It has become almost impossible to browse the internet without having an AI-generated video thrust upon you. Open basically any social media platform, and it won’t be long until an uncanny-looking clip of a fake natural disaster or animals doing impossible things slides across your screen. Most of the videos look absolutely terrible. But they’re almost always accompanied by hundreds, if not thousands, of likes and comments from people insisting that AI-generated content is a new art form that’s going to change the world.
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Hollywood’s pivot to AI video has a prompting problem
That has been especially true of AI clips that are meant to appear realistic. No matter how strange or aesthetically inconsistent the footage may be, there is usually someone proclaiming that it’s something the entertainment industry should be afraid of. The idea that AI-generated video is both the future of filmmaking and an existential threat to Hollywood has caught on like wildfire among boosters for the relatively new technology.
The thought of major studios embracing this technology as is feels dubious when you consider that, oftentimes, AI models’ output simply isn’t the kind of stuff that could be fashioned into a quality movie or series. That’s an impression that filmmaker Bryn Mooser wants to change with Asteria, a new production house he launched last year, as well as a forthcoming AI-generated feature film from Natasha Lyonne (also Mooser’s partner and an advisor at Late Night Labs, a studio focused on generative AI that Mooser’s film and TV company XTR acquired last year).
Asteria’s big selling point is that, unlike most other AI outfits, the generative model it built with research company Moonvalley is “ethical,” meaning it has only been trained on properly licensed material. Especially in the wake of Disney and Universal suing Midjourney for copyright infringement, the concept of ethical generative AI may become an important part of how AI is more widely adopted throughout the entertainment industry. However, during a recent chat, Mooser stresses to me that the company’s clear understanding of what generative AI is and what it isn’t helps set Asteria apart from other players in the AI space.
“As we started to think about building Asteria, it was obvious to us as filmmakers that there were big problems with the way that AI was being presented to Hollywood,” Mooser says. “It was obvious that the tools weren’t being built by anybody who’d ever made a film before. The text-to-video form factor, where you say ‘make me a new Star Wars movie’ and out it comes, is a thing that Silicon Valley thought people wanted and actually believed was possible.”
In Mooser’s view, part of the reason some enthusiasts have been quick to call generative video models a threat to traditional film workflows boils down to people assuming that footage created from prompts can replicate the real thing as effectively as what we’ve seen with imitative, AI-generated music. It has been easy for people to replicate singers’ voices with generative AI and produce passable songs. But Mooser thinks that, in its rush to normalize gen AI, the tech industry conflated audio and visual output in a way that’s at odds with what actually makes for good films.
“You can’t go and say to Christopher Nolan, ‘Use this tool and text your way to The Odyssey,’” Mooser says. “As people in Hollywood got access to these tools, there were a couple things that were really clear — one being that the form factor can’t work because the amount of control that a filmmaker needs comes down to the pixel level in a lot of cases.”
To give its filmmaking partners more of that granular control, Asteria uses its core generative model, Marey, to create new, project-specific models trained on original visual material. This would, for example, allow an artist to build a model that could generate a variety of assets in their distinct style, and then use it to populate a world full of different characters and objects that adhere to a unique aesthetic. That was the workflow Asteria used in its production of musician Cuco’s animated short “A Love Letter to LA.” By training Asteria’s model on 60 original illustrations drawn by artist Paul Flores, the studio could generate new 2D assets and convert them into 3D models used to build the video’s fictional town. The short is impressive, but its heavy stylization speaks to the way projects with generative AI at their core often have to work within the technology’s visual limitations. It doesn’t feel like this workflow offers control down to the pixel level just yet.
Mooser says that, depending on the financial arrangement between Asteria and its clients, filmmakers can retain partial ownership of the models after they’re completed. In addition to the original licensing fees Asteria pays the creators of the material its core model is trained on, the studio is “exploring” the possibility of a revenue sharing system, too. But for now, Mooser is more focused on winning artists over with the promise of lower initial development and production costs.
