The Los Angeles Times calls it "a guns-blazingly funny documentary about two out-of-work British actors who spent a chunk of their COVID-19 lockdown staging Shakespeare's masterpiece on the mean streets of Grand Theft Auto V."

Grand Theft Hamlet won SXSW's Jury Award for best documentary, and has now opened in U.S. theatres this weekend (and begun streaming on Mubi), after opening in the U.K. and Ireland. But nearly the entire film is set in Grand Theft Auto's crime-infested version of Los Angeles, the Times reports, "where even the good guys have weapons and a nihilistic streak — the vengeful Prince of Denmark fits right in." Yet when Sam Crane, a.k.a. @Hamlet_thedane, launches into one of the Bard's monologues, he's often murdered by a fellow player within minutes. Everyone's a critic.

Crane co-directed the movie with his wife, Pinny Grylls, a first-time gamer who functions as the film's camera of sorts. What her character sees, where she chooses to stand and look, makes up much of the film, although the editing team does phenomenal work splicing in other characters' points of view. (We're never outside of the game until the last 30 seconds; only then do we see anyone's real face....) The Bard's story is only half the point. Really, this is a classic let's-put-on-a-pixilated-show tale about the need to create beauty in the world — even this violent world — especially when stage productions in England have shuttered, forcing Crane, a husband and father, and Mark Oosterveen, single and lonely, to kill time speeding around the digital desert...

To our surprise (and theirs), the play's tussles with depression and anguish and inertia become increasingly resonant as the production and the pandemic limps toward their conclusions. When Crane and Oosterveen's "Grand Theft Auto" avatars hop into a van with an anonymous gamer and ask this online stranger for his thoughts on Hamlet's suicidal soliloquy, the man, a real-life delivery driver stuck at home with a broken leg, admits, "I don't think I'm in the right place to be replying to this right now...."
In 2014 Hamlet was also staged in Guild Wars 2, the article points out. "This is, however, the first attempt I'm aware of that attempts to do the whole thing live in one go, no matter if one of the virtual actors falls to their doom from a blimp.

"As Grylls says, 'You can't stop production just because somebody dies.'"

David Lynch, a four-time Oscar-nominated filmmaker known for the 1984 sci-fi epic Dune and the Showtime drama Twin Peaks, has died. "In January 2025, Lynch evacuated his Los Angeles home due to the Southern California wildfires," writes longtime Slashdot reader Z00L00K. "According to Deadline, these events preceded a terminal decline in his health, and on January 16, 2025, Lynch's family announced that he had died at the age of 78." Deadline reports: Lynch had been diagnosed with emphysema. Sources told Deadline that he was forced to relocate from his house due to the Sunset Fire and then took a turn for the worse. In an interview with Sight & Sound magazine last year, Lynch revealed that due to Covid fears and his emphysema diagnosis, he could no longer could leave the house, which meant if he directed again, it would be remote. He then followed up the interview with a post on social that he "will never retire" despite his physical challenges.

An anonymous reader shares a report: As music sales and streaming revenue reaches a high of $3 billion -- the highest since 2001, not accounting for significant inflation -- the UK video game market, which has grown almost continually for decades, has shrunk by 4.4%. The most significant decline was in boxed video game sales, down 35%.

Data from Digital Entertainment and Retail Association (ERA) puts the total worth of the UK video game market in 2024 at $5.7 billion, double the music market and behind TV and movies at $6.2 billion. The numbers show a shift in players' purchasing habits that has been ongoing for years, from physical games to digital downloads and in-game purchases in popular, established games such as Fortnite and Roblox. Boxed games now account for 27.7% of new game sales in the UK, according to ERA data.

Former MoviePass CEO Theodore Farnsworth has pleaded guilty to securities fraud and conspiracy charges for misleading investors about the movie subscription service's "unlimited plan" and its parent company's capabilities, U.S. prosecutors said.

Farnsworth falsely claimed the $9.95 monthly unlimited movie plan was sustainable and that Helios & Matheson Analytics could monetize subscriber data through artificial intelligence, knowing both statements were untrue. He faces up to 20 years in prison for MoviePass-related fraud and five years for a separate conspiracy charge involving Vinco Ventures.

