This documentary defies traditional narrative conventions, shot entirely on 35mm film. Notes about the movie describe it as a "radical refusal of the conventional documentary narrative." The film has already made its world premiere at the Hot Docs Canadian International Documentary Festival in Toronto and is now set to debut internationally in London.

The movie captures the rich natural beauty of oyster farms, with stunning underwater images showcasing glistening shellfish. However, this idyllic setting belies a deeper ecological concern: the rapid pace of environmental change threatening these ecosystems.

Audiences will be immersed in an otherworldly experience, thanks to cinematographer Jeremy Cox's lens capturing nature in a way that is both eerie and captivating. The film's soundscape, created by sound artist Scott Gailey, adds another sensory layer to this unique cinematic journey.

The documentary features oysters on the Discovery Islands, which take years to mature but are now facing the consequences of accelerating environmental change. This dichotomy between natural beauty and ecological dread is a central theme in Concrete Turned to Sand.

Concrete Turned to Sand promises to be an unforgettable experience for viewers, transporting them into a world that is both familiar and alien at the same time.

The film's approach is refreshingly unconventional, eschewing didactic explanations in favor of evocative visuals that immerse viewers in the world of oyster farming. As highlighted in the press notes, Concrete Turned to Sand resists the urge to break down complex issues into easily digestible data points, instead opting for a more experiential and visceral approach.

Through their work, Johnson and Ermacora delve into the intricate relationships between labor, landscape, and the forces that shape them. The film's focus on oyster farming serves as a lens through which to examine the intersection of different time scales, from the years it takes an oyster to mature to the accelerating pace of environmental change.

The creative team's intention is to prompt viewers to reevaluate their understanding of the environment and their place within it. By placing human endeavors alongside vastly different temporalities, the film invites us to reconsider our relationship with the planet. This approach is exemplified in the rich cinematic imagery and soundscapes that bring complex realities to life.

The result is a cinematic experience that is both hauntingly familiar and eerily alienating. Concrete Turned to Sand promises to transport viewers into a world that is both deeply connected to our own reality and yet, simultaneously, utterly foreign.

The documentary Concrete Turned to Sand explores the impact of climate change on oyster farms through a unique blend of scientific insight and otherworldly imagery. According to its creators, Johnson and Ermacora, the film provides a deeper understanding of ocean acidification by collaborating with scientists.

By experimenting with optical and auditory techniques, the documentary aims to create a sense of detachment between the viewer and the ecological subject, encouraging a broader perspective on climate change. This innovative approach promises to engage audiences in thinking beyond individual concerns to consider the planet's ecological context. The film ultimately seeks to foster a greater understanding of our interconnected world.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-news/concrete-turned-to-sand-film-clip-backrooms-dp-oyster-farms-1236718131/

The TCL QM-series of Mini LED TVs, which compete with Samsung's M-series, use advanced backlighting technology that enhances image quality and delivers high dynamic range (HDR) on LCD-LED displays. However, without clear guidelines for what "Mini LED means, manufacturers are free to define the term as they see fit.

In a lawsuit filed in California in late August, TCL accused Samsung of using fraud to promote its M70H, M80H, and M90H TVs as Mini LED sets. The complaint alleges that these models are actually rebranded versions of Samsung's entry-level Crystal UHD line, which lacks the advanced backlighting capabilities associated with true Mini LED technology.

The lawsuit claims that Samsung's M-series TVs do not have backlights capable of full array local dimming (FALD), a key feature of high-end LCD-LED displays. FALD involves grouping multiple LEDs into zones, each with adjustable brightness levels to enhance contrast and deliver superior image quality.

A spokesperson for Samsung declined to comment on specific claims in the lawsuit, instead stating that the company intends to vigorously defend against TCL's allegations. The dispute highlights a pressing issue for consumers: without standard definitions for Mini LED technology, manufacturers can use the term to describe their products with varying degrees of accuracy.

TCL argues that true Mini LED displays require advanced backlighting capabilities, including FALD, which is essential for delivering high-quality HDR on LCD-LED screens. The company's lawsuit seeks to establish clear guidelines for what constitutes a Mini LED display and prevent manufacturers from misusing the term.

The outcome of this lawsuit could have significant implications for the TV industry, with potential consequences for consumers who rely on accurate product labeling when making purchasing decisions. As the case unfolds, it will be interesting to see how TCL's claims are received by Samsung and the wider industry.

The debate over Samsung's use of the term Mini LED on its M-series TVs has taken a interesting turn as TCL questions the accuracy of this labeling.

A closer look at the specifications for these TVs reveals that they employ Supreme Mini LED Dimming, which is described in the product pages' fine print as software-based technology. This distinction is crucial, as it highlights a key difference between Samsung's M-series and other TVs on the market that genuinely boast mini-LED backlighting.

In contrast to true mini-LED displays, which use individually addressable LEDs to create zones of varying brightness, Samsung's M-series relies on software analysis to determine optimal brightness levels for each frame. This approach may not be as effective in scenes prone to blooming artifacts, but it can still provide decent image quality with fewer LEDs or dimming zones.

Industry experts agree that true mini-LED displays require a specific hardware configuration, including a 2D array of LEDs uniformly distributed across the entire display area. Without this setup, software-based solutions like Samsung's simply don't qualify as genuine mini-LED technology.

Guillaume Chansin, associate director of displays and XR at Counterpoint Research, acknowledges that software plays an important role in optimizing image quality, but notes that it can never fully replace a well-designed hardware solution.

