AI

The symphony orchestra takes its name from the Greek symphonía, meaning sounding in agreement, and orkhēstra which implies a public stage for dance or, in ancient Rome, where senators and other big shots sat. Democracy comes from dēmokratia, rule by the people. Even though the modern orchestra originated three centuries ago as a plaything of princes, there has always been an implicit connection — and tension — between orchestras and democracy.

Despite the orchestra never having been a financially sustainable model, dependent on some form of patronage, the symphony orchestra was embroiled in political activism by the early 19th century. Beethoven brazenly yanked the dedication to Napoleon from his “Eroica” Symphony when the “hero” proclaimed himself emperor in 1804, a betrayal of the democratic ideals of the French Revolution.

More than two centuries later, the orchestra continues to be a potent reminder of power to the people, a community of exquisitely trained artists marching to a beat, staying in tune and on message. In this year’s election season orchestras have been practicing the call for democratic thinking on a global scale, including in Los Angeles, Boston and Leipzig, Germany. Strikingly, this comes at a time when beleaguered orchestra musicians have also been demanding a more democratically minded workplace.

Throughout October and up to election day, Wild Up in L.A. has taken the lead in orchestral electoral activism. Its “Democracy Sessions” are an ongoing procession of interdisciplinary concerts, theatrical events, interactive gatherings, environmental presentations and gabfests in theaters, museums, libraries, parks, on neighborhood streets and around the L.A. River. Wild Up winds up its call for democracy with “Music to Vote By,” lunchtime solo acoustic sets, noon to 2 p.m., through Tuesday at the Democracy Center at the Japanese American National Museum Plaza in Little Tokyo.

Wild Up, itself, is a uniquely egalitarian collective, a chamber orchestra of composers and soloists, although one that nonetheless requires traditional leadership of its visionary founder, conductor Christopher Rountree. Rountree’s interdisciplinary “sessions” run from the musically sophisticated and accomplished to ad hoc and participatory funkiness, less designed to change minds than to relieve democracy anxiety.

A democracy zeitgeist, for instance, pervaded a performance at REDCAT of Louis Andriessen’s “De Staat,” a Dutch minimalist masterpiece from the mid-1970s. To intense rhythmic propulsion of piano and winds, four women vocalists intone excerpts from “The Republic,” in which Plato calls for rule of the people not the rule of music, fearful of a music that can alter “the most fundamental laws of the state.” Andriessen set out to show how mistaken Plato was.

Elsewhere, Rountree acted as an assembler, demonstrating democracy in action. In British composer Oliver Leith’s “Garland,” a kind of musical and theatrical tool kit, Rountree created a spectacle of song, dance, instrumental mayhem (whirly tubes, button whistles and the like added to the mix) and included amateur performers from the community hymn singing with the pros. It ended with a lovely appearance by a black horse all in the expanses of MOCA’s Geffen Contemporary. What does this have to do with the price of gasoline? Nothing more than a reminder that the quotidian world around us can be a hymn all by itself.

Wild Up’s performance of “Garland” at the Geffen Contemporary at MOCA.

(Josh Rose / Wild Up)

Germany is having its own brush with democracy with a recent election in which the far-right Alternative for Germany party won power in the central state of Saxony-Anhalt. The city of Leipzig borders that state, and its historic Gewandhaus Orchestra marked the days preceding the election with a democracy weekend it called “Reading the Signs.” The suggestion here was rather than falling for oversimplification and conspiracy theories when it comes to examining the interaction of “music, discourse and social action,” look to Beethoven.

That included a performance by Stegreif, an improvising orchestra that functions as a kind of German Wild Up. For Democracy Weekend, Stegreif “exploded” Beethoven’s “Eroica.”

