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    Generative A.I. Destroys a Building in Its Netflix Debut

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    The streaming company said it used the technology onscreen for the first time in an Argentine science fiction show.To make a building collapse in Buenos Aires, Netflix creators turned to generative artificial intelligence for the first time onscreen.Ted Sarandos, one of Netflix’s chief executives, said during the company’s second-quarter earnings call on Thursday that the technology was a strong tool for creators and was accompanied by “real people doing real work.”“We remain convinced that A.I. represents an incredible opportunity to help creators make films and series better, not just cheaper,” Sarandos said.But for “The Eternaut,” an Argentine show that incorporated the A.I. work, the decision also came with significant savings.The cost of creating a similar scene with traditional visual effects would not have been feasible within the show’s budget, Sarandos said. The use of A.I., he said, allowed creators to complete the scene 10 times as quickly.“The Eternaut,” a six-episode series adapted from a science fiction comic, debuted on April 30. In the series, the rare snow descending on Buenos Aires turns out to be fatal, killing anyone who comes into contact with the snowflakes. One survivor becomes determined to battle this threat, and others.The use of A.I. in movie and television production was a main concern in Hollywood in 2023, when SAG-AFTRA, the union representing tens of thousands of actors, went on strike for 118 days. The contract it reached included a specific provision about the use of A.I., guaranteeing that the technology would not be used to create digital replicas of actors’ likeness without compensation or approval.While “The Eternaut” is the first use of generative A.I. onscreen, Netflix is also considering how to integrate the technology into other areas like member experience. Gregory Peters, one of the company’s chief executives, said during the earnings call that there was “tremendous room and opportunity” for the use of new generative technology in personalization and recommendations.Netflix exceeded Wall Street’s forecasts for the second quarter, earning $11.1 billion in revenue and $3.1 billion in net income.The most-watched film during that period was “Back in Action” starring Cameron Diaz and Jamie Foxx, and the British drama “Adolescence” was the most-watched television show. More

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      Amie Donald Has the Moves as the Killer Robot in ‘M3gan 2.0’

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      The sunny 15-year-old dancer-turned-actress is about as far as you can get from the role she’s best known for: a deadly A.I. doll.Onscreen, Amie Donald is best known for her role as the killer robot M3gan in the sci-fi horror franchise.But, in real life, Donald, 15, spends a majority of her days in the idyllic, sun-soaked setting of lushly forested New Zealand, where kiwi roam and she’s apt to take a bush walk outside her parents’ home in Papakura, a suburb in South Auckland.“I really enjoy all the nature here,” she said on a video call from the house on a recent morning. Her long red hair fell in beachy waves as sunlight danced on her white sweater. Framed photos of her and her parents and older brother filled the walls behind her.Donald is about the furthest you could get from the cutthroat killer robot returning in the new sequel, “M3gan 2.0.” For one thing, she smiles far too much. Other people, she said, would describe her as “very caring.” She wasn’t a fan of horror films until landing “M3gan” — though she’s since started watching them with her father, and now counts “It” and “The Purge” among her favorites. “I love them so much,” she said.M3gan, the robot that becomes frighteningly protective of a young girl named Cady, was Donald’s first role in a film, following her TV debut as Maya Monkey, an acrobatic girl with simian features, in Netflix’s postapocalyptic series “Sweet Tooth.”Amie Donald embodies the killer doll in the original and “M3gan 2.0,” although a synthetic mask covers her face.Geoffrey Short/Universal PicturesWe 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 Television

      On Broadway, A.I. and High-Tech Storytelling Is Having a Moment

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      Sarah Snook screen-sharing selfies from a face-filtering phone app. Nicole Scherzinger getting her close-up via movie cameras. George Clooney making onstage television. Robert Downey Jr. superseded by a digital puppet.High-tech storytelling is surging on Broadway. Over the last year, stages have been brimming with large-scale and high-resolution videos, deployed not simply for scenery but also as an integrated narrative tool. It is all made possible by the growing availability, affordability and stability of the cameras, computers, projectors and surfaces that are utilized as part of today’s stage sets.The phenomenon, which is presumably here to stay, also reflects the ubiquity of digital devices in contemporary life. In an era when we are rarely separated from our smartphones or smartwatches, and video greets us in our cars and supermarkets, the latest technology is transforming stagecraft and storytelling.Robert Downey Jr. in “McNeal.”“The majority of Americans’ waking, conscious moments are looking at screens,” said the designer Jake Barton, who last fall worked on “McNeal,” a play that starred Downey as a novelist whose entanglement with generative artificial intelligence is woven into the scenic design. “On one level,” Barton said, “this is just theater naturally evolving.”Just two weeks ago, the Tony Awards gave the coveted best musical prize to “Maybe Happy Ending,” in which actors playing robots share a stage at times with massive videos depicting their digital memories. The best musical revival Tony went to “Sunset Boulevard,” where performers holding camera rigs film part of the action for transmission to a giant screen that swivels into the audience’s view. And the best play revival honor went to “Eureka Day,” which featured a reliably gut-busting scene in which chat comments posted during a school board meeting were projected above the cast.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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      Misery Loves Company? Bleak Week: Cinema of Despair Hits a Nerve.

