Sony Pictures Classics has picked up the rights to an animated movie entitled A Winter’s Journey, which will be made in part using the PlayStation game-creation tool Dreams. According to Deadline, the film will blend live actors with CG and hand-painted animation and is an adaptation of Franz Schubert's set of 24 songs for voice and piano called Winterreise. It tells the story of a lovelorn poet who embarks on a dangerous journey that takes him across mountains and snow in 1812 Bavaria. 

Dreams was originally created by Media Molecule, the studio behind LittleBigPlanet, for the PS4. The studio pitched it as a way to create "art, movies and video games" from the start, and we once described it as "an engine, learning suite and distribution platform rolled into one." Since then, people have been using it to create their own games, realistic renders of nature, immersive experiences of their favorite movies, among other things. A Winter’s Journey, however, will reportedly be the first time Dreams will be used on a feature film.

The movie has yet to get a release date, but shooting is expected to start in June in Wrocław, Poland, with actors that include John Malkovich and Jason Isaacs. It'll likely take some time before it's ready to premiere. As for Dreams itself, it's currently on sale in the US PlayStation Store for $10, and it includes a rotating list of the most creative games made using the tool.

Mark Zuckerberg's vision of a sanitized, hypercapitalist metaverse will likely never be as compelling or idiosyncratic as VRChat, the virtual reality community that's been home to anime fans, Furries and a slew of other sub-cultures since 2014. That's my main takeaway from We Met in Virtual Reality, the first documentary filmed entirely in VRChat, which premiered at the Sundance Film Festival today.

There's no chance Zuck's metaverse would let people wear trademarked avatars without paying a ton, attend exotic clubs to receive (or give) virtual lapdances, or allow users to build whatever the hell they want. VRChat, as portrayed by director Joe Hunting, is basically a proto-metaverse where anything is possible. And for many, it has served as a crucial social hub during the pandemic, a place where they can forget about the world, relax with friends and maybe find love.

But of course, that's been the nature of practically every online community. We're social animals — people have always been able to connect with each other over BBS, IRC, Usenet and the plethora of forums and chat services that populated the early internet. I spent most of the '90s hanging out in anime and gaming chat rooms, the sorts of places that today's connected youth would probably find quaint. Still, the people I met there helped me survive the worst parts of middle and high school. Those relationships, and the internet itself, shaped me into who I am (for better or worse).

We Met in Virtual Reality proves that the unbridled, experimental sense of online community is still alive and well today, despite relentless consolidation from Big Tech. But now, instead of staring at tiny CRT monitors, people are slapping on VR headsets to explore fully realized environments. Hardcore VRChat users are also investing in powerful computing rigs as well as upgrades like finger and whole-body tracking. In the '90s, I was grateful to get another 16MB of RAM so that I could have more than one browser window open. Today, VRChat devotees can communicate using American Sign Language, or have their anime avatars show off their belly dancing skills.

Hunting approaches his subjects with the eye of an anthropologist, without any judgment towards their sometimes ridiculous avatars (do all the anime ladies need to have jiggly, Dead or Alive-level boob physics?). We Met in Virtual Reality begins as a chill hangout flick — we follow a group of friends as they have virtual drinks and go on joyrides in crudely-built VR cars — but it quickly moves beyond the novelty of its setting. One person credits their VRChat girlfriend for helping them to "unmute" after being silent for two years. An exotic performer explains that being able to dance for people in VRChat helped her grieve with a family tragedy and manage a bout of alcoholism.

Joe Hunting

The film chronicles how that exotic dancer, a young woman based in the UK, formed a romantic relationship with another VRChat user in Miami. These sorts of cyber relationships aren’t anything new, but the VR platform allowed them to do much more than trade links and memes over IM. They could exist in a space together, go on dates to new environments every night. I won’t spoil where things end up for the couple, but I can say that it wouldn’t have been nearly as effective outside of VR.

