Disneyland is a proposing part of its park be dedicated to James Cameron's Avatar, reports SFGate. "The rendering isn't a carbon copy of the Pandora land in Disney World's Animal Kingdom; instead, it's themed more closely to the recent sequel, Avatar: The Way of Water." The teaser was dropped as part of Wednesday's company shareholders meeting. The concept art shows a large lake in the middle of the land, surrounded by the signature floating mountains that loom over Animal Kingdom's Pandora. Boats filled with guests can be seen in the water, suggesting some sort of ride. No attractions have been announced for the land yet. Animal Kingdom has two: the spectacular flight simulator Flight of Passage and bucolic indoor boat ride Na'vi River Journey...

There's no timeline for construction to begin. Disney officials have consistently referred to it as a "potential" project, often calling it an "experience" rather than a land.

An anonymous reader writes: Variety reports that following the massive box office success of Dune: Part Two, Legendary has tapped Denis Villeneuve for a third installment that would presumably continue the story of how Paul Atreides goes on to conquer the galaxy. Earlier this year, Villeneuve told Empire that he had already "put words on paper" thinking about where he would like to take the Dune franchise going forward. Legendary has yet to announce any sort of timeline for when production on Dune 3 might begin. But the studio intends for the movie to debut before its next project with Villeneuve -- an adaptation of Nuclear War: A Scenario, Annie Jacobsen's 2024 Pulitzer Prize-nominated nonfiction book about how nuclear war scenarios would likely play out.

An anonymous reader writes: In the early 70s, young filmmakers John Carpenter and Dan O'Bannon created a spaceship tale for a graduation project -- little knowing it would influence Alien and many other works. Made for $60,000 by film school students, horror maestro John Carpenter's directorial debut Dark Star is now regarded as a sci-fi cult classic. Having just turned 50 years old, it's a world away from much of the sci-fi that came before it and would come after, neither space odyssey nor space opera, rather a bleak, downbeat and often absurd portrait of a group of people cooped together in a malfunctioning interstellar tin can. Arguably its most famous scene consists of an existential debate between an astronaut and a sentient bomb. Dark Star was a collaboration between Carpenter, who directed and scored the film, and Dan O'Bannon, who in addition to co-writing the script, acted as editor, production designer, and visual effects supervisor, as well as playing the volatile, paranoid Sergeant Pinback. They met as budding filmmakers at the University of Southern California. "While [Carpenter and O'Bannon] couldn't be more dissimilar in personality, they were both very energetic and focused," says Daniel Griffiths, director of Let There Be Light: The Odyssey of Dark Star (2010), the definitive documentary about the making of the film.

The sci-fi films of this period tended to be bleak and dystopian, explains John Kenneth Muir, author of The Films of John Carpenter -- films like Silent Running (1972), in which all plant life on Earth is extinct, or George Lucas's 1971 debut THX-1138, in which human emotion is suppressed. "Dark Star arrived in this world of dark, hopeless imaginings, but took the darkness one step further into absurd nihilism." Carpenter and O'Bannon set out to make the "ultimate riff on Stanley Kubrick's 2001: A Space Odyssey," says Griffiths. While Kubrick's 1968 film, explains Muir, was one "in which viewers sought meaning in the stars about the nature of humanity, there is no meaning to life in Dark Star". Rather, says Muir, it parodies 2001 "with its own sense of man's irrelevance in the scheme of things". Where Kubrick scored his film with classical music, Dark Star opens with a country song, Benson, Arizona. (A road in the real-life Benson is named in honor of the film). The film was even released with the tagline "the spaced-out odyssey." Dark Star captured the mood of the time in which it was made, says Muir, the atmosphere of Nixon's America. "The 1960s was all about utopian dreaming and bringing change to America in the counterculture. The 1970s represent what writer Johnny Byrne called 'The wake-up from the hippie dream', a reckoning with the fact that the more things change, the more they stay the same." [...]

