Slashdot reader alaskana98 writes: You may remember it — at the end of Return of the Jedi: Special Edition, a rare glimpse of Coruscant — the seat of the galactic empire — is shown in a celebratory state as news of the empire's defeat at Endor reverberated throughout the patchwork of worlds that make up the Star Wars universe.

One might imagine that most viewers at that time might have thought — "Oh, cool, so that's what Coruscant looks like" — then went on with their lives rarely to think about that scene ever again. In a recent ScreenRant article ,they take a deeper dive into what happened on Coruscant...
Yes, it turns out that both the later movies and licensed books revealed that Darth Vader's Galactic Empire survived: [C]itizens who set off fireworks, toppled statues of the Empire, and attacked stormtroopers were met with violent retaliation from Imperial forces, resulting in numerous extrajudicial killings and executions of civilians. Coruscant continued to serve as an Imperial stronghold until its liberation by the New Republic, which happened a year later in canon and two years later in Legends.... [T]he X-Wing novels mention that the Empire brutally quelled this initial uprising, and the Star Wars: Mara Jade — By the Emperor's Hand comic series showed Stormtroopers executing civilians via firing squad. Aftermath similarly describes civilians fighting against Imperial security forces after toppling a statue of Palpatine....

Young adults in the UK are spending more time scrolling on social media site TikTok than watching broadcast television, according to an Ofcom report on Wednesday that highlights the growing generational divide in media habits. From a report: In its annual survey of consumption trends, the media regulator found that those aged 16 to 24 spent an average of 53 minutes a day viewing traditional broadcast TV, just a third of the level a decade ago. By contrast, people over the age of 65 spent seven times as long in front of channels such as BBC One or ITV, viewing almost six hours' worth of broadcast TV a day -- a figure that has risen since 2011. The faster take-up of streaming services and social media among young people poses an ever greater challenge to broadcasters as they try to cope with an economic slowdown, satisfy their most loyal older viewers and invest to keep pace with fast-changing consumption habits.

An anonymous reader quotes a report from Ars Technica: It sounds like something out of an urban legend: Some Windows XP-era laptops using 5400 RPM spinning hard drives can allegedly be forced to crash when exposed to Janet Jackson's 1989 hit "Rhythm Nation." But Microsoft Software Engineer Raymond Chen stands by the story in a blog post published earlier this week, and the vulnerability has been issued an official CVE ID by The Mitre Corporation, lending it more credibility. According to Chen, CVE-2022-38392 was originally discovered by "a major computer manufacturer," and it can affect not just the laptop playing the song but adjacent laptops from other PC companies as well.

The specific hard drive model at issue -- again from an unnamed manufacturer -- would crash because "Rhythm Nation" used some of the same "natural resonant frequencies" that the drives used, interfering with their operation. Anyone trying to independently recreate this problem will face several obstacles, including the age of the laptops involved and a total lack of specificity about the hard drives or computer models. The CVE entry mentions "a certain 5400 RPM OEM hard drive, as shipped with laptop PCs in approximately 2005" and links back to Chen's post as a primary source. And while some Windows XP-era laptop hard drives may still be kicking out there somewhere, after almost two decades, it's more likely that most of them have died of natural causes. The PC manufacturer was able to partially resolve the issue "by adding a custom filter in the audio pipeline that detected and removed the offending frequencies during audio playbanck," says Chen. However, these HDDs would still crash if they were exposed to another device that was playing the song.

The amount of time US audiences spent watching online TV surpassed cable for the first time ever. From a report: Subscribers to services like Netflix and Hulu accounted for 34.8% of all TV consumption in July, the research firm Nielsen said Thursday. That edged out cable TV at 34.4%. Broadcast was a distant 21.6%. Audiences watched an average of 190.9 billion minutes per week of streamed content in July, Nielsen said. That passed the tally for April 2020, when people were stuck at home because of the pandemic. While consumers spent almost 23% more time streaming, cable and broadcast viewing slumped.

Netflix isn't planning to let users of its new ad-supported tier download shows and movies to their devices for offline viewing, according to code found inside of the company's iPhone app, removing a feature that customers enjoy on its regular service. From a report: The move suggests Netflix is doing what it can to distinguish the upcoming service from its current offerings. The streaming giant, which eschewed advertising for years, is planning to roll out the ad-supported level by early next year. But hints about the new service are already reflected in code hidden within its iPhone app. "Downloads available on all plans except Netflix with ads," according to text in the app that was discovered by developer Steve Moser and shared with Bloomberg News. The code also suggests that users won't be able to skip ads -- a common move in the streaming world -- and playback controls won't be available during ad breaks.

