The Shards is now streaming on Hulu for US viewers and Disney+ internationally, as it adapts Bret Easton Ellis' novel of the same name.

In my The Shards review, I was pleased to note that it was a welcome return to form for Ryan Murphy. I was also impressed by how well he adapts the source material into a sexy, glamorous yet dangerous TV series.

If you're here, you're wondering when the next episodes will stream. Much like the two episode premiere, we also get two episodes this week.

Here's what you need to know about the release of The Shards episodes 3 and 4.

What time can I watch The Shards episodes 3 and 4 on Hulu?

For US viewers, both The Shards episodes 3 and 4 will drop on Wednesday, August 12 at 6pm PT/ 9pm ET.

Here's when you can stream the new episodes in other countries.

• US – Thursday, August 13 at 6pm PT / 9pm ET
• Canada – Thursday, August 13 at 6pm PT / 9pm ET
• UK – Friday, August 14 at 2am BST
• India – Friday, August 14 at 6:30am IST
• Singapore – Friday, August 14 at 9am SGT
• Australia – Friday, August 14 at 11am AEDT
• New Zealand – Friday, August 14 at 12pm NZDT

When do new episodes of The Shards come out?

After this week's double bill, episodes of The Shards will premiere on a weekly basis until the finale on Wednesday, September 9. We do have another double bill coming up too, which is good news for those who don't like to wait.

For dates as well as the episode titles for the upcoming The Shards releases, take a look below.

• The Shards Episode 1 “Pilot”: Out now
• The Shards Episode 2 “Don’t You Want Me”: Out now
• The Shards Episode 3 “Help Me! Rhonda!”: Wednesday, August 12
• The Shards Episode 4 “Robert’s Party”: Wednesday, August 12
• The Shards Episode 5 “Murder on the Dancefloor”: Wednesday, August 19
• The Shards Episode 6 “Homecoming Part One”: Wednesday, August 26
• The Shards Episode 7 “Homecoming Part Two”: Wednesday, August 26
• The Shards Episode 8 “Hamlet”: Wednesday, September 2
• The Shards Episode 9 “Stairway to Heaven”: Wednesday, September 9

"I big, I punch," is probably the most effective and concise way of summing up the last three seasons of Reacher on Prime Video. Alan Ritchson's titular hero has slammed, drop-kicked, and battered his way through three separate stories to date, but Reacher season 4 has something new to offer.

Instead of honing in on Reacher's past or personal vendettas, our eight new episodes are ones of political espionage. Adapting the Lee Child novel Gone Tomorrow, he instead becomes embroiled in a CIA conspiracy after suspecting a woman on a New York City subway train is actually a suicide bomber. It's drama that makes you think, for the first time ever in this franchise.

It's a big tonal swing, and probably a risk that the crime drama needed to take four seasons in — but that doesn't mean it's completely paid off. In a nutshell, getting to the bottom of a big city political scandal has never made me yearn for the small-town days of seasons gone by more.

Clearly, this is part of Reacher's big-picture thinking. Seasons 1 and 3 were based in more rural locations, with seasons 2 and 4 respectively based in New York and Philadelphia. We already know that Reacher season 5 will be set in Oklahoma (like the novel Make Me), and I'm desperate to get there.

Does Reacher really have the chops to dig deeper into its punchy action? Probably not. I doubt we'll see the show stray back into these waters again, and there's good reason why.

Jack Reacher isn't the right action hero to lead a political espionage investigation

If the line "Oh no, I got it wrong!" is your signal to the audience that a dramatic twist is about to take place, then you're likely in over your head. This dialogue passes Reacher's lips halfway through season 4, with our bullish hero a fish out of water, scrambling through a plot that's much bigger than he could ever properly cope with.

On the one hand, I like that this level of insecurity humanizes Reacher more. There's always been more to him than just being muscle and meat hooks in a T-shirt, but now he's able to put his money where his mouth is. Selflessness, understanding, and the ability to be vulnerable flow out of Reacher abundantly in a way it never could have before, and I appreciate that.

However, let's not do this kind of storyline again. Our overarching threat is simultaneously too complicated to fully sink your teeth into and too mundane to actually bother caring about it. The armchair detectives among us will work out who is the 'villain' underpinning Reacher's latest disaster in a matter of seconds, and between season 4's beginning and end, you'll need a notepad and pen to keep up.

I think that an obstacle hidden in plain sight is the fact that Reacher himself doesn't have the same gravitas in a city as he does in a town. Plop him in the centre of Georgia, and he'll obviously scare the crap out of everyone around him. But in New York and Washington, D.C., he's a mere fly in the ointment. Add in a subpar storyline, and Reacher season 4 isn't exactly making its mark in an already oversaturated genre.

