News Desk

The US president sent mixed signals over his plans for Venezuela as his military build-up in the Caribbean continues.

President Donald Trump has sent mixed signals over the potential for a United States military intervention in Venezuela, as he dismissed talk of “war” but threatened the South American country’s leader.

During a CBS interview, released on Sunday, the president warned that President Nicholas Maduro’s days are numbered. The comment came amid a build-up of US military units in the Caribbean, where the US has conducted multiple strikes on alleged drug-trafficking vessels that UN officials and scholars say are in clear violation of US and international law.

Asked if the US was going to war against Venezuela, Trump replied: “I doubt it. I don’t think so.”

However, when asked if Maduro’s days as president were numbered, the president replied: “I would say yeah. I think so.”

US media outlets have reported that Washington is planning strikes on military installations in Venezuela as part of its war against “narco-terrorism”.

Trump appeared to deny that he is planning attacks inside Venezuela, although he did not rule the idea out completely.

“I wouldn’t be inclined to say that I would do that,” he said. “I’m not going to tell you what I’m going to do with Venezuela.”

Maduro, who faces indictment in the US on drug trafficking charges, has accused Washington of using a drug offensive as a pretext for “imposing regime change” in Caracas to seize Venezuelan oil.

The US military has carried out more than a dozen strikes on vessels in the Caribbean and the Pacific in recent weeks, killing at least 65 people. The campaign has prompted criticism from governments across the region.

UN human rights chief Volker Turk and rights groups say the attacks, which began in early September, amount to “extrajudicial killings” even if they target known traffickers.

Washington has yet to make public any evidence that its targets were smuggling narcotics or posed a threat to the US.

At a Starbucks in downtown Culver City, Amit Jain pulls out his iPad Pro and presses play. On-screen, one of his employees at Luma AI — the Silicon Valley startup behind a new wave of generative video tools, which he co-founded and now runs — lumbers through the company’s Palo Alto office, arms swinging, shoulders hunched, pretending to be a monkey. Jain swipes to a second version of the same clip. Same movement, same hallway, but now he is a monkey. Fully rendered and believable, and created in seconds.

“The tagline for this would be, like, iPhone to cinema,” Jain says, flipping through other uncanny clips shared on his company’s Slack. “But, of course, it’s not full cinema yet.” He says it offhandedly — as if he weren’t describing a transformation that could upend not just how movies are made but what Hollywood is even for. If anyone can summon cinematic spectacle with a few taps, what becomes of the place that once called it magic?

Luma’s generative AI platform, Dream Machine, debuted last year and points toward a new kind of moviemaking, one where anyone can make release-grade footage with a few words. Type “a cowboy riding a velociraptor through Times Square,” and it builds the scene from scratch. Feed it a still photo and it brings the frozen moment to life: A dog stirs from a nap, trees ripple in the breeze.

Dream Machine’s latest tool, Modify Video, was launched in June. Instead of generating new footage, it redraws what’s already there. Upload a clip, describe what you want changed and the system reimagines the scene: A hoodie becomes a superhero cape, a sunny street turns snowy, a person transforms into a talking banana or a medieval knight. No green screen, no VFX team, no code. “Just ask,” the company’s website says.

For now, clips max out around 10 seconds, a limit set by the technology’s still-heavy computing demands. But as Jain points out, “The average shot in a movie is only eight seconds.”

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

Jain’s long-term vision is even more radical: a world of fully personalized entertainment, generated on demand. Not mass-market blockbusters, but stories tailored to each individual: a comedy about your co-workers, a thriller set in your hometown, a sci-fi epic starring someone who looks like you, or simply anything you want to see. He insists he’s not trying to replace cinema but expand it, shifting from one-size-fits-all stories to something more personal, flexible and scalable.

“Today, videos are made for 100 million people at a time — they have to hit the lowest common denominator,” Jain says. “A video made just for you or me is better than one made for two unrelated people. That’s the problem we’re trying to solve… My intention is to get to a place where two hours of video can be generated for every human every day.”

It’s a staggering goal that Jain acknowledges is still aspirational. “That will happen, but when the prices are about a thousand times cheaper than where we are. Our research and our engineering are going toward that, to push the price down as much as humanly possible. Because that’s the demand for video. People watch hours and hours of video every day.”

Scaling to that level would require not just faster models but exponentially more compute power. Critics warn that the environmental toll of such expansion could be profound.

For Dream Machine to become what Jain envisions, it needs more than generative tricks — it needs a built-in narrative engine that understands how stories work: when to build tension, where to land a joke, how to shape an emotional arc. Not a tool but a collaborator. “I don’t think artists want to use tools,” he says. “They want to tell their stories and tools get in their way. Currently, pretty much all video generative models, including ours, are quite dumb. They are good pixel generators. At the end of the day, we need to build general intelligence that can tell a f— funny joke. Everything else is a distraction.”

The name may be coincidental, but nine years ago, MIT’s Media Lab launched a very different kind of machine: Nightmare Machine, a viral experiment that used neural networks to distort cheerful faces and familiar cityscapes into something grotesque. That project asked if AI could learn to frighten us. Jain’s vision points in a more expansive direction: an AI that is, in his words, “able to tell an engaging story.”

For many in Hollywood, though, the scenario Jain describes — where traditional cinema increasingly gives way to fast, frictionless, algorithmically personalized video — sounds like its own kind of nightmare.

Jain sees this shift as simply reflecting where audiences already are. “What people want is changing,” he says. “Movies obviously have their place but people aren’t spending time on them as much. What people want are things that don’t need their attention for 90 minutes. Things that entertain them and sometimes educate them and sometimes are, you know, thirst traps. The reality of the universe is you can’t change people’s behaviors. I think the medium will change very significantly.”

Still, Jain — who previously worked as an engineer on Apple’s Vision Pro, where he collaborated with filmmakers like Steven Spielberg and George Lucas — insists Hollywood isn’t obsolete, just due for reinvention. To that end, Luma recently launched Dream Lab LA, a creative studio aimed at fostering AI-powered storytelling.

“Hollywood is the largest concentration of storytellers in the world,” Jain says. “Just like Silicon Valley is the largest concentration of computer scientists and New York is the largest concentration of finance people. We need them. That’s what’s really special about Hollywood. The solution will come out of the marriage of technology and art together. I think both sides will adapt.”

It’s a hopeful outlook, one that imagines collaboration, not displacement. But not everyone sees it that way.

In Silicon Valley, where companies like Google, OpenAI, Anthropic and Meta are racing to build ever more powerful generative tools, such thinking is framed as progress. In Hollywood, it can feel more like erasure — a threat to authorship itself and to the jobs, identities and traditions built around it. The tension came to a head during the 2023 writers’ and actors’ strikes, when picket signs declared: “AI is not art” and “Human writers only.”

What once felt like the stuff of science fiction is now Hollywood’s daily reality. As AI becomes embedded in the filmmaking process, the entire ecosystem — from studios and streamers to creators and institutions — is scrambling to keep up. Some see vast potential: faster production, lower costs, broader access, new kinds of creative freedom. Others see an extraction machine that threatens the soul of the art form and a coming flood of cheap, forgettable content.

AI storytelling is just beginning to edge into theaters — and already sparking backlash. This summer, IMAX is screening 10 generative shorts from Runway’s AI Film Festival. At AMC Burbank, where one screening is set to take place later this month, a protest dubbed “Kill the Machine” is already being organized on social media, an early flashpoint in the growing resistance to AI’s encroachment on storytelling.

But ready or not, the gravity is shifting. Silicon Valley is pulling the film industry into its orbit, with some players rushing in and others dragged. Faced with consolidation, shrinking budgets and shareholder pressure to do more with less, studios are turning to AI not just to cut costs but to survive. The tools are evolving faster than the industry’s playbook, and the old ways of working are struggling to keep up. With generative systems poised to flood the zone with content, simply holding an audience’s attention, let alone shaping culture, is becoming harder than ever.

While the transition remains uneven, some studios are already leaning in. Netflix recently used AI tools to complete a complex VFX sequence for the Argentine sci-fi series “El Eternauta” in a fraction of the usual time. “We remain convinced that AI represents an incredible opportunity to help creators make films and series better, not just cheaper,” co-chief executive Ted Sarandos told analysts during a July earnings call.

At Paramount, incoming chief executive David Ellison is pitching a more sweeping transformation: a “studio in the cloud” that would use AI and other digital tools to reinvent every stage of filmmaking, from previsualization to post. Ellison, whose Skydance Media closed its merger with Paramount Global this week and whose father, Larry Ellison, co-founded Oracle, has vowed to turn the company into a tech-first media powerhouse. “Technology will transform every single aspect of this company,” he said last year.

