Business
Sora app’s hyperreal AI videos ignite online trust crisis as downloads surge
Scrolling through the Sora app can feel a bit like entering a real-life multiverse.
Michael Jackson performs standup; the alien from the “Predator” movies flips burgers at McDonald’s; a home security camera captures a moose crashing through the glass door; Queen Elizabeth dives from the top of a table at a pub.
Such improbable realities, fantastical futures, and absurdist videos are the mainstay of the Sora app, a new short video app released by ChatGPT maker OpenAI.
The continuous stream of hyperreal, short-form videos made by artificial intelligence is mind-bending and mesmerizing at first. But it quickly triggers a new need to second-guess every piece of content as real or fake.
“The biggest risk with Sora is that it makes plausible deniability impossible to overcome, and that it erodes confidence in our ability to discern authentic from synthetic,” said Sam Gregory, an expert on deepfakes and executive director at WITNESS, a human rights organization. “Individual fakes matter, but the real damage is a fog of doubt settling over everything we see,”
All videos on the Sora app are entirely AI-generated, and there is no option to share real footage. But from the first week of its launch, users were sharing their Sora videos across all types of social media.
Less than a week after its launch Sept. 30, the Sora app crossed a million downloads, outpacing the initial growth of ChatGPT. Sora also reached the top of the App Store in the U.S. For now, the Sora app is available only to iOS users in the United States, and people cannot access it unless they have an invitation code.
To use the app, people have to scan their faces and read out three numbers displayed on screen for the system to capture a voice signature. Once that’s done, users can type a custom text prompt and create hyperreal 10-second videos complete with background sound and dialogue.
Through a feature called “Cameos,” users can superimpose their face or a friend’s face into any existing video. Though all outputs carry a visible watermark, numerous websites now offer watermark removal for Sora videos.
At launch, OpenAI took a lax approach to enforcing copyright restrictions and allowed the re-creation of copyrighted material by default, unless the owners opted out.
Users began generating AI video featuring characters from such titles as “SpongeBob SquarePants,” “South Park,” and “Breaking Bad,” and videos styled after the game show “The Price Is Right,” and the ‘90s sitcom “Friends.”
Then came the re-creation of dead celebrities, including Tupac Shakur roaming the streets in Cuba, Hitler facing off with Michael Jackson, and remixes of the Rev. Martin Luther King Jr. delivering his iconic “I Have A Dream” speech — but calling for freeing the disgraced rapper Diddy.
“Please, just stop sending me AI videos of Dad,” Zelda Williams, daughter of late comedian Robin Williams, posted on Instagram. “You’re not making art, you’re making disgusting, over-processed hot dogs out of the lives of human beings, out of the history of art and music, and then shoving them down someone else’s throat, hoping they’ll give you a little thumbs up and like it. Gross.”
Other dead celebrity re-creations, including Kobe Bryant, Stephen Hawking and President Kennedy, created on Sora have been cross-posted on social media websites, garnering millions of views.
Christina Gorski, director of communications at Fred Rogers Productions, said that Rogers’ family was “frustrated by the AI videos misrepresenting Mister Rogers being circulated online.”
Videos of Mr. Rogers holding a gun, greeting rapper Tupac, and other satirical fake situations have been shared widely on Sora.
“The videos are in direct contradiction to the careful intentionality and adherence to core child development principles that Fred Rogers brought to every episode of Mister Rogers’ Neighborhood. We have contacted OpenAI to request that the voice and likeness of Mister Rogers be blocked for use on the Sora platform, and we would expect them and other AI platforms to respect personal identities in the future,” Gorski said in a statement to The Times.
Hollywood talent agencies and unions, including SAG-AFTRA, have started to accuse OpenAI of improper use of likenesses. The central tension boils down to control over the use of the likenesses of actors and licensed characters — and fair compensation for use in AI videos.
In the aftermath of Hollywood’s concerns over copyright, Sam Altman shared a blog post, promising greater control for rights-holders to specify how their characters can be used in AI videos — and is exploring ways to share revenue with rights-holders.
He also said that studios could now “opt-in” for their characters to be used in AI re-creations, a reversal from OpenAI’s original stance of an opt-out regime.
The future, according to Altman, is heading toward creating personalized content for an audience of a few — or an audience of one.
“Creativity could be about to go through a Cambrian explosion, and along with it, the quality of art and entertainment can drastically increase,” Altman wrote, calling this genre of engagement “interactive fan fiction.”
The estates of dead actors, however, are racing to protect their likeness in the age of AI.
CMG Worldwide, which represents the estates of deceased celebrities, struck a partnership with deepfake detection company Loti AI to protect CMG’s rosters of actors and estates from unauthorized digital use.
Loti AI will constantly monitor for AI impersonations of 20 personalities represented by CMG, including Burt Reynolds, Christopher Reeve, Mark Twain and Rosa Parks.
“Since the launch of Sora 2, for example, our signups have increased roughly 30x as people search for ways to regain control over their digital likeness,” said Luke Arrigoni, co-founder and CEO of Loti AI.
Since January, Loti AI said it has removed thousands of instances of unauthorized content as new AI tools made it easier than ever to create and spread deepfakes.
