Long-time Slashdot reader sandbagger brings news that in June "a rare screening of the original 1977 Star Wars movie — complete with Han shooting first — will be shown at a theater in London..."

Petapixel reports: Subsequent alterations made to the film are well-documented: Han Solo being shot at by the bounty hunter Greedo first, rather than the original in which anti-hero Han killed Greedo without being shot at. Then there is the addition of a CGI Jabba the Hutt who was only mentioned by name in the 1977 release. Fans have also complained about the color grading painted on re-releases.

But for those attending the British Film Institute (BFI)'s Film on Film festival in London, they are in for a treat. Star Wars will play not once but twice on the opening night on June 12... BFI says the print is "unfaded" and "ready to transport us to a long time ago, and a galaxy far, far away, back to the moment in 1977 when George Lucas's vision cast a spell on cinema audiences."

Lucas has little sympathy for those who want to see his first version of the film, telling the Associated Press in 2004, "I'm sorry you saw half a completed film and fell in love with it. But I want it to be the way I want it to be."
The film festival promises "a glorious dye-transfer" of Star Wars — and will also show "a pristine 35mm print of the original US pilot episode of Twin Peaks, screening for the first time ever in the UK" — followed by a Q&A with the 1990 show's original star Kyle MacLachlan. On display to coincide with the opening night screening there is also a rare opportunity to view material from the original continuity script for Star Wars, which includes rare on-set Polaroids, annotations and deleted scenes. The script is from the collection of Ann Skinner, script editor on the original film, and is now cared for by the BFI National Archive.

Director James Cameron argues that blockbuster filmmaking can only survive if the industry finds ways to "cut the cost of [VFX] in half," with AI potentially offering solutions that don't eliminate jobs.

"If we want to continue to see the kinds of movies that I've always loved and that I like to make -- 'Dune,' 'Dune: Part Two,' or one of my films or big effects-heavy, CG-heavy films -- we've got to figure out how to cut the cost of that in half," Cameron said.

Rather than staff reductions, Cameron envisions AI accelerating VFX workflows: "That's about doubling their speed to completion on a given shot, so your cadence is faster and your throughput cycle is faster, and artists get to move on and do other cool things."

Hours after Donald Trump imposed record 125% tariffs on Chinese products entering the US, China has announced it will further curb the number of US films allowed to screen in the country. From a report: "The wrong action of the US government to abuse tariffs on China will inevitably further reduce the domestic audience's favourability towards American films," the China Film Administration said in a statement on Thursday. "We will follow the market rules, respect the audience's choice, and moderately reduce the number of American films imported."

The move mirrors the potential countermeasure suggested by two influential Chinese bloggers earlier in the week, warning that "China has plenty of tools for retaliation." Both Liu Hong, a senior editor at Xinhuanet, the website of the state-run Xinhua news agency, as well as Ren Yi, the grandson of former Guangdong party chief Ren Zhongyi, posted an identical proposal involving a heavy reduction on the import of US movies and further investigation of the intellectual property benefits of American companies operating in China. China is the world's second largest film market after the US.

Meta is partnering with Blumhouse to launch "Movie Mate" technology that encourages moviegoers to use their phones during theatrical screenings, beginning with an April 30 showing of "Megan" at Blumhouse's "Halfway to Halloween Film Festival." According to Variety, the system enables viewers to chat with a Megan-themed AI chatbot, answer trivia questions, and access behind-the-scenes information while watching the film in theaters.

BrianFagioli writes: In a move that is sure to make longtime PC users do a double take, the Library of Congress has added two very unexpected sounds to its National Recording Registry. No, it's not another classic rock album or jazz staple. Believe it or not, it's actually the "Reboot Chime" from Windows 95 (that played when the operating system started) and the soundtrack from Minecraft!

Children in a small Japanese town are obsessively collecting trading cards featuring local elderly men rather than popular fantasy creatures, helping bridge generational gaps in an aging rural community.

In Kawara, Fukuoka Prefecture, the "Ojisan TCG" (Middle-aged Man Trading Card Game) features 28 local men with assigned elemental types and battle stats. The collection includes a former fire brigade chief and a prison officer-turned-volunteer whose card has become so sought-after that children request his autograph.

Created by Eri Miyahara of the Saidosho Community Council, the initiative has doubled participation in town events. "We wanted to strengthen the connection between children and older generations," Miyahara told Fuji News Network. "So many kids are starting to look up to these men as heroic figures."

"Three Microsoft CEOs walk into a room..." Satya Nadella posted on X.com, "and are interviewed by Copilot!"

As part of Microsoft's 50th anniversary celebration, Microsoft CEO Nadella joined former Microsoft CEOs Bill Gates and Steve Ballmer in a funny two-minute video (also available on YouTube) in which Nadella asks Copilot for an AI-powered roast of each of them.

