George Carlin’s estate has filed a lawsuit against the makers of an hour-long comedy special featuring an AI replica of the comedian, as reported by NBC News. The late comedian’s estate, including his daughter Kelly Carlin, filed the suit in a Los Angeles federal court last night. It claims the online media company that posted the video, Dudesy, violated the performer’s right to publicity and infringed on a copyright.

The video’s called “George Carlin: I'm Glad I'm Dead” and features an hour of new “material” by the comedian, who died in 2008. As AI replications go, it’s certainly not going to break any records. It’s audio only and, honestly, doesn’t even sound that much like Carlin. It sounds like a below average impression of the comedian. Also, it’s very, very bad. Carlin had an extremely unique voice and this video is mostly basic punchlines you can see coming from a mile away. There’s very little outlandish wordplay. There’s no righteous fury. There are, however, a lot of jokes comparing Donald Trump to poop.

"I understand and share the desire for more George Carlin. I, too, want more time with my father. But it is ridiculous to proclaim he has been ‘resurrected’ with AI,” Kelly Carlin wrote in a statement. She went on to write that the Carlin in that video is a “poorly-executed facsimile cobbled together by unscrupulous individuals.”

The estate's attorney, Josh Schiller, went on to warn that AI risked becoming "a tool that allows bad-faith actors to replace creative expression, to exploit the already existing work of creators, and to get rich at the expense of others."

Dudesey, the channel that created and posted the video, is actually run by the popular comedian Will Sasso and author Chad Kultgen. They didn’t write the material here. The AI was trained on thousands of hours of Carlin routines to create the facsimile, according to a report by NPR. Sasso and Kultgen are, however, named in the suit. The pair behind Dudesy liken the AI-created Carlin to an impressionist who impersonates a public figure.

Sasso suggested in a podcast last week that the AI version was no replacement for the real thing, going on to say that it was “interesting how heated people get about it.” The lawsuit calls the video a “piece of computer-generated click-bait which detracts from the value of Carlin’s comedic works and harms his reputation.”

The complaint seeks unspecified damages and the immediate removal of “any video or audio copies” of the hour-long special. So, if you’re curious to hear a pretty bad Carlin impression make obvious jokes about Taylor Swift, you had better get on that while you have the chance.

Of course, this is just the latest salvo in the ongoing war between AI algorithms and humans that create works of value. This issue was at the very heart of last year’s Hollywood writers’ strike and the recent spate of AI-created celebrities used to scam consumers. This is just the beginning. It’s an election year, after all, and bad actors have already used an AI replication of President Biden’s voice to urge New Hampshire residents not to vote in last week’s primary.

A woman has a text chat with her long-dead lover. A family gets to hear a deceased elder speak again. A mother gets another chance to say goodbye to her child, who died suddenly, via a digital facsimile. This isn't a preview of the next season of Black Mirror — these are all true stories from the Sundance documentary Eternal You, a fascinating and frightening dive into tech companies using AI to digitally resurrect the dead.

It's yet another way modern AI, which includes large language models like ChatGPT and similar bespoke solutions, has the potential to transform society. And as Eternal You shows, the AI afterlife industry is already having a profound effect on its early users.

The film opens on a woman having a late night text chat with a friend: "I can't believe I'm trying this, how are you?" she asks, as if she's using the internet for the first time. "I'm okay. I'm working, I'm living. I'm... scared," her friend replies. When she asks why, they reply, "I'm not used to being dead."

Beetz Brothers Film Production

It turns out the woman, Christi Angel, is using the AI service Project December to chat with a simulation of her first love, who died many years ago. Angel is clearly intrigued by the technology, but as a devout Christian, she's also a bit spooked out by the prospect of raising the dead. The AI system eventually gives her some reasons to be concerned: Cameroun reveals that he's not in heaven, as she assumes. He's in hell.

"You're not in hell," she writes back. "I am in hell," the AI chatbot insists. The digital Cameroun says he's in a "dark and lonely" place, his only companions are "mostly addicts." The chatbot goes on to say he's currently haunting a treatment center and later suggests "I'll haunt you." That was enough to scare Angel and question why she was using this service in the first place.

While Angel was aware she was talking to a digital recreation of Cameroun, which was based on the information she provided to Project December, she interacted with the chatbot as if she was actually chatting with him on another plane of existence. That's a situation that many users of AI resurrection services will likely encounter: Rationality can easily overwhelm your emotional response while "speaking" with a dead loved one, even if the conversation is just occurring over text.

