netflix

a-study-in-contrasts:-the-cinematography-of-wake-up-dead-man

A study in contrasts: The cinematography of Wake Up Dead Man

Rian Johnson has another Benoit Blanc hit on his hands with Wake Up Dead Man, in which Blanc tackles the strange death of a fire-and-brimstone parish priest, Monseigneur Jefferson Wicks (Josh Brolin). It’s a classic locked-room mystery in a spookily Gothic small-town setting, and Johnson turned to cinematographer Steve Yedlin (Looper, The Last Jedi) to help realize his artistic vision.

(Minor spoilers below but no major reveals.)

Yedlin worked on the previous two Knives Out installments. He’s known Johnson since the two were in their teens, and that longstanding friendship ensures that they are on the same page, aesthetically, from the start when they work on projects.

“We don’t have to test each other,” Yedlin told Ars. “There isn’t that figuring out period. We get to use the prep time in a way that’s really efficient and makes the movie better because we’re [in agreement] from the very first moment of whatever time we have crafting and honing and sculpting this movie. We don’t waste time talking abstractions or making sure we have the same taste. We can just dive right into the details of each individual scene and shot.”

This time, given the distinctive Gothic sensibility of Wake Up Dead Man, Yedlin played up the interplay between light and dark. For instance, Johnson’s script called for the occasional dramatic lighting changes, sometimes within the same scene. Case in point: the dramatic light changes in an exchange between the young priest (and prime suspect) Jud Duplenticy (Josh O-Connor) and Blanc. As Blanc starts speaking the clouds cover the sun; the sun re-emerges as Duplenticy’s speech swells. Blanc gets a second moment in the sun, so to speak, with his “road to Damascus” moment just before the final reveal.

“In the church, we have day, night, dawn, dusk,” said Yedlin. “We have early morning rays slashing in. As Wick’s speech swells up, the sun bursts out from behind the clouds and flares the lens. We had custom light control software so they can both control and tweak all the nuances of the lighting and also do the cues themselves where it’s changing during the shot, where it’s very flexible and we can be creative in the moment. It’s very repeatable and dependable and you can just push a button and it happens on the same line over the same length of time, every time.”

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netflix’s-$72b-wb-acquisition-confounds-the-future-of-movie-theaters,-streaming

Netflix’s $72B WB acquisition confounds the future of movie theaters, streaming


Netflix’s plans to own HBO Max, DC Comics, Harry Potter to face regulatory scrutiny.

The bidding war is over, and Netflix has been declared the winner.

After flirting with Paramount Skydance and Comcast, Warner Bros. Discovery (WBD) has decided to sell its streaming and movie studios business to Netflix. If approved, the deal is set to overturn the media landscape and create ripples that will affect Hollywood for years.

$72 billion acquisition

Netflix will pay an equity value of $72 billion, or an approximate total enterprise value of $82.7 billion, for Warner Bros. All of WBD has a $60 billion market value, NBC News notes.

The acquisition will take place after WBD completes the split of its streaming and studios businesses, which includes its film and TV libraries and the HBO channel, and its other TV networks, including CNN and TBS, into separate companies (Warner Bros. and Discovery Global, respectively). WBD’s split is expected to finish in Q3 2026.

Additionally, Netflix’s acquisition is subject to regulatory approvals, WBD shareholder approval, and other “customary closing conditions.”

Netflix expects the purchase to net it more subscribers, higher engagement, and “at least $2–3 billion of cost savings per year by the third year,” its announcement said.

Netflix co-CEO Greg Peters said in a statement that Netflix will use its global reach and business model to bring WB content to “a broader audience.”

The announcement didn’t specify what this means for current WBD staff, including WBD’s current president and CEO, David Zaslav. Gunnar Wiedenfels, who is currently CFO of WBD, is expected to be the CEO of Discovery Global after WBD split.

Netflix to own HBO Max

Netflix will have to overcome regulatory hurdles to complete this deal, which would evolve it from a streaming king to an entertainment juggernaut. If completed, the world’s largest streaming service by subscribers (301.63 million as of January) will own its third biggest rival (WBD has 128 million streaming subscribers, most of which are HBO Max users).

The acquisition would also give Netflix power over a mountain of current and incoming titles, including massive global franchises DC Comics, Game of Thrones, and Harry Potter.

