Warner Bros. Discovery shareholders have approved Paramount Skydance's takeover bid, moving the massive Hollywood merger a step closer to completion. It's not a done deal quite yet, though, as it still faces regulatory scrutiny and fierce opposition from critics who warn it will further concentrate media power. The Associated Press reports: Per a preliminary vote count Thursday, Warner Bros. Discovery said the overwhelming majority of its stakeholders voted in support of selling the entire business to Skydance-owned Paramount for $31 a share. Including debt, the deal is valued at nearly $111 billion based on Warner's current outstanding shares. That means Warner-owned HBO Max, cult-favorite titles like "Harry Potter" and even CNN could soon find themselves under the same roof with Paramount's CBS, "Top Gun" and the Paramount+ streaming service.

David Zaslav, CEO of Warner Bros. Discovery, said in a statement that stockholder approval marks "another key milestone toward completing this historic transaction." Paramount added that it looks forward to closing in the coming months, and "realizing the creation of a next-generation media and entertainment company." [...] Meanwhile, Warner shareholders rejected a separate measure Thursday outlining post-merger payments for company executives.

Deezer says AI-generated songs now make up 44% of all new uploads to its platform, with nearly 75,000 arriving each day and more than two million per month. The company notes that consumption of these tracks is still very low, "between 1-3% of the total streams," and 85% are flagged as fraudulent. TechCrunch reports: The latest figure from Deezer highlights a continuous surge in AI-generated music uploads to the platform. Deezer reported receiving around 60,000 AI tracks per day in January, up from 50,000 in November, 30,000 in September, and just 10,000 in January 2025, when it first launched its AI-music detection tool.

Songs tagged as AI-generated on Deezer are automatically removed from algorithmic recommendations and not included in editorial playlists. The company announced today that it will no longer store hi-res versions of AI tracks. "AI-generated music is now far from a marginal phenomenon and as daily deliveries keep increasing, we hope the whole music ecosystem will join us in taking action to help safeguard artists' rights and promote transparency for fans," said Deezer CEO Alexis Lanternier in a press release. "Thanks to our technology and the proactive measures we put in place more than a year ago, we have shown that it's possible to reduce AI-related fraud and payment dilution in streaming to a minimum."

Ahead of December's release of Avengers: Doomsday, Disney has unveiled "Infinity Vision," reports Kotaku, which they describe as "a new theater-going experience that will be certain to transform your pedestrian $15 night out into an exotic $43 one." (Though those prices appear to be estimates...)

Disney's announcement calls it "a new certification for premium large format (PLF) theaters," helping ticket-buyers find "a huge screen with the sharpest, clearest color and sound," including laser projection "for superior brightness and clarity ") and "premium audio formats for fully immersive sound". Light on specifics, Disney says they will be certifying premium large format theaters for the Infinity Vision experience, highlighting laser projection and immersive audio quality. The new program will begin in the summer for a theater run of 2019's Avengers: Endgame ahead of Doomsday's holiday release.

Now you might be thinking: Giant screen? Booming audio? That sounds an awful lot like IMAX. The most consumer-recognized premium movie-going screen is the coveted throne for big blockbuster events, from Avatar to One Battle After Another. Unfortunately for Doomsday, IMAX screens are already booked for the holiday season by Dune: Part Three, the anticipated return to Arrakis, where Timothée Chalamet's Muad'Dib will begin to go worm-mode. Locked out of the popular choice for doubling your ticket price, Disney appears to have made up a new one...

Disney says they aim to certify 75 theaters in the United States and 300 internationally for the Infinity Vision program.

"A trailer has been released for the first film to star an authorised generative AI version of a major Hollywood actor," writes The Guardian: Val Kilmer was cast in western As Deep As the Grave before his death in April 2025. Production delays meant he never shot any scenes, but the creative team worked with UK-based company Sonantic to create an AI speaking voice based on his old recordings. His estate and daughter Mercedes collaborated with the film-makers on the visual deepfake of the actor. Kilmer, who was diagnosed with throat cancer, was also assisted by technology for his cameo in 2022's Top Gun: Maverick...

Writer-director Coerte Voorhees confirmed that Kilmer is seen for around an hour of the film's running time... Voorhees has said that the production followed Sag-Aftra [union] guidelines, and that Kilmer's estate — which provided archival material for them to use — was compensated financially.
"Kilmer's likeness can be seen portraying Father Fintan, a Catholic priest and Native American spiritualist," adds The Hollywood Reporter. But the AV Club calls it "ghoulish puppet show time."

"Having your AI Val Kilmer puppet whisper 'Don't fear the dead, and don't fear me' in a movie trailer is a bold choice..." He is accompanied (per Variety) by a whole host of disclaimers, caveats, and explanations offered by writer-director Coerte Voorhees and his associates: Kilmer deeply wanted to be in the movie, but was too sick to do so. His family endorses and supports his inclusion. He was a big fan of technology, including, presumably, its use in turning his own image into a digital avatar to then shove into movies...

The fact is, of course, that nobody would be paying a fraction of this attention to As Deep As The Grave — about early female archeologist Ann Axtell Morris — if it weren't now being used as the stage on which Voorhees was very publicly accepting the dare to go full-on ghoulish with AI tech.
"The filmmakers said they hoped they were showing Hollywood how to use the technology in a positive way..." notes Australia's ABC News. But their articles add that "Some have called the trailer 'terrifying' and 'disgusting' on social media."

Mashable writes: "Very fitting that this trailer includes a scene where a corpse is unceremoniously yanked out of the ground," read one of the top comments on As Deep as the Grave's trailer at time of writing... [O]nline commenters have labelled it disgusting and disrespectful, not only for digitally reanimating Kilmer but also for the damaging precedent As Deep as the Grave's use of AI could set for the film industry as a whole.

