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    ChatGPT’s Studio Ghibli Style Animations Are Almost Too Good

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    An update to ChatGPT made it easy to simulate Hayao Miyazaki’s style of animation, which has flooded social media with memes.Animated movies, like those from the famed Japanese filmmaker Hayao Miyazaki, are not made in a hurry. The intricate hand drawings and attention paid to every single detail can make for a slow, potentially yearslong process.Or, you could simply ask ChatGPT to turn any old photo into a facsimile of Mr. Miyazaki’s work in just a few seconds.Many people did precisely that this week after OpenAI released an update to ChatGPT on Tuesday that improved its image-generation technology. Now, a user who asks the platform to render an image in the style of Studio Ghibli could be shown a picture that would not look out of place in the films “My Neighbor Totoro” or “Spirited Away.”On social media, users quickly began posting Ghibli-style images. They ranged from selfies and family photos to memes. Some used ChatGPT’s new feature to create renderings of violent or dark images, like the World Trade Center towers falling on Sept. 11 and the murder of George Floyd.Sam Altman, OpenAI’s chief executive, changed his profile picture on X to a Ghiblified image of himself and posted a joke about the filter’s sudden popularity and how it had overtaken his previous, seemingly more important work.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Mercedes’s Most Affordable Sedan Will Be Electric

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      The German luxury carmaker said its latest compact sedan solved problems that had kept people from buying electric vehicles.Mercedes-Benz said on Thursday that the latest version of its least expensive sedan would be available first as an all-electric car and then as a hybrid. And the company will no longer sell a gasoline-only version of the car.That’s a big break from how Mercedes and other established carmakers have typically operated. Until recently, most automakers adapted vehicles designed for fossil fuels to be powered by batteries. The Mercedes sedan, the CLA, which the company unveiled in Rome with the rapper will.i.am, is an example of how at least some established carmakers are developing electric cars first, then adapting them for customers who still want a gasoline engine.The CLA, the first of more than two dozen Mercedes vehicles that will use the same basic technology, is a sign that many global carmakers are placing a priority on electric vehicles even as Republicans in the United States try to roll back Biden-era legislation that was intended to promote battery technology.Yet faced with uncertain demand for electric vehicles and unpredictable government policies, Mercedes is tempering its bets by offering hybrids, which pair traditional gasoline engines with relatively small batteries and electric motors.“If the world is not dominant electric by 2030, we as Mercedes-Benz, as an established manufacturer, we cannot walk away from a significant part of our revenues,” Ola Källenius, the chief executive of Mercedes, said in an interview in Rome. “So indeed, you could call it a hedge.”Mercedes did not disclose a price for the new CLA, but said it would be affordable for owners of the current version, which starts at $45,000 in the United States. Eventually some of the components from the car will be used in sport utility vehicles and a station wagon.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      At the Serpentine, Holly Herndon Taught A.I. to Sing

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      Holly Herndon and Matt Dryhurst are presenting their first large-scale solo museum show. It sounds gorgeous, even if its visual elements are lacking.Although it’s easy to feel alienated by the opaque processes behind artificial intelligence and fearful that the technology isn’t regulated, the artists Holly Herndon and Matt Dryhurst want you to know that A.I. can be beautiful.Their exhibition “The Call,” at the Serpentine Galleries in London through Feb. 2, is the first large-scale solo museum show for the artist duo, who have long been at the forefront of A.I.’s creative possibilities.Herndon — who was born in Tennessee, grew up singing in church choirs and later received a Ph.D. in music composition from Stanford — has made cutting-edge, A.I.-inflected pop music for over a decade. With Dryhurst, a British artist who is also her husband, she has branched out to make tools that help creatives monitor the use of their data online, and recently, into the visual arts.The couple’s work “xhairymutantx,” commissioned for this year’s Whitney Biennial, uses A.I. text prompts to produce an infinite series of Herndon portraits that highlight the playful nature of digital identities.The Serpentine show combines musical and visual elements. With the varied a cappella choral traditions of Britain in mind, Herndon and Dryhurst worked with diverse choirs across the country, from classical to contemporary groups of assorted sizes, to produce training data for an A.I. model. In a wall text, the artists explain that “The Call” consists of more than just the A.I.’s output. They also consider the collection of the data and the training of the machine as works of art.“We’re offering a beautiful way to make A.I.,” the artists’ statement adds. Their utopian take is that A.I. is collectively made: It learns from whatever it is exposed to and can therefore be shaped for good.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Tales of 19th-Century A.I.: Don’t Fall in Love With a Singing Robot