Eric Virey, principal displays analyst at Yole Intelligence, takes a more stringent view, insisting that FALD is fundamentally a hardware feature. Without the necessary 2D array of LEDs and accompanying algorithm to reduce blooming, software-based solutions are merely Mini LED dimming in name only.

The nuances of this debate will undoubtedly be closely watched by both industry insiders and consumers seeking clarity on what constitutes genuine mini-LED technology.

As TCL continues to push back against Samsung's labeling, it remains to be seen how the wider industry will respond. Will other manufacturers follow suit, or will they maintain their own interpretations of what constitutes a true mini-LED display?

The debate over what constitutes a true mini-LED display has sparked controversy in the industry, with TCL questioning Samsung's use of the term on its M-series TVs.

Industry experts agree that a key feature of mini-LED displays is local dimming, also known as full-array local dimming (FALD). This technology allows for more precise control over backlight zones, enhancing contrast and image quality.

Leading industry researchers concur with this assessment. I think that is broadly agreed across the industry that FALD is a key and mandatory feature in Mini LED backlights, said one expert.

The importance of local dimming in mini-LED displays is also reflected on Samsung's own website, which describes the technology as an advanced backlighting display system using tiny LEDs for precise control through local dimming zones.

However, TCL has argued that Samsung's M-series TVs do not support FALD. The company claims to have disassembled these sets and found that they lack the necessary LED control chip and circuitry required for local dimming.

The absence of FALD is just one issue with Samsung's M-series TVs. Another concern is whether they actually use mini-LEDs, which are typically defined as LEDs measuring between 0.1 mm to 0.3 mm in size.

Industry standards for what constitutes a mini-LED vary, and some sources refer to LEDs larger than 0.2 mm or even 3 mm as traditional LEDs. TCL's lawsuit claims that the LEDs used in Samsung's M-series TVs are significantly larger at 0.5 mm, raising questions about their classification as mini-LEDs.

The question of what constitutes a Mini LED display has been raised by TCL's lawsuit against Samsung, which claims that the LEDs used in Samsung's M-series TVs are significantly larger than those found in true mini-LED displays.

To support its claim, TCL points out that Samsung's M-series TVs have only a few dozen LEDs arranged on two aluminum strips, rather than thousands of tiny LEDs that are characteristic of genuine mini-LED technology. This arrangement is also visible in teardown videos from YouTube channel AP Tech, which show the backlight of an M-series TV consisting of just two rows of LEDs.

The lack of clear standards for what constitutes a Mini LED display has led to confusion among consumers and created a gray area where manufacturers can set their own definitions. The industry has not established any guidelines or regulations to define how many LED zones or mini-LEDs a display needs to qualify as a Mini LED, leaving shoppers to navigate unclear marketing claims.

Industry experts say that this lack of clarity is due in part to the absence of organizations with authority to establish and enforce standards for the display panel industry. As a result, TV brands have historically exploited this lack of clear guidelines to be more creative in their marketing, often using terms like Mini LED to describe displays that may not actually meet the criteria.

Some experts believe that TCL's claims raise important questions about the entire industry's use of the term Mini LED. Virey notes that while enthusiasts may enjoy digging into the technical details of backlight technology, most consumers simply care about performance.

The performance of Samsung's M-series TVs has been mixed in reviews. RTINGS found that the M80H had low contrast, with dark scenes looking washed out in a dark room. The review also noted that HDR content mastered at 600 or 1,000 nits cut off rapidly at the TV's peak brightness.

The debate over what constitutes a Mini LED display highlights the ongoing challenge of defining and regulating emerging technologies in the display panel industry. As Virey notes, creating standards for these technologies can be a complex process that may lead to an endless cycle of innovation and marketing claims.

The contrast ratio achieved by TCL's budget QM6K TV after calibration was 118:059:1, significantly lower than Samsung's Mini LED Neo QLED QN80H, which reached a contrast of 80,000:1 according to RTINGs.

A video comparison between M-series TVs and those with Full Array Local Dimming (FALD) technology shows how dimming works differently in each case. This highlights the importance of local dimming in achieving high contrast ratios.

TCL's QM6K TV has some drawbacks despite its impressive contrast ratio. Its HDR performance is reportedly lacking, which may be a concern for consumers who want to enjoy high dynamic range content on their TVs.

According to RTINGs' review, the QM6K TV looks good in a dark room thanks to its high contrast ratio and great black uniformity, but it falters in other areas. The reviewer notes that the TV's HDR brightness is mediocre at best, which can detract from the viewing experience.

The fact that TCL has an obvious stake in challenging Samsung's marketing claims raises questions about the motivations behind this criticism. However, the underlying issue remains: what should consumers expect when a TV is marketed as Mini LED?

A key distinction between different types of Mini LED TVs is how they use local dimming to improve contrast and HDR performance. While smaller LEDs may be used in some Mini LED TVs, it's not just the size of these LEDs that matters - it's how they're used to deliver improved picture quality.

TCL's own budget line of Mini LED TVs can disappoint in areas where the technology should have an advantage, such as HDR support. Compared to Samsung's more expensive Mini LED TVs, TCL's M-series has worse HDR performance and black levels, making it harder to use in a dark room according to RTINGs' testing.

