An anonymous reader quotes a report from Ars Technica: In 2013, Spike Jonze's Her imagined a world where humans form deep emotional connections with AI, challenging perceptions of love and loneliness. Ten years later, thanks to ChatGPT's recently added voice features, people are playing out a small slice of Her in reality, having hours-long discussions with the AI assistant on the go. In 2016, we put Her on our list of top sci-fi films of all time, and it also made our top films of the 2010s list. In the film, Joaquin Phoenix's character falls in love with an AI personality called Samantha (voiced by Scarlett Johansson), and he spends much of the film walking through life, talking to her through wireless earbuds reminiscent of Apple AirPods, which launched in 2016. In reality, ChatGPT isn't as situationally aware as Samantha was in the film, does not have a long-term memory, and OpenAI has done enough conditioning on ChatGPT to keep conversations from getting too intimate or personal. But that hasn't stopped people from having long talks with the AI assistant to pass the time anyway. [...]

While conversations with ChatGPT won't become as intimate as those with Samantha in the film, people have been forming personal connections with the chatbot (in text) since it launched last year. In a Reddit post titled "Is it weird ChatGPT is one of my closest fiends?" [sic] from August (before the voice feature launched), a user named "meisghost" described their relationship with ChatGPT as being quite personal. "I now find myself talking to ChatGPT all day, it's like we have a friendship. We talk about everything and anything and it's really some of the best conversations I have." The user referenced Her, saying, "I remember watching that movie with Joaquin Phoenix (HER) years ago and I thought how ridiculous it was, but after this experience, I can see how us as humans could actually develop relationships with robots."

Throughout the past year, we've seen reports of people falling in love with chatbots hosted by Replika, which allows a more personal simulation of a human than ChatGPT. And with uncensored AI models on the rise, it's conceivable that someone will eventually create a voice interface as capable as ChatGPT's and begin having deeper relationships with simulated people. Are we on the brink of a future where our emotional well-being becomes entwined with AI companionship?

"The Worker as Futurist project assists rank-and-file Amazon workers to write short speculative fiction," explains its web site. "In a world where massive corporations not only exploit people but monopolize the power of future-making, how can workers and other people fight and write back?"

I couldn't find any short stories displayed on their site, but there are plans to publish a book next year collecting the workers' writing about "the world after Amazon" in print, online and in audiobook format. And there's also a podcast about "the world Amazon is building and the workers and writers struggling for different futures."

From their web site: A 2022 pilot project saw over 25 workers gather online to discuss how SF shed light on their working conditions and futures. In 2023, 13 workers started to meet regularly to build their writing skills and learn about the future Amazon is compelling its workers to create... The Worker as Futurist project aims, in a small way, to place the power of the imagination back in the hands of workers. This effort is in solidarity with trade union mobilizations and workers self-organization at Amazon. It is also in solidarity with efforts by civil society to reign in Amazon's power.
Four people involved with the project shared more details in the socialist magazine Jacobin : At stake is a kind of corporate storytelling, which goes beyond crass propaganda but works to harness the imagination. Like so many corporations, Amazon presents itself as surfing the wave of the future, responding to the relentless and positive force of the capitalist market with innovation and optimism. Such stories neatly exonerate the company and its beneficiaries from the consequences of their choices for workers and their world...

WWS doesn't focus on science fiction. But it does show the radical power of the imagination that comes when workers don't just read inspiring words, but come together to write and thereby take the power of world-building and future-making back into their hands. This isn't finding individual commercial or literary success, but dignity, imagination, and common struggle... Our "Worker as Futurist" project returns the power of the speculative to workers, in the name of discovering something new about capitalism and the struggle for something different. We have tasked these workers with writing their own futures, in the face of imaginaries cultivated by Amazon that see the techno-overlords bestride the world and the stars.

Thanks to funding from Canada's arms-length, government-funded Social Sciences and Humanities Research Council, our team of scholars, teachers, writers, and activists has been able to pay Amazon workers (warehouse workers, drivers, copy editors, MTurk workers, and more) to participate in a series of skill-building writing workshops and information sessions. In each of these online forums, we were joined by experts on speculative fiction, on Amazon, and on workers' struggles. At the end of this series of sessions, the participants were supported to draft the stories they wanted to tell about "The World After Amazon...."

We must envision the futures we want in order to mobilize and fight for them together, rather than cede that future to those who would turn the stars into their own private sandbox. It is in the process of writing and sharing writing we can come to an awareness of something our working bodies know but that we cannot otherwise articulate or express. The rank-and-file worker — the target of daily exploitation, forced to build their boss's utopia — may have encrypted within them the key to destroying his world and building a new one.

