AI isn’t new to Hollywood — but this was the year when it really made its presence felt. For years now, the entertainment industry has used different kinds of generative AI products for a variety of post-production processes ranging from de-aging actors to removing green screen backgrounds. In many instances, the technology has been a useful tool for human artists tasked with tedious and painstaking labor that might have otherwise taken them inordinate amounts of time to complete. But in 2025, Hollywood really began warming to the idea of deploying the kind of gen AI that’s really only good for conjuring up text-to-video slop that doesn’t have all that many practical uses in traditional production workflows. Despite all of the money and effort being put into it, there’s yet to be a gen-AI project that has shown why it’s worth all of the hype.
Technology
Hollywood cozied up to AI in 2025 and had nothing good to show for it
This confluence of Hollywood and AI didn’t start out so rosy. Studios were in a prime position to take the companies behind this technology to court because their video generation models had clearly been trained on copyrighted intellectual property. A number of major production companies including Disney, Universal, and Warner Bros. Discovery did file lawsuits against AI firms and their boosters for that very reason. But rather than pummeling AI purveyors into the ground, some of Hollywood’s biggest power players chose instead to get into bed with them. We have only just begun to see what can come from this new era of gen-AI partnerships, but all signs point to things getting much sloppier in the very near future.
Though many of this year’s gen-AI headlines were dominated by larger outfits like Google and OpenAI, we also saw a number of smaller players vying for a seat at the entertainment table. There was Asteria, Natasha Lyonne’s startup focused on developing film projects with “ethically” engineered video generation models, and startups like Showrunner, an Amazon-backed platform designed to let subscribers create animated “shows” (a very generous term) from just a few descriptive sentences plugged into Discord. These relatively new companies were all desperate to legitimize the idea that their flavor of gen AI could be used to supercharge film / TV development while bringing down overall production costs.
Asteria didn’t have anything more than hype to share with the public after announcing its first film, and it was hard to believe that normal people would be interested in paying for Showrunner’s shoddily cobbled-together knockoffs of shows made by actual animators. In the latter case, it felt very much like Showrunner’s real goal was to secure juicy partnerships with established studios like Disney that would lead to their tech being baked into platforms where users could prompt up bespoke content featuring recognizable characters from massive franchises.
That idea seemed fairly ridiculous when Showrunner first hit the scene because its models churn out the modern equivalent of clunky JibJab cartoons. But in due time, Disney made it clear that — crappy as text-to-video generators tend to be for anything beyond quick memes — it was interested in experimenting with that kind of content. In December, Disney entered into a three-year, billion-dollar licensing deal with OpenAI that would let Sora users make AI videos with 200 different characters from Star Wars, Marvel, and more.
Netflix became one of the first big studios to proudly announce that it was going all-in on gen AI. After using the technology to produce special effects for one of its original series, the streamer published a list of general guidelines it wanted its partners to follow if they planned to jump on the slop bandwagon as well. Though Netflix wasn’t mandating that filmmakers use gen AI, it made clear that saving money on VFX work was one of the main reasons it was coming out in support of the trend. And it wasn’t long before Amazon followed suit by releasing multiple Japanese anime series that were terribly localized into other languages because the dubbing process didn’t involve any human translators or voice actors.
Amazon’s gen-AI dubs became a shining example of how poorly this technology can perform. They also highlighted how some studios aren’t putting all that much effort into making sure that their gen AI-derived projects are polished enough to be released to the public. That was also true of Amazon’s machine-generated TV recaps, which frequently got details about different shows very wrong. Both of these fiascos made it seem as if Amazon somehow thought that people wouldn’t notice or care about AI’s inability to consistently generate high-quality outputs. The studio quickly pulled its AI-dubbed series and the recap feature down, but it didn’t say that it wouldn’t try this kind of nonsense again.
All of this and other dumb stunts like AI “actress” Tilly Norwood made it feel like certain segments of the entertainment industry were becoming more comfortable trying to foist gen-AI “entertainment” on people even though it left many people deeply unimpressed and put off. None of these projects demonstrated to the public why anyone except for money-pinching execs (and people who worship them for some reason) would be excited by a future shaped by this technology.
Aside from a few unimpressive images, we still haven’t seen what all might come from some of these collaborations, like Disney cozying up to OpenAI. But next year AI’s presence in Hollywood will be even more pronounced. Disney plans to dedicate an entire section of its streaming service to user-generated content sourced from Sora, and it will encourage Disney employees to use OpenAI’s ChatGPT products. But the deal’s real significance in this current moment is the message it sends to other studios about how they should move as Hollywood enters its slop era.