It "felt like a Disneyland ride," reports CBS News. A man took a Waymo takes to the airport — only to discover the car "wouldn't stop driving around a parking lot in circles." And because the car was in motion, he also couldn't get out.

Still stuck in the car, Michael Johns — a tech-industry worker — then phoned Waymo for help. ("Has this been hacked? What's going on? I feel like I'm in the movies. Is somebody playing a joke on me?") But he also filmed the incident... "Why is this thing going in a circle? I'm getting dizzy," Johns said in a video posted on social media that has since gone viral, garnering more than two million views and interactions....

The Waymo representative was finally able to get the car under control after a few minutes, allowing him to get to the airport just in time to catch his flight back to LA. He says that the lack of empathy from the representative who attempted to help him, on top of the point that he's unsure if he was talking to a human or AI, are major concerns. "Where's the empathy? Where's the human connection to this?" Johns said while speaking with CBS News Los Angeles. "It's just, again, a case of today's digital world. A half-baked product and nobody meeting the customer, the consumers, in the middle."

Johns, who ironically works in the tech industry himself, says he would love to see services like Waymo succeed, but he has no plans to hop in for a ride until he's sure that the kinks have been fixed. In the meantime, he's still waiting for someone from Waymo to contact him in regards to his concerns, which hasn't yet happened despite how much attention his video has attracted since last week.
"My Monday was fine till i got into one of Waymo 's 'humanless' cars," he posted on LinkedIn . "I get in, buckle up ( safety first) and the saga begins.... [T]he car just went around in circles, eight circles at that..."

A Waymo spokesperson admitted they'd added about five minutes to his travel time, but then "said the software glitch had since been resolved," reports the Los Angeles Times, "and that Johns was not charged for the ride."

One final irony? According to his LinkedIn profile, Johns is a CES Innovations Awards judge.

Box office returns have started to stabilize. But nine of the top 10 box office hits this year were sequels [non-paywalled link]. And the 10th was "Wicked." From a report: A year ago, Hollywood's creative community was celebrating the apparent decline of corporate, paint-by-numbers sequels and remakes. Blockbuster ticket sales for movies like "Oppenheimer," "Sound of Freedom" and "Barbie" had shown -- or so it seemed -- that audiences were finally hungry for fresh stories.

You could almost hear the relief emanating from franchise-fatigued writers, directors and producers. "Everything Everywhere All at Once," the wildly inventive Oscar-winning art film that broke out in cinemas in 2022, had not been a fluke! Alas. Mass moviegoing swung squarely back to the predictable this past year, with sequels filling nine of the top 10 slots at the North American box office. The ennead consisted of "Inside Out 2," "Despicable Me 4," "Deadpool & Wolverine," "Moana 2," "Dune: Part Two," "Beetlejuice Beetlejuice," "Kung Fu Panda 4," "Twisters" and the 38th Godzilla movie, "Godzilla x Kong: The New Empire."

"Wicked," a song-by-song adaptation of the first half of the long-running Broadway musical, was the only top-10 outlier, counting as original, if only by a witchy whisker. (In the alternative reality of Hollywood, a movie can be "original" even if it is derivative of something else. What matters is whether the source material has previously been used for a stand-alone theatrical movie.)

"Every single one of the top ten box office hits of 2024 was a sequel, a remake... or a prequel," writes The Hollywood Reporter.

Here's the list of 2024's top-grossing films published by the movie blog SlashFilm:

10. Beetlejuice Beetlejuice
9. Venom: The Last Dance
8. Kung Fu Panda 4
7. Godzilla x Kong: The New Empire
6. Wicked
5. Dune: Part Two
4. Moana 2
3. Despicable Me 4
2. Deadpool & Wolverine
1. Inside Out 2


2024 was the year Godzilla celebrated its 70th year as a franchise — but it wasn't the only long-running franchise. "When the Marvel Cinematic Universe went R-rated with Deadpool & Wolverine... it was literally more successful than any other R-rated movie in history," SlashFilm points out, while Venom: The Last Dance was the year's 9th highest-earner. (But several other big superhero movies flopped and "the misses outweighed the hits this year, while DC sat it out entirely as the world waits for Superman to usher in James Gunn's new DC Universe.")