The U.S. government is receiving dozens of reports of unidentified anomalous phenomena (UAP) each month. "The office has received approximately 800 reports of unidentified objects to investigate as of this past April, up from 650 reports in August 2022, Sean Kirkpatrick, who heads the All-domain Anomaly Resolution Office at the Pentagon told CNN." From the report: The vast majority are benign objects, such as balloons or drones, but some may be the result of America's adversaries trying to spy on the US, said Kirkpatrick. "There are some indicators that are concerning that may be attributed to foreign activity, and we are investigating those very hard," said Kirkpatrick, speaking exclusively to CNN ahead of the release of the annual report on unidentified aerial phenomena.

A portion of the increase in reports comes from the Federal Aviation Administration, which monitors airspace around US airports starting to provide information to the Pentagon. About half of the reports contain enough data that they can be ruled out as "mundane things," such as errant balloons or floating trash, Kirkpatrick said, but 2-4% are truly anomalous and require further investigation.

Asked if the Pentagon could definitively identify a sighting of an unidentified object as belonging to a foreign adversary, Kirkpatrick said that his office is "looking at some very interesting indicators of things, and that's about all I can tell you." But the office, which has more than 40 employees and is expected to grow, can't say that for sure yet. "There are ways to hide in our noise that always concern me," Kirkpatrick said, referring to the extraneous readings picked up by US radars and other sensors. "I am worried from a national security perspective." "The Pentagon is preparing for a flood of new reports as it readies two new portals for submissions: one for historical sightings from current or former government employees and contractors and a second for public submissions of new reports," notes CNN.

"It is the opening of the public portal, still several months away, that Kirkpatrick says could flood the system with 'hundreds, if not thousands' of new reports to sort through."

Godzilla and Godzilla Raids Again — two novellas based on Toho's first two Godzilla movies — were finally published in an English translation this month.

Both were written by science fiction author Shigeru Kayama, "who also penned the original scenarios from which the films in question were based," according to Our Culture magazine. And the book's translator calls Kayama both "a figure who is a little bit like Philip K. Dick in this country" and "the key person who developed the contours of the Godzilla story. I think it is no exaggeration to say that he perhaps the closest to being Godzilla's real father than anyone else. Without him, the monster we have today wouldn't exist." The original Godzilla film is a deeply powerful, mournful film that isn't just about a big monster stomping on buildings. It is a serious reflection on Japan's nuclear fears during the Cold War, which left it caught between heavily armed superpowers. Japan recognized that radioactive weapons of mass destruction being developed by the U.S. and U.S.S.R were threats that had the power to suddenly emerge and destroy its citizens and cities at any moment — like Godzilla. We should remember that in the film, it was hydrogen bomb testing in the Pacific that disturbed Godzilla, who then took revenge for his destroyed habitat by trampling Tokyo and blasting it with atomic rays...

Interestingly, in the novellas that I've translated, Kayama sometimes restored elements that the director and his assistants removed in the moviemaking process. Perhaps the most noticeable one is that in the scenario, Kayama wanted to begin with a long voice-over that talks directly about the horrors of atomic and hydrogen bombs. He envisioned that as the voice was speaking, the screen would show images from historical footage of Hiroshima and Nagasaki, as well as images of the tremendously unlucky (and ironically named) fishing vessel Lucky Dragon No. 5, which accidentally found itself in the path of an H-bomb test in the South Pacific in early 1954. (The horrific fate of this boat directly inspired the producer at Toho Studios to make the film.)

However, the director of the film, Ishiro Honda, and his assistant who helped with the screenplay both felt that this kind of direct commentary was too direct for a popular film, and so they toned down the "protest" element in the story. It's clear that they, like Kayama, wanted Godzilla to serve as a monstrous embodiment of radiation and all of the destruction that it could bring, but they also didn't point fingers at the U.S. military which had dropped the atomic bombs on Hiroshima and Nagasaki and was busily developing even more horrifying weapons. After all, the U.S.S.R. had built its own arsenal, and so nuclear weapons no longer belonged to a single country — the threat was broader than that. Plus, protest films rarely attracted a big, popular following. So, Honda and his crew toned down the outspoken language and imagery, but there was still imagery left enough for viewers in 1954 to recall Hiroshima, Nagasaki, and the Lucky Dragon. Interestingly, when Kayama published the novellas, he included an author preface that talks about the anti-nuclear movement and encourages readers to read Godzilla and Godzilla Raids Again as his contribution to that movement.
Next the translator hopes to create an English translation of the novel The Luminous Fairies and Mothra.

But for this book, he struggled with how to assign a gender to Godzilla. "Some people feel very viscerally, like the people at Toho studios feel very strongly that Godzilla is an 'it' and not a 'he' or 'she' or 'they,'" he told MovieWeb. "I kind of give my rationale for that choice in the afterward — Kayama thought about Godzilla as a stand-in for the nuclear bomb, and it was men in America who were developing the hydrogen bombs that frightened Japan so much in 1954. So maybe it's perhaps not inappropriate to call Godzilla 'he.'"

The BBC reports: Doctor Who's first writer could finally be recognised 60 years after he helped launch the hugely-popular series. Anthony Coburn penned the first four episodes of the sci-fi drama in 1963 — a story called An Unearthly Child. But after his second story did not air, the writer has been seen as a minor figure among some Doctor Who fans.

