Jean-Michel Jarre Deploys ‘French Digital Savoir-Faire’ in Versailles Concert

In this file photo taken on April 24, 2018 French composer Jean-Michel Jarre poses during the opening night of the 2018 COLCOA (City of Lights, City of Angels) French Film Festival, at the Directors Guild of America Theater in Los Angeles, California. (AFP/Valerie Macon)
In this file photo taken on April 24, 2018 French composer Jean-Michel Jarre poses during the opening night of the 2018 COLCOA (City of Lights, City of Angels) French Film Festival, at the Directors Guild of America Theater in Los Angeles, California. (AFP/Valerie Macon)
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Jean-Michel Jarre Deploys ‘French Digital Savoir-Faire’ in Versailles Concert

In this file photo taken on April 24, 2018 French composer Jean-Michel Jarre poses during the opening night of the 2018 COLCOA (City of Lights, City of Angels) French Film Festival, at the Directors Guild of America Theater in Los Angeles, California. (AFP/Valerie Macon)
In this file photo taken on April 24, 2018 French composer Jean-Michel Jarre poses during the opening night of the 2018 COLCOA (City of Lights, City of Angels) French Film Festival, at the Directors Guild of America Theater in Los Angeles, California. (AFP/Valerie Macon)

French electronic music pioneer Jean-Michel Jarre plans a mixed reality show “surrounded by all the elements of French digital savoir-faire”, at the famous Château de Versailles’ Hall of Mirrors, on December 25.

The event celebrates the 400th birthday of the Château de Versailles, which was the favorite hunting staycation of Louis XIII, and then became a symbol of absolute monarchy and an embodiment of classic art during the rule of Louis XIV, in 1623.

“The idea of the concert, which hosts spectators live and virtually on social media, is to surround oneself with the French digital savoir-faire as a tribute to the continuation of creativity,” Jarre told Agence France Press (AFP).

The electronic musician recalled that Versailles was a destination for “the dreamers who created automatons, the ancestors of robots, for example.”

According to Jarre, the concert is planned “in three modes at the same time.” First, the live concert at the Hall of Mirrors for the attending audience. Second, in virtual reality at a gallery reconstructed in collaboration with Vrroom, a French platform and studio specializing in designing immersive shows.

The virtual audience can access the concert on VR headsets, tablets and smartphones. The third mode is the live broadcast on the French TV channels, including (Groupe M6-W9), international TV channels, on radio (RTL) and other platforms.

During the concert, Jarre will be wearing a VR headset fashioned by Lynx, a French startup specializing in mixed reality. “It’s an exceptional headset that allows me to connect with the audience in the hall and on social media,” the musician explained.

The program includes some of his greatest hits, some of which were specially redistributed for this event.

The renowned musician, also known as JMJ, said that what he loves the most about VR is “the ability to invite the audience to live in their dreams.” He also promised to introduce a world that blends Tron, a famous sci-fi movie from the 1980s, with the works of Tim Burton inspired by magic and darkness. The show also recalls the “passing through mirrors” idea, inspired by Jean Cocteau’s Beauty and The Beast.

For his event, JMJ plans on using artificial intelligence for his virtual content. “In this case, when it comes to graphics, AI is the extension of my imagination. It’s a super-collaborator which I keep under control,” he explained.

Jarre, who was the president of the International Confederation of Societies of Authors and Composers (CISAC), acknowledged the AI-related concerns about property rights. A recent fake duo that used the voices of Drake and The Weeknd without their consent, stirred remarkable controversy.

“Every tech innovation has a tech response. When an algorithm is capable of doing something like this, we should develop another algorithm that determines the source of what we are using, like the share of The Weeknd, Gainsbourg or Jarre (laughing), to make sure rights are distributed fairly,” he says.

“We shouldn’t be afraid of regulations. Behind regulations, there is freedom. We invented the driving license that allows us to drive on roads,” he adds.

Jean-Michel Jarre, the immersive performance savvy, performed a VR concert on December 31, 2020. Sponsored by UNESCO and virtually held at the Notre Dame Cathedral, the event was free, accessible around the world and broadcasted on YouTube and Facebook.



