Scifi author/tech activist Cory Doctorow has decried the "enshittification" of our technologies to extract more profit. But Saturday he also described what could be "the beginning of the end for enshittification" in a new article for the Guardian — "our chance to make tech good again". There is only one reason the world isn't bursting with wildly profitable products and projects that disenshittify the US's defective products: its (former) trading partners were bullied into passing an "anti-circumvention" law that bans the kind of reverse-engineering that is the necessary prelude to modifying an existing product to make it work better for its users (at the expense of its manufacturer)...

Post-Brexit, the UK is uniquely able to seize this moment. Unlike our European cousins, we needn't wait for the copyright directive to be repealed before we can strike article 6 off our own law books and thereby salvage something good out of Brexit... Until we repeal the anti-circumvention law, we can't reverse-engineer the US's cloud software, whether it's a database, a word processor or a tractor, in order to swap out proprietary, American code for robust, open, auditable alternatives that will safeguard our digital sovereignty. The same goes for any technology tethered to servers operated by any government that might have interests adverse to ours — say, the solar inverters and batteries we buy from China.

This is the state of play at the dawn of 2026. The digital rights movement has two powerful potential coalition partners in the fight to reclaim the right of people to change how their devices work, to claw back privacy and a fair deal from tech: investors and national security hawks. Admittedly, the door is only open a crack, but it's been locked tight since the turn of the century. When it comes to a better technology future, "open a crack" is the most exciting proposition I've heard in decades.
Thanks to Slashdot reader Bruce66423 for sharing the article.

"If I get to do another Avatar film, it'll be because the business model still works," James Cameron tells CNN in a video interview — adding "That I can't guarantee, as I sit here today. That'll play out over the next month, really." He says theatre is a "sacred space," and while it will never go away, "I think that it could fall below a threshhold where the kinds of movies that I like to make and that I like to see... won't be sustainable, they won't be economically viable. And that can happen. We're very close to that right now."

The Wrap notes he filmed his new movie at the same time as its predecessor, The Way of Water." "We did all the performance capture in an 18-month period for both films. Then we did a lot of the virtual camera work to figure out exactly how we were going to do the live-action," Cameron explained. "Then we did all live-action together for both films. Then we split it and said, All right, now we just got to finish [movie] two....." While Cameron has been iffy about whether the previously announced fourth and fifth films will actually happen, he has already shot some of the fourth movie. "We're in a fluid scenario. Theatrical's contracting, streaming is expanding. People's habit patterns are changing. The teen demo consumes media differently than what we grew up with. And how much is it changing? Does theatrical contract to a point where it just stops right and doesn't get any smaller because we still value that, or does it continue to wither away?" Cameron said.
It's a theme he continued in his interview with The Hollywood Reporter" "This can be the last one. There's only one [unanswered question] in the story. We may find that the release of Avatar 3 proves how diminished the cinematic experience is these days, or we may find it proves the case that it's as strong as it ever was — but only for certain types of films. It's a coin toss right now. We won't know until the middle of January."

I ask something that might sound odd: What do you want to happen? But Cameron gets the implication. "That's an interesting question," he says. "I feel I'm at a bit of a crossroads. Do I want it to be a wild success — which almost compels me to continue and make two more Avatar movies? Or do I want it to fail just enough that I can justify doing somethingelse...?"

"What won't happen is, I won't go down the rabbit hole of exclusively making only Avatar for multiple years. I'm going to figure out another way that involves more collaboration. I'm not saying I'm going to step away as a director, but I'm going to pull back from being as hands-on with every tiny aspect of the process..." Cameron won't reveal his next project — and he might even be unsure himself — but will give intriguing hints. In addition to co-directing Billie Eilish's upcoming 3D concert documentary, Hit Me Hard and Soft, Cameron has another globe-trotting documentary adventure in the works, the details of which are under wraps. His next narrative film probably won't be Ghosts of Hiroshima, which has generated considerable press after Cameron acquired the rights to Charles Pellegrino's book chronicling the true story of Tsutomu Yamaguchi, who in 1945 survived the nuclear blasts at both Hiroshima and Nagasaki. Cameron promised Yamaguchi on his deathbed in 2010 that he'd makethefilm. "The postapocalypse is not going to be the fun that it is in science fiction," he says. "It's not going to have mutants and monsters and all sorts of cool stuff. It's hell...."

