Truth may or may not be stranger than fiction, but it certainly can be more dramatically compelling. A documentary on the mission that took astronauts Neil Armstrong, Buzz Aldrin and Michael Collins to the moon and back half a century ago, "Apollo 11" has no talking heads telling us what it all means or modern re-creations like the unemotional Ryan Gosling-starring "First Man." Instead, as directed by Todd Douglas Miller, "Apollo 11" relies on footage shot and audio recorded at the time, and the results, from liftoff to landing to the journey back home, are completely riveting. "Apollo 11" succeeds as well as it does for several reasons, but a key one was the discovery in the National Archives of hours of large-format 65-millimeter color footage covering all aspects of the mission, footage that had never been seen by the public and was subsequently digitized to the highest resolution possible. Also discovered were 11,000 hours of audio recordings from key personnel on the ground as well as the astronauts way out in space. But just having great material does not guarantee a superior film, which is where Miller's skill and experience Miller come in.

Say you have a 10x10 black and white image where every pixel specifies whether the space is traversable. A maze is solvable if you can travel from the centre to the edge. Can a feedforward convolutional network distinguish between solvable and insolvable mazes? How would this scale with maze size and number of layers? Do you know any research papers on this?

Diana Greene, former CEO of Google Cloud and co-founder of VMWare, joins CNBC's Becky Quick at the MIT Schwarzman College Of Computing …

Artificial Intelligence: what is it? How will it impact our lives? How will it be used? Will it actually take over? As the field emerges and becomes more widely discussed, social media's role in shaping public debate answering these questions and more has never been more apparent, with more of us turning to social media for news.

If Netflix's new Dating Around reality series is a touch too maudlin for your taste, then you'll probably dig its upcoming French original Osmosis. The first trailer for the technophobic show, which premieres March 29th, just landed and it's a literal head trip. Set in a near future, it follows several young Parisians who sign up to a beta program for an experimental dating technology designed to pair up soul mates. The clip shows the eager participants pop a pill like Neo in The Matrix (which turns 20 next month). But instead of taking back their life from a machine-dominated simulation, it puts their romantic fate in the hands of an AI named Martin.

"We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed." In February 1909, those words from The Futurist Manifesto appeared in the Italian newspaper La Gazzetta dell'Emilia.

When you enter Star Wars: Galaxy's Edge, the 14-acre expansion coming to Disneyland early this summer, you are faced with a choice. Walk around a bend -- and under an archway crafted to look centuries old -- to discover the starship the Millennium Falcon, nestled comfortably under hand-sculpted mountains designed to evoke the petrified forests of New Mexico. Or wander into a marketplace, one inspired by Moroccan and Turkish bazaars. Intergalactic creatures are said to live in the ramshackle, factory-like apartments above the shops, here presented as stalls, creating a cacophony of life and noise. Consider this the "Star Wars" equivalent of Main Street, U.S.A, but instead of quaint stores there are mysterious cat-like creatures in cages and toys that feel patched together from found parts. If you bypass the town you'll enter a forest where the Resistance, the "good guys" in the "Star Wars" universe, have set up a camp, hiding ships among shrubbery and building a base inside alien ruins -- a twisting cave where digital schematics clash with remnants of a long-lost civilization.

In 1985, the TV film Max Headroom: 20 Minutes into the Future presented a science fictional cyberpunk world where an evil media company tried to create an artificial intelligence based on a reporter's brain to generate content to fill airtime. There were somewhat unintended results. Replace "reporter" with "redditors," "evil media company" with "well meaning artificial intelligence researchers," and "airtime" with "a very concerned blog post," and you've got what Ars reported about last week: Generative Pre-trained Transformer-2 (GPT-2), a Franken-creation from researchers at the non-profit research organization OpenAI. Unlike some earlier text-generation systems based on a statistical analysis of text (like those using Markov chains), GPT-2 is a text-generating bot based on a model with 1.5 billion parameters. With or without guidance, GPT-2 can create blocks of text that look like they were written by humans.

Like the recent horror favorites "The Babadook" and "Hereditary," director Lee Cronin's "The Hole in the Ground" exploits the common terrors of parenthood. Though it's not quite in the same league as those movies, this is an impressive feature debut for a filmmaker with more in mind than just monsters and jump-scares. Co-written by Cronin and Stephen Shields, "The Hole in the Ground" stars Seána Kerslake as Sarah O'Neill, mother to Chris (James Quinn Markey), a precocious boy who peppers his mom with questions about why they left his father, and why they're moving to a small Irish town in the middle of nowhere. Not long after the O'Neills arrive, Chris' nagging evolves into flagrant misbehavior. After a local eccentric warns Sarah that her son is "not him," she suspects he's been replaced by a changeling -- perhaps sprung from the enormous sinkhole on their property.

Although recent neural conversation models have shown great potential, they often generate bland and generic responses. While various approaches have been explored to diversify the output of the conversation model, the improvement often comes at the cost of decreased relevance. In this paper, we propose a method to jointly optimize diversity and relevance that essentially fuses the latent space of a sequence-to-sequence model and that of an autoencoder model by leveraging novel regularization terms. As a result, our approach induces a latent space in which the distance and direction from the predicted response vector roughly match the relevance and diversity, respectively. This property also lends itself well to an intuitive visualization of the latent space. Both automatic and human evaluation results demonstrate that the proposed approach brings significant improvement compared to strong baselines in both diversity and relevance.