The debate over what constitutes a true Mini LED TV with local dimming highlights the complexity of marketing claims in the tech industry. As new technologies emerge, manufacturers must balance innovation with consumer expectations, leading to a cycle of innovation and marketing claims that can be difficult to navigate.

Consumers navigating the TV market may find themselves in a confusing situation due to the proliferation of marketing terms such as Mini LED" and "QLED". These labels are often used without providing clear information about the actual performance capabilities of the TVs.

Ultimately, it is essential for shoppers to look beyond marketing labels and focus on more reliable indicators of a TV's quality, including comparative pricing and independent testing results.

Ars Technica: https://arstechnica.com/gadgets/2026/10/tcl-is-right-to-question-samsungs-use-of-the-term-mini-led/

At an event hosted by Bloomberg's Screentime on Wednesday, Affleck mentioned that AI was used extensively in the film but hesitated to elaborate further due to concerns about maintaining the illusion of reality in filmmaking. He noted that using AI is a delicate balance between innovation and authenticity.

In a related context, it has been reported that Ben Affleck has made use of AI technology in his latest project, with some speculating about its potential applications. However, details about the specific uses of AI in Animals remain scarce at this stage.

At the film's premiere on Thursday, Affleck expanded on his approach to using AI, stating that it is guided by a simple principle: avoiding any reliance on copyrighted material or creations developed by peers in the industry. This led him and his team to create an exclusive dataset for the project.

The proprietary dataset was designed to prevent the extraction of ideas from existing works, ensuring that the film's use of AI remains original and respectful of others' intellectual property.

Ben Affleck's approach to using AI in his new movie 'Animals' is centered around bringing this technology into the film industry responsibly. He emphasized that he's not interested in making movies that rely on automated output without human involvement or oversight.

Affleck expressed concerns about tech companies exploiting image and likeness rights, stating that when given to experienced filmmakers, AI can produce better results. In his experience working with the tool, he found it essential to have control over its use and to ensure that it doesn't compromise artistic vision or replace human talent.

The filmmaker highlighted the importance of collaboration between tech and creative industries in developing AI tools that benefit filmmaking. He noted that companies like Netflix engage with filmmakers in a more respectful manner, offering them the option to experiment with AI technology.

Affleck's approach is focused on using AI as an additional tool for storytelling, rather than replacing human actors or creatives. He likened the goal of integrating AI into film production to achieving good visual effects or performances, if it becomes too obvious or noticeable, it detracts from the overall experience.

Ben Affleck emphasized that his use of AI is not about creating fake people or duplicating existing talent. Instead, he's interested in exploring new possibilities and applications for this technology within the context of filmmaking.

The proprietary dataset developed for 'Animals' was designed to prevent the extraction of ideas from existing works, ensuring that the film's use of AI remains original and respectful of others' intellectual property.

Ben Affleck has been at the forefront of exploring AI's potential in filmmaking for several years, culminating in his recent sale of InterPositive to Netflix for nearly $600 million.

In a conversation about his new movie 'Animals', which he directed, co-wrote and stars in alongside Kerry Washington, Affleck shifted focus from the film's use of AI to broader industry issues. He pointed out that there are more pressing concerns in Hollywood than the adoption of artificial intelligence, such as declining theatrical attendance, labor stoppages, and production tax rebates.

Affleck also highlighted his company Artists Equity, which he co-founded with Matt Damon. The company's philosophy is centered around fair compensation for creatives, ensuring that they receive a clear share of profits when their work contributes to the success of a project.

When discussing InterPositive, Affleck emphasized that its approach aligns with this same philosophy. He believes that creators can utilize AI technology to enhance their work without relinquishing control or ownership of their intellectual property. This perspective acknowledges the potential benefits of AI in filmmaking while also respecting the rights of artists and creatives.

Affleck's comments suggest a nuanced understanding of the role that AI can play in the film industry, one that prioritizes collaboration and creative enhancement rather than replacement or exploitation.

Ben Affleck's upcoming film "Animals" is set for release in select theaters and on Netflix on October 9. In a recent discussion about his approach to using AI, he emphasized that its capabilities are often misunderstood.

According to him, the limitations of AI are frequently overlooked, with many people mistakenly believing it to possess supernatural intelligence or sentience. He dismisses such claims as outdated myths, implying that we will eventually look back on them with a mix of amusement and embarrassment.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-news/ben-affleck-approach-ai-ethically-animals-replacing-1236720613/

One notable example is Taylor Sheridan, the mastermind behind popular TV series such as Yellowstone and Lioness. He recently left Paramount to join NBCUniversal, where he will be focusing on film projects. With a background in feature films, including Sicario and Wind River, Sheridan's expertise will undoubtedly bring value to Universal's slate.

The decision to poach Sheridan was made by Donna Langley, the chairman of NBCUniversal Entertainment. In an interview, she revealed that her team sees opportunities arise when companies are going through periods of disruption and instability. This is precisely what happened at Paramount, which had a first-look deal with Sheridan for film projects but not a robust TV agreement.

Langley saw an opening in film, where she believed Universal could offer Sheridan a more substantial deal than his current arrangement at Paramount. As a result, Sheridan's film deal will kick in next year, while his TV agreement will follow suit in 2028.

The move is expected to bring a boost to NBCUniversal's film division, which has been working hard to establish itself as a major player in Hollywood. With high-profile projects on the horizon, the company is poised for significant growth and success in the years to come.

Universal's film division is experiencing a remarkable year at the box office, with several projects exceeding expectations and breaking records.