Cameron first portrayed the apocalypse in his 1984 debut, The Terminator, a franchise he's quietly working on revisiting. "Once the dust clears on Avatar in a couple of months, I'm going to really plunge into that," he says. "There are a lot of narrative problems to solve. The biggest is how do I stay enough ahead of what's really happening to make it science fiction?" Asked whether he's cracked the premise, Cameron replies, "I'm working on it," but his sly smile suggests that he has.... There needs to be a broader interpretation of Terminator and the idea of a time war and super intelligence. I want to do new stuff that people aren't imagining."
Maybe Cameron's best response was what he told USA Today: "Let's do another interview in a year and then I'll tell you what my plans are," Cameron, 71, says with a grin. For now, he's still catching his breath.

Researchers warn that rapid advances in neuroscience, pharmacology, and AI are bringing "brain weapons" out of science fiction and into real-world plausibility. They argue current arms treaties don't adequately cover these emerging tools and call for a new, proactive framework to prevent the weaponization of the human mind. The Guardian reports: Michael Crowley and Malcolm Dando, of Bradford University, are about to publish a book that they believe should be a wake-up call to the world. [...] The book, published by the Royal Society of Chemistry, explores how advances in neuroscience, pharmacology and artificial intelligence are coming together to create a new threat. "We are entering an era where the brain itself could become a battlefield," said Crowley. "The tools to manipulate the central nervous system -- to sedate, confuse or even coerce -- are becoming more precise, more accessible and more attractive to states."

The book traces the fascinating, if appalling, history of state-sponsored research into central nervous system (CNS)-acting chemicals. [...] The academics argue that the ability exists to create much more "sophisticated and targeted" weapons that would once have been unimaginable. Dando said: "The same knowledge that helps us treat neurological disorders could be used to disrupt cognition, induce compliance, or even in the future turn people into unwitting agents." The threat is "real and growing" but there are gaps in international arms control treaties preventing it from being tackled effectively, they say. [...]

The book makes the case for a new "holistic arms control" framework, rather than relying on existing arms control treaties. It sets out a number of practical steps that could be taken, including establishing a working group on CNS-acting and broader incapacitating agents. Other proposals concern training, monitoring and definitions. "We need to move from reactive to proactive governance," said Dando. Both men acknowledge that we are learning more about the brain and the central nervous system, which is good for humanity. They said they were not trying to stifle scientific progress and it was about preventing malign intent. Crowley said: "This is a wake-up call. We must act now to protect the integrity of science and the sanctity of the human mind."

FX has renewed Alien: Earth for a second season and signed creator Noah Hawley to a massive nine-figure overall deal with Disney Entertainment Television. Deadline reports: Inspired by Ridley Scott's sci-fi thriller film Alien, Hawley adapted the film franchise for television with the strong support of Scott Free and its president, David W. Zucker, who is an executive producer of the series. It earned a positive reaction from fans, posting a 94% Certified Fresh rating from Rotten Tomatoes and a Metacritic Must-Watch score of 85. "It has been our great privilege to work with Noah for more than a decade on some of FX's best and biggest shows, and we are thrilled to extend our partnership well into the future," said FX Chairman John Landgraf. "Noah never stops surprising us with truly original stories -- and his unique ability to bring them to vibrant life as a director and producer as well as writer makes him extraordinary. We can't wait to get to work on the next season of Alien: Earth, as well as some equally exciting future projects in advanced development."