A new Ipsos poll finds Americans are increasingly getting news from online personalities and comedians instead of traditional TV or newspapers. The survey says nearly 70% get news online in a given week, versus 55% from TV and 25% from newspapers, with figures like Joe Rogan, Greg Gutfeld, Sean Hannity, and late-night hosts ranking prominently depending on political leanings. From the Hollywood Reporter: The poll, which was conducted in March, actually found the conservative politicians and cabinet members, including President Trump, were the top news influencers. When politicos were excluded, Joe Rogan led the list, followed by Fox News personalities Greg Gutfeld and Sean Hannity, and then TuckerCarlson and Ben Shapiro. The only three influencers to crack 10 percent were Trump, Rogan, and JD Vance. Among people who voted for Kamala Harris, the top news personalities were late night hosts, led by ABC's Jimmy Kimmel, followed by CBS Late Show host Stephen Colbert, and Daily Show host Jon Stewart.

Just under 70 percent of respondents said they get their news online in a given week, compared to 55 percent for TV, and 25 percent for newspapers. [...] Of traditional media outlets, TV dominated, with Fox News, the broadcast networks, and CNN topping the list of sources. Facebook, YouTube and Instagram were the most popular online news sources. "On these platforms opinionated personalities and comedians appear to drown out anyone who would fit in the traditional journalist category," said assistant professor of practice and Jordan Center Executive Director Steven L Herman. "Even in the late 19th century and early 20th centuries, sensationalist and polarizing voices in print and later on air were among the most influential in the political landscape -- such as political satirist Mark Twain and populist Father Charles Coughlin."

Amazon's newest Fire TV Sticks are dropping support for normal sideloading, blocking apps from outside the Amazon Appstore unless the device is registered with developers. Cord Cutters News reports: This week, Amazon announced the upcoming launch of a new Fire TV Stick HD. The new model will run on Amazon's Vega OS, rather than Android, so most streaming apps will be supported, but users won't be add third party apps. Now, on the product page to preorder the new Fire Stick, some Amazon customers are getting a message warning them that the new model won't allow sideloading. Interestingly, not all customers are getting the message, whether signed in to an Amazon account or not.

The message, shown in a screenshot below, says: "For enhanced security, this device prevents sideloading or installing apps from unknown sources. Only apps from the Amazon Appstore are available for download." [...] The Fire TV Stick Select, announced in September 2025, also runs on Vega and some customers will see the same message about sideloading on that product page. [...] While Amazon continues to be a "multi-OS company," we should expect that future Fire TV models will also be built with Vega OS, limiting the apps users can access with their streaming devices to those from the Amazon Appstore.

Sony Pictures chief Tom Rothman urged theater owners to cut down the roughly 30 minutes of trailers and ads before movies. "Get off the ad crack," Rothman told the audience at CinemaCon this week. "Get rid of the endless advertising and substantially shorten the long pre-shows." Variety reports: He noted that frequent moviegoers now show up a half hour late to avoid all the spots (something that reserved seating has made easier than ever before). Rothman said that means many people "don't even see the trailers," which results in "enticements gone to waste." Rothman predicted that the 2026 box office, which has already benefitted from hits like "Super Mario Galaxy Movie" and "Project Hail Mary," will rebound in a big way. But he acknowledged that attendance still trails pre-pandemic levels.

Rothman has been a vociferous defender of the big screen, pushing studios to embrace longer windows so that movies will stay in cinemas longer. That was a theme that Rothman returned to at CinemaCon, pressing exhibitors to hold strong and agree not to show movies that quickly appear on streaming services or on-demand platforms. "Enforce longer windows," Rothman said. "Yes, even if that means you cannot play every film."

In addition to stumping for exhibition, Rothman has practically begged Hollywood to invest in new stories along with all the franchise fare. In a recent New York Times op-ed, for instance, Rothman, the longest-serving studio chief, wrote, "For all the success of films driven by existing intellectual property, originality is essential to movies. Neither movie theaters nor the art form itself can survive without at least some originality. After all, you can't make a sequel to nothing."

An anonymous reader quotes a report from Cord Cutters News: Sony has notified owners of its recent BRAVIA television models that significant changes to the built-in TV Guide for its OTA TV antenna users and related menu features will take effect starting in late May 2026. The update affects a range of premium sets released between 2023 and 2025, marking another instance of feature adjustments for older smart TV hardware as manufacturers shift focus toward newer product lines. The changes primarily target the program guide functionality for over-the-air antenna TV channels received via the ATSC tuner. After the cutoff date, program information may fail to display on certain channels, limiting the guide's usefulness for planning viewing schedules. Users will often see listings only for channels they have recently watched, rather than a comprehensive overview of available broadcasts. Additionally, channel logos that previously appeared in the guide will disappear, and any thumbnail images accompanying program descriptions will no longer load or show.

Further modifications will appear in the television's menu system. For users relying on connected set-top boxes, the dedicated Set Top Box menu option will be removed entirely. In its place, a simpler Control menu will surface, streamlining access but eliminating some specialized navigation previously available. Program thumbnails, which provided visual previews in various menu sections, will also cease to appear across affected interfaces. These adjustments stem from Sony's ongoing efforts to manage backend services and data feeds that support enhanced guide features on its Google TV-powered BRAVIA lineup. As television ecosystems evolve rapidly with advancements in processing power, artificial intelligence integration, and cloud-based content delivery, companies periodically retire select capabilities on prior-generation hardware to optimize resources. The 2023 through 2025 models, while still offering excellent picture quality through advanced OLED and LCD panels with features like XR processing, now fall into the category of devices receiving scaled-back support. These are the models impacted:

2025 models: Bravia 8 II (XR80M2), Bravia 5 (XR50)
2024 models: Bravia 9 (XR90), Bravia 8 (XR80), Bravia 7 (XR70)
2023 models: Bravia A95L series

A Chicago concert superfan Aadam Jacobs who has recorded more than 10,000 shows since the 1980s is working with Internet Archive volunteers to digitize the collection before the cassettes deteriorate. "So far, about 2,500 of these tapes have been posted on the Internet Archive, including some rare gems like a Nirvana performance from 1989," reports TechCrunch. From the report: For many of these recordings, Jacobs was using pretty mediocre equipment, but the volunteer audio engineers working with the Internet Archive have made these tapes sound great. One volunteer, Brian Emerick, drives to Jacobs' house once a month to pick up more boxes of tapes -- he has to use anachronistic cassette decks to play the tapes, which get converted into digital files. From there, other volunteers clean up, organize, and label the recordings, even tracking down song names from forgotten punk bands. The archive is available here.