However, this might be Reacher's best supporting cast to date

But let's stop being a Debbie Downer... It's clobbering time! For surface-level viewing, Reacher season 4 is ticking every box you'd expect after its last three seasons, and that makes for some satisfying weekly viewing.

The secret weapon, however, is its supporting cast, which may just be my favorite of all we've had to date. New additions Tamara Green (Sydelle Noel), Jacob Merrick (Christopher Rodriguez-Marquette), and Russell Plum (Kevin Weisman) are Reacher's unlikely gang of allies, and the uneasy friendships that develop between them are the relationships that you're really rooting for.

Together, the awesome foursome drive the excitement of the piece, and help us paper over anything that isn't really gelling together in the story itself. We're desperate for them to break the rules and stick two metaphorical fingers up at authority, and they routinely indulge us. Best of all, our trio of newcomers pulls out all of Reacher's caring traits that we're desperate to see, even if they all make a few bad decisions along the way.

Without giving anything away, there are definitely some distasteful tones bubbling underneath the surface, particularly around how the story approaches sex work and, well, women in general. But hey, who cares when Reacher is going to punch something and take his shirt off, huh?

Reacher season 4 begins airing on Prime Video from August 12.

• Spotify is introducing AI Persona tags in mid-September
• The platform aims to improve user transparency by differentiating real artists from AI-generated ones
• Spotify only reviews an artist's profile and images, and not the music itself

Spotify has fallen short on the AI transparency front compared to some of the other best music streaming services, with users pining for a fix — and now the platform is taking its biggest step yet towards combatting AI slop.

The streaming giant announced today (August 11) the arrival of new AI Persona tags, which are designed to differentiate human artists from ones that are AI-generated. Spotify says these tags will roll out to mobile in mid-September, and will appear in an artist’s profile banner, ‘About’ section, in Search, and in song rows in playlists.

Once they become available, users can be safe in the knowledge that the artists they’re listening to haven’t been generated by AI. Spotify added that artists with AI Persona tags will be excluded from all personalized recommendations by default, ensuring that your music-discovery regime remains uninfected by slop.

Though AI Persona tags won’t roll out for another month or so, Spotify says artists can already disclose if their profile is AI-generated. If an artist declares this, a tag reading ‘AI Persona’ will appear next to their name. ‘We hope artists will be transparent, so we are giving them the opportunity to disclose,’ the service shared in its announcement — but it’s not putting all its trust into self-disclosure.

Instead, Spotify says it will take matters into its own hands if need be, and will conduct reviews of profiles where it thinks an artist’s images have been created using generative AI to imitate a lifelike persona. If Spotify detects that an artist profile might be AI-generated, it will display a tag that reads ‘Likely AI Persona’, and the artist will be notified and given the option to self-disclose or appeal.

It’s taken Spotify a long time to catch up to the likes of Deezer when it comes to improving its transparency on AI-generated music. Deezer was the first major audio streaming service to roll out tags that explicitly say if a track has been AI-generated, and recently its Head of Research told us why we need AI filters more than ever.

Spotify’s own AI Persona tags mark a big shift for the platform, and will certainly improve the user experience by giving listeners more peace of mind. However, Spotify’s feature comes with an important caveat.

It reviews the profile only, not the music

AI Persona tags are just one of the ways Spotify has been working towards improving transparency for users. Verified by Spotify was launched a few months back — this is a certification feature that shows if an artist is legitimate, but it’s not as watertight as we’d hoped it would be.

Additionally, Spotify’s SongDNA gives listeners a comprehensive overview of the creatives behind their favorite songs, while AI Credits give artists the opportunity to share where and how they’ve used AI in their music production. It’s not as upfront as Deezer’s methods, but the measures are in place nonetheless, and AI Persona tags are the cherry on top.

That said, AI Persona tags target an artist’s public image, not how the music was made, which could present some issues, as it still leaves room for AI-generated music to slip its way onto the platform.

If Spotify detects that an artist is human-presenting, how are we to know that artist won’t upload AI-generated music to their profile? There’s nothing stopping that artist from publishing slop, because Spotify reviews their name, imagery, and public identity, not the music they upload.

It’s a tricky one, because while Spotify has measures in place that evaluate music and artist image respectively, it doesn’t have a comprehensive tool that reviews both components simultaneously, which again isn’t as upfront as Deezer.

As far as AI-generated content in Spotify goes, I’ve been one of the lucky ones who hasn’t encountered this issue. Because my love for physical media and radio impacts what I listen to on Spotify, I suspect that my algorithm has been trained enough to push AI slop out of my recommendations.

I do think that on top of my streaming habits, Spotify’s anti-AI music measures have helped to keep the fence up and block out unwanted songs to a certain extent — I just wish its approach to tagging was a bit more robust.

The Big Bang Theory's Bernadette as a demon is something I didn't think I'd ever see in Stuart Fails to Save the Universe — but, now that I have, it somehow makes complete sense.

