writer

Publisher Boreal says investigations confirmed the Hatian-Canadian Thelyson Orelien used AI in his breakthrough novel.

The publisher of best-selling Haitian-Canadian writer Thelyson Orelien says it has severed its professional relationship with the author after confirming he used artificial intelligence to help write his novel, “It Was Either That or Die”.

Boreal said on Wednesday that it conducted a further investigation after allegations surfaced in September to determine whether AI was used to write the novel.

“New information, confirmed over the past few days, indicates that artificial intelligence was used in the writing process” of the novel, a Boreal statement said.

Orelien had previously denied allegations surrounding his breakthrough novel, and last week, the Canadian publisher said it was standing by the 38-year-old writer.

Boreal said it did not know the extent of AI’s use in the writing process “and we will likely never have a definitive answer”.

It said it gathered all the working versions of the novel and hired an outside party to analyse the various drafts.

“The results obtained this week revealed traces of AI tags in the metadata of certain documents,” Boreal said.

The publisher said it had tried to work with Orelien to gather the evidence necessary to prove his innocence.

That effort was inconclusive, and Orelien “subsequently announced that he would not provide any further information,” the publisher said.

‘Slander and heresy’

Orelien’s novel about migration, known by its original French title “C’etait ca ou mourir”, had been scheduled for translation in more than 20 countries.

France’s top book prize, the Goncourt, removed “C’etait ca ou mourir” from its shortlist after tests with the AI detector Pangram indicated a 100 percent probability that it contained computer-generated text.

But Orelien called the allegations “slander and heresy” in a statement sent to AFP earlier this month.

“Here and there I did use tools for research, particularly for foreign idioms,” he said.

“But not a single sentence in this book was created by a machine, nor the meaning or the structure of a story that comes from my gut,” Orelien said.

On Wednesday, he stood firm, telling the French newspaper Liberation that he had used AI “in the creative process” for “historical research”.

The author said he began writing the book in late 2017, before AI services such as ChatGPT were widely available.

When the allegations first surfaced in September, Orelien said he suspected racism was behind the attacks on him.

On a blazing hot Silver Lake morning, ushering in yet another heatwave day, Anna Holmes and I say “no” to a steamy sidewalk table at Millie’s Cafe, opting instead for an indoor, air-conditioned spot. Our server reads our order back to us, shaking his head in theatrical disbelief. “Pancakes. French toast. Biscuit. Waffle with whipped cream.” He glances from one of us to the other. “No protein?” he asks. “Just the carbs?”

“I guess I’ll have some egg whites, too,” I cave. Not so my brunch companion who confirms, “Just the carbs.” Holmes grins, “I’m not a fan of fad diets that make women hate ourselves.”

In fact, Holmes has built a career of saying “no” to woman-hating of all kinds — starting in 2007, when she founded the boundary-pushing feminist website Jezebel, the sister site of the notoriously provocative Gawker. “I decided that NO would be our mantra of sorts,” she writes in her new book, “The Power of No: A Celebration.” “‘No’ to diet tips, ‘no’ to sexist gossip, ‘no’ to conspicuous consumption. We drove the point home again and again … creating new definitions and examples of what it means to be female.”

Raised in a biracial, working-class family in Davis, Calif., Holmes escaped to New York at 18, chasing her writer’s dream. “Davis was a safe, homogenous little town,” she tells me, spearing one of the sliced strawberries fanned prettily across her waffle. “Being Black, I wasn’t one of the homogenies. I couldn’t wait to get out.”

“The Power of No: A Celebration” by Anna Holmes

(Crown)

Accepted by several top universities, Holmes said ‘yes’ to New York University. “They gave me money,” she explains. “And they had a journalism school.” After graduating, Holmes grabbed a rung on the media ladder and started climbing: writing and editing for Glamour, InStyle and Entertainment Weekly. Holmes published her first book, “Hell Hath No Fury: Women’s Letters from the End of the Affair,” featuring a collection of breakup letters from the likes of Anaïs Nin, Charlotte Brontë and Sylvia Plath, in 2002.

“So, you’ve always been a slacker,” I say.

Holmes laughs. “I come by my drive honestly. It stems from my fear of failure. And growing up lower-middle class, without the kinds of connections the wealthier kids had.”