J. Allen Hynek started as an Air Force consultant brought in to help explain away early UFO reports, but over time he grew frustrated with what he saw as the government's effort to minimize unexplained cases rather than seriously investigate them. Longtime Slashdot reader schwit1 shares an article from Popular Mechanics, in collaboration with Biography.com, that argues Hynek's shift from skeptic to advocate helped shape modern ufology, and that the Air Force's attempts to control the narrative may have deepened the public distrust and conspiracy thinking that followed. From the report: Do you think the U.S. government is hiding, and possibly reverse-engineering, extraterrestrial technology? Think again. Or better yet, don't think about it at all. Nothing to see here. That's the underlying message of a report released in 2024 by the Department of Defense. The 63-page "Report on the Historical Record of U.S. Government Involvement with Unidentified Anomalous Phenomena (UAP) " concludes that the DoD's All-Domain Anomaly Resolution Office (AARO) "found no evidence that any [U.S. Government] investigation, academic-sponsored research, or official review panel has confirmed that any sighting of a UAP represented extraterrestrial technology."

The AARO, as The Guardian summarizes, is "a government office established in 2022 to detect and, as necessary, mitigate threats including 'anomalous, unidentified space, airborne, submerged and transmedium objects.'" This report came on the heels of, and in contradiction to, what was arguably the most high-profile hearing on UAPs -- formerly known as unidentified flying objects, or UFOs -- in decades: the August 2023 testimony of "whistleblower" Dave Grusch.

[...] The 2024 AARO report stated that during the time Hynek was working with Project Blue Book [the U.S. Air Force's best-known UFO investigation program], "about 75 percent of Americans trusted the [US government] 'to do the right thing almost always or most of the time.'" But, the report noted, since 2007, that number has never risen above 30 percent. "This lack of trust probably has contributed to the belief held by some subset of the U.S. population that the USG has not been truthful regarding knowledge of extraterrestrial craft."

Ultimately, the Air Force's efforts to stifle Hynek -- pressuring him to offer the public standard responses to questions he wasn't even allowed to ask -- appears to have backfired. Ironically, the Air Force's attempts to quiet suspicions only fueled them, leading to more conspiracy theories and distrust. People came to believe that the government was hiding the truth, contrary to Hynek's actual revelation: that, in reality, the people at the top may not care much about finding the answers after all.

The Super Mario Galaxy Movie "is officially the year's highest-grossing film to date with $629 million at the global box office," reports Variety — and it will likely earn over $1 billion. Project Hail Mary now becomes the year's second highest-grossing movie, with four-week ticket sales over $510, notes The Hollywood Reporter: The two films have helped propel year-to-date revenue to $2.113 billion — the best showing for the first part of the year since before the pandemic in 2019 ($2.619 billion), according to Comscore. And revenue is running 25% ahead of the same corridor last year.
Some context from ScreenRant: Even though The Super Mario Galaxy Movie reviews were largely negative, earning it a disappointing 43% score from critics on Rotten Tomatoes, audiences gave it a far superior score of 89% from audiences, making it Verified Hot on the platform's Popcornmeter. This indicates that the movie should continue to climb up the global box office chart thanks to strong word of mouth, even as it trails consistently behind the original 2023 movie in terms of commercial performance.
Canadian astronaut Jeremy Hansen called Project Hail Mary "an inspirational example.. We all thought that movie was really uplifting and inspiring." Before the Artemis astronauts launched their mission, Space.com points out "they were treated to a viewing of Amazon MGM Studios' Project Hail Maryto bolster their spirits ahead of their monumental 10-day lunar voyage. " Marking the occasion and providing encouraging words to the three American astronauts and one Canadian astronaut, Ryan Gosling recorded a brief encouraging video for the moon-bound foursome.
Today NPR took a spoiler-filled look at the science in the film, asking: Would it be possible for humans to travel to a place as far away as the Tau Ceti star system? It's not possible right now, says Lisa Carnell, division director for NASA'S Biological and Physical Sciences Division. "I don't think we are fully prepared to send humans to Mars, let alone light years away," she says. Given the leaps in technology that humanity has made in just the past century, however, she didn't want to rule it out.... "I believe it's possible [one day]"...

The hypothetical study of how humans and extraterrestrials might communicate is a real scientific field, called xenolinguistics, that includes researchers from linguistics, animal communication, and anthropology. Martin Hilpert, a professor of linguistics at the University of Neuchâtel in Switzerland, says the film "gets a lot of things right" for how such an encounter might occur, though it also employs a lot of "happy coincidences" too.

"RGB LED TVs have been the talk of the TV world this year," argues The Verge, with models coming from all the manufacturers." And the first one of 2026 is here — the UR9 from China's Hisense — "the first look at the viability of the new backlight technology outside of demo rooms." They call it "a step above the traditional mini-LED TVs of years past." and "a great first shot against OLED's bow." HDR is colorful and accurate, it has great brightness, and it is capable of showing colors beyond the P3 color space for movies and TV shows that have wider color. But at $3,500, the 65-inch model I reviewed is priced comparably to high-end OLEDs from LG and Samsung, which is tough competition... One of the touted benefits of RGB LED TVs is their ability to achieve 100 percent of the BT.2020 color space... [But] even if a TV is capable of extending beyond P3 and into BT.2020 colors (which the UR9 absolutely is), with most movies and TV shows it doesn't matter. It's also a bit of a chicken-or-the-egg situation — we need TVs that can accurately display BT.2020 before the color space is fully adopted by TV and movie creators, but if there's no content, why get a BT.2020 TV?
BGR points out this new mini LED TV also "includes a DisplayPort (DP) connection alongside HDMI."