Last week's episode saw us meet her in a wizarding world but, in this week's entry we're swapping the magical action for something a little more One Flew Over the Cuckoo's Nest-coded.

But who, if anyone, really is crazy? And when does Stuart Fails to Save the Universe episode 4 arrive on HBO Max?

What time can I watch Stuart Fails to Save the Universe episode 4 on HBO Max?

For US viewers, Stuart Fails to Save the Universe episode 4 will drop on Thursday, August 13 at 6pm PT/ 9pm ET.

Internationally, you're looking out for these timings:

• US – Thursday, August 13 at 6pm PT / 9pm ET
• Canada – Thursday, August 13 at 6pm PT / 9pm ET
• UK – Friday, August 14 at 2am BST
• India – Friday, August 14 at 6:30am IST
• Singapore – Friday, August 14 at 9am SGT
• Australia – Friday, August 14 at 11am AEDT
• New Zealand – Friday, August 14 at 12pm NZDT

When do new episodes of Stuart Fails to Save the Universe come out?

New episodes of Stuart Fails to Save the Universe will make landfall every Thursday in the US and on Fridays everywhere else. Here are the all-important dates you need to know about:

• Episode 1: out now
• Episode 2: out now
• Episode 3: out now
• Episode 4: August 13
• Episode 5: August 20
• Episode 6: August 27
• Episode 7: September 3
• Episode 8: September 10
• Episode 9: September 17
• Episode 10: September 24

House of the Dragon season 4 has plenty riding on it. With the high-fantasy show's next chapter set to be its final installment, it'll have to deliver a fittingly fiery conclusion to the Targaryen Civil War, and wrap numerous other subplots and character arcs before its final credits sequence rolls.

All of that, and the final season's 2028 launch, feel a long way off at this stage — but that doesn't mean we can't look forward to its eventual release. So, if you want to know more about its possible cast, expected storylines, and more besides, this guide to the Game of Thrones prequel's next chapter is geared towards you.

Hop on, dragonrider, and let's take flight together.

House of the Dragon season 4 release date: what we know

HBO hasn't revealed next season's official launch date yet. However, as part of a multi-show renewal announcement that confirmed House of the Dragon season 4 was in development, the US TV network's boss Casey Bloys said it would premiere sometime in 2028.

Of course, plans can change, but word is that the cameras will start rolling in early 2027. Should that be the case, I'll be more confident that House of the Dragon season 4 will make its HBO Max debut in 2028.

House of the Dragon season 4 trailer: is there one?

Unsurprisingly, no — and we won't see one for a long time yet. Once a trailer for House of the Dragon season 4 is unveiled, I'll update this section.

House of the Dragon season 4 likely cast

Full spoilers follow for House of the Dragon season 3, and Fire and Blood, aka the book the show is based on.

Here's who I expect to see in House of the Dragon season 4:

• Emma D'Arcy as Rhaenyra Targaryen
• Olivia Cooke as Alicent Hightower
• Matt Damon as Daemon Targaryen
• Steve Toussaint as Corlys Velaryon
• Tom Glynn-Carney as Aegon II Targaryen
• Ewan Mitchell as Aemond Targaryen
• Bethany Antonio as Baela Targaryen
• Phoebe Campbell as Rhaena Targaryen
• Abubakar Salim as Alyn of Hull
• Clinton Liberty as Addam of Hull
• Sonoya Mizuno as Mysaria
• Kieran Bew as Hugh Hammer
• Tom Bennett as Ulf the White
• Benjamin Evan Ainsworth as Daeron Targaryen
• Freddie Fox as Gwayne Hightower
• Jefferson Hall as Tyland Lannister
• Gayle Rankin as Alys Rivers
• Joplin Sibtain as Jon Roxton
• Kyrt Egyiawan as Orwyle
• Archie Barnes as Oscar Tully
• Annie Shapero as Alysanne Blackwood
• Dan Fogler as Torrhen Manderly
• Amanda Collin as Jeyne Arryn

Three big names were taken off the proverbial chess board in last season's finale, meaning they won't return for chapter 4.

James Norton's Ormund Hightower and Tommy Flanagan's Roderick Dustin were both gravely injured as part of their Tumbleton duel. The pair were then burned alive by Ulf and his dragon Silverwing in the final throes of said conflict.

Meanwhile, Phia Saban's Helaena committed suicide by throwing herself from a window in Maegar's Holdfast as a way out of being Rhaenyra's perennial prisoner. This trio, then, won't be back for another round.

There are bound to be a few returning faces, including Jamie Kenna's Ser Alfred Broome, while individuals like Ser Marston Waters and an unhinged, so-called prophet known simply as The Shepherd, who are yet to appear in House of the Dragon, might also show up.

