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Darkness rises in an age of light in first trailer for Star Wars: The Acolyte

a long time ago, in a galaxy far, far away —

“This isn’t about good or bad. This is about power and who is allowed to use it.”

Amandla Stenberg stars as a former padawan turned dangerous warrior in Star Wars: The Acolyte.

A long time ago, in a galaxy far, far away, the Galactic Republic and its Jedi masters symbolized the epitome of enlightenment and peace. Then came the inevitable downfall and outbreak of war as the Sith, who embraced the Dark Side of the Force, came to power. Star Wars: The Acolyte is a forthcoming new series on Disney+ that will explore those final days of the Republic as the seeds of its destruction were sown—and the streaming platform just dropped the first trailer.

The eight-episode series was created by Leslye Headland, who co-created Russian Doll with Natasha Lyonne and Amy Poehler. It’s set at the end of the High Republic Era, about a century before the events of The Phantom Menace. Apparently Headland rather cheekily pitched The Acolyte as “Frozen meets Kill Bill,” which is an intriguing combination. She drew on wuxia martial arts films for inspiration, much like George Lucas was originally inspired by Westerns and the samurai films of Akira Kurosawa.

(Some spoilers for the prequel trilogy below.)

Star Wars fans already know that the evil mastermind behind the demise of the Republic was Sheev Palpatine, but The Acolyte focuses on other Sith who came before him during the Republic’s golden age of peace. Headland will be introducing new characters to add to the existing canon but is also cognizant that some fans might not be open to the new series. (For the record, she’s okay with that, given the diverse breadth of Star Wars stories out there.)

She specifically wanted to address a common fan complaint about certain plot elements of the films (especially Episodes I-III), namely how Yoda wouldn’t sense Darth Sidious’ rise to power or how Palpatine managed to infiltrate the Galactic Senate without a single Jedi noticing. In keeping with the visual style of the prequel trilogy, The Acolyte will sport a sleek-looking, advanced civilization look, before the inevitable decay in the wake of the Republic’s collapse and establishment of the Empire.

  • School is in session for all the young padawans.

    YouTube/Disney+

  • Carrie-Ann Moss plays Indara, a Jedi master.

    YouTube/Disney+

  • An unexpected adversary.

    YouTube/Disney+

  • Amandla Stenberg plays a former padawan turned warrior named Mae.

    Lucasfilm

  • Sol (Lee Jung-jae) is a respected Jedi master.

    YouTube/Disney+

  • Manny Jacinto plays a former smuggler named Qimir.

    YouTube/Disney+

  • Joonas Suotamo plays Kelnacca, a Wookiee Jedi master.

    YouTube/Disney+

  • Mother Aniseya (Jodie Turner-Smith) heads a coven of witches.

    YouTube/Disney+

  • Lightsabers at the ready! Dafne Keen (right) plays a young Jedi named Jecki Lon.

    YouTube/Disney+

Per the official premise:

In Star Wars: The Acolyte, an investigation into a shocking crime spree pits a respected Jedi Master (Lee Jung-jae) against a dangerous warrior from his past (Amandla Stenberg). As more clues emerge, they travel down a dark path where sinister forces reveal all is not what it seems…

In addition to Jung-jae (best known from Squid Game) and Stenberg (Rue in The Hunger Games), the cast includes Manny Jacinto (Jason on The Good Place) as a former smuggler named Qimir; Dafne Keen (Logan, His Dark Materials) as a young Jedi named Jecki Lon; Carrie-Ann Moss (Trinity in The Matrix trilogy) as a Jedi master named Indara; Jodie Turner-Smith (After Yang) as Mother Aniseya, who leads a coven of witches; Rebecca Henderson (Russian Doll) as a Jedi knight named Vernestra Rwoh; and Charlie Bennet (Russian Doll) as a Jedi named Yord Fandar.

In addition, Joonas Suotamo plays a Wookiee Jedi master named Kelnacca. Suotamo portrayed Chewbacca in the sequel trilogy of films (Episodes VII-IX) and in Solo: A Star Wars Story. Also appearing in as-yet-undisclosed roles are Abigail Thorn, Dean-Charles Chapman, Amy Tsang, and Margarita Levieva.

The trailer opens on an appropriately ominous note, with Sol instructing his young padawans to close their eyes because “your eyes can deceive you. We must not trust them.” They meditate on life and balance, but one young padawan sees fire. Meanwhile, a mysterious figure in a long purple cloak strides purposefully through city streets—none other than Indara, who soon finds herself battling a mysterious masked figure.

It seems that somebody is out there killing Jedi, and there is a growing sense of darkness. “This isn’t about good or bad,” Mother Aniseya says. “This is about power and who is allowed to use it.” Naturally the trailer ends with a group of Jedis brandishing their lightsabers against a foe wielding one that is glowing red.

Star Wars: The Acolyte debuts on Disney+ on June 4, 2024.

Listing image by Lucasfilm

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Bill Skarsgård takes revenge from beyond the grave in The Crow trailer

True love never dies —

“You know that love promises only pain.”

Bill Skarsgård takes on the role of Eric Draven in the Lionsgate reboot of The Crow.

The 1994 cult classic film The Crow turns 30 this spring, so it’s as good a time as any to drop the first trailer for the long-in-development reboot directed by Rupert Sanders (Snow White and the Huntsman, Ghost in the Shell). Bill Skarsgård takes on the starring role made famous by the late Brandon Lee.

(Spoilers for the original 1994 film below.)

Based on a 1989 limited comic series by James O’Barr, The Crow was directed by Alex Proyas. The film starred Brandon Lee as Eric Draven, a rock musician in crime-ridden Detroit. He and his fiancée, Shelly Webster (Sofia Shinas), are brutally murdered on Devil’s Night by a gang of thugs on the orders of a crime boss named Top Dollar (Michael Wincott). A year later, Eric is resurrected, dons black-and-white face paint, and proceeds to take his bloody revenge before returning to his grave. Alas, Lee was accidentally killed by a prop gun during the final days of shooting; the film was completed with the help of Lee’s stunt double (Chad Stahelski, who launched the John Wick franchise) and some clever special effects.