We Met in Virtual Reality effectively conveys why people would gravitate towards VRChat, especially during a pandemic. But it doesn't fully capture the wonder of exploring these environments yourself. Seeing people hop on a virtual rollercoaster isn't nearly as thrilling as doing it, where your entire field of vision is covered and you can easily get vertigo. But I don't blame Hunting too much for that; his job was to boil down the VR experience so people can enjoy it on a 2D screen, and the film is mostly successful in that respect. The film was shot using a virtual camera that could mimic all of the functionality of a typical shooter, from focus points to aperture levels. So even though it's produced in an alien environment most people aren't familiar with, it still feels like a traditional documentary.

Hunting has spent the past few years making VR documentaries, starting with a few short films, as well as the series Virtually Speaking. It’s clear from We Met in Virtual Reality that he’s not just dropping into the community for a quick story. Instead, he sees the humanity behind the avatars and virtual connections. These people aren't just escaping from their lives  with VR — their lives are being made richer because of it.

The wait is over. Following a first-look trailer back in June of last year, ViacomCBS has finally released a new clip from Star Trek: Picard. And there’s a lot to unpack here. Through the machinations of Q, Picard and the crew of the La Sirena find themselves in 2024. Setting season two of the series in the near future may seem like lazy writing, but if you’ve seen Deep Space Nine, you know that’s an important year in Star Trek’s in-universe history that the franchise has explored in the past.

In “Past Tense,” a two-episode arc from season three of DS9, a transporter anomaly (what else?) sends Commander Sisko, Dr. Bashir and Jadzia Dax to San Francisco circa the early 21st century. After the police leave him and Bashir in the city’s “Sanctuary District,” a ghetto that houses San Francisco’s poor and sick away from its more well-off citizens, Sisko realizes they’ve arrived on Earth days before the Bell Riots, a moment that’s pivotal to Star Trek’s worldbuilding. And it’s likely that moment Picard references at the start of the trailer. “There are some moments that haunt us all our lives,” he says. “Moments upon which history turns.”

The two episodes that make up “Past Tense” are widely considered some of the best the franchise has to offer, in large part because they directly address economic and racial injustice in American society. It’s hard to say if Picard will have something meaningful to add to that conversation, but it’s clear that’s part of the intent here. At the very least, fans can look forward to a cameo from Whoopi Goldberg’s Guinan.

In the US, season two of Star Trek: Picard will debut on Paramount+ on March 3rd. Amazon Prime Video will carry the series internationally, with the first episode available to stream beginning on March 4th.

Twitter is giving NFT enthusiasts a new reason to pay for a Twitter Blue subscription. The company is testing a new feature that allows NFT owners to authenticate NFTs displayed in their profile photos.

The feature, which is being offered as an early stage “Labs” feature for Twitter Blue subscribers, allows NFT owners to connect their crypto wallet to their Twitter account and display an NFT as their profile photo. While many NFT owners already use the art in their profile photos, the Twitter Blue feature will also add an icon indicating that the NFT has been authenticated and that person behind the account is the official owner of the piece.

Though only Twitter Blue subscribers can access the feature, the authentication symbol will be visible to everyone on Twitter. And other users will be able to tap on the hexagon symbol in order to learn more about the NFT in the image.

Twitter

While Twitter has previously indicated that it was working on an NFT authentication service, it’s notable that it would choose to offer the feature to Twitter Blue subscribers first, The company debuted the $3/month subscription service in November, in a bid to appeal to power users who might pay for specialized features. The NFT feature is “still under active development,” according to the company, and it’s not clear if it plans to launch it more widely. Twitter has previously said that early-stage “labs” features are experiments that could become available outside of Twitter Blue, kept around for subscribers, or killed off entirely.

Facebook disabled a network of fake accounts that posed as English and Scottish locals, but were actually an Iran-based influence operation. The company detailed the takedowns in its latest report on coordinated inauthentic behavior on its platform.