Regardless of whether Disney thinks this will work out well, the studio has signaled that it doesn’t want to be left behind if AI adoption keeps accelerating. That tells other production houses that they should follow suit, and if that becomes the case, there’s no telling how much more of this stuff we are all going to be forced to endure.
Technology
Blue Origin successfully reused its New Glenn rocket
Today’s launch of AST SpaceMobile’s BlueBird 7 satellite aboard Blue Origin’s reusable New Glenn rocket was a partial success. The New Glenn touched down on its landing pad without incident, making it the second launch and landing for the first stage booster, and officially giving Jeff Bezos a reusable launch vehicle. Unfortunately for AST SpaceMobile, the mission was less successful. Its cell-tower-in-space was delivered to a lower orbit than expected by the second stage of the launch vehicle, rendering it functionally useless.
While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited.
Bezos, for his part, posted a video of the landing on X without comment.
Technology
iPhone and Samsung flashlight tricks you should know
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Most people treat their phone flashlight like a basic on and off switch. You tap it when you drop something under the couch or walk through a dark parking lot. That’s it.
But with the latest software updates, both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. You can control how bright it is. On some devices, you can even change how wide the beam spreads.
Once you know where to look, it feels like you just upgraded your phone without spending a dollar.
10 IOS 26 TRICKS THAT HELP YOU GET MORE OUT OF YOUR IPHONE
Both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. (Silas Stein/picture alliance)
iPhone flashlight features you’re probably missing
Your iPhone flashlight does more than turn on and off, and a few hidden controls can completely change how you use it.
How to adjust iPhone flashlight brightness
On almost all iPhones:
- Swipe down from the top right to open Control Center
- Press and hold the flashlight icon
- Drag the vertical slider up to increase brightness or down to lower it
This has been around for years, but many people still tap instead of holding. That’s where the real control lives.
How to change iPhone flashlight beam width (Pro models)
This is the feature most people have never seen. On newer Pro iPhones running the latest software:
- Swipe down to open Control Center
- Press and hold the flashlight icon
- When the flashlight control appears at the top of the screen, swipe left or right to adjust the beam width
You can go from a narrow, focused beam to a wide flood of light.
That means:
- Narrow beam = better for seeing farther ahead
- Wide beam = better for lighting up a full area
This feature was introduced in iOS 18 and is still available in iOS 26.4, but it only works on iPhone 14 Pro and newer Pro models, including iPhone 15 Pro and later versions. You won’t see it on standard models.
How to turn on iPhone flashlight from the Lock Screen
You don’t even need to unlock your phone:
- Press and hold the flashlight icon on the Lock Screen
It turns on instantly, which is faster than digging through menus.
How to use Siri to control your iPhone flashlight
You can say:
- “Hey Siri, turn on the flashlight.”
- “Set flashlight to 50 percent.”
- “Hey Siri, turn off the flashlight.”
It’s one of the fastest hands-free options when your hands are full.
The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. (Anna Barclay/Getty Images)
Bonus: Use iPhone flashlight for alerts and notifications
Your iPhone can use the flashlight as a visual alert:
- Go to Settings
- Tap Accessibility
- Tap Audio/Visual
- Scroll down and turn on Flash for Alerts
Your flashlight will blink for calls and notifications, which helps if your phone is on silent or in a noisy place.
Samsung flashlight features you should know
Samsung takes a different approach and, in some ways, gives you more flexibility right out of the box.
Note: Settings may vary depending on your Samsung device model and One UI version.
How to adjust Samsung flashlight brightness
On most Samsung Galaxy phones:
- Swipe down to open Quick Settings
- Press and hold the flashlight icon
- Use the brightness slider (labeled “Brightness”) to adjust the light level
Many people miss this because a quick tap only turns the flashlight on or off. The brightness controls appear after you press and hold, giving you more control depending on your situation.
How to turn on the Samsung flashlight with your voice
If you use Google Assistant:
- “Hey Google, turn on the flashlight.”
- “Hey Google, turn off the flashlight.”
It works well when your hands are full or when you need quick access.
10 INCREDIBLY USEFUL IPHONE AND ANDROID TRICKS THAT MAKE YOUR LIFE EASIER
How to customize Samsung flashlight access
Samsung gives you a few ways to keep the flashlight within easy reach. To keep it in your main Quick Settings panel:
- Swipe down from the top of the screen to open Quick Settings
- If you do not see the flashlight icon in the main panel, tap the pencil icon to edit
- Tap Edit
- Find Flashlight in the available buttons
- Hold and drag the flashlight icon into the main Quick Settings area
- Tap Done or Save if prompted
Bonus: Use the Samsung flashlight for alerts and notifications
Samsung phones can also use the flashlight for visual alerts:
- Go to Settings
- Tap Accessibility
- Tap Advanced settings
- Tap Flash notifications
- Turn on Camera flash notification
You can also turn on Screen flash notification if you want your display to light up instead.
