Technology

Hollywood’s pivot to AI video has a prompting problem

Published

9 months ago

June 29, 2025

Hollywood’s pivot to AI video has a prompting problem

It has become almost impossible to browse the internet without having an AI-generated video thrust upon you. Open basically any social media platform, and it won’t be long until an uncanny-looking clip of a fake natural disaster or animals doing impossible things slides across your screen. Most of the videos look absolutely terrible. But they’re almost always accompanied by hundreds, if not thousands, of likes and comments from people insisting that AI-generated content is a new art form that’s going to change the world.

That has been especially true of AI clips that are meant to appear realistic. No matter how strange or aesthetically inconsistent the footage may be, there is usually someone proclaiming that it’s something the entertainment industry should be afraid of. The idea that AI-generated video is both the future of filmmaking and an existential threat to Hollywood has caught on like wildfire among boosters for the relatively new technology.

The thought of major studios embracing this technology as is feels dubious when you consider that, oftentimes, AI models’ output simply isn’t the kind of stuff that could be fashioned into a quality movie or series. That’s an impression that filmmaker Bryn Mooser wants to change with Asteria, a new production house he launched last year, as well as a forthcoming AI-generated feature film from Natasha Lyonne (also Mooser’s partner and an advisor at Late Night Labs, a studio focused on generative AI that Mooser’s film and TV company XTR acquired last year).

Asteria’s big selling point is that, unlike most other AI outfits, the generative model it built with research company Moonvalley is “ethical,” meaning it has only been trained on properly licensed material. Especially in the wake of Disney and Universal suing Midjourney for copyright infringement, the concept of ethical generative AI may become an important part of how AI is more widely adopted throughout the entertainment industry. However, during a recent chat, Mooser stresses to me that the company’s clear understanding of what generative AI is and what it isn’t helps set Asteria apart from other players in the AI space.

“As we started to think about building Asteria, it was obvious to us as filmmakers that there were big problems with the way that AI was being presented to Hollywood,” Mooser says. “It was obvious that the tools weren’t being built by anybody who’d ever made a film before. The text-to-video form factor, where you say ‘make me a new Star Wars movie’ and out it comes, is a thing that Silicon Valley thought people wanted and actually believed was possible.”

In Mooser’s view, part of the reason some enthusiasts have been quick to call generative video models a threat to traditional film workflows boils down to people assuming that footage created from prompts can replicate the real thing as effectively as what we’ve seen with imitative, AI-generated music. It has been easy for people to replicate singers’ voices with generative AI and produce passable songs. But Mooser thinks that, in its rush to normalize gen AI, the tech industry conflated audio and visual output in a way that’s at odds with what actually makes for good films.

“You can’t go and say to Christopher Nolan, ‘Use this tool and text your way to The Odyssey,’” Mooser says. “As people in Hollywood got access to these tools, there were a couple things that were really clear — one being that the form factor can’t work because the amount of control that a filmmaker needs comes down to the pixel level in a lot of cases.”

To give its filmmaking partners more of that granular control, Asteria uses its core generative model, Marey, to create new, project-specific models trained on original visual material. This would, for example, allow an artist to build a model that could generate a variety of assets in their distinct style, and then use it to populate a world full of different characters and objects that adhere to a unique aesthetic. That was the workflow Asteria used in its production of musician Cuco’s animated short “A Love Letter to LA.” By training Asteria’s model on 60 original illustrations drawn by artist Paul Flores, the studio could generate new 2D assets and convert them into 3D models used to build the video’s fictional town. The short is impressive, but its heavy stylization speaks to the way projects with generative AI at their core often have to work within the technology’s visual limitations. It doesn’t feel like this workflow offers control down to the pixel level just yet.

Mooser says that, depending on the financial arrangement between Asteria and its clients, filmmakers can retain partial ownership of the models after they’re completed. In addition to the original licensing fees Asteria pays the creators of the material its core model is trained on, the studio is “exploring” the possibility of a revenue sharing system, too. But for now, Mooser is more focused on winning artists over with the promise of lower initial development and production costs.

