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Prem Byrne – How Life Is: An Intimate Masterpiece on Aging, Grace, and the Passage of Time.

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Prem Byrne is a wonderful independent singer and songwriter who lives in Woodacre, California. Raised in the tranquil Himalayas after being born in San Francisco in 1969, his life story imbues his art with deep meaning. After many years working in service jobs and traveling the world, he came back to music later in life to share his wisdom of the world, of aging and of what it means to be human.

His new song, titled “How Life Is,” is truly a remarkable creation of modern independent music. It hits on the bittersweet tension between the desire to control our lives and the relentless march of time. The track merges warm acoustic guitars, delicate 1980s electronic beats and the spectral sound of the classic bansuri flute, moving in another style that marries nostalgic textures with new concepts. It wins you over with quiet style and deep emotion, rather than trying to sound loud and grandiose. A timeless acoustic base is where its core is built, but modern ambient vibes are welcomed. In a short delivery of less than two and a half minutes, the composition walks a careful line between joy and sadness, youth and old age, and the eternal balance between living fully and facing our mortal limits.

How Life Is

The musical setup is heavily based on the mix of various natural and synthetic sounds in an effort to build a strong mood. A simple acoustic guitar and old-school electronic production create a space that is both intimate and expansive. The addition of the bansuri flute is a very special choice here, an instrument rarely found in combination with retro electronic styles, that adds a peaceful and meditative layer to the arrangement. This unlikely pairing works amazingly well, giving the song a breath of fresh air in tune with the changing themes being explored. The rhythm moves at a relaxed and inviting pace that allows each instrument to support the central emotional narrative without ever dominating the essential vocal performance.

Vocally, the track is backed by a warm, grounded style of singing that possesses a quiet, weathered confidence. There’s no over-the-top drama in the performance, just a simple, conversational honesty that immediately brings your focus inward. Harmonies are used sparingly, just to provide vocal depth in key moments of emotional shift. This laid back but heavy vocal style means the music carries the weight of the song and feels like a seasoned traveler telling you some hard learned lessons across a darkened room.

Beneath its slick surface, the song’s heart is a deep meditation on the slow relinquishing of our independence and the universal human fight against changing abilities. The story explores the clash that takes place when our view of ourselves comes up against the tangible limits of aging. It examines the instinct to resist and to hold on tight when the ability to traverse the world on our own terms begins to fade. This song opens up its perspective to show a common destination, instead of viewing this change in pure despair. It suggests that while the first part of life is full of boundless energy and self-sufficiency, the last horizon is the same for all, and physical prowess and social standing are entirely secondary to the way in which we accept the end of the road.

By applying these particular ideas to regular human experiences, the song reflects our daily adventures of dealing with unavoidable changes. Life is a constant process of letting go of old habits, skills and familiar chapters, whether that is due to changing life stages, changing physical health or a loss of control over outer circumstances. Resistance is often our first response, we hold onto our independence when there are clear signals for change. But the philosophy behind the music is one of grace, gently reminding the spirit that giving up old-fashioned control is not a loss but an important step toward real acceptance. It strips away the outer shields and social labels and asks us to look deeply within ourselves, at mortality and change, to find a peaceful reconciliation with the passage of time in every step of our journey.

Overall, this is a musical piece that rises above the typical modern releases, offering a masterclass in emotional clarity and acoustic texture. It’s a reminder to anyone who drifts along with the flow of days that the real wisdom is in opening one’s heart to change. Celebrating the gentle shifts of aging, the song takes on an ageless quality for those journeying the twisty path of life, beckoning a perpetual feeling of serenity and elegance.

For more, follow Prem Byrne on Spotify, Prem Byrne on Soundcloud, Prem Byrne on Instagram, Prem Byrne on Facebook, prembyrne.com

Milyam – Dream: Overcoming Deception and Claiming Personal Autonomy.

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Milyam is now an independent musician based in Los Angeles, striking out on her own to make her own mark with total creative control and personal production. She works all on her own terms, creating soundscapes that are raw, private narratives rather than commercial products. Skating on the crest of the wave created by her breakout single “Intimacy,” recently selected as an official semi-finalist in the R&B/Soul category of the 2026 Unsigned Only Music Competition, she is back with a stunning new creation.