The studio's success can be attributed in part to its ability to attract top talent, including Christopher Nolan, who left his longtime home at Warner Bros. to join Universal for his 2023 feature Oppenheimer. This film not only grossed $975 million globally but also won the Oscar for best picture.

Nolan's The Odyssey has been a major contributor to Universal's box office success, becoming the studio's highest-grossing film to date when it surpassed $1.684 billion in September. As of now, the film continues to perform well, with a global gross of over $1.753 billion.

When asked about Nolan's future projects, Langley noted that each of his films is able to go to market independently, as the director prefers not to be tied to any one studio. This arrangement allows Universal to continue working with Nolan on a project-by-project basis.

In contrast to its successes, Universal has also experienced some box office misses in recent years. The latest Minions outing, Minions & Monsters, grossed $523 million globally, which is roughly half of what the previous film earned in 2022.

Langley attributed the lower earnings to the fact that the franchise has been around for nearly two decades, with a relatively short gap between films. She suggested that an additional year may have helped build anticipation and made the story more appealing to younger audiences who might have found the old Hollywood setting confusing.

Universal Pictures' Chair Donna Langley acknowledged that there's a limit to what can be asked of legendary filmmakers like Steven Spielberg. However, she emphasized that their partnership is built on his exceptional producing skills and thought leadership across various aspects of the business.

In addition to producing films, Spielberg brings his expertise to Universal's theme parks and news ventures. His involvement goes beyond directing hits, with notable examples including the ongoing Jurassic World franchise. This broad range of contributions underscores Langley's perspective that Spielberg is a valuable partner due to his unique skillset.

Langley also mentioned other prominent filmmakers she'd like to collaborate with, naming Ryan Coogler as one such talent.

The Hollywood Reporter: https://www.hollywoodreporter.com/business/business-news/donna-langley-nbcu-taylor-sheridan-christopher-nolan-1236720688/

Neagley, a new Prime Video series starring Maria Sten as a Chicago private eye and former military colleague of Jack Reacher, drew massive viewership for its premiere week. The show's eight-episode season debuted as a binge release on Prime Video, with 1.78 billion minutes of viewing. This is comparable to the viewership numbers seen when Reacher first premiered in 2022.

The parent show, Reacher, didn't fall far behind, finishing third overall with 1.42 billion viewing minutes for its fourth season finale week. It's worth noting that this marks a significant increase in viewership, up by about 20 percent from the previous week. Since its premiere on August 12, Reacher has accumulated a substantial 5.8 billion minutes of watch time.

The new series Neagley has received an early renewal for a second season, with Prime Video announcing the news just days after its premiere. This suggests that the streaming platform is confident in the show's potential and its ability to attract and retain viewers.

Monster: The Lizzie Borden Story, a Netflix anthology series, took second place on the charts, with 1.48 billion minutes of viewing for its premiere week. Its numbers are in line with those seen when another episode from the same series, The Ed Gein Story, debuted last year with 1.52 billion minutes.

The streaming landscape is witnessing a fascinating trend, with Netflix's Crew Girl making its debut on the charts with an impressive 635 million minutes of watch time for the week following its release.

This marks the first time Crew Girl has appeared in Nielsen's streaming ratings, and it's clear that audiences are tuning in to this YA series. The numbers are significant, but not surprising given the popularity of Netflix's original content.

Meanwhile, Paramount+ is seeing a notable increase in viewership for its show Lioness. With 897 million minutes watched in the week leading up to its season three finale, the platform is experiencing an 8 percent growth compared to the previous week.

This uptick in viewership is likely due to the anticipation surrounding the show's conclusion, as fans eagerly await the final episode of the season. The momentum is a testament to the engaging storytelling and characters that Lioness has brought to the screen.

On the TV side, Apple TV is also seeing an improvement in viewership for its popular comedy series Ted Lasso. With 767 million minutes watched, the show is holding steady in the top rankings, indicating a strong appeal to audiences week after week.

The Nielsen ratings provide valuable insights into viewer behavior and preferences, offering a snapshot of what's currently trending on streaming platforms.

The latest streaming ratings reveal a surprising twist in the battle for viewers' attention, as Neagley has taken the top spot, outperforming previously dominant shows like Monster and Reacher.

In the acquired series category, The Big Bang Theory led with an impressive 950 million minutes of viewing time, followed closely by Major Crimes at 743 million. Bluey and SpongeBob SquarePants rounded out the top four spots, while Grey's Anatomy secured a respectable sixth place. Other popular shows included Bob's Burgers on Hulu, Lanterns on HBO Max, Modern Family across Hulu and Peacock, and Family Guy and Young Sheldon on various platforms.

In the movies category, Why Did I Get Married Again? took the top spot with 332 million minutes of viewing time on Netflix, followed by The Seemingly Perfect Family at 308 million. Puss in Boots: The Last Wish also performed well, securing fourth place with 250 million minutes. Other notable movie titles included Supergirl on HBO Max and Stockholm Bloodbath on Netflix.

The Hollywood Reporter: https://www.hollywoodreporter.com/tv/tv-news/streaming-ratings-sept-14-20-2026-1236720517/

Infiniti will star in Portrait of God, a mysterious horror feature directed by Dylan Clark, who co-wrote the script with Joe Russo. The film's plot remains under wraps, but sources describe it as a new take on religious horror. This is not the first time Clark has explored this theme, having released a short film with the same title online in 2022.