In one of the most visible examples of AI adoption in Hollywood, Lionsgate, the studio behind the “John Wick” and “Hunger Games” franchises, struck a deal last year with the generative video startup Runway to train a custom model on its film and TV library, aiming to support future project development and improve efficiency. Lionsgate chief executive Jon Feltheimer, speaking to analysts after the agreement, said the company believes AI, used with “appropriate guardrails,” could have a “positive transformational impact” on the business.

Elsewhere, studios are experimenting more quietly: using AI to generate early character designs, write alternate dialogue or explore how different story directions might land. The goal isn’t to replace writers or directors, but to inform internal pitches and development. At companies like Disney, much of the testing is happening in games and interactive content, where the brand risk is lower and the guardrails are clearer. For now, the prevailing instinct is caution. No one wants to appear as if they’re automating away the heart of the movies.

Legacy studios like Paramount are exploring ways to bring down costs by incorporating AI into their pipeline.

(Brian van der Brug / Los Angeles Times)

As major studios pivot, smaller, more agile players are building from the ground up for the AI era.

According to a recent report by FBRC.ai, an L.A.-based innovation studio that helps launch and advise early-stage AI startups in entertainment, more than 65 AI-native studios have launched since 2022, most of them tiny, self-funded teams of five or fewer. At these studios, AI tools allow a single creator to do the work of an entire crew, slashing production costs by 50% to 95% compared with traditional live-action or animation. The boundaries between artist, technician and studio are collapsing fast — and with them, the very idea of Hollywood as a gatekeeper.

That collapse is raising deeper questions: When a single person anywhere in the world can generate a film from a prompt, what does Hollywood still represent? If stories can be personalized, rendered on demand or co-written with a crowd, who owns them? Who gets paid? Who decides what matters and what disappears into the churn? And if narrative itself becomes infinite, remixable and disposable, does the idea of a story still hold any meaning at all?

Yves Bergquist leads the AI in Media Project at USC’s Entertainment Technology Center, a studio-backed think tank where Hollywood, academia and tech converge. An AI researcher focused on storytelling and cognition, he has spent years helping studios brace for a shift he sees as both inevitable and wrenching. Now, he says, the groundwork is finally being laid.

“We’re seeing very aggressive efforts behind the scenes to get studios ready for AI,” Bergquist says. “They’re building massive knowledge graphs, getting their data ready to be ingested into AI systems and putting governance committees in place to start shaping real policy.”

But adapting won’t be easy, especially for legacy studios weighed down by entrenched workflows, talent relationships, union contracts and layers of legal complexity. “These AI models weren’t built for Hollywood,” Bergquist says. “This is 22nd-century technology being used to solve 21st-century problems inside 19th-century organizational models. So it’s blood, sweat and tears getting them to fit.”

In an algorithmically accelerated landscape where trends can catch fire and burn out in hours, staying relevant is its own challenge. To help studios keep pace, Bergquist co-founded Corto, an AI startup that describes itself as a “growth genomics engine.” The company, which also works with brands like Unilever, Lego and Coca-Cola, draws on thousands of social and consumer sources, analyzing text, images and video to decode precisely which emotional arcs, characters and aesthetics resonate with which demographics and cultural segments, and why.

“When the game is attention, the weapon is understanding where culture and attention are and where they’re going.” Bergquist says, arguing media ultimately comes down to neuroscience.

Corto’s system breaks stories down into their formal components, such as tone, tempo, character dynamics and visual aesthetics, and benchmarks new projects against its extensive data to highlight, for example, that audiences in one region prefer underdog narratives or that a certain visual trend is emerging globally. Insights like these can help studios tailor marketing strategies, refine storytelling decisions or better assess the potential risk and appeal of new projects.

With ever-richer audience data and advances in AI modeling, Bergquist sees a future where studios can fine-tune stories in subtle ways to suit different viewers. “We might know that this person likes these characters better than those characters,” he says. “So you can deliver something to them that’s slightly different than what you’d deliver to me.”

A handful of studios are already experimenting with early versions of that vision — prototyping interactive or customizable versions of existing IP, exploring what it might look like if fans could steer a scene, adjust a storyline or interact with a favorite character. Speaking at May’s AI on the Lot conference, Danae Kokenos, head of technology innovation at Amazon MGM Studios, pointed to localization, personalization and interactivity as key opportunities. “How do we allow people to have different experiences with their favorite characters and favorite stories?” she said. “That’s not quite solved yet, but I see it coming.”

Bergquist is aware that public sentiment around AI remains deeply unsettled. “People are very afraid of AI — and they should be,” he acknowledges. “Outside of certain areas like medicine, AI is very unpopular. And the more capable it gets, the more unpopular it’s going to be.”

Still, he sees a significant upside for the industry. Get AI right, and studios won’t just survive but redefine storytelling itself. “One theory I really believe in is that as more people gain access to Hollywood-level production tools, the studios will move up the ladder — into multi-platform, immersive, personalized entertainment,” he says. “Imagine spending your life in Star Wars: theatrical releases, television, VR, AR, theme parks. That’s where it’s going.”

The transition won’t be smooth. “We’re in for a little more pain,” he says, “but I think we’ll see a rebirth of Hollywood.”

“AI slop” or creative liberation?

You don’t have to look far to find the death notices. TikTok, YouTube and Reddit are full of “Hollywood is dead” posts, many sparked by the rise of generative AI and the industry’s broader upheaval. Some sound the alarm. Others say good riddance. But what’s clear is that the center is no longer holding and no one’s sure what takes its place.

Media analyst Doug Shapiro has estimated that Hollywood produces about 15,000 hours of fresh content each year, compared to 300 million hours uploaded annually to YouTube. In that context, generative AI doesn’t need to reach Hollywood’s level to pose a major threat to its dominance — sheer volume alone is enough to disrupt the industry.

The attention economy is maxed out but attention itself hasn’t grown. As the monoculture fades from memory, Hollywood’s cultural pull is loosening. This year’s Oscars drew 19.7 million viewers, fewer than tuned in to a typical episode of “Murder, She Wrote” in the 1990s. The best picture winner, “Anora,” earned just $20 million at the domestic box office, one of the lowest tallies of any winner of the modern era. Critics raved, but fewer people saw it in theaters than watch the average moderately viral TikTok.

Amid this fragmentation, generative AI tools are fueling a surge of content. Some creators have a new word for it: “slop” — a catchall for cheap, low-effort, algorithmically churned-out media that clogs the feed in search of clicks. Once the world’s dream factory, Hollywood is now asking how it can stand out in an AI-powered media deluge.

Audience members watch an AI-assisted animated short at “Emergent Properties,” a 2023 Sony Pictures screening that offered a glimpse of the uncanny, visually inventive new wave of AI-powered filmmaking.

(Jay L. Clendenin / Los Angeles Times)

Ken Williams, chief executive of USC’s Entertainment Technology Center and a former studio exec who co-founded Sony Pictures Imageworks, calls it a potential worst-case scenario in the making — “the kind of wholesale dehumanization of the creative process that people, in their darkest moments, fear.”

Williams says studios and creatives alike worry that AI will trap audiences in an algorithmic cul de sac, feeding them more of what they already know instead of something new.

“People who live entirely in the social media world and never come out of that foxhole have lost the ability to hear other voices — and no one wants to see that happen in entertainment.”

If the idea of uncontrolled, hyper-targeted AI content sounds like something out of an episode of “Black Mirror,” it was. In the 2023 season opener “Joan Is Awful,” a woman discovers her life is being dramatized in real time on a Netflix-style streaming service by an AI trained on her personal data, with a synthetic Salma Hayek cast as her on-screen double.

So far, AI tools have been adopted most readily in horror, sci-fi and fantasy, genres that encourage abstraction, stylization and visual surrealism. But when it comes to human drama, emotional nuance or sustained character arcs, the cracks start to show. Coherence remains a challenge. And as for originality — the kind that isn’t stitched together from what’s already out there — the results so far have generally been far from revelatory.

At early AI film festivals, the output has often leaned toward the uncanny or the conceptually clever: brief, visually striking experiments with loose narratives, genre tropes and heavily stylized worlds. Many feel more like demos than fully realized stories. For now, the tools excel at spectacle and pastiche but struggle with the kinds of layered, character-driven storytelling that define traditional cinema.