If the deal goes through, Netflix said it will incorporate content from WB Studios, HBO Max, and HBO into Netflix. Netflix is expected to keep HBO Max available as a separate service, at least for the near term, Variety reported today. However, it’s easy to see a future where Netflix tries to push subscriptions bundling Netflix and HBO Max before consolidating the services into one product that would likely be more expensive than Netflix is today. Disney is setting the precedent with its bundles of Disney+ and the recently acquired Hulu, and by featuring a Hulu section within the Disney+ app.

Before today’s announcement, industry folks were concerned about Netflix potentially owning that much content while dominating streaming. However, Netflix said today that buying WB would enable it to “significantly expand US production capacity and continue to grow investment in original content over the long term, which will create jobs and strengthen the entertainment industry.”

Uniting Netflix and HBO Max’s libraries could make it easier for streaming subscribers to find content with fewer apps and fewer subscriptions. However, subscribers could also be negatively impacted (especially around pricing) if Netflix gains too much power, both as a streaming company and media rights holder.

In WBD’s most recent earnings report, its streaming business reported $45 million in quarterly earnings before interest, taxes, depreciation, and amortization. Netflix reported a quarterly net income of $2.55 billion in its most recent earnings report.

Netflix hasn’t detailed plans for the HBO cable channel. But given Netflix’s streaming ethos, the linear network may not endure in the long term. But since the HBO brand is valuable, we expect the name to persist, even if it’s just as a section of prestige titles within Netflix.

“A noose around the theatrical marketplace”

Among the stakeholders most in arms about the planned acquisition is the movie theater industry. Netflix’s co-CEO Ted Sarandos has historically seen minimal value in theaters as a distribution method. In April, he said that making movies “for movie theaters, for the communal experience” is “an outmoded idea.”

Today, Sarandos said that under Netflix, all WB movies will still hit theaters as planned, which brings us through 2029, per Variety.

During a conference call today, Sarandos said he has no “opposition to movies in theaters,” adding, per Variety:

My pushback has been mostly in the fact of the long exclusive windows, which we don’t really think are that consumer-friendly. But when we talk about keeping HBO operating, largely as it is, that also includes their output movie deal with Warner Bros., which includes a life cycle that starts in the movie theater, which we’re going to continue to support.

Notably, the executive said that “Netflix movies will take the same strides they have, which is, some of them do have a short run in the theater beforehand.”

Anticipating today’s announcement, the movie theater industry has been pushing for regulatory scrutiny over the sale of WB.

Michael O’Leary, CEO and president of Cinema United, the biggest exhibition trade organization, said in a statement today about the Netflix acquisition:

Regulators must look closely at the specifics of this proposed transaction and understand the negative impact it will have on consumers, exhibition, and the entertainment industry.

In a letter sent to Congress members this month, an anonymous group that described itself as “concerned feature film producers” wrote that Netflix’s purchase of WB would “effectively hold a noose around the theatrical marketplace” by reducing the number of theatrical releases and driving down the price of licensing fees for films after their theatrical release, as reported by Variety.

Up next: Regulatory hurdles

In the coming weeks, we’ll get a clearer idea of how antitrust concerns and politics may affect Netflix’s acquisition plans.

Recently, other media companies, such as Paramount, have been accused of trying to curry favor with US President Donald Trump in order to get deals approved. The US Department of Justice (DOJ) could try to block Netflix’s acquisition of WB. But there’s reason for Netflix and WB to remain optimistic if that happens. In 2017, Time Warner and AT&T successfully defeated the DOJ’s attempted merger block.

Still, Netflix and WB have their work cut out for them, as skepticism around the deal grows. Last month, US Senators Elizabeth Warren (D-Mass.), Richard Blumenthal (D-Conn.), and Bernie Sanders (I-Vt.) wrote to the DOJ’s antitrust division urging that any WB deal “is grounded in the law, not President Trump’s political favoritism.”

In a letter to Attorney General Pam Bondi last month, Rep. Darrel Issa (R-Calif.) said that buying WB would “enhance” Netflix’s “unequaled market power” and be “presumptively problematic under antitrust law.”

In a statement about Netflix’s announcement shared by NBC News today, a spokesperson for the California attorney general’s office said:

“The Department of Justice believes further consolidation in markets that are central to American economic life—whether in the financial, airline, grocery, or broadcasting and entertainment markets—does not serve the American economy, consumers, or competition well.”

Netflix’s rivals may also seek to challenge the deal. Attorneys for Paramount questioned the “fairness and adequacy” of WBD’s sales process ahead of today’s announcement.