Her latest release, “Dream,” is a bold testament to this uncompromising approach, blending dark alternative pop, electronic frequencies and sharp rhythms into one cohesive force. Each part is designed to identify the precise psychological ground where waking consciousness dissolves into illusion, tracing the precise moment when artificial walls begin to dissolve under strain.

The low end thumps and pulses to build the sonic architecture, creating a profound sense of gravity.Sharp synthetic elements and dramatic percussion create constant, calculated tension. The production cuts away the clutter by design so that each individual frequency can breathe free. This very arrangement is a sign of the dizzying, haphazard course of a mental trial before it becomes an absolute independence.

Dream

The singing that supports the instrumental work grounds the whole creation in a duality of haunting vulnerability and fierce authority. Its cadence is raw, unfiltered, stripping the polish of tradition, moving from deep betrayal to absolute personal sovereignty. The main melodies are laced with strategic harmonies that provide ambient weight but don’t crowd the sonic space. The voice is not soft or conventional diction but biting precision and controlled breath to project total mastery over the turbulence of the past.

Central to this work is the complex issue of psychological entrapment and the difficult journey of reclaiming one’s autonomy. At its heart, the story is about the universal problem of dealing with calculated deception, manipulation and the slow deconstruction of false paradigms constructed by outside forces. It conveys the deep understanding of how the manipulation of feeling is often masked with polish, charm and social tricks. But the story moves quickly from victimhood into the raw, primal strength it takes to tear down false realities. It confronts the universal problem of walking through a confusing landscape where honesty becomes a weapon, demonstrating that standing up to deep lies is a difficult school that creates a strong interior.

This deep message transcends interpersonal conflict and applies to the unexpected turns and twists of everyday life’s escapades. Life often places trials on our path with hidden agendas and roadblocks designed to steal our personal clarity and self-worth. The fundamental philosophy of the music is a direct appeal to the need to cultivate an internal source of light when external guides are absent or misleading. We do not let hardship and antagonism make us stale, but instead we turn them into raw fuel for our rise. The last trajectory is one of the boldest, most absolute refusal to surrender personal agency, demonstrating that true power is the ability to rise from broken expectations and step into a real, self-determined future.

Ultimately, “Dream” speaks to the fact that real artistic vision requires absolute freedom and the courage to tell a story. Milyam turns her raw vocal power and unique production skills into universal art out of personal struggles. She slices through the clutter and leads us through the tough tests into a world of lasting strength through deep emotional truths. This musical piece is a powerful reminder that our daily struggles can always be turned into fuel for an authentic and self-determined life.

For more, follow Mily am on Spotify, Milyam on Instagram.

LOOSE – TURBULENCE: Finding Inner Strength and Balance in a Shaking World.

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Loose is a fiercely independent outfit, operating from a dedicated home studio in London. This one man band does it all, writes, performs, records and produces; plays every instrument; and sings every vocal without help from others. This total artistic freedom is the defense of a very personal, pure artistic vision. This complete workflow means live shows will require a full backing band of four to five talented musicians, but the obvious dedication has already caught the eye of major tastemakers like Alternativa Hub, Ze Rock Porto, Music for All and AVA Live Radio and all have praised the work’s powerful instrumentation and great potential.

Art powerfully reflects the internal and external turmoil that defines the human condition, and few recent releases capture this volatile balance as vividly as the new track TURBULENCE from the artist Loose. The song is a mix of atmospheric indie and alternative electronica, creating a deep sonic landscape that immediately distinguishes itself by its meticulous craftsmanship. The track eschews standard pop formulas in favor of a shifting, dynamic framework in every sonic choice, mirroring the unpredictable shifts of momentum we experience in daily life.

TURBULENCE

Indeed the musical arrangement is an architectural plan of instability and grace. The instrumentation is a marriage of ambient synth textures and rhythmically driving undercurrents that create a jarring contrast of vast, open spaces and claustrophobic pressure; The musical elements combine to create a feeling of restless anticipation, from fine thumping bass frequencies to brilliant, crystalline treble accents. The production never settles into a static comfort zone but ebbs and flows with a deliberate friction. This shifting momentum allows the rhythm section and ambient layers to communicate with each other in a fluid way, creating a signature style that feels very intimate yet expansive enough to fill a wide sonic horizon.