In the film, MIT sociologist Sherry Turkle suggests that our current understanding of how AI affects people is similar to our relationship with social media over a decade ago. That makes it a good time to ask questions about the human values and purposes it's serving, she says. If we had a clearer understanding of social media early on, maybe we could have pushed Facebook and Twitter to confront misinformation and online abuse more seriously. (Perhaps the 2016 election would have looked very different if we were aware of how other countries could weaponize social media.)

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Eternal You also introduces us to Joshua Barbeau, a freelance writer who became a bit of an online celebrity in 2021 when The San Francisco Chronicle reported on his Project December chatbot: a digital version of his ex-fiancee Jessica. At first, he used Project December to chat with pre-built bots, but he eventually realized he could use the underlying technology (GPT-3, at the time) to create one with Jessica's personality. Their conversations look natural and clearly comfort Barbeau. But we're still left wondering if chatting with a facsimile of his dead fiancee is actually helping Barbeau to process his grief. It could just as easily be seen as a crutch that he feels compelled to pay for.

It's also easy to be cynical about these tools, given what we see from their creators in the film. We meet Jason Rohrer, the founder and Project December and a former indie game designer, who comes across as a typical techno-libertarian.

"I believe in personal responsibility," he says, after also saying that he's not exactly in control of the AI models behind Project December, and right before we see him nearly crash a drone into his co-founders face. "I believe that consenting adults can use that technology however they want and they're responsible for the results of whatever they're doing. It's not my job as the creator of the technology to prevent the technology from being released, because I'm afraid of what somebody might do with it."

But, as MIT's Turkle points out, reanimating the dead via AI introduces moral questions that engineers like Rohrer likely aren't considering. "You're dealing with something much more profound in the human spirit," she says. "Once something is constituted enough that you can project onto it, this life force. It's our desire to animate the world, which is human, which is part of our beauty. But we have to worry about it, we have to keep it in check. Because I think it's leading us down a dangerous path."

Beetz Brothers Film Production

Another service, Hereafter.ai, lets users record stories to create a digital avatar of themselves, which family members can talk to now or after they die. One woman was eager to hear her father's voice again, but when she presented the avatar to her family the reaction was mixed. Younger folks seemed intrigue, but the older generation didn't want any part of it. "I fear that sometimes we can go too far with technology," her father's sister said. "I would just love to remember him as a person who was wonderful. I don't want my brother to appear to me. I'm satisfied knowing he's at peace, he's happy, and he's enjoying the other brothers, his mother and father."

YOV, an AI company that also focuses on personal avatars, or "Versonas," wants people to have seamless communication with their dead relatives across multiple channels. But, like all of these other digital afterlife companies, it runs into the same moral dilemmas. Is it ethical to digitally resurrect someone, especially if they didn't agree to it? Is the illusion of speaking to the dead more helpful or harmful for those left behind?

The most troubling sequence in Eternal You focuses on a South Korean mother, Jang Ji-sun, who lost her young child and remains wracked with guilt about not being able to say goodbye. She ended up being the central subject in a VR documentary, Meeting You, which was broadcast in South Korea in early 2020. She went far beyond a mere text chat: Jang donned a VR headset and confronted a startlingly realistic model of her child in virtual reality. The encounter was clearly moving for Jang, and the documentary received plenty of media attention at the time.

"There's a line between the world of the living and the world of the dead," said Kim Jong-woo, the producer behind Meeting You. "By line, I mean the fact that the dead can't come back to life. But people saw the experience as crossing that line. After all, I created an experience in which the beloved seemed to have returned. Have I made some huge mistake? Have I broken the principle of humankind? I don't know... maybe to some extent."

Eternal You paints a haunting portrait of an industry that's already revving up to capitalize on grief-stricken people. That's not exactly new; psychics and people claiming to speak to the dead have been around for our entire civilization. But through AI, we now have the ability to reanimate those lost souls. While that might be helpful for some, we're clearly not ready for a world where AI resurrection is commonplace.

The Last of Us Part II Remastered arrived last week, and if the cutscene commentary from the game's director, writer and key actors wasn't enough for you, Naughty Dog has another behind the scenes piece coming. Grounded II: Making The Last Of Us Part II, a documentary on the game's creation, will arrive on February 2 at 12PM ET on YouTube as well as in the game itself. There's a trailer in the remastered game currently, and the full documentary will be added via a downloadable patch. That patch will also have some new skins for Ellie and Abby in the main game.

