and considering Netflix reaches over 700 million people, that's not a stretch. This partnership is about accessibility. NASA already offers NASA+ for free, without ads, through its app and website. But now it's going where the eyeballs are. If people won't come to the space agency, the space agency will come to them.

In its first 10 hours the Rubin space telescope found 2,104 never-before-seen asteroids in our solar system. And Gizmodo reports the data went directly to the International Astronomical Union's Minor Planet Center (MPC), which "plays an essential role in the early detection and monitoring of asteroids that threaten Earth." The MPC has spent years preparing for the deluge of data from Rubin, ramping up its software to process massive amounts of observations. When the first round officially came flooding in on Monday, it was "nerve-racking and exciting simultaneously," Matthew Payne, MPC director, told Gizmodo.
But Space.com explains how extraordinary that is. "There are approximately a million known asteroids in our cosmic neighborhood; over the next few years, Rubin could very well hike that figure up to five million." "This is five times more than all the astronomers in the world discovered during the last 200 years since the discovery of the first asteroid," Željko IveziÄ, Deputy Director of Rubin's Legacy Survey of Space and Time, said during the conference. "We can outdo two centuries of effort in just a couple of years...." The plan is for Rubin to capture such massive, high-resolution images of the southern sky once every three nights for at least the next 10 years. You can therefore consider it to be a super-fast, super-efficient and super-thorough cosmic imager. Indeed, those qualities are perfect for spotting some of the smallest details trailing through the space around our planet: asteroids. "We make movies of the night sky to see two things: objects that move and objects that change brightness," IveziÄ said. "Objects that move come in two flavors. Stars in our galaxy move, and they move slowly. Much faster objects are asteroids...."

[I]t's tremendously difficult to record an asteroid at all. "Asteroids, they disappear after you get one picture of them," IveziÄ said, calling Rubin's ability to image small objects orbiting the sun "unprecedented."
Space.com notes that the ten million galaxies in its first image are just 0.05% of around 20 billion galaxies that Rubin will have imaged by the end of its 10-year "Legacy Survey of Space and Time" investigating dark energy.

In fact, in its first year of regular operations, the Observation "will collect more data than all previous optical observatories combined," reports Earth.com. That torrent of information — petabytes of images and catalogs — will be processed in near-real time. Alerts will be issued to the worldwide astronomy community within 60 seconds of any detected change in the sky. By democratizing access to its enormous dataset, Rubin Observatory will empower both professionals and citizen scientists. This will foster discoveries that range from mapping the structure of the Milky Way to refining the rate at which the universe is expanding.
Reuters explains just how much data is being generated: The number of alerts the telescope will send every night is equivalent to the inboxes of 83,000 people. It's impossible for someone to look at that one by one," said astrophysicist Francisco Foster. "We're going to have to use artificial intelligence tools."
And New Atlas shares some of the "first look" videos released by the Observatory, including one titled The Cosmic Treasure Chest and another on the Trifid and Lagoon Nebulae (which Space.com describe as clouds of gas and dust condensing to birth new stars).

Aaron Sorkin is officially working on a sequel to The Social Network. From a report: Last year, the Oscar-winning writer revealed he was working on a film that would revisit the subject of Facebook, and Deadline has now reported that The Social Network Part II is in development at Sony Pictures yet isn't a "straight sequel."

The original film, which traced the early days of Facebook and its creator Mark Zuckerberg, was directed by David Fincher. Sorkin is rumoured to be directing the follow-up. "I blame Facebook for January 6," he said in 2024 on a special edition of The Town podcast, live from Washington DC. When asked to explain why, he responded: "You're gonna need to buy a movie ticket."

The Social Network was an adaptation of Ben Mezrich's book The Accidental Billionaires, and the sequel will be based on the Wall Street Journal series The Facebook Files. The 2021 investigation examined the damage caused by the social networking site and how internal findings had been buried. Subjects included the influence on the January 6 riot and the mental health of teenage users.

An anonymous reader quotes a report from Ars Technica: Large-scale attacks designed to bring down Internet services by sending them more traffic than they can process keep getting bigger, with the largest one yet, measured at 7.3 terabits per second, being reported Friday by Internet security and performance provider Cloudflare. The 7.3Tbps attack amounted to 37.4 terabytes of junk traffic that hit the target in just 45 seconds. That's an almost incomprehensible amount of data, equivalent to more than 9,300 full-length HD movies or 7,500 hours of HD streaming content in well under a minute.

Cloudflare said the attackers "carpet bombed" an average of nearly 22,000 destination ports of a single IP address belonging to the target, identified only as a Cloudflare customer. A total of 34,500 ports were targeted, indicating the thoroughness and well-engineered nature of the attack. [...] Cloudflare said the record DDoS exploited various reflection or amplification vectors, including the previously mentioned Network Time Protocol; the Quote of the Day Protocol, which listens on UDP port 17 and responds with a short quote or message; the Echo Protocol, which responds with the same data it receives; and Portmapper services used identify resources available to applications connecting through the Remote Procedure Call. Cloudflare said the attack was also delivered through one or more Mirai-based botnets. Such botnets are typically made up of home and small office routers, web cameras, and other Internet of Things devices that have been compromised.