In Fire and Blood, Broome and Waters play integral roles in the Fall of Dragonstone and/or other late-game events. Meanwhile, The Shepherd is responsible for instigating the Storming of the Dragonpit, a hugely significant event that was teased as part of Helaena's dream sequence in season 3 episode 7. I have a wild theory about the identity of The Shepherd, though, which you can read more about in my season 3 ending explained article in this guide's plot section.

That all said, House of the Dragon has taken some creative liberties with its source material, so there's no guarantee that this triumvirate will be part of proceedings. Hopefully, it won't be too long until HBO confirms season 4's full cast roster, and we can say with certainty that they, plus other returnees and newcomers, will take part.

House of the Dragon season 4 story speculation

Full spoilers follow for House of the Dragon season 3. Fire and Blood spoilers are also discussed.

Season 4's story synopsis hasn't been revealed yet, but we've got a good idea of what'll happen next

My House of the Dragon season 3 ending explained piece contains some clues about where things will go from here. Meanwhile, those who've read Fire and Blood will definitely know what's in store for Rhaenyra, Aegon II, and everyone else moving forward.

I'm about to dig into some aspects of the latter, so this is your one and only warning: potentially big spoilers immediately follow for House of the Dragon season 4. Skip to the next section if you don't want any major story beats ruined ahead of time.

Still here? You'll already know — or want to know — that there are many more deadly events yet to be played out in the Dance of the Dragons.

Indeed, the Fall of Dragonstone and Storming of the Dragonpit notwithstanding, we should also see live-action depictions of the Battle Above the Gods Eye, the Second Battle of Tumbleton, and the final showdown between Rhaenyra and Aegon II.

Other moments, such as the Moon of the Three Kings, Battle of the Kingsroad, the False Dawn, and Hour of the Wolf could also be adapted. However, House of the Dragon season 4 already has plenty of destructive and life-threatening ground to cover, so I'd be surprised if the latter pair are shown in any great capacity, if at all.

That said, the series could end on an unexpected note. Asked by Business Insider about how he planned on concluding things, Condal replied: "We've talked about this being kind of a World War II movie: There are plenty of World War II movies that exist where you tell the story within this greater war, but the curtain drops at some point in the story, and it's not necessarily with Japan's surrender or Hitler dying in the bunker — these big kind of endpoints where you could say World War II truly ended. You're telling the story within the story.

"So, in no way to comment at all on how we're planning on ending this, but I think that was the trick," he continued. "Because Fire & Blood is a decades-spanning history, the question is really more 'Where do you drop the curtain on this particular story?. We're telling the story of the Dance of the Dragons... at what point do you drop the curtain on this, [in a way] that feels satisfying and like you've told a complete story, but also that leaves certain things open-ended? [By] telling the audience, intentionally, that history marches on."

Before things come to an end, there are many subplots and character arcs to tie up. Those include — but aren't limited to — Rhaenyra potentially losing more allies in Baela, Addam, and Corlys; Aegon and Aemond teaming up to tackle Daeron and Rhaenyra; Alyn having to deal with taking the life of the High Septon under Rhaenyra's orders; and Hugh reckoning with Cat's death, and how that'll impact his loyalty to Rhaenyra.

Furthermore, there will be Alicent learning of Helaena's death and Aegon II's return, Mysaria's possible role in instigating a rebellion against Rhanyera, and Ulf being a dragon-wielding wildcard whose no longer loyal to Team Black or Team Green — and that's just dealing with some of the show's expansive ensemble.

Of course, the biggest question of all is: will House of the Dragon be able to give closure to everyone in the eight, 60-minute-long episodes that remain before its final curtain call? That remains to be seen. But, with other popular shows recently failing to stick the landing from a finale standpoint, Condal and company will hope House of the Dragon doesn't become the latest one to under-deliver for its fanbase.

Will there be a fifth season of House of the Dragon?

Right now, no. Speaking to Deadline in January, HBO boss Casey Bloys replied "yes, that is the idea" when asked if the show will end with season 4. In a separate chat with Deadline this June, showrunner Ryan Condal also said "I think I have said what I have to say about Westeros" — the implication being that, once House of the Dragon's fourth season has ended, it won't return for another outing.

There's always the prospect of HBO replacing Condal with someone else if it felt that a fifth season was necessary, but it would be bizarre to see another individual helm a single season of it. It would be even weirder if House of the Dragon's story continued after season 4, because the show was only intended to cover the Targaryen Civil War as it's outlined in Fire and Blood.

There's plenty more ground to cover with House Targaryen and Westeros more generally post-The Dance of the Dragons. Those stories are arguably best told in separate Thrones spin-offs, though, rather than being the foundations on which to build a fifth season. In short: don't expect to see House of the Dragon season 5 once the show reaches what's expected to be its natural end with its fourth and final installment.