The development of The Last of Us Part II was challenging, to say the least —Naughty Dog infamously crunched its employees to get the game done, but it was still delayed multiple times. Plus, key scenes from the game that contained extensive spoilers were leaked just a few weeks before the game launched, and the team also had to content with the Covid-19 outbreak while finishing everything up. 

Judging from the Grounded II trailer that Naughty Dog released a few weeks ago, it looks like all those topics and more will be added in the documentary — though I wager Naughty Dog will only address the crunch situation in a way that doesn't reflect badly on the studio or Sony. That caveat aside, the previous Grounded documentary that covered the development of the original The Last of Us for the PS3 was a pretty in-depth look at how things work inside a game studio. So while we're certainly going to get a sanitized version of the truth, fans of the game will likely be interested to hear directly how the studio decided to make the controversial narrative choices it did, and how the fallout from the leaks affected the game's launch. 

Netflix said that user engagement with games on the service tripled in 2023. “[Despite] games still being small, and certainly not yet material relative to our film and series business, we’re pleased with this progress,” the company said in its earnings report on Tuesday. As an example, the company pointed to the addition of the Grand Theft Auto trilogy to the service last year, although it isn't clear how much the trilogy, which only arrived on Netflix on December 14, helped drive engagement in the final two weeks of the year. 

Netflix said that Grand Theft Auto has become its “most successful launch to date” in terms of installs and engagement. It didn’t say how many people had downloaded the trilogy since it was released on the platform, however. Some customers had signed up for Netflix just to play the Grand Theft Auto games, the company said.

That’s a big change from 2022, when and analysis from Apptopia and CNBC revealed that less than one percent of Netflix’s customers were playing games, which the company had made available to anyone with a Netflix subscription a year earlier. Despite the slow uptake, Netflix continued adding games to the platform. It’s growing gaming library includes popular titles like Hades, Dead Cells, Braid, Death’s Door and Katana Zero, as well as games such as Oxenfree II: Lost Signal, which it developed on its own after buying indie developer Night School. The platform also includes games based on its own popular original shows like Money Heist and The Dragon Prince.

Beyond gaming, Netflix said that it added 13.1 million subscribers in the last three months of 2023, the highest number of subscribers it has added since the explosive growth it experienced during the pandemic. The total number of Netflix subscribers around the world is now 260 million.

Hold onto your cabbages. Netflix just dropped a full trailer for its forthcoming live-action adaptation of Avatar: The Last Airbender. It actually looks pretty cool, surprising fans who have been dreading a repeat of the disastrous 2010 film adaptation. The vibe is on point, calling to mind the source material, and the casting department looks to have done a fantastic job. Just look at Sokka, as portrayed by Ian Ousley.

This is the second trailer for the show, but the first was more of a teaser. The new trailer features two and a half minutes of footage, complete with jokes, action set-pieces and plenty of appearances by the franchise’s resident cutie-pies, the air bison Appa and winged lemur Momo. They are both CGI, but look pretty good to me.

You also get a deeper glimpse into both the world itself and the show’s primary characters. Gordon Courmier and Kiawentiio Tarbell look great as Aang and Katara, respectively. The trailer also boasts a shirtless Firelord Ozai, as played by Lost’s Daniel Dae Kim. Of course, it wouldn’t be Avatar without Prince Zuko and General Iroh, both of whom are featured prominently. Iroh is played by Paul Sun-Hyung Lee, fresh off his stint in a galaxy far, far away (he’s in a bunch of Star Wars shows.)

Netflix’s version of Avatar: The Last Airbender premieres with all episodes on February 22. Original series creators Michael Dante DiMartino and Bryan Konietzko aren’t involved with this adaptation, but are making an animated movie to further the adventures of Aang and the gang, in addition to more projects set in the Avatar universe.

As for Netflix, this is just the latest live-action adaptation of a pre-existing cartoon. The anime One Piece got a show earlier this year, preceded by Cowboy Bebop, Death Note, Fullmetal Alchemist and several more.

It’s that time of year again. Oscar nominations are in, setting off a firestorm of debate and speculation until the awards ceremony in March. This year, the streamers absolutely ruled the roost. Netflix snagged 18 nominations, including best picture, which technically puts it in first place, according to a breakdown from Variety.

