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Vice President JD Vance said in a podcast released Tuesday that if a 2024 assassination attempt had killed Donald Trump, he would have always wondered if it was part of a conspiracy and might not have accepted even another Republican as the next president.

Vance made the statement during a conversation with Christian podcaster Bryce Crawford. The vice president, who recently released a book detailing his own journey to Catholicism, also defended President Trump for posting an image of himself as Jesus and mused about whether artificial intelligence was a sign of the end times.

The conversation kicked off with a discussion of faith and the rush to scientifically explain away events that may be divinely touched. Vance cited the July 2024 assassination attempt in Butler, Pennsylvania, during which a bullet nicked Trump’s ear and a supporter was killed.

Trump has long talked about his survival as divinely guided, a theme Vance took up. The vice president said that if the bullet had killed Trump, “we would have had real civil strife in a way that I don’t know that the country could have ever come back from.”

Vance said many Trump supporters would have assumed a conspiracy had robbed them of their chosen president, and he said he would have also had those thoughts “in the back of my mind.”

“I would have assumed very dark forces had taken out Donald Trump, right as he was about to come back into the White House,” Vance said. “There would have just been an illegitimacy to our entire political system.”

Most of the hour-and-ten-minute conversation was an amiable chat about faith, Vance’s own spiritual journey, his Easter meeting with Pope Francis the day before the pontiff’s death last year, and human frailty and fallibility. But it occasionally touched on darker themes.

Crawford asked Vance whether, as vice president, he had ever been in a room that was “spiritually dark.”

“I’ve been in meetings with world leaders where various issues are being discussed, and somebody will say something or somebody will make an observation and I’ll feel some darkness about it, it sets off every spiritual alarm bell in my body,” Vance said. He added he also felt “a very dark spiritual energy” in Gettysburg, Pennsylvania, probably because of the carnage at the Civil War battlefield.

Vance cites AI during a discussion about ‘end times’

Crawford also asked Vance about his interest in the “end times,” which the vice president laughingly said had been more of an obsession in youth during the late 1990s, when people were abuzz about the possibility with the coming millennium. A chortling Vance recounted a story of a friend who was obsessed that the world would end in late 2007 and ran up major credit card debt.

“There are, like, things about the world that make me feel, like, not shocked if the Antichrist was walking among us, but, again I try not to focus too much on it,” Vance said. He cited “IT companies” and the use of artificial intelligence as a substitute for human interaction.

“I think that’s kind of satanic,” Crawford said when Vance recounted the story of one acquaintance using AI as a marriage counselor.

“Yeah, when you completely divorce the human from the social element that God made us for, OK that’s very, that’s very bad,” Vance said.

Crawford asked Vance about Trump’s post on social media of an AI-generated image of himself as Jesus earlier this year, which Crawford said offended him. Trump initially contended he thought the image was of him as a doctor, then took down the post amid widespread criticism from even some of his own backers.

Vance defended the president. “He did not mean to, like, mock or mimic God, that’s just not who he is,” Vance said, adding that the president often tries to keep things light and constantly makes jokes. “He’s a bit of a ballbuster, for those of us who work with him, and he just likes to have a good time. And I think that if people appreciated that, they would recognize, he’s not trying to offend people, he’s trying to keep things light.”

Riccardi writes for the Associated Press.

Hollywood A-listers are more comfortable than ever with cloning their voice and likeness to create a new stream of income, despite the threat of viewer backlash to artificial intelligence.

Sunny Hostin of the popular daily talk show “The View” has licensed her image and likeness to AI production studio Fountain 0, which will make film adaptations of her novels.

“To be able to bring my novels to life in movie and TV form, and actually have my image inserted in the productions, so that audiences can relate to me through my stories beyond my role as an author, is incredibly exciting to me,” Hostin said in a statement.

“AI can give me a way to both more fully develop, and more fully immerse myself in, IP I have developed,” she said.

The Overton window for acceptable AI use in Hollywood continues to widen as Hollywood actors, television hosts, and influencers embrace cloning with protections and compensation. As high-quality synthetic re-creations become cheap and accessible, cloning has become a more desirable option for studios struggling with runaway production costs.

Audiences will be subject to more AI content on the big screen that’s indistinguishable from real human performances.

Fountain 0 is the producer behind “Dreams of Violets,” a fully AI-generated film inspired by anti-government protests in Tehran. The 75-minute drama was made with a budget of $2,000 without a cast or a crew, and was the first fully AI-generated film accepted at the Tribeca Film Festival.

“We are incredibly gratified that Sunny is willing to be the talent pioneer willing to step out and take advantage of this new form of creative expression,” said Ash Koosha, co-founder and CEO of Fountain 0, in a release.

The production company will be releasing its second fully AI-generated film, “Odysseus: The Fall,” later this year. The film uses the likeness of many people, including the film’s creator Koosha, who stars as Odysseus.

Fountain 0’s executive chariman told CNBC that the film is designed to ride the buzz around Christopher Nolan’s ‘’The Odyssey” and give people the opportunity to compare the height of human filmmaking with AI filmmaking.

Proponents of AI argue that it allows writers and creators to take on blockbuster-scale films without financial constraints. Many creators oppose AI because it could replace humans and was built using the unauthorized scraping of creative works used to train generative AI video and image models.

Online reactions to news of Hostin’s cloning were fierce.

“Basically, no film studio wants to give her the budget to turn her books into a movie with real actors, so she’s resorting to AI studios,” wrote one person on Reddit.

Hollywood has fought hard for protections from AI in the prolonged writers’ and actors’ strikes of 2023. SAG-AFTRA, the union representing about 160,000 actors and other performers, has been demanding informed consent, fair compensation, more control and transparency over the use of digital replicas.

