There aren't enough films that put movie stars in mechs and task them with saving the world. But that's just what Netflix flick Atlas is doing with Jennifer Lopez.
She plays Atlas Shepherd, "a brilliant but misanthropic data analyst with a deep distrust of artificial intelligence," who joins a team that's aiming to secure a renegade robot. As it happens, Atlas and said machine share "a mysterious past," according to Netflix. Inevitably, things don't go as planned. Atlas finds herself stuck on a distant planet (a long way from any block), inside a robot she has to trust to help her protect life back home.
The first trailer doesn't shed much more light on the plot, but it does have plenty of explosive visuals. Titanfall springs to mind here, especially since it shows a mech dropping from the sky to the surface. Sadly, it's probably the closest we'll ever get to a proper Titanfall film.
Atlas also stars Simu Liu and Sterling K. Brown. The film is directed by Brad Peyton (San Andreas, Rampage). It'll hit Netflix on May 24. In the meantime, Team Engadget couldn't help but come up with some alternative titles:
Mech In Manhattan
Jenny from the Bot
This is Mech... now
This article originally appeared on Engadget at https://www.engadget.com/new-netflix-movie-atlas-puts-j-lo-in-a-giant-mech-150742144.html?src=rss
Despite combining for 32 nominations, Netflix and Apple TV+ were nearly shut out of of the 2024 Oscars, with Netflix winning a single award for Wes Anderson's The Wonderful Story of Henry Sugar (Best Live Action Short Film). The big surprise was Martin Scorsese's Killers of the Flower Moon (Apple TV+) not gaining a single statue, notably Lily Gladstone losing the Best Actress prize to Poor Things' Emma Stone.
Universal was the big winner with Oppenheimer (Best Picture, Best Director, editing, Best Actor, Best Supporting Actor, original score, cinematography) while Poor Things (Disney's Searchlight Pictures) garnered four prizes. The other half of "Barbenheimer," (Barbie, ofc) took just a single prize for best song with Billy Eilish's What Was I Made For (and not I'm Just Ken, sung live at the ceremony by supporting actor nominee Ryan Gosling).
The gala was a letdown for Netflix, which scored six prizes last year. Netflix has won 23 Oscars since 2017, but has yet to win in the Best Picture or Best Actor/Actress categories. That's despite four nominations this year for Bradley Cooper and Carey Mulligan (Maestro), Colman Domingo for Rustin and Annette Bening for Nyad.
Lily Gladstone was perhaps slightly favored over Stone to win for Killers of the Flower Moon and she also would have been the first Indigenous American to win an Academy Award for Best Actor or Actress. The studio was also up for Best Supporting Actor with nominee Robert De Niro and Best Director for Scorsese. Apart from Gladstone's loss, though, awards were distributed largely as anticipated.
This year, it couldn't be said that judges were swayed by a lack of theatrical presence from streamers. Killers of the Flower Moon had a fairly wide release in cinemas, while Maestro stayed in theaters for a month prior to its Netflix release. Both chalked up decent box office numbers.
The ceremony itself appears to have been watchable, with Deadline proclaiming that producers "finally made an Academy Awards ceremony for the 21st century" and The Hollywood Reporter calling it "busy and eclectic." USA Today did describe it as "boring," but every Oscars for the past 20 years has gotten the same knock.
This article originally appeared on Engadget at https://www.engadget.com/oppenheimer-ruled-2024-oscars-as-apple-tv-and-netflix-were-nearly-shut-out-052543094.html?src=rss
There’s been a lot of discussion in recent years about the practice of capitalizing on celebrities’ digital likenesses without their consent, whether after they die or while they’re still alive. Zelda Williams, for one — the Lisa Frankenstein director and daughter of Robin Williams — slammed the “disturbing” trend of people trying to recreate the voices and faces of the deceased last year, as striking actors fought for, among other things, better protections around studios’ potential use of AI clones. Yet despite the obvious ethical issues, companies keep doing it. The latest? Soul Machines just unveiled “Digital Marilyn,” an AI chatbot designed to look and talk just like Marilyn Monroe.