Photo of Scharon Harding

Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She’s been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK.

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Netflix quietly drops support for casting to most TVs

Have you been trying to cast Stranger Things from your phone, only to find that your TV isn’t cooperating? It’s not the TV—Netflix is to blame for this one, and it’s intentional. The streaming app has recently updated its support for Google Cast to disable the feature in most situations. You’ll need to pay for one of the company’s more expensive plans, and even then, Netflix will only cast to older TVs and streaming dongles.

The Google Cast system began appearing in apps shortly after the original Chromecast launched in 2013. Since then, Netflix users have been able to start video streams on TVs and streaming boxes from the mobile app. That was vital for streaming targets without their own remote or on-screen interface, but times change.

Today, Google has moved beyond the remote-free Chromecast experience, and most TVs have their own standalone Netflix apps. Netflix itself is also allergic to anything that would allow people to share passwords or watch in a new place. Over the last couple of weeks, Netflix updated its app to remove most casting options, mirroring a change in 2019 to kill Apple AirPlay.

The company’s support site (spotted by Android Authority) now clarifies that casting is only supported in a narrow set of circumstances. First, you need to be paying for one of the ad-free service tiers, which start at $18 per month. Those on the $8 ad-supported plan won’t have casting support.

Even then, Casting only appears for devices without a remote, like the earlier generations of Google Chromecasts, as well as some older TVs with Cast built in. For example, anyone still rocking Google’s 3rd Gen Chromecast from 2018 can cast video in Netflix, but those with the 2020 Chromecast dongle (which has a remote and a full Android OS) will have to use the TV app. Essentially, anything running Android/Google TV or a smart TV with a full Netflix app will force you to log in before you can watch anything.

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benoit-blanc-takes-on-a-“perfectly-impossible-crime”-in-wake-up-dead-man-trailer

Benoit Blanc takes on a “perfectly impossible crime” in Wake Up Dead Man trailer

Wake Up Dead Man garnered early rave reviews after screening at the Toronto International Film Festival (TIFF) in September, and an initial teaser released shortly after showcased Blanc puzzling over a classic locked-room mystery. The new trailer builds out some of the details without giving too much away.

Rev. Jud is the prime suspect in Wicks’ murder, since he loathed the man and hence had a clear motive, but he insists to Blanc that he is innocent. We learn that Wicks was wealthy, and this being a classic whodunit, we know the rest of the characters no doubt have their deep, dark secrets—one of which could have led to murder. And Johnson brings the humor, too, as Blanc, the groundskeeper, and Martha discover the desecration of Wicks’ tombstone with scrawled graffiti penises. “Makes me sick, these kids painting rocket ships all over his sacred resting place,” the unworldly Martha says.

Wake Up Dead Man will be in select theaters on November 26, 2025, and will start streaming on Netflix on December 12, 2o25. We can’t wait.

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netflix-drops-a-doozy-of-a-trailer-for-stranger-things-s5

Netflix drops a doozy of a trailer for Stranger Things S5

We’re a few weeks away from the debut of the fifth and final season of Stranger Things—at least the first of three parts of it—and Netflix has dropped one doozy of a trailer that shows things looking pretty bleak for our small-town heroes of Hawkins.

(Spoilers for prior seasons below.)

As previously reported, S4 ended with Vecna—the Big Bad behind it all—opening the gate that allowed the Upside Down to leak into Hawkins. We’re getting a time jump for S5, but in a way, we’re coming full circle, since the events coincide with the third anniversary of Will’s original disappearance in S1. The fifth season will have eight episodes, and each one will be looong—akin to eight feature-length films. Per the official premise:

The fall of 1987. Hawkins is scarred by the opening of the Rifts, and our heroes are united by a single goal: find and kill Vecna. But he has vanished — his whereabouts and plans unknown. Complicating their mission, the government has placed the town under military quarantine and intensified its hunt for Eleven, forcing her back into hiding. As the anniversary of Will’s disappearance approaches, so does a heavy, familiar dread. The final battle is looming — and with it, a darkness more powerful and more deadly than anything they’ve faced before. To end this nightmare, they’ll need everyone — the full party — standing together, one last time.

In addition to the returning main cast, Amybeth McNulty and Gabriella Pizzolo are back as Vicki and Dustin’s girlfriend, Suzie, respectively, with Jamie Campbell Bower reprising his role as Vecna. Linda Hamilton joins the cast as Dr. Kay, along with Nell Fisher as Holly Wheeler, Jake Connelly as Derek Turnbow, and Alex Breaux as Lt. Akers.