"Well, technically, it's a USB-C port that delivers full DisplayPort functionality, but it's labeled as DisplayPort." The TV also has three HDMI 2.1 ports, making it a great choice for game consoles and PCs. And while HDMI 2.1 supports 4K/120Hz, the Hisense UR9S will deliver 4K/170Hz or 4K/180Hz visuals [a higher refresh rate] when connected to a gaming PC via DisplayPort. Better yet, the TV is AMD FreeSync-compatible, and Hisense plans on adding Dolby Vision 2 HDR in future firmware.

The Hisense UR9S will be available in four sizes: 65, 75, 85, and 100 inches. It's worth mentioning that the two largest sizes will max out at 180Hz for the refresh rate, while the 65 and 75-inch screens come in at 170Hz. This is exciting news for serious gamers looking for the best gaming TVs and a huge step forward in the evolution of panel tech. RGB Mini LED TVs were showcased by a handful of manufacturers at CES 2026, including Samsung, Sony, and LG; so Hisense will certainly have some competition.

"Every single Star Trek series has been canceled..." reports ScreenRant. "There is "no Star Trek in production or greenlit for the first time in nearly a decade."

While there were five active Star Trek series just a few years ago, Star Trek: Strange New Worlds filmed its fifth and final season in the fall of 2025, and Star Trek: Starfleet Academy "wrapped filming its second and final season at the end of February." (Though ironically, both Star Trek series still have seasons yet to premiere, with two season of Strange New Worlds mean it may continue airing through 2027.) TrekCentral reports that the sets for Star Trek: Starfleet Academy are now being torn down... There will be a local online auction for parts of the set on Friday. Additionally, Star Trek: Strange New Worlds' sets are also being taken down... Star Trek: Starfleet Academy boasted the largest sets ever built for Star Trek. The demolition of Starfleet Academy's stunning sets includes the loss of the multi-level atrium, which had the Starfleet Wall of Heroes, the USS Athena's bridge, and the classrooms.

Hundreds of theatres are now showing a new documentary called The AI Doc: Or How I Became An Apocaloptimist. Variety calls it "playful and heady,"edited "with a spirit of ADHD alertness." The New York Times suggests it "tries to cover so much that it ends up being more confusing than clarifying, but parts are fascinating."

But the Los Angeles Times calls it an "aggravating soup of information and opinion that wants to move at the speed of machine thought." So while co-director Daniel Roher asks whether he should bring a child into a world with AI, "Perhaps more urgently, should Roher have made an AI doc that treats us like children?" First, he parades all the safety doomers, seeming to believe their warnings that an unfeeling superintelligence is upon us and we can't trust it. Then, sufficiently disturbed, he hauls in the AI cheerleaders, a suspiciously positive gang who can envision only medical miracles and grindless lives in which we're all full-time artists. Only then, after this simplistic setup where platitudes reign, do we get the section in which the subject is treated like the brave (and grave) new world it is: geopolitically fraught, economically tenuous and a playground for billionaires.

Why couldn't the complexity have been the dialogue from the beginning, instead of the play-dumb cartoon "The AI Doc" feels like for so long? Maybe Roher believes this is what our increasingly gullible, truth-challenged citizenry needs from an explanatory doc: a flashy, kindhearted reminder that we're the change we need to be.
Read more reactions here and here. Mashable warns the documentary's director "will ultimately craft a journey that feels like a panic attack in real time. In the end, you may not feel better about mankind's chances against the rise of AI. But you'll likely feel less helpless in the future before us all."

They also point out that the film "shares some ways its audience can more actively be apart of the conversation, and provides a link to the film's website for engagement," where 6,948 people have now signed up for its newsletter. ("Demand a seat at the table," urges its signup button, under a warning that "Government and AI companies are designing our future without us. We need to reclaim our voice in shaping the future of AI...")

Project Hail Mary has now grossed $300.8 million globally after earning another $54.1 million this weekend from 86 markets, reports Variety, noting that after just nine days it's now Amazon MGM's highest-grossing film ever.

And last weekend it had the best opening for a "non-franchise" movie in three years, adds the Associated Press — the best since 2023's Oppenheimer: Project Hail Mary, which cost nearly $200 million to produce... is on an enviable trajectory. Its second weekend hold was even better than that of Oppenheimer, which collected $46.7 million in its follow-up frame.
But the movie is based on a book by The Martian author Andy Weir, described by one news outlet as "a former software engineer and self-proclaimed 'lifelong space nerd'... known for his realistic and clear-eyed approach to scientifically technical stories." Project Hail Mary has plenty of real science in it, whether it be space mathematics, physics, or astrobiology... The film's namesake project is even comprised of the space programs of other nations, such as Roscosmos from Russia, the Chinese space program, and the European Space Agency...

The story relies on work NASA has done regarding exoplanets, or planets outside our solar system... [This includes a nearby star named Tau Ceti approximately 12 light years from Earth which is orbited by four planets — two once thought to be in "the habitable zone" where liquid water can exist.] Tau Ceti has long been the setting used by sci-fi authors and storytellers. Isaac Asimov used it for his Robot series. Arthur C. Clarke's "Rama" spacecraft came across a mysterious tetrahedron in the Tau Ceti system. Authors Ursula K. Le Guin and Kim Stanley Robinson also set stories in Tau Ceti, and it also serves as the extrasolar setting of the 1968 Jane Fonda film Barbarella. Most recently, the Bungie video game Marathon is set in the far-off system, serving as part of the background story for the extraction shooter, about a large-scale plan to colonize the Tau Ceti system.
The movie also mentions 40 Eridani A, according to the article, a real star about 16 light-years away that was said to be orbited by the fictional planet Vulcan, home to Star Trek's Mr. Spock. It's also mentioned in Frank Herbert's Dune as the star system of the planets Ix and Richese ("noted for their machine culture and miniaturisation," according to the Stellar Australis site's "Project Dune" page).