The network was relatively small — eight accounts on Facebook and 126 on Instagram — though it had amassed about 77,000 followers, according to the company. Facebook’s security researchers didn’t indicate exactly who in Iran was behind the effort, or what their motives were, but said some of the people involved had a “background in teaching English as a foreign language.”

“This network posted photos and memes in English about current events in the UK, including supportive commentary about Scottish independence and criticism of the UK government,” Facebook writes in its report. In a call with reporters, Facebook’s Director of Threat Disruption, David Agranovich, said that it’s not the first time the company has caught Iran-linked fake accounts targeting Scotland, but that the latest network stood out for its “artisanal” approach to the fake personas.

“What was unique about this case was the effort that the operators took to make their fakes look like real people,” Agranovich said. He noted the accounts spent considerable time posting about their “side interests,” like football, in an attempt to boost their credibility. Some of the accounts also lifted profile photos from real celebrities or media personalities, and regularly updated the images in order to appear more real. Other accounts used fake photos generated by AI programs.

Overall, Facebook says that the fake accounts weren’t particularly successful as the most popular account had only reached about 4,000 followers, about half of whom were actually located in the UK. “In a way, this is more like an old fashioned pre-internet influence operation, creating detailed fake personas and trying not to be noticed,” Agranovich said.

After a hiatus of more than a decade, the world’s favorite fictitious British inventor (or possibly second after Q from James Bond) and his lovable canine sidekick are making a comeback. Today as part of its ongoing partnership with Aardman Animations Netflix announced the arrival of a new Wallace & Gromit movie and the long-awaited sequel to Chicken Run.

Due out sometime in 2023, Chicken Run: Dawn of the Nugget picks up after Ginger and Rocky’s daring escape with the hatching of the couple’s new chick Molly at their new island sanctuary home. And while Julia Sawalha and Mel Gibson won’t be reprising their roles as the leading chickens, Dawn of the Nugget’s cast will still feature some big-name stars including Thandie Newton (Ginger), Zachary Levi (Rocky) and Bella Ramsey (Molly), the latter of whom is also set to play Ellie in HBO’s upcoming live-action TV adaptation of The Last of Us.

As for the still-untitled Wallace & Gromit movie, original series creator Nick Park will be returning as director featuring a story written by Park and Mark Burton (Madagascar, The Curse of the Were-Rabbit, Shaun of the Sheep Movie). Slated to arrive almost two decades after The Curse of the Were-Rabbit, Wallace and Gromit’s second feature-length film revolves around Wallace’s latest invention: a “smart gnome” that has developed a mind of its own. Queue the hijinx.

Notably, unlike Dawn of the Nugget which will be a worldwide exclusive on Netflix when it starts streaming sometime next year, the new Wallace & Gromit movie will debut first on the BBC in the UK before becoming available on Netflix in all other regions sometime in 2024.

With Aardman and Netlix’s stop-motion musical Robin Robin having been recently shortlisted for the Oscar’s in the animated short film category, it’s nice to see even more claymation movies get the green light–especially after the bomb that was 2018’s Early Man. That said, with the original Chicken Run and The Curse of the Were-Rabbit having already claimed the number one and two spots as the highest-grossing stop-motion animated films of all time, Aardman Studios might have a hard time competing for attention in a time when traditional computer-animated films have dominated the box office.

A module that hosts a film studio and sports arena could be connected to the International Space Station by December 2024. Space Entertainment Enterprise (SEE), which is co-producing a Tom Cruise movie that will partly be shot in space, is behind the project. If and when SEE-1 is up and running, it plans to host TV and film productions, as well as music events and some kind of sports, which can be filmed or livestreamed, according to Variety.

Axiom Space, which two years ago won a NASA contract to construct the first commercial ISS module, will build the station. All going well, SEE-1 will be connected to Axiom's arm of the ISS. Axiom Station is scheduled to split from the ISS in 2028 with SEE-1 still attached.

Whether SEE and Axiom can make good on their plan remains to be seen. SEE hasn't said how much the facility will cost, for one thing. It's currently planning a fundraising round.