Despite the shadow of Lee’s tragic death, The Crow went on to gross $94 million against its modest $23 million budget and establish itself as a cult classic. Sure, the dialogue was occasionally hokey, and most of the characters were pretty one-dimensional, but there was no denying Lee’s star power and the striking visual energy, augmented by a killer soundtrack. There were three sequels focused on different characters with none of the original cast members, but none of those were as successful as the original.

Plans for a reboot first emerged in late 2008, but the development process proved rocky. O’Barr initially expressed pessimism about any reboot but later warmed to the prospect. As recently as November 2019, Proyas remained adamantly opposed: “It’s not just a movie that can be remade, it’s one man’s [Lee’s] legacy,” he said at the time. “And it should be treated with that level of respect.”

The project cycled through directors, stars, screenwriters, and so forth for more than a decade before Sanders signed on as director in 2022. Along with Skarsgård, the cast includes FKA Twigs as Shelly and Isabella Wei as Zadie. Danny Huston, Laura Birn, Sami Bouajila, and Jordan Bolger will also appear in as-yet-unnamed roles. Per the official premise:

Soulmates Eric Draven (Skarsgård) and Shelly Webster (FKA Twigs) are brutally murdered when the demons of her dark past catch up with them. Given the chance to save his true love by sacrificing himself, Eric sets out to seek merciless revenge on their killers, traversing the worlds of the living and the dead to put the wrong things right.

The fact that Eric apparently has a chance to save Shelly by sacrificing himself is a marked departure from the 1994 film and in keeping with Sanders’ stated desire to let the love story be the primary driver for his reboot. The trailer opens by introducing us to the young lovers, moving quickly from their first meeting to the consummation of their love. They’re basically two broken people who find happiness in each other—until Shelly witnesses a murder that results in the couple being brutally and fatally attacked. Eric comes back as The Crow, bent on revenge, even as he’s “running out of time to save her.”

  • Eric Draven (Bill Skarsgård) falls in love with Shelly (FKA Twigs).

    YouTube/Lionsgate

  • Shelly saw something she shouldn’t have seen, bringing violence to their door.

    YouTube/Lionsgate

  • Crows are supposed to carry away the souls of the dead.

    YouTube/Lionsgate

  • Sometimes that doesn’t happen until the very bad things are set to right.

    YouTube/Lionsgate

  • “I’m gonna kill them all.”

    YouTube/Lionsgate

  • Danny Huston plays a villain in a very nice suit.

    YouTube/Lionsgate

  • “We have a problem.” When Laura Birn is right, she’s right.

    YouTube/Lionsgate

  • He knows exactly what hell awaits him.

    YouTube/Lionsgate

Look, the trailer seems perfectly fine. Skarsgård is a phenomenal acting talent, but while Huston generally makes a great villain, one rather misses the wry humor of Wincott’s Goth sadist Top Dollar. The truth is, this reboot could be a tough sell to longtime fans of the original (like me), although it’s encouraging that the director seems to have won over O’Barr with his decision to hark back to the source material.

Sanders is very much aware of this challenge and is taking pains to emphasize his deep regard for Lee’s legacy. “What Alex Proyas did with The Crow in 1994—and Brandon Lee’s iconic embodiment of that character—will forever impact that generation and others to follow,” he said in a statement accompanying the trailer’s release. “It expressed its time in a very specific, music-driven vision.” Sanders added that his own vision strives to bring The Crow (including the original book) to a new generation of young people, calling the character of Eric Draven/The Crow “the original anti-superhero” who grapples with universal themes of “love, grief, and rage.”

Skarsgård also issued a statement that he has long been a fan of the original film; it was Sanders’ vision that convinced him to star in the reboot. “[Sanders] wanted to completely reimagine the story and the character and tailor it towards a modern audience,” he said. “It’s a character that I know many revere and have a strong connection to—he is unlike any I’ve ever taken on before. I felt a responsibility to Eric’s story and endeavored to stay true to the spirit of the source material.”

The Crow was originally scheduled for release on June 7, 2024. But the trailer tells us it’s coming “this summer,” which is vague. I guess we’ll see.

Lionsgate

Listing image by YouTube/Lionsgate

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Ghouls, gulpers, and general mayhem abound in Fallout official trailer

A story of haves and have-nots —

“Everyone wants to save the world. They just disagree on how.”

A Vault Dweller navigates a post-apocalyptic wasteland in Fallout, based on the bestselling gaming franchise.

Amazon Prime Video has dropped the full official trailer for Fallout, the streaming platform’s forthcoming post-apocalyptic sci-fi series. It’s based on the bestselling role-playing gaming franchise set in a satirical, 1950s-style future post-nuclear apocalypse. There’s plenty for gaming fans to be pleased about, judging by the trailer, but casting national treasure Walton Goggins (Justified) as a gunslinging Ghoul was quite simply a stroke of genius.

The first Fallout RPG was released in 1997, followed by several sequels and spinoffs. According to the game’s lore, modern civilization is destroyed in 2077 by a global nuclear war between the US and China. Survivors live in various underground vaults (fallout shelters). Each iteration of the game takes place somewhere across a post-apocalyptic US metro area and features a Vault Dweller—someone born and raised underground—as the protagonist. The first game takes place in 2161 and features a Vault Dweller from Vault 13, deep in the mountains of Southern California. The Vault Dweller must complete various missions to save the residents of Vault 13, which takes said protagonist to in-world places like Junktown; a merchant city called the Hub; and Necropolis, filled with Ghouls, i.e., humans badly mutated by exposure to nuclear radiation.

The series was announced in July 2020, with Westworld writers Jonathan Nolan and Lisa Joy serving as executive producers. In January 2022, it was revealed that Nolan would direct the first three episodes but that two other writers—Geneva Robertson-Dworet and Graham Wagner—would be the showrunners. Todd Howard, who directed several games in the franchise, is also an executive producer and has said the series is not an adaptation of any particular game, but it is set within the same continuity. Per the official premise:

Based on one of the greatest video game series of all time, Fallout is the story of haves and have-nots in a world in which there’s almost nothing left to have. Two hundred years after the apocalypse, the gentle denizens of luxury fallout shelters are forced to return to the irradiated hellscape their ancestors left behind—and are shocked to discover an incredibly complex, gleefully weird and highly violent universe waiting for them.