And in a video on IMAX's YouTube channel, the film's directors explain how for a crucial scene they used non-visible-light photography, which is also an important part of modern astronomy. "Even the credits incorporate real astrophotography into the final moments," the article points out, using the work of award-winning Australian astrophotographer Rod Prazeres. "The only difference between his work of capturing space data in images and what ended up on the big screen was that he gave them 'starless versions' of his photographs to make it easier to place credit text over them."

Prazeres wrote on his web site that he was touched the producers "wanted the real thing... In a world where CGI and AI are everywhere, it meant a lot..."

Just six days ago — and 30 minutes after a Disney-OpenAI meeting about a project with Sora — Disney's team was "blindsided" with the news Sora was being discontinued, a person familiar with the matter told Reuters, describing OpenAI's move as "a big rug-pull."

Even some Sora employees were surprised by the cancellation. It was just 14 weeks ago Disney announced a $1 billion investment in OpenAI's AI-powered video generation tool — plus a three-year licensing deal. But that deal "never closed," Reuters adds, citing two other people familiar with the matter, "and no money changed hands." (Although the two sides are still "discussing if there is another way they can partner or invest with one another, one of the people familiar with the matter said.")

But Variety wonders if the end of the Sora deal is "a blessing in disguise" for Disney: Before Disney's officially sanctioned AI-generated versions of Mickey Mouse, Darth Vader, Baby Yoda, Deadpool and more debuted in OpenAI's Sora, the AI company abruptly pulled the plug on the video app...

[M]any aficionados of Disney's franchises were not, in fact, excited about what Sora's video generator might do to the likes of the Avengers superheroes or the characters from Frozen or Moana. And despite [departed Disney CEO Bob] Iger's bullishness on the Sora deal, other Disney execs were said to be concerned that going into business with OpenAI would expose the Magic Kingdom's crown jewels to the risk of being turned into so much AI slop, according to industry sources. Hollywood unions — for which AI adoption has been a hot-button issue — weren't thrilled about the Disney-Sora deal either. "Disney's announcement with OpenAI appears to sanction its theft of our work and cedes the value of what we create to a tech company that has built its business off our backs," the Writers Guild of America said in December... [S]ources say, Disney was encountering roadblocks in getting the OK from voice actors for the Sora pact...

At least publicly, Disney says it is still looking at ways it can tap into the AI ecosystem. The company, in a statement Tuesday, said, "we will continue to engage with AI platforms to find new ways to meet fans where they are while responsibly embracing new technologies that respect IP and the rights of creators." But at this point, Disney may decide that "meeting fans where they are" means keeping its beloved and world-famous characters away from the AI machinery.
Or, as Gizmodo puts it, "Disney Says It Will Find Ways to Peddle Slop Elsewhere After Pulling Out of OpenAI Deal."

But Deadline sees the deal's collapses as a lost opportunity: The OpenAI partnership was a template on which to build, potentially allowing for other deals that end the exploitation of human creativity by unscrupulous AI models. It was also the kind of partnership that was palatable for the Human Artistry Campaign and Creators Coalition on AI, lobby groups that have been critical of tech business models and command support from A-listers including Scarlett Johansson, Cate Blanchett and Joseph Gordon-Levitt.

Dr. Moiya McTier, an advisor to the Human Artistry Campaign, puts it this way: Part of the problem is getting "artsy people and the techie people to talk." OpenAI sinking Sora will not make these discussions easier. It's a move that starkly exposes Hollywood's vulnerability to the capriciousness of big tech.

An anonymous reader quotes a report from Ars Technica: Prospective Vizio TV buyers should know there's a good chance the set won't work properly without a Walmart account. In an attempt to better serve advertisers, Walmart, which bought Vizio in December 2024, announced this week that select newly purchased Vizio TVs now require a Walmart account for setup and accessing smart TV features. Since 2024, Vizio TVs have required a Vizio account, which a Vizio OS website says is necessary for accessing "exclusive offers, subscription management, and tailored support." Accounts are also central to Vizio's business, which is largely driven by ads and tracking tied to its OS.

A Walmart spokesperson confirmed to Ars Technica that Walmart accounts will be mandatory on "select new Vizio OS TVs" for owners to complete onboarding and to use smart TV features. The representative added: "Customers who already have an existing Vizio account are being given the option to merge their Vizio account with their Walmart account. Customers with an existing Vizio account can opt out by deleting their Vizio account." The representative wouldn't confirm which TV models are affected. Walmart's representative said the Walmart account integration is "designed to respect consumer choice and privacy, with data used in aggregated, permissioned, and compliant ways" but didn't specify how.

Thirty years after the alleged 1996 "ET of Varginha" encounter, debate continues to rage over the events that happened in Brazil's self-styled UFO capital. An anonymous reader quotes an excerpt from the Guardian: The skies over this far-flung coffee-growing hub went charcoal black, the heavens opened and one of Brazil's greatest mysteries was born. "It really was something unique," recalls Marco Antonio Reis, a zoo director, who was at his ranch outside Varginha one stormy day in January 1996 when, he says, an otherworldly creature came to town. Reis and other locals claim the unusually ferocious downpour heralded a series of disturbing and seemingly paranormal events. At least six of the zoo's animals, including a spider monkey, a tapir and a raccoon, died mysteriously after a horned interloper with bulging red eyes was spotted in the vicinity by a woman who had gone out for a smoke. When a vet examined their corpses, "they were all black inside," Reis claims.

On a nearby wasteland, three young women spotted a peculiar and malodorous being with a heart-shaped face and three lumps on its head cowering beside a wall. "I've seen the devil," one of those witnesses would later tell her mum. Soon afterwards, an unexplained infection was rumored to have killed a strapping police intelligence officer who was said to have grappled with the oleaginous unidentified being. Three decades later, Reis says he is convinced Varginha received a non-human visit. His only doubt was from where it came.