The company, which specializes in what it refers to as Biological AI-powered Digital People, debuted the Marilyn bot at SXSW on Friday in a partnership with Authentic Brands Group. ABG owns the rights to Monroe’s likeness and those of numerous other celebrities both dead and living, including Elvis Presley and Shaq. Digital Marilyn, powered by GPT 3.5, is “hyper-real” and capable of responding with “emotions and nuanced expressions,” Soul Machines says in a press release. She can hold a roughly 20-minute conversation.
“More than just an impressive impersonation, Digital Marilyn is an autonomous Digital Person capable of engaging in natural, dynamic conversations that feel authentic and responsive,” Soul Machines wrote in a blog post. “It’s as if the spark of Marilyn herself has been translated into the AI age, offering a unique and deeply personal connection for both devoted fans and curious newcomers.” Anyone else’s skin crawling?
Soul Machines touts its digital celebrities (there are others, including an upcoming Carmelo Anthony bot) as a way for famous people to “engage 1-on-1 with their fans, without limits” and “deliver 24/7 connection.” Notably, all of the other AI celebrities the company currently offers chats with — Mark Tuan, Francis Ngannou and Jack Nicklaus — are men who are alive and thus able to weigh-in on their inclusion. Soul Machines introduced its Marilyn Monroe AI to the public with an Instagram post for International Women’s Day, because nothing says “celebrate women” like exploiting the likeness of a female celebrity who is no longer around to give permission.
This article originally appeared on Engadget at https://www.engadget.com/ai-marilyn-monroe-adds-to-the-list-of-dead-celebrities-digitally-resurrected-without-consent-184554216.html?src=rss
There’s been a lot of discussion in recent years about the practice of capitalizing on celebrities’ digital likenesses without their consent, whether after they die or while they’re still alive. Zelda Williams, for one — the Lisa Frankenstein director and daughter of Robin Williams — slammed the “disturbing” trend of people trying to recreate the voices and faces of the deceased last year, as striking actors fought for, among other things, better protections around studios’ potential use of AI clones. Yet despite the obvious ethical issues, companies keep doing it. The latest? Soul Machines just unveiled “Digital Marilyn,” an AI chatbot designed to look and talk just like Marilyn Monroe.
The company, which specializes in what it refers to as Biological AI-powered Digital People, debuted the Marilyn bot at SXSW on Friday in a partnership with Authentic Brands Group. ABG owns the rights to Monroe’s likeness and those of numerous other celebrities both dead and living, including Elvis Presley and Shaq. Digital Marilyn, powered by GPT 3.5, is “hyper-real” and capable of responding with “emotions and nuanced expressions,” Soul Machines says in a press release. She can hold a roughly 20-minute conversation.
“More than just an impressive impersonation, Digital Marilyn is an autonomous Digital Person capable of engaging in natural, dynamic conversations that feel authentic and responsive,” Soul Machines wrote in a blog post. “It’s as if the spark of Marilyn herself has been translated into the AI age, offering a unique and deeply personal connection for both devoted fans and curious newcomers.” Anyone else’s skin crawling?
Soul Machines touts its digital celebrities (there are others, including an upcoming Carmelo Anthony bot) as a way for famous people to “engage 1-on-1 with their fans, without limits” and “deliver 24/7 connection.” Notably, all of the other AI celebrities the company currently offers chats with — Mark Tuan, Francis Ngannou and Jack Nicklaus — are men who are alive and thus able to weigh-in on their inclusion. Soul Machines introduced its Marilyn Monroe AI to the public with an Instagram post for International Women’s Day, because nothing says “celebrate women” like exploiting the likeness of a female celebrity who is no longer around to give permission.
This article originally appeared on Engadget at https://www.engadget.com/ai-marilyn-monroe-adds-to-the-list-of-dead-celebrities-digitally-resurrected-without-consent-184554216.html?src=rss
Netflix has been experimenting with live sports over the last few months with golf and tennis exhibition events. The company has announced the biggest test for its livestreaming capabilities to date: a boxing match between YouTuber (and pro boxer) Jake Paul and former world heavyweight champion Mike Tyson.
The fight is going to be a spectacle for a number of reasons. Both fighters bring star power to the table. There's a 30-year age gap between them. Despite his 9-1 record, Paul can hardly be described as an elite fighter. While Tyson is regarded as one of the best heavyweights of all time, he retired 19 years ago and has only fought in two matches since then. Paul's second match was on the undercard of Tyson's last bout, which was against Roy Jones Jr. in 2020.