An anonymous reader quotes a report from the Hollywood Reporter: Bruce Lee, Jackie Chan and Jet Li and a legion of the all-time greats of martial cinema are about to get an AI makeover. In a sign-of-the-times announcement at the Shanghai International Film Festival on Thursday, a collection of Chinese studios revealed that they are turning to AI to re-imagine around 100 classics of the genre. Lee's classic Fist of Fury (1972), Chan's breakthrough Drunken Master (1978) and the Tsui Hark-directed epic Once Upon a Time in China (1991), which turned Li into a bone fide movie star, are among the features poised for the treatment, as part of the "Kung Fu Movie Heritage Project 100 Classics AI Revitalization Project."

There will also be a digital reworking of the John Woo classic A Better Tomorrow (1986) that, by the looks of the trailer, turns the money-burning anti-hero originally played by Chow Yun-fat into a cyberpunk, and is being claimed as "the world's first full-process, AI-produced animated feature film." The big guns of the Chinese industry were out in force on the sidelines of the 27th Shanghai International Film Festival to make the announcements, too. They were led by Zhang Pimin, chairman of the China Film Foundation, who said AI work on these "aesthetic historical treasures" would give them a new look that "conforms to contemporary film viewing." "It is not only film heritage, but also a brave exploration of the innovative development of film art," Zhang said.

Tian Ming, chairman of project partners Shanghai Canxing Culture and Media, meanwhile, promised the work -- expected to include upgrades in image and sound as well as overall production levels -- while preserving the storytelling and aesthetic of the originals -- would both "pay tribute to the original work" and "reshape the visual aesthetics." "We sincerely invite the world's top AI animation companies to jointly start a film revolution that subverts tradition," said Tian, who announced a fund of 100 million yuan ($13.9 million) would be implemented to kick-start the work.

DC Studios co-head James Gunn argues that the movie industry is "dying" primarily because productions begin before screenplays are complete, while also delivering a sharp critique of his former employer Marvel Studios, which he claims Disney has "killed" through output mandates.

Gunn dismissed common explanations for Hollywood's struggles like declining theater attendance or improved home viewing experiences, telling Rolling Stone that "the number one reason is because people are making movies without a finished screenplay." The filmmaker has implemented a strict rule at DC Studios requiring finished scripts before production starts, recently scrapping a project because its screenplay wasn't ready.

The director, who previously helmed three "Guardians of the Galaxy" films for Marvel, said Disney's corporate directive to increase output destroyed the studio's creative process. "They were under a corporate mandate, yeah. That wasn't fair. It wasn't right. And it killed them," Gunn said, referring to Marvel's mandated production quotas for movies and television shows. By contrast, Gunn said DC Studios operates without numerical mandates. "We don't have the mandate to have a certain amount of movies and TV shows every year. So we're going to put out everything that we think is of the highest quality," he explained.

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

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

An anonymous reader quotes a report from TorrentFreak: Fresh data released by piracy tracking outfit MUSO shows that pirate sites remain popular. In a report released today, MUSO reveals that there were 216 billion pirate site visits globally in 2024, a slight decrease compared to the 229 billion visits recorded a year earlier. TV piracy remains by far the most popular category, representing over 44.6% of all website visits. This is followed by the publishing category with 30.7%, with film, software and music all at a respectable distance. Pirate site visitors originate from all over the world, but one country stands tall above all the rest: America. The United States remains the top driver of pirate site traffic accounting for more than 12% of all traffic globally, good for 26.7 billion visits in 2024. India has been steadily climbing the ranks for years and currently sits in second place with 17.6 billion annual visits, with Russia, Indonesia, and Vietnam completing the top five. As a country with one of the largest populations worldwide, it's not a complete surprise that the U.S. tops the list. If we counted visits per internet user, Canada and Ukraine would top the list.

While pirate site visits dipped by more than 5% in 2024, one category saw substantial growth. Visits to publishing-related pirate sites increased 4.3% from 63.6 to 66.4 billion. The increase is largely driven by the popularity of manga, which accounts for more than 70% of all publishing piracy. Traditional book piracy, meanwhile, is stuck at 5%. The publishing piracy boom is relatively new. Over the past five years, the category grew by more than 100% while the overall number of global pirate site visits remained relatively flat. Looking at the global demand, we see that the U.S. also leads the charge here, followed by Indonesia and Russia. Notably, Japan, the home of manga, ranks fifth in the publishing category. This stands out because Japan is not listed in the global top 15 in terms of total pirate site visits.

In the other content categories, MUSO's data shows a dip in pirate site visits. The changes are relatively modest for TV (-6.8%) and software (-2.1%) but the same isn't true for the music and film categories. In 2024, there were 18% fewer visits for pirated movies compared to a year earlier. MUSO notes that this is due to a "lighter blockbuster calendar" which reduced piracy peaks. "The drop in demand is as much about what wasn't released as it is about access," the report explains. The music category saw a 19% decline in piracy visits year over year, with a more uplifting explanation for rightsholders. According to MUSO, the drop can be partly attributed to "secure app ecosystems" and the "wide adoption of licensed platforms like Spotify and Apple Music."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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