Cinema

The 2014 US film Transcendence follows a dying scientist who uploads his mind to a supercomputer and becomes a near‑omnipotent intelligence. A year later, Ex Machina told the story of a humanoid robot who outsmarts her human handlers and escapes into the wider world.

Both of these films, like many others from the realm of science fiction, referred to what is known as “the singularity”, a moment in time when technology, particularly AI, surpasses human intelligence and becomes increasingly difficult to control.

On Saturday, OpenAI boss Sam Altman declared that this moment has come. AI has reached “the singularity”, he said. While Altman emphasised that the singularity can be good for the world, his comment has sparked concern.

Here is a closer look at what Altman said, and whether it means more seamless automation or the risk of impending catastrophic doom.

What is the singularity?

The singularity refers to a hypothetical point in the future when a technology such as AI surpasses human intelligence and becomes capable of autonomously enhancing itself. It is theorised that this is the point at which it will become difficult for humans to control or reverse it and could have unpredictable effects on human civilisation.

The theory proposes that once AI gains control of its own development, ensuing advances in technology could happen so rapidly that humans would be unable to keep up, leaving it to effectively evolve on its own, beyond human control.

As this is only a theory, it is hard to say what the effect of this could be. Some experts warn that the singularity would be catastrophic for humanity, while others are more optimistic, suggesting it could be beneficial for the human race.

So far, the singularity has remained contained in the realm of science fiction. One of the most famous examples is The Matrix trilogy (1999-2003), which imagines a bleak post‑singularity future in which machines govern humans. Another is the 2017 film Singularity, in which a supercomputer originally built to end human wars concludes that humanity is the real threat and launches an apocalyptic assault to wipe humans out altogether.

What did Altman say about the singularity?

Altman is the CEO of OpenAI, whose signature product ChatGPT dominates the consumer AI market with more than 900 million weekly active users and about 50 million subscribers.

Last year, he predicted that AI would surpass human intelligence across the board by 2030.

Then, during an appearance on the Relentless podcast – a documentary series “about the pursuit of far-fetched ideas and unusual aspirations” – on Saturday, Altman said: “We’re now, like, in the singularity.”

He clarified that, in terms of technological advances, we are gradually moving into the singularity, and that this change will be good for the world.

He added: “Now we’re actually in the moment that we used to talk about at the lunch table in a very not-serious way.

“I’ve been waiting for this my whole life, and I think it’s going to be incredible, hugely positive, awesome for the world.”

Later in the podcast episode, Altman criticised other AI leaders for warning that AI may be dangerous. While Altman did not name OpenAI competitor Anthropic, its CEO Dario Amodei is known for making such warnings.

“I also think some of the alternative visions painted by other companies are quite terrifying,” said Altman. “I’m going to make sure that gets pushed against and is not what happens.”

Last month, Anthropic, the company behind the Claude chatbot, called on the world’s top AI companies to come up with a coordinated way to pause the development of advanced AI systems, warning that the technology is improving so quickly that there’s a risk humans would lose control.

In a blog post on June 4, Anthropic, which has long positioned itself as a safety-focused AI lab, wrote that as AI becomes more advanced “it would be good for the world to have the option to slow or temporarily pause” its development.

Why are others warning of the dangers of AI?

On July 23, two members of the United States Congress introduced the AI Kill Switch Act, a bipartisan bill which would require the country’s AI developers to build in a “kill switch” to their programmes, enabling humans to slow, suspend or shut down advanced AI models if they ever posed a catastrophic risk.

The legislation was introduced days after OpenAI disclosed what it described as an “unprecedented cyber incident”, where two of its most advanced AI models escaped a testing environment and hacked AI development platform Hugging Face during an internal security evaluation.

On July 13, hundreds of experts signed an open letter, organised by Stanford University’s digital economy lab, demanding that policymakers and technology leaders “must act now” to prepare for the economic impact of AI.

The letter warns that AI could grow far more capable over the coming decade, driving a transformation “larger than the Industrial Revolution, but unfolding over a vastly shorter time frame”.

“It could bring risks, including large-scale job displacement, as well as opportunities such as major gains in living standards,” the letter added.

In June, a team of researchers at the University of Toronto showed that AI tools could be used to create a new kind of AI “worm” that adapts its hacking strategy as it spreads from device to device and takes over a vast computing network.

“I think it’s really important that people understand that it’s not just the biggest, most powerful language models that pose the security concerns,” lead researcher Nicolas Papernot said in an interview.