Next came the breakthrough media success of Jezebel. Her project quickly reached 10 million monthly views, exceeding Gawker’s. But the bold irreverence that drew droves of devoted readers to Jezebel brought contention, too. In June 2010, Jezebel reported that women’s exclusion from senior positions at “The Daily Show” — which the article called a “boys’ club” — was “frustrating and alienating” for women. The story earned an on-air mention by Jon Stewart, who announced “Jezebel thinks I’m a sexist prick” — and an open letter signed by more than 30 female “Daily Show” employees, refuting Jezebel’s allegations.

Author Anna Holmes.

(Annie Noelker / For The Times)

Weeks later, under the header “How feminist blogs like Jezebel gin up page views by exploiting women’s worst tendencies,” former Gawker employee Emily Gould wrote in Slate, “When Jezebel was founded, it proposed itself as an explicit alternative to traditional women’s magazines … but the easiest way for Jezebel writers to be provocative is to stoke readers’ insecurities — just in a different way.”

Holmes says some Jezebel haters were anti-feminist or far-right. “Others were politically aligned with Jezebel, but felt we were too pop-culture-focused. Some accused us of being snarky to other women,” she adds.

After three years, Holmes resigned. “I’d done what I went to Jezebel to do,” she says. “Also, the 14-hour workdays were threatening my marriage, my sanity and my health. I was smoking too much. Drinking too much. Gaining weight.”

Holmes said a final goodbye to her creation in 2013 by publishing “The Book of Jezebel: An Illustrated Encyclopedia of Lady Things.” Despite — and because of — having founded one of the internet’s most provocative publications, she helped lift up journalists, and journalism, in her wake.

“I would follow Anna off of a cliff, professionally and personally,” says Reyhan Harmanci, Wired’s editorial director, who reported to Holmes at Topic magazine a decade ago. “She channels her curiosity in a way that opens the world to readers.”

Former Gawker editor A.J. Daulerio also lights up at the mention of Holmes’ name. “If you look back at Anna’s history of finding and developing talent, you can see her impact. Writers who’ve worked with and for her can be found on podcasts, on mastheads at major publications and on bestseller lists.” Meanwhile, New York magazine’s Emily Gould, who wrote the biting Slate critique of Jezebel in 2010, has come to admire Holmes. “Nobody’s right 100% of the time,” Gould says, “especially when publishing around the clock and reacting to news as it unfolds. My current sense of Anna is that she’s genuinely brave, clear-sighted and wise. I’m eager to read her new book.”

Post-Jezebel, Holmes wrote the “Bookends” column for the New York Times Book Review. Her byline grew a few picas when she replaced Roxane Gay as editor of the Times’ popular “Work Friend” column. Having “made it there,” Holmes decided to leave New York.

“I never considered myself a New Yorker,” she says, stirring a foam flower into her latte. “When people asked, I’d say, ‘I’m from California but I live in New York.’”

While deliberating about where to go next, Holmes says, “I got a job offer with the Obamas’ production company in L.A.”

“The Obamas?” I blurt. Holmes nods. “I was tired of New York. And wanting to be closer to my elderly mom.” In the first week of the COVID shutdown, Holmes packed her two hissing black cats, donned an N95 mask and flew to LAX. Six years later, after several moves around town, she shares the upper half of a sun-splashed 1920s duplex with Ewok and Harriet.

“I didn’t have a writing community in New York and I don’t have one here,” Holmes says about her L.A. move. “I had a media community in New York. If that exists here, I’m not invited to those parties.” She cocks her head. “Every once in a while, I wonder, ‘Does Susan Orlean have regular salons? And if so, can I please go?’”

Holmes continues to settle into a slower, more domestic groove. “I’m 53 now,” she says. “I don’t want to go out all the time. I like going to bed early. All the cliches are true of me: moving from NYC to L.A. and ending up in Silver Lake — with a Volvo, no less. In my defense, I dress like a tomboy, I don’t have tattoos and I’ve never been to Bar Stella.”

Since her big move, Holmes has written “The Power of No” and is finishing up her fourth book, a sexual memoir. Her articles on wildly divergent topics continue to appear in the New York Times, the New Yorker, the Atlantic and L.A. Material.