I say Netflix “technically” received the most nominations because it depends on your point of view. Disney actually scored 20 nominations across various categories, but only when you don’t split up its various sub-brands. Remember, Disney owns just about everything, including 20th Century Studios, Hulu, Lucasfilm Ltd., Marvel Studios, National Geographic Documentary Films, Pixar Animation Studios and Searchlight, among others. All of them together came to 20 nominations, including a best picture nomination for Poor Things.

Apple came away with 13 nominations, including best picture nods for Napoleon and Killers of the Flower Moon, which isn’t bad for a company that just started creating original content around four years ago. Universal, an actual old-school production company, also nabbed 13 noms, including best picture for one half of the summer’s hottest cinema event, Oppenheimer.

The other half of the equation, Barbie, was also nominated for best picture. However, Greta Gerwig got snubbed for best director, which is not sitting right with denizens of the internet. Also, Margot Robbie didn’t get a best actress nomination, while Ryan Gosling got one for best supporting actor. To be fair, that best actress category is crowded with stellar performances from relative newcomers like Lily Gladstone to long-time veterans like Annette Bening.

The films with the most nominations include Oppenheimer and Poor Things, both with 13. Production company A24, however, was the only studio with multiple nominations in the best picture category, thanks to Past Lives and The Zone of Interest. A24 was also behind the Netflix limited series Beef, which took home a slew of Emmy awards last week. Inexplicably, A24 also produces the hilarious, yet decidedly low-brow, sitcom Tacoma FD. That's your useless fact for the day. 

Mere days after Alphabet and Google CEO Sudar Pichai warned of more job attrition this year, the company is shedding more staff, at its moonshot lab. Alphabet is also restructuring X (not to be confused with what used to be called Twitter) to make it easier to spin out projects with backing (read: money) from outside investors.

X division head Astro Teller told staff in a memo that the company was “expanding our approach to focus on spinning out more projects as independent companies funded through market-based capital.”

X has attempted to tackle bigger-picture challenges and problems worldwide, like climate change, the future of the internet and cybersecurity, but it hasn’t found consistent success through its spinoff businesses. The company hopes this could refocus heady ideas into those with a future.

— Mat Smith

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Apple launches iOS 17.3, including the new Stolen Device Protection feature

An iPadOS update has the same.

iOS 17.3 is available to install now, and while it’s not shaking things up too much, it does have Stolen Device Protection. The feature first popped up in the developer beta of iOS 17.3, and it’s actually pretty handy. If someone steals your iPhone or iPad, and you’re updated to OS 17.3, you can lock them out of the system by forcing Face ID or Touch ID access. This works even if they have your passcode. The update also has AirPlay hotel support, optimized crash detection and collaborative playlists on Apple Music — something I’ve been waiting for since my iOS 17 preview.

Continue reading.

NVIDIA’s RTX Remix tool launches in open beta

It can add ray tracing and AI-upscaled textures to older games.

NVIDIA has finally leased a beta version of its RTX Remix tool. This software is for modders and can add ray tracing and AI-upscaled textures to older games. For those who know what they’re doing, it’s capable of end-to-end remastering of just about any DirectX 8 or 9 game from the past. NVIDIA has released a list of compatible games — classics like Call of Duty 2, Hitman 2: Silent Assassin, Garry’s Mod, Freedom Fighters and Need for Speed Underground 2.

Continue reading.

Watch the trailer for Apple’s latest sci-fi series, Constellation

It stars Noomi Rapace and premieres on February 21.

Apple

Apple's newest TV series follows an astronaut, played by Noomi Rapace, after an emergency return to Earth. According to the trailer, it will be filled with unreliable narrator twists and turns — and it’s in HDR, so it should really pop on that new Vision Pro headset.

Watch here.

Earlier today, Riot Games announced that it is eliminating 530 roles globally, which make up about 11 percent of its workforce. The company publicly delivered this devastating news in two separate posts — one for players, and another for "Rioters," with the latter detailing severance package and some other benefits to treat the dismissed employees "with respect and grace."

Additionally, Riot Games shared that it is sunsetting its publishing label, Riot Forge, which has worked on six titles — including Bandle Tale: A League of Legends Story due to be released on February 21. In their joint letter to gamers, CEO Dylan Jadeja and co-chairman Marc Merrill described Forge as "an experiment to see what would happen when Rioters partnered with their favorite indie devs," but now "it's time to refocus" on their internal projects. Forge will cease operation once it's done publishing Bandle Tale.