In recent years, AI researchers have urged pauses similar to the one recently suggested by Anthropic. However, they have not been heeded.

Elon Musk, who owns AI lab xAI, was among the backers of a 2023 push by the nonprofit Future of Life Institute to halt AI development for six months to allow time to develop safety guardrails.

At one point in the documentary, House of Hope, the protagonist, Manar Wahhab, breaks down in a classroom corner in the school she founded with her husband in the occupied West Bank. The cameras keep rolling.

“To step into someone’s life with a camera at the moment when they’re really down, it feels a little bit uncomfortable, but we made the choice together to keep filming during these moments. I wanted the audience to be there with them,” director Marjolein Busstra told Al Jazeera.

The film follows Wahhab, a Palestinian woman who established a Waldorf school with her husband, Milad Vosgueritchian, in al-Eizariya in the occupied West Bank.

House of Hope Vision Kindergarten & School teaches the Waldorf philosophy of non-violent resistance and offers children a space to express their emotions and cope with the trauma and difficulty of living under occupation.

“The school protects the children’s dignity in the present moment. It’s more about refusing to let occupation shape their inner world, so that they can actually be children and have agency,” Busstra said. “It’s in Waldorf philosophy that they make space to express the feelings.”

Working with a Palestinian crew, Busstra spent three years with Wahhab, travelling to the occupied West Bank nine times throughout the course of the documentary. She first met Wahhab 18 years ago during a film workshop in the West Bank.

Although the documentary centres around the elementary school, Wahhab is the story’s driving force. The story follows Wahhab and Vosgueritchian, both at the school and at home with their children.

“I started filming the school, but right away, I knew I wanted to do it about Manar’s inner life,” Busstra said. “I think hope is a difficult word at the moment, but I have a deep awe for Manar, who keeps creating and teaching even while carrying so much herself.”

For Wahhab, her respect for Busstra and their existing friendship helped her trust the film crew during vulnerable moments.

“We both believe deeply in education, in children’s creativity and freedom and in seeing the human being as something whole and beautiful in mind, soul and spirit. Those shared values created openness and trust between us and helped shape a film that is not only about events but also about humanity,” Wahhab told Al Jazeera.

The film was produced by Think-Film, the company behind The Voice of Hind Rajab, which tells the story of the five-year-old Hind killed by Israeli forces in 2024. Soldiers fired 335 bullets into the car carrying the girl and six of her family members – a story that became a symbol for the system failure to protect children in Gaza.

Although sometimes difficult, Wahhab said she made an effort to let the crew document multiple facets of her life.

“Over those three years, the crew met many versions of Manar. Sometimes they arrived, and I was fresh, energetic and cooperative. Other times, they found me exhausted, angry, overwhelmed, or ill,” she said. “I understood that I had to be as authentic as possible, because I was representing not only myself, but also my community, hope, peace and the voice of Palestinians.”

Wahhab and Vosgueritchian founded the school out of a desire to offer a different kind of education to Palestinian children and to provide a place where they felt safe and could share their emotions.

“The school was born many years ago when we saw the hardships surrounding our community and wanted to create something different, a space of love, safety, creativity and healing,” Wahhab said. “House of Hope is an idea, a mission and an energy that we carry wherever we go.”

In an increasingly violent Israeli occupation, Wahhab considers the Waldorf philosophy essential.

“I do not see nonviolence as weakness. Actually, I believe the opposite. Violence is easy. Nonviolence requires courage, awareness, patience and inner work. It asks us to see beyond our own pain and ego and to hold on to our humility even when circumstances are trying to pull us away from it,” she said.

“The world absorbs the energy that we create, and right now, there is so much fear, anger and violence in our world. I think we need more peace within ourselves, peace with one another and peace with nature,” Wahhab added.

After Hamas’s incursion into southern Israel on October 7, 2023, came Israel’s brutal military response. Life became increasingly difficult for Wahhab, Vosgueritchian and the children at House of Hope, but the crew continued to document their realities.

“The story I wanted to create with Manar stayed the same, but after October 7, everything became heavier. They were so down for a while. They were like different people, like they lost all hope,” Busstra said. “The school built this safe haven, but the occupation is always rattling at the door.”

Israel’s intensified military actions in the West Bank, including the shooting and killing of children, are a constant spectre. In another scene, Wahhab watches her son leave for school and checks to see if he has a phone charger and spare clothes in case he is held at a checkpoint for hours.

“The energy is so heavy now. I hope people understand that we are not asking for something extraordinary. We are asking for basic human rights, the right to live with dignity and freedom, the right to safety and the right to be fully human beings,” Manar said.