Matt Damon's pitch to invest in crypto has disappeared from US television sets. Same goes for glitzy commercials starring LeBron James and Tom Brady. From a report: The drop in national TV marketing by the industry in the US has coincided with the selloff in Bitcoin and other crypto assets, according to the TV-ad measurement company ISpot.tv, which tracks the spots. Damon's commercial for Crypto.com, which ends with him uttering "fortune favors the brave," last aired in February during the Super Bowl. The four-month national campaign cost an estimated $65 million, according to ISpot, exceeding the outlays by others in investment services, including giants such as Fidelity and Vanguard, over the same stretch.

"Ad sellers shouldn't expect growth in this vertical the remainder of the year due to the crash in crypto valuations and emerging allegations of fraud among companies in the crypto market," said Eric Haggstrom, director of business intelligence at Advertiser Perceptions, an industry researcher. "Crypto has been a boom and bust industry since its inception, and advertising budgets will follow the same trajectory." Spending by major crypto firms, including the trading platforms Crypto.com, Coinbase and FTX, fell to $36,000 in July in the US, according to ISpot. That's the lowest monthly total since January 2021 and is down from a high of $84.5 million in February, when the industry flooded the airwaves around the Super Bowl.

It is gradually getting tougher for streaming-video companies to hold on to their subscribers, as consumers who are flooded with options weed out services they don't need at any given time. From a report: Some 19% of subscribers to premium services -- a group that includes Netflix, Hulu, AppleTV+, HBO Max and Disney+, among others -- canceled three or more subscriptions in the two years up to June, according to new data from subscriber-measurement firm Antenna. That is up from 6% in the two-year stretch ended in June 2020.

The average rate of monthly customer defections among premium services in the U.S. was 5.46% in July, up from 4.46% a year ago and 4.05% in July 2020, according to Antenna. Many households signed up for multiple streaming services a few years ago as options in the marketplace proliferated, subscription prices were lower and the pandemic boosted demand for in-home entertainment. Slowly but surely, they have gotten more choosy and frugal. Some consumers cancel subscriptions when they finish a hit series on a service, then switch to another that has something else compelling.

Walmart reached a deal with Paramount Global to include the Paramount+ streaming service as part of the retailing giant's Walmart+ membership program starting in September. Variety reports: The Paramount+ Essential plan, which includes ads, will be available for no extra cost to Walmart+ members. In the U.S., Paramount+ Essential is regularly $4.99/month. The Essential plan does not include local live CBS stations (available only in Paramount+ Premium, $9.99/month), but it does provide NFL and UEFA Champions League games available via separate live feeds.

The move by Walmart is intended to make Walmart+, which launched in September 2020, more competitive with Amazon's Prime by adding a streaming-entertainment component. Walmart+ costs $12.95 per month (or $98 per year), providing subscribers with same-day delivery on more than 160,000 products. Program members also can save up to 10 cents per gallon on gas at more than 14,000 participating stations nationwide and get up to six months of Spotify Premium for free. "In announcing Q2 earnings, Paramount said that Paramount+ now has 43.3 million paid customers, a net add of 3.7 million for the June quarter (including 1.2 million disconnects in Russia)," adds the report. Walmart does not disclose the number of Walmart+ members, but according to a Morgan Stanley survey in May, "the service has around 16 million members compared with about 15 million in November 2021."

"Netflix now has a million fewer subscriptions than rival Disney..." reports the Independent. "But it does not necessarily mean that Netflix has fewer subscribers. If a person is subscribed to two of Disney's offerings, that will count as two subscriptions, and the company does not divulge how many individuals are signed up to its services." (Digital Trends notes that "Following its acquisition of 21st Century Fox, Disney also controls Hulu," as well as the streaming sports site ESPN+.)

If you just want a straight Netflix-to-Disney+ comparison, the Independent reports Netflix with 220.67 million total subscribers, while IndieWire reported that at the end of June, Disney+ had 152.1 million subscribers. (Disney's chief executive says between March and June, Disney+ added 14.4 million subscribers, according to the Independent.)