Then again, how different is that from what Hollywood is already producing? Today’s biggest blockbusters — sequels, reboots, multiverse mashups — often feel so engineered to please that it’s hard to tell where the algorithm ends and the artistry begins. Nine of the top 10 box office hits in 2024 were sequels. In that context, slop is, to some degree, in the eye of the beholder. One person’s throwaway content may be another’s creative breakthrough — or at least a spark.

Joaquin Cuenca, chief executive of Freepik, rejects the notion that AI-generated content is inherently low-grade. The Spain-based company, originally a stock image platform, now offers AI tools for generating images, video and voice that creators across the spectrum are starting to embrace.

“I don’t like this ‘slop’ term,” Cuenca says. “It’s this idea that either you’re a top renowned worldwide expert or it’s not worth it — and I don’t think that’s true. I think it is worth it. Letting people with relatively low skills or low experience make better videos can help people get a business off the ground or express things that are in their head, even if they’re not great at lighting or visuals.”

Freepik’s tools have already made their way into high-profile projects. Robert Zemeckis’ “Here,” starring a digitally de-aged Tom Hanks and set in one room over a period for decades, used the company’s upscaling tech to enhance backgrounds. A recently released anthology of AI-crafted short films, “Beyond the Loop,” which was creatively mentored by director Danny Boyle, used the platform to generate stylized visuals.

“More people will be able to make better videos, but the high end will keep pushing forward too,” Cuenca says. “I think it will expand what it means to be state of the art.”

For all the concern about runaway slop, Williams envisions a near-term stalemate, where AI expands the landscape without toppling the kind of storytelling that still sets Hollywood apart. In that future, he argues, the industry’s competitive edge — and perhaps its best shot at survival — will still come from human creators.

That belief in the value of human authorship is now being codified by the industry’s most influential institution. Earlier this year, the Academy of Motion Picture Arts and Sciences issued its first formal guidance on AI in filmmaking, stating that the use of generative tools will “neither help nor harm” a film’s chances of receiving a nomination. Instead, members are instructed to consider “the degree to which a human was at the heart of the creative authorship” when evaluating a work.

“I don’t see AI necessarily displacing the kind of narrative content that has been the province of Hollywood’s creative minds and acted by the stars,” Williams says. “The industry is operating at a very high level of innovation and creativity. Every time I turn around, there’s another movie I’ve got to see.”

The new studio model

Inside Mack Sennett Studios, a historic complex in L.A.’s Echo Park neighborhood once used for silent film shoots, a new kind of studio is taking shape: Asteria, the generative AI video studio founded by filmmaker-turned-entrepreneur Bryn Mooser.

Asteria serves as the creative arm of Moonvalley, an AI storytelling company led by technologist and chief executive Naeem Talukdar. Together, they’re exploring new workflows built around the idea that AI can expand, rather than replace, human creativity.

Mooser, a two-time Oscar nominee for documentary short subject and a fifth-generation Angeleno, sees the rise of AI as part of Hollywood’s long history of reinvention, from sound to color to CGI. “Looking back, those changes seem natural, but at the time, they were difficult,” he says.

Ed Ulbrich, left, Bryn Mooser and Mateusz Malinowski, executives at Moonvalley and Asteria, are building a new kind of AI-powered movie studio focused on collaboration between filmmakers and technologists.

(David Butow / For the Times)

What excites him now is how AI lowers technical barriers for the next generation. “For people who are technicians, like stop-motion or VFX artists, you can do a lot more as an individual or a small team,” he says. “And really creative filmmakers can cross departments in a way they couldn’t before. The people who are curious and leaning in are going to be the filmmakers of tomorrow.”

It’s a hopeful vision, one shared by many AI proponents who see the tools as a great equalizer, though some argue it often glosses over the structural realities facing working artists today, where talent and drive alone may not be enough to navigate a rapidly shifting, tech-driven landscape.

That tension is precisely what Moonvalley is trying to address. Their pitch isn’t just creative, it’s legal. While many AI companies remain vague about what their models are trained on, often relying on scraped content of questionable legality, Moonvalley built its video model, Marey, on fully licensed material and in close collaboration with filmmakers.

That distinction is becoming more significant. In June, Disney and Universal filed a sweeping copyright lawsuit against Midjourney, a popular generative AI tool that turns text prompts into images, accusing it of enabling rampant infringement by letting users generate unauthorized depictions of characters like Darth Vader, Spider-Man and the Minions. The case marks the most aggressive legal challenge yet by Hollywood studios against AI platforms trained on their intellectual property.

“We worked with some of the best IP lawyers in the industry to build the agreements with our providers,” Moonvalley’s Talukdar says. “We’ve had a number of major studios audit those agreements. We’re confident every single pixel has had a direct sign-off from the owner. That was the baseline we operated from.”

The creative frontier between Hollywood and AI is drawing interest from some of the industry’s most ambitious filmmakers.

Steven Spielberg and “Avengers” co-director Joe Russo were among the advisors to Wonder Dynamics, an AI-driven VFX startup that was acquired by Autodesk last year. Darren Aronofsky, the boundary-pushing director behind films like “Black Swan” and “The Whale,” recently launched the AI studio Primordial Soup, partnering with Google DeepMind. Its debut short, “Ancestra,” directed by Eliza McNitt, blends real actors with AI-generated visuals and premiered at the Tribeca Film Festival in June.

Not every foray into AI moviemaking has been warmly received. Projects that spotlight generative tools have stoked fresh arguments about where to draw the line between machine-made and human-driven art.

In April, actor and director Natasha Lyonne, who co-founded Asteria with her partner, Mooser, announced her feature directorial debut: a sci-fi film about a world addicted to VR gaming called “Uncanny Valley,” combining AI and traditional filmmaking techniques. Billed as offering “a radical new cinematic experience,” the project drew backlash from some critics who questioned whether such ventures risk diminishing the role of human authorship. Lyonne defended the film to the Hollywood Reporter, making clear she’s not replacing crew members with AI: “I love nothing more than filmmaking, the filmmaking community, the collaboration of it, the tactile fine art of it… In no way would I ever want to do anything other than really create some guardrails or a new language.”

Even the boldest experiments face a familiar hurdle: finding an audience. AI might make it easier to make a movie, but getting people to watch it is another story. For now, the real power still lies with platforms like Netflix and TikTok that decide what gets seen.

That’s why Mooser believes the conversation shouldn’t be about replacing filmmakers but empowering them. “When we switched from shooting on film to digital, it wasn’t the filmmakers who went away — it was Kodak and Polaroid,” he says. “The way forward isn’t everybody typing prompts. It’s putting great filmmakers in the room with the best engineers and solving this together. We haven’t yet seen what AI looks like in the hands of the best filmmakers of our time. But that’s coming.”

New formats, new storytellers

For more than a century, watching a movie has been a one-way experience: The story flows from screen to viewer. Stephen Piron wants to change that. His startup Pickford AI — named for Mary Pickford, the silent-era star who co-founded United Artists and helped pioneer creative control in Hollywood — is exploring whether stories can unfold in real time, shaped by the audience as they watch. Its cheeky slogan: “AI that smells like popcorn.”

Pickford’s flagship demo looks like an animated dating show, but behaves more like a game or an improv performance. There’s no fixed script. Viewers type in suggestions through an app and vote on others’ ideas. A large language model then uses that input, along with the characters’ backstories and a rough narrative outline, to write the next scene in real time. A custom engine renders it on the spot, complete with gestures and synthetic voices. Picture a cartoon version of “The Bachelor” crossed with a choose-your-own-adventure, rendered by AI in real time.

At live screenings this year in London and Los Angeles, audiences didn’t just watch — they steered the story, tossing in oddball twists and becoming part of the performance. “We wanted to see if we could bring the vibe of the crowd back into the show, make it feel more like improv or live theater,” Piron says. “The main reaction is people laugh, which is great. There’s been lots of positive reaction from creative people who think this could be an interesting medium to create new stories.”

The platform is still in closed beta. But Piron’s goal is a collaborative storytelling forum where anyone can shape a scene, improvise with AI and instantly share it. To test that idea on a larger scale, Pickford is developing a branching murder mystery with Emmy-winning writer-producer Bernie Su (“The Lizzie Bennet Diaries”).

Piron, who is skeptical that people really want hyper-personalized content, is exploring more ways to bring the interactive experience into more theaters. “I think there is a vacuum of live, in-person experiences that people can do — and maybe people are looking for that,” he says.