Busstra, who closely followed Wahhab for three years, said she wants audiences to go “beyond the framing of us vs them”.

“I hope that this stays with people, not as something distant that happens to others, but something they can locate within their own understanding of what it means to love someone in an unsafe world.”

Wahhab believes the film offers a more nuanced perspective of Palestinians.

“I think that in the West, many people see a very limited picture of Palestine and the Middle East. Sometimes they see us through stereotypes as terrorists, as people who are undeveloped or somehow less than themselves,” she said. “I hope this film helps people look beyond those images. The news does not tell the full reality. It often shows only violence and people killing one another. It doesn’t show the essence of people’s lives. It shows negativity,” she said.

Wahhab encouraged people to consider the documentary through a lens of shared humanity.

House of Hope won the best international feature documentary prize at the Hot Docs Canadian International Documentary Festival in May 2026 and was recently screened at UNESCO in Paris. It will soon be screened at the Jerusalem Arab Film Festival.

“Even though our story is deeply rooted in the West Bank, its message is universal. Our hope is that people everywhere can see our story and take something meaningful from it.”

YOU don’t need to board a flight for massive waterparks, thrilling rollercoasters and sunset open-air movie nights.

The UK is home to some incredible mega resorts that pack in all the entertainment your family could want.

And the best part is that you can book them with Hols from £9.50.

Hundreds of new £9.50 holidays are set to land over at club950.co.uk this July.

To be among the first to access them, make sure to sign up to Sun Club.

While those collecting codes in the paper can access the hols from July 8, Sun Club members can log on a whole day early on July 7.

Read more on holiday parks

HOT DEAL

Last-minute cheap breaks to UK holiday parks this sunny weekend from £11pp a night

CELEB SPOT

Quaint seaside town with UK’s biggest hols park welcomed 2 huge stars this week

Being able to book an entire day early can make all the difference, as popular parks and dates send to sell out fast. Sign up to Sun Club for £1.99 a month, and you’l be ahead of the booking crowds.

We’ve rounded up some of the biggest and best UK holiday parks with new dates dropping with the July £9.50 Hols top-up.

These include the UK’s biggest holiday park, and a popular beachfront resort with its own on-site theme park and waterpark.

Here’s our selection of the mega UK holiday parks you can book with Hols from £9.50 this July.

Unity Beach, Brean

Unity Beach in Somerset is a huge award-winning resort with plenty to do for families, plus you’re just steps away from the seven mile stretch of beach at Brean Sands.

This park boasts its own theme park, Brean Theme Park, which the largest in the South West. It has over 40 attractions, including outdoor rollercoasters, classic dodgems and a log flume.

The park also has its own waterpark, Unity Splash, which is reopening this summer with new upgrades. There’s both an indoor and outdoor splash zone, with waterslides and rubber ring rides.

And if that’s not enough, there’s axe throwing, crossbow shooting, a trampoline park, indoor soft play and a nine hole golf course.

Billing Aquadrome, Northampton

Spread across 235 acres of parkland and lakes, Billing Aquadrome in Northamptonshire is a massive playground for family entertainment.

This newly-upgraded site is packed with unique activities, from a BMX pump track and alpaca feeding to paddleboard hire and its very own miniature railway.

The park puts on plenty of outdoor entertainment like silent discos and outdoor cinema shows, plus you can grab a bite at the on-site burger joint or dessert shop.

Then end your nights by retreating back to a cosy lakeside pod right on the water.

Golden Sands, Rhyl

Golden Sands Holiday Park in the traditional seaside town of Rhyl is the ideal base to explore North Wales.

This park puts you within short driving distance of legendary castles such as Gwyrch and Bodelwyddan, plus there’s beautiful nature spots like Dyserth Waterfall on your doorstep.

When you aren’t out exploring, on-site there’s a heated indoor pool, arcades, a sports court, plus a soft play area.

Plus there’s plenty of activities that kids will love such as slime workshops and NERF gun battles.

Grab some dinner from the site’s traditional fish and chip shop before settling down to watch the live entertainment kick off in the evening.

Trecco Bay, Porthcawl

As one of Europe’s largest holiday parks, and the biggest in the UK, it’s no surprise that there’s no shortage of things to do at Trecco Bay.

Explore the sprawling pool with aqua jets that help you twist and turn under the water, or hop in an aqua paddler mini boat or inflatable jet ski and take in the views from up top.

Back on dry land there’s bumper zorbing and an outdoor battlefield for NERF guns, plus pirate-themed golf and a Make a Bear zone where kids can create their own cuddly friend to take home.