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      Love me, love me, pretend that you love me.One of today’s most popular artificial intelligence apps is Replika, a chatbot service whose users — many millions of them — converse with virtual companions through their phones or on VR headsets. Visually, the avatars are rudimentary. But each Replika offers personal attention and words of encouragement, and gets better at it with each update. There are dozens of A.I. services like this now: imitation humans who promise, via text or voice, to console, to understand, to adore.Many users (men and boys, mostly) are developing long-term bonds with these simulated lovers (“women,” mostly). Some fall into ruin. A young man in Britain tried to assassinate the former queen after plotting with a Replika avatar; and last month a mother filed a lawsuit against Character.AI, another of these apps, after her son killed himself with the encouragement of his virtual “girlfriend.”It all sounds new. It all sounds alarming. Yet these online lonely-hearts are brushing against anxieties at the core of modern art and philosophy — anxieties, as Sigmund Freud wrote more than a century ago, that things not alive may yet have spirits, and that our animistic ancestors were onto something.One of the most famous musical automatons of Enlightenment Europe: a female organist, designed by the Swiss inventor Henri-Louis Jaquet-Droz in 1774.Grisel/RDB/ullstein bild, via Getty ImagesIntricate gearwork drives the automaton’s fingers, which play the organ’s keys. Her eyes move back and forth, and her chest rises and falls as if breathing.Grisel/RDB/ullstein bild, via Getty ImagesThis fall I’ve been thinking about lovers and robots, erotics and mechanics — ever since seeing two performances, both at Lincoln Center, that resonated with all our contemporary worries about art, sex and technology. One was Offenbach’s “Les Contes d’Hoffmann” (1881) at the Metropolitan Opera, which puts an android musician at center stage: the automaton Olympia, whose song and dance captivate and then devastate her human paramour. The other, next door at New York City Ballet, was “Coppélia” (1870), a merry comedy featuring not only dancing machines but also, more troublingly, humans pretending to dance like machines.Is our projection of life onto technology a sign of derangement? Or is it more like wish fulfillment? In both “Hoffmann” and “Coppélia,” grown men fall hard for female contraptions, only to discover the gears and grease that power their music and movement. Singing and dancing, in particular, seem to awaken these men’s archaic passions and juvenile needs, and shatter their rational skepticism about gadgets.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      What if A.I. Is Actually Good for Hollywood?

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      The Los Angeles headquarters of Metaphysic, a Hollywood visual-effects start-up that uses artificial intelligence to create digital renderings of the human face, were much cooler in my imagination, if I’m being honest. I came here to get my mind blown by A.I., and this dim three-room warren overlooking Sunset Boulevard felt more like the slouchy offices of a middling law firm. Ed Ulbrich, Metaphysic’s chief content officer, steered me into a room that looked set to host a deposition, then sat me down in a leather desk chair with a camera pointed at it. I stared at myself on a large flat-screen TV, waiting to be sworn in.But then Ulbrich clickety-clicked on his laptop for a moment, and my face on the screen was transmogrified. “Smile,” he said to me. “Do you recognize that face?” I did, right away, but I can’t disclose its owner, because the actor’s project won’t come out until 2025, and the role is still top secret. Suffice it to say that the face belonged to a major star with fantastic teeth. “Smile again,” Ulbrich said. I complied. “Those aren’t your teeth.” Indeed, the teeth belonged to Famous Actor. The synthesis was seamless and immediate, as if a digital mask had been pulled over my face that matched my expressions, with almost no lag time.Ulbrich is the former chief executive of Digital Domain, James Cameron’s visual-effects company, and over the course of his three-decade career he has led the VFX teams on several movies that are considered milestones in the field of computer-generated imagery, including “Titanic,” “The Curious Case of Benjamin Button” and “Top Gun: Maverick.” But in Ulbrich’s line of work, in the quest for photorealism, the face is the final frontier. “I’ve spent so much time in Uncanny Valley,” he likes to joke, “that I own real estate there.”In the spring of 2023, Ulbrich had a series of meetings with the founders of Metaphysic. One of them, Chris Ume, was the visual-effects artist behind a series of deepfake Tom Cruise videos that went viral on TikTok in early 2021, a moment many in Hollywood cite as the warning shot that A.I.’s hostile takeover had commenced. But in parts of the VFX industry, those deepfake videos were greeted with far less misgiving. They hinted tantalizingly at what A.I. could soon accomplish at IMAX resolutions, and at a fraction of the production cost. That’s what Metaphysic wanted to do, and its founders wanted Ulbrich’s help. So when they met him, they showed him an early version of the demonstration I was getting.Ulbrich’s own career began during the previous seismic shift in the visual-effects field, from practical effects to C.G.I., and it was plain to him that another disruption was underway. “I saw my career flash before my eyes,” Ulbrich recalled. “I could take my entire team from my former places of employment, I could put them on for eternity using the best C.G.I. tools money can buy, and you can’t deliver what we’re showing you here. And it’s happening in milliseconds.” He knew it was time to leave C.G.I. behind. As he put it: “How could I go back in good conscience and use horses and buggies and rocks and sticks to make images when this exists in the world?”Back on Sunset Boulevard, Ulbrich pecked some more at his laptop. Now I was Tom Hanks — specifically, a young Tom Hanks, he of the bulging green eyes and the look of gathering alarm on his face in “Splash” when he first discovers that Daryl Hannah’s character is a mermaid. I can divulge Hanks’s name because his A.I. debut arrived in theaters nationally on Nov. 1, in a movie called “Here.” Directed by Robert Zemeckis, written by Zemeckis and Eric Roth — a reunion of the creative team behind “Forrest Gump” — and co-starring Robin Wright, “Here” is based on a 2014 graphic novel that takes place at a single spot in the world, primarily a suburban New Jersey living room, over several centuries. The story skips back and forth through time but focuses on a baby-boomer couple played by Hanks and Wright at various stages of their lives, from age 18 into their 80s, from post-World War II to the present day.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      How ‘McNeal,’ a Play About A.I., Lured Robert Downey Jr. to Broadway