In addition to Goggins, Ella Purnell stars as a young Vault Dweller named Lucy, who must venture out into the wasteland on a mission to save her community in Vault 33. Aaron Moten plays a squire of the Brotherhood of Steel named Maximus; Kyle MacLachlan plays Lucy’s father, Hank, who is a Vault Overseer; Mike Doyle plays Mr. Spencer; Moises Arias plays Lucy’s brother, Norm; Michael Emerson plays an enigmatic wanderer named Wilzig; Johnny Pemberton plays Thaddeus; Cherien Dabis plays Birdie; Dale Dickey plays Ma June; Matty Cardarople plays Huey; Dave Register plays Chet; Rodrigo Luzzi plays Reg; and Annabel O’Hagan plays Steph. Sarita Choudhury and Leslie Uggams also appear in the series.

  • Nuclear weapons have devastated Los Angeles.

    YouTube/Prime Video

  • Ella Purnell stars as a young Vault Dweller named Lucy.

    YouTube/Prime Video

  • The Ghoul (Walton Goggins) is a mutated gunslinger and bounty hunter.

    YouTube/Prime Video

  • Aaron Moten plays Maximus, a squire with the Brotherhood of Steel.

    YouTube/Prime Video

  • Hey, it’s Michael Emerson of Lost fame, playing an enigmatic wanderer named Wilzig.

    YouTube/Prime Video

  • Kyle MacLachlan plays Lucy’s father, Hank, a Vault Overseer.

    YouTube/Prime Video

  • Sarita Choudhury looking fierce!

    YouTube/Prime Video

  • A glimpse of the Ghoul when he was still Cooper Howard, trying to save his daughter from a nuclear blast.

    YouTube/Prime Video

  • “I’m simply going to harvest your organs.”

    YouTube/Prime Video

  • Look out for Gulpers!

    YouTube/Prime Video

  • “There you are, you little killer.”

    YouTube/Prime Video

A teaser dropped in January, chock-full of details instantly recognizable to longtime fans of the games. The new trailer opens with a pre-apocalypse Goggins in a snazzy suit, pitching “a veritable Camelot of the nuclear age”: underground vaults housing residential communities, “because if the worst should happen tomorrow, the world is gonna need you to build a better day after.” The worst does happen, of course, and we catch glimpses of a devastated Los Angeles in the wake of a nuclear war, including a ruined Santa Monica Pier and Griffith Observatory. Then we see Lucy preparing to leave her Vault, despite warnings that “it isn’t like the Vault out there; it’s big.”

Lucy first encounters a hardened Ma June, who laughs derisively when Lucy naively asks what’s happened in the last 200 years. (Frankly, she thought all the Vault Dwellers were dead.) Lucy also has several run-ins with the Ghoul formerly known as Cooper Howard. Pretty much everyone she meets seems to want her dead, although the robot Mr. Handy helpfully informs her it just wants to harvest her organs. Maximus gets his share of screen time, both in and out of full Brotherhood of Steel armor, and we get a glimpse of the Brotherhood’s airships, as well as a mutant monster called a Gulper. It’s a violent, chaotic wasteland, but apparently, “there’s always somebody behind the wheel.”

All episodes of Fallout will premiere on Prime Video on April 11, 2024.

Listing image by YouTube/Prime Video

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The people of Earth prepare for war in final trailer for 3 Body Problem

“What do you think is happening?” —

“When your consciousness ends in one world, it could continue to exist in many other worlds.”

Netflix’s new sci-fi series 3 Body Problem makes its world premiere tonight at the SXSW Film & Television festival in Austin.

The countdown continues for the hotly anticipated debut of 3 Body Problem, Netflix’s eight-episode sci-fi series adapted from the award-winning novel The Three-Body Problem by Liu Cixin, the first book in his Remembrance of Earth’s Past trilogy. Those attending the SXSW Film & Television Festival in Austin will get to see the series’ world premiere tonight. The rest of us have to wait until later this month, but in the meantime, the streaming platform has released a final trailer.

(Some spoilers for the novel below.)

The 3-Body Problem‘s narrative is told in a nonlinear fashion, jumping between a young astrophysicist, Ye Wenjie, who witnesses her father being beaten to death by Red Guards during the Cultural Revolution, and Ye’s return to Tsinghua University as an established professor many years later. During the earlier timeline, Ye figures out a means of sending an interstellar message to possible extraterrestrial civilizations and receives a response from a planet called Trisolaris. (As its name implies, the planet has three suns, which wreak havoc on Trisolaris via unpredictable “chaotic periods”—hence the novel’s title, which refers to a classic problem in celestial mechanics.) Despite being warned that the aliens intend to invade and conquer Earth, Ye responds to the message and invites them to do so, disillusioned by the state of the world.

The Trisolarians depart on their 450-year journey. Meanwhile, there have been complicated developments on Earth as people learn of the pending arrival of aliens. There is a secret society of scientists, political leaders, and other scholars who share Ye’s sentiment about the state of humanity, which, over time, splits into three competing factions. Some members continue to support the full destruction of humanity; others plan to help the aliens in exchange for the survival of themselves and their descendants; and still others regularly play a VR game called Three-Body and attempt to find a computational solution to the actual three-body problem that plagues Trisolaris. That’s a recipe for tension and conflict, which plays out in various ways throughout the novel.

The Netflix series was created by David Benioff, D.B. Weiss (Game of Thrones), and Alexander Woo (True Blood). Per the official premise:

A young woman’s fateful decision in 1960s China reverberates across space and time into the present day. When the laws of nature inexplicably unravel before their eyes, a close-knit group of brilliant scientists join forces with an unorthodox detective to confront the greatest threat in humanity’s history.

Zine Tseng stars as the young Ye Wenjie, with Rosalind Chao playing the older version. The cast also includes Benedict Wong as Da Shi, an intelligence officer who is investigating the mysterious deaths of scientists; Liam Cunningham as Thomas Wade, the charismatic leader of a global intelligence operation; Saamer Usmani as Raj Varma, a naval officer; and Jonathan Pryce as a wealthy eccentric named Mike Evans who helps set up a secret society. Ben Schnetzer plays the younger version of Mike Evans, while Marlo Kelly plays Tatiana, who was raised in Evans’ organization.