"We don't know if it was extraterrestrial or intraterrestrial," the 71-year-old says as he climbs a staircase to the veranda where the smoker claims to have seen what, in reference to Steven Spielberg's 1982 film, became known as the "ET of Varginha". A 2ft statue of a two-toed alien now marks the spot. "It's possible it was an intraterrestrial, from inside the Earth They don't just come from space," Reis says. "It might have come from the depths of the Earth, too. We don't even know what it's like at the bottom of the sea, do we?"

An anonymous reader quotes a report from CNN: Stephen Colbert already has a new job lined up for when he ends his 11-year run as host of "The Late Show" in May -- the comedian and well-known J.R.R. Tolkien superfan announced he will co-write and develop a new film in the blockbuster "Lord of the Rings" franchise. Colbert joined "LOTR" director Peter Jackson to reveal the news in a video announcement.

"I'm pretty happy about it. You know what the books mean to me and what your films mean to me," the late-night host told Jackson, who led the Oscar-winning team behind the nearly $6 billion original "Lord of the Rings" and "The Hobbit" trilogies. [...] Colbert said the next installment will be based on parts of Tolkien's "The Fellowship of the Ring" book that didn't make it into the original movies. "The thing I found myself reading over and over again were the six chapters early on in (The Fellowship of the Ring) that y'all never developed into the first movie back in the day ... and I thought, 'Oh, wait, maybe that could be its own story that could fit into the larger story.'" he said.

Colbert said he discussed the idea with his son, screenwriter Peter McGee, to work out the framing of the story. "It took me a few years to scrape my courage into a pile and give you a call, but about two years ago, I did. You liked it enough to talk to me about it," Colbert told Jackson. Colbert said he, McGee and Jackson have been working alongside screenwriter Philippa Boyens on the development of the story. "I could not be happier to say that they loved it, and so that's what we're going to be working on," Colbert said. Colbert's LOTR movie, tentatively titled "Shadow of the Past," will be the second of two new upcoming films in the franchise from Warner Bros. Discovery. The first of which is called "The Hunt for Gollum" due to be released in 2027.

An anonymous reader quotes a report from Vanity Fair: Focus Features is releasing The AI Doc: Or How I Became an Apocaloptimist in theaters on March 27. If you're even slightly interested in what's going on with AI, it's required viewing: The film touches on all aspects of the technology, from how it's currently being used to how it will be used in the near future, when we potentially reach the age of artificial general intelligence, or AGI. AGI is a theoretical form of AI that supposedly would be able to perform complex tasks without each step being prompted by a human user -- the point at which machines become autonomous, like Skynet in the Terminator franchise. [...]

[Director Daniel Roher] interviews nearly all the major players in the AI space: Sam Altman of OpenAI; the Amodei siblings of Anthropic; Demis Hassabis of DeepMind (Google's AI arm); theorists and reporters covering the subject. Notably absent are Elon Musk and Mark Zuckerberg. "Have you seen that guy speak? He's like a lizard man," Roher says regarding Zuckerberg. "Musk said yes initially, but it was right when he was doing all the stuff with Trump, and we just got ghosted after a while," adds [codirector Charlie Tyrell]. Altman, arguably AI's greatest mascot, is prominently featured in the documentary. But Roher wasn't buying it. "That guy doesn't know what genuine means," he says. "Every single thing he says and does is calculated. He is a machine. He's like AI, and it's in the service of growth, growth, growth. You can be disingenuous and media savvy." [...]

How, exactly, is Roher an apocaloptimist? "We are preaching a worldview," he says, "in a world that's asking you to either see this as the apocalypse or embrace it with this unbridled optimism." He and his film are taking a stance that rests between those two poles. "It's both at the same time. We have to try and embrace a middle ground so this technology doesn't consume us, so we can stay in the driver's seat," says Roher -- meaning, it's up to all of us to chart the course. "You have to speak up," says Tyrell. "Things like AI should disclose themselves. If your doctor's office is using an AI bot, you have to say, I don't like that." The driving message behind the film is that resistance starts with the people. That position is shared by The AI Doc producer Daniel Kwan, who won an Oscar for directing Everything Everywhere All at Once and has been at the forefront of discussions about AI in the entertainment industry. [...]

Roher and Tyrell both use AI in their everyday lives and openly admit to it being a helpful tool. They also agree that this technology can make daily tasks easier for the average consumer. But at the end of our conversation, we get into the economics of AI and how Wall Street is propping up the industry through huge evaluations of these companies -- and Roher gets going yet again. "This is all smoke and mirrors. The entire economy of AI is being propped up by a Ponzi scheme. The hype of this technology is unlike any hype we've seen," he says. "I feel like I could announce in a press release that Academy Award winner Daniel Roher is starting an AI film company, and I could sell it the next day for $20 million. It's fucking crazy." [...] "These people are prospectors, and they are going up to the Yukon because it's the gold rush."

It was 60 years ago when William Shatner — born in 1931 — portrayed Captain Kirk in the TV series Star Trek. Shatner turns 95 today — and celebrated by posting a picture of himself smoking a cigar.

"At 95, I'm still smokin'!" Shatner joked, adding that in life he'd learned two things. "Never waste a good cigar. Never trust anyone who says you should 'act your age.'"

For more celebrations, Paramount's free/ad-supported streaming platform Pluto TV announced a "Trek TV takeover birthday celebration" that will run through April 3rd, according to TrekMovie.com, with marathon of Star Trek movies and TV shows — and even that time he was roasted on Comedy Central. ("Freeâ½ My favorite price!" Shatner quipped on X.com.)

Shatner still remains a popular celebrity, even travelling to space five years ago on a Blue Origin flight past the Kármán line. Since then he's led a cruise to Antarctica — and even performed an alternate take of Captain Kirk's final scene on the Jimmy Fallon show.