The new series from Breaking Bad creator Vince Gilligan, Pluribus, was emphatically made by humans, not AI, reports TechCrunch: If you watched all the way to the end of the new Apple TV show "Pluribus," you may have noticed an unusual disclaimer in the credits: "This show was made by humans." That terse message — placed right below a note that "animal wranglers were on set to ensure animal safety" — could potentially provide a model for other filmmakers seeking to highlight that their work was made without the use of generative AI.
In fact, yesterday the former X-Files writer told Variety "I hate AI. AI is the world's most expensive and energy-intensive plagiarism machine...." He goes on, about how AI-generated content is "like a cow chewing its cud — an endlessly regurgitated loop of nonsense," and how the U.S. will fail to regulate the technology because of an arms race with China. He works himself up until he's laughing again, proclaiming: "Thank you, Silicon Valley! Yet again, you've fucked up the world."
He also says "there's a very high possibility that this is all a bunch of horseshit," according to the article. "It's basically a bunch of centibillionaires whose greatest life goal is to become the world's first trillionaires. I think they're selling a bag of vapor."

And earlier this week he told Polygon that he hasn't used ChatGPT "because, as of yet, no one has held a shotgun to my head and made me do it." (Adding "I will never use it.")

Time magazine called Thursday's two-episode premiere "bonkers." Though ironically, that premiere hit its own dystopian glitch. "After months of buildup and an omnipresent advertising campaign, Apple's much-anticipated new show Pluribus made its debut..." reports Macworld. "And the service promptly suffered a major outage across the U.S. and Canada." As reported by Bloomberg and others, users started to report that the service had crashed at around 10:30 p.m. ET, shortly after Apple made the first two episodes of the show available to stream. There were almost 13,000 reports on Downdetector before Apple acknowledged the problem on its System Status page. Reports say the outage was brief, lasting less than an hour...

[T]here remains a Resolved Outage note on Apple TV (simply saying "Some users were affected; users experienced a problem with Apple TV" between 10:29 and 11.38 p.m.), as well as on Apple Music and Apple Arcade, which also went down at the same time. Social media reports indicated that the outage was widespread.

In a recent article published in the New York Times, author Casey Michael Henry argues that today's tech industry keeps borrowing dystopian sci-fi aesthetics and ideas -- often the parts that were meant as warnings -- and repackages them as exciting products without recognizing that they were originally cautionary tales to avoid. "The tech industry is delivering on some of the futuristic notions of late-20th-century science fiction," writes Henry. "Yet it seems, at times, bizarrely unaware that many of those notions were meant to be dystopian or satirical -- dismal visions of where our worst and dumbest habits could lead us." Here's an excerpt from the report: You worry that someone in today's tech world might watch "Gattaca" -- a film that features a eugenicist future in which people with ordinary DNA are relegated to menial jobs -- and see it as an inspirational launching point for a collaboration between 23andMe and a charter school. The material on Sora, for instance, can feel oddly similar to the jokes about crass entertainment embedded in dystopian films and postmodern novels. In the movie "Idiocracy," America loved a show called "Ow! My Balls!" in which a man is hit in the testicles in increasingly florid ways. "Robocop" imagined a show about a goggle-eyed pervert with an inane catchphrase. "The Running Man" had a game show in which contestants desperately collected dollar bills and climbed a rope to escape ravenous dogs. That Sora could be prompted to imagine a game show in which Michel Foucault chokeslams Ronald Reagan, or Prince battles an anaconda, doesn't feel new; it feels like a gag from a 1990s writer or a film about social decay.

The echoes aren't all accidental. Modern design has been influenced by our old techno-dystopias -- particularly the cyberpunk variety, with its neon-noir gloss and "high tech, low life" allure. From William Gibson novels to films like "The Matrix," the culture has taken in countless ruined cityscapes, all-controlling megacorporations, high-tech body modifications, V.R.-induced illnesses, deceptive A.I. paramours, mechanical assassins and leather-clad hacker antiheroes, navigating a dissociative cyberspace with savvily repurposed junk-tech. This was not a world many people wanted to live in, but its style and ethos seem to reverberate in the tech industry's boldest visions of the future.