The “Oxford Five” are John Bradley as Jack Rooney; Alex Sharp as Will Downing, a sixth-form physics teacher; Jess Hong as Jin Cheng, a brilliant theoretical physicist whose curiosity is both a strength and a weakness; Jovan Adepo as Saul Durand, another physicist; and Eiza González as Auggie Salazar, a pioneer in nanotechnology (comparable to the character of Wang Miao in the novel). Sea Shimooka plays Sophon, an avatar in the show’s mysterious VR game.

The first teaser was released last June, followed in November by an exclusive clip showing Jack Rooney trying on a mysterious VR headset—only to learn from the avatar Sophon that he wasn’t “invited.” Netflix debuted the official full trailer for 3 Body Problem at CES in Las Vegas in January, and it focused heavily on the central mystery surrounding the deaths of 30 scientists in a single month, as well as people starting to see numbers representing some kind of countdown before their eyes.

This final trailer focuses a bit more on the backstory, namely the detection of the famous WOW! signal in 1977 with a glimpse of Ye Wenjie’s personal tragedy during China’s Cultural Revolution. The older Ye Wenjie tells us that “they are coming,” as others wonder who “they” might be. Of course, it’s aliens, bringing the threat of impending war as Dinah Washington croons “This Bitter Earth” in the background, lending an almost elegiac mood to the trailer. At one point, Ye Wenjie asks Jin how she will be remembered, and Jin replies, “As someone who fought back.”

All eight episodes of 3 Body Problem will hit Netflix on March 21, 2024.

Listing image by YouTube/Netflix

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Plucky crew of Star Trek: Discovery seeks a strange artifact in S5 trailer

Their final adventure begins —

“It has been a hell of a journey. But everything ends someday.”

Star Trek: Discovery returns for its fifth and final season after a two-year hiatus.

It’s been two years since we had new episodes of Star Trek: Discovery, which debuted in 2017. Now Paramount+ has dropped the official trailer for the fifth and final season of the spinoff series.

(Spoilers for prior seasons below.)

As previously reported, Sonequa Martin-Green plays Michael Burnham, an orphaned human raised on the planet Vulcan by none other than Sarek (James Frain) and his human wife, Amanda Grayson (Mia Kirshner)—aka, Spock’s (Ethan Peck) parents. So, she is Spock’s adoptive sister. As I’ve written previously, the S2 season-long arc involved the mysterious appearances of a “Red Angel” and a rogue Starfleet AI called Control that sought to wipe out all sentient life in the universe.

The big reveal was that the Red Angel was actually a time-travel suit worn by Michael’s biological mother. She had accidentally jumped 950 years into a bleak future in which Control had achieved its nefarious goal and had been traveling through time, leaving signals (in the form of the visions), hoping to alter that future. In the S2 finale, Michael donned a copy of her mother’s suit to lead Discovery over 900 years into the future. The crew of the Enterprise told Starfleet that Discovery was destroyed in the battle and was ordered never to speak of the ship or her crew again.

In S3, Michael, Discovery, and her crew arrived in the future and found that Control’s plan had been thwarted: Life still exists. But the galaxy was very different thanks to something called The Burn, a catastrophic event that caused all the dilithium in the Milky Way to explode and destroy much of Starfleet in the process. In the aftermath, with no warp drive possible, all the planets had become disconnected and were no longer governed by the Federation. Michael did, however, manage to locate one sole Federation liaison on a remote space station with the help of a new ally, Book (David Ajala).

The Discovery crew reunited with what was left of Starfleet, figured out what caused The Burn, and managed to defeat a rival syndicate known as the Emerald Chain, inspiring planets to start rejoining the Federation. Burnham finally became captain of Discovery after Saru (Doug Jones) opted to return to his home planet of Kaminar for a spell. And we bid a sorrowful farewell to Philippa Georgiou (Michelle Yeoh).

S4 opened with the plucky crew—including Saru as first officer—helping rebuild the Federation and celebrating the reopening of Starfleet Academy. They soon encountered a “gravitational anomaly” five light-years in diameter that destroyed Book’s home planet of Kwejian as it moved through the galaxy. It turned out to be a powerful technology belonging to an alien species with interconnected minds called 10-C, whose language employed mathematical equations. In the S4 finale, the aliens ultimately agreed to turn off their technology, thereby sparing Earth and other Federation planets.

The fifth season was already in development by March 2020, and the plan was to film those episodes back-to-back with S4. Then, the COVID-19 pandemic hit and put those plans on hold. Filming didn’t happen until 2022. While S5 was originally meant to air last year, once Paramount decided to pull the plug and make it the final season, they needed to shoot additional footage in order to wrap up the series properly. Per the official premise:

The fifth and final season will find Captain Michael Burnham (Sonequa Martin-Green) and the crew of the U.S.S. Discovery uncovering a mystery that will send them on an epic adventure across the galaxy to find an ancient power whose very existence has been deliberately hidden for centuries. But there are others on the hunt as well… dangerous foes who are desperate to claim the prize for themselves and will stop at nothing to get it.

In addition to Martin-Green, Jones, and Ajala, much of the main cast is returning for S5: Anthony Rapp as Stamets; Mary Wiseman as Tilly; Wilson Cruz as Dr. Culber; Blu del Barrio as Adira Tal; and Callum Keith Rennie as Rayner. Eve Harlow and Elias Toufexis will reprise their recurring roles as Moll and L’ak, respectively. Returning as notable guest stars in S5: Oded Fehr as Starfleet Commander-in-Chief Charles Vance; Chelah Horsdal as Lair Rillak; Tara Rowling as T’Rina; David Cronenberg as Kovich; and Tig Notaro as Jett Reno.

The first two episodes of the fifth and final season of Star Trek: Discovery will premiere on Paramount+ on April 4, 2024; the remaining eight episodes will air weekly after that through May 30.

Listing image by Paramount+

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Will Smith parodies viral AI-generated video by actually eating spaghetti

Mangia, mangia —

Actor pokes fun at 2023 AI video by eating spaghetti messily and claiming it’s AI-generated.

The real Will Smith eating spaghetti, parodying an AI-generated video from 2023.