When iPhone and Samsung flashlight features actually matter
This is where it becomes practical:
- Walking at night: a narrow beam helps you see farther ahead
- Power outage: a wide beam lights up more of the room
- Looking for something nearby: lower brightness avoids harsh glare
- Emergency situations: faster access can save time
Once you start adjusting the light instead of just turning it on, it becomes far more useful.
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Apple improved control with hardware and software, while Samsung focused on flexibility and customization. (Kurt “CyberGuy” Knutsson)
Kurt’s key takeaways
The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. Apple improved control with hardware and software, while Samsung focused on flexibility and customization. Both approaches make a simple tool far more capable.
Have you ever discovered a hidden feature on your phone that made you wonder what else you’ve been missing? Let us know by writing to us at Cyberguy.com
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Technology
The future of local TV news has taken a Trumpian turn
This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more stories on Big Tech versus politics in Washington, DC, follow Tina Nguyen and read Regulator. The Stepback arrives in our subscribers’ inboxes at 8AM ET. Opt in for The Stepback here.
A long time ago, in 2004, the Federal Communications Commission laid down a rule designed to prevent a monopoly: No one company could broadcast to more than 39 percent of all the TV households in the United States. But then Donald Trump returned to the White House in 2025. Brendan Carr became FCC chairman and immediately kicked off a deregulatory initiative called “Delete, Delete, Delete,” in which Carr vowed to get rid of “every rule, regulation, or guidance document” that placed “unnecessary regulatory burdens” on companies. And within months, Nexstar, which already owned over 200 stations nationwide and had hit its ownership cap, announced that it had entered an agreement to purchase its rival, Tegna, for an estimated $6.2 billion — something that could only happen, however, if Carr agreed to change the FCC’s rules.
If you ask Nexstar why it’s pursuing a merger that would give it control of over 80 percent of the market, it’d point to Big Tech as the culprit. As advertisers take their money to Netflix, YouTube, and other digital streamers, linear television — the local television news, the broadcast affiliates, the basic cable networks — has suffered, forcing them to consolidate and shut down newsrooms. In that sense, Nexstar argued, the merger would help it compete for ad revenue with the streaming services, thereby building more robust local journalism. However, the merger’s opponents believe that this is a basic violation of antitrust laws and principles — not to mention the danger of letting one company have editorial control over the vast majority of America’s local television newsrooms.
But the second Trump administration handles regulatory hurdles a little differently than others, and companies have found that it’s faster to get what they want if they bypass the agencies and talk (read: suck up) to Trump directly. And when Nexstar did so publicly, it confirmed its opponents’ fears about political influence. Last September, in the fraught weeks after the fatal shooting of Charlie Kirk, Nexstar announced it would no longer broadcast Jimmy Kimmel Live! — a response to Carr’s claim that the FCC could revoke the broadcast licenses of TV stations that aired the comedian’s comments related to Kirk. It briefly led to ABC suspending Kimmel’s show, though ABC and Nexstar soon reversed their decision after a massive nationwide backlash and an ABC boycott.
However, Nexstar’s loyalty to Trump himself was not enough to win over his most powerful MAGA supporters. Newsmax, a cable news network with a deeply pro-Trump bent, and its CEO, longtime Trump donor and outside adviser Chris Ruddy, filed a lawsuit objecting to the merger, claiming that Nexstar’s anticompetitive behavior would force channels like his off the air with steeper carriage fees. He specifically accused Nexstar of jacking up the fees for stations to carry Newsmax, while offering its similar network, NewsNation, for much cheaper.
The Nexstar-Tegna MAGA makeover then took a more subtle turn. NewsNation hired the pro-Trump Fox News commentator Katie Pavlich and gave her her own primetime show. (The network had already hired a slew of former Fox journalists as well.) Around this time, a political group called Keep News Local began airing ads in DC that seemed to directly address Trump, praising him for having “defeated the fake news monopolies before through independent voices and local news” and claiming that the Nexstar-Tegna merger was “crucial for MAGA to survive.” (A little self-contradictory and mildly illogical, but it’s the kind of stuff that Trump likes to hear.) When I last spoke to Ruddy in February, I asked if he’d worried that the dark money going into Keep News Local would sway Trump, and he chose his words carefully: “I think at the end of the day, Trump makes up his own mind. I’m not sure he’s going to be influenced by an ad campaign.”