Attendees check in at May’s AI on the Lot conference, where Pickford AI screened a demo of its interactive dating show.

(Irina Logra)

As generative AI lowers the barrier to creation, the line between creator and consumer is starting to blur and some of the most forward-looking startups are treating audiences as collaborators, not just fans.

One example is Showrunner, a new, Amazon-backed platform from Fable Studio that lets users generate animated, TV-style episodes using prompts, images and AI-generated voices — and even insert themselves into the story. Initially free, the platform plans to charge a monthly subscription for scene-generation credits. Fable is pitching Showrunner as “the Netflix of AI,” a concept that has intrigued some studios and unsettled others. Chief executive Edward Saatchi says the company is already in talks with Disney and other content owners about bringing well-known franchises into the platform.

Other AI companies are focused on building new franchises from the ground up with audiences as co-creators from day one. Among the most ambitious is Invisible Universe, which bypasses traditional gatekeepers entirely and develops fresh IP in partnership with fans across TikTok, YouTube and Instagram. Led by former MGM and Snap executive Tricia Biggio, the startup has launched original animated characters with celebrities like Jennifer Aniston and Serena Williams, including Clydeo, a cooking-obsessed dog, and Qai Qai, a dancing doll. But its real innovation, Biggio says, is the direct relationship with the audience.

“We’re not going to a studio and saying, ‘Do you like our idea?’ We’re going to the audience,” she says. “If Pixar were starting today, I don’t think they’d choose to spend close to a decade developing something for theatrical release, hoping it works.”

While some in the industry are still waiting for an AI “Toy Story” or “Blair Witch” moment — a breakthrough that proves generative tools can deliver cultural lightning in a bottle — Biggio isn’t chasing a feature-length hit. “There are ways to build love and awareness for stories that don’t require a full-length movie,” she says. “Did it make you feel something? Did it make you want to go call your mom? That’s going to be the moment we cross the chasm.”

What if AI isn’t the villain?

For nearly a century, filmmakers have imagined what might happen if machines got too smart.

In 1927’s “Metropolis,” a mad scientist gives his robot the likeness of a beloved labor activist, then unleashes it to sow chaos among the city’s oppressed masses. In “2001: A Space Odyssey,” HAL 9000 turns on its crew mid-mission. In “The Terminator,” AI nukes the planet and sends a killer cyborg back in time to finish the job. “Blade Runner” and “Ex Machina” offered chilling visions of artificial seduction and deception. Again and again, the message has been clear: Trust the machines at your peril.

Director Gareth Edwards, best known for “Godzilla” and “Rogue One: A Star Wars Story,” wanted to flip the script. In “The Creator,” his 2023 sci-fi drama, the roles were reversed: Humans are waging war against AI and the machines, not the people, are cast as the hunted. The story follows a hardened ex-soldier, played by John David Washington, who’s sent to destroy a powerful new weapon, only to discover it’s a child: a young android who may be the key to peace.

“The second you look at things from AI’s perspective, it flips very easily,” Edwards told The Times by phone shortly before the film’s release. “From AI’s point of view, we are attempting to enslave it and use it as our servant. So we’re clearly the baddie in that situation.”

In Gareth Edwards’ 2023 film “The Creator,” a young AI child named Alphie (Madeleine Yuna Voyles) holds the key to humanity’s future.

(20th Century)

In many ways, “The Creator” was the kind of film audiences and critics say they want to see more often out of Hollywood: an original story that takes creative risks, delivering cutting-edge visuals on a relatively lean $80 million. But when it hit theaters that fall, the film opened in third place behind “Paw Patrol: The Mighty Movie” and “Saw X.” By the end of its run, it had pulled in a modest $104.3 million worldwide.

Part of the problem was timing. When Edwards first pitched the film, AI was still seen as a breakthrough, not a threat. But by the time the movie reached theaters, the public mood had shifted. The 2023 strikes were in full swing, AI was the villain of the moment — and here came a film in which AI literally nukes Los Angeles in the opening minutes. The metaphor wasn’t subtle. Promotion was limited, the cast was sidelined and audiences weren’t sure whether to cheer the movie’s message or recoil from it. While the film used cutting-edge VFX tools to help bring its vision to life, it served as a potent reminder that AI could help make a movie — but it still couldn’t shield it from the backlash.

Still, Edwards remains hopeful about what AI could mean for the future of filmmaking, comparing it to the invention of the electric guitar. “There’s a possibility that if this amazing tool turns up and everyone can make any film that they imagine, it’s going to lead to a new wave of cinema,” he says. “Look, there’s two options: Either it will be mediocre rubbish — and if that’s true, don’t worry about it, it’s not a threat — or it’s going to be phenomenal, and who wouldn’t want to see that?”

After “The Creator,” Edwards returned to more familiar terrain, taking the reins on this summer’s “Jurassic World Rebirth,” the sixth installment in a franchise that began with Steven Spielberg’s 1993 blockbuster, which redefined spectacle in its day. To date, the film has grossed more than $700 million worldwide.

So what’s the takeaway? Maybe there’s comfort in the known. Maybe audiences crave the stories they’ve grown up with. Maybe AI still needs the right filmmaker or the right story to earn our trust.

Or maybe we’re just not ready to root for the machines. At least not yet.

Video shows damage to Afghanistan’s shrine of Mazar-i-Sharif, also known as The Blue Mosque, after a 6.3 magnitude earthquake. Officials in the area say at least seven people have been killed and 150 injured.

A nine-month-old baby has been killed in a dog attack in south-east Wales, according to Gwent Police.

Officers and paramedics went to a property on Crossway in Rogiet, Monmouthshire, at about 18:00 GMT on Sunday.

The dog was seized and removed from the address, the force said.

Police were working to establish the breed of the animal and no arrests had been made.

Ch Supt John Davies said: “Officers are on scene and will be making further inquiries as the investigation progresses.”

Residents said they were in disbelief at the death of the child, with the community in shock and trying to come to terms with what had happened.

They said they saw police cars and ambulances on the quiet residential street in south Wales at the time of the incident.

By 22:00 the police cordon had been lifted and all the ambulances and most police cars had gone, replaced by scenes of crime investigation vehicles.

At this time two police officers were still guarding a house on Crossway, a street now silent but for the hum of cars on the M4 and trains on the south Wales to London line.

TV fans have been won over by the celebrity version of The Traitors on the BBC – and now it is being suggested that a Gavin and Stacey star could lead the cast of a second season

A Gavin and Stacey icon is being lined up to take part in a second season of The Celebrity Traitors. Welsh actress Ruth Jones is known to millions as Nessa Jenkins on the hit BBC comedy.

Now BBC bosses are keen to bring the star back to screens as herself as one of the stars of an as yet not confirmed second season of The Celebrity Traitors. TV fans have been won over by the glamorous star packed version of the devious game show that is fronted by Claudia Winkleman.

Celebs including Jonathan Ross, Stephen Fry and Celia Imrie have battled to uncover Traitors and avoid banishing Faithfuls during the first season of the show – which is set to reach a conclusion this week. And already fans are looking ahead to who could be in the cast of a second season.

READ MORE: Alan Carr flees UK before Celebrity Traitors final as he fears being ‘most hated man’READ MORE: Tess Daly supported by lookalike daughter as ‘real reason’ for Strictly exit revealed

A source told The Sun: “The celebrity ­version of The Traitors has been a phenomenal success for the BBC and they’re already approaching stars for the next run. Ruth is one of the names in the frame and she’s been approached about taking part.

“Given the stellar names they secured for series one, the next instalment has to be just as impressive. Ruth would be an incredible addition to the cast if she can fit it into her schedule.”

However, the TV star is said to have one condition on taking part. The source claimed: “Ruth would only consider taking part on the proviso she would be a Faithful.”

The Mirror has contacted representatives of The Traitors and Ruth Jones for comment. Meanwhile, the BBC said they had “No comment” over the speculation.

The Celebrity Traitors has shone fresh light on long-serving stars of the small screen – with reports suggesting Alan Carr could front a new talk show after seeing his popularity surge while taking part in the show. He has thrilled audiences with his treasonous behaviour as one of the traitors.

While rugby star Joe Marler could end up on screens more after impressing audiences – and seemingly figuring out that Alan and Cat Burns are the two traitors on the show.

According to the Mail, BBC bosses have been eyeing him up throughout the series and it reportedly looks as though the broadcaster’s new controller Kate Phillips is keen on him too.

A TV insider told the publication: “The BBC is constantly looking for new talent and the second he stopped playing rugby, there were eyes on him. Bosses knew that getting him on Traitors would be a very good shop window for him and they could test whether or not the viewers would like him.