Enlarge / The real Will Smith eating spaghetti, parodying an AI-generated video from 2023.

On Monday, Will Smith posted a video on his official Instagram feed that parodied an AI-generated video of the actor eating spaghetti that went viral last year. With the recent announcement of OpenAI’s Sora video synthesis model, many people have noted the dramatic jump in AI-video quality over the past year compared to the infamous spaghetti video. Smith’s new video plays on that comparison by showing the actual actor eating spaghetti in a comical fashion and claiming that it is AI-generated.

Captioned “This is getting out of hand!”, the Instagram video uses a split screen layout to show the original AI-generated spaghetti video created by a Reddit user named “chaindrop” in March 2023 on the top, labeled with the subtitle “AI Video 1 year ago.” Below that, in a box titled “AI Video Now,” the real Smith shows 11 video segments of himself actually eating spaghetti by slurping it up while shaking his head, pouring it into his mouth with his fingers, and even nibbling on a friend’s hair. 2006’s Snap Yo Fingers by Lil Jon plays in the background.

In the Instagram comments section, some people expressed confusion about the new (non-AI) video, saying, “I’m still in doubt if second video was also made by AI or not.” In a reply, someone else wrote, “Boomers are gonna loose [sic] this one. Second one is clearly him making a joke but I wouldn’t doubt it in a couple months time it will get like that.”

We have not yet seen a model with the capability of Sora attempt to create a new Will-Smith-eating-spaghetti AI video, but the result would likely be far better than what we saw last year, even if it contained obvious glitches. Given how things are progressing, we wouldn’t be surprised if by 2025, video synthesis AI models can replicate the parody video created by Smith himself.

It’s worth noting for history’s sake that despite the comparison, the video of Will Smith eating spaghetti did not represent the state of the art in text-to-video synthesis at the time of its creation in March 2023 (that title would likely apply to Runway’s Gen-2, which was then in closed testing). However, the spaghetti video was reasonably advanced for open weights models at the time, having used the ModelScope AI model. More capable video synthesis models had already been released at that time, but due to the humorous cultural reference, it’s arguably more fun to compare today’s AI video synthesis to Will Smith grotesquely eating spaghetti than to teddy bears washing dishes.

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Lawsuit against Prime Video ads shows perils of annual streaming subscriptions

Priyanka CHopra (left) and Richard Madden (right) in the AMazon Prime Video original series Citadel.

Enlarge / Priyanka Chopra (left) and Richard Madden (right) in the Prime Video original series Citadel.

Streaming services like Amazon Prime Video promote annual subscriptions as a way to save money. But long-term commitments to streaming companies that are in the throes of trying to determine how to maintain or achieve growth typically end up biting subscribers in the butt—and they’re getting fed up.

As first reported by The Hollywood Reporter, a lawsuit seeking class-action certification [PDF] hit Amazon on February 9. The complaint centers on Amazon showing ads with Prime Video streams, which it started doing for US subscribers in January unless customers paid an extra $2.99/month. This approach differed from how other streaming services previously introduced ads: by launching a new subscription plan with ads and lower prices and encouraging subscribers to switch.

A problem with this approach, though, as per the lawsuit, is that it meant that people who signed up for an annual subscription to Prime Video before Amazon’s September 2023 announcement about ads already paid for a service that’s different from what they expected.

And that’s not the only risk people face when opting-in to a yearlong relationship with streaming services these days.

Paying extra “for something they already paid for”

The lawsuit recently filed against Prime Video names California resident Wilbert Napoleon as a plaintiff and argues that Amazon’s advertisements for Prime Video made “reasonable consumers” think that they would get ad-free movie and TV-show streaming for the duration of their subscription.

The lawsuit reads:

Reasonable consumers expect that, if you purchase a subscription with ad-free streaming of movies and tv shows, that the ad-free streaming for movies and tv shows is available for the duration of the purchased subscription.

… however, Plaintiff and class members’ reasonable expectations were not met. Instead of receiving a subscription that included ad-free streaming of [TV] shows and movies, they received something worth less.

Napoleon bought an annual subscription to Prime Video in June 2023, per the court filings. The lawsuit accuses Amazon of falsely advertising Prime Video.

“Subscribers must now pay extra to get something that they already paid for,” the lawsuit says.

The idea of expectations not being met is common for streaming customers. That said, the lawsuit hasn’t gotten far enough yet where we should expect big changes to Prime Video or financial penalties for Amazon. Changing the user experience mid-deal is aggravating for customers, but Prime Video’s terms of use claim that Amazon maintains the right to diminish the value of Prime Video:

Offers and pricing for subscriptions (also referred to at times as memberships), the subscription services, the extent of available Subscription Digital Content, and the specific titles available through subscription services, may change over time and by location without notice (except as may be required by applicable law).

But there’s still a broader point to be made around streaming services trying to lure people into yearlong commitments knowing that the product they offer today might drastically change over the next 12 months.

Amazon, for example, announced that it would bring commercials to Prime Video in September and didn’t confirm when it would introduce ads until December, about a month ahead of the changes. Yet, Amazon reportedly had plans to bring ads to the service as early as June, per a report from The Wall Street Journal that cited anonymous “people familiar with the situation.” Despite these reported plans to alter the user experience significantly, Amazon continued to sell annual subscriptions to Prime Video. For months, people were committing to something that they expected would include commercial-free viewing, which used to be a popular draw of Prime Video compared to rival streaming services.

Prime Video also seemingly didn’t give a heads-up that it was removing Dolby Vision and Dolby Atmos support unless subscribers agreed to pay $2.99 more per month for an ad-free plan.

Amazon declined to comment on this story. Lawyers for the lawsuit filed against Amazon didn’t respond to a request for comment.

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A new generation of storm chasers takes on Mother Nature in Twisters trailer

“If you feel it, chase it!” —

“You don’t face your fears, you ride ’em.”

Daisy Edgar-Jones, Anthony Ramos, and Glen Powell star in Twisters, a standalone film inspired by the 1996 classic.

Like so many others, I adored the 1996 film Twister, now a classic in the “disaster porn” genre and still in frequent weekend and holiday rotation on broadcast and cable networks nearly 30 years later. We’re finally getting a follow-up with Twisters, directed by Lee Isaac Chung (Minari). Universal Pictures dropped the official trailer during the Super Bowl on Sunday.