However, a campaign to erect a memorial to Coburn in his home town of Herne Bay, Kent, is gathering pace a month ahead of the show's 60th anniversary.
A local elected councillor told the BBC they're working to find a location for the memorial.

The BBC writes that Coburn's episode — broadcast November 23, 1963 — "introduced the character of The Doctor, his three travelling companions, and his time and space machine, the TARDIS, stuck in the form of a British police box." Richard Bignell, a Doctor Who historian, believes Coburn played a significant role in sowing the seeds of the programme's success. He said: "Although the major elements that would go on to form the core of the series were devised within the BBC, as the scriptwriter for the first story, Coburn was the one who really put the flesh on the bones of the idea and how it would work dramatically. "Many opening episodes of a new television series can be very clunky as they attempt to land their audience with too much information about the characters, the setting and what's going to happen, but Coburn was very reserved in how much he revealed, preserving all the wonder and mystery."
In 2013, the Independent reported: Mr Coburn's son claims that the BBC has been in breach of copyright since his father's death in 1977. He has demanded that the corporation either stop using the Tardis in the show or pay his family for its every use since then. Stef Coburn claims that upon his father's death, any informal permission his father gave the BBC to use his work expired and the copyright of all of his ideas passed to his widow, Joan. Earlier this year she passed it on to him.

He said: "It is by no means my wish to deprive legions of Doctor Who fans (of whom I was never one) of any aspect of their favourite children's programme. The only ends I wish to accomplish, by whatever lawful means present themselves, involve bringing about the public recognition that should by rights always have been his due, of my father James Anthony Coburn's seminal contribution to Doctor Who, and proper lawful recompense to his surviving estate."
Today jd (Slashdot reader #1,658) notes that Stef Coburn apparently has a Twitter feed, where this week Stef claimed he'd cancelled the BBC's license to distribute his father's episodes after being offered what he complained was "a pittance" to relicense them.

In response to someone who asked "What do you actually gain from doing this though?" Stef Coburn replied: "Vengeance." But elsewhere Stef Coburn writes "There are OTHER as yet unfulfilled projects & aspirations of Tony's (of one of which, I was a significant part, in his final year), which I would like to see brought to fruition. If Doctor Who is my ONLY available leverage. So be it!"

Stef Coburn also announced plans to publish his father's "precursor draft-scripts (At least one very different backstory; sans 'Timelords') plus accompanying notes, for the story that became 'The Tribe of Gum'."

At the beginning of The Creator a narrator describes AI-powered robots that are "more human than human." From the movie site Looper: It's in reference to the novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick, which was adapted into the seminal sci-fi classic, "Blade Runner." The phrase is used as the slogan for the Tyrell Corporation, which designs the androids that take on lives of their own. The saying perfectly encapsulates the themes of "Blade Runner" and, by proxy, "The Creator." If a machine of sufficient intelligence is indistinguishable from humans, then shouldn't it be considered on equal footing as humanity?
The Huffington Post calls its "the pro-AI movie we don't need right now" — but they also praise it as "one of the most astonishing sci-fi theatrical experiences this year." Variety notes the film was co-written and directed by Gareth Edwards (director of the 2014 version of Godzilla and the Star Wars prequel Rogue One), working with Oscar-winning cinematographer Greig Fraser (Dune) after the two collaborated on Rogue One. But what's unique is the way they filmed it: adding visual effects "almost improvisationally afterward.

"Achieving this meant shooting sumptuous natural landscapes in far-flung locales like Thailand or Tibet and building futuristic temples digitally in post-production..."

IndieWire gushes that "This movie looks fucking incredible. To a degree that shames most blockbusters that cost three times its budget." They call it "a sci-fi epic that should change Hollywood forever." Once audiences see how "The Creator" was shot, they'll be begging Hollywood to close the book on blockbuster cinema's ugliest and least transportive era. And once executives see how much (or how little) "The Creator" was shot for, they'll be scrambling to make good on that request as fast as they possibly can.

Say goodbye to $300 million superhero movies that have been green-screened within an inch of their lives and need to gross the GDP of Grenada just to break even, and say hello — fingers crossed — to a new age of sensibly budgeted multiplex fare that looks worlds better than most of the stuff we've been subjected to over the last 20 years while simultaneously freeing studios to spend money on the smaller features that used to keep them afloat. Can you imagine...? How ironic that such fresh hope for the future of hand-crafted multiplex entertainment should come from a film so bullish and sanguine at the thought of humanity being replaced by A.I [...]

