Happy new latter-career Strokes album release, my fellow olds. But the Avalanches dropping a rad, new song with the Yeah Yeah Yeahs’ Karen O? That’s the purest I-DJed-At-My-College-Radio-Station-In-2006 energy that we’ve got.
This single-serving site, IMAXXING, lets you punch in your closest theater, a few parameters, and a notification window to get an email alert when seats to The Odyssey are available — theoretically a handy, low-stakes use of AI agents. (You’ll just have to ignore the image of Clavicular as Odysseus and the repeated incorrect usage of “frame mogging” on the webpage.)
Does it work? I signed up, so we’ll see if I can get a ticket for the Lincoln Square AMC in the next month. Similarly, OpenAI has a social video about how to set up an agent to check for tickets too.
[IMAXXING The Odyssey]
The director made one of the greatest 3D films of all time. He explains why he’ll never do that again.
When Intuit Dome opened last season, the arena staff assumed only a third of fans would opt-in to scanning, but close to 75 percent of venue attendees enrolled. The Clippers promise they are not using facial recognition — sorry, they call it “facial authentication” — for security purposes.
Early facial ticketing pilots were met with some protests. And energy still exists to create more state or federal oversight. But as the technology’s penetration has expanded, pushback seemingly hasn’t. A demand for security is leading venue operators to test out the newest tech, while a desire for convenience and personalization has seen fans increasingly getting in line.
Bi Gan, the director of Resurrection, talks about the purpose and power of the long, unbroken tracking shot.
Timothée Chalamet embodies a ping pong player that will stop at nothing to win.
A pair of Search Engine episodes from Sruthi Pinnamaneni gets at the most physical part of the AI hype cycle: the data center. Reporting from “Data Center Alley” and Memphis, TN — home of Elon Musk’s Colossus — Pinnamaneni reveals how these massive infrastructure works get sold to communities, built by communities, and ultimately, what they will cost those communities.
An interview with director Ira Sachs on his excellent new film, Peter Hujar’s Day.