IndieWire goes on to say that ESPN+ reported 22.8 million subcribers earlier this year, while Hulu had reported 46.2 million subscribers, so, "combined the subscriptions for the individual services making up the Disney Bundle just surpassed Netflix's overall paid global subscriber count." Here, we'll point out that Hulu is still the only one of the Bundle that makes money. However, its operating income declined in Q3, while losses at both Disney+ and ESPN+ increased.

Disney+ is expected to reach profitability in 2024, executives said Wednesday on Disney's Q3 conference call.

"Need an easy way to make $23 million?" asks Mashable.

"Have you ever considered just claiming music others uploaded to YouTube as your own and collecting the royalties? That's basically all two Phoenix men did to swindle Latin music artists like Daddy Yankee and Julio Iglesias out of millions of dollars in royalties, as detailed in a new piece from Billboard last week.

According to Kristin Robinson of Billboard, Jose "Chenel" Medina Teran and Webster Batista set up a media company called MediaMuv and claimed to own the rights to various Latin music songs and compositions. In total, MediaMuv claimed to own more than 50,000 copyrights since 2017, when Teran and Batista began their scheme.

In order for MediaMuv to claim these copyrights and collect royalties through YouTube's Content ID system, the fraudulent company needed to partner with AdRev, a third-party company that has access to YouTube's CMS and Content ID tools and helps artists manage their digital copyrights. MediaMuv created a few fake documents and provided AdRev with this paperwork in order to prove ownership over the music it claimed. From there, AdRev not only helped MediaMuv collect royalties for those copyrights but also provided Terana and Batista with direct access to YouTube's CMS so they could claim copyrights on its own.

Teran and Batista's four-year-long royalties heist came to an end late last year following an investigation from the IRS. According to Billboard, the two were indicted on "30 counts of conspiracy, wire fraud, money laundering and aggravated identity theft."
Mashable calls it "a huge reminder that online copyright is deeply flawed..."

"[J]ust think about how many more careful scammers are still skimming royalties off of an untold number of artists."

"The fate of Warner Bros. DC Comics movies is looking grim," writes the Verge.

Since April's merger between Warner Brothers and Discovery, they call it "fairly obvious" that "the new guard at Warner Bros. Discovery wants to jettison or at the very least put some distance between itself and the DC Extended Universe's current iteration (along with all the baggage associated with the endeavor.)" The DC Extended Universe was plagued by a number of issues long... like a general lack of cohesion, subpar storytelling, and an association with a toxic fandom whose obsession eventually devolved into harassment campaigns against studio executives. Looking back, Justice League as it was released in 2017 was a haphazard attempt to catch up to the Marvel Cinematic Universe that put far too much faith in the power of people's general familiarity with characters like Wonder Woman, Cyborg, and Aquaman who didn't really have presences in the DC Extended Universe at the time.
Screen Rant calls Justice League "a movie that polarized audiences and was less successful than Man of Steel at the box office" — then explains what happened next: The DC Extended Universe had been struggling with highly divisive or critically panned movies, such as Batman v Superman: Dawn of Justice and Suicide Squad, but it was not until Justice League that the franchise really took a significant financial hit. In addition, Justice League was also the start of a series of behind-the-scenes controversies, and at this point, it is difficult to picture the Justice League cast all returning for a sequel....

With Ben Affleck seemly done with Batman and the studio wanting to move away from everything Justice League-related, DC needed a way to combine what had been working, such as Jason Momoa's Aquaman and Gal Gadot's Wonder Woman, with new strategies, such as Michael Keaton's [appearing in the upcoming Flash movie as] Batman. The answer seemed simple — the multiverse....

The fact that Batgirl, a movie that would have shown the aftermath of The Flash's multiverse journey, was canceled [last week] proves that the multiverse is no longer a priority for DC. Not only that but right before Batgirl's cancelation was announced, it was reported that Ben Affleck would replace Michael Keaton's rumored cameo in Aquaman and the Lost Kingdom.... During Warner Bros. Discovery's earning calls on August 5, CEO David Zaslav mentioned that the new management will make upcoming DC Extended Universe movies like Black Adam and The Flash "even better", suggesting that reshoots could be on the way.

The New York Times tried an experiment with four classic science fiction films from exactly 40 years ago: If you were a moviegoer in the 1980s, you were constantly presented with imaginative questions that seemed cosmic and existential. Would humanity someday settle its differences here on earth and learn to travel the stars as a unified species? Or were we destined for a dystopian future with little more to look at than smoggy skies and gargantuan billboards? Did our advancing technology have the ability to literally absorb us or replace us entirely? Might we someday encounter alien life that was intelligent and benevolent? Surely some of these questions would be answered by the far-off future year 2000.