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it’s-troll-vs.-troll-in-netflix’s-troll-2-trailer

It’s troll vs. troll in Netflix’s Troll 2 trailer

Netflix’s international offerings include some entertaining Norwegian fare, such as the series Ragnarok (2020–2023), a surprisingly engaging reworking of Norse mythology brought into the 21st century that ran for three seasons. Another enjoyable offering was a 2022 monster movie called Troll, essentially a Norwegian take on the classic Godzilla formula. Netflix just dropped a trailer for the sequel, Troll 2, which looks to be very much in the same vein as its predecessor.

(Spoilers for the first Troll movie below.)

Don’t confuse the Netflix franchise with 2010’s Trollhunter, shot in the style of a found footage mockumentary. A group of college students sets off into the wilds of the fjordland to make a documentary about a suspected bear poacher named Hans. They discover that Hans is actually hunting down trolls and decide to document those endeavors instead, but soon realize they are very much out of their depth.

Writer/director André Øvredal infused Trollhunter with the driest of wit and myriad references to Norwegian culture, especially its folklore and fairy tales surrounding trolls. There are woodland trolls and mountain trolls, some with tails, some with multiple heads. They turn to stone when exposed to sunlight—which is why one of the troll hunters carries around a powerful UV lamp—and mostly eat rocks but can develop a taste for human flesh, and they can smell the blood of a Christian.

Directed by Roar Uthaug, the first Troll film is based on the same mythology. It had great action sequences and special effects and didn’t take itself too seriously. A young girl named Nora grows up with the mythology of Norwegian trolls turned to stone buried in the local mountains. An adult Nora (Ine Marie Wilmann), now a paleontologist, teams up with a government advisor, Andreas (Kim S. Falck-Jørgensen), and a military captain, Kris (Mads Sjøgård Pettersen), to take out a troll that has been rampaging across Norway, charting a path of destruction toward the heavily populated city of Oslo.

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trailer-for-del-toro’s-frankenstein-is-pure-macabre-mythology

Trailer for del Toro’s Frankenstein is pure macabre mythology

Per the official synopsis:

Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

In addition to Isaac, the cast includes Jacob Elordi as the Creature; Mia Goth as Elizabeth Lavenza, who is engaged to Victor’s young brother William, played by William Kammerer; Lars Mikkelsen as Captain Anderson; Christoph Waltz as Heinrich Harlander, uncle to Elizabeth and wealthy financer of Victor’s experiments; Charles Dance as Victor’s father Leopold; Lauren Collins as Victor’s late mother Claire; David Bradley as the blind man; Sofia Galasso as the little girl; Ralph Ineson as Professor Krempe; and Burn Gorman as Fritz.

The trailer looks every bit as mythically epic and visually lavish as del Toro said he wanted for his version. “I remember pieces, the Creature says in a voiceover as footage plays out. “Memories of different men. Then I saw it. Your name. Victor Frankenstein. My creator. I demand a single grace from you. If you are not to award me love, then I will indulge in rage.”

We see lavish balls, Victor’s Gothic laboratory, a ship trapped in Arctic ice, and lots and lots of consuming fire—everything one could want in a Frankenstein movie from a master of macabre mythologies.

Frankenstein hits theaters on October 17, 2025. It will start streaming on Netflix on November 7.

poster art

Credit: Netflix

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they’re-golden:-fictional-band-from-k-pop-demon-hunters-tops-the-charts

They’re golden: Fictional band from K-Pop Demon Hunters tops the charts

The fictional band Huntr/x, from K-Pop Demon Hunters, has a real-world hit with “Golden.”

Netflix has a summer megahit on its hands with its animated musical feature film, K-Pop Demon Hunters. Since its June release, the critically acclaimed film has won fans of all ages, fueled by a killer Korean pop soundtrack featuring one earworm after another. The biggest hit is “Golden,” which just hit No. 1 on Billboard’s Top 100 chart. (The last time a fictional ensemble topped the charts was in 2022 with Encanto‘s “We Don’t Talk About Bruno.”)

K-Pop Demon Hunters is now Netflix’s most-watched animated film of all time, and that’s not just because of the infectious music. The Sony Animation team delivers bold visuals that evoke the look and feel of anime, the plot is briskly paced, and the script strikes a fine balance between humor and heart.

(Spoilers below.)