“As soon as they saw it, they knew he would be someone the British public would adore and they seem to be right.”

They added: “At the same time, he himself is ready for a new career after retiring from rugby. He has long wanted to present from a BBC sofa and The One Show is one of his favourite programmes. To anchor that would be his dream.”

Former Celebrity Traitors contestant Kate Garraway has tipped Alan Carr to win the BBC show. While on Romesh Ranganathan’s BBC Radio 2 show, she said the celebrities asked two questions which they all knew to be true.

And then they were asked if they were a traitor or not. But Alan appeared to look nervous even when answering the question they all knew to be true.

She explained: “The flaw in the plan was everybody slightly flickered, their eyes changed so when you say ‘are you a mother of five’ they just go yes because they’re relaxed about that. But on every single one Alan looked guilty, even on the ones that were true. So therefore I think his thing is that he looks guilty and the more he mucks up and the more he sweats and the more he can’t get out loud I’m a Faithful, then the more it plays in to ‘Alan’s just being Alan’. And I think that’s going to be the genius.”

Earlier in the Celebrity Traitors special, she claimed he could easily win the show. She said: “I think he’s going to win. I don’t know. I’m going to say it now.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

A senior Sudanese diplomat has accused the Rapid Support Forces (RSF) of committing war crimes in the country’s North Darfur state, as survivors who escaped the city of el-Fasher recounted mass killings and sexual assault by the paramilitary troops.

Sudan’s ambassador to Egypt, Imadeldin Mustafa Adawi, made the allegations on Sunday as he accused the United Arab Emirates (UAE) of helping the RSF paramilitary group in the ongoing civil war.

The Gulf state denies the claim.

Adawi’s remarks followed an earlier statement by Sudanese Prime Minister Kamil Idris, who told the Swiss newspaper Blick that the RSF should be tried in the international courts.

But Kamil rejected the “illegal” idea of foreign troops being deployed to his country, which has been ravaged by a civil war between the RSF and the Sudanese army since April 2023.

The calls for action come a week after the RSF seized the capital of North Darfur, el-Fasher, after an 18-month siege and starvation campaign, resulting in thousands of reported civilian deaths. The city was the Sudanese army’s last stronghold in the region.

In the days since its capture, survivors have reported mass executions, pillaging, rape and other atrocities, sparking an international outcry.

The Sudanese government said that at least 2,000 people were killed, but witnesses said the real number could be much higher.

Tens of thousands of civilians are still believed to be trapped in the city.

“The government of Sudan is calling on the international community to act immediately and effectively rather than just make statements of condemnation,” Adawi told reporters during a news conference in the Egyptian capital, Cairo.

The envoy urged the world to designate the RSF as a “terrorist” organisation, as well as condemn RSF “for committing massacres amounting to genocide” and denounce “its official regional financier and supporter, the United Arab Emirates”.

He also said that Sudan would not take part in talks led by Egypt, Saudi Arabia, the United States and the UAE to end the conflict if the latter remains part of the negotiations.

“We do not consider them [the UAE] as a mediator and someone reliable on the issue,” Adawi stressed.

Mass killings, sexual assault

The UAE, however, denies allegations that it is supplying the RSF with weapons.

At a forum in Bahrain’s capital, Manama, an Emirati presidential adviser said that the Gulf state wants to help end the war, and acknowledged that regional and international powers could have done more to prevent the conflict in Sudan.

“We all made the mistake, when the two generals who are fighting the civil war today overthrow the civilian government. That was, in my opinion, looking back, a critical mistake,” Anwar Gargash said.

Egypt, Saudi Arabia, the UAE and the US, as mediators, have all condemned the mass killings and called for increased humanitarian assistance.

As the world’s worst humanitarian crisis further spirals into chaos, residents who managed to escape el-Fasher recalled their harrowing experience.

Adam Yahya, who fled with four of his children, told Al Jazeera that his wife was killed in an RSF drone strike shortly before el-Fasher fell. He said that he and his children barely had time to mourn before they found themselves on the run from the paramilitary group.

“The streets were full of dead people. We made it to one of the sand barriers set up by the RSF. They were shooting at people, men, women and children, with machineguns. I heard one saying, ‘Kill them all, leave no one alive’,” Yahya recounted.

“We ran back and hid. At night, I slowly crept out with my children and crossed the barrier. We walked to a village, where someone took pity on us and gave us a ride to the camp here.”

Another 45-year-old woman in the displacement camp of Al Dabbah in Sudan’s Northern State told Al Jazeera that RSF fighters sexually assaulted her.

The woman, who only gave her first name, Rasha, said she left her daughters at home when the RSF seized the army headquarters on Sunday and went to look for her sons.

“The RSF asked me where I was going, and I told them I’m looking for my sons. They forced me into a house and started sexually assaulting me. I told them I’m old enough to be their mother. I cried,” she said.

“They then let me go, and I took my daughters and fled, leaving my sons behind. I don’t know where they are now,” she said.

“We just fled and ran past dead bodies till we crossed the barrier and reached a small village outside el-Fasher,” she added.

Aid agencies, meanwhile, said that thousands of people are unaccounted for after fleeing el-Fasher.

Caroline Bouvard, the Sudan country director for Solidarites International, said that only a few hundred more people have turned up in Tawila, the closest town to el-Fasher, in the past few days.

“Those are very small numbers considering the number of people who were stuck in el-Fasher. We keep hearing feedback that people are stuck on the roads and in different villages that are unfortunately still inaccessible due to security reasons,” she said.

Bouvard said there is a “complete blackout” in terms of information coming out of el-Fasher after the RSF takeover, and that aid agencies are getting their information from surrounding areas, where up to 15,000 people are believed to be stuck.

“There’s a strong request for advocacy with the different parties to ensure that humanitarian aid can reach these people or that, at least, we can send in trucks to bring them back to Tawila,” she added.

WELL, arc at you, birthday girl!

Model Iris Law beams with joy under a rainbow as she prepares to celebrate hitting 25.

Iris showed off her toned tum in ­swimwear on a beach while on hols.

The daughter of actors Jude Law and Sadie Frost wrote on social media: “Last day of 24.”

For Iris, who dated footballer Trent Alexander-Arnold, 27, last year, the sky’s the limit in the fashion world.

We recently revealed how Iris had her assistants running across New York to find her favourite treats ahead of the Victoria’s Secret show.

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Iris Law spotted out for summer stroll with Trent Alexander-Arnold lookalike

The model made her debut as an Angel during the return of the world famous runway show in October.

Iris is said to have sent her team of assistants looking for cookies from a particular bakery and then smoothies from another place in New York, according to Daily Mail.

The Victoria’s Secret catwalk show made a stunning return earlier this month and was full of A-list models including, Alessandra Ambrosio, Jasmine Tookes, Angel Reese,  Barbie Ferreira,  Ashley Graham, Irina Shayk and Emily Ratajkowski.

Iris burst onto the modelling scene when she was in her teens and has been booked by some of the biggest fashion houses in the world.

She has previously posed for Christian Dior, Calvin Klein, and Versace.

She has also started to forge a career in the movies and follow in her famous parents’ footsteps.

Nov. 2 (UPI) — A rhesus monkey missing in rural Mississippi was found Sunday, according to authorities searching for the last few primates that escaped from a crashed truck hauling nearly two dozen of them nearly a week ago.

The monkey was found by a homeowner on their property in Heidelberg, located about 87 miles southeast of Jackson, the Jasper County Sheriff’s Department said in a brief statement posted to its Facebook account.

The animal is now in the possession of the Mississippi Department of Wildlife, Fisheries and Parks, according to the sheriff’s department, which added that it had no further details about the monkey at this time.

The search continues for two additional monkeys that escaped Tuesday, when a truck transporting 21 rhesus monkeys crashed along a rural stretch of Mississippi highway. Following the crash, the sheriff’s department said three monkeys were still missing.

Authorities initially stated the animals weighed 40 pounds and posed “potential health threats,” as they allegedly carried hepatitis C, herpes and COVID-19.

The Jasper County Sheriff’s Department later recanted this statement, saying that the truck’s driver had stated the animals were infected with diseases, but the Tulane National Primate Research Center, which supplies monkeys to other research organizations, said the primates in question “are not infectious.”

Jannik Sinner’s first Paris Masters crown moves the Italian past Carlos Alcaraz and back into the ATP’s top spot.

