This week viewers can pick up some catalog titles in 4K, like Saw, as well as 20th Anniversary Edition versions of Shrek and the first Fast and the Furious movie. But the major launch this week is Bioware's remastered version of the Mass Effect trilogy, now available across console generations and on PC, with improved graphics, gameplay and almost all of the content ever released for the games. Otherwise, Netflix has the final season of Castlevania, as well as a new round of episodes in the Love Death & Robots anthology. HBO's feature film release of the week is Those Who Wish Me Dead, and if you're looking for something a little different then try Intergalactic, a sci-fi prison break series from the UK that's streaming on Peacock. Look below to check out each day's highlights, including trailers and let us know what you think (or what we missed). Let's Be Real, Fox, 9:30 PM Everything's Gonna Be Okay, Freeform, 10 PM All times listed are ET.

As a reader of this column, you probably know I am releasing a new book, The Augmented Workforce: How AR, AI, and 5G Will Impact Every Dollar You Make on May 25 with my co-author, John Buzzell. For the next four weeks, I'll be sharing excerpts from the book as columns to help brands, businesses and professionals prepare and understand what the era of the augmented workforce holds, how to prepare and how to leverage the changes to stay relevant in the future. Dearly disrupted we are gathered here to talk about the future spaces we will inhabit. We are living through a period of rapid change, possibly beyond society's capacity to keep up. Various emerging technologies, such as artificial intelligence (AI), augmented reality (AR), virtual reality (VR), and 5G, along with dozens of devices that work together (Internet of Things), have helped to create an environment in which new inventions, possibilities, and learning curves change weekly. According to Peter Diamandis and Steven Kotler, authors of The Future Is Faster Than You Think, "Moore's Law is the reason the smartphone in your pocket is a thousand times smaller, a thousand times cheaper, and a million times more powerful than a supercomputer from the 1970s. In 2023 the average thousand-dollar laptop will have the same computing power as a human brain (roughly 1016 cycles per second). Twenty-five years after that, that same average laptop will have the power of all the human brains currently on Earth."

By no means a thinking person's film, Godzilla vs. Kong nonetheless has moments of something like--what might be called--you could say--intelligence. Perhaps the smartest thing it did, for instance, was cast Kaylee Hottle in the part of Jia, a young girl who can talk to Kong. Both actress and character are deaf; when she first appears, the filmmakers pull off a nifty perspective shift by sucking out most of the sound. Later, we learn that Jia communicates with the big monkey the same way certain primate researchers interact with their subjects: in sign language. So not only does a deaf kid get to star in a major monster picture--it also makes effortless, plot-relevant sense to have her there.

The term conversational AI (CAI) refers to the underlying set of intelligent technologies that enable software systems to interact with humans using natural language processing (NLP). This involves the ability of software to understand the intent behind what a human is saying and respond in an intelligent, conversational way. In the last decade, technologies and use cases have evolved so rapidly that we have seen a deluge of terms enter circulation like chatbot, virtual agent, voice assistant and conversational UI to name a few. For senior executives and customer-focused leaders, certainly they should be looking to make this new channel a fundamental part of their banks' wider customer engagement strategy. That's why EPAM has produced a white paper outlining 7 Lessons Learned from the Field as a practical guide for both business leaders and technologists with customer-facing responsibilities in banking.

'I think it looks terrific," says David Hockney. The 83-year-old artist is taking a look around his new exhibition at the Royal Academy in London for the first time. He seems happy with it – and rightly so, for it is hypnotic and ravishing. But while I am getting a sneak preview in person, Hockney is here only virtually, his face appearing on two screens, one a giant TV, the other a small laptop. He is at home, at what he calls his "seven dwarves house" in Normandy, wearing a red, black and white check jacket, a checkerboard tie, a blue-green pullover and round, gold-framed glasses. His kaleidoscopic choice of clothing, challenging the very limits of the video call's bandwidth, is as vibrant and beguiling as the canvases hanging around us. Hockney has not just painted spring; he has come dressed as it. The artist has agreed to talk me through the exhibition, called The Arrival of Spring, Normandy, 2020, and the arrangement underlines his idiosyncratic ease with technology. To make these iPad paintings, he and his team created a version of the Brushes app, working with a computer expert in Leeds to speed things up. "Drawing requires a certain speed," he says. "In Rembrandt's drawings, you can see how fast he drew." I can't handle Hockney on the big screen, so I sit in front of the laptop – after first taking in his art. He has filled some of the grandest rooms in the RA with pictures of blossoming branches, spilling flower beds, a rain-spattered pond and a tree house: simple subjects, faithfully depicted. I first saw many of these last spring, in my email inbox. Day after day, sometimes more than once a day, I would find a new Hockney, fresh from France, which was a great pick-me-up as the full scope of the pandemic began to dawn. The trouble was that I was soon running out of superlatives in my replies. He was "doing the arrival of spring in Normandy", as he puts it, and the work made headlines around the world when he released a few images to the media. Clearly, it was not just me who found Hockney's passionate pictures of new life in his cottage and garden in the Norman paysage uplifting. Here was movingly optimistic art, full of the promise of spring, even as Covid plunged the planet into despair. Now those pictures have been printed up to the scale of oil landscapes and are looking even better. This is Hockney's best exhibition in a long time, perhaps his most important ever, given the ode to joy it offers an injured world. It is also "a homage", he says, to the painters who first inspired him. Hockney was born in industrial Bradford in 1937 and grew up in a smoggy postwar Britain. Where did he get a feeling for all the bright strong colours that sweep this exhibition? "Well, it came from Monet and Matisse and Picasso.