Nvidia's GeForce NOW cloud gaming service has been a popular way to access your games on the go without worrying about hardware. It has a free tier with titles like Fortnite, not even requiring a purchase, but the paid subscription enjoys much better specs and rate limits. As such, using the "Ultimate" tier, modder Zortos was able to gain full access to the Windows desktop inside GeForce NOW, allowing him to use it as a normal computer that can (ironically) run local AI models on it.

For context, GeForce NOW is only meant for gaming; Nvidia does not advertise it as a general, all-purpose cloud streamer like Shadow PC, for instance. Hence, doing all this is certainly against the terms of service, and you run the risk of your account getting banned. With that being said, ethically, you are paying for renting hardware, so trying to gain desktop access is predicated on how far your own moral scruples allow you to go.

Anyhow, the exploit begins with an I2P (Install-to-Play) game that you download from Steam — Zortos uses Trove. You click on the publisher's name to open the built-in browser, from where you go to your C: drive through the address bar and essentially hijack the index. You open the steamapps folder that was just created for Trove and copy the path of the main executable from the contents.

This file is replaced with a decoy that deceives Steam into thinking you're actually starting Trove when you click on the "Play" button. In reality, it's a modified executable developed by another modder, dpadGuy, that just opens the desktop instead. Once inside, it really is the full Windows environment with no apparent restrictions. The video below even shows Zortos installing Wallpaper Engine and customizing the taskbar.

However, users have reported some discrepancies between their experiences, such as GeForce NOW simply closing the session when it sees the File Explorer open, or the service blocking file downloads, which is a necessary step to replace the executable. Zortos insists that the exploit is still working on his X account, and he even says that if you have persistent storage, the exploit will remain active between different sessions.

Keep in mind that you need a paid tier of GeForce NOW to be able to pull this off, and even if you do, it's against Nvidia's ToS as you're not allowed to venture beyond games. Running local AI models on a setup like this doesn't make sense because of the session rate limits, but the Ultimate tier Zortos used does give you access to 48GB of VRAM (thanks to an RTX Pro 6000D) so it might be worthwhile for some.

Reacher season is my favorite time of year, and season 4 will account for much of my screen time over the next few months.

If you remember, the end of season 3 saw Reacher (Alan Ritchson) finally kill Quinn (Brian Tee) point-blank with a shotgun after reminding him of how he murdered Kohl (Mariah Robinson).

Reacher then, as is is way, leaves town... but does that mean that the drama stops? Of course not — it's just a new beginning (especially as season 5 has already been confirmed).

I haven't even seen any previews yet, but my advice is to strap in for what could be the wildest ride yet. But when do Reacher season 4 episodes 1-3 arrive on Prime Video?

What time can I watch Reacher season 4 episodes 1-3 on Prime Video?

We're expecting episodes 1-3 of Reacher season 4 to be available on Prime Video on August 12 at 12am PT / 3am ET in the US.

Internationally, look out for the below times:

• US – 12am PT / 3am ET
• Canada – 12am PT / 3am ET
• UK – 8am BST
• India – 12:30pm IST
• Singapore – 3pm SGT
• Australia – 6pm AEST
• New Zealand – 8pm NZDT

When do new episodes of Reacher season 4 come out?

After its three-episode premiere, Reacher season 4 episodes will be airing on a weekly basis. This gives us the following season schedule:

• Episode 1: August 12
• Episode 2: August 12
• Episode 3: August 12
• Episode 4: August 19
• Episode 5: August 26
• Episode 6: September 2
• Episode 7: September 9
• Episode 8: September 16

Interestingly, the Reacher season 4 finale coincides with the day that all episodes of spinoff Neagley will arrive on Prime Video.

I’ve always been a fan of premium formats at the cinema, and thanks to the combination of a large screen, rich visuals, and sound that really packs a punch, Dolby Cinema has long been my go-to choice — even over IMAX.

This week, I ventured to a local AMC in New Jersey for Spider-Man: Brand New Day in Dolby Cinema. The theater featured stadium-style seating and was practically sold out, with only a handful of seats remaining in the front row. Considering the film has grossed more than a billion dollars globally, including over half a billion dollars in the US alone, it’s no surprise that tickets for Dolby Cinema and theaters in general have been hard to come by.

So, while my screening came a few days after opening, it was well worth the wait and ended up being one of my favorite Dolby Cinema experiences in a while.

For starters, the dual 4K laser projectors that power Dolby Cinema did a fantastic job with Spider-Man: Brand New Day. Colors were rich and vibrant, while the finer details in darker scenes remained visible without losing that cinematic contrast. Yes, a Dolby Cinema screen is typically smaller than a true IMAX screen, but that didn’t bother me here. Between the picture quality and the audio, I still felt completely immersed in the world of Spider-Man: Brand New Day.

I was pulled into the action almost immediately, and the combination of the screen, seating, and sound made the theater itself almost disappear.