“The Power of No” is a slim but impactful guide to the human dance between yes and no; vulnerability and ambition. The book consists of readily digestible yet smart, sophisticated bits, including quotes from luminaries, research findings, anecdotes from Holmes’ own life and others, practical tips, and lists like “Ways to Say No” (which is especially helpful to have on hand during the upcoming holiday season).

“No,” Holmes writes on Page 1: “As uttered by a woman, a provocation. Has there ever been a more fraught relationship between women and word?” By way of example, she cites what she calls “my biggest NO, my strongest rejection of what was expected of me as a woman: founding Jezebel.”

“Has writing about ‘no’ made you better at saying it?” I ask Holmes.

“I don’t purport to be good at it,” she answers. “But I’m more cognizant now of wanting to say it, at least.”

Maran, author of “The New Old Me” and other books, lives in Silver Lake.

Actor Tom Arnold unleashed on Chuck Lorre on X in response to the former “Roseanne” writer-producer’s claims in his new memoir, “Sitcom.”

“He thinks he’s brilliant & beloved like Norman Lear but Chuck ‘Chuckles’ Lorre’s a terrible human, an angry dry drunk who lies every time he opens his mouth,” Arnold wrote Tuesday.

Arnold and the ’90s sitcom’s co-creator and titular star, Roseanne Barr, were married Jan. 20, 1990, four months after he first appeared on the show as a poker pal of Barr’s TV husband and four days after Barr’s real-life divorce from her husband of 14 years, William Pentland, was finalized.

Barr and Arnold were hostile to their writing and producing colleagues on the show and the network, Lorre told the Los Angeles Times’ culture critic Mary McNamara in an interview published Tuesday, the day of the book’s release.

“We were punished, the writers,” Lorre told The Times. “The word ‘cruelty’ comes to mind. And I still don’t know why, why so much cruelty. It wasn’t like we didn’t want to make a great show. We were proud to be on that show.”

Hired in 1990 after Barr fired all of the show’s writers, Lorre recalls in the book that he had a rude awakening when he took the job.

“I was now the co–executive producer on the number one show on television. I swaggered into the office assigned to me and met Danny Jacobson (a world-class comedy writer who would go on to cocreate ‘Mad About You’ with, sorry, Paul — ‘My Two Dads’ — Reiser),” Lorre writes in “Sitcom.”

Chuck Lorre, pictured in 2024, related several anecdotes in his book “Sitcom” that didn’t sit well with Tom Arnold.

(Willy Sanjuan / Invision / Associated Press)

“Danny, having been fired by Roseanne for being talented, was packing up his stuff when I walked in. He showed me a sloppy, hand-scribbled couple of pages and explained this was a ‘script’ by the show’s new executive producer, Tom Arnold. It had been part of Danny’s job to write real scripts and put Tom’s name on the front page — as if Tom had written them,” Lorre continues. “Bob, myself, and several other staff writers would be ordered to do this on many occasions…. Was it a portent of bad things to come? You tell me.”

For her part, Barr admitted after the 1990 firings, “Yeah, I probably was difficult to work with, now looking back.”

“I don’t think I was as especially clear as I could have been,” Barr told former Times television writer Rick Du Brow in a November 1990 article. “It’s like being a woman and an administrator — I never had any background like that. I didn’t know how, like I do now, to go in and say, ‘This is what I want you to do.’ I think that’s common with women in business. I would go in there and try to get them to agree with me rather than tell them what I want to do.”

Arnold’s social media screed doesn’t directly address any of Lorre’s claims in the book but resorts to name-calling and his own claims against the producer, who went on to create or co-create sitcom hits including “Cybill,” “Dharma & Greg,” the Charlie Sheen-starring “Two and a Half Men” and “The Big Bang Theory” and its offshoots.

“He trashes Trump but he is Trump & he’s a bitter hack who actually believes his lame vanity cards at the end of his lame shows are Paddy Chayefsky worthy,” Arnold wrote, invoking the three-time Oscar-winning writer of “Network.” “Chuckle’s made $800,000,000 off the backs of very talented women & a naive cracked up Charlie Sheen (clean & sober since he’s not under Lorre’s strange, abusive tutelage) then trashes them all to make him feel cool but don’t worry, Chuck hates himself more than we ever could.”

Lorre’s accounts of Arnold in “Sitcom” included several other anecdotes, including one seemingly questioning the “True Lies” and “The Stupids” star’s trustworthiness.