The execs also admitted that their digital collectible card game, Legends of Runeterra, hasn't been doing well enough financially since its launch in 2020. In the hopes of making this title more sustainable, its development team will be downsized, with its focus shifted to its more popular "The Path of Champions" single-player game mode.

Riot Games' cutback is the latest blow to the video game industry, after a total of around 9,000 people lost their jobs in 2023 alone. Embracer Group and Unity both laid off around 900 people each, whereas Epic Games fired about 830 people, and EA dismissed more than 1,000 employees. 2024 has only just began, and we fear that this is just the tip of the iceberg for the entire tech industry.

If you love old PC games, but wish they had access to modern graphical flourishes, NVIDIA has you covered. The company just released a beta version of its long-awaited RTX Remix tool. This software is designed especially for modders and can be used to add ray-tracing and AI-upscaled textures to older games.

Remix was built on NVIDIA’s Omniverse 3D graphics collaboration platform and allows for end-to-end remastering of just about any DirectX 8 or 9 game. It consists of two basic components. There’s an application for creating new lighting scenarios and one for remastering and adding assets into a scene. The company says that the tool can already be used to fully remaster a game from start to finish, despite it being “just” a beta.

To that end, the software is available for download right now and NVIDIA hopes modders will experiment with the tool and leave feedback, which will be incorporated into future updates. It’s also free, which is always nice.

NVIDIA has released a non-comprehensive list of compatible games, which includes classics like Call of Duty 2, Hitman 2: Silent Assassin, Garry's Mod, Freedom Fighters, Need for Speed Underground 2, and Vampire: The Masquerade – Bloodlines, among others. For more information on compatibility, check out this FAQ.

The software suite has already been used by NVIDIA to create the Portal with RTX remaster, which is a free DLC, and the modder-made Portal: Prelude RTX. Orbifold Studios is also using RTX Remix to develop Half-Life 2 RTX: An RTX Remix Project, which is a community-driven remaster of the iconic title.

Again, this is a free tool, so it’ll be really fun to see what the modding community cooks up with it. I’m personally looking forward to more Elder Scrolls 3: Morrowind ray-tracing goodness.

Apple just dropped a trailer for its forthcoming sci-fi mystery series Constellation. The series follows an astronaut, played by Noomi Rapace, after an emergency return to Earth. However, the homecoming is fraught with mysterious occurrences and plain-old sci-fi weirdness, leaving audiences wondering what happened to her up there.

We don’t exactly know what type of sci-fi this is. There are hints that it could be a multiversal story, something that draws from false memory theories like the Mandela Effect. There are also hints that Rapace is being toyed with by an alien intelligence. There are clues that point to Rapace herself being an alien intelligence. Whichever way it goes, the show premieres with three episodes on February 21, followed by new entries each Wednesday.

In addition to Rapace, Constellation stars Jonathan Banks from the Breaking Bad television universe, James D’Arcy, Julian Looman, William Catlett and Barbara Sukowa. The show was created by Peter Harness, who wrote a bunch of Doctor Who episodes, and directed by Michelle MacLaren, who has a fantastic track record in genre TV, having helmed episodes of Game of Thrones, Breaking Bad, Westworld and, going way back, The X-Files.

This is going to be a trippy show, according to the above footage. It’s also cool that Apple releases trailers in HDR, so they’ll really pop on that Vision Pro headset, if you have more disposable income than Scrooge McDuck on tax return day.

Apple TV+ and sci-fi go together like peanut butter and space jelly. The streamer has quietly become the de facto source for science fiction TV. There’s For All Mankind, which just ended a stellar fourth season, and Monarch: Legacy of Monsters, which just completed its first season. The streamer also recently put out the first season of Silo, based on the Hugh Howey books, and the second season of Invasion.

But wait, there’s more. Apple TV+ is home to the blockbuster hit Severance and a loose adaptation of Isaac Asimov’s seminal Foundation book series. Both shows have been renewed. Additionally, there’s Hello Tomorrow, Extrapolations, Dr. Brain and See. Even shows that don’t seem to be steeped in sci-fi, like Schmigadoon and The Last Days of Ptolemy Grey, have otherworldly elements. Apple loves itself some sci-fi. I’m down with this. The real world is boring and dumb.