You could, of course, opt for ScreenX, which wraps the image around you across the side walls, or catch Brand New Day on select IMAX screens in the US for a limited time. Just remember that those screenings aren’t necessarily the same as seeing a film presented in true 70mm IMAX — an important distinction when talking about premium cinema formats.

But for me, the real highlight was the Dolby Atmos sound.

Dolby Cinema’s audio setup is an expansive, full-range system designed to deliver sound throughout the theater, and Brand New Day makes particularly good use of it. It can pack a serious punch when the action kicks in, but what impressed me most was the low end. The bass wasn’t simply loud; it had weight and presence, adding another physical dimension to explosions, movement, and the film’s bigger action sequences.

Spoilers lie ahead

Spoilers for Spider-Man: Brand New Day ahead

As noted above, the real highlight for me was the sound. While the entire mix was well done and made excellent use of Dolby Cinema’s audio capabilities, there is one scene in particular that stands out — hence the spoiler warning, as it revolves around a pretty major plot point.

As Peter Parker begins to deal with the rise of arachnid traits in his genes — see a taste in the image above — he starts experiencing heightened senses. When he heads onto a rooftop, the sequence becomes a fantastic showcase for what a well-designed cinema sound system can actually do.

You hear the rush and bustle of New York City around Peter. Footsteps take on a heightened presence. An empty bag of chips scraping and tumbling along the ground suddenly becomes an important part of the soundscape. Instead of simply hearing these sounds as background noise, you’re placed inside Peter’s heightened perception of them.

And this is where Dolby Atmos really shines, especially when it all rushes together.

From a spatial perspective, the mix does a tremendous job of pinpointing where sounds are coming from and matching them to what’s happening on screen. Sounds move around the theater in a way that feels deliberate rather than gimmicky, helping put you directly into Peter’s headspace. The result is a sequence that feels less like you’re watching someone experience heightened senses and more like you’re experiencing them alongside him.

It’s a real tour de force for the sound team — and arguably one of the better demonstrations I’ve experienced of what premium cinema audio can add to a movie beyond simply making things louder.

When I head in for my second viewing of Spider-Man: Brand New Day, it’ll most certainly be in Dolby Cinema again. The picture is excellent, the seating and presentation are fantastic, and the overall experience is incredibly immersive.

But ultimately, it’ll be for the sound.

Spider-Man: Brand New Day reminded me that when Dolby Cinema is firing on all cylinders, the audio can be just as important to the cinematic experience as what’s happening on the screen.

After falling in love with Disneyland Handcrafted, I was excited to dive into the studio's latest documentary movie, Disney Worldbuilders. Directed by Leslie Iwerks, the new movie has a tiny runtime of 58 minutes and call me greedy, but I really wanted more.

Disney Worldbuilders gets up-close-and-personal with some of Disney's most influential voices, where we learn about creative processes and their lasting impact on both cinema and the Disney Parks around the world.

Even though I loved what I saw, I did feel as though Worldbuilders tries to squeeze too much into its runtime. Unlike Handcrafted, which solely focuses on Walt's vision for Disneyland in Anaheim, this jumps around between subjects, and I wish we'd had an episode for each person interviewed so we could've taken a deeper dive.

The stacked line-up is made up of Bob Iger, James Cameron, Jon Favreau, Kevin Feige, Jennifer Lee, Pete Docter, Dave Filoni, Jared Bush, and Josh D’Amaro. That's a lot of people to talk to in under an hour, so I really wish we'd had more time with all of them!

Bob Iger in particular deserves a documentary of his own, and I hope we get one so we can properly examine the huge impact he's had on the Walt Disney Company, because it's not to be sniffed at. His segments didn't seem to fit with the rest of the interviews.

Still, that doesn't mean Worldbuilders is not worth your time. Far from it, in fact; I think it gives some really valuable and inspiring insights from some of the biggest names across Disney properties like Pixar, Star Wars, and Marvel, and it's hard not to smile when you're greeted with this footage.

The scale of the Disney Parks really is fascinating, and I liked how we were able to see the early days of areas such as Hollywood Studios' Galaxy's Edge and Animal Kingdom’s Pandora, especially how the directors of those movies responded to seeing their creations come to life. Now, fans get to walk through the worlds we see on screen, and the constant innovation going on across the global parks is jaw-dropping.

I found myself getting emotional during certain parts, particularly Jennifer Lee's reaction to World of Frozen at Disneyland Paris. Seeing her wandering around with Olaf and reflecting on her relationship with her sister is incredibly touching, given how Anna and Elsa are such inspirational figures to a lot of people out there.

Even though the interviews with each subject are short, we do get a lot of heartfelt anecdotes which I found to be very interesting. As someone who has been enamored with filmmaking from a young age, it's inspiring to see how these amazing creatives can help shape future attractions for all ages. In Worldbuilders, they reflect on their own childhoods and how they ended up working for one of the biggest media companies in the world.