Vocally the delivery is nothing short of mesmerizing, a restrained vulnerability that cuts through the dense instrumentation. The vocals are not over sung – they are an authentic, hushed resonance that is confessional, yet authoritative. The background vocals are layered with harmonic perfection, with ghostly echoes and widening intervals creating the feeling of suspension between opposing forces. Vocally the architecture speaks to the emotional duality of the piece, the constant flux between surrender and resistance. The language has a natural conversational cadence that puts everyone in an emotionally raw place, without theatrical hyperbole.

The larger message of the piece is more than a technical exercise, it is grappling with the sweeping friction of global upheaval and planetary transformation. There is no specific story or person, but it is about the universal struggle of balance in an era of tremendous global awakening for freedom and a better world versus authoritarian institutional forces for unprecedented control of populations. It studies the process of relationships and social bonds passing through phases of violent turbulence, testing the limits of endurance and faith. The thematic arc begins in a first encounter with chaos and ends in a calm, hard-won acceptance that stability is not the absence of storms, but the ability to stay anchored and endure.

TURBULENCE shatters the limits of music, essentially turning the weight of social turbulence into a corporeal, collective experience. A haunting reminder that the adventures of everyday life are not made of calm, unbroken skies, but of how bravely humanity rides out unpredictable crosswinds. It’s a case study in modern alt-storytelling, rife with stellar sonic choices and deep thematic depth that lingers indelibly long after the last chord has faded.

For more, follow Loose on Spotify, Loose on Facebook, Loose on Instagram

Smart CCTV networks are driving an AI-powered apartheid in South Africa

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Apple may be making major changes to some of its iPhone sizes next year

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Elon says 250,000 people have already preordered Tesla’s new Cybertruck

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Artists used deepfake tech to tell alternate moon landing history

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Lights that warn planes of obstacles were exposed to Open Internet

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Watch this ultra-hypnotic supercomputer simulation of galaxies feasting

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.

Fired Navy official writes op-ed about Trump’s meddling in Navy SEAL case

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Last week, news broke that James Dean will star in a new movie-64 years after his death. A production company called Magic City got the rights to Dean’s image from the late actor’s estate and plans to bring him to the silver screen again thanks to the wonder (or terror) of CGI. Now, Dean, or the digitally resurrected version of Dean or whatever, will play the second lead in a Vietnam War movie called Finding Jack, with a living actor standing in as his voice.

Unsurprisingly, the announcement inspired a wave of immediate backlash around Hollywood.

Chris Evans called it “awful” and “shameful,” and Elijah Wood said, simply, “NOPE.” But it turns out the intense reaction was surprising to at least one person: Magic City’s Anton Ernst, the Finding Jack director.

Ernst told the Hollywood Reporter in a new interview that he’s gotten “positive feedback” about the movie and that the Dean estate has been “supportive,” saying it will inspire “a whole new generation of filmgoers to be aware of James Dean.” He didn’t see the overwhelming negativity coming. Per the Reporter:

Ernst spoke with The Hollywood Reporter about the criticisms on social media, saying he was “saddened” and “confused” over the overwhelmingly negative comments. “We don’t really understand it. We never intended for this to be a marketing gimmick,” he said.

He also brought up Carrie Fisher’s appearance in the new Star Wars as an example of a way this posthumous CGI work can be done well, apparently missing the difference between honoring Fisher’s legacy in a role she was already scheduled to play and plopping James Dean in some random war movie half a century after his death.

When discussing whether resurrecting Dean digitally crosses a line with regards to posthumous casting, Ernst explained, “Anyone that is brought back to life – you have to respect them.” He noted Fisher’s posthumous appearances in the Star Wars franchise, saying that if the actress had expressed never wanting to be in a film after her death, or if her legacy or that of the franchise could be “tarnished” because of her casting, “then that should be a line.”

“I think the line should be … you must always honor the deceased’s wishes and try to act in a way that is honorable and full of dignity,” Ernst said.

Again, this is extremely different, since Dean could never have stated he didn’t want to appear in a film after his death because, uh, how would he have imagined that was even a possibility-but whatever. Finding Jack is still headed into production with an expected release on November 11, 2020, whether we like it or not.