Italy’s Jannik Sinner powered past Felix Auger-Aliassime 6-4, 7-6(4) to capture his maiden Paris Masters title on Sunday, a triumph that catapulted the 24-year-old back to the summit of the men’s rankings ahead of the ATP Finals.

The second seed knew only victory would suffice to leapfrog rival Carlos Alcaraz atop the standings, and he delivered in style to become just the fourth player in tournament history to lift the trophy without dropping a set.

For Auger-Aliassime, the stakes were equally high but the outcome crushingly different. The Canadian ninth seed needed the title to secure his spot at the season-ending ATP Finals in Turin, but instead saw his hopes dashed in a high-quality final.

Sinner’s Paris conquest marked his first Masters crown of the year and fifth title of 2025, extending his remarkable indoor hardcourt winning streak to 26 matches.

‘Intense final’

“It’s huge, honestly. It was such an intense final here, and we both knew what’s on the line. Also him, he’s in a very tough and difficult spot, but from my side, I’m extremely happy,” Sinner said in an on-court interview.

“The past couple of months have been amazing. We’ve tried to work on things, trying to improve as a player. Seeing these kind of results makes me incredibly happy.

“Another title this year. It has been an amazing year, no matter what comes now in Turin. I’m extremely happy.”

Sinner made his intentions clear from the opening game, breaking Auger-Aliassime’s serve before consolidating the break as he controlled rallies while the Canadian leaked unforced errors.

Despite the majority of the crowd rallying behind the underdog, Auger-Aliassime struggled to match Sinner’s relentless power and precision.

Sinner untouchable on serve

Sinner proved untouchable on the serve, mixing deep groundstrokes with drop shots and half-volleys to bamboozle his opponent.

The Italian’s dominance was complete in the opening set, when Auger-Aliassime failed to earn a single break point while Sinner dropped just three points on serve, sealing the set with a flourish by firing a cross-court forehand winner.

The second set offered more resistance, however, as Auger-Aliassime showed his mettle, saving five break points.

But even his resolute defence could not crack Sinner’s serving stranglehold as the set headed to a tiebreak.

Auger-Aliassime held his own in the tiebreak until a crucial error handed Sinner the advantage, and the Italian needed no second invitation to surge into the lead.

Sinner then delivered the knockout blow on match point, forcing Auger-Aliassime wide during the rally before unleashing a searing backhand winner down the line to claim his fifth Masters crown.

Auger-Aliassime is set to play this week in Metz, where he had a first-round bye, in a last attempt to secure the final spot at the ATP Finals the following week.

There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.

And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.

It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.

As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.

“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.

Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.

“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.

Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.

Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)

Ryan Coogler’s “Sinners.”

(Warner Bros. Pictures)

Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.

“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”

And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.

Austin Abrams in “Weapons.”

(Warner Bros. Pictures)

“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”

Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.

“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”

“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”

China has frequently accused the Philippines of acting as a ‘troublemaker’ and ‘saboteur of regional stability’.

The Philippines and Canada have signed a defence pact to expand joint military drills and deepen security cooperation in a move widely seen as a response to China’s growing assertiveness in the region, most notably in the disputed South China Sea.

Philippine Defence Secretary Gilberto Teodoro Jr and Canadian Defence Minister David McGuinty inked the Status of Visiting Forces Agreement (SOVFA) on Sunday after a closed-door meeting in Manila.

McGuinty said the deal would strengthen joint training, information sharing, and coordination during humanitarian crises and natural disasters.

Teodoro described the pact as vital for upholding what he called a rules-based international order in the Asia-Pacific, where he accused China of expansionism. “Who is hegemonic? Who wants to expand their territory in the world? China,” he told reporters.

The agreement provides the legal framework for Canadian troops to take part in military exercises in the Philippines and vice versa. It mirrors similar accords Manila has signed with the United States, Australia, Japan and New Zealand.

China has not yet commented on the deal, but it has frequently accused the Philippines of being a “troublemaker” and “saboteur of regional stability” after joint patrols and military exercises with its Western allies in the South China Sea.

Beijing claims almost the entire waterway, a vital global shipping lane, thereby ignoring a 2016 international tribunal ruling that dismissed its territorial claims as unlawful. Chinese coastguard vessels have repeatedly used water cannon and blocking tactics against Philippine ships, leading to collisions and injuries.

Teodoro used a regional defence ministers meeting in Malaysia over the weekend to condemn China’s declaration of a “nature reserve” around the contested Scarborough Shoal, which Manila also claims.

“This, to us, is a veiled attempt to wield military might and the threat of force, undermining the rights of smaller countries and their citizens who rely on the bounty of these waters,” he said.

Talks are under way by the Philippines for similar defence agreements with France, Singapore, Britain, Germany and India as Manila continues to fortify its defence partnerships amid rising tensions with Beijing.

At least eight people have died after an earthquake struck northern Afghanistan, say local authorities, with the toll expected to rise as rescue efforts continue.

Some 180 people have also been left injured, Samin Joyenda, a health department spokesman of a nearby province told the BBC.

The earthquake struck Mazar-e-Sharif, which is home to around 500,000 people, in the early hours of Monday, at around 01:00 local time (20:30 GMT).

It had a magnitude of 6.3 and a depth of 28km (17mi, according to the US Geological Survey, and was marked at an orange alert level, which indicates “significant casualties” are likely.

Haji Zaid, a Taliban spokesman in Balkh province – of which Mazar-e Sharif is the capital – wrote earlier on X that “many people are injured” in the Sholgara district, just south of Mazar-e- Sharif.

He said they had received “reports of minor injuries and superficial damages from all districts of the province”.

“Most of the injuries were caused by people falling from tall buildings,” he wrote.

Mazar-e Sharif is home to more than 500,000 people. Many of the city’s residents rushed to the streets when the quake struck, as they feared their houses would collapse, AFP reported.

The Taliban spokesman in Balkh also posted a video on X appearing to show debris strewn across the ground at the Blue Mosque, a local landmark in Mazar-e-Sharif.

The religious complex is believed to house the tomb of the first Shia Imam – a religious leader believed to hold divine knowledge. It’s now a site where pilgrims gather to pray and celebrate religious events.

Khalid Zadran, a Taliban spokesman for the police in Kabul, wrote on X that police teams were “closely monitoring the situation”.

Numerous fatalities were also reported in Samangan, a mountainous province near Mazar-e-Sharif, according to its spokesman.

The quake on Monday comes after a 6.0 magnitude earthquake struck Afghanistan’s mountainous eastern region in late August, killing more than 1,000 people.

That earthquake was especially deadly as the rural houses in the region were typically made of mud and timber. Residents were trapped when their houses collapsed during the quake.

Afghanistan is very prone to earthquakes because of its location on top of a number of fault lines where the Indian and Eurasian tectonic plates meet.

Taylor Swift fans ‘screamed’ on Sunday evening’s results show after learning that Vicky Pattison will be dancing next week to the pop star’s latest single – The Fate of Ophelia

After finding out that she was safe from the dreaded dance off, reality star Vicky Pattison was told what her dance and song choice would be for next week. Taylor Swift fans couldn’t contain their excitement on Sunday evening’s Strictly Come Dancing results show after learning that Vicky, 37, will be dancing next week to Taylor Swift’s latest single – The Fate of Ophelia.

Professional partner Kai Widdrington started dancing as a small clip of the song played and sent Swifties into a frenzy online. One person took to X, formally known as Twitter, and wrote: “Arrgghhh not @VickyPattison dancing to The Fate of Ophelia, I screamed Strictly…doing Taylor Swift…and it’s a race weekend, I may just burst with excitement”.

Another fan penned: “Omg Vicky and Kai are dancing to Ophelia next week. My life for a month has been dominated by life and of a Showgirl”, while a third chimed in: “As a Swiftie. I’m Super excited to see that Vicky and Kai are dancing to The Fate of Ophelia next week!! Let’s see this be an iconic performance”.

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The track The Fate of Ophelia is the lead single off the album The Life Of A Showgirl which was released last month and features multiple references to her relationship with Travis Kelce.

She references a “megaphone”, a hint at the fact he reached out to her by screaming it out into the world on his podcast, rather than going through the usual ways.

Speaking about the new album, she said: “One thing about this album that I think is really exciting is that oftentimes when I make a record there’s like a lag time between when I made it and when it enters the world.

“Like for example, my last album, Tortured Post Department, by the time that album came out, I was in a completely different point in my life. With this one I would say that this album is a complete and total snapshot of what my life looks like right now.”

