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Column: For Angelenos suffering fire fatigue, ace water drop videos are sweet revenge

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Column: For Angelenos suffering fire fatigue, ace water drop videos are sweet revenge

Look, up in the sky. It’s a bird, it’s a plane, it’s a Super Scooper water drop!

The most memorable battle scenes exist in the pivot — the moment when all appears to be lost and then, out of nowhere, the cavalry arrives. The fishing boats at Dunkirk. Union reinforcements at Gettysburg. Or, fictionally, the Riders of Rohan sweeping down on the besieged city of Gondor.

For Angelenos, the cavalry has arrived in the form of water drop videos.

For days, images from the horrendous series of wildfires that continue to consume huge swaths of Los Angeles have been devastating. People forced to flee their cars on Sunset Boulevard; sparks whipped by 80-mph winds igniting entire streets; firefighters hastening evacuations and confronting literal walls of flame; the smoking shells of homes and businesses.

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These images shocked, terrified and aggrieved us. It was difficult not to feel helpless, hopeless, as the fires grew in size and number.

Then, as the ferocious winds began to die down on Wednesday, firefighters were once again able to take to the air, scooping up water from the ocean and reservoirs and dumping it on the fires. TV journalists caught some of the maneuvers on camera. Citizens filmed others on their phones. Everyone began posting and sharing them on social media.

Whether in Altadena, West Hills or Hollywood, the videos — call them firefighting fancams — depict firefighting pilots angling planes over flames that appear uncontrollable and releasing, with remarkable precision, gallons of water that douse raging infernos in a matter of seconds.

It is impossible not to cheer. And at this moment, Los Angeles needs something to cheer about.

For days, fire has been our worst enemy. Randomly killing and arbitrarily destroying, it has taken on near-supernatural dimensions, appearing at times to be laughing as it sped through brush and buildings, forcing thousands to flee.

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Watching it be squashed into nothing but smoke and steam is an exhilarating thing. Thought you were unstoppable? Take that. Thought you were too big to be beaten? Yippee-ki-yay, motherf—!

To a city reeling with loss, water drop videos are “Battle of Britain” and Snoopy beating the Red Baron. They’re rebel pilots taking down the Death Star, Bill Pullman’s speech in “Independence Day,” LeBron James hitting a final-second three. Gloria Gaynor’s “I Will Survive” and the Weather Girls’ “It’s Raining Men.”

The precision of the drops is astonishing, the impact heart-lifting, their moments of victory obvious and unquestionable.

The only thing missing are the job-done figures of the pilots walking away from their aircraft in vivid silhouette to a pounding bass accompaniment. For the simple reason that they are still hard at work.

But a grateful city sees them and has been offering viral shout-outs and admiration by posting water drop videos with the “Top Gun” soundtrack, sportscaster commentary and many, many applause emojis.

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Two yellow Canadian Super Scoopers have been especially well-documented dropping water over the Palisades. One of them was grounded on Thursday after colliding with a civilian drone, and whoever was idiotic enough to illegally send one up during a firefight better hope the internet doesn’t find them before the feds do. These planes, helicopters and Super Scoopers are our heroes, providing support for the fearless, stretched-thin firefighters on the ground, helping to quench the Sunset fire before it claimed more homes and offering hope that at some point Los Angeles will cease to burn.

More important, the water drop videos have returned a feeling of control to the populace — and given us all something to root for.

Firefighters have been working nonstop since the Palisades fire exploded, and their efforts amid the smoke and flames have been lifesaving and heroic. It’s satisfying to watch the fruits of that hard work in the form of a fire all but extinguished before it claims yet another acre or snakes its way toward any more homes.

In fact, it’s the best thing any of us has seen in days.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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