When Dark Star premiered at the FILMEX expo in 1974, the audience response was largely positive. "They recognized the film's absurdist humor and celebrated its student film roots," says Griffiths. It had a limited theatrical release in 1975, but it was not a commercial success. "The film met with negative reviews from critics, and general disinterest from audiences," says Muir. "Both Carpenter and O'Bannon realized that all the struggles they endured to make the film did not matter to audiences, they only cared about the finished product. I think they were discouraged," says Griffiths. The growth of the VHS market, however, helped it find its audience and propelled it towards cult status. Its influence can still be felt, perhaps most directly in Ridley Scott's Alien, for which O'Bannon, who died in 2009, wrote the screenplay. The two films share DNA. Alien is also set on a grotty working vessel with a bickering crew, only this time the alien wasn't played for laughs.

Deadline: Drew Goddard, the Oscar-nominated screenwriter of The Martian who also directed The Cabin in the Woods, has been set to write and direct a new Matrix movie at Warner Bros. The franchise's original co-scribe and co-director Lana Wachowski is executive producing. It's still early days in regards to whether core cast members Keanu Reeves, Carrie Anne-Moss, Laurence Fishburne, Hugo Weaving and Jada Pinkett Smith are coming back.

Goddard will produce with partner Sarah Esberg (Moonlight, If Beale Street Could Talk) via their Goddard Textiles banner. "Drew came to Warner Bros with a new idea that we all believe would be an incredible way to continue the Matrix world, by both honoring what Lana and Lilly began over 25 years ago and offering a unique perspective based on his own love of the series and characters," said Jesse Ehrman, Warner Bros Motion Pictures President of Production. "The entire team at Warner Bros Discovery is thrilled for Drew to be making this new Matrix film, adding his vision to the cinematic canon the Wachowskis spent a quarter of a century building here at the studio."

AmiMoJo writes: In a major surprise, all twenty episodes of the second season of the animated series 'Star Trek: Prodigy' have suddenly been made available in France thanks to broadcaster France Televisions.

According to TrekCentral it seems France.TV, the online streaming service for the national public broadcaster, has released the entirety of the second season all at once and without any prior warning or announcement.

This has led to questions online as to how this happened. Paramount+ unexpectedly canceled the series in June last year -- even as a second season had almost finished production and was completed shortly after. It took numerous fan campaigns and social media protests but ultimately Netflix picked up both completed seasons in October 2023. The streamer has confirmed the twenty episode second season will arrive this year but hasn't set a specific date as yet.

Today's unexpected release in France has many wondering if this a mistake, or is this the result of a specific licensing deal with that country and distributor. Either way, spoilers for the new season are already flooding online along with a lot of people calling for fans to wait for the official release and support the creators.

Whether intentional or not, it's not clear if Netflix will shift its release strategy for the new season in the wake of this.

"It was three years of my, life you?" a 93-year-old William Shatner tells the Guardian when asked about playing Captain Kirk on the original Star Trek series from 1967 to 1969: It gladdens him to see how much joy the series has brought its many fans, but the richest rewards came in his introduction to science fiction, which activated and nurtured a lifelong curiosity about our species. He reminisces about meeting the great writers of the genre fondly yet frankly, honest enough to sort Ray Bradbury into "the category right below friend, I think". He devoured their novels and developed a fascination with the principle of defamiliarization, that concepts taken for granted can be understood anew when viewed through the vantage of a stranger in a strange land. "Good science fiction is humanity, moved into a different milieu," he says.
Even on a grander scale, "The universe charms him with its mysteries," writes the Guardian, calling it "the key to maintaining wonder through nearly a century of life. He likes the not-knowing."

You can see this at play when the TV starship captain became a real-life spacefarer in 2021: Liberated by weightlessness, he found himself utterly transformed by the rush of perspective one can only assume miles above the Earth. "It's very personal, what you see from up there, what you read into the stillness," he says. "I saw the blankness of space as death, but an astronaut will see something else entirely. And when I looked back at the Earth, I saw life."

The question of mortality hangs over Shatner, albeit not in a morbid way. He's entranced by the paradox of death, that the absolute unknowability of what happens will be inevitably supplanted by the certainty of finding out... For a man accustomed to boldly going where no man has gone before, it's all just the next phase of a single ongoing adventure.
In fact, Shatner told Jimmy Kimmel Friday that he was always disappointed by the way he'd performed Captain Kirk's death. "I think you die the way you live," Shatner says. "So Captain Kirk always had these grotesque things happening... but without fear. But with joy, and love, and an opportunity to see what's better." So when performing Kirk's death, he'd imagined him actually gazing upon death itself — and looking upon it with wonder. "I ad libbed the 'Oh my'." Shatner's regret? That it "sounded fearful. And I didn't want to be fearful."