“If you’re doing a Pixar animated film, you might be coming on as a director or a writer, but it’s not often that you’ll have any ownership of what you’re making, residuals, or cut of what the studio makes when they sell a lunchbox,” Mooser tells me. “But if you can use this technology to bring the cost down and make it independently financeable, then you have a world where you can have a new financing model that makes real ownership possible.”

Asteria plans to test many of Mooser’s beliefs in generative AI’s transformative potential with Uncanny Valley, a feature film to be co-written and directed by Lyonne. The live-action film centers on a teenage girl whose shaky perception of reality causes her to start seeing the world as being more video game-like. Many of Uncanny Valley’s fantastical, Matrix-like visual elements will be created with Asteria’s in-house models. That detail in particular makes Uncanny Valley sound like a project designed to present the hallucinatory inconsistencies that generative AI has become known for as clever aesthetic features rather than bugs. But Mooser tells me that he hopes “nobody ever thinks about the AI part of it at all” because “everything is going to have the director’s human touch on it.”

“It’s not like you’re just texting, ‘then they go into a video game,’ and watch what happens, because nobody wants to see that,” Mooser says. “That was very clear as we were thinking about this. I don’t think anybody wants to just see what computers dream up.”

Like many generative AI advocates, Mooser sees the technology as a “democratizing” tool that can make the creation of art more accessible. He also stresses that, under the right circumstances, generative AI could make it easier to produce a movie for around $10–20 million rather than $150 million. Still, securing that kind of capital is a challenge for most younger, up-and-coming filmmakers.

One of Asteria’s big selling points that Mooser repeatedly mentions to me is generative AI’s potential to produce finished works faster and with smaller teams. He framed that aspect of an AI production workflow as a positive that would allow writers and directors to work more closely with key collaborators like art and VFX supervisors without needing to spend so much time going back and forth on revisions — something that tends to be more likely when a project has a lot of people working on it. But, by definition, smaller teams translates to fewer jobs, which raises the issue of AI’s potential to put people out of work. When I bring this up with Mooser, he points to the recent closure of VFX house Technicolor Group as an example of the entertainment industry’s ongoing upheaval that began leaving workers unemployed before the generative AI hype came to its current fever pitch.

Mooser was careful not to downplay that these concerns about generative AI were a big part of what plunged Hollywood into a double strike back in 2023. But he is resolute in his belief that many of the industry’s workers will be able to pivot laterally into new careers built around generative AI if they are open to embracing the technology.

“There are filmmakers and VFX artists who are adaptable and want to lean into this moment the same way people were able to switch from editing on film to editing on Avid,” Mooser says. “People who are real technicians — art directors, cinematographers, writers, directors, and actors — have an opportunity with this technology. What’s really important is that we as an industry know what’s good about this and what’s bad about this, what is helpful for us in trying to tell our stories, and what is actually going to be dangerous.”

What seems rather dangerous about Hollywood’s interest in generative AI isn’t the “death” of the larger studio system, but rather this technology’s potential to make it easier for studios to work with fewer actual people. That’s literally one of Asteria’s big selling points, and if its workflows became the industry norm, it is hard to imagine it scaling in a way that could accommodate today’s entertainment workforce transitioning into new careers. As for what’s good about it, Mooser knows the right talking points. Now he has to show that his tech — and all the changes it entails — can work.

Related Topics:ai Entertainment film tv-shows

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Technology

Backbone’s versatile pro controller is nearly matching its best price to date

Published

8 hours ago

March 13, 2026

Press Room

Backbone’s versatile pro controller is nearly matching its best price to date

Mobile gaming has come a long way over the course of the last decade or so, but we all know that smartphones simply can’t match the visceral, tactile feel you get while playing with a dedicated controller. Luckily, Backbone makes some excellent mobile options — including last year’s Backbone Pro, which is on sale at Amazon, Best Buy, and Target right now for $139.99 ($30 off), its second-best price to date.