Ultimately, this would have worked so much better in an episodic format because I could have happily watched eight hours of this, as opposed to the one hour we did get. I am hopeful that Disney will do more long-form Parks-focused documentaries like this, especially ones that talk to the creatives responsible for writing these worlds we know and love.

Disney Worldbuilders comes to Disney+ on August 20. While you wait, why not check out the best Disney+ movies and best Disney+ TV shows to stream right now.

Spotify wants to introduce new ways for listeners to engage with the artists they love the most, all while expressing their own creativity.

The streamer’s audio mixing feature for playlists has sky-rocketed in popularity, introducing a new way for listeners to modify their playlists. Now Spotify is working on a new AI-powered fan-made covers and remix tool — and it’s seeking the help of Merlin.

Spotify’s upcoming remix tool will come as a subscription add-on, though we don’t know when it’s due to drop or how much it will be on top of the current $12.99/ £12.99/ AU$15.99 monthly Spotify Premium plan.

Despite knowing very little about it, we do know that the remix feature will garner significant attention across the board of users, artists, organizations, and analysts alike. So what’s the end-goal for Spotify, and what are people saying about its potential knock-on effects for musicians and listeners?

What is the agreement?

On August 4, Spotify and digital licensing partner Merlin announced a new agreement that would give artists on labels under the Merlin name the option to lend their music to Spotify’s remix feature. Merlin is the second organization to sign on to the deal, following Universal Music Group in May.

For Spotify, the goal is simple: to ‘give listeners a new way to engage with the music they love from participating artists and songwriters,’ as stated in the announcement. Spotify also says the tool ‘will create an additional revenue stream for participating artists’.

However, despite knowing the tool will be AI-powered, Spotify hasn’t gone into detail as to exactly how it will allow listeners to create their own remixes of their favorite songs. The discourse around AI-generated slop is still a hot topic, and Spotify is still bearing the brunt of harsh criticism, so its venture into launching AI-powered music add-ons has left everyone scratching their heads.

What are Spotify’s competitors saying?

As far as rival music streamers go, it’s safe to say the top dogs aren’t too interested in integrating AI throughout their respective UXs. While the likes of Apple Music and Tidal use algorithmic recommendations to fuel discovery, the number of generative AI tools is nowhere near as saturated as Spotify.

Listening to an artist’s music in the way it was released is the only concern for most companies, particularly for Dan Mackta, Managing Director at Qobuz, who gave us the following statement: “Qobuz isn’t looking at anything like this. The finished music that great artists release is good enough for us and our community”.

The desire to keep the traditional listening experience in place is quite prevalent on the one hand. Some users just want to kick back with an album or playlist, hit the play button, and let the music do its thing. But as music analyst and founder of MIDiA Research Mark Mulligan points out, the yearning for active participation is growing.

Mulligan detailed this in a comment shared with us: “A growing share of consumers want to do more than just listen. Audio modification is an opportunity both to tap into consumer creativity and fandom. Playing around with your favourite artist’s song is an ultimate expression of fandom”.

Additionally, he backed this up with his own findings from the recent MIDiA Q1 2026 consumer survey: “The potential of audio modification is significant. Consumer demand is clear, with 54% of consumers interested in some form of audio modification, from changing speed to swapping vocals, rising to 80% for 16–19-year-olds”.

Participatory music is a rising phenomenon, and software labels like A Vinyl Bar in Shibuya want to create experiences that go beyond just listening to a song. However, AI is out of the question, and the creativity is placed in the hands of the user, not generated by a machine.

What are artists/ organizations saying?

In light of Spotify’s announcement, it’s not just competitors that are having their say on the AI-powered remix tool. Additionally, artists and music organizations are questioning the long-term financial effects the feature could have.

Musician’s Union is a UK-based organization that represents artists in all areas of the music industry, and its General Secretary Naomi Pohl views Spotify’s partnership with two minds.

“The Merlin and Spotify announcement sounds positive as it suggests artists will have the choice to participate in licensing deals or not and, crucially, that they will share in any revenue generated by the use of their works. This is better than the blanket approach taken by some major labels,” she tells us, but she also raises concerns about how artists will be paid, adding the following:

“However, as with music streaming royalties, there is a question over how artists signed to independent labels will be paid by their label. Artists should in theory get 50% of any revenue their label receives, but in practice this may not happen in all cases as it will depend on the label’s interpretation of the artist’s contract. Many artists signed before AI deals were even conceived of. And, as with music streaming, session or backing musicians on tracks currently stand to receive no share of revenue”.

When it comes to royalties, Spotify has faced severe criticism due to its payment model. Because Spotify pools money generated from subscriptions, it means the most streamed artists over the year will receive a higher percentage of the profits made. So, even if you spend an entire year supporting and streaming an up-and-coming indie band, your subscription money is still going to artists like Taylor Swift.