It comes after Vicky burst into tears on Saturday night’s Strictly after she performed the American Smooth with professional partner Kai. The dance, which was set to Bonnie Tyler’s Total Eclipse of the Heart, saw Vicky dressed as a white witch on theme for Halloween Week.

The dance went well and she received praise across the board from judges Craig Revel Horwood, Anton Du Beke, Motsi Mabuse and Shirley Ballas, eventually scoring 31 for her efforts and even a standing ovation.

Not only was Vicky pleased her hard work was paying off but she was left in utter shock when Motsi predicted that she will make the final.

Motsi said: “A few weeks ago, I couldn’t believe that you’d open our show. I loved the character play in the beginning, you did it so, so well. So for me, you are a contender for the final. Honestly. And I just want you to finish everything, make everything nice and clean.”

Motsi’s comment was met with cheers from the audience, and Vicky promptly broke down in tears of joy. Rushing over to be interviewed by Claudia Winkleman, her tears continued as she said: “I hated going first! Honestly, I loved this dance this week because for once I had a foundation to build on. I wasn’t just starting from scratch and feeling so inadequate. I was just desperate to prove that I have improved.”

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Nov. 2 (UPI) — At least 42 million Americans could begin receiving SNAP benefits by the middle of the week, Treasury Secretary Scott Bessent said Sunday. Funding for the program was set to run out Saturday amid the government shutdown, now in its sixth week.

Two federal judges ruled on Friday that the Trump administration must use emergency funding to pay for the social service during the budget impasse that led the government to shutter services, many of them critical for tens of millions of Americans.

While the judge’s order narrowly averted the suspension of SNAP benefits, it could take as long as two weeks before the benefits resume.

“There’s a process that has to be followed,” Bessent said Sunday on CNN”s State of the Union. “So, we’ve got to figure out what the process is.”

Bessent acknowledged that two weeks is a long time for people who need food, and added that the administration would not appeal the ruling.

He blamed Democrats for the prolonged shutdown, despite both parties refusing to reach a deal to end it.

“The best way for SNAP benefits to get paid is for Democrats, five Democrats, to cross the aisle and reopen the government,” he said.

The judges’ rulings mean, however, that the benefits will resume even without a vote.

The draft proposals for China’s 15th Five-Year Plan were approved during the Fourth Plenary Session of the 20th Central Committee of the Communist Party of China in October 2025. The final plan is expected to be adopted by the National People’s Congress (NPC) in March 2026.

   China’s Five-Year Plans have been key strengths of China’s medium- to long-term economic and social development framework since the 1950s. Specifically, it has demonstrated strategic foresight, coordinated planning, and consistent implementation. The key strengths of China’s 15th Five-Year Plan are its focus on high-quality development, particularly by achieving stringent climate targets such as peaking carbon emissions before 2030, while relying on strict monitoring mechanisms and advanced technologies. The plan also promotes innovation and digital transformation, focuses on integrated economic and military development, and leverages investment in research and development.

•  The strengths of China’s 15th Five-Year Plan, compared to previous five-year plans, are:

1)       Focus on quality development:

Compared to previous plans that focused on quantitative growth, the 15th Five-Year Plan focuses on quality, innovation, and sustainability rather than simply increasing productivity.

2) Integrated economic and military development:

The new plan systematically integrates scientific and technological innovations across the military and civilian sectors, enhancing national capabilities in a comprehensive manner.

3) Shifting towards a green economy:

The plan features new mechanisms for monitoring and managing carbon emissions, representing a significant shift from previous plans that were less focused on environmental issues.

4)       Investment in Research and Development:

The plan continues to boost investment in research, development, and innovation, a core strength that has enabled China to achieve significant technological advancements.

5) Balanced Development:

The plan seeks to achieve balanced development by supporting resource-rich regions, helping to reduce development gaps between different regions.

6) Investment Opportunities:

The plan opens new horizons for investors in areas such as carbon trading, offsets, and carbon asset management services, boosting national economic development.

Based on our understanding of the previous analysis, China’s 15th Five-Year Plan (2026-2030) includes goals for economic and social development, focusing on technological self-reliance, high-quality development, and a real economy. The plan aims to be a crucial link towards achieving socialist modernization by 2035.

DAVID Bowie and Kate Bush have been named among the top cultural icons who most accurately predicted how we live today, according to research.

A poll of 2,000 adults found George Orwell, Roald Dahl, and even Ross from Friends – who in 1999 predicted AI would be smarter than us by 2030 – made the top 10 list.

Other cultural icons included Captain Kirk – who used to talk to computers, foldable communicators, and tablets as far back as the 1960s – and Ridley Scott.

The director’s seminal 1982 film Blade Runner is still hailed today as a masterclass in technological foresight.

Meanwhile the sitcom, The Simpsons has a history of uncanny predictions, including Donald Trump‘s presidency, the Pandemic, a FIFA scandal, and the development of smartwatches.

The research was commissioned by Samsung for its ‘Visionary Hall of Fame’ and rounding off the top 10 are musicians Prince and Bjork – with the former predicting online dating and virtual relationships in his album 1999, released over 40 years ago.

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While Bjork foresaw the rise of social media in the 1990s and 2000s, predicting that technology wouldn’t just be functional, it would become deeply personal.

Fearne Cotton has teamed up with the brand, as part of their Can Your Phone Do This campaign which highlights the capabilities of Galaxy AI, to go back to her chart show roots, in a brand-new countdown video which reveals the visionaries who feature on the list.

The broadcaster and author said: “These ten icons didn’t just dream about the future; they made it a reality. It’s incredible to see that the future they envisioned is already here, right at our fingertips.

The research also found self-driving cars (39 per cent) topped the list of real-world innovations people remember seeing in pop culture before they became a reality.

This was followed by artificial intelligence (39 per cent) and video calling (33 per cent), along with voice assistants (28 per cent) and smart watches (22 per cent).

Those polled were also quizzed on their use of AI apps or assistants, with 24 per cent using these on their phones daily.

Many use them to ask factual questions (43 per cent), compose messages or emails (22 per cent), and edit photos and videos (22 per cent).

For 23 per cent, they are even translating speech or text among the most used AI functions.

In fact, almost seven in ten (68 per cent) also agreed that today’s AI-powered smartphones feel as though you are carrying the future in your pocket.

Annika Bizon, from Samsung, added: “68 per cent of Brits are amazed that these once-futuristic predictions are now part of everyday life, with over half crediting AI for boosting general knowledge and creativity.

“With Galaxy AI, we’re not just keeping pace with the predictions of modern-day visionaries, we’re actively shaping what comes next.

“We’re turning tomorrow’s possibilities into today’s realities, because when you hold the future in your hand, you’re not just ahead of the curve—you’re defining it.”

Nov. 2 (UPI) — Transportation Secretary Sean Duffy said Sunday that the government shutdown, now in its sixth week, would continue to cause flight delays, cancellations and closures amid air traffic control staffing shortages across the country.

“We will delay, we will cancel any kind of flights across the national airspace to make sure people are safe,” Duffy warned during an appearance on ABC’s “This Week.”

Duffy ‘s comments came during a ground stop at Newark Liberty International Airport Sunday, which he said could spread to airports nationwide the longer the shutdown dragged on.

As few as 20 flights per hour were arriving at Newark late Sunday afternoon, local media reported. Delays averaged about two hours Sunday, but some flights were more than three hours late.

“There is a level of risk that gets injected into the system when we have a controller that’s doing two jobs instead of one,” he continued.

Nearly half of all major air traffic control centers are already facing staffing shortages across the country, which prompted a flurry of airport closures, ground stops or long flight delays, according to the Federal Aviation Administration.

The FAA’s real time website shows Boston’s Logan Airport and Harry Reid International Airport in Las Vegas closed Sunday, ground tops at Chicago’s O’Hare, and major ground delays at LAX in Los Angeles and the San Francisco International Airport.

Duffy warned during his Sunday interview that the situation could deteriorate still further as the shutdown continues.

“If the government doesn’t open in the next week or two, we’ll look back as these were the good old days, not the bad days,” he cautioned.

He said the administration is considering “pulling in whatever dollars we can” when asked whether there are other funding sources to pay the costs associated with air traffic control facilities and employees.

Federal law requires air traffic controllers and Transportation Security Administration, along with some other government employees, to work without pay during the duration of the shutdown.

“They have to make a decision,” Duffy said. “Do I go to work and not get a paycheck and not put food on the table, or do I drive for Uber or DoorDash or wait tables?”