Shalini Kantayya describes herself as a filmmaker who's fascinated with disruptive technologies and the good or harm they create. In a data-driven and increasingly automated world, there's a question of how to protect our civil liberties as artificial intelligence grows by the day. MIT researcher Joy Buolamwini discovered that most facial recognition technology does not see dark-skinned faces and women's faces accurately. This led to an investigation of how the technology we typically see as objective can actually encode racism and sexism. Buolamwini, and others working to change technology for the better around the globe, are featured in Kantayya's documentary Coded Bias.

Every day, billions of photos and videos are posted to various social media applications. The problem with standard images taken by a smartphone or digital camera is that they only capture a scene from a specific point of view. But looking at it in reality, we can move around and observe it from different viewpoints. Computer scientists are working to provide an immersive experience for the users that would allow them to observe a scene from different viewpoints, but it requires specialized camera equipment that is not readily accessible to the average person. To make the process easier, Dr. Nima Kalantari, professor in the Department of Computer Science and Engineering at Texas A&M University, and graduate student Qinbo Li have developed a machine-learning-based approach that would allow users to take a single photo and use it to generate novel views of the scene.

Conversational recommender systems (CRSs) have revolutionized the conventional recommendation paradigm by embracing dialogue agents to dynamically capture the fine-grained user preference. In a typical conversational recommendation scenario, a CRS firstly generates questions to let the user clarify her/his demands and then makes suitable recommendations. Hence, the ability to generate suitable clarifying questions is the key to timely tracing users' dynamic preferences and achieving successful recommendations. However, existing CRSs fall short in asking high-quality questions because: (1) system-generated responses heavily depends on the performance of the dialogue policy agent, which has to be trained with huge conversation corpus to cover all circumstances; and (2) current CRSs cannot fully utilize the learned latent user profiles for generating appropriate and personalized responses. To mitigate these issues, we propose the Knowledge-Based Question Generation System (KBQG), a novel framework for conversational recommendation. Distinct from previous conversational recommender systems, KBQG models a user's preference in a finer granularity by identifying the most relevant relations from a structured knowledge graph (KG). Conditioned on the varied importance of different relations, the generated clarifying questions could perform better in impelling users to provide more details on their preferences. Finially, accurate recommendations can be generated in fewer conversational turns. Furthermore, the proposed KBQG outperforms all baselines in our experiments on two real-world datasets.

Many practices have been presented in music generation recently. While stylistic music generation using deep learning techniques has became the main stream, these models still struggle to generate music with high musicality, different levels of music structure, and controllability. In addition, more application scenarios such as music therapy require imitating more specific musical styles from a few given music examples, rather than capturing the overall genre style of a large data corpus. To address requirements that challenge current deep learning methods, we propose a statistical machine learning model that is able to capture and imitate the structure, melody, chord, and bass style from a given example seed song. An evaluation using 10 pop songs shows that our new representations and methods are able to create high-quality stylistic music that is similar to a given input song. We also discuss potential uses of our approach in music evaluation and music therapy.

Austrian company Tec-Innovation recently unveiled smart shoes that use ultrasonic sensors to help people suffering from blindness of vision impairment to detect obstacles up to four meters away. Known as InnoMake, the smart shoe aims to become a modern alternative to the decades-old walking stick that millions of people around the world depend on to get around as safely as possible. The currently available model relies on sensors to detect obstacles and warns the wearer via vibration and an audible alert sounded on a Bluetooth-linked smartphone. That sounds impressive enough, but the company is already working on a much more advanced version that incorporates cameras and artificial intelligence to not only detect obstacles but also their nature. Tec-Innovation partnered with Austria's Graz University of Technology to develop of state-of-the-art deep-learning algorithms modeled on neural networks that can analyze the information provided by sensors and cameras incorporated in the InnoMake shoe to determine whether an area is free obstacles and safe to walk on, and also distinguish between various types of obstacles. "Not only is the warning that I am facing an obstacle relevant, but also the information about what kind of obstacle I am facing.