In many ways, Backbone’s latest mobile controller is merely an updated take on what came before. The handheld device consists of two oblong halves with an extendable strip of plastic in the middle, allowing you to use it with Android devices and iPhone 15, 16, and 17 series phones. It plugs into your phone’s USB-C port and, once connected, you can game with two full-sized ALPs thumbsticks, a responsive D-pad, and A, B, X, and Y buttons. It also features two programmable back buttons, a 3.5mm headphone jack, better ergonomics than your phone, and averages up to 40 hours of battery life on a single charge.

The hardware is only part of the equation, though. Backbone’s intent with the Pro is for it to function as a more universal gamepad, and as such, the company’s software pulls together games from Apple Arcade, Netflix, Google Play, and other services into a singular app, allowing you to discover and launch games with little fuss. What’s more, you can use it to stream Xbox or PlayStation games — either from your console or the cloud —and connect it to a wealth of other devices via Bluetooth, including your PC, Steam Deck, and Apple devices like the iPad and Mac. Sure, the beefy controller looks a little awkward when you’re using it without a phone, but it’s a small price to pay for its added versatility.

Technology

iPhone calendar spam invites are surging

Published

8 hours ago

March 13, 2026

Press Room

iPhone calendar spam invites are surging

NEWYou can now listen to Fox News articles!

You glance at your phone and see it. A calendar alert warns you that your iPhone is infected. Or that you won a prize. Or that your account will be locked. Your first thought might be panic. Your second step should be to pause.

Many Apple users are reporting a wave of fake calendar invites that appear out of nowhere. These alerts are not malware. However, they are a scam tactic. And they can quickly clutter your calendar with junk events and suspicious links. Let’s break down what is happening and how to fix it.

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How fake calendar invites get onto your iPhone

Here is the surprising part. Most of the time, no app is installed. Nothing comes through the App Store. You do not download anything obvious.

HOW TO STOP SPAM MAIL, POLITICAL TEXTS AND EMAIL SPAM FOR GOOD

Scammers are flooding Apple Calendar with spam subscriptions that trigger urgent alerts and phishing links. (Stanislav Kogiku/SOPA Images/LightRocket via Getty Images)

Instead, the problem often starts with a single tap. You might click a bad link in a message or on a website. That page can quietly prompt you to subscribe to a calendar. Once you tap approve, even by accident, the spam events begin to flow in.

Because it is a subscription, the alerts show up directly in your iOS notifications. Even if the related email lands in junk mail, the calendar event can still appear on your device. It feels invasive. But according to users discussing the issue on Reddit’s r/Apple forum, it usually does not mean your phone was hacked.

As one commenter put it, if scammers are using calendar events to reach you, they likely did not break into your device. They simply tricked you into subscribing.

Why iPhone calendar spam alerts feel urgent and real

Scammers design these fake calendar invites to trigger panic fast. For example, one alert may claim your iPhone has a virus, while another promises a prize or warns that your account will be suspended. Instead of giving you time to think, the message pushes you to act immediately. As a result, many people tap before they pause.

However, that second click is where the real risk begins. In many cases, it redirects you to a phishing site that asks for passwords, credit card details or other personal information. Although the calendar alert itself is not malware, engaging with it can expose you to identity theft or financial fraud. In other words, the danger is not the notification. It is what happens next.

How to remove iPhone calendar spam invites

The good news is that removing the spam usually takes only a few steps.

Step 1: Check your subscribed calendars

Go to Settings
Scroll to the bottom and tap Apps
Click Calendar
Tap Calendar Accounts
Click Subscribed Calendars
Look for any subscription you do not recognize. Delete it.

That single action often stops the flood of alerts.

APPLE APP PASSWORD SCAM EMAIL WARNING

Fake iPhone calendar alerts may look like malware, but experts say they usually stem from unwanted subscriptions. (Jaap Arriens/NurPhoto via Getty Images)

Step 2: Remove the spam subscription inside the Calendar app

Open the Calendar app.
Tap the calendar icon at the bottom.
Find the suspicious subscription and tap the “i” next to it. Confirm it is junk and unsubscribe.

After you unsubscribe, you may still need to manually delete leftover events.

Step 3: Offload and reinstall the Calendar app

If the app continues to behave strangely, you can offload it.