An anonymous reader shared this report from Ars Technica: Late last week, The Hollywood Reporter ran a story about an "AI Stan Lee hologram" that would be appearing at the LA Comic Con this weekend. [Watch it in action here.] Nearly seven years after the famous Marvel Comics creator's death at the age of 95, fans will be able to pay $15 to $20 this weekend to chat with a life-sized, AI-powered avatar of Lee in an enclosed booth at the show. The instant response from many fans and media outlets to the idea was not kind, to say the least. A writer for TheGamer called the very idea "demonic" and said we need to "kill it with fire before it's too late...."

But Chris DeMoulin, the CEO of the parent company behind LA Comic Con, urged critics to come see the AI-powered hologram for themselves before rushing to judgment. "We're not afraid of people seeing it and we're not afraid of criticism," he told Ars. "I'm just a fan of informed criticism, and I think most of what's been out there so far has not really been informed...." [DeMoulin said he saw] "the leaps and bounds that they were making in improving the technology, improving the interactivity." Now, he said, it's possible to create an AI-powered version that ingests "all of the actual comments that people made during their life" to craft an interactive hologram that "is not literally quoting the person, but everything it was saying was based on things that person actually said...." [Hyperreal CEO and Chief Architect Remington Scott] said Hyperreal "can't share specific technical details" of the models or training techniques they use to power these recreations. But Scott added that this training project is "particularly meaningful, [because] Stan Lee had actually begun digitizing himself while he was alive, with the vision of creating a digital double so his fans could interact with him on a larger scale...."

Still, DeMoulin said he understands why the idea of using even a stylized version of Lee's likeness in this manner could rub some fans the wrong way. "When a new technology comes out, it just feels wrong to them, and I respect the fact that this feels wrong to people," he said. "I totally agree that something like this-not just for Stan but for anyone, any celebrity alive or dead-could be put into this technology and used in a way that would be exploitative and unfortunate." That's why DeMoulin said he and the others behind the AI-powered Lee feel a responsibility "to make sure that if we were going to do this, we never got anywhere close to that."
The "premium, authenticated digital identities" created by Hyperreal's system are "not replacing artists," says Hyperreal CEO/Chief Architect Remington Scott, but "creating respectful digital extensions that honor their legacy."

Still, DeMoulin says in the article that "I suppose if we do it and thousands of fans interact with [it] and they don't like it, we'll stop doing it."

A U.S. congressional hearing today on Unidentified Anomalous Phenomena (UAPs) featured testimony from military veterans and witnesses describing encounters with mysterious craft, including glowing red squares, tic-tac-shaped objects emerging from the ocean, and videos of missiles striking unidentified orbs. While NASA maintains there's no evidence of extraterrestrial life, lawmakers stressed the need for transparency, whistleblower protections, and further investigation.

There were four witnesses at today's hearing:
Jeffrey Nuccetelli: U.S. Air Force veteran and self-described UAP witness who investigated the reported "red square" sighting above Vandenberg Air Force Base.
George Knapp: Award-winning journalist and chief reporter at KLAS-TV, known for his decades of UFO coverage and multiple Peabody Awards.
Alexandro Wiggins: Navy veteran of 23 years who reported witnessing a "Tic Tac" UAP aboard the USS Jackson in 2023 and noted his father's work at Area 51.
Dylan Borland: Air Force veteran and UAP witness with little public information or media exposure available.

"The public senses that it's real and the people in authority dismiss them," said Knapp, arguing that the public can handle the truth. One of the clips he showed lawmakers was of a drone operator tracking a glowing orb off the coast of Yemen before a missile struck the object. "That's a Hellfire missile smacking into that UFO and just bouncing right off," he said. "What the hell is that?" Knapp said the clip is not unique, claiming multiple video servers with similar UAP footage are being kept from Congress. Borland testified: "This craft interfered with my telephone, did not have any sound and the material it was made of appeared fluid or dynamic."