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      In “McNeal,” the playwright Ayad Akhtar explores the way artificial intelligence is disrupting the literary world and raising questions about creativity.This summer, Ayad Akhtar was struggling with the final scene of “McNeal,” his knotty and disorienting play about a Nobel Prize-winning author who uses artificial intelligence to write a novel.He wanted the title character, played by Robert Downey Jr. in his Broadway debut, to deliver a monologue that sounded like a computer wrote it. So Akhtar uploaded what he had written into ChatGPT, gave the program a list of words, and told it to produce a speech in the style of Shakespeare. The results were so compelling that he read the speech to the cast at the next rehearsal.“Their jaws dropped,” Akhtar said. “It had preserved the speech that I wrote, using those words in such fascinating ways that it was astonishing to everybody there.”Ultimately, Akhtar used only two of the chatbot’s lines. But his attempt to mimic A.I.-generated text — an oddly circular process of a human imitating a computer’s imitation of a human — had an uncanny effect: Downey’s delivery of the final speech feels both intimate and strangely disembodied.“It’s the one secret lie that Ayad tells in the whole play,” Downey said, sitting on the edge of the Vivian Beaumont stage, where he, Akhtar and the play’s director, Bartlett Sher, gathered recently to talk about “McNeal.” “The only thing that isn’t true about this play is that A.I. wrote the final speech.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      A Shocking Country Song Is Dominating TikTok. Is Girly Girl for Real?

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      TikTok’s latest musical obsession is a country song. But not the kind that first comes to mind.Miles removed from the weather-beaten earnestness of Zach Bryan, or Bailey Zimmerman’s heart-on-sleeve crooning, the viral “10 Drunk Cigarettes” is plasticky, poppy, alien and seemingly A.I.-assisted. Its lyrics advocate for a carefree, resolutely American way of life, although they replace Nashville standards like beers and Bibles with cigarettes and copious amounts of cocaine, and find humor (and plenty of shock value) in their clash of saccharine femininity and unbridled nihilism. The result is like the cult comedy “Strangers With Candy” or the early web series “The Most Popular Girls in School” for the short-form video generation.“10 Drunk Cigarettes” is by Girly Girl Productions: a mysterious trio supposedly based in St. Louis that seem to have a preternatural ability to turn ironic, startlingly contemporary internet humor into music. Most Girly Girl songs follow a brutally effective structure: an intro verse about how empowered women are, followed by a chorus about using that power to do something horrifyingly self-destructive, in a tone that vaguely echoes the “God forbid women have hobbies” meme.Not every Girly Girl song is indebted to country, but its most ingratiating ones, like “Notes App Girls!” and “Coked Up Friend Adventure!” feel rooted in the genre. “10 Drunk Cigarettes,” which has gained the most traction on TikTok and streaming, combines the smiley feminized empowerment of RaeLynn’s “Bra Off” — which likens a breakup to “takin’ my bra off” — with the boozy escapism of Chase Rice and Florida Georgia Line’s “Drinkin’ Beer. Talkin’ God. Amen.”“10 Drunk Cigarettes” is not dissimilar from that collaboration in structure and arrangement. It’s built around a rhythmic acoustic guitar line and surges to an anthemic chorus structured as a list. But it’s not the kind of song that will be getting played on country radio anytime soon. TikTok is filled with videos of people reacting, mouths agape, to its chorus: “I can name 10 things us girls need before we ever need a man/One new vape/Two lines of coke/Free drinks from the bar/Four more lines of coke” — and so on.The very first line of “Demure,” Girly Girl’s debut album, makes a statement: “Haters mad ’cause my music is A.I./Wish I cared, but I’m way too high.” While many vocals on the album are wobbly and lo-fi in a way that recalls the fake songs by Drake and the Weeknd that proliferated last year, it’s unclear how much of Girly Girl’s songs are A.I.-generated; it’s unlikely that tracks like these could be made without a high level of human involvement. (The company did not respond to a request for comment.)Girly Girl’s songs tap into a vein of humor that’s firmly of-the-moment. Their glib jokes about vaping, drinking, drug taking and trauma — and, specifically, how those things relate to, or form an essential part of, “girlhood” — are the kinds of jokes going viral on X, formerly Twitter, every day. “Demure” was released last month, and even its title (which refers to a TikTok trend about being “very demure, very mindful” that blew up and faded away within the last few weeks) points to a desire for immediate relevance at the expense of longevity.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Watching Movies Like It’s 1999