Important note before you do this: Offloading the app removes the app itself but keeps your calendar data. Your events stored in iCloud, Google or other accounts remain intact. However, if you delete the app instead of offloading it, that can remove locally stored data. If your calendars are synced with iCloud or another account, your events will come back after reinstalling. Still, it is smart to confirm your calendars are syncing before making changes.

Go to Settings
Click General
Tap iPhone Storage
Click Calendar
Tap Offload App
Restart your phone
Then go back to Settings > General > iPhone Storage > Calendar and tap Reinstall App. You can also tap the Calendar icon on your Home Screen. If it shows a small cloud download symbol, tap it to reinstall.

Several users reported that this solved lingering issues.

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Apple users can stop calendar spam by deleting suspicious subscriptions in Settings and the Calendar app. (Gabby Jones/Bloomberg via Getty Images)

How to prevent calendar spam in the future

Now that your calendar is clean, the next step is prevention.

Here are smart habits that make a real difference:

Keep iOS updated so security patches stay current
Avoid tapping links in unexpected texts or pop-ups
Use strong antivirus software to block malicious websites and phishing links before they load. Get my picks for the best 2026 antivirus protection winners for your Windows, Mac, Android & iOS devices at Cyberguy.com
Never engage with alerts about prizes or infections
Consider a data removal service to limit how much of your personal information is exposed online. Check out my top picks for data removal services and get a free scan to find out if your personal information is already out on the web by visiting Cyberguy.com
Review and remove unknown calendar subscriptions regularly

Why Apple users are frustrated

Many users point out that even when a spam invite lands in junk mail, the event can still appear on the calendar. That disconnect feels like a flaw in the system. Some argue Apple should tighten how calendar subscriptions work. Still, personal awareness goes a long way. Scammers rely on quick reactions. Slow down, verify and stay skeptical of urgency.

Kurt’s key takeaways

Fake iPhone calendar spam invites are annoying. They are disruptive. And they can feel alarming. However, in most cases, they are the result of a sneaky subscription, not a hacked phone. A few careful taps can remove them. A few smarter habits can keep them from returning.

The next time your phone flashes an urgent warning, will you react instantly or take a breath and investigate first? Let us know by writing to us at Cyberguy.com.

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Kurt “CyberGuy” Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on “FOX & Friends.” Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Technology

Google Chrome is coming to Arm-powered Linux devices later this year

Published

20 hours ago

March 13, 2026

Press Room

Google Chrome is coming to Arm-powered Linux devices later this year

Why Arm + Linux now? In a blog post, Google only says that it “addresses the growing demand for a browsing experience that combines the benefits of the open-source Chromium project with the Google ecosystem of apps and features.” What we’re left wondering is whether Google’s talking about existing demand, or demand yet to come.

There’s certainly a growing demand for Linux. Some Verge editors have begun to ditch Windows with varying degrees of success. But those are our x86 desktops — there isn’t a lot of consumer-facing Linux on Arm chips, unless you count all the Linux-based Android phones out there. You can buy Linux on laptops from Dell, Lenovo, Framework, and such, but again, they use x86 chips. (And if you’re not a consumer, there’s already Chromium.)

But three of the companies that actually build Arm processors — Qualcomm, Nvidia, and Mediatek — may look to Linux as they try to compete with the Windows/Intel/AMD incumbents. Qualcomm told me in January that it sees “a lot of interest on other operating systems” beyond Windows for its PC-grade Arm chips. Nvidia could reveal its N1 and N1X processors for Arm laptops as soon as next week at its GTC 2026 developer conference.

While those Nvidia laptops might get announced with Windows, it wouldn’t be surprising if they targeted Linux too, once the basics like Chrome are sorted out. Google’s blog post specifically namedrops Nvidia’s DGX Spark as a target for Chrome — those $4,000+ beefy micro AI desktops, sold by a wide array of the company’s partners, also run Linux on Arm. Google says it’s putting Chrome into Nvidia’s package manager to make installation easier; everyone else will have to go to chrome.com/download when the browser arrives in Q2.