"Would you like a do-over?" Kimmel asks. (Adding "I've got some debris...") And Shatner agrees, performing — one more time — the death of Captain Kirk.

The video also includes an appropriate clip from a newly-released documentary about Shatner's life. "Don't do it half-heartedly," Shatner says at one point. "Whatever it is you do — do it fully. Do it passionately. Do it with your whole being."

It was March 24, 1999 that The Matrix premiered, premembers the Wall Street Journal. "To rewatch The Matrix is to be reminded of how primitive our technology was just 25 years ago. We see computers with bulky screens, cellphones with keypads and a once-ubiquitous feature of our society known as 'pay phones,' central to the plot of the film."

But the article's headline warns that "25 Years Later, We're All Trapped in 'The Matrix'". [I]n a strange way, the film has become more relevant today than it was in 1999. With the rise of the smartphone and social media, genuine human interaction has dropped precipitously. Today many people, like Cypher, would rather spend their time in the imaginary realms offered by technology than engage in a genuine relationship with other human beings.

In the film, one of the representatives of the AI, the villainous Agent Smith, played by Hugo Weaving, tells Morpheus that the false reality of the Matrix is set in 1999 because that year was "the peak of your civilization. I say your civilization, because as soon as we started thinking for you it really became our civilization." Indeed, not long after "The Matrix" premiered, humanity hooked itself up to a matrix of its own. There is no denying that our lives have become better in many ways thanks to the internet and smartphones. But the epidemic of loneliness and depression that has swept society reveals that many of us are now walled off from one another in vats of our own making...

For today's dwellers in the digital cave, the path back into the light doesn't involve taking a pill, as in "The Matrix," or being rescued by a philosopher. We ourselves have the power to resist the extremes of the digital world, even as we remain linked to it. You can find hints of an unplugged "Zion" in the Sabbath tables of observant Jews, where electronic devices are forbidden, and in university seminars where laptops are banned so that students can engage with a text and each other.

Twenty-five years ago, "The Matrix" offered us a modern twist on Plato's cave. Today we are once again asking what it will take to find our way out of the lonely darkness, into the brilliance of other human souls in the real world.

"My favorite kind of science fiction involves stories rooted in real science..." writes NPR's reviewer. "[T]here is something special about seeing characters wrestle with concepts closer to our current understanding of how the universe works."

The Verge calls it an "impressive" and "leaner" story than the book, arguing "it's a good one — and very occasionally a great one" that introduces the author's key ideas, though channelling "the book's spirit but not its brilliance."

And Slate calls it a "downright transformative" adaptation, "jettisoning most of the novel's characters and plucking scenes from all three books," while accusing it of "making the trilogy's expansive and philosophical story into something much more pedestrian and digestible."

But Reuters notes there's huge interest in China over this adaptation (by the co-creator of Mem>Game of Thrones) for the first Asian novel to win the Hugo Award for best science fiction novel. "The new series was trending on Chinese social media platform Weibo on Friday," reports Reuters, "with 21 million views so far." (The show came in first on Weibo's "top hot" trend rankings, they add, "despite Netflix being officially inaccessible in China. Chinese viewers would have had to watch the Netflix series from behind a VPN or on a pirate site.")

So what was their verdict? CNN reports Netflix's adaptation "has split opinions in China and sparked online nationalist anger over scenes depicting a violent and tumultuous period in the country's modern history." Among the country's more patriotic internet users, discussions on the adaptation turned political, with some accusing the big-budget American production of making China look bad. The show opens with a harrowing scene depicting Mao Zedong's Cultural Revolution, which consumed China in bloodshed and chaos for a decade from 1966... "Netflix you don't understand 'The Three Body Problem' or Ye Wenjie at all!" read a comment on social media platform Weibo. "You only understand political correctness!"