The film deftly lays out the central premise in the first few minutes. In ancient times, demons roamed the Earth freely and preyed upon human souls, until a trio of women—gifted singers and demon hunters—created a magical protective barrier with their voices known as the Honmoon, trapping the demons behind it. The Honmoon has been maintained ever since by subsequent musical trios/demon hunters from each generation. The dream is that one day, the Honmoon will become so strong it will turn “golden” and seal away the demons forever.

Naturally the demons, led by their king Gwi-Ma (Lee Byung-hun), don’t want that to happen, but the latest incarnation of demon hunters—a K-Pop band called Huntr/x—is close to accomplishing the Golden Honmoon. Rumi (Arden Cho) is the lead singer, Mira (May Hong) is the group’s dancer/choreographer, and American-born Zoey (Ji-young Yoo) is the rapper and lyricist. But Rumi harbors a secret: her father was a demon, and she is marked by the telltale purple “patterns,” which she keeps hidden from her bandmates.

Hoping to destroy the Honmoon once and for all, Gwi-Ma sends five of his demons to form a K-pop boy band, the Saja Boys, led by Jinu (Ahn Hyo-seop). Their popularity soon rivals that of Huntr/x and threatens the Honmoon—just as Rumi’s patterns spread to her throat and weaken her singing voice.

How it’s done, done, done

Mira, Rumi, and Zoey take a timeout from fighting demons to carb-load with ramen. Netflix

That’s a big problem because their new hit single, “Golden” (performed by South Korean singer/songwriter Ejae), spans an impressive three-octave range, eventually hitting an A-5  on the chorus—a high note usually reserved for classically trained operatic sopranos. (Ejae’s performance on this song has impressed a lot of YouTube vocal coaches.) And the first live global performance of “Golden” is supposed to be the event that ushers in the Golden Honmoon. It’s a soaring, impeccably constructed “I Want” tune typical of Disney princesses.

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netflix-drops-one-piece-s2-teaser,-renews-for-s3

Netflix drops One Piece S2 teaser, renews for S3

We have the first teaser for the second season of Netflix’s live-action series adaptation of One Piece, subtitled Into the Grand Line. The streaming platform also released some first-look images and announced that the series has been renewed for a third season.

(Some spoilers for S1 below.)

As previously reported, the original One Piece manga debuted in 1997, following the adventures of one Monkey D. Luffy, who heads a motley crew called the Straw Hat Pirates. There’s swordsman Roronoa Zoro, thief and navigator Nami, sniper and compulsive liar Usopp, and a cook named Sanji. They’re searching for the legendary One Piece, a mythical treasure that would make anyone who possesses it King of the Pirates. Monkey wants to be the Pirate King, but so do a host of other pirates with their own ships and crews.

An anime TV series based on the original manga premiered in 1999 and became a global hit; it was the most-watched TV show of 2022, even beating out Stranger Things. So Netflix decided to make a live-action version, which received critical and popular acclaim, particularly for its fidelity to the source material. Iñaki  Godoy stars as Monkey, who has rubber-like abilities thanks to accidentally ingesting a Devil Fruit. Mackenyu plays Zoro, Emily Rudd plays Nami, Taz Skylar plays Sanji, and Jacob Romero Gibson plays Usopp, son of an infamous pirate father named Yasopp. The S2 teaser features several new faces that will be familiar to fans of the manga and anime series.

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review:-the-sandman-s2-is-a-classic-tragedy,-beautifully-told

Review: The Sandman S2 is a classic tragedy, beautifully told

I unequivocally loved the first season of The Sandman, the Netflix adaptation of Neil Gaiman’s influential graphic novel series (of which I am longtime fan). I thought it captured the surreal, dream-like feel and tone of its source material, striking a perfect balance between the anthology approach of the graphic novels and grounding the narrative by focusing on the arc of its central figure: Morpheus, lord of the Dreaming.  It’s been a long wait for the second and final season, but S2 retains all those elements to bring Dream’s story to its inevitably tragic, yet satisfying, end.

(Spoilers below; some major S2 reveals after the second gallery. We’ll give you a heads-up when we get there.)

When Netflix announced in January that The Sandman would end with S2, speculation abounded that this was due to sexual misconduct allegations against Gaiman (who has denied them). However, showrunner Allan Heinberg wrote on X that the plan had long been for there to be only two seasons because the show’s creators felt they had only enough material to fill two seasons, and frankly, they were right. The first season covered the storylines of Preludes and Nocturnes and A Doll’s House, with bonus episodes adapting “Dream of a Thousand Cats” and “Calliope” from Dream Country.