The battle will take place at the 80,000-capacity AT&T Stadium in Arlington, Texas. It's bound to attract a decent audience through Netflix as well. Most major boxing matches are on pay per view, but Netflix's 260 million subscribers will be able to watch at no extra cost.
It’s JAKE PAUL vs. MIKE TYSON — yes, really! — in a LIVE BOXING event at AT&T Stadium you won’t want to miss. Airing live on Netflix Saturday, July 20 #PaulTysonpic.twitter.com/ULXVeCYeH6
Netflix hasn't released viewership figures for the Netflix Cup (its golf event) or the Netflix Slam (a recent tennis exhibition). Combat sports tend to deliver high viewership, though, suggesting that Netflix's infrastructure will have to handle more simultaneous streams than any of its other live events so far.
The company has dabbled with other live events over the last year or so, including a Chris Rock comedy special, the SAG Awards and a weekly cooking show with David Chang. However, the company has faced issues with livestreams in the past — it was forced to abandon plans for a live Love is Blind reunion due to technical issues.
Netflix has around nine months to make sure its livestreaming capabilities are in order before it embarks on its most ambitious sports (well, sports-adjacent) project yet. Starting in January, Netflix will be the home of WWE's live weekly shows in many markets, including the flagship program Raw in the US.
This article originally appeared on Engadget at https://www.engadget.com/the-real-fight-isnt-tyson-vs-paul--its-netflix-vs-its-livestreaming-infrastructure-190924232.html?src=rss
Netflix has been experimenting with live sports over the last few months with golf and tennis exhibition events. The company has announced the biggest test for its livestreaming capabilities to date: a boxing match between YouTuber (and pro boxer) Jake Paul and former world heavyweight champion Mike Tyson.
The fight is going to be a spectacle for a number of reasons. Both fighters bring star power to the table. There's a 30-year age gap between them. Despite his 9-1 record, Paul can hardly be described as an elite fighter. While Tyson is regarded as one of the best heavyweights of all time, he retired 19 years ago and has only fought in two matches since then. Paul's second match was on the undercard of Tyson's last bout, which was against Roy Jones Jr. in 2020.
The battle will take place at the 80,000-capacity AT&T Stadium in Arlington, Texas. It's bound to attract a decent audience through Netflix as well. Most major boxing matches are on pay per view, but Netflix's 260 million subscribers will be able to watch at no extra cost.
It’s JAKE PAUL vs. MIKE TYSON — yes, really! — in a LIVE BOXING event at AT&T Stadium you won’t want to miss. Airing live on Netflix Saturday, July 20 #PaulTysonpic.twitter.com/ULXVeCYeH6
Netflix hasn't released viewership figures for the Netflix Cup (its golf event) or the Netflix Slam (a recent tennis exhibition). Combat sports tend to deliver high viewership, though, suggesting that Netflix's infrastructure will have to handle more simultaneous streams than any of its other live events so far.
The company has dabbled with other live events over the last year or so, including a Chris Rock comedy special, the SAG Awards and a weekly cooking show with David Chang. However, the company has faced issues with livestreams in the past — it was forced to abandon plans for a live Love is Blind reunion due to technical issues.
Netflix has around nine months to make sure its livestreaming capabilities are in order before it embarks on its most ambitious sports (well, sports-adjacent) project yet. Starting in January, Netflix will be the home of WWE's live weekly shows in many markets, including the flagship program Raw in the US.
This article originally appeared on Engadget at https://www.engadget.com/the-real-fight-isnt-tyson-vs-paul--its-netflix-vs-its-livestreaming-infrastructure-190924232.html?src=rss
After roughly a decade, multiple leadership changes and a regular spot in Apple rumor reports, the Apple Car project, internally known as Project Titan, could well be dead. A new report from Bloomberg’s Mark Gurman says Apple has officially canceled the car, breaking the news to nearly 2,000 employees working on it.
Apple will reportedly move “many employees working on the car” to the company’s artificial intelligence division where they will focus on generative AI projects, which Apple is expected to share more about later this year.