Clark's Portrait of God was initially set up at Universal, but the studio quietly dropped the project earlier this year. Lionsgate subsequently acquired the rights and greenlit the film. The production team boasts an impressive list of producers, including Sam Raimi for Ghost House Pictures and Jordan Peele for Monkeypaw - marking a collaboration between two horror heavyweights.

Raimi's involvement is particularly notable given his success with horror films through Ghost House Pictures. Meanwhile, this marks the first time that Raimi and Peele have worked together on a project.

The production team behind 'Portrait of God' has expanded to include several key players in the horror genre.

Rob Tapert and Win Rosenfeld are among the producers on board for Ghost House and Monkeypaw, respectively, joining the previously announced Russo. Additionally, Romel Adam and Jose Cañas oversee the project for Ghost House, while Chris Rosati is executive producing through his NAT20 Films banner as part of a first-look deal.

Chase Infiniti's breakout role in Paul Thomas Anderson's 'One Battle After Another' earned her six Oscar wins, cementing her status as a rising star. Her follow-up film, 'The Julia Set', was recently showcased at the Toronto International Film Festival and is now on the hunt for a buyer.

Dylan Clark's rise to prominence began with his high-horror short films posted on YouTube, which garnered millions of views and caught Hollywood's attention. Prior to 'Portrait of God', he will make his feature directorial debut with the reboot of the Blair Witch Project for Lionsgate and Blumhouse Atomic Monster.

The deal comes as studios are increasingly vying for young horror talent, following the success of films like Curry Barker's 'Obsession' and Kane Parson's 'Backrooms'.

The acquisition of "Portrait of God marks a significant collaboration between Lionsgate and emerging horror talent, following the success of recent films that have captivated young audiences.

Chase Infiniti will star in the Dylan Clark-directed film, with Scott O'Brien overseeing the project. Clark expressed his enthusiasm for working with Infiniti, citing her impressive performance in One Battle After Another" as a key factor in bringing her on board. The deal has been facilitated by Brandon Hill, who brought the project to Lionsgate, and Dan Freedman, who negotiated the studio's involvement.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-news/chase-infiniti-dylan-clark-horror-movie-portrait-of-god-1236708008/

The Marvel streaming TV portfolio has had its share of hits and misses, but WandaVision was a standout followed by an equally impressive sequel in Agatha All Along. The new series will tie up loose ends for fans who have been following the story since Vision's resurrection in WandaVision. His memories were restored in the finale.

After being resurrected as a white version of himself, Vision escaped those seeking to exploit his powers and has been living in hiding ever since. He consults AI personas like F.R.I.D.A.Y., E.D.I.T.H., J.A.R.V.I.S., and Ultron, who is infamous for his destructive tendencies.

Vision's discreet existence ends when a bounty is placed on his head, forcing him to go on the run with Thomas Shepard, a mysterious boy who may be connected to Vision in some way. As they evade capture, Vision must confront his nature, resist Ultron's influence, and uncover the truth about his young companion if he wants to survive.

The new trailer for VisionQuest provides a glimpse into the challenges that Vision will face as he navigates this complex web of relationships and identities. With its premiere just around the corner, fans are eagerly awaiting the conclusion of this trilogy.

The Marvel Cinematic Universe is expanding its cast for VisionQuest, a series that has been generating significant excitement among fans.

Bettany reprises his role as Vision, while James Spader returns to play Ultron. The story also introduces new characters, including Billy Maximoff, whose soul took over the body of Thomas Shepherd after Wanda's spell unraveled in WandaVision. This twist is connected to the Agatha All Along episode.

Other notable additions to the cast include Todd Stashwick as a bounty hunter named Paradin and T'Nia Miller as Jocasta, a vengeful robot. Emily Hampshire takes on the role of EDITH, Tony Stark's augmented reality security system, while Orla Brady plays FRIDAY, Stark's replacement AI for JARVIS.

Henry Lewis and Jonathan Sayer are also part of the cast as DUME and U, respectively, two of Stark's robot workshop assistants. Other characters in the series include Lauren Morais as Lisa Molinari and Cristian Lavin as a mercenary.

The latest trailer for Marvel's VisionQuest series has been released, offering a glimpse into the character's inner turmoil as he navigates his existential crisis. The trailer begins with Vision in human form entering a reception area, where he declares that he is there "for the trap," setting off a chain of events that leads to a gunfight.

As the action unfolds outside, we are transported back to Vision's interior world, where he grapples with the memories and legacy of his original self. He reflects on his past as a hero and Avenger, acknowledging that while he possesses those memories, he has not inherited their associated virtues.

The trailer also reveals Ultron's sinister intentions, as he seeks to exploit Vision's confusion in order to achieve his own goals. The villain demands that Vision free him in exchange for the safety of Tommy, hinting at a renewed desire to complete what he started years ago with catastrophic consequences.

Ars Technica: https://arstechnica.com/culture/2026/10/marvel-releases-one-last-visionquest-trailer/

The restaurant's success is not just about serving good food; it's also about creating an atmosphere where people feel at home. Regulars include well-known figures such as Michael Mann and Larry David, who have been spotted enjoying meals there with their partners, including the likes of Judd Apatow and Leslie Mann on a date night.