It so happens that the Boston Symphony and Gewandhaus share a music director in Andris Nelsons, who has strived to bring the two orchestras together in joint projects. Sure enough, the BSO has been living up to its calling as the orchestra in the birthplace of American democracy. At Tanglewood, the orchestra’s summer home in the Berkshires, the orchestra celebrated the semiquincentennial with the premiere of Philip Glass’ “Lincoln” symphony and Yo-Yo Ma’s weeklong “We the People” residency, which offered a widely varied look at our democratic musical roots.

Then barely two weeks before the midterms, the BSO channeled Boston’s revolutionary spirit with explosive AI. At a time when much of the country sees artificial intelligence as a significant threat to democracy, the premiere of Tod Machover’s “already and not yet,” a concerto for orchestra with electronics bathed in AI, begs otherwise.

Machover’s brilliant new half-hour orchestral score asks AI for agency. It does so by treating the technology as stupid, musicians as creative artists and the audience as capable of opening its collective mind. It handles democracy not as a done deal, but a series of scary questions — and doesn’t trust the heartless machines for answers.

A commission in celebration of the 40th anniversary of the MIT Media Lab, “already and not yet” challenges us to make the world more beautiful by looking deeply into ourselves. The Media Lab is an unprecedented electronic playground born of AI. For one of the optimistic developers of AI, the musically minded computer scientist Marvin Minsky, the Media Lab functioned akin to a surgeon removing blockages to the imagination.

The interior of MIT’s groundbreaking Media Lab.

(Mark Swed)

Minsky was also a mentor to Machover, who has been at the Media Lab since the start and now heads the faculty. Machover’s AI is not a data collector in the sense of the commercial, data-gobbling, mind-numbing monstrosities lately foisted on the public. It becomes a new tool in his piece, not a way of life, something merely taught to listen and analyze in hopes of giving musicians a new idea or two.

With the help of an AI operator, Manaswi Mishra, who is embedded in the orchestra, the AI becomes the “already” in “already and not yet.” It doesn’t have much use in the tumultuous first movement, “SMASH UP,” when the world is a mess and that’s our problem. In the ethereal second movement, “WAKE UP,” players become individual and AI spits out responses that read as ordinary electronic mimicry, but the players, if game, take that as a challenge. Weirdly the machine brings them to life and as individuals. In the last movement, “STAND UP,” the machine is tamed! We frolic in a new, sonic wonderland. Even Thoreau might approve!

Can AI-assisted utopian art save democracy? That’s a tall order. Let it first try to do something about the BSO. As conductor, Kent Nagano was the ultimate listener (he can cut off the AI when it’s not interesting). After the performance he told me the orchestra was always game. And he sandwiched Machover with lithe, colorful Mendelssohn performances (including the Fifth Symphony).

But this is an orchestra in revolt, and it looked it. Grim of mien, many players on the night I attended sported red flowers on their lapels, a sign of their dissatisfaction with the administration for not renewing Nelsons’ contract when it expires this summer, after 13 years leading the BSO. The orchestra claimed it was broadsided by the announcement that management and Nelsons did not have a shared vision. The players want a say, an orchestra as democracy and more than just AI’s version of agency.

Ironically, Nelsons, who signed a nondisclosure agreement, doesn’t seem to show much vision when it comes to democracy. The Latvian conductor did not participate in Tanglewood’s democracy concerts (although he did conduct excerpts from John Adams’ “Nixon in China,” which sounded, in the radio broadcast, as having such a heavy hand that there was no room for free thinking).

In Leipzig, Nelsons’ contribution to the Gewandhaus democracy weekend was no democracy at all, only an irrelevant program of Tchaikovsky and Dvorak standards. Leipzig, bursting like Boston with young people, has become a German tech hub, it too could have used a whirl with democratic AI.

Swed is The Times’ former classical music critic.

WASHINGTON — In September, just weeks before Americans were set to vote in this year’s midterm elections, a sudden panic over the dangers posed by artificial intelligence caught the White House off guard. A whistleblower had gained viral attention warning the technology could soon pose an existential threat.