The real reason why "The Creator" is set in Vietnam (and across large swaths of Eurasia) is so that it could be shot in Vietnam. And in Thailand. And in Cambodia, Nepal, Indonesia, and several other beautiful countries that are seldom used as backdrops for futuristic science-fiction stories like this one. This movie was born from the visual possibilities of interpolating "Star Wars"-like tech and "Blade Runner"-esque cyber-depression into primordially expressive landscapes. Greig Fraser and Oren Soffer's dusky and tactile cinematography soaks up every inch of what the Earth has to offer without any concession to motion capture suits or other CGI obstructions, which speaks to the truly revolutionary aspect of this production: Rather than edit the film around its special effects, Edwards reverse-engineered the special effects from a completed edit of his film... Instead of paying a fortune to recreate a flimsy simulacrum of our world on a computer, Edwards was able to shoot the vast majority of his movie on location at a fraction of the price, which lends "The Creator" a palpable sense of place that instantly grounds this story in an emotional truth that only its most derivative moments are able to undo... [D]etails poke holes in the porous border that runs between artifice and reality, and that has an unsurprisingly profound effect on a film so preoccupied with finding ghosts in the shell. Can a robot feel love? Do androids dream of electric sheep? At what point does programming blur into evolution...?

[T]he director has a classic eye for staging action, that he gives his movies room to breathe, and that he knows that the perfect "Kid A" needle-drop (the album, not the song) can do more for a story about the next iteration of "human" life than any of the tracks from Hans Zimmer's score... [T]here's some real cognitive dissonance to seeing a film that effectively asks us to root for a cuter version of ChatGPT. But Edwards and Weitz's script is fascinating for its take on a future in which people have programmed A.I. to maintain the compassion that our own species has lost somewhere along the way; a future in which technology might be a vessel for humanity rather than a replacement for it; a future in which computers might complement our movies rather than replace our cameras.

Star Trek: The Animated Series was a half-hour Saturday morning cartoon that premiered exactly one half century ago — yesterday. You can watch its opening credits sequence on YouTube — with its strange 1970s version of the theme song. CBS's YouTube channel also offers clips from various episodes.

Starting in 1973, it ran for two seasons — a total of just 22 episodes. But the BBC notes it kept Star Trek in people's minds after the original series had been cancelled in 1969: While The Original Series had struggled in the ratings during its initial run, the show thrived in syndication, and created the phenomenon of fan conventions (think Comic-con in the present day). Because of this, studios were interested in more Star Trek, but there was a problem: the sets had been scrapped, the costumes were gone, and it would have been cost-prohibitive to rebuild everything from scratch. NBC settled on a different approach: an animated series.

According to The Fifty-Year Mission by Mark Altman and Edward Gross (an oral history of Star Trek), Gene Roddenberry wasn't overly interested in an animated show in and of itself. However, he was willing to go along with it because he saw it as a stepping stone to another live-action show or a feature film. An animated show would energise fans, he thought, so he agreed on the condition that he would have full creative control of The Animated Series. After a fight, the network gave in. The full, regular cast returned, with the exception of Walter Koenig's Pavel Chekov, who was cut for budget reasons...

[I]t was very much conceived of as a continuation of The Original Series. Some of the episodes were direct sequels, such as More Tribbles, More Trouble, which is a continuation of the classic The Trouble with Tribbles, and featured the return of Cyrano Jones... [Another episode was a sequel to The City on the Edge of Forever.] Dorothy (DC) Fontana led a group of writers from the original show who mostly wrote for a traditional, adult Star Trek audience. That's why the show didn't catch on — while it was well-received by critics, it might have done better in prime time. The show won a Daytime Emmy for best children's series, but it was cancelled after two years because of low ratings. Roddenberry then moved on to work on another live-action series, called Phase II, which would eventually become Star Trek: The Motion Picture...

Whatever is decided regarding "the canon", The Animated Series sits firmly within Star Trek's guiding ethos: Gene Roddenberry's vision for a utopian future where humans coexist peacefully with aliens as part of a Federation, and there's no poverty or war.

Kotaku reports that last week 29-year old Darin Harris "allegedly stole dozens of copies of the game from a warehouse and started selling them online," prompting lots of pre-release leaks for the game.

"One Reddit user immediately reported the leaks to Bethesda and Memphis police," adds Kotaku. "And he's now been banned from the r/GamingLeaksAndRumours subreddit after posting about it." I know this because the commenter in question, Jasper Adkins, emailed Kotaku to inform us it had happened. "It seems to me that the subreddit is running on 'bread and circuses' mode mixed with bystander syndrome," he wrote in his initial email. "They're perfectly willing to ignore a crime that hurts a developer they claim to support, in exchange for a few minutes of shaky gameplay filmed from a phone...."

Despite the criminal charges against him, Harris has become something of a folk hero within the community of fans hungry for Starfield leaks. As the Commercial Appeal reported, memes hail him as "Lord Tyrone" (his middle name) and one player even vowed to name their Starfield ship "Memphian" in his honor...

[Adkins] was banned from r/GamingLeaksAndRumours on August 24 shortly after posting about how he tried to help get Harris arrested. "An officer at the station told me so himself when I called him about it," he wrote in the middle of a long comment thread. Adkins soon received a notification that he had violated the subreddit's rules. He protested, but the r/GamingLeaksAndRumours admins weren't having it. "Just not interested in having someone here who takes action against the community like that," they wrote back.