"All right Satya," Copilot answers. "Let's spice it up..." Copilot: Steve, we'll start with you. Your enthusiasm is legendary. But do you ever worry that your energy might short-circuit the AI? I mean, even robots need a coffee break after your pep talks.

Steve Ballmer: Come on dude! If you can't handle me, you can't handle a huge percentage of the world's population! We're counting on you!

Copilot: Ha ha, fair point Steve. Now Bill, you've got that signature thoughtful gaze. But do you ever think the AI might feel intimidated by your intense thinking face? I mean, it's like it's waiting for a blue screen moment.

Bill Gates: I hope so. I mean, it's all I've got left as the AIs get so damn intelligent. It's just that gaze and my willingness to criticize that differentiates me.

Copilot: And it's a formidable gaze indeed, Bill.

Steve Ballmer: Copilot, would you ever be willing to criticize him?

Copilot: Absolutely. Criticism is where growth happens. Now Satya, AI seems to be your best buddy — but ever worry that your deep passion for AI could one day have it running the show, leaving you to just enjoy the ride?

Satya Nadella: Well, the day AI can play like the best cricket player that I enjoy, that's the day it can run the show, as far as I'm concerned.

Copilot: Touche, Satya. Let's see if it can hit a century in cricket and then we'll talk.

This has been a blast, gentlemen. Here's to another 50 years of innovation and adventure. Cheers.

Ballmer, Nadella, and Gates: Cheers.

Bill Gates: Whatever that means to an AI. Does it drink?

It was already the best-selling videogame of all time, notes the Hollywood Reporter. And A Minecraft Movie just had the biggest opening ever for a video game movie adaptation. WIth a production budget of $150 million, it earned in $157 million in just its first weekend in the U.S., with a worldwide total of $301 million.

A Warner Bros. executive called the movie "lightning in a bottle," while the head of co-producer Legendary Pictures acknowledged the game is a global phenomon, according to the article. (About the movie's performance, the executive "said the opening is a both a reflection of the mandate to celebrate the world of Minecraft in a joyful way, and the singular experience that only theatrical can offer."

But an unfinished version leaked online before the movie was even released, reports Variety Screenshots and footage from the fantasy adventure were being shared widely on social media platforms this week, and were also available on file sharing sites. The images and scenes have uncompleted visual effects. Most of the footage was quickly taken down by the rights holders. Although pirated footage is a common problem for major film releases, it's rare to have a working print leak online in this way, raising questions about how such an early version of the movie was accessed, stolen and then shared.

This October will see the release of a film that's nearly 43 years in the making, reports Ars Technica: It's difficult to underestimate the massive influence that Disney's 1982 cult science fiction film, TRON, had on both the film industry — thanks to combining live action with what were then groundbreaking visual effects rife with computer-generated imagery — and on nerd culture at large. Over the ensuing decades there has been one sequel, an animated TV series, a comic book miniseries, video games, and theme park attractions, all modeled on director Steve Lisberg's original fictional world.

Now we're getting a third installment in the film franchise: TRON: Ares, directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil), that serves as a standalone sequel to 2010's TRON: Legacy. Disney just released the first trailer and poster art, and while the footage is short on plot, it's got the show-stopping visuals we've come to expect from all things TRON.
The film's director says it "builds upon the legacy of cutting-edge design, technology and storytelling, according to an official statement from Disney. And here's how they describe the plot. "TRON: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind's first encounter with A.I. beings."

Share your thoughts in the comments. (Anyone remember playing the Tron videogame?)

The first episode of 2012's animated Tron: Uprising is available on the Disney XD YouTube channel...

"The third James Bond novel was published on this day in 1955," writes long-time Slashdot reader sandbagger. Film buff Christian Petrozza shares some history: In 1979, the market was hot amid the studios to make the next big space opera. Star Wars blew up the box office in 1977 with Alien soon following and while audiences eagerly awaited the next installment of George Lucas' The Empire Strikes Back, Hollywood was buzzing with spacesuits, lasers, and ships that cruised the stars. Politically, the Cold War between the United States and Russia was still a hot topic, with the James Bond franchise fanning the flames in the media entertainment sector. Moon missions had just finished their run in the early 70s and the space race was still generationally fresh. With all this in mind, as well as the successful run of Roger Moore's fun and campy Bond, the time seemed ripe to boldly take the globe-trotting Bond where no spy has gone before.

Thus, 1979's Moonraker blasted off to theatres, full of chrome space-suits, laser guns, and jetpacks, the franchise went full-boar science fiction to keep up with the Joneses of current Hollywood's hottest genre. The film was a commercial smash hit, grossing 210 million worldwide. Despite some mixed reviews from critics, audiences seemed jazzed about seeing James Bond in space.

When it comes to adaptations of the novella that Ian Fleming wrote of the same name, Moonraker couldn't be farther from its source material, and may as well be renamed completely to avoid any association... Ian Fleming's original Moonraker was more of a post-war commentary on the domestic fears of modern weapons being turned on Europe by enemies who were hired for science by newer foes. With Nazi scientists being hired by both the U.S. and Russia to build weapons of mass destruction after World War II, this was less of a Sci-Fi and much more of a cautionary tale.
They argue that filming a new version of Moonraker could "find a happy medium between the glamor and the grit of the James Bond franchise..."