President Trump was quick to dismiss concerns, evoking urgency in the U.S. race to achieve global dominance in superintelligence. He rejected calls to negotiate guardrails on the most advanced AI models with China’s leader, Xi Jinping, weeks later, during a prime opportunity to do so in Washington.

Privately, the president expressed concern that public hysteria over AI could jolt markets that have become excessively concentrated in AI-related stocks. He had already seen fresh polling that showed widespread bipartisan opposition to the boom in construction of AI data centers, a push by Trump that has cannibalized chips and energy from other sectors of the economy, driving up costs.

Now, on the campaign trail in the final days before the vote, Trump is vowing to expand a “golden age” of prosperity through the end of his presidency. But experts say his policies on AI have set the U.S. economy up for a period of tremendous risk over the next two years.

Some of the world’s leading financiers are sounding increasingly alarmed about an AI bubble. Ray Dalio, founder of Bridgewater Associates, has warned that AI stocks have become detached from financial fundamentals, pushing markets to precarious highs. Ken Griffin, the world’s richest hedge fund owner, said last week that AI is “almost certainly” fueling a market bubble that could be on the verge of a burst.

Economists warn that Trump has overseen fiscal policy that would give the federal government fewer tools than it has had in the past to respond to a crisis.

“Trump could easily run into a financial crisis before his term is up,” said Kenneth Rogoff, an economist at Harvard. “It is entirely plausible to have a 30% — or more — drop in the stock market, and in the context of an economy so dependent on AI, this in turn could easily lead to a recession and widespread financial distress.”

Spending on data center infrastructure last winter and spring accounted for nearly all U.S. economic growth, according to independent analyses. Without it, growth would have slowed to a mere fraction of a percentage point, leaving the economy nearly stagnant and flirting with recession.

The Nasdaq 100 has about 70% of its index weight in companies that depend on AI, from semiconductor manufacturers and Big Tech giants to cloud platforms and software providers. Anthropic, one of the top AI industry leaders, plans an initial public offering next month, while its chief rival, OpenAI, expects to go public next year.

From left, Chris Painter, president of the Model Evaluation and Threat Research, Marius Hobbhahn, CEO of Apollo Research, Paul Ohm, professor of law at the Georgetown University Law Center, Kurt Gaudette, senior vice president of Dragos, and Daniel Kokotajlo, executive director of the AI Futures Project, are sworn in to the Senate Homeland Security and Governmental Affairs Subcommittee on Disaster Management, District of Columbia, and Census hearing titled “Rogue AI: Securing the Homeland Against AI Agent Attacks,” in Dirksen Senate Office Building on Wednesday, September 30, 2026.

(Tom Williams/CQ-Roll Call, Inc via Getty Images)

“Because government finances are already strained, with the national debt on a patently unsustainable trajectory, there is no guarantee of a sharp drop in long-term borrowing rates for the government,” Rogoff continued. “So the options for bailing out the financial sector, or fighting recession, could be much more constrained than during the global financial crisis.”

While doubling down on the promise of an untested, frontier technology, Trump’s other economic policies may be hobbling its growth. Tariffs have raised the costs of imported chips, servers, networking equipment, metals and electrical components, and visa restrictions have tied the hands of industry leaders trying to secure the world’s best talent. Runaway federal deficits have driven long-term bond interest rates, adding pressure on AI firms already strapped with debt.

Servaas Storm, an economist closely following the AI sector at the Delft University of Technology, said the industry is already facing severe financial headwinds that could precipitate a panic.

Prices for energy, chips and minerals are driving up the cost of doing business, while early AI adopters such as Microsoft, Meta and Walmart are scaling back its use as employees spend too much time correcting errors, cleaning up low-quality output and addressing security lapses.

Slower adoption could further complicate the search for revenue, particularly for companies already struggling to monetize the technology. For now, hyperscalers are shouldering the cost of financing frontier AI labs that, as Storm put it, “do not have a credible path to profitability.”