Leaks over the years revealed the company’s ambitions to expand into a brand-new product category. At the beginning of the project in 2014, Apple wanted to build a fully self-driving car without pedals or a steering wheel, with a remote command center ready to take over for a driver. More recently, Apple pared down its ambitions, with the most recent reports suggesting Apple’s car would be a more standard electric vehicle.
Now, we may never know. Would you have bought an Apple car?
The Pokémon Company revealed the franchise’s latest Legends entry on Tuesday. Pokémon Legends: Z-A returns the series to Lumiose City, last seen as a region in Pokémon X and Y on the Nintendo 3DS. The Pokémon Legends: Z-A trailer — an extended teaser — doesn’t show any gameplay footage, and its shots of Lumiose City use wireframe models to tease a city in mid-development, according to the announcement.
TikTok is being forced to take down more music from its platform. Universal Music Group (UMG) recently yanked recordings it owns or distributes from TikTok, including tracks from superstars like Taylor Swift, Billie Eilish and The Weeknd. The standoff is now impacting songs published by UMG, with millions more tracks to be muted on TikTok by the end of this week. Due to an issue called split copyrights, if a Universal Music Publishing Group-contracted writer has contributed to a song, that track may have to be removed from TikTok. So artists who have collaborated with Taylor Swift, Adele, Justin Bieber, Mariah Carey, Ice Spice, Elton John, Harry Styles and SZA may see their songs disappear from TikTok too.
Google has quietly struck deals with publishers to use new generative AI tools to publish stories. The deals, reportedly worth tens of thousands of dollars a year, are apparently part of the Google News Initiative (GNI), a six-year-old program that funds media literacy projects, fact-checking tools and other resources for newsrooms. Adweek says publishers can use the beta tools to create aggregated content more efficiently, indexing recently published reports generated by other organizations, like government agencies and neighboring news outlets, then summarizing and publishing them as a new article.
Publishers in the program are apparently not required to disclose their use of AI nor are the aggregated websites informed that their content is used to create AI-written stories on other sites. Publications likeCNETandSports Illustratedhave been widely criticized for attempting to pass off AI-authored articles as written by human staffers.
After roughly a decade, multiple leadership changes and a regular spot in Apple rumor reports, the Apple Car project, internally known as Project Titan, could well be dead. A new report from Bloomberg’s Mark Gurman says Apple has officially canceled the car, breaking the news to nearly 2,000 employees working on it.
Apple will reportedly move “many employees working on the car” to the company’s artificial intelligence division where they will focus on generative AI projects, which Apple is expected to share more about later this year.
Leaks over the years revealed the company’s ambitions to expand into a brand-new product category. At the beginning of the project in 2014, Apple wanted to build a fully self-driving car without pedals or a steering wheel, with a remote command center ready to take over for a driver. More recently, Apple pared down its ambitions, with the most recent reports suggesting Apple’s car would be a more standard electric vehicle.
Now, we may never know. Would you have bought an Apple car?
The Pokémon Company revealed the franchise’s latest Legends entry on Tuesday. Pokémon Legends: Z-A returns the series to Lumiose City, last seen as a region in Pokémon X and Y on the Nintendo 3DS. The Pokémon Legends: Z-A trailer — an extended teaser — doesn’t show any gameplay footage, and its shots of Lumiose City use wireframe models to tease a city in mid-development, according to the announcement.
TikTok is being forced to take down more music from its platform. Universal Music Group (UMG) recently yanked recordings it owns or distributes from TikTok, including tracks from superstars like Taylor Swift, Billie Eilish and The Weeknd. The standoff is now impacting songs published by UMG, with millions more tracks to be muted on TikTok by the end of this week. Due to an issue called split copyrights, if a Universal Music Publishing Group-contracted writer has contributed to a song, that track may have to be removed from TikTok. So artists who have collaborated with Taylor Swift, Adele, Justin Bieber, Mariah Carey, Ice Spice, Elton John, Harry Styles and SZA may see their songs disappear from TikTok too.
Google has quietly struck deals with publishers to use new generative AI tools to publish stories. The deals, reportedly worth tens of thousands of dollars a year, are apparently part of the Google News Initiative (GNI), a six-year-old program that funds media literacy projects, fact-checking tools and other resources for newsrooms. Adweek says publishers can use the beta tools to create aggregated content more efficiently, indexing recently published reports generated by other organizations, like government agencies and neighboring news outlets, then summarizing and publishing them as a new article.