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      A multimedia Culture desk series, “Class of 1999,” revisits a group of mold-breaking, star-studded films released that year.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.A sci-fi film whose climactic choice — red pill or blue pill? — has become so famous that it’s a meme. A found-footage style documentary horror film that achieved cult-classic status. A “Star Wars,” a “Toy Story” and two Tom Cruise movies.The year was 1999, and it was blessed with an abundance of cinematic riches. So many, in fact, that “The Blair Witch Project,” one of the top-earning indie films ever, was just the fifth-highest grossing film at the U.S. box office three weeks after its release.“It definitely was an epic year,” said Stephanie Goodman, the film editor for The New York Times. She led a team of more than a dozen writers, editors and designers who produced “Class of 1999,” a monthlong series celebrating the 25th anniversary of what many would argue is the greatest year in movie history.The multimedia project, which includes features, profiles and critical essays, not only explores directors’ innovation and risk-taking in 1999, but how their films were, at times, chillingly prophetic about the cultural, social and political themes of today.There’s a look at how the opening scene in “The Matrix” proved remarkably prescient; an essay on how “Blair Witch” foreshadowed the age of misinformation; a profile of Haley Joel Osment, who was 11 when he starred in “The Sixth Sense”; an article about the vulnerability of Tom Cruise; a playlist from the year’s top films; a reflection on reviewing movies in 1999; and a roundup of favorite films from the year, as selected by writers and critics. (Readers were invited to share their picks, too.)“A lot of people who worked on it had a strong connection to the movies,” said Ms. Goodman, who in 1999 was a copy editor at The Los Angeles Times. “That’s one thing that made the year special, in addition to the fact that just about every major filmmaker of the past 25 years was working that year.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘The Blair Witch Project’ Brings Up a Riddle That Looms 25 Years Later

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      Twenty-five years ago, the indie horror blockbuster compelled audiences to ask, “Was that real?” The question now permeates our age of misinformation.“In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary. A year later their footage was found.”Audiences packed elbow-to-elbow into theaters in the summer of 1999 saw that shaky white text on a black background during the first moments of “The Blair Witch Project.” What followed was 80 or so minutes of growing dread as three 20-somethings — Josh, Heather and Mike — tried to uncover the truth behind the legend of a supernatural entity called the Blair Witch. It does not end well for the trio.Initially shot for just $35,000, “The Blair Witch Project” grossed almost $250 million, then a record for an indie film. It became a pop culture phenomenon, one that foretold the found-footage horror boom and left one uneasy question hovering over moviegoers: “Is this real?” It’s an existential riddle that looms larger than ever 25 years later, compelling us to apply that exact question to nearly every image, sound or nugget of information we encounter.Back then, creating that air of uncertainty took some strategic work by the directors, Daniel Myrick and Eduardo Sanchez. Marketed as a documentary, promotional materials included missing posters for its largely unknown lead actors — Joshua Leonard; Heather Donahue, now known as Rei Hance; and Michael C. Williams — who had to keep ultralow profiles in the lead-up to the film’s release.A separate faux documentary called “The Curse of the Blair Witch,” which aired on cable TV shortly before the film’s premiere, had an eerily convincing true-crime approach: It incorporated candid-seeming photos of the characters including childhood snapshots, as well as fake newspaper articles and interviews with actors posing as Heather’s film professor and Josh’s girlfriend, among others, to round out the alternate reality.Joshua Leonard and his “Blair Witch” co-stars filmed all the footage used in the movie.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More