Others came to the show's defense, saying the scene closely follows depictions in the book — and is a truthful reenactment of history. "History is far more absurd than a TV series, but you guys pretend not to see it," read one comment on Douban, a popular site for reviewing movies, books and music.

Author Liu said in an interview with the New York Times in 2019 that he had originally wanted to open the book with scenes from Mao's Cultural Revolution, but his Chinese publisher worried they would never make it past government censors and buried them in the middle of the narrative. The English version of the book, translated by Ken Liu, put the scenes at the novel's beginning, with the author's blessing... Various other aspects of the show, from its casting and visual effects to the radical changes to the story's original setting and characters, also attracted the ire of Chinese social media users. Many compared it to a Chinese television adaptation released last year — a much lengthier and closer retelling of the book that ran to 30 episodes and was highly rated on Chinese review platforms.

The Netflix adaptation featured an international cast and placed much of the action in present-day London — thus making the story a lot less Chinese.

The desert planet Arrakis in Frank Herbert's science fiction novel Dune is plausible, says Alexander Farnsworth, a climate modeler at the University of Bristol in England. According to Science News, the world would be a harsh place for humans to live, and they probably wouldn't have to worry about getting eaten by extraterrestrial helminths. From the report: For their Arrakis climate simulation, which you can explore at the website Climate Archive, Farnsworth and colleagues started with the well-known physics that drive weather and climate on Earth. Using our planet as a starting point makes sense, Farnsworth says, partly because Herbert drew inspiration for Arrakis from "some sort of semi-science of looking at dune systems on the Earth itself." The team then added nuggets of information about the planet from details in Herbert's novels and in the Dune Encyclopedia. According to that intel, the fictional planet's atmosphere is similar to Earth's with a couple of notable differences. Arrakis has less carbon dioxide in the atmosphere than Earth -- about 350 parts per million on the desert planet compared with 417 parts per million on Earth. But Dune has far more ozone in its lower atmosphere: 0.5 percent of the gases in the atmosphere compared to Earth's 0.000001 percent.

All that extra ozone is crucial for understanding the planet. Ozone is a powerful greenhouse gas, about 65 times as potent at warming the atmosphere as carbon dioxide is, when measured over a 20-year period. "Arrakis would certainly have a much warmer atmosphere, even though it has less CO2 than Earth today," Farnsworth says. In addition to warming the planet, so much ozone in the lower atmosphere could be bad news. "For humans, that would be incredibly toxic, I think, almost fatal if you were to live under such conditions," Farnsworth says. People on Arrakis would probably have to rely on technology to scrub ozone from the air. Of course, ozone in the upper atmosphere could help shield Arrakis from harmful radiation from its star, Canopus. (Canopus is a real star also known as Alpha Carinae. It's visible in the Southern Hemisphere and is the second brightest star in the sky. Unfortunately for Dune fans, it isn't known to have planets.) If Arrakis were real, it would be located about as far from Canopus as Pluto is from the sun, Farnsworth says. But Canopus is a large white star calculated to be about 7,200 degrees Celsius. "That's significantly hotter than the sun," which runs about 2,000 degrees cooler, Farnsworth says. But "there's a lot of supposition and assumptions they made in here, and whether those are accurate numbers or not, I can't say."

The climate simulation revealed that Arrakis probably wouldn't be exactly as Herbert described it. For instance, in one throwaway line, the author described polar ice caps receding in the summer heat. But Farnsworth and colleagues say it would be far too hot at the poles, about 70Â C during the summer, for ice caps to exist at all. Plus, there would be too little precipitation to replenish the ice in the winter. High clouds and other processes would warm the atmosphere at the poles and keep it warmer than lower latitudes, especially in the summertime. Although Herbert's novels have people living in the midlatitudes and close to the poles, the extreme summer heat and bone-chilling -40C to -75C temperatures in the winters would make those regions nearly unlivable without technology, Farnsworth says. Temperatures in Arrakis' tropical latitudes would be relatively more pleasant at 45C in the warmest months and about 15C in colder months. On Earth, high humidity in the tropics makes it far warmer than at the poles. But on Arrakis, "most of the atmospheric moisture was essentially removed from the tropics," making even the scorching summers more tolerable. The poles are where clouds and the paltry amount of moisture gather and heat the atmosphere. But the tropics on Arrakis pose their own challenges. Hurricane force winds would regularly sandblast inhabitants and build dunes up to 250 meters tall, the researchers calculate. It doesn't mean people couldn't live on Arrakis, just that they'd need technology and lots of off-world support to bring in food and water, Farnsworth says. "I'd say it's a very livable world, just a very inhospitable world."