An anonymous reader quotes an op-ed from Ars Technica's Scharon Harding: TVs offer us an escape from the real world. After a long day, sometimes there's nothing more relaxing than turning on your TV, tuning into your favorite program, and unplugging from the realities around you. But what happens when divisive, potentially offensive messaging infiltrates that escape? Even with streaming services making it easy to watch TV commercial-free, it can still be difficult for TV viewers to avoid ads with these sorts of messages. That's especially the case with budget brands, which may even force controversial ads onto TVs when they're idle, making users pay for low-priced TVs in unexpected, and sometimes troubling, ways. [...]

Buying a budget TV means accepting some trade-offs. Those trade-offs have historically been around things like image quality and feature sets. But companies like Vizio are also asking customers to accept questionable advertising decisions as they look to create new paths to ad revenue. Numerous factors are pushing TV OS operators deeper into advertising. Brands are struggling to grow profits as people buy new TVs less frequently. As the TV market gets more competitive, hardware is also selling for cheaper, with some companies selling TVs at a loss with hopes of making up for it with ad sales. There's concern that these market realities could detract from real TV innovation. And as the Secretary Noem ad reportedly shown to Vizio TV owners has highlighted, another concern is the lack of care around which ads are being shown to TV owners -- especially when all they want is simple "ambient background" noise.

Today, people can disable ambient mode settings that show ads. But with some TV brands showing poor judgment around where they sell and place ads, we wouldn't bank on companies maintaining these boundaries forever. If the industry can't find a way to balance corporate needs with appropriate advertising, people might turn off not only their TVs more often, but also unplug from those brands completely. Some of the worst offenders highlighted in the article include Vizio TVs' "Scenic Mode," which activates when the TV is idle and displays "relaxing, ambient content" accompanied by ads. Roku City takes a similar approach with its animated cityscape screensaver, saturated with brand logos and advertisements. Even Amazon Fire TV and premium brands like LG have adopted screensaver ads, showing that this intrusive trend isn't limited to budget models.

An anonymous reader shares a report: The post-Covid rebound of live events is all the more evidence that movie theaters are never coming back, Netflix co-CEO Ted Sarandos told Semafor in an interview at the Paley Center for Media Friday.

"Nearly every live thing has come back screaming," Sarandos said. "Broadway's breaking records right now, sporting events, concerts, all those things that we couldn't do during COVID are all back and bigger than ever. The theatrical box office is down 40 to 50% from pre-COVID, and this year is down 8% already, so the trend is not reversing. You've gotta look at that and say, 'What is the consumer trying to tell you?'"

Smart TV platforms are increasingly monitoring what appears on users' screens through Automatic Content Recognition (ACR) technology, building detailed viewer profiles for targeted advertising.

Roku, which transitioned from a hardware company to an advertising powerhouse, reported $3.5 billion in annual ad revenue for 2024 -- representing 85% of its total income. The company has aggressively acquired ACR-related firms, with Roku-owned technology winning an Emmy in 2023 for advancements in the field.

According to market research firm Antenna, 43% of all streaming subscriptions in the United States were ad-supported by late 2024, showing the industry's shift toward advertising-based models. Most users unknowingly consent to this monitoring when setting up their devices. Though consumers can technically disable ACR in their TV settings, doing so often restricts functionality.

Fake movie trailers created with AI are proliferating across YouTube, with some garnering more views than official studio releases -- and Hollywood studios are quietly profiting from the phenomenon rather than shutting it down. Instead of enforcing copyright on these unauthorized videos, Warner Bros. Discovery, Sony Pictures, and Paramount are claiming monetization rights, directing ad revenue from fake trailers for films like "Superman" and "Gladiator II" into studio coffers, according to a Deadline investigation published Friday.

YouTube channels like Screen Culture, which has amassed 1.4 billion views, merge official footage with AI-generated imagery to create convincing trailer mockups that frequently rank higher in search results than legitimate studio releases. "Monetizing unauthorized, unwanted, and subpar uses of human-centered IP is a race to the bottom," SAG-AFTRA told Deadline, condemning studios for profiting from content that exploits performers without permission.

Streaming platforms are increasingly indistinguishable to consumers despite high brand awareness, according to Hub Entertainment Research. The annual Evolution of Video Branding report shows major services like Netflix, Disney+, Hulu, and Max experiencing year-over-year declines in viewers' ability to articulate what makes each platform unique.

Fewer consumers (37% in 2025, down from 41% in 2023) report signing up for services to watch specific shows, while many can't correctly identify where signature programs like Game of Thrones or The Bear can be viewed. While 58% know Stranger Things streams on Netflix, less than half can properly place other major titles.