They also marvel that Wicked earned $572 million after opening on the same day as Ridley Scott's Gladiator II....

But in the end SlashFilm describes 2024 as "a banner year for animation," with computer-animated movies filling four of the top ten spots (Kung Fu Panda 4, Moana 2, Despicable Me 4, and Inside Out 2). And another interesting trend? Though the world flocked to Tim Burton's first sequel to Beetlejuice after 36 years, Warner Bros. was, "at one point, pushing for Beetlejuice 2 to go directly to streaming on Max." And Disney original had the same idea for Moana 2, leading SlashFilm to conclude that 2024's box office "should be the death of the big direct-to-streaming movie." SlashFilm notes that Disney also sent several Pixar originals to Disney+ between 2020 and 2022, which "did immeasurable damage to the brand, something that even CEO Bob Iger has acknowledged." And then after a theatrical debut Pixar's Inside Out 2 became "the eighth biggest movie ever at the box office, with $1.698 billion to its name" — and the highest-grossing animated film ever made.

And Dune: Part Two? Denis Villeneuve accomplished nothing shy of a miracle with 2021's "Dune," an adaptation of Frank Herbert's cherished sci-fi novel that was faithful to the material, massive in scale, but still felt like an auteur film... The only downside? 2021 was a terrible time to release a movie, particularly a Warner Bros. movie, as all of the studio's films were going to HBO Max the same day they hit theaters. Yet, "Dune" made $400 million in its original run, which was enough to justify a sequel. Evidently, the audience for this franchise grew exponentially in the years before "Dune: Part Two" hit theaters in early March... All told, Villeneuve's sweeping, epic sequel pulled in $714.4 million worldwide, all while garnering tons of acclaim once again. Also, not for nothing, Villeneuve got it made for less than $200 million...

Without "Dune: Part Two" making what it made, the box office might have been in truly dire shape. As a relatively dead April and very weak May followed, this overperformance helped keep theaters afloat until greener pastures arrived in the back half of the year. The Spice must flow, as it were.
The Hollywood Reporter offers another take on the significance of 2024: Total domestic box office revenue appears to be heading toward around $8 billion, down from 2023's exhilarating post-COVID turnaround of $9 billion, but the National Association of Theatre Owners prefers to accentuate the positive, attributing the dip to a shortage of product due to the labor strikes and taking encouragement from the renewal of the movie habit...

Interestingly, or thankfully, the cinematic universes of Marvel, DC, and Star Wars failed to expand: except for Deadpool & Wolverine, not one of the huge hits came from a comic book franchise or a galaxy far, far away.
The article then complains about people using their phones during the movie for texting, talking, and photographing the movie itself. (Though it applauds a PSA against the practice in which Deadpool and Wolverine "delivered the message in laudably blunt terms.")

And on Wikipedia, Deadpool & Wolverine and Dune: Part Two were the eighth and 23rd most popular articles of 2024.

Apple's $3,499 Vision Pro headset has failed to gain widespread adoption despite advanced technology, with consumers preferring discreet wearables like smartwatches. The Verge: Nearly a year from launch, though, Apple hasn't done enough to demonstrate why the Vision Pro should be a potential showcase of the future of computing. It's taking a long time to put together its immersive content library, and while those are great demonstrations of what's possible, the videos have been short and isolating. There aren't many great games, either.

Yes, Apple keeps adding cool new software features. The wide and ultra widescreen settings for using a Mac display seem exceptionally useful. But those are pretty specific options for pretty specific use cases. There still isn't an immediate, obvious reason to buy a Vision Pro the way there usually is with the company's newest iPhones and Macs. If I bought a Vision Pro today, I wouldn't know what to do with it besides give myself a bigger Mac screen or watch movies, and I don't think either of those are worth the exorbitant price.

An anonymous reader writes: James Bond has dodged more than 4,000 bullets. He has jumped from an airplane, skied off a cliff and escaped castration by laser beam.

Now, 007 is in a new kind of peril. Nearly three years after Amazon acquired the right to release Bond movies through its $6.5 billion purchase of the Metro-Goldwyn-Mayer Studio, the relationship between the family that oversees the franchise and the ecommerce giant has all but collapsed, WSJ reports.