Netflix's new sci-fi drama Spaceman centers on Czech astronaut Jakub Procházk, described by Polygon as "painfully introverted, emotionally repressed, and above all, quiet... so muted and compressed, he seems like a trauma victim." The film, adapted from the 2017 novel Spaceman of Bohemia written by Czech author Jaroslav KalfaÅ(TM), is a solemn drama in the mold of Andrei Tarkovsky's Solaris, or to some degree, Christopher Nolan's Interstellar. The story revolves around Jakub's disintegrating frame of mind after eight months alone in space as he investigates a glowing cosmic phenomenon that's become visible from Earth. Meanwhile, his wife Lenka (Carey Mulligan), heavily pregnant and going through her own breakdown back home, decides to leave Jakub, and his handlers (Isabella Rossellini among them) work to keep him from finding out. And then the giant spider appears, and Jakub worries that he's losing his mind.
CNN says Sandler's deal with Netflix "means pretty much doing whatever he wants, which, in the case of Spaceman, means traveling to the furthest reaches of space as the near-solitary star of a pretentious, message-heavy drama."

You can watch a trailer here. The movie enjoys a "limited theatrical release" this weekend, and will stream on Netflix starting March 1.

samleecole shares a report from 404 Media: A trove of leaked emails shows how administrators of one of the most prestigious awards in science fiction censored themselves because the awards ceremony was being held in China. Earlier this month, the Hugo Awards came under fire with accusations of censorship when several authors were excluded from the awards, including Neil Gaiman, R. F. Kuang, Xiran Jay Zhao, and Paul Weimer. These authors' works had earned enough votes to make them finalists, but were deemed "ineligible" for reasons not disclosed by Hugo administrators. The Hugo Awards are one of the largest and most important science fiction awards. [...]

The emails, which show the process of compiling spreadsheets of the top 10 works in each category and checking them for "sensitive political nature" to see if they were "an issue in China," were obtained by fan writer Chris M. Barkley and author Jason Sanford, and published on fandom news site File 770 and Sanford's Patreon, where they uploaded the full PDF of the emails. They were provided to them by Hugo Awards administrator Diane Lacey. Lacey confirmed in an email to 404 Media that she was the source of the emails. "In addition to the regular technical review, as we are happening in China and the *laws* we operate under are different...we need to highlight anything of a sensitive political nature in the work," Dave McCarty, head of the 2023 awards jury, directed administrators in an email. "It's not necessary to read everything, but if the work focuses on China, taiwan, tibet, or other topics that may be an issue *in* China...that needs to be highlighted so that we can determine if it is safe to put it on the ballot of if the law will require us to make an administrative decision about it."

The email replies to this directive show administrators combing through authors' social media presences and public travel histories, including from before they were nominated for the 2023 awards, and their writing and bodies of work beyond just what they were nominated for. Among dozens of other posts and writings, they note Weimer's negative comments about the Chinese government in a Patreon post and misspell Zhao's name and work (calling their novel Iron Widow "The Iron Giant"). About author Naseem Jamnia, an administrator allegedly wrote, "Author openly describes themselves as queer, nonbinary, trans, (And again, good for them), and frequently writes about gender, particularly non-binary. The cited work also relies on these themes. I include them because I don't know how that will play in China. (I suspect less than well.)"

"As far as our investigation is concerned there was no reason to exclude the works of Kuang, Gaiman, Weimer or Xiran Jay Zhao, save for being viewed as being undesirable in the view of the Hugo Award admins which had the effect of being the proxies Chinese government," Sanford and Barkley wrote. In conjunction with the email trove, Sanford and Barkley also released an apology letter from Lacey, in which she explains some of her role in the awards vetting process and also blames McCarty for his role in the debacle. McCarty, along with board chair Kevin Standlee, resigned earlier this month.