The S2 source material is drawn primarily from Seasons of Mists, Brief Lives, The Kindly Ones, and The Wake, weaving in relevant material from Fables and Reflections—most notably “The Song of Orpheus” and elements of “Thermidor”—and the award-winning “A Midsummer Night’s Dream” from Dream Country. This season’s bonus episode adapts the 1993 standalone spinoff Death: The High Cost of Living. All that’s really missing is A Game of You—which focuses on Barbie (a minor character introduced in A Doll’s House) trying to save her magical dream realm from the evil forces of the Cuckoo—and a handful of standalone short stories. None of that material has any bearing on the Dream King’s larger character arc, so we lose little by the omissions.

Making amends

After escaping his captors, regaining his talismans, tracking down the rogue Corinthian (Boyd Holbrook), and dealing with a Vortex, S2 finds Morpheus (Tom Sturridge) rebuilding the Dreaming, which had fallen into disrepair during his long absence. He is interrupted by his sibling Destiny’s (Adrian Lester) unexpected summons to a family meeting, including Death (Kirby Howell-Baptiste), Desire (Mason Alexander Park), Despair (Donna Preston), and Delirium (Esmé Creed-Miles).

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after-5-years-in-development,-the-assassin’s-creed-tv-series-is-happening

After 5 years in development, the Assassin’s Creed TV series is happening

The long-running video game series Assassin’s Creed will get a live-action TV series adaptation. Variety and The Hollywood Reporter report that Netflix has greenlit the series after years of development hell; the intention to produce the series was announced in 2020.

The series had been through multiple creative teams even before it was greenlit, but Netflix settled on two co-showrunners. Roberto Patino, a writer on FX’s Sons of Anarchy and HBO’s Westworld, will join David Wiener, who led Paramount+’s Halo TV series as well as Fear the Walking Dead.

The two released a joint statement with the news that the show is moving forward:

We’ve been fans of Assassin’s Creed since its release in 2007. Every day we work on this show, we come away excited and humbled by the possibilities that Assassin’s Creed opens to us. Beneath the scope, the spectacle, the parkour and the thrills is a baseline for the most essential kind of human story—about people searching for purpose, struggling with questions of identity and destiny and faith. It is about power and violence and sex and greed and vengeance. But more than anything, this is a show about the value of human connection, across cultures, across time. And it’s about what we stand to lose as a species, when those connections break. We’ve got an amazing team behind us with the folks at Ubisoft and our champions at Netflix, and we’re committed to creating something undeniable for fans all over the planet.

Not many details are known about the series, beyond the obvious: like the games, it will follow a shadow war between the rival Templars and Assassins factions fought across centuries and cultures, with characters diving into genetic memory to experience the lives of ancestors who played pivotal roles in the war. There are no public details about characters or casting.

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netflix’s-first-show-with-generative-ai-is-a-sign-of-what’s-to-come-in-tv,-film

Netflix’s first show with generative AI is a sign of what’s to come in TV, film

Netflix used generative AI in an original, scripted series that debuted this year, it revealed this week. Producers used the technology to create a scene in which a building collapses, hinting at the growing use of generative AI in entertainment.

During a call with investors yesterday, Netflix co-CEO Ted Sarandos revealed that Netflix’s Argentine show The Eternaut, which premiered in April, is “the very first GenAI final footage to appear on screen in a Netflix, Inc. original series or film.” Sarandos further explained, per a transcript of the call, saying:

The creators wanted to show a building collapsing in Buenos Aires. So our iLine team, [which is the production innovation group inside the visual effects house at Netflix effects studio Scanline], partnered with their creative team using AI-powered tools. … And in fact, that VFX sequence was completed 10 times faster than it could have been completed with visual, traditional VFX tools and workflows. And, also, the cost of it would just not have been feasible for a show in that budget.

Sarandos claimed that viewers have been “thrilled with the results”; although that likely has much to do with how the rest of the series, based on a comic, plays out, not just one, AI-crafted scene.

More generative AI on Netflix

Still, Netflix seems open to using generative AI in shows and movies more, with Sarandos saying the tech “represents an incredible opportunity to help creators make films and series better, not just cheaper.”

“Our creators are already seeing the benefits in production through pre-visualization and shot planning work and, certainly, visual effects,” he said. “It used to be that only big-budget projects would have access to advanced visual effects like de-aging.”

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