Rustic Canyon is marking its 20th anniversary this fall, and to celebrate, Loeb has planned a series of special dinners featuring some of the restaurant's original team members. These events will bring back old hands such as critically acclaimed chefs Jeremy Fox and Evan Funke, who have gone on to make names for themselves in other restaurants.

Chef Evan Funke, who has since opened his own Italian restaurants Felix, Mother Wolf, and Funke, credits Loeb with creating a true sense of place and conviviality at Rustic Canyon. "What Josh was trying to do at Rustic, and is still trying to do, is the hardest thing: Instill true sense-of-place and conviviality," Funke explains.

Loeb's passion for creating a welcoming atmosphere extends beyond his restaurant to his new venture in independent filmmaking. His directorial debut, In Spite of Ourselves, is set to premiere in limited release at the Quad Cinema in Manhattan on Friday, with a wider release following on October 16.

The film is a wry and winsome romance that tells the story of a meet-cute between two people over a cinnamon bun. Loeb's own experiences as a husband and father have clearly influenced the character of the hospitality-vet love interest, who bears a striking resemblance to his ex-wife, pastry chef Zoe Nathan.

Rustic Canyon, one of Hollywood's favorite haunts, has its roots in the tony Westside neighborhood where owner Josh Loeb grew up. The area, nestled between Brentwood and the Pacific Palisades, was a significant influence on Loeb's culinary vision.

Loeb's college years at Berkeley were marked by his fascination with Alice Waters' Chez Panisse and Judy Rodgers' Zuni Kitchen. These pioneering restaurants had captured his attention with their emphasis on seasonal, organic ingredients and simple yet elegant presentation. This philosophy resonated deeply with him, and he became determined to bring it back home.

After studying English and film in college, Loeb spent time reading scripts in New York City before deciding to pursue a culinary career of his own. He was drawn to the idea of elevating farm-to-table cuisine beyond its novelty status, making it accessible and appealing to a wider audience.

Loeb's family has long been passionate about food, with his brother Dan now a well-known hedge fund manager. Growing up, Loeb had the privilege of dining at some of Los Angeles' top restaurants, including Michael's in Santa Monica, where he celebrated his bar mitzvah lunch. Even as a young boy, Loeb was exposed to high-quality ingredients and exceptional service.

The impact of Rustic Canyon's commitment to local sourcing cannot be overstated. By partnering with the Santa Monica Farmer's Market and other independent vendors, Loeb and his team helped pave the way for a new wave of restaurants prioritizing seasonal, organic produce in Southern California.

Karen Beverlin, vice president of specialty sales for FreshPoint Produce, credits Rustic Canyon with pushing the boundaries of what was possible in local food service. "They demanded better eggs, better milk, better flour at scale," she notes, highlighting the restaurant's significant influence on the region's culinary landscape.

Rustic Canyon's culinary approach is notable for its lack of repetition and focus on seasonal ingredients.

Loeb emphasizes the importance of unpredictability in his restaurant's offerings, stating that he prefers to offer a range of dishes each time customers visit rather than sticking to a set menu.

This approach is echoed by Ed Zwick, a neighbor from Loeb's childhood who has witnessed the evolution of Rustic Canyon over the years. Zwick highlights the exceptional preparation and presentation of even simple dishes at the restaurant.

Nathan, another industry professional familiar with Rustic Canyon, notes that the restaurant continues to evolve despite its reputation as a staple in the community. Nathan attributes this ability to adapt to the diverse culinary backgrounds of the chefs who have worked there over time.

The introduction of new chefs has allowed Rustic Canyon to incorporate various cuisines and cooking styles into its menu, all while maintaining a consistent commitment to quality and seasonal ingredients.

As the restaurant industry continues to face numerous challenges, Rustic Canyon is not immune to these difficulties. Rising costs for labor, ingredients, and insurance are just a few of the expenses that Loeb's establishments must contend with.

The impact of the 2025 wildfires has also been felt, particularly in the Palisades area where many of Rustic Canyon's clientele lived. The displacement of residents has led to a decline in customer numbers, with some areas experiencing up to 30% fewer diners.

Industry trends are also affecting Loeb's restaurants. In particular, there is a noticeable shift away from industry professionals as customers, with the percentage of industry diners dropping from 40% to 25%. This change can be attributed to various factors, including reduced expense accounts and group orders.

The rise of delivery app culture has also had an impact on Loeb's establishments. While some restaurants may thrive in this environment, Rustic Canyon is not one of them. Loeb notes that the restaurant is not suited for delivery, and its unique atmosphere is best experienced in person.

Loeb's observations suggest that the current landscape presents numerous challenges for restaurateurs. With rising costs, industry trends, and technological changes all contributing to difficulties, it remains to be seen how establishments like Rustic Canyon will adapt to these headwinds.

Loeb has shifted his focus to film, establishing a production company to develop character-driven projects that are often overlooked by major studios and streamers.

His latest endeavour, [ In Spite of Ourselves ], is reminiscent of classic films from the Eighties and Nineties, with its tender storytelling and nostalgic feel evoking comparisons to John Hughes, Rob Reiner, or Nora Ephron's works. This is exactly what Loeb aimed for when creating the film.

Rustic Canyon's approach to change over time has been crucial in its survival despite numerous challenges, according to Loeb. He likens this adaptability to being busy being born or busy dying, a quote from Bob Dylan that aptly describes the restaurant industry as well.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-features/josh-loeb-rustic-canyon-film-in-spite-of-ourselves-1236717750/

The theatrical release and simultaneous production of the play are a double-edged sword for Sorkin, who acknowledges the added pressure this brings. However, he seems to be taking it in stride, saying "it's a pretty glamorous problem to have" when discussing the back-to-back premieres.