Last year, a Russian crew shot a feature-length fiction film in space for the first time, beating Cruise and his director Doug Liman to the punch. That film, The Challenge, is expected to be released this year. Cruise and Liman, meanwhile, are expected to shoot their movie on the ISS later in 2022.

You no longer need to dive into Reels to create TikTok-style collaborative videos on Instagram. The social network has expanded its remix feature to let you make collaborations and similar reworks from any video on Instagram. So long as the video was released after the update, you can choose "remix this video" from the three-dot menu to create your response to the clip. You'll still need to share the result through Reels, but you'll also have the same editing tools to create collaborations, voiceovers and effects.

Instagram is also doing more to court livestreamers. You now have the option of highlighting your next Instagram Live broadcast on your profile, giving viewers an easy way to set a reminder. You won't need to attach a regular feed post to the scheduled stream, either. While you can't yet tease later streams, this could help you build hype for an interview or ask-me-anything session.

The expanded remix feature could be important. Instagram hasn't been shy about wanting to counter TikTok, and the Duet feature is a significant factor in that rival's success. The option to remix any video potentially gives Instagram users a wider pool of videos to choose from than TikTok, including footage that wasn't originally meant for that short-but-sweet format.

Two years after the game was initially supposed to debut, Lego Star Wars: The Skywalker Saga will finally arrive on April 5th. The long-awaited title from TT Games adapts all nine movies in the Skywalker Saga, and you'll be able to choose which trilogy to start with (so you might want to get the prequels out of the way first).

Lego Star Wars: The Skywalker Saga is coming to PlayStation 4, PS5, Xbox One, Xbox Series X/S, Nintendo Switch and PC. It's said to be the biggest Lego game to date, and publisher Warner Bros. Games provided an in-depth look at what's in store with a gameplay trailer.

There are new combat mechanics, including ways to string attacks together and defend yourself with counter moves "in styles tailored to your favorite characters." Expect fresh blaster mechanics, with an over-the-shoulder perspective and third-person aiming reticle, and a cover system. Of course, there'll be a ton of lightsaber action, space dogfighting battles and many opportunities to use Force powers as well.

Many levels will have multiple paths to explore and you'll be able to take on side missions. Class-based abilities are upgradable and there are more than 300 playable characters to unlock. There's also a Mumble Mode, which will replace intelligible voice lines with mumbling, à la previous games in the series.

Based on the gameplay trailer alone, Lego Star Wars: The Skywalker Saga seems like a huge game. However, despite the lengthy delays, the development team was still required to work long hours (or "crunch"), according to Polygon. 

Several current and former employees told the publication that TT Games has had a "challenging work culture over the last decade and a half" and that, during crunch periods, work weeks of between 80 and 100 hours weren't rare (though overtime is said to have been limited in recent months). TT Games has also reportedly had a high level of staff turnover since work started on Lego Star Wars: The Skywalker Saga nearly five years ago.

Meta might be the next to hop on the NFT bandwagon. The Financial Timessources claim Meta is developing ways to create, display and sell NFTs on Facebook and Instagram. The company's Novi wallet technology would power much of the "supporting functionality," one tipster said. Instagram is reportedly testing a way to showcase NFTs, while Meta is also said to be discussing a marketplace that would help you buy or sell these digital collectibles.

The company has already declined to comment, and the sources cautioned the effort was still early and could change.However, Instagram leader Adam Mosseri said in December that his social network was "actively exploring" NFTs. The technology is on the company's mind, at least.

A dip into NFTs would make sense. While companies sometimes abuse the link between NFTs and the metaverse (merely offering NFTs doesn't mean you're creating a metaverse, folks), Meta might want a framework for them so that residents of its virtual worlds can sell unique digital goods. This could also help Meta prevent third-party platforms like OpenSea's market from gaining too strong a hold if NFTs prove to be more than a short-lived trend.