Publishers in the program are apparently not required to disclose their use of AI nor are the aggregated websites informed that their content is used to create AI-written stories on other sites. Publications likeCNETandSports Illustratedhave been widely criticized for attempting to pass off AI-authored articles as written by human staffers.
Amazon is being sued by the writer of the original 1989 Patrick Swayze version of the film Road House over alleged copyright infringement in the movie's remake, The Los Angeles Times has reported. Screenwriter R. Lance Hill accuses Amazon and MGM Studios of using AI to clone actors' voices in the new production in order to finish it before the copyright expired.
Hill said he filed a petition with the US Copyright Office in November 2021 to reclaim the rights to his original screenplay, which forms the basis of the new film. At that point, the rights were owned by Amazon Studios, as part of its acquisition of MGM, but were set to expire in November 2023. Hill alleges that once that happened, the rights would revert back to him.
According to the lawsuit, Amazon Studios rushed ahead with the project anyway in order to finish it before the copyright deadline. Since it was stymied by the actor's strike, Hill alleges Amazon used AI to “replicate the voices” of the actors who worked in the 2024 remake. Such use violated the terms of the deal struck between the union and major studios including Amazon.
The claim is complicated by the fact that Hill signed a "work-made-for-hire" deal with the original producer, United Artists. That effectively means that the studio hiring the writer would be both the owner and copyright holder of the work. Hill, however, dismissed that as "boilerplate" typically used in contracts.
The lawsuit seeks to block the release of the film, set to bow at SXSW on March 8th before (controversially) heading direct to streaming on Prime Video on March 21.
Amazon denies the claims, with a spokesperson telling The Verge that "the studio expressly instructed the filmmakers to NOT use AI in this movie." It added that if AI was utilized, it was only done in early versions of the films. Later on, filmmakers were told to remove any "AI or non-SAG AFTRA actors" for the final version. It added that other allegations are "categorically false" and that it believes its copyright on the original Road House has yet to expire.
This article originally appeared on Engadget at https://www.engadget.com/amazon-accused-of-using-ai-to-replicate-the-voices-of-actors-in-road-house-remake-054408057.html?src=rss
Amazon is being sued by the writer of the original 1989 Patrick Swayze version of the film Road House over alleged copyright infringement in the movie's remake, The Los Angeles Times has reported. Screenwriter R. Lance Hill accuses Amazon and MGM Studios of using AI to clone actors' voices in the new production in order to finish it before the copyright expired.
Hill said he filed a petition with the US Copyright Office in November 2021 to reclaim the rights to his original screenplay, which forms the basis of the new film. At that point, the rights were owned by Amazon Studios, as part of its acquisition of MGM, but were set to expire in November 2023. Hill alleges that once that happened, the rights would revert back to him.
According to the lawsuit, Amazon Studios rushed ahead with the project anyway in order to finish it before the copyright deadline. Since it was stymied by the actor's strike, Hill alleges Amazon used AI to “replicate the voices” of the actors who worked in the 2024 remake. Such use violated the terms of the deal struck between the union and major studios including Amazon.
The claim is complicated by the fact that Hill signed a "work-made-for-hire" deal with the original producer, United Artists. That effectively means that the studio hiring the writer would be both the owner and copyright holder of the work. Hill, however, dismissed that as "boilerplate" typically used in contracts.
The lawsuit seeks to block the release of the film, set to bow at SXSW on March 8th before (controversially) heading direct to streaming on Prime Video on March 21.
Amazon denies the claims, with a spokesperson telling The Verge that "the studio expressly instructed the filmmakers to NOT use AI in this movie." It added that if AI was utilized, it was only done in early versions of the films. Later on, filmmakers were told to remove any "AI or non-SAG AFTRA actors" for the final version. It added that other allegations are "categorically false" and that it believes its copyright on the original Road House has yet to expire.
This article originally appeared on Engadget at https://www.engadget.com/amazon-accused-of-using-ai-to-replicate-the-voices-of-actors-in-road-house-remake-054408057.html?src=rss