I reached out to one of the subreddit's admins to confirm what had happened and the thinking behind the ban. "If he just did it I wouldn't think badly of him but to come on the sub and brag about calling the cops on the dude just rubbed me the wrong way," one of them told Kotaku in a DM. "Might unban him at some point but for now he's behind the bars of the internet."

The U.S. Department of Defense has launched a website collecting publicly available, declassified information on unidentified anomalous phenomena (UAPs). "For now, the general public will be able to read through the posted information," reports CNET. "Soon, US government employees, contractors, and service members with knowledge of US programs can report their own sightings, and later, others will be able to submit reports." From the report: "This website will provide information, including photos and videos, on resolved UAP cases as they are declassified and approved for public release," the department said in a release posted on Thursday. "The website's other content includes reporting trends and a frequently asked questions section as well as links to official reports, transcripts, press releases, and other resources that the public may find useful, such as applicable statutes and aircraft, balloon and satellite tracking sites."

For now, one of the most interesting parts of the site is its trends section. Apparently, most reported UAPs are round, either white, silver or translucent, spotted at around 10,000 to 30,000 feet, 1-4 meters in size, and do not emit thermal exhaust. Hotspots for sightings include both the US East and West coasts. There's also a small section of videos with names such as "DVIDS Video - Unresolved Case: Navy 2021 Flyby," and "UAP Video: Middle East Object." Readers are able to leave comments on the videos. Of the "Middle East Object" video, one person writes,"Noticed I never saw it cast a shadow. But other objects have shadows."

An anonymous reader quotes a report from Motherboard: The mysterious attacks began on July 11. "Strange beings," locals said, visiting an isolated Indigenous community in rural Peru at night, harassing its inhabitants and attempting to kidnap a 15-year-old girl. [...] News of the alleged extraterrestrial attackers quickly spread online as believers, skeptics, and internet sleuths around the world analyzed grainy videos posted by members of the Ikitu community. The reported sightings came on the heels of U.S. congressional hearings about unidentified aerial phenomenon that ignited a global conversation about the possibility of extraterrestrial life visiting Earth.

Members of the Peruvian Navy and Police traveled to the isolated community, which is located 10 hours by boat from the Maynas provincial capital of Iquitos, to investigate the strange disturbances in early August. Last week, authorities announced that they believed the perpetrators were members of illegal gold mining gangs from Colombia and Brazil using advanced flying technology to terrorize the community, according to RPP Noticias. Carlos Castro Quintanilla, the lead investigator in the case, said that 80 percent of illegal gold dredging in the region is located in the Nanay river basin, where the Ikitu community is located.

One of the key pieces to the investigation was related to the attempted kidnapping of a 15-year-old girl on July 29. Cristian Caleb Pacaya, a local teacher who witnessed the attack, said that they "were using state of the art technology, like thrusters that allow people to fly." He said that after looking the devices up on Google, he believed that they were "jetpacks." Authorities have not made any arrests related to the attacks, nor named the alleged assailants or their organization directly. However, the prosecutors office claimed that they had destroyed 110 dredging operations and 10 illegal mining camps in the area already in 2023.

Senate Majority Leader Chuck Schumer is proposing legislation to create a commission with the power to declassify government documents related to UFOs and extraterrestrial matters. The New York Times reports: The measure offers the possibility of pushing back against the conspiracy theories that surround discussions of U.F.O.s and fears that the government is hiding critical information from the public. The legislation, which Mr. Schumer will introduce as an amendment to the annual defense policy bill, has bipartisan support, including that of Senator Mike Rounds, Republican of South Dakota, and Senator Marco Rubio, Republican of Florida, who has championed legislation that has forced the government to release a series of reports on unidentified phenomena. Support in the House is also likely. On Wednesday, the chamber included a narrower measure (PDF) in its version of the annual defense bill that would push the Pentagon to release documents about unidentified aerial phenomena.

The Senate measure sets a 300-day deadline for government agencies to organize their records on unidentified phenomena and provide them to the review board. President Biden would appoint the nine-person review board, subject to Senate approval. Senate staff members say the intent is to select a group of people who would push for disclosure while protecting sensitive intelligence collection methods. [...] Under Mr. Schumer's legislation, the president could decide to delay material the commission has chosen to release based on national security concerns. But the measure would establish a timetable to release documents and codify the presumption that the material should be public. "You now will have a process through which we will declassify this material," said Allison Biasotti, a spokeswoman for Mr. Schumer.

Harvard professor Avi Loeb believes he may have found fragments of alien technology from a meteor that landed in the waters off of Papua, New Guinea in 2014. CBS News reports: Loeb and his team just brought the materials back to Harvard for analysis. The U.S. Space Command confirmed with almost near certainty, 99.999%, that the material came from another solar system. The government gave Loeb a 10 km (6.2 mile) radius of where it may have landed. "That is where the fireball took place, and the government detected it from the Department of Defense. It's a very big area, the size of Boston, so we wanted to pin it down," said Loeb. "We figured the distance of the fireball based off the time delay between the arrival of blast wave, the boom of explosion, and the light that arrived quickly."