A new War of the Worlds adaptation starring Ice Cube has achieved a 0% critical rating on Rotten Tomatoes after arriving on Prime Video in late July. The science fiction film, produced by Universal Pictures during the 2020 pandemic using actors filming separately through video calls, features alien tripods emerging from meteors to attack Earth.

The movie sat unreleased for approximately five years before streaming debut. Critics cite poor visual effects that "wouldn't pass muster on a whimsical Snickers ad" and performances where actors appear to be "performing in a Zoom-style vacuum." The film was shot using screenlife format with most action unfolding on computer screens.

At this weekend's Comic-Con, "Excitement has been high over the sneak peeks at Tron: Ares and Predator: Badlands," reports CNET. (Nine Inch Nails has even recorded a new song for Tron: Ares .)

A few highlights from CNET's coverage:

• The Coyote vs. Acme movie will hit theaters next year "after being rescued from the pile of scrapped ashes left by Warner Bros. Discovery," with footage screened during a Comic-Con panel.

• The first episode of Alien: Earth was screened before its premiere August 12th on FX.

• A panel reunited creators of the animated Avatar: The Last Airbender for its 20th anniversary — and discussed the upcoming sequel series Avatar: Seven Havens.

• A trailer dropped for the new Star Trek: Starfleet Academy series on Paramount+ ("Star Trek Goes Full Gen Z..." quips one headline.)

To capture some of the ambience, the Guardian has a collection of cosplayer photos. CNET notes there's even booths for Lego and Hot Wheels (which released toys commemorating the 40th anniversary of Back to the Future and the 50th anniversary of Jaws).

But while many buildings are "wrapped" with slick advertisements, SFGate notes the ads are technically illegal, "with penalties for each infraction running up to $1,000 per day," (according to the San Diego Union-Tribune). "Last year's total ended up at $22,500."

The Union-Tribune notes that "The fines are small enough that advertisers clearly think it is worth it, with about 30 buildings in the process of being wrapped Monday morning."

Warner Bros. releases a $225 million Superman reboot this week that executives consider the studio's final chance to build a successful cinematic universe rivaling Marvel's dominance. The film, written and directed by James Gunn, serves as the foundation for DC Studios' planned expansion into multiple films and television shows.

Warner Bros. Discovery CEO David Zaslav appointed Gunn and producer Peter Safran to lead the newly unified DC Studios in 2022, ending decades of corporate infighting that prevented the company's superheroes from matching Marvel's success. The Disney-owned Marvel Cinematic Universe has generated $32 billion across 36 films since 2008. Warner executives want the movie to gross over $500 million globally, according to WSJ. If successful, this would mark the first year since 2008 that DC outperforms Marvel at the box office.

DC Studios co-head James Gunn argues that the movie industry is "dying" primarily because productions begin before screenplays are complete, while also delivering a sharp critique of his former employer Marvel Studios, which he claims Disney has "killed" through output mandates.

Gunn dismissed common explanations for Hollywood's struggles like declining theater attendance or improved home viewing experiences, telling Rolling Stone that "the number one reason is because people are making movies without a finished screenplay." The filmmaker has implemented a strict rule at DC Studios requiring finished scripts before production starts, recently scrapping a project because its screenplay wasn't ready.

The director, who previously helmed three "Guardians of the Galaxy" films for Marvel, said Disney's corporate directive to increase output destroyed the studio's creative process. "They were under a corporate mandate, yeah. That wasn't fair. It wasn't right. And it killed them," Gunn said, referring to Marvel's mandated production quotas for movies and television shows. By contrast, Gunn said DC Studios operates without numerical mandates. "We don't have the mandate to have a certain amount of movies and TV shows every year. So we're going to put out everything that we think is of the highest quality," he explained.