Netflix Nods to Nostalgia with New ‘Little House on the Prairie’ TV Series

The Netflix logo is seen at the Netflix Tudum Theater in Los Angeles, California, US, Sept. 14, 2022. (AFP)
The Netflix logo is seen at the Netflix Tudum Theater in Los Angeles, California, US, Sept. 14, 2022. (AFP)
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Netflix Nods to Nostalgia with New ‘Little House on the Prairie’ TV Series

The Netflix logo is seen at the Netflix Tudum Theater in Los Angeles, California, US, Sept. 14, 2022. (AFP)
The Netflix logo is seen at the Netflix Tudum Theater in Los Angeles, California, US, Sept. 14, 2022. (AFP)

For Australian actor Luke Bracey, joining Netflix's 2026 adaptation of the classic 1935 book "Little House on the Prairie" represents the return of a story that resonates across generations.

The show portrays a family in the 19th-century American West that goes through ups and downs but ultimately holds on to its love for one another — a theme Bracey believes is timeless.

"It's no mistake, and it is no accident, that the story and the family are so loved by so many people for so long," ‌said Bracey, who plays ‌Charles Ingalls, the father of central character Laura ‌Ingalls.

Both ⁠the "Little House on ⁠the Prairie" series and books are based on the real-life experiences of Laura Elizabeth Ingalls Wilder, who drew inspiration from her own childhood in a pioneer family. The series of books was published in the 1930s and 1940s.

The story has also been adapted before, most notably in a 1970s television series that ran ⁠on NBC until 1983.

Netflix's "Little House on the ‌Prairie" follows the Ingalls family as ‌they navigate frontier life while engaging with settler-colonial and Indigenous narratives.

Alongside Bracey ‌as Charles Ingalls, the Ingalls family includes Laura, portrayed by ‌Alice Halsey; Crosby Fitzgerald as Laura's mother, Caroline; and Skywalker Hughes as Mary, Laura's older sister.

While the show highlights many heartfelt themes, Halsey reflected on the challenges Laura faced growing up as a girl in the ‌1800s.

"I think boys had more privileges," she said.

"Girls didn't have the same opportunities that ⁠boys had ⁠back then. Girls didn't get to learn as much as boys did," she added, noting that if she had lived in Laura's time, she wouldn't have been able to pursue many of the things she loves today.

The story of the pioneering family's struggles and successes is led by creator and showrunner Rebecca Sonnenshine and has already been renewed for a second season ahead of its Season 1 premiere.

"We got to make so many amazing and just perfect memories last season, and now we get the chance to go back and make more," Hughes said.

The eight-episode series arrives on Netflix on Thursday.


‘Minions & Monsters’ Tops Fourth of July Holiday Box Office, Barely Beating ‘Toy Story 5’

 This image released by Universal Pictures shows minion Henry, voiced by Pierre Coffin, left, and Goomi, voiced by Trey Parker, in a scene from Illumination's "Minions & Monsters." (Universal Pictures via AP)
This image released by Universal Pictures shows minion Henry, voiced by Pierre Coffin, left, and Goomi, voiced by Trey Parker, in a scene from Illumination's "Minions & Monsters." (Universal Pictures via AP)
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‘Minions & Monsters’ Tops Fourth of July Holiday Box Office, Barely Beating ‘Toy Story 5’

 This image released by Universal Pictures shows minion Henry, voiced by Pierre Coffin, left, and Goomi, voiced by Trey Parker, in a scene from Illumination's "Minions & Monsters." (Universal Pictures via AP)
This image released by Universal Pictures shows minion Henry, voiced by Pierre Coffin, left, and Goomi, voiced by Trey Parker, in a scene from Illumination's "Minions & Monsters." (Universal Pictures via AP)

The Minions have taken down “Toy Story 5" at the July Fourth weekend box office, but not by much.

“Minions & Monsters,” the seventh film in the “Despicable Me” franchise, earned $36.4 million at the holiday weekend box office, according to studio estimates for North America. “Toy Story 5,” a juggernaut that last week beat “Supergirl,” earned an estimated $31 million.