“If you’re doing a Pixar animated film, you might be coming on as a director or a writer, but it’s not often that you’ll have any ownership of what you’re making, residuals, or cut of what the studio makes when they sell a lunchbox,” Mooser tells me. “But if you can use this technology to bring the cost down and make it independently financeable, then you have a world where you can have a new financing model that makes real ownership possible.”
Asteria plans to test many of Mooser’s beliefs in generative AI’s transformative potential with Uncanny Valley, a feature film to be co-written and directed by Lyonne. The live-action film centers on a teenage girl whose shaky perception of reality causes her to start seeing the world as being more video game-like. Many of Uncanny Valley’s fantastical, Matrix-like visual elements will be created with Asteria’s in-house models. That detail in particular makes Uncanny Valley sound like a project designed to present the hallucinatory inconsistencies that generative AI has become known for as clever aesthetic features rather than bugs. But Mooser tells me that he hopes “nobody ever thinks about the AI part of it at all” because “everything is going to have the director’s human touch on it.”
“It’s not like you’re just texting, ‘then they go into a video game,’ and watch what happens, because nobody wants to see that,” Mooser says. “That was very clear as we were thinking about this. I don’t think anybody wants to just see what computers dream up.”
Like many generative AI advocates, Mooser sees the technology as a “democratizing” tool that can make the creation of art more accessible. He also stresses that, under the right circumstances, generative AI could make it easier to produce a movie for around $10–20 million rather than $150 million. Still, securing that kind of capital is a challenge for most younger, up-and-coming filmmakers.
One of Asteria’s big selling points that Mooser repeatedly mentions to me is generative AI’s potential to produce finished works faster and with smaller teams. He framed that aspect of an AI production workflow as a positive that would allow writers and directors to work more closely with key collaborators like art and VFX supervisors without needing to spend so much time going back and forth on revisions — something that tends to be more likely when a project has a lot of people working on it. But, by definition, smaller teams translates to fewer jobs, which raises the issue of AI’s potential to put people out of work. When I bring this up with Mooser, he points to the recent closure of VFX house Technicolor Group as an example of the entertainment industry’s ongoing upheaval that began leaving workers unemployed before the generative AI hype came to its current fever pitch.
Mooser was careful not to downplay that these concerns about generative AI were a big part of what plunged Hollywood into a double strike back in 2023. But he is resolute in his belief that many of the industry’s workers will be able to pivot laterally into new careers built around generative AI if they are open to embracing the technology.
“There are filmmakers and VFX artists who are adaptable and want to lean into this moment the same way people were able to switch from editing on film to editing on Avid,” Mooser says. “People who are real technicians — art directors, cinematographers, writers, directors, and actors — have an opportunity with this technology. What’s really important is that we as an industry know what’s good about this and what’s bad about this, what is helpful for us in trying to tell our stories, and what is actually going to be dangerous.”
What seems rather dangerous about Hollywood’s interest in generative AI isn’t the “death” of the larger studio system, but rather this technology’s potential to make it easier for studios to work with fewer actual people. That’s literally one of Asteria’s big selling points, and if its workflows became the industry norm, it is hard to imagine it scaling in a way that could accommodate today’s entertainment workforce transitioning into new careers. As for what’s good about it, Mooser knows the right talking points. Now he has to show that his tech — and all the changes it entails — can work.
Nothing’s next budget phone is the latest victim of RAMageddon. As 9to5Google reports, Nothing co-founder Akis Evangelidis announced in a post on X that a follow-up to the CMF Phone 2 Pro won’t be coming this year:
We were working on a successor but with memory prices where they are right now, we can’t build a phone that feels like a genuine step forward at a price that makes sense for CMF. As a result, we’ve decided not to launch a new CMF phone this year.
Last week, Nothing CEO and co-founder Carl Pei also said the RAM shortage has impacted the cost of the company’s mid-range phone, stating, “For Phone 4A, memory costs doubled between when we decided to build the device and when it launched. They’ve doubled again since.” According to Pei, “memory is now the most expensive component in a smartphone.” Nothing is far from the only company facing RAM pricing challenges — earlier this week, Tim Cook announced Apple will be raising prices, saying “the situation has become unsustainable.”