"Blade Runner," "E.T. the Extra-Terrestrial," "Tron" and "Star Trek II: The Wrath of Khan," all released 40 years ago, in the summer of '82, have become foundational works, shaping the next several decades of fantasy franchises. But what if this wasn't the science-fiction cinema you grew up with? What if you came of age in a later generation, and knew these movies only as celebrated if somewhat distant influences? Would they still seem exciting, innovative and thought-provoking? Or — to confront another terrifying speculative scenario — would they just seem uncool?

To find out for ourselves, we enlisted four stars of the current day — all born in the 21st century — and asked them each to watch one of those seminal science-fiction films. They shared their reactions and reflections, didn't judge the special effects too harshly and still shed tears when they thought E.T. died.
They showed Star Trek II: The Wrath Of Khan to Celia Rose Gooding, who plays Uhura in the Paramount+ series Star Trek: Strange New Worlds. Gooding's response was "the machoism of the men in charge has not changed in the future... these are still two guys trying to see whose ship is bigger."

Meanwhile, the 22-year-old star of Netflix's Cobra Kai, Jacob Bertrand, was watching both Tron and its 2010 sequel Tron: Legacy. "I feel like the new one doesn't hold a candle to the old one.... I was trying to think of how they could have done this with the technology at the time, and everything that I could think of just sounds like so much work. I was like, dude, how are they pulling this off back then? Holy cow, these people were dedicated."

19-year-old Iman Vellani (star of Disney+ show Ms. Marvel) felt that Blade Runner "hit the mark... I feel like everyone of my generation is always searching for some higher purpose or trying to prove they're worthy enough or special enough for the spotlight, or just worthy of more life. I find myself sympathizing with the replicants a lot more, upon rewatch, in a way I did not expect."

And the 19-year-old star of Netflix's Stranger Things, Finn Wolfhard, described E.T. the Extra-Terrestrial as "incredibly sweet."

An anonymous reader quotes a report from Ars Technica: For some people, the term "Ring Nation" might evoke a warrantless surveillance dystopia overseen by an omnipotent megacorp. To Amazon-owned MGM, Ring Nation is a clip show hosted by comedian Wanda Sykes, featuring dancing delivery people and adorable pets. Deadline reports that the show, due to debut on September 26, is "the latest example of corporate synergy at Amazon." Amazon owns household video security brand Ring, Hollywood studio MGM, and Big Fish, the producer of Ring Nation. Viral videos captured by doorbell cameras have been hot for a while now. You can catch them on late-night talk shows, the r/CaughtOnRing subreddit, and on millions of TikTok users' For You page. Amazon's media properties, perhaps sensing an opportunity to capitalize and soften Ring's image, are sallying forth with an officially branded offering.

Ring Nation will feature "neighbors saving neighbors, marriage proposals, military reunions and silly animals," Deadline writes. But Ring Nation might be aiming even higher, according to Ring founder Jamie Siminoff -- to something approaching a salve for our deeply divided nation. "Bringing the new community together is core to our mission at Ring, and Ring Nation gives friends and family a fun new way to enjoy time with one another," Siminoff told Deadline. "We're so excited to have Wanda Sykes join Ring Nation to share people's memorable moments with viewers." "Ring sharing its owners' moments with other viewers has been a contentious issue," notes Ars. Amazon's Ring can share footage with police during emergencies without consent and without warrants. The service has also reportedly partnered with hundreds of law enforcement agencies across the country to increase Ring installations and ease police access to footage.

From "Batgirl" to "Star Wars Detours" to "Seriously, Dude, I'm Gay," the Hollywood Reporter highlights twelve infamous films and series that made headlines for being canceled -- and are not available anywhere. From the report: The vast majority of axed Hollywood projects are run-of-the-mill concepts that simply didn't work out or eventually find their way online. That's not the case with these titles. The below roundup of films and TV series features projects you cannot see anywhere that have achieved a level of notoriety -- either due to their scandalous content or because fans desperately want to see them (or both). The list includes: 1. Batgirl
2. Ultimate Slip 'N Slide
3. Tremors (2018 TV Pilot)
4. Star Wars: Detours
5. Seriously, Dude, I'm Gay
6. My Best Friend's Birthday
7. 100 Years
8. Uncle Tom's Fairytales
9. Bloodmoon (Game of Thrones Prequel)
10. The Original Game of Thrones Pilot
11. Our Little Genius
12. The Day the Clown Cried Some of the canceled shows were yanked for "creative reasons" or the potential to ruin a company's brand; others were given no reasoning whatsoever, leaving it up to speculation.

