Business
Generative A.I. Made All My Decisions for a Week. Here's What Happened.
Relief From Decision Fatigue
Decisions I would normally agonize over, like travel logistics or whether to scuttle dinner plans because my mother-in-law wants to visit, A.I. took care of in seconds.
And it made good decisions, such as advising me to be nice to my mother-in-law and accept her offer to cook for us.
I’d been wanting to repaint my home office for more than a year, but couldn’t choose a color, so I provided a photo of the room to the chatbots, as well as to an A.I. remodeling app. “Taupe” was their top suggestion, followed by sage and terra cotta.
In the Lowe’s paint section, confronted with every conceivable hue of sage, I took a photo, asked ChatGPT to pick for me and then bought five different samples.
I painted a stripe of each on my wall and took a selfie with them — this would be my Zoom background after all — for ChatGPT to analyze. It picked Secluded Woods, a charming name it had hallucinated for a paint that was actually called Brisk Olive. (Generative A.I. systems occasionally produce inaccuracies that the tech industry has deemed “hallucinations.”)
I was relieved it didn’t choose the most boring shade, but when I shared this story with Ms. Jang at OpenAI, she looked mildly horrified. She compared my consulting her company’s software to asking a “random stranger down the road.”
She offered some advice for interacting with Spark. “I would treat it like a second opinion,” she said. “And ask why. Tell it to give a justification and see if you agree with it.”
(I had also consulted my husband, who chose the same color.)
While I was content with my office’s new look, what really pleased me was having finally made the change. This was one of the greatest benefits of the week: relief from decision paralysis.
Just as we’ve outsourced our sense of direction to mapping apps, and our ability to recall facts to search engines, this explosion of A.I. assistants might tempt us to hand over more of our decisions to machines.
Judith Donath, a faculty fellow at Harvard’s Berkman Klein Center, who studies our relationship with technology, said constant decision making could be a “drag.” But she didn’t think that using A.I. was much better than flipping a coin or throwing dice, even if these chatbots do have the world’s wisdom baked inside.
“You have no idea what the source is,” she said. “At some point there was a human source for the ideas there. But it’s been turned into chum.”
The information in all the A.I. tools I used had human creators whose work had been harvested without their consent. (As a result, the makers of the tools are the subject of lawsuits, including one filed by The New York Times against OpenAI and Microsoft, for copyright infringement.)
There are also outsiders seeking to manipulate the systems’ answers; the search optimization specialists who developed sneaky techniques to appear at the top of Google’s rankings now want to influence what chatbots say. And research shows it’s possible.
Ms. Donath worries we could get too dependent on these systems, particularly if they interact with us like human beings, with voices, making it easy to forget there are profit-seeking entities behind them.
“It starts to replace the need to have friends,” she said. “If you have a little companion that’s always there, always answers, never says the wrong thing, is always on your side.”
Business
David Ellison hits CinemaCon, vowing to make more movies with Paramount-Warner Bros.
Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.
“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from eight in 2025.
He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.
“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”
Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner Bros. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”
Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.
“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”
The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.
The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.
“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”
Business
Video: Why Your Paycheck Feels Smaller
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Business
Civil case against Alec Baldwin, ‘Rust’ movie producers advances toward a trial
Nearly two years after actor Alec Baldwin was cleared of criminal charges in the “Rust” movie shooting death, a long simmering civil negligence case is inching toward a trial this fall.
On Friday, a Los Angeles Superior Court judge denied a summary judgment motion requested by the film producers Rust Movie Productions LLC, as well as actor-producer Baldwin and his firm El Dorado Pictures to dismiss the case.
During a hearing, Superior Court Judge Maurice Leiter set an Oct. 12 trial date.
The negligence suit was brought more than four years ago by Serge Svetnoy, who served as the chief lighting technician on the problem-plagued western film. Svetnoy was close friends with cinematographer Halyna Hutchins and held her in his arms as she lay dying on the floor of the New Mexico movie set. Baldwin’s firearm had discharged, launching a .45 caliber bullet, which struck and killed her.
The Bonanza Creek Ranch in Santa Fe, N.M. in 2021.
(Jae C. Hong / Associated Press)
Svetnoy was the first crew member of the ill-fated western to bring a lawsuit against the producers, alleging they were negligent in Hutchins’ October 2021 death. He maintains he has suffered trauma in the years since. In addition to negligence, his lawsuit also accuses the producers of intentional infliction of emotional distress.
Prosecutors dropped criminal charges against Baldwin, who has long maintained he was not responsible for Hutchins’ death.
“We are pleased with the Court’s decision denying the motions for summary judgment filed by Rust Movie Productions and Mr. Baldwin,” lawyers Gary Dordick and John Upton, who represent Svetnoy, said in a statement following the hearing. “He looks forward to finally having his day in court on this long-pending matter.”
The judge denied the defendants’ request to dismiss the negligence, emotional distress and punitive damages claims. One count directed at Baldwin, alleging assault, was dropped.
Svetnoy has said the bullet whizzed past his head and “narrowly missed him,” according to the gaffer’s suit.
Attorneys representing Baldwin and the producers were not immediately available for comment.
Svetnoy and Hutchins had been friends for more than five years and worked together on nine film productions. Both were immigrants from Ukraine, and they spent holidays together with their families.
On Oct. 21, 2021, he was helping prepare for an afternoon of filming in a wooden church on Bonanza Creek Ranch. Hutchins was conversing with Baldwin to set up a camera angle that Hutchins wanted to depict: a close-up image of the barrel of Baldwin’s revolver.
The day had been chaotic because Hutchins’ union camera crew had walked off the set to protest the lack of nearby housing and previous alleged safety violations with the firearms on the set.
Instead of postponing filming to resolve the labor dispute, producers pushed forward, crew members alleged.
New Mexico prosecutors prevailed in a criminal case against the armorer, Hannah Gutierrez, in March 2024. She served more than a year in a state women’s prison for her involuntary manslaughter conviction before being released last year.
Baldwin faced a similar charge, but the case against him unraveled spectacularly.
On the second day of his July 2024 trial, his criminal defense attorneys — Luke Nikas and Alex Spiro — presented evidence that prosecutors and sheriff’s deputies withheld evidence that may have helped his defense . The judge was furious, setting Baldwin free.
Variety first reported on Friday’s court action.
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