Sorkin is revisiting A Few Good Men, a military court drama that originally premiered on Broadway over three decades ago. He penned the play while working as a theater bartender, using cocktail napkins as his writing surface. The production brings together familiar faces from the original show, including Bradley Whitford and Krysta Rodriguez.

The revival of A Few Good Men marks a return to Sorkin's roots in theater, where he launched his career with this very play. It is a testament to the enduring impact of his work and its ability to continue resonating with audiences today.

In preparation for The Social Reckoning, Sorkin has faced unique challenges due to the subject matter. He reveals that Sony required a high level of security around the film, limiting the number of people who have seen it so far.

The film tells the true story of Facebook whistleblower Frances Haugen and Wall Street Journal reporter Jeff Horwitz, with Mikey Madison and Jeremy White set to portray them in the movie. Despite the limited access to the film, Sorkin expresses confidence in its quality, saying he's "very proud of The Social Reckoning.

Sorkin's initial reluctance to write a follow-up to The Social Network was due in part to concerns about being typecast as a writer who churns out sequels, much like the infamous Jaws 2. However, he couldn't shake off the feeling that there was still more to explore within the story of Facebook's rise and fall.

The turning point came when Sorkin spent years researching and speaking with Haugen and Horwitz about their exposé on Meta's alleged mishandling of its platforms' impact on teenagers and misinformation. Their conversations sparked an idea in Sorkin, who began to see a story emerge from the shadows.

Sorkin has revealed that he asked Horwitz what triggered Haugen's transformation from devoted Facebook employee to whistleblower. The answer came when Horwitz mentioned that Haugen had a friend who was radicalized by the social media platform and she wanted to investigate further.

This pivotal moment allowed Sorkin to envision the first scene of his new film, which is always essential for him to start working on a project. He described it as an epic period where he faced writer's block, but this new idea reignited his passion and drive to write.

As Sorkin delves into the story, he draws parallels between his writing process and navigating through dark woods with a flashlight. The beam of light only illuminates what is directly ahead, but as one progresses, their vision expands, revealing more of the path.

Sorkin's eagerness to start working on this new project was palpable, especially considering his prolonged period of writer's block. His confidence in the story's potential is evident, and he seems undaunted by the pressure that comes with following up a critically acclaimed film like The Social Network.

Sorkin's Broadway revival of A Few Good Men is a departure from his current focus on The Social Network follow-up, but one that holds personal significance for him. This time around, he was approached by The Lincoln Center and Tony Award-winning director Michael Arden, which likely played a role in his decision to take on the project.

The play's themes of military justice and the consequences of following orders are particularly timely given the current political climate. Sorkin has noted that the revived production is an opportunity for him to revisit familiar material with fresh eyes. He has also expressed enthusiasm about being able to do a little polish on the original script.

Sorkin's initial experience writing A Few Good Men was marked by humble beginnings, as he penned the play while working as a bartender at the Palace Theater during the Broadway run of La Cage Aux Folles. This unusual setting likely influenced his creative process, and the plot was largely developed in short bursts between serving drinks to patrons.

Sorkin has spoken fondly about his memories of writing A Few Good Men, but also acknowledges that it's not a work he looks back on with great nostalgia. He humorously referred to it as looking at old high school yearbook pictures, a reminder that things often appear more impressive in hindsight than they actually were.

The play was inspired by a conversation Sorkin had with his sister, who was visiting Guantanamo Bay and dealing with the aftermath of a code red. While he did conduct further research on this case, the rest of the story is largely fictionalized. This blend of fact and fiction likely presented challenges for Sorkin as a writer.

The revival's focus on military justice and the consequences of following orders will undoubtedly provide an interesting contrast to The Social Network follow-up, which has been in development for some time.

The revival of A Few Good Men is set to bring a fresh perspective to the story, as Bradley Whitford takes on the role of Col. Jessup, the commanding officer at the center of the drama.

This marks a significant departure for Whitford, who has previously played the lead role of Kaffee in the original production, where he made his big break alongside Aaron Sorkin's work. The experience of playing Kaffee had a lasting impact on Whitford, who recalls standing backstage before his first performance and feeling overwhelmed by the gravity of the character's words.

In the revival, Whitford is now tasked with bringing Col. Jessup to life, a role that was famously portrayed by Jack Nicholson in the film adaptation. However, Whitford has chosen not to study Nicholson's iconic performance, instead developing his own interpretation of the character based on his experiences playing opposite several Jessups during the original production.

Whitford's take on Col. Jessup is expected to be a nuanced one, with the actor describing him as a complex figure who defies easy categorization. He notes that, in his mind, Jessup often takes on the characteristics of a Democrat who is about to trash the classroom, rather than the stereotypical Republican.

Whitford's portrayal of an antagonist role is not new, having appeared in shows such as The Handmaid's Tale and Get Out. However, he insists that this is not a deliberate choice, and that his ability to play complex characters is simply a skill that has developed over time.

When asked about how he approaches playing such dark roles, Whitford humorously notes that while he may struggle with everyday tasks like sending food back in a restaurant, he has no problem bringing monstrous characters to life on stage.

Sorkin has revealed that his approach to refining A Few Good Men before its preview involved making some adjustments to the dialogue and plot points to make them clearer for the audience.