After numerous “disrespectful depictions” of Martin Luther King Jr., OpenAI said it was pausing the generation of videos in the civil rights icon’s image on Sora, at the request of King’s estate. While there are strong free-speech interests in depicting historical figures, public figures and their families should ultimately have control over how their likeness is used, OpenAI said in a post.
Now, authorized representatives or estate owners can request that their likenesses not be used in Sora cameos.
As legal pressure mounts, Sora has become more strict about when it will allow the re-creation of copyrighted characters. It increasingly puts up content policy violations notices.
Now, creating Disney characters or other images triggers a content policy violation warning. Users who aren’t fans of the restrictions have started creating video memes about the content policy violation warnings.
There’s a growing virality to what has been dubbed “AI slop.”
Last week featured ring camera footage of a grandmother chasing a crocodile at the door, and a series of “fat olympics” videos where obese people participate in athletic events such as pole vault, swimming and track events.
Dedicated slop factories have turned the engagement into a money spinner, generating a constant stream of videos that are hard to look away from. One pithy tech commentator dubbed it “Cocomelon for adults.”
Even with increasing protections for celebrity likenesses, critics warn that the casual “likeness appropriation” of any common person or situation could lead to public confusion, enhance misinformation and erode public trust.
Meanwhile, even as the technology is being used by bad actors and even some governments for propaganda and promotion of certain political views, people in power can hide behind the flood of fake news by claiming that even real proof was generated by AI, said Gregory of WITNESS.
“I’m concerned about the ability to fabricate protest footage, stage false atrocities, or insert real people with words placed in their mouths into compromising scenarios,” he said.
Business
How We Cover the White House Correspondents’ Dinner
Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.
Politicians in Washington and the reporters who cover them have an often adversarial relationship.
But on the last Saturday in April, they gather for an irreverent celebration of press freedom and the First Amendment at the Washington Hilton Hotel: The White House Correspondents’ Association dinner.
Hosted by the association, an organization that helps ensure access for media outlets covering the presidency, the dinner attracts Hollywood stars; politicians from both parties; and representatives of more than 100 networks, newspapers, magazines and wire services.
While The Times will have two reporters in the ballroom covering the event, the company no longer buys seats at the party, said Richard W. Stevenson, the Washington bureau chief. The decision goes back almost two decades; the last dinner The Times attended as an organization was in 2007.
“We made a judgment back then that the event had become too celebrity-focused and was undercutting our need to demonstrate to readers that we always seek to maintain a proper distance from the people we cover, many of whom attend as guests,” he said.
It’s a decision, he added, that “we have stuck by through both Republican and Democratic administrations, although we support the work of the White House Correspondents’ Association.”
Susan Wessling, The Times’s Standards editor, said the policy is a product of the organization’s desire to maintain editorial independence.
“We don’t want to leave readers with any questions about our independence and credibility by seeming to be overly friendly with people whose words and actions we need to report on,” she said.
The celebrity mentalist Oz Pearlman is headlining the evening, in lieu of the usual comedy set by the likes of Stephen Colbert and Hasan Minhaj, but all eyes will be on President Trump, who will make his first appearance at the dinner as president.
Mr. Trump has boycotted the event since 2011, when he was the butt of punchlines delivered by President Barack Obama and the talk show host Seth Meyers mocking his hair, his reality TV show and his preoccupation with the “birther” movement.
Last month, though, Mr. Trump, who has a contentious relationship with the media, announced his intention to attend this year’s dinner, where he will speak to a room full of the same reporters he often derides as “enemies of the people.”
Times reporters will be there to document the highs, the lows and the reactions in the room. A reporter for the Styles desk has also been assigned to cover the robust roster of after-parties around Washington.
Some off-duty reporters from The Times will also be present at this late-night circuit, though everyone remains cognizant of their roles, said Patrick Healy, The Times’s assistant managing editor for Standards and Trust.
“If they’re reporting, there’s a notebook or recorder out as usual,” he said. “If they’re not, they’re pros who know they’re always identifiable as Times journalists.”
For most of The Times’s reporters and editors, though, the evening will be experienced from home.
“The rest of us will be able to follow the coverage,” Mr. Stevenson said, “without having to don our tuxes or gowns.”
Business
MrBeast company sued over claims of sexual harassment, firing a new mom
A former female staffer who worked for Beast Industries, the media venture behind the popular YouTube channel MrBeast, is suing the company, alleging she was sexually harassed and fired shortly after she returned from maternity leave.
The employee, Lorrayne Mavromatis, a Brazilian-born social media professional, alleges in a lawsuit she was subjected to sexual harassment by the company’s management and demoted after she complained about her treatment. She said she was urged to join a conference call while in labor and expected to work during her maternity leave in violation of the Family and Medical Leave Act, according to the federal complaint filed Wednesday in the U.S. District Court for the Eastern District of North Carolina.
“This clout-chasing complaint is built on deliberate misrepresentations and categorically false statements, and we have the receipts to prove it. There is extensive evidence — including Slack and WhatsApp messages, company documents, and witness testimony — that unequivocally refutes her claims. We will not submit to opportunistic lawyers looking to manufacture a payday from us,” Gaude Paez, a Beast Industries spokesperson, said in a statement.