While there won’t be a new CMF phone this year, Evangelidis added in his post that CMF still has “several new products launching as well as some entirely new categories.” He also hinted that “the smartphone launch season at Nothing isn’t over yet.”
China approves world’s first commercial brain chip
Apple unveils new child safety tools, enabling parents to manage kid accounts, media access, communication, apps, and browsing. Tech companies like Meta, Roblox, YouTube and TikTok enhance safety with age verification, content moderation and time limits. China approves the world’s first commercial brain chip, raising privacy concerns.
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A coin-sized brain chip in China could help people with paralysis control devices using their thoughts. China has approved a brain-computer interface called NEO for commercial medical use in certain patients with paralysis caused by spinal cord injuries. That moves brain-chip technology out of research trials and closer to real-world medical care.
Developed by researchers at Tsinghua University and Shanghai-based Neuracle Technology, NEO sits under the skull but rests on the brain’s protective outer layer rather than piercing deep into brain tissue. That design could make it less invasive than some competing implants.
For patients who have lost movement, this kind of technology could be life-changing. It could help restore a level of independence that once felt out of reach. But here’s where we need to slow down a bit. If a brain chip can turn your brain signals into digital commands, we need to ask who controls that data and how well it is protected.
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China’s NEO brain implant could help some paralysis patients control devices, like prosthetic hands, with their thoughts while raising concerns over brain data privacy. (Tsinghua University)
What is China’s NEO brain chip?
NEO is a brain-computer interface, often called a BCI. These systems read brain activity and translate it into commands for an external device. In this case, the implant uses sensors placed near the brain’s motor-control area. Those signals can help a patient operate equipment such as a robotic glove or computer interface.
What makes NEO especially notable is its placement. Brain-computer interfaces can be designed in different ways, and some go deeper into the brain than others. The company most people know in this space is Neuralink, the brain-chip startup co-founded by Elon Musk. Its implant uses tiny threads that enter the brain’s cortex. NEO takes a less invasive approach by placing electrodes on the dura mater, which is the protective membrane around the brain.
That design matters because every brain implant carries medical risk. Surgery can cause bleeding, swelling, infection or tissue damage. Even a small complication in the wrong part of the brain can affect speech or movement.
China’s approval does not mean brain chips are suddenly available for anyone who wants one. This remains a medical device for a narrow group of patients. Right now, the focus centers on helping people with severe paralysis regain some digital or assisted movement control.
Why China’s brain chip breakthrough matters
The medical upside here is hard to deny. More than three billion people worldwide live with neurological conditions, according to the World Health Organization. That includes people dealing with stroke, epilepsy, Parkinson’s disease, spinal cord injuries and other serious conditions.
For someone who has spent years unable to move freely or communicate easily, even a small amount of restored control could feel enormous. That is why brain-computer interfaces are getting so much attention. They could give some patients a new way to interact with the world around them.
Neuralink has already shown what that can look like in real life. Audrey Crews, a Neuralink trial participant who has been paralyzed for years, publicly shared that she wrote her name using the implant by controlling her computer.
ELON MUSK SHARES PLAN TO MASS-PRODUCE BRAIN IMPLANTS FOR PARALYSIS, NEUROLOGICAL DISEASE
How China’s brain chip compares with Neuralink
Elon Musk’s Neuralink has attracted most of the public attention in the U.S. brain-chip race. Musk has talked openly about restoring movement, helping people communicate and one day addressing vision loss.
Neuralink received approval to begin human trials, and more than 20 people have reportedly received its implant through testing. However, it has not received broad FDA approval for general commercial use.
China’s NEO approval puts a different kind of pressure on the field. It shows that China wants to move brain-computer interface technology into its health system and build a major industry around it.
This also fits a larger pattern. China has made BCI development part of its strategic technology push. The country wants breakthroughs by 2027 and a globally competitive brain-computer interface industry by 2030.
The coin-sized NEO brain chip rests on the brain’s protective outer layer, making it less invasive than implants that pierce brain tissue. (Tsinghua University)
Why brain chip privacy is such a big concern
We already worry about phones listening, apps tracking location and smart TVs collecting viewing habits. Brain-computer interfaces take that concern to another level.