This process allowed him to give the cast and crew the space they needed to delve deeper into their characters and explore the themes of the play without interference from the writer.

As rehearsals progressed, Sorkin emphasized that he wants the production team to view this iteration as a new play, rather than a rehashing of his previous work. This openness to changes and suggestions is reflected in his willingness to rewrite scenes if they're not working during previews.

The cast has spoken highly of Sorkin's collaborative approach, with Whitford recalling that he advised the actors to treat Sorkin like any other writer, rather than being intimidated by his reputation.

Sorkin's comments on his own writing style suggest that he draws inspiration from a romantic" idea about how institutions should function in American democracy. This vision is tempered by an acknowledgment of their complexities and flaws.

While the play's themes are likely to resonate with audiences given its timing, Sorkin hopes that viewers will also be entertained by the production itself, rather than just focusing on the message it conveys.

To create an engaging and thought-provoking theatrical experience, Aaron Sorkin emphasizes that audiences must consider the authority figures behind a particular action or decision. He highlights how individuals in positions of power, such as military personnel, tend to follow orders without questioning them.

Sorkin's approach underscores the importance of examining the motivations and intentions of those who hold influence over others.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-features/aaron-sorkin-social-network-reckoning-movie-broadway-1236718158/

Among the participants are actors Michael Sheen, Jerry Hall, and Richard E Grant, as well as TV personalities Amol Rajan, Bella Ramsey, Leigh-Anne Pinnock, Maya Jama, and King Kenny. The show has added two more contestants to its roster compared to last year's series.

The debut episode of Celebrity Traitors will be an extended 75-minute special, airing at 20:00 BST on Thursday evening. Viewers can expect the rest of the series to continue every Thursday and Friday throughout October.

According to executive producer Sarah Fay, the show aims to introduce fresh ideas and push the boundaries with its elaborate tasks. To achieve this goal, she explained that they always want to evolve existing ideas or come up with new cultural references.

The celebrities participating in the show will be playing for a £100,000 prize, which will be awarded based on their performance in various challenges, regardless of any potential tensions or conflicts arising from accusations of betrayal.

As the contestants navigate their way through the challenges of Celebrity Traitors, they will have access to various locations within the castle grounds. These include a train that takes them on scenic routes, allowing them to take in the surroundings while also keeping an eye on their fellow competitors.

The show's producers have also made arrangements for visitors to tour the castle and its unique features, including the unusual monument that has become a talking point among fans of the series. While the contestants are busy with their challenges, those outside can get a glimpse into the history and architecture of the castle.

As the first episode approaches, excitement is building among viewers who have been eagerly anticipating the return of Celebrity Traitors. The show's producers have confirmed that there will be 10 episodes in total, broadcast on Thursdays and Fridays at 20:00 on BBC One and iPlayer, with a spin-off series Uncloaked airing immediately after.

Host Claudia Winkleman has spoken about her experience hosting the show, revealing that she is completely focused on the contestants while they are within the castle walls. According to Winkleman, she spends her time in the control room monitoring footage of the contestants and keeping track of their progress.

The production team has gone to great lengths to ensure a smooth operation, with Winkleman admitting that even when her workday is supposed to be over, she often finds herself stuck at the castle, eager to see how events unfold.

The production team has been diligent in reviewing hours of footage each day to ensure a seamless broadcast experience.

Ed Gamble, host of Uncloaked, shared his own viewing habits, revealing that he watches "hours of footage a day as part of the show's preparation process.

This extensive review allows viewers to get an intimate glimpse into the contestants' daily lives, with Gamble joking that he often finds himself eating breakfast at the same time as them, even if it means watching from his pyjamas.

In addition to the behind-the-scenes look, fans can also expect a showcase of Winkleman's eclectic wardrobe choices, which have been met with enthusiasm by the production team.

Comedian Romesh Ranganathan has spoken about his own experience in the show, stating that even friendships won't be spared from scrutiny.

The show's contestants have shared their own experiences and approaches to the game, which involves navigating alliances and uncovering traitors among them.

Bella Ramsey, known for her roles in The Last of Us and Game of Thrones, has a background in playing similar games at drama clubs and home, which is why she joined Celebrity Traitors. She revealed that she's been playing versions of this type of game since the age of 10, suggesting a long-standing interest.

Mathematician Hannah Fry is another contestant who's brought her analytical skills to the table. She admitted to scrutinizing data from previous games in search of statistical patterns, showcasing her competitive nature as toxically competitive.

The show itself has become a tribute to its Scottish Highlands filming location, with stunning drone footage capturing the region's breathtaking scenery and picturesque castles, such as Ardross Castle in Inverness.

The new series of Celebrity Traitors has finally arrived on BBC One and iPlayer, with Winkleman returning as host after her recent chat show stint.

Winkleman was asked if she would ever consider being a contestant herself, perhaps in the US or Australian versions of the show. She playfully downgraded her potential skills, saying I'm too thick" when asked about taking part. The self-deprecating comment is characteristic of Winkleman's lighthearted approach to hosting.

The series will air two nights a week on Thursday and Friday evenings from 1 October at 20:00 BST, giving viewers plenty of opportunities to tune in and see the celebrities navigate the game.

BBC News Entertainment: https://www.bbc.co.uk/news/articles/ckqxvnpy7e49o?at_medium=RSS&at_campaign=rss