Peter Jackson is co-executive producer of a new animated Lord of the Rings prequel called The War of the Rohirrim. "Set in an epic world 183 years before the events of The Lord of the Rings trilogy, the King of Rohan is forced into a last stand in ancient Hornburg after a sudden attack..." explains The Hollywood Reporter.

But Variety writes that the movie "fizzled" in its overseas debut this weekend: "Moana 2" has notched $600 million in global ticket sales, standing as the sixth-biggest movie of the year after just two weeks of release. Disney's animated sequel, which was developed as a TV series before pivoting to theaters, has generated $300 million overseas and $300 million domestically... Among new offerings, the Warner Bros. anime fantasy film "The Lord of the Rings: The War of the Rohirrim," faltered with $2 million from 3,410 screens in 31 territories... [The movie] opens in North America and an additional 42 offshore markets on Dec. 13. Top earning territories were Spain with $347,000 followed by Mexico with $239,000 and Thailand with $146,000...

Meanwhile, Paramount's "Gladiator II" collected $17 million in its fourth frame at the international box office, boosting its tally to $235 million overseas and $368.4 million globally. The quarter-century-in-the-making sequel Ridley Scott's Oscar-winning 2000 epic "Gladiator" has been far bigger in offshore markets... There's also "Red One," a Christmas-set action comedy starring the Rock as Santa's head of security, which collected $3.5 million from 4,000 screens in 75 overseas markets. The film, from Amazon MGM, has generated a soft $78.2 million from offshore territories and $164 million globally. "Red One" was originally destined for streaming before the studio opted for a theatrical release, so any coinage from the big screen could be viewed as a win for movie theaters, Amazon MGM and Warner Bros. (which has international rights on Amazon MGM releases). From a strictly theatrical standpoint, though, "Red One" carries a $250 million budget before marketing and stands as one of the year's biggest misfires.

"OpenAI is partnering with defense tech company Anduril," wrote the Verge this week, noting that OpenAI "used to describe its mission as saving the world." It was Anduril founder Palmer Luckey who advocated for a "warrior class" and autonomous weapons during a talk at Pepperdine University, saying society's need people "excited about enacting violence on others in pursuit of good aims." The Verge notes it's OpenAI's first partnership with a defense contractor "and a significant reversal of its earlier stance towards the military." OpenAI's terms of service once banned "military and warfare" use of its technology, but it softened its position on military use earlier this year, changing its terms of service in January to remove the proscription.
Hours after the announcement, some OpenAI employees "raised ethical concerns about the prospect of AI technology they helped develop being put to military use," reports the Washington Post. "On an internal company discussion forum, employees pushed back on the deal and asked for more transparency from leaders, messages viewed by The Washington Post show." OpenAI has said its work with Anduril will be limited to using AI to enhance systems the defense company sells the Pentagon to defend U.S. soldiers from drone attacks. Employees at the AI developer asked in internal messages how OpenAI could ensure Anduril systems aided by its technology wouldn't also be directed against human-piloted aircraft, or stop the U.S. military from deploying them in other ways. One OpenAI worker said the company appeared to be trying to downplay the clear implications of doing business with a weapons manufacturer, the messages showed. Another said that they were concerned the deal would hurt OpenAI's reputation, according to the messages...

OpenAI executives quickly acknowledged the concerns, messages seen by The Post show, while also writing that the company's work with Anduril is limited to defensive systems intended to save American lives. Other OpenAI employees in the forum said that they supported the deal and were thankful the company supported internal discussion on the topic. "We are proud to help keep safe the people who risk their lives to keep our families and our country safe," OpenAI CEO Sam Altman said in a statement...

[OpenAI] has invested heavily in safety testing, and said that the Anduril project was vetted by its policy team. OpenAI has held feedback sessions with employees on its national security work in the past few months, and plans to hold more, Liz Bourgeois, an OpenAI spokesperson said. In the internal discussions seen by The Post, the executives stated that it was important for OpenAI to provide the best technology available to militaries run by democratically-elected governments, and that authoritarian governments would not hold back from using AI for military uses. Some workers countered that the United States has sold weapons to authoritarian allies. By taking on military projects, OpenAI could help the U.S. government understand AI technology better and prepare to defend against its use by potential adversaries, executives also said.
"The debate inside OpenAI comes after the ChatGPT maker and other leading AI developers including Anthropic and Meta changed their policies to allow military use of their technology," the article points out. And it also notes another concern raised in OpenAI's internal discussion forum.