“There is indeed an AI bubble in the stock market and in data center construction, which could pop rather soon, as rising debt loads and elevated interest rates could prove too much to sustain it,” Storm said. “That moment is not imminent, but it is approaching — and it will very likely happen before the end of Trump’s presidency.”

An economy already under duress from Trump’s other economic policies — from tariffs and tax cuts to the Iran war — could precipitate further pain, said Darrell Duffie, a finance professor at the Stanford Graduate School of Business.

Leading AI companies are already running “day-after” drills in anticipation of an AI-related crisis within the next year, according to Axios.

Americans head into election day deeply pessimistic about the economy, with 77% rating it fair or poor, according to a Fox News poll. A separate CNBC survey found that just 34% approve of Trump’s handling of the economy, while 35% of Republicans disapprove — a record high within his own party.

Inflation has fallen sharply from its 9% peak in 2022, during a pandemic-era surge, reaching 2.9% by the end of Biden’s presidency. Under Trump, it has climbed once again to 3.7%, driven by rising energy, transportation and housing costs — among the top concerns for voters entering next month’s vote.

Persistent inflation has forced the Federal Reserve to keep interest rates elevated, squeezing borrowers. And those rates — paired with high government spending and concerns over mounting deficits — have pressured the bond market, pushing 10-year Treasury yields to levels not seen since the early 2000s.

“Financial crises, by their nature, are virtually impossible to predict,” Duffie said, asked whether he shared concerns of a potential AI bubble.

“If we know we are going to be in a crisis soon,” he added, “markets advance the crisis to now.”

It’s the third afternoon in another string of sweltering days in Los Angeles. A recent Friday offers no salvation for the weekend ahead besides sitting in front of a fan or turning up the air conditioning.

Thankfully, standing inside the climate-controlled walls of the Line hotel’s lobby and behind a cup of joe from its Alfred Coffee, there’s a smidgen of comfort.

The bell to the ground floor elevator rings and out steps a tall figure, wearing an all-black ensemble. His shorts hang just below his knees, his hair is a bit messy and his boots climb up his calf.

Grian Chatten looks remarkably cool for someone who’s just rolled out of bed, even more so for someone who has a performance at Hollywood Forever Cemetery later that night. He’s the leading man behind Fontaines D.C., a Dublin-born rock quintet that’s become one of the most exciting acts to grace a stage today.

And how couldn’t they be?

Their 2019 debut, “Dogrel,” was met with critical acclaim, a masterful album with references to James Joyce and a teeming garage-style production. Fast-forward five years later and their fourth effort, “Romance,” became their first to chart in the United States, reaching No. 97 on the Billboard 200.

Nowadays, they’re kicking up dust again with the release of “Dopamine Chamber,” which came out last Friday via XL Recordings. Its a continuation of the precedent they’ve set in terms of lyrical and sonic quality, but simultaneously is far more melancholic and synthesized than their previous work.

“Dopamine Chamber” is the band’s fifth release, following the success of “Romance” back in 2024.

(Ewen Spencer)

However, its rollout was rocky as the debut music video “Marianne” was criticized for its use of artificial intelligence. When the psychedelic, entrancing recording first hit YouTube, it listed a credit for AI “artists” in its description, sounding alarms among the band’s loyal fan base.

After all, it was widely viewed as contradictory of the group, which has been vehemently outspoken on various contemporary issues, including what the U.N. Human Rights Council has officially concluded to be genocide in Gaza.

We sat down with Chatten to discuss the new album, as well as some of the backlash the band has recently faced.

Tell me about this album title. Is it a literal happiness chamber?

It was me [who came up with it] because it originated as a line in a song, and the song never made it onto the album. We kept the pairing of words “dopamine chamber.”

I wanted to make it a bit more literary. Turns out that the dopamine chamber … it’s where they put rats to test different chemicals or in order to check their dopamine levels. We found that out after.