Under each show included on the list is an explanation of events that help to explain why it's one of the "most legendary of the unseen." You can view the full article here.

As first reported by Music Ally, Spotify is testing a new website to sell tickets directly to fans, "rather than just linking to external ticketing firms." From the report: For now, this is strictly a test rather than a full commercial launch. It kicks off [August 10] with a small number of artists, with pre-sale tickets available to fans through Spotify's app and a newly-launched tickets.spotify.com website. The test is happening in the US, with Annie DiRusso, Tokimonsta, Osees, Dirty Honey, Limbeck, Crows and Four Years Strong the first artists confirmed for the initiative. The tickets will come from those artists' pre-sale allocations for upcoming concerts.

Don't get carried away with any 'Spotify takes on Ticketmaster' hyperbole just yet. The company is making it very clear that this is just a test for now, and that it's focused on pre-sales rather than primary ticketing. [...] The theory behind the test kicking off this week is to find out whether Spotify can both widen its involvement in pre-sales while selling the tickets directly. We would expect that to include a share of the revenues, although Spotify declined to give any details of the business model. There's another obvious motivation behind the test. Pre-sales of their own allocations can be an important income stream for artists, so if Spotify can help them do it, that could be a reputation-booster at a time of renewed debate (alright: big arguments) about musicians' streaming royalties.

If Spotify can also become one of the ways artists ensure their tickets go to genuine fans rather than touts -- resales are not allowed in the test -- that could also be positive. And in this case, Spotify has the data to prove whether ticket buyers are genuine fans: their listening history. Important caveat: there's no suggestion at this point that Spotify will use this data as a barrier to purchase, in a 'you can't buy this artist's pre-sale ticket because you haven't streamed them enough' way. We're imagining something else: options for artists to promote their native-Spotify pre-sales to their biggest listeners in the cities / regions where the concerts are happening.

As part of an effort to make its streaming business profitable, Disney announced that the price of ad-free Disney+ will rise 38% to $10.99 -- "a $3 per month increase," reports CNBC. "The price of Hulu without ads will rise by $2 per month, from $12.99 to $14.99, effective as of Oct. 10. Hulu with ads will go up by $1 per month, rising from $6.99 to $7.99." From the report: The price increases reflect the growing operating loss for Disney's streaming services. Disney+, Hulu and ESPN+ combined to lose $1.1 billion in the fiscal third quarter, $300 million more than the average analyst estimate, reflecting the higher cost of content on the services. The increased operating loss occurred even while Disney added about 15 million new Disney+ subscribers in the quarter, about 5 million more than analysts estimated. Disney has previously stated it plans to lose money on Disney+ until 2024.

Average revenue per user for Disney+ decreased by 5% in the quarter in the U.S. and Canada due to more customers taking cheaper multi-product offerings. Overall, the company's quarterly results, also announced Wednesday, beat analysts' expectations on the top and bottom lines. Disney+ subscriptions rose to 152.1 million during the most recent period, higher than Wall Street's projections of 147 million. In a separate article, CNBC reports that Disney now projects between 215 million and 245 million total Disney+ customers by 2024, "down 15 million on both the low end and high end of the company's previous guidance." Previously, the guidance was between 230 million and 260 million by the end of fiscal 2024. They also reaffirmed its expectation that the streaming service will become profitable by the end of 2024.

LG Display has shown off some interesting ideas as it looks to change the way OLED panels work, from positing bizarre form factors to addressing dimmer brightness levels compared to LED alternatives. Now, the panel maker is exploring a new approach to OLED TV audio. From a report: Today, LG Display announced its creation of a 97-inch OLED EX TV panel that debuts the company's Cinematic Sound OLED (CSO), "which allows the display to vibrate and generate the sound directly from the display without separate speakers."

"A 5.1 channel sound system is embedded into the widescreen, creating a performance that offers a cinematic level of immersion," LG Display said. Sony has used similar technology called Acoustic Surface in OLED TVs since 2017. These sets also don't use speakers and instead vibrate actuators behind the display. However, Sony doesn't compare Acoustic Surface to 5.1 surround sound. Instead, it encourages users to connect their own gear to the set and to use the TV as the center channel for a surround sound setup. Considering audio will be coming from a central point rather than all around you, it's hard to imagine LG Display's gargantuan TV panel can deliver the surround sound experience of a movie theater.