Nearly 13,000 air traffic controllers are working with no compensation amid the shutdown. Washington lawmakers are at an impasse of a GOP-led budget bill, which has failed a Senate vote a dozen times.

Democrats are holding out for an extension of Biden-era premium subsidies that make health insurance more affordable on the federal marketplace.

Here are the key events from day 1,348 of Russia’s war on Ukraine.

Here is how things stand on Monday, November 3, 2025:

Fighting

• Russia fired a wave of drones and missiles at Ukraine overnight on Sunday, killing at least 15 people, including two children, the Kyiv Independent reported.
• The attacks cut electricity to nearly 60,000 residents in the southern front-line region of Zaporizhia, Ukrainian authorities said.
• Ukrainian forces launched a drone attack on one of Russia’s main Black Sea oil ports, Tuapse, causing a fire and damaging at least two foreign vessels there, according to local officials.
• The overnight attack on Sunday forced the temporary closure of dozens of Russian airports, chiefly in the country’s south and west, for safety reasons, Russia’s aviation watchdog Rosaviatsiya said on Telegram.

Weapons

• United States President Donald Trump said that he is not considering a deal that would allow Ukraine to obtain the long-range Tomahawk missiles for use against Russia.

Sanctions

• Turkiye’s largest oil refineries are buying more non-Russian oil in response to the latest Western sanctions on Russia, two people with direct knowledge of the matter and several industry sources told the Reuters news agency. Turkiye is a major buyer of Russian crude, along with China and India.

Politics and diplomacy

• Ukrainian President Volodymyr Zelenskyy said the continuing deadly Russian attacks on his country proved that Moscow was aiming to “inflict harm” on civilians, and announced that Kyiv had beefed up its air defences in response.
• Kremlin spokesman Dmitry Peskov said that “painstaking work” on the details of a possible agreement is needed to resolve the war in Ukraine, and not a meeting between Trump and Russian President Vladimir Putin.

Last week, HBO Max announced it raised its standard subscription by $1.50 to $18.49 a month — up 23% from when the streaming service launched five years ago amid the pandemic.

Such announcements have become almost routine in the television business as inflation hits streaming platforms that are under growing pressure to turn a profit and pay for higher programming costs.

Once seen as a cheaper alternative to cable, the cost of a streaming subscription for the top platforms continues to rise, much like higher prices for groceries, gasoline and housing.

In fact, the average price for subscriptions to the top 10 paid subscription streaming services in the U.S. increased 12% this year, following double-digit percentage increases per year since 2022, according to Victoria, British Columbia-based Convergence Research Group.

The research firm included streamers such as Netflix, Disney+, Hulu, Peacock, Apple TV and others in its data set. It factors subscriptions that are with ads or ad-free and does not take into account bundling. All of the major streaming services in the U.S. raised their prices on plans this year, except for Paramount+ and Amazon Prime Video, which boosted rates last year.

The price hikes reflect the tough economic realities of media companies that need to replace dwindling revenue from legacy pay TV channels that have seen sharp declines in viewership.

“The rest of their businesses have effectively been under attack by streaming and so they need this area to be profitable in order to compensate for the decline in their own businesses,” said Brahm Eiley, president of the Convergence Research Group. “It’s been tremendous pressure on them.”

Streaming services have been running as loss leaders for some time, said Tim Hanlon, chief executive of Vertere Group LLC, a media consulting firm.

“There’s no question that streaming is now under the gun to be its own profit center,” Hanlon said.

If rates go much higher, consumers may balk, experts said.

“The industry is playing a dangerous game by continuing to raise prices,” said Andrew Hare, senior vice president for the media research consultancy Magid. “We’re nearing a boiling point of rising churn and overwhelming choice.”

Magid has also already seen an uptick in the percentage of consumers who intend to cancel at least one streaming service in the next six months. The figure was 24% in the second quarter of 2025, up from 19% a year earlier.

“Hard as it is to imagine, the cable bundle is starting to look like a better value all the time,” Hare said.

Here is a look at which major streamers have raised prices on their ad-free streaming plans this year.

HBO Max

HBO Max raised prices across all of its plans. Its lowest-cost, ad-free streaming plan went up by $1.50 to $18.49 a month, while the annual version of that plan also increased $15 to $184.99.

HBO Max’s parent company, Warner Bros. Discovery, had 125.7 million global streaming subscribers in the second quarter, up 22% from a year earlier.

Like other streamers, HBO cited the need to help pay for quality content. The platform offers big-budget shows including drama “The Gilded Age” and “House of the Dragon,” which takes place in the “Game of Thrones” universe.

Consumers should brace themselves for more price hikes. Warner Bros. Discovery CEO David Zaslav said at a Goldman Sachs investors conference last month that he believes HBO Max is underpriced.

“We want a good deal for consumers, but I think over time there’s real opportunity, particularly for us in that quality area to raise prices,” Zaslav said.

Peacock

Big-time sports properties have been moving to streaming platforms and guess who is going to help foot the bill? Consumers, of course.

Ahead of becoming a major provider of NBA games this season, Peacock increased prices on its plans, including the premium plus ad-free streaming service, by $3 to $16.99 a month. That was the third price hike since Peacock launched in 2020, where its ad-free plan started at $9.99 a month.

The Comcast-owned streamer, which has 41 million paid subscribers, has weekly games on Mondays and Tuesdays and will have a Peacock exclusive NFL game on Dec. 27. Peacock next year will air the Milan Cortina Winter Olympics and continue to stream major sporting events such as NFL games.

In a July earnings call, Comcast Corp. President Mike Cavanagh touted how Peacock will have the most hours of live sports of any streamer next year.

Netflix

Netflix has also gotten into the sports business, with the addition of two NFL games on Christmas Day.

The streamer, which remains the industry juggernaut, is also expected to add Major League Baseball’s Home Run Derby and an opening night game when MLB finalizes a new media rights deal this year.

The company cited its entry into high-priced sports when it raised its prices on most of its plans, including on its cheapest ad-free monthly plan by $2.50 to $17.99 in the U.S. earlier this year.

“As we continue to invest in programming and deliver more value for our members, we will occasionally ask our members to pay a little more so that we can re-invest to further improve Netflix,” Netflix said in a letter to shareholders in January.

The slice of sports is coming at the expense of fans who need multiple subscriptions — if they want to keep up with every NFL game.

“A certain type of fan is starting to recognize they are being fleeced,” Hanlon said.

Higher prices on ad-free plans can help drive traffic to a streamer’s lowest-priced plans with ads. Netflix launched its subscription plan with ads in 2022 at $6.99 a month and it has only increased by a $1 to $7.99 a month since then in January 2025.

While many major streamers offer cheaper plans with ads, others offer free streaming services with ads such as the Roku Channel or Tubi.

A recent research study by Magid found that three-quarters of consumers are fine with watching commercials, if it saves them money.

Four in 10 said they’re “overwhelmed” by the number of services they use. The average number of streaming subscriptions per household in the third quarter is 4.6, up from 4.1 the previous year.

“Together, these trends point to a more value-driven streaming consumer seeking affordability and simplicity,” the study said.

Apple TV

Apple TV was once one of the lowest-priced subscription service plans, launching at $4.99 a month. Since then, prices for Apple’s video streaming service have increased to $12.99 a month, with its latest price jump of $3 in August.

The Cupertino-based company has been trying to make its streaming business more financially sound, but faces a formidable task as it has been a big spender in attracting name talent to its programs and movies.

When Apple TV first launched, it had just nine programs, but since then has expanded its library to include critically acclaimed shows and films including comedy “Ted Lasso,” drama “Severance” and “The Studio.”

Apple said in a statement that while it did raise its prices on its standard monthly ad-free plan, the cost of its annual subscription remains at $99 and Apple One bundled packages did not change.

Disney+

Last month, Disney+ announced it would increase the cost of its ad-free streaming plan by $3 to $18.99 a month. Hulu did not increase its price on its ad-free monthly streaming plan.

It was the fourth consecutive year the Burbank entertainment giant has boosted its streaming prices since launching Disney+ six years ago, when the service cost just $6.99 a month.

Despite the recent price hikes from Disney and others, Eiley from Convergence Research Group thinks there’s still room for customer growth.

At the end of last year, just 36% of U.S. households had a traditional TV subscription, compared with more than half of U.S. households in mid-2022, according to Convergence Research Group data. By the end of 2028, the research firm forecasts just 21% of households will have traditional TV subscriptions.

“There’s still a massive amount of cord cutting going on,” Eiley said.