(Some spoilers for the original film below.)

Twister rocked the 1996 box office, racking up $495 million worldwide and snagging an Oscar nomination for special effects. Critics’ reactions were more mixed. The film earned well-deserved  praise for its special effects and sheer entertainment value.  Who can forget the flying cows, the jaw-dropping CGI twisters, and that classic scene when a tornado suddenly rips through a drive-in movie screen right in the middle of The Shining? But others criticized the thin character development and dismissed the film as “loud,” “dumb,” and “a triumph of technology over storytelling and the actor’s craft.”

Was the film often ridiculously over-the-top (especially that final encounter with the F5)? Yes indeed. Were the supporting characters a bit one-note? Granted, especially Cary Elwes’ smarmy corporate-funded rival scientist. But Helen Hunt and Bill Paxton had genuine chemistry as estranged storm-chasing spouses Jo and Bill; their relationship was the heart of the film and clearly resonated with viewers.

And yes, the scientific elements were exaggerated for the big screen, although flying cows (plus pigs, horses, and various vehicles) are absolutely a thing during real tornadoes. The fictional sensing system DOROTHY was inspired by a 1970s instrument to measure real-time conditions of tornadoes called TOTO (Totable Tornado Observatory).  And so many young people loved the movie so much they wanted to become tornado scientists themselves. The number of meteorological majors in the US grew by 10 percent in the 1990s, and the University of Oklahoma doubled its meteorology program. That’s pretty impressive for supposedly loud and dumb mindless entertainment.

  • Kate (Daisy Edgar-Jones), Javi (Anthony Ramos), and Tyler (Glen Powell) are the next generation of storm chasers.

    YouTube/Universal Pictures

  • Tyler is clearly the Cary Elwes character this time around.

    YouTube/Universal Pictures

  • A storm is brewing

    YouTube/Universal Pictures

  • We’ve still got the storm tracking system, DOROTHY

    YouTube/Universal Pictures

  • Fly, little sensors, fly! Into the tornado!

    YouTube/Universal Pictures

  • Now that’s what we call a twister.

    YouTube/Universal Pictures

  • Kate gives her best “OMG, twister!” face

    YouTube/Universal Pictures

  • Double the fun for our intrepid storm chasers

    YouTube/Universal Pictures

  • “We got twins. TWINS!!!”

    YouTube/Universal Pictures

Rumors were circulating back in 2020 about a possible remake of Twister, with Joseph Kosinski directing, but that had dissipated by the following year. Hunt then proposed a sequel, with herself writing and directing, but the studio nixed that idea. (Apparently Hunt killed off her own character, Jo, in the draft script. Bold move.) Eventually the project morphed into Twisters, centered on the daughter of Hunt’s and Paxton’s characters from the original. It’s now being touted as a standalone sequel, however, so that connection might have fallen by the wayside during development. Per the official premise:

[Daisy] Edgar-Jones stars as Kate Cooper, a former storm chaser haunted by a devastating encounter with a tornado during her college years who now studies storm patterns on screens safely in New York City. She is lured back to the open plains by her friend, Javi (Anthony Ramos) to test a groundbreaking new tracking system. There, she crosses paths with Tyler Owens (Glen Powell), the charming and reckless social-media superstar who thrives on posting his storm-chasing adventures with his raucous crew, the more dangerous the better. As storm season intensifies, terrifying phenomena never seen before are unleashed, and Kate, Tyler and their competing teams find themselves squarely in the paths of multiple storm systems converging over central Oklahoma in the fight of their lives.

The cast also includes Maura Tierney, Brandon Perea, Daryl McCormack, Sasha Lane, Kiernan Shipka, Nik Dodani, Harry Hadden-Paton, David Corenswet, Tunde Adebimpe, and Katy O’Brian.

The trailer itself is just a series of spectacularly frenetic storm chasing sequences interspersed with a bit of human interaction, such as a few romantic sparks between Kate and Tyler the exhibitionist YouTuber (at least Tyler seems to feeling it). Screenwriter Mark L. Smith (The Revenant) consulted with all kinds of scientific experts while working on the screenplay and the storyline incorporates more of the causes and effects of climate change as it pertains to more frequent and violent weather—including tornadoes.

Twisters seems to have all the same requisite elements of its predecessor, including the DOROTHY system—an unusual choice for something meant to be a completely original story—but it still can’t help feeling at best like a pale reflection. And the performances come off as much more shrill and over-the-top, at least in the trailer. The cast is game enough, but screaming “Twins! We got TWINS!” when a tornado splits in two is far less effective than Hunt’s Jo casually glancing at random livestock flying past their truck and blithely commenting, “Cow.” Even Bill’s citified fiancee (Jami Gertz) only managed a wide-eyed “I gotta go, we got cows” over her cell phone. Sometimes less is more.

Then again, the original 1996 trailer for Twister captured nothing of that film’s charm, humor, and sheer entertainment value. We’ll have to wait and see if Chung can pull it off; he’s an able director and an interesting choice to helm this particular project. And who knows? Maybe Twisters will inspire another new generation of storm chasers and climate scientists.

Twisters hits theaters on July 19, 2024.

Listing image by YouTube/Universal Pictures

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Prime Video cuts Dolby Vision, Atmos support from ad tier—and didn’t tell subs

Surprise —

To get them back, you must pay an extra $2.99/month for the ad-free tier.

High King Gil-galad and Elrond in The Lord of the Rings: The Rings of Power

Enlarge / The Rings of Power… now in HDR10+ for ad-tier users.

On January 29, Amazon started showing ads to Prime Video subscribers in the US unless they pay an additional $2.99 per month. But this wasn’t the only change to the service. Those who don’t pay up also lose features; their accounts no longer support Dolby Vision or Dolby Atmos.

As noticed by German tech outlet 4K Filme on Sunday, Prime Video users who choose to sit through ads can no longer use Dolby Vision or Atmos while streaming. Ad-tier subscribers are limited to HDR10+ and Dolby Digital 5.1.

4K Filme confirmed that this was the case on TVs from both LG and Sony; Forbes also confirmed the news using a TCL TV.