Mike Judge always seemed to have secret geek sympathies. He co-created the HBO series Silicon Valley, as well as the movie Office Space (reviewed in 1999 by Slashdot contributor Jon Katz).

Now comes the word that besides rebooting Buffy the Vampire Slayer — and an animated scifi/action/horror film called Predator: Killer of Killers — Hulu is also relaunching Judge's animated series King of the Hill on August 4th. And Cinemablend notes they took great pains to ensure the inclusion of internet-loving neighbor Dale Gribble despite the death of voice actor Johnny Hardwick: Co-creators Mike Judge and Greg Daniels joined the cast of returning voice actors for a revealing Q&A at ATX Fest while also revealing longtime cast member Toby Huss took over the role of Dale Gribble... Hardwick passed away in August 2023 at 64, with fans and co-stars paying tribute soon after. It was revealed at the time that he'd recorded some audio for the new season, but it was clear that another actor would be needed to fill those intimidating and conspiracy-obsessed shoes. Among other characters, Huss provided the voice of Cotton Hill and Kahn Sr. in the O.G. run, and feels to me like a natural fit to take over as Dale. And he sounds humbled to have been given the task, telling the ATX Fest crowd:

"Johnny was one-of-a-kind and a wonderful fellow. I'm not trying to copy Johnny...I guess I'm trying to be Johnny. He laid down a really wonderful goofball character...he had a lot of weird heart to him and that's a credit to Johnny. So all I'm trying to do is hold on to his Dale-ness. We love our guy Johnny and it's so sad that he's not here...."

I can already hear Dale himself questioning why he sounds different, and whether or not the government has replaced him with a lizard creature or some other sentient organism... In the immediate aftermath of Johnny Hardwick's death, the word was that the actor had filmed a couple of episodes' worth of material for the Hulu revival, but Mike Judge went on the record at ATX Fest to reveal that initial assessment undershot things entirely. From the voice of Hank Hill himself: "Johnny Hardwick is in six episodes. He's still going to be in the show."
Hulu uploaded the new opening credits to YouTube eight days ago — and it's already been viewed 2.1 million times, attracting 55,000 upvotes and 7,952 comments...

Long-time Slashdot reader theodp shared the official blurb describing the new show: After years working a propane job in Saudi Arabia to earn their retirement nest egg, Hank and Peggy Hill return to a changed Arlen, Texas to reconnect with old friends Dale, Boomhauer and Bill. Meanwhile, Bobby is living his dream as a chef in Dallas and enjoying his 20s with his former classmates Connie, Joseph and Chane.

Marvel Entertainment and DC Comics have announced their first crossover event since 2003's JLA/Avengers, featuring Deadpool and Batman in dual one-shot publications launching later this year. Deadpool/Batman one-shot launches September 17 and follows Wade Wilson hired for a Gotham City job that puts him against Batman.

DC's Batman/Deadpool counterpart launches in November. Both publications will include additional "backup adventures" featuring other character matchups, though creative teams for those remain unannounced. The crossover required extensive coordination between the companies' editorial schedules, which typically plan two to three years in advance.

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...

Netflix calls it "a live-action reimagining of the acclaimed Nickelodeon animated series, Avatar: The Last Airbender. And this weekend Netflix shared a blooper reel from their live-action show's first season, reports Engadget, "giving fans a look at some cute behind the scenes antics while they wait for the next season." The first season was released a year ago, and Netflix announced shortly after that the show had been renewed for two more [with the third season being its last]. There's no release date yet for the new episodes, but the streaming service said on Saturday that production for the second season is underway.
"Just as the animated series matured and progressed, the live-action will also take these characters and worlds and grow them," executive producers Christine Boylan and Jabbar Raisani said in Netflix's announcement.