So it’s fake happiness.

It’s almost like nonconsensual happiness. I mean, if that exists.

Do you ever feel like that in life? Like you’re like forced to be happy with everything bleak that’s going on?

I think we force ourselves to feel a certain happiness every now and then, just so we can compartmentalize things and go about our day. I think that’s a survival mechanism, anyway. But to lose that is dangerous.

This album is a lot more synthesized than your previous work. “Six Short Morning” and “Mimesis” definitely stand out there.

It made sense, thematically. I felt that those textures signaled … I hate using the word “dystopian,” but the dystopian future. I wanted the album to feel more like an advanced version of “Romance,” where the body of the record had become more bionic. There’s a reason that there are so many strings and cinematic stuff, that’s the organic world that I wanted to draw on — people like Mina, the ‘60s singer from Italy.

The acoustic sounds are, of course, still present.

They’re supposed to be kind of like fighting for space, a little bit.

One track that stuck out to me was “Happy for You,” because of it’s insincere flattery. Who or what do you have in mind when you write songs like that?

It’s a bit like [R.E.M.’s] “Shiny Happy People,” it’s a similar function. That song is a jealousy of other people’s happiness or well-adjustedness.

I noticed those internal struggles show up a lot on this album. On “One Man,” are you singing about feeling the weight of many?

I think that’s more about the general existential feeling of helplessness in the face of things that are happening in the world. I’ve got a really good friend called Nikolaj Schultz, do you know him?

No idea.

He’s a sociologist and philosopher, and he writes mostly about the environment, the Anthropocene, and he’s written a couple of books with the French philosopher Bruno Latour, who passed away [in 2022]. He’s someone who’s strapped to their bed and feels away the world from morning to night.

That was a profound influence on “Romance” and on this album. So I think “One Man” pertains to that, maybe even to him.

It seems like you are heavily inspired by literature, more so than other artists would be by just general music and listening.

I think in literature, I can understand sometimes what the point is in what they’re writing. For example, this Schultz book “Land Sickness,” the style of it is to render the audience sensitive to this issue just by the osmosis of showing how much it affects you. Like, my mom got me into music by showing me how much it affected her.

How did the feature with Rosalía come about for “Where Is Gone?”

Well, this is our first feature. Carlos [O’Connell], our guitarist, grew up in Spain and had been listening to her first couple of records. Then we got into “Motomami” together and it became a fixture to listen to it backstage before our shows. When “Lux” came out, we were all quite obsessed with it.

We were four days out from mixing or from mastering the album, and Carlos rang me. He was like, “I think we’d be mistaken to not just send Rosalía something and see if she’d be interested.”

We sent her four tracks. We sent her “Where Is Gone?,” “One Man,” “Tongue,” and I can’t remember what the other one was. She got back within 48 hours with a full vocal of “Where Is Gone?”

You weren’t in the studio together?

She was on tour. She was in Miami at the time.

What happened with “Marianne?” There was a moment where it was credited to AI “artists.” Then it was corrected to be effects artists.

I woke up at like 5:30 a.m. the day after the video came out, and I saw an article that said there was AI used in the video, and I called our management, and I was like, “What the f—, is this true?” and it turned out that there was some AI used in like the workflow or the postproduction.

So all those main scenes and main effects and stuff were VFX and prosthetics, like the cheeks and everything. Over 110 people worked on the thing. It was a real huge human effort. But then somewhere in the process, someone from the VFX team I guess used some kind of AI in the workflow. And none of us were told about it. Apparently, not even our label or our management were told about it and it was a real shock.

Yeah, it seemed like you guys didn’t know.

Of course. I mean, we’re gonna have it written into our contracts going forward that like it can’t be in our music videos. You know what I mean? I don’t condone it.

I think a lot of people were shocked just because you guys are so active in contemporary issues, which AI certainly is.