Royalties aside, the other concern lies within the protection of music in its original form. PRS for Music, who handle the rights and royalties behind music, feel this strongly. “More generally, streaming services are embracing new technologies, including AI, to give fans new ways to engage with the music they love,” a PRS spokesperson told us.

But despite these emerging consumer tools, what could easily get lost is the care for the music itself. PRS fears this will become less of a priority, adding “Creators, and their work, must be central to the development of these new tools. They must be designed specifically to protect the integrity of the work above all else, and to ensure creators are fairly paid for the value they bring to each and every platform”.

At the end of the day, these platforms are there not only for fans to listen and engage with music, but they're there for artists to allow fans to hear music the way they intended. Though Spotify's AI-powered remix tool would be a creative addition to the service, how long will it be before everyone reverts to streaming AI-generated mashups instead of the real thing?

• A Google user has had the LOTR movies pulled from their account
• Licensing changes are the most likely reason
• It's another argument for physical media — or for piracy

We've seen multiple incidents over the years where users have had movies and shows in their digital libraries unceremoniously yanked due to changes in licensing rules, but that doesn't make it any easier to swallow when it happens again.

This time a user posting to Reddit (via Neowin) has had their Lord of the Rings Extended Editions removed, after paying good money for them four years ago. As per a Google support representative, these films are "no longer available in our catalog".

The unlucky user doesn't say how much they paid for the three movies, but they're unlikely to have come cheap — and now they're left with nothing. It's a galling turn of events, even if it's not that surprising any more.

Buried in the small print of pretty much all the digital content services you use will be warnings about changes in catalog availability, and unfortunately that applies to purchases as well as libraries rented month to month (as on Netflix).

Physical media and

The affected user didn't even get a refund or a gift card for their troubles, as the purchase falls outside the standard 120-day window when these offers are available. They're just going to have to find it and watch it somewhere else.

As you might expect, the general Reddit reaction is one of dismay. "This is why physical media matters," says one commenter, while another says "you will own nothing and be happy" (while pointing out that they own the Blu-rays).

It's certainly strong evidence that physical media is the way forward at this stage. As convenient and simple as digital purchases might be, they're always vulnerable to changes in the policies and agreements of online stories and the production studios.

Many of the Redditors responding to the case argue that these kinds of actions essentially legitimize piracy too. You also have the option of putting together a Plex library, which works like your own personal Netflix — and is yours to keep.

I still haven't got my head around the new Sky TV thriller Possession, with all five episodes now available to stream.

We follow Claudia (Gugu Mbatha-Raw), an ambitious biracial lawyer who travels to Jamaica to challenge an inheritance claim made by a local man against a wealthy white aristocrat.

However, she arrives to find the disputed estate is a former plantation that has long haunted her dreams. Cue a terrifying slew of 1800s flashbacks, curses, and misunderstood spiritual connection.

It's colonial horror with a fresh 2020s take, and the supernatural tone might remind you of one of the biggest box office hits of the last five years.

In fact, it's the cast's immediate answer when I ask for their opinion on what would be best to double bill with Possession, but there's one connection that I didn't see coming.

Stream Sinners on HBO Max after binging Possession on Sky TV

"It was being made at the same time we were making this show, so we didn't realise that there was a connection, but Sinners keeps getting brought up," director Storm Saulter tells me when I put the double bill question to him and Mbatha-Raw.

"It's different, but it's also speaking about certain histories: about Afro-spiritualists, voodoo, magic, connection to Obeah (a monster from West African folklore).

"So I think those are two pieces in two different worlds, but they speak to the history, tradition, forward-thinking, and that the past is present."

Once Saulter says this, I don't know why I didn't make the same connection sooner. Though Sinners is more concerned with vampires in a more traditional sense, director Ryan Coogler's vision was so uniquely steeped in cultural history that's usually not done justice in mainstream media — and Possession fits that same criteria.

In fact, I think that Sinners is a much better fit than Belle, Mbatha-Raw's 2013 film critics have already compared to Possession.

She plays the titular character Dido Elizabeth Belle, who was a mixed-race illegitimate daughter of a Royal Navy Admiral raised in 18th Century England.

But does Mbatha-Raw see the connection that everybody else has?

"Obviously, to me, they're very separate projects, but I can see that there's some common themes," she responds. "Belle was a period drama that, was about one of the fewer known biracial aristocrats in England whose uncle was the Lord Chief Justice of England. In Possession, I'm playing the lawyer, so I definitely see, some of the comparisons there.

"It's a privilege to have a canon of work behind me where occasionally you have the privilege to really confront some of these issues in your work. It's not lost on me."

And if watching Possession, Sinners and potentially Belle is too much for some? "Get outside... go for a walk," Mbatha-Raw jokes.