The Minions movie, which has the devious henchlings seeking movie glory in Hollywood's Golden Age, opened on Wednesday and earned an estimated $61.4 million in its first five days, according to studio estimates. The Minions are a popular franchise globally and “Minions & Monsters” has earned $160 million worldwide in its debut week.

Audiences looking for patriotic fare amid the United States' 250th birthday celebration had “Young Washington” to consider; it opened in third place with nearly $21 million. The movie focuses on George Washington's service during the French and Indian War.

That left “Supergirl” in fourth with just under $10 million at the box office, a steep 74% drop from its disappointing opening weekend.

The weekend box office was down year-over-year about 24%, according to figures compiled by Rentrak, though this summer is up from 2025 by nearly 12%. That's due in part thanks to the low-budget Gen-Z sensations “Obsession” and “Backrooms,” which took the sixth and seventh spots, behind Steven Spielberg's “Disclosure Day.”


Disney Taps Back Catalogue -- Again -- For Live-Action ‘Moana’

 Dwayne Johnson poses for photographs with fans at the "Moana" experience in London, Tuesday, June 30, 2026. (AP)
Dwayne Johnson poses for photographs with fans at the "Moana" experience in London, Tuesday, June 30, 2026. (AP)
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Disney Taps Back Catalogue -- Again -- For Live-Action ‘Moana’

 Dwayne Johnson poses for photographs with fans at the "Moana" experience in London, Tuesday, June 30, 2026. (AP)
Dwayne Johnson poses for photographs with fans at the "Moana" experience in London, Tuesday, June 30, 2026. (AP)

Disney's reliance on its back catalogue of characters and franchises will be underlined again next week with the release of a live-action version of "Moana", a remake of the Polynesian-themed animation hit that is only a decade old.

The original "Moana" from 2016 follows a young Polynesian girl who sets off on an adventure across the ocean, accompanied by the demigod Maui, to save her people and their atoll.

A sequel came out in 2024 and a third animated installment is in the works, while the new live-action version starring Dwayne "The Rock" Johnson will hit screens worldwide from Wednesday.

It is a shot-for-shot rehash of the original, with the same songs and similar dialogue, directed by Thomas Kail of "Hamilton" fame.

"The way that the movie breathes is so different than animation the way that you fill a frame is quite different and I think there's an opportunity to access emotion in a distinct way," he told AFP.

With a budget estimated at 200-250 million dollars, the film is banking on spectacular special effects to draw in crowds at a time when animated sequels "Toy Story 5" and "Minions & Monsters" are riding high at the box office.

- Nostalgia -

Remakes and franchises have become a cornerstone of modern Hollywood production, despite criticism that they are a sign of declining creativity and risk-taking by the industry's big beasts.

Concepts and characters that are already familiar to viewers are seen as bankable profit-makers by under-pressure studios, while offering attractive merchandising, games and other spin-off possibilities.

Disney's appetite for live-action re-makes of its animated hits was whetted by the huge success of 2010's "Alice in Wonderland" by Tim Burton, which grossed more than a billion dollars worldwide.

"Aladdin,Beauty and the Beast," and "Lilo & Stitch" have each broken the billion-dollar level at the box office since.

"Overall, they've done very well, especially the films based on the Disney Renaissance of the 1980s and 1990s," said Stephane Durand, a pop culture and Disney specialist in France.

"The biggest hits are films that recreate the original almost shot for shot," he explained. "For people interested in storytelling, it's pretty poor. But as long as the films make a billion dollars, it will go on."

Not all have been a hit, however.

"The Little Mermaid" (2023) earned a lackluster reception, while "Snow White" (2025) proved a disappointment.

"Studios need to ensure that the charm of the original is retained and need to be extremely judicious with their creative license," Caroline Reid, a journalist at Forbes magazine specialized in the film and entertainment industries, said.

But even those that don't draw crowds to cinemas can still turn out to be commercial hits thanks to the rise of streaming.

"Many of the live-action remakes that don't succeed at the box office are hits on streaming. 'The Little Mermaid' is a good example of this," Reid said.