Jimmy Donaldson, 27, began MrBeast as a teen gaming channel that soon exploded into a media company worth an estimated $5 billion, with 500 employees and 450 million subscribers who watch its games, stunts and giveaways.
Mavromatis, who was hired in 2022 as its head of Instagram, described a pervasive climate of discrimination and harassment, according to the lawsuit.
In her complaint, she alleges the company’s former CEO James Warren made her meet him at his home for one-on-one meetings while he commented on her looks and dismissed her complaints about a male client’s unwanted advances, telling her “she should be honored that the client was hitting on her.”
When Mavromatis asked Warren why MrBeast, Donaldson, would not work with her, she was told that “she is a beautiful woman and her appearance had a certain sexual effect on Jimmy,” and, “Let’s just say that when you’re around and he goes to the restroom, he’s not actually using the restroom.”
Paez refuted the claim.
“That’s ridiculous. This is an allegation fabricated for the sole purpose of sparking headlines,” Paez said.
Mavromatis said she endured a slate of other indignities such as being told by Donaldson that she “would only participate in her video shoot if she brought him a beer.”
“In this male-centric workplace, Plaintiff, one of the few women in a high-level role, was excluded from otherwise all-male meetings, demeaned in front of colleagues, harassed, and suffered from males be given preferential treatment in employment decisions,” states the complaint.
When Mavromatis raised a question during a staff meeting with her team, she said a male colleague told her to “shut up” or “stop talking.”
At MrBeast headquarters in Greenville, N.C., she said male executives mocked female contestants participating in BeastGames, “who complained they did not have access to feminine hygiene products and clean underwear while participating in the show.”
In November 2023, Mavromatis formally complained about “the sexually inappropriate encounters and harassment, and demeaning and hostile work environment she and other female employees had been living and experiencing working at MrBeast,” to the company’s then head of human resources, Sue Parisher, who is also Donaldson’s mother, according to the suit.
In her complaint, Mavromatis said Beast Industries did not have a method or process for employees to report such issues either anonymously or to a third party, rather employees were expected to follow the company’s handbook, “How to Succeed In MrBeast Production.”
In it, employees were instructed that, “It’s okay for the boys to be childish,” “if talent wants to draw a dick on the white board in the video or do something stupid, let them” and “No does not mean no,” according to the complaint.
Mavromatis alleges that she was demoted and then fired.
Paez said that Mavromatis’s role was eliminated as part of a reorganization of an underperforming group within Beast Industries and that she was made aware of this.
Business
Heidi O’Neill, Formerly of Nike, Will Be New Lululemon’s New CEO
Lululemon, the yoga pants and athletic clothing company, has hired a former executive from a rival, Nike, as its new chief executive.
Heidi O’Neill, who spent more than 25 years at Nike, will take the reins and join Lululemon’s board of directors on Sept. 8, the company announced on Wednesday.
The leadership change is happening during a tumultuous time for Lululemon, which had grown to $11 billion in revenue by persuading shoppers to ditch their jeans and slacks for stretchy leggings. But lately, sales have declined in North America amid intense competition and shifting fashion trends, with consumers favoring looser styles rather than the form-fitting silhouettes for which Lululemon is best known.
“As I step into the C.E.O. role in September, my job will be to build on that foundation — to accelerate product breakthroughs, deepen the brand’s cultural relevance, and unlock growth in markets around the world,” Ms. O’Neill, 61, said in a statement.
Lululemon, based in Vancouver, British Columbia, has also been entangled in a corporate power struggle over the company’s future. Its billionaire founder, Chip Wilson, has feuded with the board, nominated independent directors and criticized executives.
Lululemon’s previous chief executive, Calvin McDonald, stepped down at the end of January as pressure mounted from Mr. Wilson and some investors. One activist investor, Elliott Investment Management, had pushed its own chief executive candidate, who was not selected.
The interim co-chiefs, Meghan Frank and André Maestrini, will lead the company until Ms. O’Neill’s arrival, when they are expected to return to other senior roles. The pair had outlined a plan to revive sales at Lululemon, promising to invest in stores, save more money and speed up product development.
“We start the year with a real plan, with real strategies,” Mr. Maestrini said in an interview this year. “We make sure decisions are made fast.”
Lululemon said last month that it would add Chip Bergh, the former chief executive of Levi Strauss, to its board to replace David Mussafer, the chairman of the private equity firm Advent International, whom Mr. Wilson had sought to remove.
Ms. O’Neill climbed the organizational chart at Nike for decades, working across divisions including consumer sports, product innovation and brand marketing, and was most recently its president of consumer, product and brand. She left Nike last year amid a shake-up of senior management that led to the elimination of her role.
Analysts said Ms. O’Neill would be expected to find ways to energize Lululemon’s business and reset the company’s culture in order to improve performance.
“O’Neill is her own person who will come with an agenda of change,” said Neil Saunders, the managing director of GlobalData, a data analytics and consulting company. “The task ahead is a significant one, but it can be undertaken from a position of relative stability.”
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