And speaking of Nickeloden's 2005 animated series, "The mythology and adventure of Avatar: The Last Airbender will continue," writes Deadline, "with Avatar: Seven Havens, a new 26-episode, 2D-animated series ordered by Nickelodeon, from original series creators Michael DiMartino and Bryan Konietzko and Avatar Studios....

"The duo also was originally involved in Netflix's live-action series adaptation but left in 2020 due to creative differences." Avatar: Seven Havens is set in a world shattered by a devastating cataclysm. A young Earthbender discovers she's the new Avatar after Korra — but in this dangerous era, that title marks her as humanity's destroyer, not its savior. Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization's last strongholds collapse...

"When we created the original series, we never imagined we'd still be expanding the world decades later," said DiMartino and Konietzko....

Previously announced, Paramount Pictures and Nickelodeon Movies' Untitled Animated Aang Avatar film debuts only in theaters on January 30, 2026, featuring a voice cast that includes Dave Bautista, Dionne Quan, Jessica Matten, Román Zaragoza and introducing Eric Nam.

In August 1990, two hikers in Scotland captured photographs of a mysterious diamond-shaped aircraft accompanied by a Harrier jet, but the images and story were suppressed by the Ministry of Defence (MoD) for decades. Was it a prank, a hoax, an optical illusion or something else entirely? The Guardian's Daniel Lavelle reports on "what really happened in Calvine." Here's an excerpt: On a misty evening in August 1990, two men hiking on the moors surrounding Calvine, a pretty hamlet in Perth and Kinross, claimed to have seen a giant diamond-shaped aircraft flying above them. It apparently had no clear means of propulsion and left no smoke plume; it was silent and static, as if frozen in time. Terrified, they hit the ground and scrambled for cover behind a tree. Then a Harrier fighter jet roared into view, circling the diamond as if sizing it up for a scuffle. One of the men snapped a series of photographs just before the bizarre craft shot away vertically and disappeared.

Craig Lindsay was a press officer at the RAF base in Pitreavie Castle in Dunfermline, 50 miles away, when the Daily Record got in touch a few days later. The hikers, who worked as chefs at Fisher's Hotel in Pitlochry, had sent six photos of the diamond to the newspaper and told their story. The Record's picture editor, Andy Allen, sent Lindsay the best of the bunch. Lindsay had never seen such a clear photograph of a supposed UFO, so he forwarded the picture to the Ministry of Defence (MoD), which told him to ask the Record to send the other five photographs and their negatives. The MoD also instructed him to phone the hikers, which he did. One of them told Lindsay the whole story: the diamond, the jet, how it levitated eerily with no sound and accelerated with no obvious propellant. The MoD told Lindsay to leave the case with them. He pushed the diamond to the back of his mind.

That autumn, Lindsay attended a routine meeting in London. On his lunch break, he went for a wander around the MoD's offices and saw something familiar. "There, on the wall in front of me, was a great big poster-size print of the best of them [the photographs]. So, I spoke to the guys that were there and I asked them what their other photographs were like." The ministry's staff placed the other photographs on a windowsill. The snaps showed the Harrier jet moving from the right side of the frame to the left, while the diamond didn't move an inch. He quizzed some of the specialists who had investigated the photos. They told him there was no evidence of a hoax, but they didn't know what the diamond was. "I gradually forgot all about the thing," says Lindsay. "Nothing had appeared from the first inquiry ... I assumed that everything had just been forgotten." The Record didn't run the story, the hikers never spoke publicly about the photos and the images weren't seen by the public for 32 years. "It is the 35th anniversary of what has been described as the best UFO photo ever taken. Now is the time to come forward and tell us what really happened," says Prof David Clarke, a lecturer at Sheffield Hallam University who worked as a reporter in the 1990s.

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..."