For months, no one could accurately predict if Trump would override Carr’s wishes and bless the deal, as he’s often done for other companies facing regulatory scrutiny. Trump’s Truth Social posts about the merger have been a good indicator of how precarious the merger has been and who’s been able to influence him at any given moment: Last November, he blasted the deal as an “EXPANSION OF THE FAKE NEWS NETWORKS,” but by February, he posted that the deal would “help knock out the Fake News because there will be more competition.”
Several current and former NewsNation employees told Status at the time that they feared that the parent company was steering NewsNation away from the centrist, “unbiased” reputation they’d long cultivated. “A lot of people within the network believe that the network has gone hard right to appeal to Trump and Brendan Carr,” one former employee told Status. Coincidentally, days before the deal was finalized, NewsNation began ramping up its explicitly pro-Trump content, tweeting a clip of CNN’s Kaitlan Collins being berated by White House press secretary Karoline Leavitt, along with the comment “Just going to leave this here.”
When Trump greenlit the merger in mid-March, but before the FCC’s three commissioners could vote on whether to waive the ownership cap, Nexstar and Tegna immediately announced a new complication: Tegna and Nexstar had already started merging. Tegna was no more and CEO Mike Steib had already sold $22.6 million of his company stock.
In response, eight state attorneys general and satellite TV operator DirectTV, which had already been planning to file separate federal antitrust suits against the merger, asked US District Judge Troy Nunley in Sacramento for an emergency restraining order that would prevent Nexstar from taking over Tegna’s assets. The order was granted on March 27th and on April 17, Nunley issued a formal injunction, ruling that Tegna must be operated as an independent financial entity, and Nexstar must take steps to ensure it remains separate from Tegna before further legal proceedings.
For now, Nunley has allowed the states and DirecTV to combine their cases, in which both argue that the merger was a clear violation of antitrust laws and would crush news competition.
Meanwhile, Republicans and Democrats in Congress are furious at Carr. On March 30th, Sens. Ted Cruz (R-TX) and Maria Cantwell (D-WA) sent the chairman a joint letter admonishing him for allowing his staff to waive the regulations to let the merger pass, instead of having the full commission of political appointees — one from the Biden administration — vote on it. “Under these circumstances,” they wrote, “any subsequent vote risks being largely procedural rather than a genuine exercise of commission responsibility.” They also pointed out that their hasty approval without the commission’s approval would now complicate the merger financially: “In a transaction of this scale, where integration proceeds quickly and unwinding becomes impractical, delay in judicial review can insulate the decision from meaningful challenge.” Notably, though they share similar ideological views on the media and deregulation, Cruz and Carr have frequently clashed over how to achieve their objectives. Cruz previously slammed Carr as a “mafioso,” for instance, for the way he’d used the FCC to silence Kimmel.
But even if it’s legally paused, the journalistic merger’s fallout has started to hit local news. NPR’s David Folkenfirk reported on Tuesday that Tegna journalists had already started receiving orders to stop broadcasting content from major broadcasters like ABC, CBS, and NBC — media outlets being targeted by Carr — and instead begin airing content from Nexstar’s NewsNation.
- Brendan Carr’s views on using the FCC to punish major broadcasters was outlined pretty extensively in the chapter he authored in Project 2025, an initiative led by the conservative Heritage Foundation on how to reform the federal bureaucracy to be more favorable to the American right.
- Exactly how much is local television losing to digital? According to industry publication NewscastStudio, in an investor call defending the purchase, Nexstar chairman Perry Sook cited a market research study from Borrell Associates, which found that “digital advertising in local markets exceeds $100 billion, compared to just $25 billion for local linear television advertising, with nearly two-thirds of digital ad dollars flowing to five major technology companies.”
- If you want to see exactly how much Keep Local News was trying to suck up to Trump, the ads are archived here.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
- The LA Times reported on last week’s preliminary hearings in front of Nunley, and how lawyers for Nexstar, the states, and DirecTV plan to argue their case.
- The Desk has insights from Kirk Varner, a former TV newsroom director, on how the case could go.
- Andrew Liptak covered Nexstar’s previous acquisition sprees for The Verge in 2018.
- Adi Robertson walks through exactly how the Kimmel suspension was an attack on free speech.
- Brendan Carr keeps trying to convince people that he’s not threatening to suspend broadcast licenses for reporting on unfavorable things like the Iran war, reports Lauren Feiner.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
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