It’s so f— ironic. No, very contradictory. The themes of the f— album as well. I was hoping to talk about how I felt about AI in interviews at some point anyway, and then this kind of pulled the rug from under that conversation a little bit.

It just f— sucked.

Well, how do you feel about AI?

I think it’s f— terrifying. I was watching a Robin Williams scene from “Dead Poets Society” when he talks about poetry, literature. These are the things that we stay alive for, and well, that’s exactly what AI threatens to rob from the human race.

I’ve seen those articles about those guys who are leaving AI companies because they said that the human race is going to be dead within 10 years. AI is literally rendering our souls obsolete and I think that is true death.

A lot of people say, “It’s here, we have to deal with it.”

We should just shut it off.

It always ends here. Every conversation [about AI] just ends grim. This is like every conversation with my dad over the last three years about it. It makes it tough to be alive, doesn’t it?

The heart of Screenland is cozying up to artificial intelligence.

The open space in Culver Steps typically hosts community events and movie nights. But on Wednesday, it turned into a job fair for companies looking to hire talent for AI studios.

Companies showed off their life-like AI videos, urging emerging talent — and out-of-work creatives — to join them as they worked to reinvent traditional filmmaking.

“It’s a great breeding ground for this new filmmaking,” Dave Clark, cofounder of AI film production studio Promise, said about Culver City. “To the independent filmmakers here, it’s time to take back power.”

The event was part of LA Tech Week, a citywide event organized by venture capital firm Andreessen Horowitz.

Culver City is already home to big names in Hollywood and technology like Amazon MGM Studios, TikTok, Apple, and Sony Pictures Entertainment. Recently, a growing cluster of AI studios, including Promise, TrueShort, Native Foreign, and PhantomX, are expanding in the neighborhood.

Luma AI, a $4-billion Palo Alto startup that makes generative AI video software, opened a facility in Culver City last year. The company’s Dream Lab occupies a 7,000 square feet space and employs a team of 13.

“Culver City is the future of AI and filmmaking,” Caroline Ingeborn, Luma AI’s chief operating officer, said in a statement.

The companies said they are drawn by the legacy studios they hope to rival. The fact that space is available and affordable thanks to the general decline of the entertainment business in L.A. also helps.

Proponents of AI see it as an antidote to high production costs and say it allows creatives to make films that otherwise would never be made. However, many in Hollywood, its unions, and the public at large are suspicious of the surge in AI use, worried it is stealing the work of human creatives and taking people’s jobs.

The new wave of AI filmmakers have accepted the rise of AI as inevitable, and are forging ahead, increasingly in Culver City.

The city is not opposed to it.

“We’re a hub for the creative economy that is continuing to evolve,” said Adam Troy, Culver City assistant city manager, in a statement. “We look forward to what’s next in the space and what businesses see their future here in Culver City.”

TrueShort moved into Culver City last month, taking over most of a 5,000-square-foot office space near Amazon’s studio. The AI studio has raised $17 million and employs about 45 people. Around 75% of them are creatives: filmmakers, editors, sound designers and composers.

Its streaming app hosts short-form true crime audio and video shows that are fully AI-generated. On average, a 10-minute episode costs about $10,000 to make and takes about 10 days to go from idea to release.

“The next Netflix or the next Disney is going to come out of AI this time,” said Nate Tepper, cofounder of TrueShort. “And, in a way, it kind of needs to be a startup because the big incumbents are not going to move as fast. They’re going to be afraid of backlash.”

The company outgrew its Santa Monica office and is now located near Culver Theater.

“It is cool being next to the other bigger lots like Sony and Amazon, only because it’s inspiring,” Tepper said. “We want the lot. We want to become the big studio.”

Culver City-based creative studio Native Foreign makes AI commercials for brands that are more open than Hollywood about AI use. It has done ads for Virgin and Toys R Us.