And this week Shatner (along with hundreds of thousands attendees) appeared at Orlando's MegaCon — and shared stories about his life with Orlando Weekly: Shatner: Last month, I was on board a cruise ship, and they said the only thing I had to do over the next three days, "before we let you go home," is sing "Rocket Man." So I thought, "I'm not going to sing 'Rocket Man' the same way that what's-his-name did. ... So, I looked at the song very carefully to see if I could find what actors call a throughline. What is the character singing? What is he singing about? And so I look through all of these weird lyrics, and all of a sudden, the word sticks out to me: "alone." So I say to the band members, "OK, let's make this song about being alone in space." And I work on it with the band and the musicians, and again on a Saturday night, I perform the number, and 4,000 people stand up and applaud "Rocket Man." And they won't let me off the stage, again and again. Four times, I get a standing ovation, wild.

And that's the progression for me, of science fiction for me, as exemplified by this song. The song went from superficial to something of depth and meaning... It touched people enough for them to stand up and applaud, and I realized that is the story of science fiction... Science fiction with all its great technology has evolved into great storytelling that reaches people in a manner that is very difficult for other types of drama to do.
Shatner answered questions from Slashdot readers in 2002 ("My life is my statement...") and again in 2011. ("I used to try to assemble computers way back when and they came out looking like a skateboard...")

And judging by his X.com posts, Shatner is now involved in early testing of the site's upcoming digital payment system X Money.

America's cable TV industry "is undergoing its most dramatic collapse in history," reports Cord Cutters News, "with operators large and small waving the white flag on traditional TV service and pointing their customers toward streaming platforms instead." Just in 2025 Comcast lost 1.25 million pay-TV subscribers (ending the year with just 11.3 million), while Charter Spectrum also lost hundreds of thousands of customers each quarter.

But "for smaller regional operators, who lack the scale and diversified revenue streams of giants like Comcast, those kinds of losses are simply unsurvivable," they write. And "the companies that once delivered hundreds of channels through coaxial cables are now either shutting down entirely or reinventing themselves as internet providers." Pay-TV subscriptions have plummeted from nearly 90% of U.S. households in the mid-2010s to roughly half by the end of 2025, resulting in billions in lost revenue and forcing many smaller operators to conclude that continuing linear TV services is no longer viable... [This year over U.S. 50 cable TV companies — primarily smaller and midsize providers — are "expected to cease operations entirely or shut down their television services," Cord Cutters News reported earlier.] YouTube TV's pricing is so competitive that the platform is projected to have close to 12.6 million subscribers by the end of 2026, positioning it to become the largest paid TV distributor in the United States. Exclusive content deals, such as YouTube TV's acquisition of NFL Sunday Ticket rights, have further eroded the value proposition of traditional cable at every level of the market... As older cable subscribers age out of the market, there is no new generation of customers waiting to replace them...

[Cable TV] operators like WOW! are betting that their physical infrastructure — now increasingly upgraded to fiber — is more valuable as an internet delivery system than as a cable TV platform. [WOW! serves customers across Michigan, Ohio, Illinois, and Alabama — but is "phasing out its proprietary streaming live TV service and directing all customers toward YouTube TV," the article notes.] Industry observers see this as part of a broader trend: operators shedding unprofitable video segments to focus on broadband, where returns and network investments are prioritized.

By the end of 2026, non-pay-TV households are expected to surge to 80.7 million, outnumbering traditional pay-TV subscribers at 54.3 million — a milestone that would have seemed unthinkable just a decade ago. For the cable companies still standing, the math is now inescapable: the era of the cable bundle is ending, and the only real question left is how gracefully each operator manages its exit.

Apple has quietly announced the AirPods Max 2, featuring improved active noise cancellation, an H2 chip, and new features like adaptive audio and AI-powered real-time translation. Like the original model, these headphones start at $549. The Verge reports: As noted by Apple, the AirPods Max 2 offer active noise-cancellation that's 1.5 times more effective when compared to its predecessor. Transparency mode, which allows you to hear your surroundings while wearing the headphones, also sounds "more natural" with the AirPods Max 2, according to Apple.

The AirPods Max 2 support 24-bit, 48kHz lossless audio when connected with a USB-C cable, as well as offer up to 20 hours of listening time on a single charge. Other capabilities include loud sound reduction, a camera remote feature that works by pressing the digital crown to take a photo or start a recording, as well as a personalized volume feature that "automatically fine-tunes the listening experience" based on your preferences over time.

A German court ruled that TCL misled consumers by marketing certain TVs as "QLED" when they "do not deliver the color reproduction expected from QLED TVs." It has ordered the company to stop advertising or selling those models in Germany. TechRadar reports: The case was filed by Samsung, which claimed that TCL was running deceptive advertising, and more court cases on the same topic are coming in other countries, including the US. The lawsuits all make the same claim: that what TCL calls a QLED isn't a QLED as it's commonly understood, and that consumers are being mis-sold TVs as a result. The court found that TCL's quantum dot TVs, such as the QLED870 series available in Germany, didn't deliver the characteristics of a quantum dot LED, and that consumers were being misled as a result.

The tests were commissioned by Seoul chemicals company Hansol Chemical (which, it's worth noting, works with Samsung, a key TCL rival, and which heavily promoted the results of these tests alongside launching the court case) and carried out by Geneva's SGS and the UK's Intertek. According to ET News (via Google Translate), "no indium (In) or cadmium (Cd) was detected in three TCL QD TV models. Indium and cadmium are essential materials that cannot be omitted for QD implementation... if neither is present, QD technology cannot be said to have been applied." You can see the test results here.

TCL disputed the findings -- "The QD content may vary depending on the supplier, but it definitely contains cadmium," it responded -- and published its own tests, including a test by SGS, the same firm that conducted tests for Hansol. The results contradicted Hansol Chemical's tests, but those tests used a different methodology: where TCL's tests focused on TCL's quantum dot films, Hansol's commissioned tests were on finished TCL TVs. [...] Hansol Chemical has filed a complaint against TCL with the US Federal Trade Commission, alleging false advertising, and TCL is also facing class action lawsuits in several US states making the same claim. TCL isn't alone here: Hisense has also been targeted in the US.