The comment said "that defensive use cases still represented militarization of AI, and noted that the fictional AI system Skynet, which turns on humanity in the Terminator movies, was also originally designed to defend against aerial attacks on North America.

The new movie Y2K is either a comedy or a disaster/horror film, according to Wikipedia. The film "imagines a turn of the century where the machines don't just glitch or stop working," writes the Hollywood Reporter. "They go full homicidal." With a cast that includes 1990s icons like Alicia Silverstone and the lead singer for the Napster-loving 1990s metal band Limp Bizkit, the movie "gives the '90s the ending it deserved," according to the article.

They interviewed the film's director (and co-writer and co-star) Kyle Mooney, best-known for SNL, starting by complimenting his fidelity to the tech of its day. "The film opens with a high schooler getting home and logging into AOL Instant Messenger, which is not a scene I think I've ever seen in another movie..." Mooney: All of my relationships, between 17 and 22 years old, were short-lived and spawned because I was most confident flirting on Instant Messager....

Q: The tech here is such a huge part of the story. Were there any logos or brands you had a tough time getting on camera?

Mooney: Definitely. This isn't really a spoiler, but Jaeden Martell's character's computer — the one that we open up with him logging into AOL — eventually turns into a robot. That was supposed to be an iMac. But I don't think Apple wanted their machines strangling people or whatever the robot does — so we had to change the look of it by, like, 30 percent. There were a few instances like that, where we couldn't get the exact thing, but we were allowed to get as close as possible.
Deadline's article includes a spoiler about the film, but also this interesting note about two of its young actors, Julian Dennison and Jaeden Martell: [A]lthough Dennison and Martell were both born after 2000, they enjoyed slipping into the "lack of convenience and the lack of technology" that came with the era.

"I wish I got to experience that. I wish I didn't live in the age of everything being so accessible," said Martell.
And apparently the movie also includes a quick shout-out to Myspace co-founder Tom Anderson.

Tuesday the Wikimedia Foundation released its annual list of the most-visited Wikipedia pages. (Scroll down to where it says "The full top 25"...)

But while the top subjects seem to be politics and pop culture, CNN reports that in the end "a list of deaths in 2024 was the most visited page, garnering over 44 million views." A page about deaths in a given year has ranked at the top of the list five times since 2015, when the Wikimedia Foundation began releasing the data. The topic has never fallen below third place on the list.

People also searched for U.S. political figures... [The #2, #3, #5, #7, and #9 most-visited pages were, respectively, for Kamala Harris, the 2024 United States presidential election, Donald Trump, J.D. Vance, and Project 2025.] While U.S. politics was a notable search subject, popular culture had the largest share of the top 25. The fourth most-visited page was about Lyle and Erik Menendez, the brothers who were sentenced to life in prison for the 1989 murder of their parents and are now facing a resentencing trial. The case received renewed public attention after a Netflix documentary was published this year. The Wikipedia page about the brothers received over 26 million views in 2024.

The "Deadpool & Wolverine" and "Dune: Part Two" movies were eighth and 23rd, respectively... [Other high-ranking pop-culture pages included Taylor Swift (#11)and the 2024 Summer Olympics (#14).]

"Wikipedia readers in India continue to make a big impact on the list, a trend we saw in 2023 as well," Wikimedia Foundation's Alikhan said. The Indian Premier League, a cricket league in India, garnered over 24.5 million views this year as the site's sixth most visited page... [The 2024 Indian general election came in at #10]
Wikipedia's entry on ChatGPT came in at #12, while Elon Musk came in at #17.

"When people want to learn about our world — the good, bad, weird, and wild alike — they turn to Wikipedia," explains the blog post from the Wikimedia Foundation, calling Wikipedia "the largest knowledge resource ever assembled in the history of the world" and "a reflection of all the people who live on our planet. its story is your story, your interests, your questions, and your curiosity."