It made one of the first AI-animated shorts, “Critterz,” using OpenAI’s software and planned to help make a movie based on it, but OpenAI pulled out of the project and canceled its video-making AI model.

“We don’t have the kind of opportunities that maybe some huge huge studios and companies have, so we are able to bag above our weight with these tools,” Nik Kleverov, co-founder of the company, said on a panel at LA Tech Week.

Google-backed Promise is another Culver City-adjacent AI studio that’s a proponent of hybrid productions, where human actors work with AI specialists. The company uses AI to generate backgrounds, visual effects, and synthetic humans for its slate of films, but a lot of the performances are shot on soundstages across L.A. using actors.

In late 2024, the studio acquired Curious Refuge, an online AI school that teaches traditional artists and newbies to use generative AI tools for filmmaking. Promise moved close to Culver from Venice in June.

Excitement about AI grows even as the industry puts up guardrails to contain it. The actors’ guild SAG-AFTRA has secured special protection against fully synthetic performers in the union contract signed this year.

However, some Hollywood veterans point out that the industry has fought over technology before. Alex Cancado, who spent years in visual effects and has worked on over 80 movies, now works in the AI Studios division of Amazon MGM Studios.

Pitching the crowd of creatives on Wednesday, he said the transition from practical effects to computer graphics was equally fraught.

“It was a challenge getting CG to be accepted by directors and producers,” Cancado said.

Much of the buzz around AI use for big productions started with a conference in Culver City called “AI on the Lot,” which started in 2023. It has since grown to thousands of attendees.

The organization also sponsored the job fair on Culver Steps and a networking happy hour for media AI companies in Culver City. It estimates that AI media companies with $2 billion in backing have converged on the city.

Mike Gioia, a founder of AI on the Lot, attends City Hall meetings and is trying to build momentum around the concept of a “Culver cluster” — bringing more companies and individuals working in AI to the neighborhood.

“We want to make Culver City the capital of AI media,” said Gioia.

Nicolas Cage is making it clear — he’s not an “AI-friendly actor.”

The 62-year-old actor spoke out against a tech giant during an appearance at New York Comic Con on Saturday. He alleged that he was asked to sign an artificial intelligence waiver for the television series “Spider Noir.”

“Amazon is a very AI-friendly company, to the tune of $50 billion invested in OpenAI,” Cage said on stage.

“I am not an AI-friendly actor, so it’s like, connect those dots! I’m not a member of their club. I didn’t sign the waiver to let him use AI on ‘Spider-Noir.’ I’m probably not going to be working with that studio again, but that’s OK.”

Amazon did not immediately respond to a request for comment.

The use of AI continues to be a major sticking point across Hollywood. Industry unions including SAG-AFTRA and the Writers Guild recently secured protections against technology in new contracts. But as AI evolves and AI actors like Tilly Norwood continue to make headlines, it’s still unclear exactly how the industry will be affected.

“Spider-Noir,” which premiered in May, is a “Spider-Man” project that put a 1930s crime-thriller spin on the web-slinging superhero. The show was produced by both Sony Pictures Television and Amazon MGM Studios.

Cage’s part as “The Spider” marked his first leading role in a series. The Oscar-winning actor, whose home in Malibu was recently affected by a sinkhole, is known best for his roles in movies like “National Treasure,” “Moonstruck” and “The Rock.”

Upon its release, “Spider-Noir” received much praise from fans and critics alike. In its first six weeks of streaming, the series earned 2.6 billion minutes watched, according to Nielsen. It was also Amazon’s most-nominated show at this year’s Emmys, with 11 nominations and five wins.

Last month, Amazon announced that the show was canceled after only one season, leaving much of the industry in shock.

During his Comic Con panel, Cage also said he plans to keep working in TV. He announced that he will be joining the HBO series “True Detective.”

“My agent’s out there somewhere listening,” Cage said. “That’s OK that I’m the first to announce that, right?”