“In the ads-free account, the TV throws up its own confirmation boxes to say that the show is playing in Dolby Vision HDR and Dolby Atmos. In the basic, with-ads account, however, the TV’s Dolby Vision and Dolby Atmos pop-up boxes remain stubbornly absent,” Forbes said.

Amazon hasn’t explained its reasoning for the feature removal, but it may be trying to cut back on licensing fees paid to Dolby Laboratories. Amazon may also hope to push HDR10+, a Dolby Vision competitor that’s free and open. It also remains possible that we could one day see the return of Dolby Vision and Dolby Atmos to the ad tier through a refreshed licensing agreement.

Amazon has had a back-and-forth history with supporting Dolby features. In 2016, it first made Dolby Vision available on Prime Video. In 2017, though, Prime Video stopped supporting the format in favor of HDR10+. Amazon announced the HDR10+ format alongside Samsung, and it subsequently made the entire Prime Video library available in HDR10+. But in 2022, Prime Video started offering content like The Lord of the Rings: The Rings of Power in Dolby Vision once again.

Amazon wasn’t upfront about removals

Amazon announced in September 2023 that it would run ads on Prime Video accounts in 2024; in December, Amazon confirmed that the ads would start running on January 29 unless subscribers paid extra. In the interim, Amazon failed to mention that it was also removing support for Dolby Vision and Atmos from the ad-supported tier.

Forbes first reported on Prime Video’s ad-based tier not supporting Dolby Vision and Atmos by assuming that it was a technical error. Not until after Forbes published its article did Amazon officially confirm the changes. That’s not how people subscribing to a tech giant’s service expect to learn about a diminishing of their current plan.

It also seems that Amazon’s removal of the Dolby features has been done in such a way that it could lead some users to think they’re getting Dolby Vision and Atmos support even when they’re not.

As Forbes’ John Archer reported, “To add a bit of confusion to the mix, on the TCL TV I used, the Prime Video header information for the Jack Ryan show that appears on the with-ads basic account shows Dolby Vision and Dolby Atmos among the supported technical features—yet when you start to play the episode, neither feature is delivered to the TV.”

As streaming services overtake traditional media, many customers are growing increasingly discouraged by how the industry seems to be evolving into something strongly reminiscent of cable. While there are some aspects of old-school TV worth emulating, others—like confusing plans that don’t make it clear what you get with each package—are not.

Amazon didn’t respond to questions Ars Technica sent in time for publication, but we’ll update this story if we hear back.

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wade-wilson-is-kidnapped-by-the-tva-in-deadpool-and-wolverine-teaser

Wade Wilson is kidnapped by the TVA in Deadpool and Wolverine teaser

Everyone deserves a happy ending —

“Your little cinematic universe is about to change forever.”

Wade Wilson (Ryan Reynolds), aka Deadpool, is back to save the MCU: “I am Marvel Jesus.”

After some rather lackluster performances at the box office over the last year or so, Marvel Studios has scaled back its MCU offerings for 2024. We’re getting just one: Deadpool and Wolverine. Maybe one is all we need. Marvel released a two-minute teaser during yesterday’s Super Bowl. And if this is the future of the MCU, count us in. The teaser has already racked up more than 12 million views on YouTube, and deservedly so. It has the cheeky irreverence that made audiences embrace Ryan Reynold’s R-rated superhero in the first place, plus a glimpse of Hugh Jackman’s Wolverine—or rather, his distinctive shadow. And yes, Marvel is retaining that R rating—a big step given that all the prior MCU films have been resoundingly PG-13.

(Some spoilers for the first two films below.)

Reynolds famously made his first foray into big-screen superhero movies in 2011’s The Green Lantern, which was a box office disappointment and not especially good. But he found the perfect fit with 2016’s Deadpool, starring as Wade Wilson, a former Canadian special forces operative (dishonorably discharged) who develops regenerative healing powers that heal his cancer but leave him permanently disfigured with scars all over his body. Wade decides to become a masked vigilante, turning down an invitation to join the X-Men and abandon his bad-boy ways.

The first Deadpool was a big hit, racking up $782 million at the global box office, critical praise, and a couple of Golden Globe nominations for good measure. So 20th Century Fox naturally commissioned a sequel. Deadpool 2 was released in 2018 and was just as successful. The adult humor and playful pop culture references were a big part of both films’ appeal, including their respective post-credits scenes. The first film had a post-credits scene spoofing Ferris Bueller’s Day Off. The sequel’s mid-credits sequence showed a couple of X-Men repairing a time travel device for Deadpool, which he used to save his girlfriend Vanessa (Morena Baccarin‚—whose tragic death kicked off Deadpool 2—and kill Ryan Reynolds, just as the actor finished reading the script for Green Lantern.

This time around, Shawn Levy takes the director’s chair; he also directed Reynolds in the thoroughly delightful Free Guy (2021), which had similar tonal elements, minus the R-rated humorous riffs. Once we learned that Jackman had agreed to co-star, reprising his iconic X-Men role, fan anticipation shot through the roof. Filming (and hence the release date) was delayed by last summer’s Hollywood strikes but finally wrapped early this year.

Deadpool and Wolverine reunites many familiar faces from the first two films: Reynolds and Baccarin, obviously, but also Leslie Uggams as Blind Al; Karan Soni as Wade’s personal chauffeur, taxi driver Dopinder; Brianna Hildebrand as Negasonic Teenage Warhead; Stefan Kapičić as the voice of Colossus; Shioli Kutsuna as Negasonic’s mutant girlfriend Yukio; Randal Reeder as Buck; and Lewis Tan as X-Force member Shatterstar.

We’re also getting some characters drawn from various films under the 20th Century Fox Marvel umbrella: Pyro (Aaron Stanford)—last seen in 2006’s X-Men: The Last Stand—and Jennifer Garner’s Elektra who appeared in the 2003 Daredevil film as well as 2005’s Elektra. Apparently, the mutants Sabretooth and Toad will also appear, along with Dogpool. New to the franchise are Matthew MadFadyen as a Time Variance Authority agent named Paradox and Emma Corrin as the lead villain. There are rumors that Owen Wilson’s Mobius and the animated Miss Minutes from Loki will also appear in the film, which makes sense, given the TVA’s key role in the plot.