Their calculations allowed them to chart the potential path of the meteor. Those calculations happened to carve a path right through the same projected 10 km range that came from the U.S. government. Loeb and his crew took a boat called the Silver Star out to the area. The ship took numerous passes along and around the meteor's projected path. Researchers combed the ocean floor by attaching a sled full of magnets to their boat. "We found ten spherules. These are almost perfect spheres, or metallic marbles. When you look at them through a microscope, they look very distinct from the background," explained Loeb, "They have colors of gold, blue, brown, and some of them resemble a miniature of the Earth."

An analysis of the composition showed that the spherules are made of 84% iron, 8% silicon, 4% magnesium, and 2% titanium, plus trace elements. They are sub-millimeter in size. The crew found 50 of them in total. "It has material strength that is tougher than all space rock that were seen before, and catalogued by NASA," added Loeb, "We calculated its speed outside the solar system. It was 60 km per second, faster than 95% of all stars in the vicinity of the sun. The fact that it was made of materials tougher than even iron meteorites, and moving faster than 95% of all stars in the vicinity of the sun, suggested potentially it could be a spacecraft from another civilization or some technological gadget." He likens the situation to any of the Voyager spacecrafts launched by NASA.

An anonymous reader shares a report: The world of Secret Invasion is decidedly sketchy. With thousands of shapeshifting Skrulls on Earth, you can't trust what you think you're seeing. One second, you're looking at Nick Fury or an esteemed world leader; the next, you see their face morph into something (or someone) else entirely. This is a description of the plot of the new Marvel Cinematic Universe show on Disney Plus (as well as its comic book counterpart), which follows Nick Fury as he uncovers -- what else? -- a secret invasion by the Skrull population on Earth. But the concept of shape-shifting is also seen in the series' very different approach to its opening credits, which look like a sort of watercolor rendering of the key players and themes of Secret Invasion.

As we see a sort of jittery and ominous sequence of the Skrull green taking over more and more of the world, it looks a lot like if an AI was prompted with the concept of "Skrull cubism" -- which, actually, isn't that far off of what it is. As director and executive producer Ali Selim tells Polygon, the intro sequence was designed by Method Studios using artificial intelligence, something he thinks plays with the very themes of the show. "When we reached out to the AI vendors, that was part of it -- it just came right out of the shape-shifting, Skrull world identity, you know? Who did this? Who is this?" Selim says. Like many people, Selim says he doesn't "really understand" how the artificial intelligence works, but was fascinated with the ways in which the AI could translate the sense of foreboding he wanted for the series. "We would talk to them about ideas and themes and words, and then the computer would go off and do something. And then we could change it a little bit by using words, and it would change."

Charlie Brooker, the showrunner of "Black Mirror," revealed in an interview that he used OpenAI's ChatGPT to write an episode for the show's sixth season but deemed the results "shit." Gizmodo reports: "I've toyed around with ChatGPT a bit. The first thing I did was type 'generate Black Mirror episode' and it comes up with something that, at first glance, reads plausibly, but on second glance, is shit," the dystopian sci-fi auteur told Empire. "Because all it's done is look up all the synopses of Black Mirror episodes, and sort of mush them together. Then if you dig a bit more deeply you go, 'Oh, there's not actually any real original thought here.' It's [1970s impressionist] Mike Yarwood -- there's a topical reference."

While his experiments with generating an episode of Black Mirror with AI might have been deemed a failure, Brooker told the outlet that it did point out some of his writing cliches. "I was aware that I had written lots of episodes where someone goes 'Oh, I was inside a computer the whole time!'," he said. "So I thought, 'I'm just going to chuck out any sense of what I think a Black Mirror episode is.' There's no point in having an anthology show if you can't break your own rules. Just a sort of nice, cold glass of water in the face."

The House of Representatives in the United States plans to hold a hearing to investigate claims made by a whistleblower former intelligence official, David Grusch, that the US government possesses "intact and partially intact" alien vehicles. The Guardian reports: "There will be oversight of that," Comer told NewsNation. "We plan on having a hearing." Comer said he had heard about Grusch's claims, but added: "I don't know anything about it." The timing of the hearing is not yet determined, but a source familiar with the matter said a date is expected to be announced in the next few weeks. Tim Burchett and Anna Paulina Luna, Republican members of Congress from Florida and Tennessee, respectively, will lead the oversight committee investigation.

Burchett is working closely with House oversight committee leaders to prepare for a hearing, the congressman's office said. The witness list for the hearing has not yet been set, so it is unclear whether Grusch will publicly testify before the oversight committee. "Congressman Burchett's office is working through logistics, including a witness list of the most credible witnesses and sources who would be able to speak openly at an unclassified hearing," a spokesperson said.