Walmart has held discussions with major media companies about including streaming entertainment in its membership service, The New York Times reported Tuesday, citing three people with knowledge of the conversations, part of an effort to extend its relationship with customers beyond its brick-and-mortar stores. From a report: In recent weeks, executives from Paramount, Disney and Comcast have spoken with Walmart, the people said, as the retailer ponders which movies and TV shows would add the most value to its membership bundle, called Walmart+. The people spoke on the condition of anonymity because the discussions were private. It is unclear whether any of the streaming companies are inclined to reach a deal with Walmart. Disney operates the Disney+, ESPN+ and Hulu streaming services; Comcast owns the Peacock streaming service; and Paramount runs the Paramount+ and Showtime services.

A Walmart+ membership, which costs $12.95 per month, includes free shipping on orders and discounts on fuel. It also includes a free six-month subscription to the Spotify Premium music service. As the streaming field gets more crowded, the biggest media companies have turned to giants in other industries to find new subscribers. Wireless providers like Verizon and T-Mobile have struck deals to offer their customers free or discounted subscriptions to streaming services like Disney+ or Paramount+ as an extra incentive to sign up. Media companies, in turn, receive an influx of new customers whose subscriptions are subsidized by their wireless partner.

A live-action film based on PAC-MAN is in the works from Bandai Namco Entertainment -- the company behind PAC-MAN -- and Wayfarer Studios, the production company founded by Justin Baldoni and Steve Sarowitz. The Hollywood Reporter reports: First introduced in the U.S. in 1980 -- and originally called Puck Man in Japan -- PAC-MAN became a coin-operated staple. The game is set in mazes where Pac-Man has to eat pellets while being pursued by colorful ghosts as the mazes get progressively more difficult. The game begat merchandise, several sequel games like Ms. PAC-MAN, as well as two television series, including a Hanna-Barbera produced ABC series and a Disney XD take.

The project will be based on an original idea from Chuck Williams (Sonic the Hedgehog) of Lightbeam Entertainment. Baldoni, Manu Gargi and Andrew Calof will produce on behalf of Wayfarer Studios, with Tracy Ryerson developing; Williams and Tim Kwok will produce on behalf of Lightbeam.

Netflix's "Sandman" adaptation premiered Friday. But the 10-episode season required three years of writing, filming and editing (not to mention an imaginative cast including Mark Hamill as Mervyn Pumpkinhead and Patton Oswalt as the voice of Matthew the Raven). And Variety points out this followed a full 30 years of Neil Gaiman refusing to even allow an adaptation to happen.

"Gaiman could have decided to let dreams of an adaptation of "The Sandman" die with the nightmare that was the most recent attempt: a feature film starring and directed by Joseph Gordon-Levitt for Warner Bros.' New Line, which fell apart in 2016..." So why did Gaiman try again? "In a lot of ways, it's the only question that we can ask," said Gaiman, who is executive producer and writer on the series, alongside David Goyer ("Batman Begins" and "Foundation") and showrunner Allan Heinberg ("Grey's Anatomy").... "[P]artly, it's accepting, well OK, if it's going to happen, why not make it good?

"Sandman as a graphic novel series, as comics, was me getting to say things to the world that I believed. They were things about inclusivity. They were things about humanity. There were things about shared humanity. There were things about dreams and things about death. There were words of comfort and there were words of warning. And back then when I said them, they were important and I felt that they were true and I felt it was right to say them; including, you have your story and your story is important, and including, you get a lifetime. And those are the things I wanted to say.

And I don't feel that any of those things are less important or less relevant now. And in fact, I feel in this sort of weird world in which sometimes I feel like people are fragmenting and forming into smaller and smaller groups and closing ranks and regarding anybody on the other side as the enemy, that people need to be reminded that standing next to them is somebody who contains a thousand worlds and every world is a door and through every door is somewhere that you've never dreamed of. And people are cooler under the surface than you would ever imagine. And I wanted to remind people of that.

And then the third thing, which was, having made "Good Omens," I felt like I knew how to do this.... "
Neil Gaiman answered questions from Slashdot readers in 2003 — and at time was already saying that the idea of a Sandman movie had "currently been taken out of the hands of the producers who've led it down the Road to Nowhere for the last 8 years."