Halo — the TV series — launches its second season on February 8th. But today a trailer premiered during halftime of the pre-Super Bowl football playoff.

Gizmodo reports: Even though the Covenant are the other side of Halo's ongoing conflict, the first season of Paramount+'s TV series largely represented them through a human proxy named Makee. With the upcoming second season, the coalition of alien races is set to become a more prominent threat, and that means they'll be getting more proper screentime.
IGN had written that Season 1 "isn't a perfect adaptation of the games, but it ultimately succeeds in expanding the series' mythology and taking a more character-driven approach to Master Chief's adventures." This week Paramount+ also released a 28-minute compilation of "Epic Battle Scenes from Season 1, a season which reportedly cost $200 million to film.

And now the entertainment site Collider reports on what comes next: While on the set for Halo Season 2, Collider's Steve Weintraub and some other reporters got the chance to sit down with stars Schreiber and Kate Kennedy to discuss how the show will further flesh out the Covenant in the upcoming episodes. Part of that involves expanding their arsenal with new vehicles like the corvette, a class of ships used in the Halo canon by the Covenant for reconnaissance, stealth, and much more. Kennedy placed it among her favorite Season 2 set designs, saying... "It's huge, and what the set guys did for it, and the art department, is really, really impressive. They turned it around so quickly, and it's, like, awe-inspiring, it's huge."

Aside from making the Covenant more formidable, Season 2 will also focus on making them more understandable. Part of that involves diving into the thought process of key players within the alien faction, including two that Schreiber could tease. "Yeah, we definitely go into the Covenant mind-state, mentality," he said... In future seasons, Schreiber believes Halo will only continue to develop the Covenant, their motives, and the relationships and allegiances within the coalition as the story of intergalactic war unfolds.

An anonymous Slashdot reader shared this report from CNET: Marking its 60th year on television, the British time-travel series will close out 2023 with one last anniversary special that arrives on Christmas Day. Ncuti Gatwa's Doctor helms the Tardis in The Church on Ruby Road, which centers on an abandoned baby who grows up looking for answers... Disney Plus will stream Doctor Who: The Church on Ruby Road on Monday, Dec. 25, at 12:55 p.m. ET (9:55 a.m. PT) in all regions except the UK and Ireland, where it will air on the BBC. In case you missed it, viewers can also watch David Tennant starring in the other three anniversary specials: The Star Beast, Wild Blue Yonder and The Giggle. All releases are available on Disney Plus.
But what's interesting is CNET goes on to explain "why a VPN could be a useful tool." Perhaps you're traveling abroad and want to stream Disney Plus while away from home. With a VPN, you're able to virtually change your location on your phone, tablet or laptop to get access to the series from anywhere in the world. There are other good reasons to use a VPN for streaming too. A VPN is the best way to encrypt your traffic and stop your ISP from throttling your speeds...

You can use a VPN to stream content legally as long as VPNs are allowed in your country and you have a valid subscription to the streaming service you're using. The U.S. and Canada are among the countries where VPNs are legal

An anonymous reader quotes a report from TorrentFreak: Members of the Science Fiction and Fantasy Writers Association have no trouble envisioning an AI-centered future, but developments over the past year are reason for concern. The association takes offense when AI models exploit the generosity of science fiction writers, who share their work without DRM and free of charge. [...] Over the past few months, we have seen a variety of copyright lawsuits, many of which were filed by writers. These cases target ChatGPT's OpenAI but other platforms are targeted as well. A key allegation in these complaints is that the AI was trained using pirated books. For example, several authors have just filed an amended complaint against Meta, alleging that the company continued to train its AI on pirated books despite concerns from its own legal team. This clash between AI and copyright piqued the interest of the U.S. Copyright Office which launched an inquiry asking the public for input. With more than 10,000 responses, it is clear that the topic is close to the hearts of many people. It's impossible to summarize all opinions without AI assistance, but one submission stood out to us in particular; it encourages the free sharing of books while recommending that AI tools shouldn't be allowed to exploit this generosity for free.

