Mark Hill

Many “AI dispatch” tools in trucking rely on rules engines, limiting true learning and adaptive decision-making in fleet operations.

It’s become so trite to point out Philip K. Dick’s legendary impact on Hollywood sci-fi that it’s easy to forget just how remarkable it really was. From Blade Runner and The Man in the High Castle to Minority Report and the legendary Cortical Impasse, Dick’s prolific fiction output put his fingerprints all over modern media. And for a man who’s been dead for nearly half a century, his ideas sometimes feel remarkably prescient.

Thanks to a fusillade of PR gibberish, major media outlets will spend the coming months pretending that so-called “AI actress” Tilly Norwood is a real phenomenon, not an exhausting stunt that will flame out after no one wants to watch a rom-com starring a dead-eyed automaton. And while the production company beyond Norwood is trying to present its creation as cutting-edge, it's actually a quarter-century behind the times.

Everyone thinks about what they wish they could do differently, but 'Another Earth' reminds us that it's rarely that simple.

Shutterstock The Season 4 premiere of Star Trek: Strange New Worlds opens with a new take on a very old event. After a mishap sends the

'Maximum Overdrive' asks who made who, but the real question is why anyone made it.

Mark Hill Sarah J. Maas has sold over 75 million books , yet no one has offered the romantasy stalwart $27 million to make the movie of her

The Mandalorian and Grogu’s inability to make an impact at the box office has raised all sorts of questions. Is Star Wars no longer a tentpole franchise? What does its failure mean for franchise filmmaking as a whole? Why did all of Jeremy Allen White’s lines sound like they were recorded while he was half-asleep?

Mark Hill The Mandalorian and Grogu's inability to make an impact at the box office has raised all sorts of questions.

The Planet of the Apes is simultaneously a classic of science fiction and a relic of the decade that produced it. While influential and well-regarded, the 1968 film is likely better known to at least one generation as the source material of a Simpsons parody that mocked its hokey premise and overwrought acting. That the franchise had last produced a lousy fourth sequel in 1973 and a bizarre 2001 reboot made the decision to not only re-reboot it, but start with a prequel, tolerable — even logical.