The teaser opens with Wade celebrating his birthday with Vanessa and all their friends, only to then have a group of formidable TVA agents knock on his door, brandishing their wands. (“Is that supposed to be scary?” Wade responds. “Pegging isn’t new for me, friendo, but it is for Disney.”) He’s tossed through a portal and ends up at TVA headquarters, face to face with Paradox, who offers him a chance to be “a hero among heroes.” And Wade decides he’s game, declaring himself a superhero Messiah: “I… am… Marvel Jesus.” He suits up as Deadpool, and violence inevitably ensues.

Then comes the shot we’ve all been waiting for: Deadpool lying on his back on icy terrain after being tossed through a wall, with a Wolverine-shaped shadow falling across his body. “Don’t just stand there, you ape—give me a hand up,” Deadpool says, and then sees the claws. We get the briefest glimpse of Wolverine’s trademark yellow X-Men uniform before the credits roll.

Deadpool and Wolverine hits theaters on July 26, 2024.

Listing image by YouTube/Marvel Studios

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Sony is erasing digital libraries that were supposed to be accessible “forever”

one piece

A shot from One Piece, one of the animes that Funimation made DVDs for.

How long is “forever”? When it comes to digital media, forever could be as close as a couple of months away.

Funimation, a Sony-owned streaming service for anime, recently announced that subscribers’ digital libraries on the platform will be unavailable after April 2. For years, Funimation had been telling subscribers that they could keep streaming these digital copies of purchased movies and shows, but qualifying it: “forever, but there are some restrictions.”

Funimation’s parent company, Sony, bought rival anime streaming service Crunchyroll in 2021. Since then, it was suspected that Sony would merge the offerings together somehow. This week, we learned how, as Funimation announced that its app and website would close on April 2, and Funimation accounts will become Crunchyroll accounts. Most of Funimation’s catalog is already on Crunchyroll, Funimation’s announcement claimed.

But in addition to offering video streaming, Funimation also dubbed and released anime as physical media, and sometimes those DVDs or Blu-rays would feature a digital code. Subscribers to the Funimation streaming service could add those digital codes to Funimation and then stream the content from the platform.

With Funimation claiming that customers could access these digital copies “forever,” I could see why someone might have thought this was a reliable way to access their purchased media. For people lacking the space, resources, or interest in maintaining a library of physical media, this was a good way to preserve treasured shows and movies without spending more money. It also provided a simple way to access purchased media online if you were, for example, away on a trip and had a hankering to watch some anime DVDs you bought.

But soon, people who may have discarded or lost their physical media or lack a way to play DVDs and Blu-rays won’t have a way to access the digital copies that they were entitled to through their physical copy purchase.

Funimation’s announcement says:

Please note that Crunchyroll does not currently support Funimation Digital copies, which means that access to previously available digital copies will not be supported. However, we are continuously working to enhance our content offerings and provide you with an exceptional anime streaming experience. We appreciate your understanding and encourage you to explore the extensive anime library available on Crunchyroll.

Regarding refunds, Funimation’s announcement directed customers to its support team “to see the available options based on your payment method,” but there’s no mention of getting money back from a DVD or Blu-ray that you might not have purchased had you known you couldn’t stream it “forever.”

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Plex, where people typically avoid Hollywood fees, now offers movie rentals

Streaming is just cable again, Ch. 27 —

Users have one more place to turn when their usual options don’t pan out.

Movie rental offerings on Plex platform

Enlarge / Because sometimes your friend Tim, the one with all the legal media, is having server issues, but it’s movie night and the popcorn is already made.

Plex

Plex, the media center largely known as a hub for TV and movies that you and your friends obtained one way or another, now lets you pay for movie rentals. It’s both a convenient way to watch movies without having to hunt across multiple services, and yet another shift by Plex to be closer to the mainstream.

Plex’s first set of available films is more than 1,000 titles, with some notable recent-run offerings: Barbie, Aquaman and the Lost Kingdom, Mission: Impossible – Dead Reckoning, Wonka, PAW Patrol: The Mighty Movie, and so forth. As is typical of digital rentals, you have 30 days to start watching a movie and then 48 hours to finish it.

Prices at the moment range from $3.99 to $5.99. Conveniently, movies you rent on one platform can be played on any other. Even on Apple devices, or, as Plex puts it, “devices that don’t allow direct rentals on their platform.” Rentals are only available in the US, however.

Your mission, should you choose to accept it: Develop an audience of paying movie renters on a platform not exactly known for paid media.

Your mission, should you choose to accept it: Develop an audience of paying movie renters on a platform not exactly known for paid media.

Plex

Interestingly, Plex doesn’t offer movie purchases, and there is a reason why. Plex CEO Keith Valory told TechCrunch that a purchase option “creates some additional wrinkles—now you’ve got to keep this locker for people long-term and does that really make sense [for us]?” It’s true that platforms brokering purchases between users and media conglomerates can find themselves in awkward spots, like Sony almost having deleted all Discovery content bought by PlayStation users. That kind of scenario is also, of course, the kind of thing that initially made Plex appealing to people with their own content to store.

Plex had originally planned to offer media rentals as far back as 2020 but shifted priorities when the pandemic, and its seismic shift toward streaming, gave it new targets. As a company, Plex pivoted to becoming a kind of collector of streaming services so that when you wanted to watch something, you could head to Plex and head out from there. It has previously added free ad-supported streaming of TV and movies to its platform, along with support for over-the-air antenna TV.

In that view of Plex, movie rentals make total sense; you might see that Apple TV+ or Disney+ subscribers can see a certain movie for free, but rather than set up a new cancellation reminder on your calendar, you can just pay one time and watch it.

For lots of Plex users, however, movie rentals are likely to be something nice to have, if not essential. The service today serves as a refuge from app-switching, unreliable media availability, and rapidly escalating subscription prices. It can play your own legally rendered backups of media you rightfully own, or it can connect you to friends or superusers who have… a huge number of legally rendered backups of media they rightfully own.

Given a choice, however, Plex users might be glad to throw their fancy-coffee-plus-tip rental fees to Plex rather than any one streaming silo just to keep the service funded and updated.

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