Other statistics about Wikipedia in 2024:

• Nearly 3.5 billion bytes of information were added this year via over 31 million edits.

• People spent an estimated 2.4 billion hours — nearly 275,000 years! — reading English Wikipedia in 2024, according to data from the Wikimedia Foundation.

U.S. movie theaters are struggling to attract casual moviegoers, who once made up a significant portion of box office revenues, as shorter theatrical runs and changing consumer habits reshape the industry. The domestic box office, which regularly exceeded $10 billion in annual ticket sales before COVID-19, is expected to reach only $8.5 billion this year.

Films now average 32 days in theaters compared to 80 days pre-pandemic, limiting opportunities for audiences to discover movies spontaneously. Midtier films generating $50-100 million at the box office have become scarcer, particularly in genres like drama and romantic comedy. Theater chains are responding with enhanced experiences and loyalty programs to draw audiences back.

"It's fair to say there is a missing billion dollars that, if we had the right movies, people would be going to see them," said Bruce Nash, founder of movie business site the Numbers, told LA Times. Frequent moviegoers comprise only 12-15% of box office revenue, according to Patrick Corcoran of theater consulting firm Fithian Group.

Brazilian antitrust regulator Cade said this week that Apple must lift restrictions on payment methods for in-app purchases, among other things, as the watchdog moved to proceed with an investigation into a complaint filed by Latin America e-commerce giant MercadoLibre. From a report: MercadoLibre's complaint, filed in 2022 in Brazil and Mexico, accused Apple of imposing a series of restrictions on the distribution of digital goods and in-app purchases, including banning apps from distributing third-party digital goods and services such as movies, music, video games, books and written content.

In the complaint, MercadoLibre criticized the California tech giant for requiring developers that offer digital goods or services within apps to use Apple's own payment system and stopping them from redirecting buyers to their websites. Cade ruled that Apple must allow app developers to add tools so customers can buy their services or products outside the app, such as through the use of hyperlinks to external websites.

An anonymous reader shares a report: Plex is beginning to test its "newly reimagined Plex experience," which will be available first on mobile and is coming to TV platforms "very soon." Plex says the new experience has been in development for almost two years and is "designed to bring everything you love into one seamless interface." But don't worry -- while the new version of the app is currently missing some features, Plex says it will be "closing those gaps" and will keep the current app available during the preview, which will hopefully prevent a Sonos-like debacle.

A big change for the new app is redesigned navigation that more clearly delineates between media you might have on your Plex server and the company's streaming and on-demand offerings. The bottom bar has dedicated tabs for your media libraries, live TV, and on-demand movies and shows. The Watchlist, which lets you make a list of things you want to watch, has a spot at the top of the app. And artwork is shown more prominently.

According to a new report from Bloomberg, Apple plans to license some of its Apple TV+ content to competing services in an effort to save money and spread its reach. From the report: Apple has hired an executive to license its original productions to other companies, a strategy designed to increase sales from its film business and improve the visibility of its content. [...] Apple is focused on licensing its movies to other companies, such as foreign TV networks and stores, where viewers can rent or buy them, according to a person familiar with the plans. The company isn't planning to license its original TV shows to third parties. (At least not yet.)"

Chief Executive Officer Tim Cook and services boss Eddy Cue have pushed the team overseeing Apple TV+ to lower costs, improve the financial performance of the service and deliver more hits. The company has spent billions of dollars on original films and TV shows and has received strong reviews and praise from critics. Yet few of its titles have attracted a large audience and its streaming service doesn't make money. Apple has already started selling TV+ via Amazon in a bid to increase the audience for the service. Licensing to third parties will generate additional revenue and introduce Apple movies to people who don't yet pay for TV+. Since Apple TV+ launched in 2019, Apple has spent over $20 billion to build a library of original content. Yet, the streaming service only garnered 0.3 percent of U.S. screen viewing time in June 2024, according to Nielsen. "Apple TV+ generates less viewing in one month than Netflix does in one day," wrote Bloomberg's Lucas Shaw in July.

Ars Technica notes that Apple is estimated to have 25 million subscribers, making it "one of the smallest mainstream streaming services."