The latest agreement, signed in June, introduced limits on studios’ use of digital replicas. The contract requires studios to notify actors before using their voices to create a replica. After a project is complete, actors must sign off and be paid the equivalent of an in-person performance if their replica is used.

Additionally, studios need to pay residuals to digital replicas used in reruns, and replicas cannot be used during a strike.

Hiring fully AI-generated characters such as Tilly Norwood, created without hiring a human performer, is not impossible but comes with a very high threshold for use under the 2026 union contract. Producers must notify the union in advance and prove the AI character brings “significant additional value” to the role.

Still, a fissure remains between those actors who stay morally opposed to cloning, and those who embrace this new reality.

ElevenLabs’ voice marketplace features clones of dozens of personalities — including actress Judy Garland, physicist Richard Feynman and popular characters such as Mr. Potato Head for creators to legally license and get compensated for their use.

This has created a contentious ecosystem in which A-listers are gaining millions from cloning with safeguards and building a new stream of passive income from their intellectual property, while early-career actors complain that their likenesses are being misappropriated and opportunities are being driven away. A massive lobbying effort is underway to institute a uniform standard for protecting an individual’s voice and likeness as property rights.

“It’s not a man. It’s IT!”

Stephen King’s epic novel “It” injected a devilish twist on the traditionally joyful image of circus clowns with his introduction of Pennywise, a deadly clown who feeds on children. The murderous entity has earned iconic status in pop culture thanks to its central role in “It,” “It: Chapter Two” and HBO’s “It: Welcome to Derry.”

But though Bill Skarsgård’s eerie portrayal of Pennywise in the films and TV series has won high acclaim, it’s Tim Curry’s Pennywise in the 1990 ABC miniseries “It” that is considered by some horror buffs to be the most iconic version of the creature — or at minimum, the most memorable.

Curry, who died Tuesday at 80, made a gleefully evil turn as a clown that sparked nightmares for legions of Gen X and millennial viewers that continue to haunt to this day. His Pennywise is among the career-defining roles that showcased the actor’s uncanny ability to morph into a villain, whether it was as Dr. Frank-N-Furter in “The Rocky Horror Picture Show,” the Lord of Darkness in “Legend” or Rooster Hannigan in “Annie.”

Curry’s performance is even more impressive given his limited screen time — his scattered appearances as Pennywise total less than 20 minutes over a three-hour running time. But he makes all of his brief scenes count, whether he’s in a storm drain, emerging from the drain in a shower room or standing in a marsh, and his gravelly voice layers a number of chilling moments.

The two-part adaptation of “It” aired on ABC in November 1990, and drew a huge audience, attracting a reported 30 million viewers. The project starred several top stars of the time, including John Ritter, Richard Thomas, Tim Reid, Annette O’Toole, Harry Anderson and Dennis Christopher. Curry’s on-screen credit reads “special appearance.”

With a massive shock of red hair, bone-white makeup and oversized brow, Curry looked like a hellish Bozo the Clown. He would charm his victims with light banter and offers of a balloon before moving in for the kill, armed with a deep guttural voice and razor-sharp fangs.

In one of the series’ most terrifying scenes, Pennywise comes to life inside a black-and-white photo of Derry 200 years ago when it was a mining town. As the young members of the Losers Club look on in horror, the clown addresses them directly with a lethal glare.

“I am every nightmare you’ve ever had,” he tells them. “I am your worst dream come true. I’m everything you ever were afraid of.” A gloved hand comes out of the picture to grab them.

In a later confrontation, Pennywise tells the youths, “You all taste so good when you’re afraid. I am the eater of worlds, and of children.”

POP star Pixie Lott has morphed into Hollywood golden girl Marilyn Monroe for a new West End role.

Taking the titular part in Who Killed Marilyn? Pixie has wowed early audiences with how uncannily she embodies the pin up, in a play about her life and death.

Images from the show see Pixie, 35, showcasing Marilyn’s iconic look, complete with platinum blonde wig and a slick of bright red lipstick.

The star slipped into a white satin dress (based on the gown Marilyn wore in The Seven Year Itch in 1955) and kissed a hunky co-star in scenes from the show, which debuted on Saturday and has been lauded by theatregoers.

The West End run is a deep-dive into the woman behind the legend, inviting audiences to “experience the mystery, the glamour and the raw emotion of Who Killed Marilyn?” following decades of conspiracy.

The starlet was discovered dead in Los Angeles on August 5, 1962, aged just 36.

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The actress’ death was officially ruled a probable suicide from a barbiturate overdose, but playwright Sharleen Cooper Cohen and director Philip Wm. McKinley have told theatregoers to “get ready to question everything you thought you knew…”

History has been rife with theories about the star’s demise, thanks to her links with former US President John F Kennedy, his brother Robert, and rumours of a mob cover up.

The synopsis reads: “Who Killed Marilyn? dares to challenge the most enduring myth surrounding one of the twentieth century’s most iconic women.

“Drawing on decades of documented evidence, conspiracy and cover-up, the production presents a vivid and provocative re-examination of the life and death of Marilyn Monroe, placing her at the centre of a web of power, politics and desire that reached the highest levels of American government and organised crime.

“Who Killed Marilyn? restores Marilyn Monroe to her rightful place, not as a victim, but as a woman of extraordinary intelligence, wit and force, whose story has never been fully told. Until now.”

Pixie – who is married to model Olicer Cheshire and has two sons – recently said of the role: “I have always loved Marilyn, she is such a fascinating, timeless legend, and bringing her complex story to life on this beautiful stage and being her every night is an absolute dream come true for me.”