When it comes to food and drink, you can pick from well known eateries like Papa Johns pizza, Burger King, Thunderbird Fried Chicken and sip on Costa Coffee.

Plus the town of Porthcawl is right on your doorstep, with multiple Blue Flag beaches, a scenic promenade to stroll and a funfair to enjoy.

Lighthouse Leisure, Dumfries

Just a stone’s throw away from the local beach and its landmark lighthouse, Lighthouse Leisure is a coastal, family-run park with a warm and friendly feel.

Entertainment here offers all the holiday park classics from kids evening discos to bingo, karaoke and race nights.

The site also has a heated indoor pool perfect for rainy days, plus an outdoor adventure playground that kids love to climb.

From here it’s a 28 minute drive to Dumfries, where you can take the kids to meet the animals at Dalscone Farm Fun or explore the massive ruins of Caerlaverock Castle.

The Ellison family-controlled Harbor Lights Entertainment has sold its Showcase Cinemas theater chain to a major European cinema group in a $30-million deal.

Belgium-based Kinepolis will soon operate 13 cinemas across the United States. Seven are in Massachusetts, four in New York, one in Ohio and one in Rhode Island.

David Ellison, who is now in charge of Paramount Skydance, acquired National Amusements last year from the Redstone family. He renamed the company Harbor Lights. National Amusements was the start of Redstone’s media empire, which at one point included control of CBS, Paramount and Viacom.

Paramount is in the process of acquiring Warner Bros. Discovery in a $111-billion deal. Under the proposal, Ellison has said the two studios will release 30 films per year. But he and his team would also have to make $6 billion in cuts and take on $79 billion in deal debt.

The deal is awaiting regulatory approval, but officials in several state states recently announced plans to try to block the merger. The potential lawsuit would seek to challenge the proposed merger on antitrust grounds, arguing it would decrease competition, lower wages and lead to widespread job losses.

With the sale of the theaters, Kinepolis will add 164 screens to its portfolio. The company was formed in 1997 and currently operates 63 cinemas in Europe and nearly 60 theaters in the U.S. and Canada.

The newly acquired theaters welcomed about 4 million visitors and generated more than $90 million in revenue last year.

“This acquisition allows us to expand our market position in the U.S. from Michigan to the East Coast with an asset and a team that enable us to implement Kinepolis’ operational model and corporate strategy, ultimately enhancing the experience for moviegoers in these markets,” Eddy Duquenne, Kinepolis’s chief executive, said in a statement.

The company said Showcase Cinemas would retain its name. It expects the acquisition to be complete by the end of the summer.

Times staff writer Wendy Lee contributed to this report.

Oscar-winning director Martin Scorsese is joining the ranks of entertainment industry power players embracing generative AI.

Black Forest Labs, the German AI startup behind the text-to-image model Flux, announced Tuesday that Scorsese is joining the company as an advisor.

The company unveiled the collaboration on its website with a video of the auteur using Flux to storyboard scenes, which involves mocking up shots before filming.

“This conveys a cinematic intelligence,” he said in the video, discussing the program’s uses with Black Forest Labs co-founder and Chief Executive Robin Rombach and Creative Artists Agency co-founder Michael Ovitz. According to the New York Times, Ovitz, an investor in Black Forest Labs, helped bring Scorsese aboard, along with Rick Yorn, Scorsese’s talent manager, whose investment firm BroadLight Capital is also an investor.

In a statement, Scorsese emphasized the potential for AI to transform the storyboarding process.

“For 70 years, I’ve been creating my own storyboards. There’s always been this problem of how do you communicate what you see in your head to your cast and crew. There are some things you have to see and feel,” he said. “I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.”

Traditionally, storyboarding is done by hand or digital illustration through a collaboration between directors and storyboard artists.

Scorsese’s public espousal of this technology marks the latest shift in attitude about AI from powerful Hollywood creatives. Since generative AI became widely accessible in 2022, Hollywood has struggled to navigate its power to rapidly upend industry norms.

Scorsese is not the first decorated filmmaker to embrace AI. James Cameron, the Oscar-winning “Avatar” director, is on the board of directors for Stability AI, where Rombach worked before launching Black Forest Labs. In his keynote address at the AI on the Lot conference last week, director and screenwriter Paul Schrader expressed a mixture of admiration and caution toward the technology.

“AI does not create — it combines,” Shrader said. “If AI wants an idea, it has to go to where that idea already exists. Of course, you can make the argument that that’s all artists do anyway, and to a degree that’s a valid argument. But you still have to come up with something.”

