Mask-off outbursts by Maga insiders and most strikingly, the destruction and reconstruction of the presidential seat, with a huge new $300m ballroom, means Trump isn’t planning to leave the White House when his term ends, writes LINDA PENTZ GUNTER
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AI and entertainment: here come the machines, there go the jobs
After the recent writers' and actors' strikes, the bosses in film and TV are embracing the cost-cutting potential of AI even faster than before — barely acknowledging that what they will be cutting is livelihoods, writes DENNIS BROE
NO HUMAN NEEDED? Editing, storyboarding and animation all face being replaced by artificial intelligence
BEN CHACKO speaks with Knesset member OFER CASSIF about rising political violence, the prospects for peace and his continuous ‘silencing by suspension’
The City is leaning on Rachel Reeves to cut welfare spending — when what’s needed is cuts to all the benefits given to the mega rich, corporations and banks to help them not pay or blatantly dodge their fair share of tax, explains BERNIE EVANS
The choice between two Blairites to revamp the tepid centrism of our ruling party doesn’t even come as cold comfort as we wander the city streets suffering from their third decade of austerity and the fifth of wage stagnation, writes MATT KERR
ANN HENDERSON looks at the trailblazers of the Women’s Trade Union League and their successful fight for female factory inspectors — a battle that echoes in today’s workplace campaigns
HENRY FOWLER puts the strike of public-sector workers in New Zealand in the wider context of deteriorating employment conditions throughout the world’s major economies
MAT COWARD looks back at a protest 105 years ago this month, whose reporting by the media bears uncomfortable similarities with demos today
A MAIN topic of two current TV festivals was AI which, as in other industries, is being touted as a money-saving, cost-cutting entity.
This major trend, which has creators terrified and investors and studio executives “excited,” is the rapidly expanding use in every phase of the business of artificial intelligence, AI.
Perhaps the scariest projection of the technology, described by one longtime independent film assistant director as “nothing but plagiarising software,” is a new gameshow on Korean TV titled Gone Producer. In this nightmare gameshow scenario, the entire series is cast, directed, and produced by AI, which also judges the videos contestants submit in a competition.
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