An animated reboot of Firefly is in early development at 20th Television Animation with Nathan Fillion involved. The project has Joss Whedon's blessing and will be run by writers Tara Butters and Marc Guggenheim, with early concept art already underway. According to the Hollywood Reporter, "The series would be set in the timeline between the original, 11-episode TV run in 2002 and the 2005 feature film continuation, Serenity." You can watch Fillion announce the Firefly reboot on Instagram.

When the first episode of the original series premiered in late 2002, Slashdot reader fm6 wrote: "Firefly, Joss Whedon's 'anti-Trek drama' premieres tonight, on Fox, 8 E/P. I normally despise hypespeak, but this time it's the only language that fits: this is groundbreaking, mind-boggling, totally original. I've seen a bootleg of the pilot (which, unfortunately, the network is holding back) and I promise you this is the most geek-friendly SF you've seen in a long time. Yes, more so than Star Trek and B5, and way past Star Wars. I've never seen the future so skillfully, realistically, and lovingly portrayed. Here is the Official Site and a leading fan site." "This is the single new show this season I have added a season pass for to the old Tivo," CmdrTaco said at the time. "But I'll probably watch it live. This looks like it could be as good as we hope."

There's a surprise in a new documentary about that Bigfoot film shot in 1967 by Roger Patterson, reports the Wall Street Journal.

Capturing Bigfoot "builds to a big reveal: freshly surfaced film that appears to show a woodsy dress rehearsal for one of the world's most enduring hoaxes." In the new footage — from a Kodak reel dating to 1966 — Patterson's camera tracks a man in costume, his brother-in-law, moving in a similar fashion to the figure in the 1967 shoot, which featured a different location and a bigger man with a more distinctive stride, according to the documentary. The test-run footage "is the work of a director with a vision," says Capturing Bigfoot director Marq Evans. He says the reel was given to him by a colleague at Olympic College in Bremerton, Wash., where Evans runs a documentary film program. The colleague found the film in a safe that belonged to her late father, who worked in a Boeing film lab and could have developed film discreetly.

With the long-buried footage in hand, Evans set out to explore the ripple effects from the Bigfoot film. Patterson, who died in 1972, hailed from the same region of Washington as Evans; the documentarian discovered that the hardscrabble cowboy had also been a gifted craftsman and artist. Patterson illustrated a self-published book, "Do Abominable Snowmen of America Really Exist?", and set out to make a wildlife movie that would feature the ultimate trophy footage. He and his collaborators inadvertently helped spawn "this massive culture and industry" around the Bigfoot legend, Evans says...

Roger Paterson presented his footage to America in a traveling show that crisscrossed the nation and climaxed with the hyped Bigfoot sequence on screen. The money poured in, leading to resentment among cohorts who felt they'd been shortchanged, none more so than Bob Gimlin, Patterson's wingman in the field during the infamous shoot.. [Roger's son] Clint Patterson says his mother privately confirmed his suspicions that the family's claim to fame was bogus, but he kept quiet to protect their financial stream. About 10 years ago, when he first wanted to go public with the truth, his mother disowned him.
Bigfoot was also a recurring character on the 1970s TV show The Six Million Dollar Man.

Which kind of puts the whole thing in perspective...

Longtime Slashdot reader tsuliga writes: Two new episodes of Doctor Who that were previously lost have been found. The original Doctor Who episodes were wiped or deleted by the BBC because they were not aware of the future use of re-runs of these shows. Ninety-five of the 253 episodes from the program's first six years are currently missing. How many more episodes are out there waiting to be rediscovered? "The main broadcasters in the UK in the 1960s, 70s, up to the 80s really, junked quite a lot of content," said Justin Smith, a cinema professor at England's De Montfort University and film archivist. "In some ways finding missing 'Doctor Whos' is the holy grail" of classic TV discoveries, Smith said.

The two episodes were "The Nightmare Begins" and "Devil's Planet," both of which aired during the show's third series in 1965. It features William Hartnell as the Doctor in a story involving archvillains the Daleks -- pepperpot-shaped metal aggressors whose favorite word is "Exterminate!" Smith said that for fans of the show, "it's got it all, it really has. It is intergalactic, it's got some great performances. It stands up really, really well."

A Pew Research Center survey found that only 53% of U.S. adults went to a movie theater in the past year, while 7% said they've never seen a movie in a theater at all. "The findings reflected a domestic box office still fighting to regain its footing since the COVID-19 pandemic, when ticket sales collapsed 81% in 2020 due to theater closures," reports Variety. From the report: In 2025, moviegoers in the U.S. and Canada bought 769.2 million tickets, less than half of the all-time peak of roughly 1.6 billion tickets sold in 2002, according to data from Nash Information Services. However, an August 2025 study field by NRG/National Research Group showed that 77% of Americans ages 12-74 went to see at least one movie in a theater in the previous 12 months.

Box office revenue peaked at an inflation-adjusted $16.4 billion in 2002, and annual ticket revenue held relatively steady through the 2000s and 2010s before falling to under $3 billion in 2020 when theaters closed for months. Last year, U.S. theaters sold just over $9 billion worth of tickets, per media analytics firm Comscore. The number represents a recovery, but nowhere near a full one, as ticket sales have been lagging around 20% below pre-pandemic levels.

Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

United Airlines has updated its contract of carriage to require passengers to use headphones when playing audio or video on personal devices during flights. Travelers who refuse could be removed from the plane or even permanently banned from flying with the airline, reports CBS News.

United notes that it will offer customers who forget theirs a free pair of wired earbuds. "Don't worry if you forget your headphones for your flight," the airline states on its website. "If they're available, you can request free earbuds." You'd better hope your device still has a headphone jack...

Further reading: Flying Was Already the Worst. Then America Stopped Using Headphones.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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