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      Movies that are major downers, it turns out, are a big film festival draw. “Sometimes the world is such that you just need to wallow a little bit.”The festival Bleak Week: Cinema of Despair started three years ago as a primal scream from a little Los Angeles nonprofit organization.What has happened since says a lot about the mood in at least one corner of American culture.The American Cinematheque, a nonprofit that brings classic art films to Los Angeles theaters, was struggling to sell tickets in 2022. Older cinephiles were still spooked by the Covid pandemic; younger ones were glued to Netflix.At the same time, some Cinematheque staff members were depressed about the direction the world seemed to be heading. It was the year Russia invaded Ukraine, the Supreme Court overturned Roe v. Wade, a gunman killed 19 children at a Texas elementary school and Big Tech rolled out artificial intelligence bots.Out of that somber stew came a programming idea called Bleak Week: Cinema of Despair. Over seven days, the Cinematheque screened 30 feel-bad movies. It called the selections “the greatest films from around the world that explore the darkest sides of humanity.” For the inaugural festival, one centerpiece film was Béla Tarr’s “Satantango” (1994), a seven-hour-and-19-minute contemplation of decay and misery.Gabriel Byrne in Joel Coen’s 1990 film “Miller’s Crossing.”20th Century Fox, via The American Cinematheque“‘Everyone was saying, ‘You should do comedies,’” Grant Moninger, the Cinematheque’s artistic director, said. “But we thought, ‘What if you did the exact opposite?’ We’re not in this to dangle keys at a baby.” (Now might be a good moment to mention that Moninger grew up with a mother, he said, who “only rented movies on VHS in two genres: the Holocaust and slavery.”)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

      David Cope, Godfather of A.I. Music, Is Dead at 83

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      His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity.David Cope, a composer and pioneer in the field of algorithmic composition, who in the 1980s developed a computer program for writing music in the style of Johann Sebastian Bach, Wolfgang Amadeus Mozart and other Classical masters, died on May 4 at his home in Santa Cruz, Calif. He was 83.The cause was congestive heart failure, his son Stephen Cope said.Before the proliferation of A.I. music generators, before the emergence of Spotify and the advent of the iPod, before Brian Eno had even coined the term “generative music,” Mr. Cope had already figured out how to program a computer to write classical music.It was 1981 and, struggling with writer’s block after being commissioned to compose an opera, he was desperate for a compositional partner. He found one in a floppy disk.The process was straightforward but tedious. Mr. Cope started by quantifying musical passages from his own work, rendering them as numbers in a database that could be analyzed by a pattern-identifying algorithm he created. The algorithm would then reassemble the “signatures” — Mr. Cope’s name for the patterns it found — into new combinations, and he would convert those combinations into a score.It wasn’t the first time someone had used a computer to create music. In 1957, Lejaren Hiller and Leonard Isaacson had employed a five-ton supercomputer at the University of Illinois to compose “Illiac Suite,” widely considered to be the first computer-generated score. But Mr. Cope’s program took things a step further: By scanning and reproducing unique signatures, his algorithm could essentially replicate style.After years of troubleshooting and fine-tuning, the program, known as Experiments in Musical Intelligence, was able to produce a full opera in a matter of hours. EMI, or Emmy, as Mr. Cope affectionately called it, was officially born. It was one of the earliest computer algorithms used to generate classical music.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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      It’s Still South by Southwest, but This Time It’s in London