“Executive Producer Tom was angrily explaining to Bob [Myer] and me that some bastard had stolen Roseanne’s love letters to him and sold them to the National Enquirer. His plan was to hire a private detective and get to the bottom of this treachery. And he did. It took one day. The detective found a cashed check for twenty-five grand from the National Enquirer made out to Tom Arnold. Mystery solved.”

Lorre was famously fired after two years on the show, which Arnold recalled in concluding his X post: “I wish everyone could’ve seen his arrogant, sad clown face the day Roseanne made me fire him.”

Barr later fired Arnold from “Roseanne” in 1994 amid their divorce. In 2018, after posting a racist tweet, Barr was fired from the “Roseanne” reboot, which was resurrected as spinoff “The Conners.”

NEIGHBOURS and Home and Away legend Ray Kolle has died aged 85.

The Australian soap star and script writer passed away in Sydney, it was confirmed today.

Tributes have flooded in from heartbroken fans and friends who remembered Ray as an “important part of Australian television history”.

Australian entertainment and production company, TV City wrote in a statement: “Very sad news to hear of the passing of veteran Australian television writer and story editor Ray Kolle.

“Ray was one of those incredibly talented people working behind the scenes who helped shape some of Australia’s most iconic television dramas.

“Another important part of Australian television history has left us.

“Thank you, Ray, for the stories and memories you helped create for generations of television viewers.”

Ray served as head writer on Neighbours from 1986 until 1992, introducing iconic characters like Scott and Charlene Robinson.

His 46-year career began with a big break writing comedy sketches for In Melbourne Tonight.

More to follow… For the latest news on this story keep checking back at The Sun Online

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The unpredictable crime drama follows the puzzling deaths of four guests at a dinner party

MobLand star Emmett J. Scanlan is starring in a new murder mystery alongside Celebrity Traitors’ Sharon Rooney.

Channel 5 has released a first look at their upcoming thriller, An Impossible Way to Die, which follows two detectives who are tasked with uncovering the mysterious deaths of four guests at a dinner party.

The six-part series has been described as “gripping” by the broadcaster, and follows Sharon Rooney’s character, DS Katie Salter, whose quiet local policing life is upended when she is thrust into a high-pressure murder investigation with DI Niall Conway, played by Emmett J Scanlon.

Described as a character-driven, unpredictable drama exploring identity, protection, power, and corruption, the story will see DS Katie Salter “happily solving everyday crimes until fate drags her into an impossible murder mystery”.

The synopsis continues: “Four people sat around a table seemingly set for a dinner party – except they are all dead. The only clue is a scorpion crawling out of one of the victim’s mouths.”

It continues: “Salter is not your stereotypical damaged and tormented TV detective. Smart, diligent, and committed to her family, tensions quickly surface when Salter is partnered with DI Niall Conway, lead investigator on the case. Salter’s measured, grounded approach clashes with Conway’s all-consuming dedication to the job.

“At first, the two detectives appear fundamentally incompatible. Yet, as the investigation deepens and the pressure intensifies, Conway begins to recognise the value of Salter’s empathy, optimism, and instinctive understanding of people.”

The synopsis adds: “As the case grows increasingly impossible, secrets are unearthed and conspiracies emerge, lives are put at risk as the detectives race against time to connect seemingly disparate cases and unmask a killer before it’s too late.”

DS Katie Salter actress Sharon Rooney is best known for playing Rae Earl in My Mad Fat Diary and was recently seen competing in the latest series of The Celebrity Traitors. While Emmett J. Scanlan is famed for portraying Paul O’Donnell in Paramount+ crime series MobLand, his other recent roles include A Working Man, Gangs of London, and How to Get to Heaven from Belfast.

Coldwater and Vigil star Lois Chimimba will star alongside Rooney and Scanlan, and will be joined by Black Mirror’s Jonny Lavelle and This Country’s Ashley McGuire.

The crime series is scheduled to air in 2027 and has been penned by Death is Paradise’s Jillian Mannion, alongside Ciara Conway, David Persiva, Robin Ganderton, and Rowena Johnson.

Adam Wimpenny serves as director for the thriller, which is executive produced by Clapperboard’s Mike Benson and Myf Hopkins. Amber Howorth also serves as producer

An Impossible Way to Die will air on Channel 5 in 2027