A BCI collects signals from the nervous system. Today, that may mean decoding movement intent, such as whether a patient wants to move a cursor left or right. But as the technology improves, the data could become more sensitive.
That raises some big questions. Who owns the brain data? Can it be sold, shared or used to train AI systems? Could an insurer, employer or government ever demand access? What happens if a company changes its privacy policy after the implant becomes part of someone’s daily life?
Those questions sound dramatic until you remember how many connected devices began as conveniences and turned into data pipelines.
A brain chip designed for medical help should not become another ad platform, another surveillance tool or another database waiting to be breached.
YOUR HEALTH DATA IS BEING SOLD WITHOUT YOUR CONSENT
Could hackers target brain-computer interfaces?
This is where the whole brain-chip conversation gets very serious. Any device that connects to a computer raises security questions. A brain-computer interface raises even bigger ones because it deals with signals from your body and, in some cases, the devices that help you move or communicate.
The concern here is someone getting access to neural data, device settings or the commands moving between the implant and outside equipment. Think about that for a second. If a brain chip helps someone control a robotic hand, a wheelchair or a communication device, a security failure could affect far more than privacy. It could affect that person’s independence and safety. That to me is scary.
Companies building these devices need to treat cybersecurity like part of the surgery, not some software update they figure out later. Encryption, strict access controls, medical-grade testing and clear update policies should be baked in from day one.
And because a brain implant may stay inside a person’s body for years, long-term support has to be part of the deal. No one should end up with an outdated implant in their head because a company moved on to the next big product launch.
What China’s brain chip means to you
For now, this technology is geared toward patients with serious medical needs. So, no, most of us are not lining up for a brain chip anytime soon. But this should still get your attention.
We already give up a lot of personal data through our phones, watches, cars and smart home devices. A brain implant takes that to a whole different level because the data comes from inside the body. That is about as personal as it gets.
Before this technology moves beyond hospitals and medical trials, patients need plain answers before they agree to anything. They should know who can access the data, how long it gets stored, whether it can be shared and whether it can help train AI systems.
The medical potential here is incredible. Helping someone regain control or communicate again could change a life. But the privacy protections need to be just as strong as the technology itself.
NEURALINK BRAIN IMPLANT HELPS ARIZONA MAN REGAIN CONTROL OF HIS LIFE
Brain-computer interfaces, like Neuralink, pictured here, could restore independence for some patients, but experts say neural data needs strong privacy and cybersecurity protections. (Neuralink)
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Kurt’s key takeaways
China’s NEO brain chip could be a huge step forward for people living with paralysis. If this technology helps someone regain control or communicate again, that is powerful. But I also think we need to be very careful here. Once a device connects your brain signals to outside technology, the privacy stakes change fast. We are talking about data tied to your nervous system. That to me is the line we need to watch closely. Brain chips could do incredible good. But companies and governments need clear limits before this technology moves any further into everyday life. The promise is real. So are the risks. And when the data comes from inside your own head, “trust us” will never be enough.
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Would you ever consider a brain implant if it could restore movement or communication, or does the privacy risk feel too personal to accept? Let us know by writing to us at CyberGuy.com.
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Relativity Space, the rocket company led by former Google executive Eric Schmidt, was picked to launch NASA’s Aeolus payload to Mars in 2028, as reported earlier by TechCrunch. Under a new public-private partnership, Relativity Space will provide the “spacecraft, rocket, and cruise operations” to fly Aeolus to Mars, where the payload will “provide the first integrated, daily, global view of Martian winds, temperatures, dust, and clouds.”
The Aeolus payload will have four instruments on board for studying the Martian atmosphere, which NASA says will “directly inform entry, descent, and landing systems and support safer, more predictable mission planning for astronauts.”
Schmidt, who served as CEO of Google from 2001 to 2011, became Relativity Space’s CEO in 2025, a couple of years after it launched the “world’s first 3D-printed rocket,” Terran 1, which failed shortly after launch. Relativity Space’s larger Terran R rocket isn’t scheduled to have its first launch until later this year.
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