A new six-episode Dune series premiers tonight on HBO and Max — a prequel to the Denis Villeneuve-directed Dune movies set 10,000 years before the birth f Paul Atreides. The Hollywood Reporter writes that it "draws on source material from the 2012 novel Sisterhood of Dune by Brian Herbert and Kevin J. Anderson, and Frank Herbert's 1965 novel Dune, the origin of the Dune universe." Cord-cutters can stream Dune: Prophecy online without cable on Max, with subscriptions starting at $9.99 per month through both Prime Video and the Max website directly. Amazon offers a seven-day free trial to the Max channel. Those who want to watch Dune: Prophecy online without a traditional cable service can also get Max as an add-on to existing streaming services, including Hulu and DirecTV Stream.
The San Francisco Chronicle describes the series as "">all palace intrigues, agonizing deaths and magical mind games." Taking a further cue from the network's top-rated Game of Thrones, this show indulges more sex and nudity than the Dune movies allow. It could be argued that elements like this introduce a liveliness often missing from the portentous big-screen behemoths, marking an improvement. Another fun touch here: Many characters are constantly baked.

Set a millennium before Frank Herbert's novels and the films' events, and a century after humans overthrew their "thinking machine" overlords, the psychoactive "Spice" from the desert planet Arrakis is already the most valued substance in the universe. It's not only vital for spaceship navigation and to expand the mental powers of sorceressy sisterhoods like the Bene Gesserit, it's the club drug of choice for younger members of the galaxy-ruling Great Houses. As ever with "Dune" business, control of the Spice trade fuels much of the conflict and character motivations.

Of which there are just enough to keep things interesting without becoming confusing... While the show can't match the outsize visual scope of Denis Villeneuve's films, it does pleasingly approximate those vast alien landscapes, Brutalist edifices and high-ceilinged chambers on a TV budget. For those who find Villeneuve's formal gigantism oppressive, the series' more human scale might be another welcome change of pace... There may not be an original thought in this "Dune" product's Spice-soaked head, but it is one professionally put-together piece of this sort of entertainment.
"Tasked with making more material with less money and time, Prophecy cannot hope to equal Villeneuve's aesthetic accomplishments," writes Variety. "But at its best, the show does justice to the intricate politics and ethical debates that form a cornerstone of Frank Herbert's fictional universe... The primary Dune plot finds many echoes throughout Prophecy..."

On the other hand, Vulture argues the six-episode series is "stuck in prequel quicksand," even calling it "an act of cowardice and abdication of creativity" (while also noting moments where it "feels like it's stretching itself to be something other than what we expect..."

Sony faces mounting challenges after a year marked by major setbacks in its gaming and film divisions. The company's $200-400 million gaming project "Concord" sold only 25,000 copies before being discontinued, while PlayStation 5 sales targets were cut from 25 million to 21 million units.

Sony Pictures struggled with underperforming Spider-Man spin-offs and high-profile departures, including CEO Tony Vinciquerra. Over 1,200 employees were laid off across divisions, and profits fell 39% to $124 million in the latest quarter. Sony's stock dropped 5% over the past year while broader markets rose nearly 40%.

According to Deadline's Mike Fleming Jr, Lucasfilm is developing a new Star Wars trilogy. It will be written by Simon Kinberg, who will also produce the films alongside Lucasfilm chief Kathleen Kennedy. From the report: I heard this will comprise Episodes 10-12 of The Skywalker Saga that began with George Lucas's 1977 first film, which, along with Steven Spielberg's Jaws, reshaped the global blockbuster game. Insiders disputed my intel that Kinberg will continue that storyline, saying this instead will begin a new saga, and sit alongside percolating Star Wars projects with James Mangold, Sharmeen Obaid-Chinoy, Taika Waititi and Donald Glover. As usual, Lucasfilm and Disney are not commenting.

Kinberg previously worked with Lucasfilm in co-creating with Dave Filoni and Carrie Beck the Emmy-nominated animated series Star Wars Rebels that ran for four seasons from 2014-2018. He was also a consultant on Star Wars Episode VII: The Force Awakens, the J.J. Abrams-directed film that revived the franchise in 2015. He has also been heavily involved in other franchises as writer and/or producer.