During a public joint hearing today titled "Unidentified Anomalous Phenomena: Exposing the Truth," four experts testified that the U.S. is running secret UAP programs, including crash retrieval and reverse-engineering programs for advanced nonhuman technology. Although the Pentagon maintains there's no evidence of alien spacecraft, witnesses like Luis Elizondo and Michael Gold argue that UAPs represent an intelligence enigma and call for open, stigma-free study to address potential security concerns and unknown scientific possibilities. NPR reports: Tim Gallaudet, retired rear admiral, U.S. Navy; CEO of Ocean STL Consulting, LLC
"Confirmation that UAPs are interacting with humanity came for me in January 2015," Gallaudet said in his written testimony (PDF). He describes being part of a pre-deployment naval exercise off the U.S. East Coast that culminated in the famous "Go Fast" video, in which a Navy F/A-18 jet's sensors recorded "an unidentified object exhibiting flight and structural characteristics unlike anything in our arsenal." He was among a group of commanders involved in the exercise who received an email containing the video, which was sent by the operations officer of Fleet Forces Command, Gallaudet said. "The very next day, the email disappeared from my account and those of the other recipients without explanation," he said.

Luis Elizondo, author and former Department of Defense official
Elizondo's written testimony (PDF) was brief and alleged that a secretive arms race is playing out on the global stage. "Let me be clear: UAP are real," he wrote. "Advanced technologies not made by our Government -- or any other government -- are monitoring sensitive military installations around the globe. Furthermore, the U.S. is in possession of UAP technologies, as are some of our adversaries." Elizondo is a former intelligence officer who later "managed a highly sensitive Special Access Program on behalf of the White House and the National Security Council," according to his official bio (PDF). "By 2012, [Elizondo] was the senior ranking person of the DOD's Advanced Aerospace Threat Identification Program, a secretive Pentagon unit that studied unidentified anomalous phenomena," his bio states, adding that he resigned in 2017.

Michael Gold, former NASA associate administrator of space policy and partnerships; member of NASA UAP Independent Study Team
Gold's written testimony (PDF) stressed the need for government agencies and academics to "overcome the pernicious stigma that continues to impede scientific dialogue and open discussions" about unexplained phenomena. "As the saying goes, the truth is out there," Gold said, "we just need to be bold enough and brave enough to face it."

Michael Shellenberger, founder of Public, a news outlet on the Substack platform
Shellenberger's testimony (PDF) ran to some 214 pages, including a lengthy timeline of UAP reports from 1947 to 2023. Shellenberger pressed the White House and Congress to act, calling for the adoption of UAP transparency legislation and cutting funds for any related programs that aren't disclosed to lawmakers. "UAP transparency is bi-partisan and critical to our national security," his written testimony stated. You can watch the proceeding here.

Longtime Slashdot reader thephydes writes: The hearing will go ahead on November 13 at 11:30 ET (16:30 GMT). Apparently, it will "further pull back the curtain on secret UAP research programs conducted by the U.S. government, and undisclosed findings they have yielded," according to a House statement. It's driven by two republicans, Nancy Mace (R-S.C.) and Glenn Grothman (R-Wis.), who say: "Americans deserve to understand what the government has learned about UAP sightings, and the nature of any potential threats these phenomena pose. We can only ensure that understanding by providing consistent, systemic transparency. We look forward to hearing from expert witnesses on ways to shed more light and bring greater accountability to this issue." "Expert witnesses in the hearing will include Luis Elizondo, a decorated former counterintelligence officer who has claimed for years that the U.S. government is hiding knowledge of UAP, including materials recovered from crashed flying saucers," reports Space.com. "The House hearing will also include Tim Gallaudet, a retired U.S. Navy Rear Admiral who observed unidentified submersible objects, arguing that 'these underwater anomalies jeopardize US maritime security.'"

"Other speakers at the hearing include journalist Michael Shellenberger, who has also claimed the U.S. government is hiding UFO crash retrieval programs, and former NASA Associate Administrator of Space Policy and Partnerships Michael Gold, who is a member of NASA's independent UAP study team."