The submission was filed by the Science Fiction and Fantasy Writers Association (SFWA), which represents over 2,500 published writers. The association is particularly concerned with the suggestion that its members' works can be used for AI training under a fair use exception. SFWA sides with many other rightsholders, concluding that pirated books shouldn't be used for AI training, adding that the same applies to books that are freely shared by many Science Fiction and Fantasy writers. [...] Many of the authors strongly believe that freely sharing stories is a good thing that enriches mankind, but that doesn't automatically mean that AI has the same privilege if the output is destined for commercial activities. The SFWA stresses that it doesn't take offense when AI tools use the works of its members for non-commercial purposes, such as research and scholarship. However, turning the data into a commercial tool goes too far.

AI freeloading will lead to unfair competition and cause harm to licensing markets, the writers warn. The developers of the AI tools have attempted to tone down these concerns but the SFWA is not convinced. [...] The writers want to protect their rights but they don't believe in the extremely restrictive position of some other copyright holders. They don't subscribe to the idea that people will no longer buy books because they can get the same information from an AI tool, for example. However, authors deserve some form of compensation. SFWA argues that all stakeholders should ultimately get together to come up with a plan that works for everyone. This means fair compensation and protection for authors, without making it financially unviable for AI to flourish. "Questions of 'how' and 'when' and 'how much money' all come later; first and foremost the author must have the right to say how their work is used," their submission reads.

"So long as authors retain the right to say 'no' we believe that equitable solutions to the thorny problems of licensing, scale, and market harm can be found. But that right remains the cornerstone, and we insist upon it," SFWA concludes.

ScreenRant reports that on December 4, "Godzilla Minus One" was the #1 movie in the crucial U.S./Canada "domestic" market (which also includes Guam and Puerto Rico). But the next week was even more impressive, reports Forbes, retaining most of its box office figure with "an incredibly strong 90% hold across the three-day Friday-Saturday-Sunday frame, for what appears to be the best second weekend hold for a wide release in 2023." Through the week, Godzilla Minus One topped the North American charts four out of five weekdays on overwhelmingly positive word of mouth. Good buzz grew through the week as more viewers and critics saw and recommend the film... Godzilla Minus One is already the highest grossing Japanese live-action release of all time in the U.S. The film is a final contender for the Academy Award nominations for Best Visual Effects, and is widely expected to be one of the final official nominees.
CinemaBlend believes the movie should be nominated for this year's Best Picture award at the Oscars. With a total of 105 critical reviews (at the time of this writing), Godzilla Minus One has a Tomatometer score of 97%...

Godzilla has literally been a metaphor for the atomic bomb since the very beginning. However, Godzilla Minus One isn't as concerned with that idea. Instead, the story is all about sacrifice as well as the hope we have for future generations. It's a story of coming together and living for today, so that our children can be inspired to want to live for tomorrow. The Takashi Yamazaki-helmed feature doesn't present a story about destruction, but rather one about wanting peace and finding conducive ways to deal with trauma. I know you might not believe me if you haven't seen it yet, but the film is just as deep and "important" as Oppenheimer and, for that, it should be nominated.
They argue the movie manages to be both "a layered film" and "a popcorn flick...

"it's more than JUST a film featuring a giant reptile This one actually has something to say."

"Several of your films have explored artificial intelligence," Rolling Stone pointed out to 85-year-old Ridley Scott, before asking: "Does AI worry you?" Ridley Scott: I always thought the world would end up being run by two corporations, and I think we're headed in that direction. Tyrell Corp in Blade Runner probably owned 45-50% of the world, and one of his playthings was creating replication through DNA. Tyrell thinks he's god and in the first Blade Runner has made a Nexus female. And the Nexus female will have a limited lifespan because AI will get dangerous. We have to lock down AI. And I don't know how you're gonna lock it down. They have these discussions in the government, "How are we gonna lock down AI?" Are you fucking kidding? You're never gonna lock it down. Once it's out, it's out. If I'm designing AI, I'm going to design a computer whose first job is to design another computer that's cleverer than the first one. And when they get together, then you're in trouble, because then it can take over the whole electrical-monetary system in the world and switch it off. That's your first disaster. It's a technical hydrogen bomb. Think about what that would mean?

