Hollywood
J.K. Rowling to write screenplay for Fantastic Beasts trilogy
MUMBAI: Back in September last year, Warner Bros announced in a press statement that it is back to making films in association with world-wide bestselling author of the Harry Potter books, J.K. Rowling. At the centre of the partnership is a new film series from Rowling’s world of witches and wizards, inspired by Harry Potter’s Hogwarts textbook Fantastic Beasts and Where to Find Them and the adventures of the book’s fictitious author, Newt Scamander.
In the press release, Warner Bros stated that through Fantastic Beasts and Where to Find Them; J.K. Rowling will make her screenwriting debut.
“Although it will be set in the worldwide community of witches and wizards where I was so happy for seventeen years, Fantastic Beasts and Where to Find Them is neither a prequel nor a sequel to the Harry Potter series, but an extension of the wizarding world,” said Rowling in the statement. “The laws and customs of the hidden magical society will be familiar to anyone who has read the Harry Potter books or seen the films, but Newt’s story will start in New York, seventy years before Harry’s gets underway.”
In addition to the film series, Fantastic Beasts will also be developed across the Studio’s video game, consumer products and digital initiatives businesses, including enhanced links with Pottermore.com, Rowling’s digital online experience built around the Harry Potter stories.
In an interview with The New York Times published on 29 March, Warner Bros Picture CEO Kevin Tsujihara stated that “three mega movies” based on Fantastic Beasts and Where to Find Them are planned and the main character will be a “magizoologist” named Newt Scamander. The stories, neither prequels nor sequels, will start in New York about seven decades before the arrival of Potter and his pals.
The Studio’s expanded partnership with Rowling also covers the continued expansion of its Harry Potter activities, including The Wonderful Wizarding World of Harry Potter theme parks in conjunction with partner Universal Parks and Resorts (currently in Orlando, FL; opening in Hollywood, CA and Osaka, Japan), digital initiatives (including Pottermore), video games, consumer products and visitor attractions.
In addition, Warner Bros will serve as the worldwide TV distributor (excluding the UK) of J.K. Rowling’s upcoming television adaptation for the BBC of The Casual Vacancy, her best-selling first novel aimed at adult audiences which begins production in 2014.
Hollywood
Utopai Studios partners Huace to deploy PAI for long form content
Deal includes revenue sharing as Huace adopts AI engine across global ops
MUMBAI: Lights, camera… algorithm, the script just got a silicon co-writer. In a move that signals how storytelling itself is being re-engineered, U.S.-based Utopai Studios has partnered China’s Huace Film & TV Co. Ltd. to bring artificial general intelligence into the heart of long-form content creation.
At the centre of the deal is PAI, Utopai’s cinematic storytelling system, which Huace will deploy as a core engine across its production pipeline from development and creative iteration to global localisation. The partnership includes a large-scale annual usage commitment from Huace, alongside a usage-based revenue-sharing model, underscoring both ambition and commercial confidence on both sides.
For Huace, one of China’s largest film and television companies, the bet is not on automation alone but on scale with control. With distribution spanning over 200 countries and a presence across more than 20 international platforms, including Netflix and YouTube, the company brings a vast content ecosystem where even marginal efficiency gains can translate into significant output shifts. Its extensive TV IP library further positions it as fertile ground for AI-assisted storytelling workflows.
The choice of PAI follows what Huace described as a rigorous evaluation of existing AI tools, many of which remain limited to fragmented use cases such as video generation or editing. What tipped the scales, according to the company, was PAI’s ability to handle long-form narrative complexity maintaining continuity, structure, and creative coherence across entire story arcs rather than isolated clips.
Utopai, for its part, is using the partnership to anchor its international expansion strategy, pitching PAI as an enterprise-ready system built for customisation, privacy, and regulatory adaptability across markets. That positioning becomes particularly relevant as global media companies increasingly scrutinise how AI integrates into proprietary workflows.
The timing is notable. Earlier this month, Utopai upgraded PAI to support three-minute 4K video generation and advanced multi-shot sequencing features designed to tackle one of AI storytelling’s biggest hurdles: consistency across scenes.
What emerges is not just another tech collaboration, but a glimpse into how the grammar of filmmaking could evolve. Because if stories were once crafted frame by frame, the next chapter might just be coded scene by scene.