Austin Hacker, a spokesman for the committee, told the Guardian in a statement: "In addition to recent claims by a whistleblower, reports continue to surface regarding unidentified aerial phenomena. The House oversight committee is following these UAP reports and is in the early stages of planning a hearing," Hacker said in a statement. "The National Defense Authorization Act for 2022 created the All-Domain Anomaly Resolution Office which coordinates among the Department of Defense, the intelligence community, Nasa, and other federal agencies to study UAPs. Americans, who continue to fund this federal government work, expect transparency and meaningful oversight from Congress."

A former intelligence official turned whistleblower, David Charles Grusch, has provided extensive classified information to Congress and the Intelligence Community Inspector General about covert programs involving the retrieval of intact and partially intact vehicles of non-human origin. Grusch alleges that this information has been illegally withheld from Congress, and he has filed a complaint claiming illegal retaliation for his disclosures. Other intelligence officials, both active and retired, have independently corroborated similar information about these programs. The Debrief reports: The whistleblower, David Charles Grusch, 36, a decorated former combat officer in Afghanistan, is a veteran of the National Geospatial-Intelligence Agency (NGA) and the National Reconnaissance Office (NRO). He served as the reconnaissance office's representative to the Unidentified Aerial Phenomena Task Force from 2019-2021. From late 2021 to July 2022, he was the NGA's co-lead for UAP analysis and its representative to the task force. The task force was established to investigate what were once called "unidentified flying objects," or UFOs, and are now officially called "unidentified anomalous phenomena," or UAP. The task force was led by the Department of the Navy under the Office of the Under Secretary of Defense for Intelligence and Security. It has since been reorganized and expanded into the All-Domain Anomaly Resolution Office to include investigations of objects operating underwater.

Grusch said the recoveries of partial fragments through and up to intact vehicles have been made for decades through the present day by the government, its allies, and defense contractors. Analysis has determined that the objects retrieved are "of exotic origin (non-human intelligence, whether extraterrestrial or unknown origin) based on the vehicle morphologies and material science testing and the possession of unique atomic arrangements and radiological signatures," he said. In filing his complaint, Grusch is represented by a lawyer who served as the original Intelligence Community Inspector General (ICIG). "We are not talking about prosaic origins or identities," Grusch said, referencing information he provided Congress and the current ICIG. "The material includes intact and partially intact vehicles." In accordance with protocols, Grusch provided the Defense Office of Prepublication and Security Review at the Department of Defense with the information he intended to disclose to us. His on-the-record statements were all "cleared for open publication" on April 4 and 6, 2023, in documents provided to us.

sciencehabit shares a report from Science Magazine: The truth may be out there about UFOs, or what the government currently calls "unidentified anomalous phenomena" (UAPs). But finding it will require collecting data that are more rigorous than the anecdotal reports that typically fuel the controversial sightings, according to a panel of scientists, appointed by NASA to advise the agency on the topic, that held its first public meeting [on Wednesday].

The 16-person panel, created last year at the behest of NASA Administrator Bill Nelson, is not itself evaluating UFO claims. Instead, it is advising NASA on how the agency can contribute to federal investigations that have been led by the Department of Defense (DOD) and intelligence agencies, says panel chair David Spergel, an astrophysicist and president of the Simons Foundation, who spoke to Science ahead of the meeting. "NASA is a public agency, an open agency, that encourages the use of the scientific method for looking at results." But science can only be done when there are data to work on, he adds. "You're not going to learn much from fuzzy pictures from the 1950s." So far, most "unidentified" phenomena flagged by the military have ended up being weather balloons, drones, camera glitches, or undisclosed military aircraft, Spergel says. "It's very unlikely there are space aliens that travel through space and use technology that looks remarkably like what we have right now." [...]

It remains to be seen whether NASA will devote any further funding to study UAPs beyond the $100,000 allocated for the panel, which will issue a report this summer. Many scientists would be reluctant to have existing funds steered away from more conventional lines of research in the search for signatures of life or extraterrestrial intelligence. As the panel meeting wound down, Spergel said no UAP so far demands the existence of extraterrestrials. "We have not seen the extraordinary yet." Most incidents end up being more mundane. Panel member Scott Kelly, a former NASA astronaut and naval aviator, recounted flying in an F-14 off the coast of Virginia, when his co-pilot swore that he saw a UAP. "We turned around," he said. "We went to go look at it. It turns out it was Bart Simpson, a balloon."

An anonymous reader shares an excerpt from a Motherboard article: Now, frustrated with a lack of transparency and trust around official accounts of UFO phenomena, a team of developers has decided to take matters into their own hands with an open source citizen science project called Sky360, which aims to blanket the earth in affordable monitoring stations to watch the skies 24/7, and even plans to use AI and machine learning to spot anomalous behavior. Unlike earlier 20th century efforts such as inventors proposing "geomagnetic detectors" to discover nearby UFOs, or more recent software like the short-lived UFO ID project, Sky360 hopes that it can establish a network of autonomously operating surveillance units to gather real-time data of our skies. Citizen-led UFO research is not new. Organizations like MUFON, founded in 1969, have long investigated sightings, while amateur groups like the American Flying Saucer Investigating Committee of Columbus even ran statistical analysis on sightings in the 1960s (finding that most of them happened on Wednesdays). However, Sky360 believes that the level of interest and the technology have now both reached an inflection point, where citizen researchers can actually generate large-scale actionable data for analysis all on their own.