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      The music, tech and film festival, long known for being in Austin, Texas, expands to Europe for the first time.The artist known as Beeple set a record in 2021 when a work of his — a collage of 5,000 images that existed only as a digital file — sold for $69.3 million in a Christie’s auction.Beeple, whose real name is Mike Winkelmann, is one of the artists participating in the inaugural edition of South by Southwest London, the music, film and tech festival. This time, he is presenting “The Tree of Knowledge,” a critique of the human addiction to smartphones.“People don’t fully recognize how much their phone is stressing them out,” and how much they’re “dialing up the noise,” Beeple said in a phone interview. “They could make the choice to dial down the noise, and just put their phone down, and exist in a much more calm state in which technology still exists.”The work is a refrigerator-size box containing a giant tree (recreated via projection mapping), with screens on all sides, and a large dial. When viewers turn the dial, the box is covered with live news, stock prices and data, illustrating the information overload faced by humanity.“The Tree of Knowledge” by Beeple (Mike Winklemann) is designed to address humans’ addiction to smart phones. It features four video screens arranged in rectangular pillars with imagery generated from a variety of real-time data.Tree of Knowledge/Beeple Studios The owner of the Tree of Knowledge can control the work further by pressing a “choose violence” button, which initiates a violent state for several minutes before destroying the tree. The tree regenerates when the violence ends.Beeple Studios“The Tree of Knowledge” encapsulates the spirit of South by Southwest London, which begins on Monday and runs through June 7. The event will feature a diverse group of speakers, including the ABBA singer-songwriter Bjorn Ulvaeus, the actor Idris Elba, the wellness and meditation expert Deepak Chopra, the primatologist Jane Goodall and the comedian Katherine Ryan. There will also be voices from the technology world, including Demis Hassabis, co-founder of Google’s DeepMind lab and co-winner of the Nobel Prize in Chemistry; and Alex Kendall, the chief executive of Wayve, a developer of artificial intelligence systems for self-driving cars.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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      What if Making Cartoons Becomes 90% Cheaper?

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      “Fear not! For I shall lead ye to riches beyond your wildest dreams!”Inside a tiny recording booth in downtown Los Angeles, John Peck waited for a verdict from the voice-over engineer: Did the line sound pirate-y enough?Try again, the engineer suggested, perhaps with more throaty emphasis on “wildest.” It might make the animated character Mr. Peck was voicing — a buccaneer with a peg leg — a tiny bit funnier.Mr. Peck, 33, cleared his throat and gave it a whirl, prompting chuckles from the production team. A couple of clicks on a laptop later, and an artificial intelligence tool synced Mr. Peck’s voice with a cartoon pirate’s mouth movements. The character was destined for an episode of “StEvEn & Parker,” a YouTube series about rapscallion brothers that attracts 30 million unique viewers weekly.Just a few years ago, lip-syncing a minute of animation could take up to four hours. An animator would listen to an audio track and laboriously adjust character mouths frame by frame. But Mr. Peck’s one-minute scene took 15 minutes for the A.I. tool to sync, including time spent by an artist to refine a few spots by hand.Toonstar, the start-up behind “StEvEn & Parker,” uses A.I. throughout the production process — from honing story lines to generating imagery to dubbing dialogue for overseas audiences. “By leaning into the technology, we can make full episodes 80 percent faster and 90 percent cheaper than industry norms,” said John Attanasio, a Toonstar founder.“This is how you build the next generation of hot intellectual property,” Mr. Attanasio added excitedly.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 Television

      ‘Black Mirror’ Showed Us a Future. Some of It Is Here Now.

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      The long-running tech drama always felt as if it took place in a dystopian near future. How much of that future has come to pass?Since “Black Mirror” debuted in 2011, the dystopian sci-fi anthology series has taken seeds of nascent technology and expanded them to absurd and disturbing proportions.In doing so, it has become a commentary on defining issues of the 21st-century: surveillance, consumerism, artificial intelligence, social media, data privacy, virtual reality and more. Every episode serves in part as a warning about how technological advancement run rampant will lead us, often willingly, toward a lonely, disorienting and dangerous future.Season 7, newly available on Netflix (the streamer acquired the show from Britain’s Channel 4 after its first two seasons), explores ideas around memory alteration, the fickleness of subscription services and, per usual, the validity of A.I. consciousness.Here’s a look back at a few themes from past episodes that seemed futuristic at the time but are now upon us, in some form or another. Down the rabbit hole we go:‘Be Right Back’Season 2, Episode 1Not long after “Be Right Back” came out, services that digitally resurrect people via recordings and social feeds began to be introduced.NetflixA.I. imitations, companion chatbots and humanoid robotsWhen Martha’s partner, Ash, dies in a car accident, she’s plunged into grief. At his funeral, she hears about an online service that can help soften the blow by essentially creating an A.I. imitation of him built from his social media posts, online communications, videos and voice messages.At first she’s skeptical, but when she finds out she’s pregnant, she goes through with it. She enjoys the companionship she finds by talking with “him” on the phone and starts neglecting her real-life relationships. She soon decides to take the next step: having a physical android of Ash created in his likeness. But as she gets to know “him,” a sense of uncanny valley quickly sets in.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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      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