Rolling Stone: I wanted to ask you about what effect you think AI will have on Hollywood as it was a big sticking point in the writers' strike, in particular. One fear is that studios will plug a book into AI, have it crap out an "adaptation," and then pay actual screenwriters day rates to punch it up.

Ridley Scott: Yeah. They really have to not allow this, and I don't know how you can control it. Another AI expert said, "We are way over-panicking. Of course, I have a computer that can defeat a chess master in an hour because we can feed him every conceivable move from data, and it'll process 1,900 conceivable moves on what the person will do next in seconds, and the guy is in trouble." There's something non-creative about data. You're gonna get a painting created by a computer, but I like to believe — and I'm saying this without confidence — it won't work with anything particularly special that requires emotion or soul. With that said, I'm still worried about it.
The article also looks back more than 40 years, to when Ridley Scott was going to direct Dune in between filming Alien and Blade Runner. Scott says he had "a really good screenplay, had all the sets to go" — but the producer had wanted to save money by filiming it in Mexico City, and Scott "didn't love" the idea of spending a year there.

It was November 23rd of the year 1963 that Doctor Who first premiered on the BBC. And the many years since then have wrought their changes, writes the BBC: Events on screen and off have shaped the character's personality, their face changing to reflect Britain itself, and every version building on what has gone before. To truly understand Who, you have to know your history...

[T]he series was originally intended to teach children history as much as thrill them... [T]he Daleks were shouty miniaturised tanks, terrifying to a nation that had lived through World War 2... Scripts by the likes of Douglas Adams (who wrote The Hitchhiker's Guide to the Galaxy) leaned into the show's inherent strangeness... Interestingly, the new specials and series involve Marvel-owner Disney, who will stream it outside the UK and Ireland, in turn helping boost the budget.
The article handily summarizes the last 60 years. ("Perhaps the most shocking revelation of [2010 showrunner Steven Moffat's] tenure was a hitherto unseen, past version of the Doctor, played by John Hurt. Other writers would take this idea and run with it...") The article ends with the words, "Only time will tell."

And elsewhere another BBC article notes that today "the TARDIS is set to return to BBC One and iPlayer." With David Tennant as the Fourteenth Doctor and Catherine Tate reprising her role as Donna Noble the popular duo will make their spectacular return to mark the show's 60th anniversary with three special episodes running each Saturday from the 25th November...

Neil Patrick Harris as the Toymaker [is] set to cause all kinds of mayhem. It's going to be an unmissable cosmic adventure, all before Ncuti Gatwa gets the keys to the TARDIS over the festive season.
Thanks to Alain Williams (Slashdot reader #2,972) for sharing the article.

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

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

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

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

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

• An animated new take on Ultraman.

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

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

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

From AaronSwartzDay.com: Aaron Swartz Day was founded, in 2013, after the death of Aaron Swartz, with these combined goals:

To draw attention to what happened to Aaron, in the hopes of stopping it from happening to anyone else.
- This includes clarifying that, although Aaron was a hacker, he didn't hack MIT.

To provide a yearly showcase of many of the projects that were started by Aaron before his death.
- SecureDrop
- Open Library

To provide a yearly showcase of new projects that were directly inspired by Aaron and his work.
A few Aaron-inspired examples from this year's event include:
- The Pursuance Project (by Barrett Brown & Steve Phillips)
- Open Archive (by Natalie Cadranel)
- Jason Leopold's Freedom of Information Act Request (FOIA) activism (article from 2013)
Happening right now is a livestream from 11 a.m. to 6:30 p.m. PST of "intimate virtual talks," including a special presentation by members of Brazil's Aaron Swartz Institute starting in just a few minutes. You can also playback video for talks that happened earlier today.

Other speakers include:

• Scifi novelist/technology activist Cory Doctorow (11 a.m.)
• Signal user support engineer/project manager Riya Abraham (11:30 a.m.)
• EFF executive director Cindy Cohn (12)
• EFF Certbot director of engineering Alexis Hancock (12:20)
• Internet Archive's Brewster Kahle (12:40)
• Anaconda CEO Peter Wang (1)
• The Freedom of the Press Foundation's Kevin O'Gorman (speaking on SecureDrop at 1:30)

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

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

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