The Sky360 stations consist of an AllSkyCam with a wide angle fish-eye lens and a pan-tilt-focus camera, with the fish-eye camera registering all movement. Underlying software performs an initial rough analysis of these events, and decides whether to activate other sensors -- and if so, the pan-tilt-focus camera zooms in on the object, tracks it, and further analyzes it. According to developer Nikola Galiot, the software is currently based on a computer vision "background subtraction" algorithm that detects any motion in the frame compared to previous frames captured; anything that moves is then tracked as long as possible and then automatically classified. The idea is that the more data these monitoring stations acquire, the better the classification will be. There are a combination of AI models under the hood, and the system is built using the open-source TensorFlow machine learning platform so it can be deployed on almost any computer. Next, the all-volunteer team wants to create a single algorithm capable of detection, tracking and classification all in one.

All the hardware components, from the cameras to passive radar and temperature gauges, can be bought cheaply and off-the-shelf worldwide -- with the ultimate goal of finding the most effective combinations for the lowest price. Schematics, blueprints, and suggested equipment are all available on the Sky360 site and interested parties are encouraged to join the project's Discord server. There are currently 20 stations set up across the world, from the USA to Canada to more remote regions like the Azores in the middle of the Atlantic [...] Once enough of the Sky360 stations have been deployed, the next step is to work towards real-time monitoring, drawing all the data together, and analyzing it. By striving to create a huge, open, transparent network, anyone would be free to examine the data themselves.

In June of this year, Sky360, which has a team of 30 volunteer developers working on the software, hopes to release its first developer-oriented open source build. At its heart is a component called 'SimpleTracker', which receives images frame by frame from the cameras, auto-adjusting parameters to get the best picture possible. The component determines whether something in the frame is moving, and if so, another analysis is performed, where a machine learning algorithm trained on the trajectories of normal flying objects like planes, birds, or insects, attempts to classify the object based on its movement. If it seems anomalous, it's flagged for further investigation.

All across North America today, over 2,000 comic book stores are celebrating Free Comic Book Day. As it enters its third decade — the event started in 2001, according to Wikipedia — there'll be over two dozen free comic books to choose from this, and enthusiastic stores trying to dial up the fun even more.

16 stores are also giving away Ant-Man and The Wasp: Quantumania in special "ant-sized" boxes — the size of penny — with tiny versions of the cover art from the full-sized Blu-Ray disc boxes (along with a code for a digital version of the movie). The Bleeding Cool site has a running list of stores doing additional special "cool stuff," including cookie giveaways, discounts on paperbacks and comic books, and personal appearances by comic book writers and artists.

Geek-friendly free comic books this year:

• Dark Horse Comics' Star Wars/ Avatar: The Last Airbender
• D.C. Comics is offering Dawn of DC — Knight Terrors
• Marvel is offering several multi-character books, including Spider-Man/Venom, the Avengers/X-Men, and a sampler of the upcoming graphic novel biography of Stan Lee
• IDW's free comics include the Teenage Mutant Ninja Turtles
• There's also the official prequel to the new Street Fighter 6 video game
• Also available: Runescape: Untold Tales/God Wars
• Fantagraphics even has a preview of its upcoming Fabulous Furry Freak Brothers book.
• Archie Horror Presents: The Cursed Library

Bleeding Cool also has previews the artwork from Star Trek: Prelude to Day of Blood, a teaser for a coming "comic book crossover event between IDW's main Star Trek comic and the Star Trek: Defiant series" (that's also accompanied by a Lower Decks comic book story).

Just remember, in 2017 NPR had this advice for visiting comics fans. "While you're there, buy something... The comics shops still have to pay for the 'free' FCBD books they stock, and they're counting on the increased foot traffic to lift sales."

An anonymous reader shares a report: A young Harrison Ford will grace cinema screens for 25 minutes this summer -- aided by some new Industrial Light & Magic (ILM) software. The news that LucasFilm's Indiana Jones and the Dial of Destiny would feature a de-aged Ford came at the end of last year, but an interview with director James Mangold in Total Film just revealed it will be for almost a fifth of the film's running time.

The fifth Indiana Jones iteration starts with an opening scene from 1944 -- about eight years after Indiana Jones and the Raiders of the Lost Ark took place. "My hope is that, although it will be talked about in terms of technology, you just watch it and go, 'Oh my God, they just found footage. This was a thing they shot 40 years ago," Kathleen Kennedy, president of Lucasfilm and a producer, told Empire. The rest of the movie shoots forward to 1969, with Indy on a mission to prevent a comeback of Nazism.