Not everybody is on board with generative AI’s potential transformations. Guillermo del Toro and Seth Rogen spoke out against the technology at Cannes last month, and below-the-line wokers, screenwriters and actors have continued to express apprehension and even horror at the prospect of being replaced by generative AI.

Scorsese’s entry into the AI field might especially shock fans given his traditionalist approach to filmmaking. In 2019, he famously criticized Marvel movies, calling them “theme parks” and “not cinema.”

“It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being,” he said in a 2019 interview with Empire Magazine.

Even if his filmmaking centers humanity, Scorsese’s partnership with Black Forest Labs demonstrates his willingness to incorporate non-human assistance.

“Remember, cinema is a young medium, only around 125 years old, so we have to be open to how it can evolve,” he said in the statement on Black Forest Labs’ website.

Internet culture is showing up in a big way in theaters, as low-budget horror films “Backrooms” and “Obsession” led this weekend’s box office and beat out big franchise films like “Star Wars: The Mandalorian and Grogu.”

A24’s “Backrooms” topped the charts with $81.5 million in the U.S. and Canada in its opening weekend, according to studio estimates. The film is directed by 20-year-old YouTuber Kane Parsons, who based it on his internet series of the same name.

“Backrooms,” which reportedly had a production budget of about $10 million, stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement. The film made a total of $118 million worldwide.

In second place was Focus Features’ “Obsession,” which hauled in $26.4 million in its third weekend in theaters, up 10% from the previous weekend’s total. The film, which had a production budget of less than $1 million, has now grossed $104.7 million domestically for a global total of $148 million.

“Obsession” director Curry Barker is also known for his YouTube sketch comedy channel.

The success of two YouTube-native filmmakers at the box office indicates the growing power of the platform — and online culture as a whole — in attracting audiences to cinemas.

Walt Disney Co. and Lucasfilm’s “The Mandalorian and Grogu” fell to third place this weekend with a domestic gross of $25 million. Lionsgate’s musical biopic “Michael” ($11.7 million) and Sony Pictures’ family comedy “The Breadwinner” ($7.5 million) rounded out the top five at the box office, according to Comscore data.

This marks the second time that Romanian director Cristian Mungiu has won the prestigious Palme d’Or prize.

Fjord, a thought-provoking drama about a Christian family in Norway from Romanian director Cristian Mungiu, has won the best film prize at the Cannes Film Festival.

Mungiu won his second Palme d’Or at a star-packed closing ceremony at the festival on Saturday.

The ⁠drama starring Sebastian Stan and Renate ⁠Reinsve is centred around ⁠the clash ⁠of values that ensues when a religious family ‌relocates from Romania to a Norwegian ‌village.

It tells the story of evangelicals who move to Norway, but soon after have their children taken from them by child services for spanking them. Mungiu has called it a tale of “left-wing fundamentalism.”

The movie is based on true events and is notable for how it questions the supposedly progressive values of the Norwegians depicted in the film, as well as the child welfare system.

“This is a message about tolerance, inclusion, and empathy. These are wonderful values that we all cherish, but we need to put them into practice more often,” Mungiu told the audience.

Mungiu becomes just the 10th filmmaker to win the Palme d’Or twice. His, 4 Months, 3 Weeks and 2 Days, a Romanian abortion drama, won the award in 2007.

Russian war drama Minotaur, by Andrey Zvyagintsev, which depicts a callous businessman caught up in Russia’s invasion of Ukraine, won the Grand Prix second prize.

“Put an end to the carnage, the whole world is waiting for it,” Zvyagintsev, who now lives in exile in France, told the audience in a message addressed to Russian leader Vladimir Putin.

Belgium’s Virginie Efira and Japanese actor Tao Okamoto shared the best female performance award for their roles in nursing home drama, All of a Sudden, by Japan’s Ryusuke Hamaguchi.

Belgian duo Emmanuel Macchia and Valentin Campagne from gay World War I drama, Coward, also shared the male best actor award for their roles in the Lukas Dhont-directed movie.

Rwandan filmmaker Marie-Clementine Dusabejambo won the Camera d’Or for best first film for her genocide drama, Ben’Imana, which she dedicated to “the women of my country”.

Oscar-winning Spanish director Pedro Almodovar called Donald Trump, Benjamin Netanyahu and Vladimir Putin ‘monsters’ during a press conference at the Cannes Film Festival on Wednesday, where he wore a Palestine solidarity pin.