Multimodal Entity Linking (MEL) aims to link ambiguous mentions within multimodal contexts to associated entities in a multimodal knowledge base. Existing approaches to MEL introduce multimodal interaction and fusion mechanisms to bridge the modality gap and enable multi-grained semantic matching. However, they do not address two important problems: (i) mention ambiguity, i.e., the lack of semantic content caused by the brevity and omission of key information in the mention's textual context; (ii) dynamic selection of modal content, i.e., to dynamically distinguish the importance of different parts of modal information. To mitigate these issues, we propose a Multi-level Mixture of Experts (MMoE) model for MEL. MMoE has four components: (i) the description-aware mention enhancement module leverages large language models to identify the WikiData descriptions that best match a mention, considering the mention's textual context; (ii) the multimodal feature extraction module adopts multimodal feature encoders to obtain textual and visual embeddings for both mentions and entities; (iii)-(iv) the intra-level mixture of experts and inter-level mixture of experts modules apply a switch mixture of experts mechanism to dynamically and adaptively select features from relevant regions of information. Extensive experiments demonstrate the outstanding performance of MMoE compared to the state-of-the-art. MMoE's code is available at: https://github.com/zhiweihu1103/MEL-MMoE.

In the Marvel Cinematic Universe, the so-called normal people are often nonessential. We get in the way, we muck things up, we need help, we get turned to dust and in the case of last year's "WandaVision," we mortals exist mostly to be playthings for those with powers. Disney California Adventure's Avengers Campus aims to flip the script. Superheroes, they're just like us, the land argues. They get captured, they need our help, they make mistakes and sometimes they just have to do dreary, daily work.

This morning I walked through a new land at Disney California Adventure -- the first proper space dedicated to the Marvel Cinematic Universe in one of Disney's North American parks -- and what I remember most is a moment of silence, a collective pause clearly dedicated to the late Chadwick Boseman, the star of "Black Panther." Avengers Campus, opening Friday in Anaheim, boasts a new interactive ride and a glossy, silver airship. But what truly contrasts the land with others in the Disney parks is its devotion to theater, its embrace of the present and its lack of fear of the so-called "real world." Here, you may not mind standing in lines for food or rides -- or maybe you'll mind a little less -- because you might catch the royal female guards from the world of "Black Panther." When the battle spear-equipped warriors known as the Dora Milaje make an entrance, it's safe to say audiences will stop and pay attention.

Over the past 10 years, thousands of movies have hit the world's multiplexes. It's nearly impossible to watch, let alone review, all of them. Yet, looking back over the past decade, it's easy to recall the ones that left indelible marks. The ones that caused audiences to leave the theater gobsmacked (or heartbroken, or mind-blown). For us at WIRED, this list (in chronological order) represents those movies. Not everything here is a genre film--our specialty--but there are probably more sci-fi, fantasy, and comic-book movies here than on any other best-of roundup.

If you're still emotionally wiped out by Avengers Endgame, The Void and ILMxLAB's latest VR entry might soothe your geeky soul. Avengers Damage Control is more than just a mere virtual reality game, like the upcoming Iron Man title for the PlayStation VR. Instead, it's a prime example of what The Void does best: Building large-scale multi-player VR experiences mapped to physical sets. It's a dream come true for anyone who's ever wanted to fight alongside their favorite Marvel superheroes -- just be prepared to shell out $40 to experience it. Suiting up for Damage Control involves strapping on one of The Void's backpack computers, as well as a huge VR headset.

The flood of trolling on Rotten Tomatoes started about a month ago. Weeks before the release of Captain Marvel, commenters on the site were already claiming the movie was garbage and that they had no intentions of seeing it. "Terrible movie hate it already!!!!!!" wrote one. "Not interested in seeing another SJW [Social Justice Warrior] propaganda film," claimed another. And finally: "THIS MOVIE IS DESTINED TO FLOP."

Artificial Intelligence (AI) has a lot of promise, but it is still in the hype phase. Although strides have been made in machine learning and cognitive computing, most practical applications for AI are still nascent. As such, this is the right time to begin developing AI standards that can address some of the issues that have already been identified with AI, such as potential bias and the ethical concerns behind the technology, so that business value can be maximized. Syed Husain, Manager Enterprise Architecture for Accenture, examined these topics at The Open Group London event in April 2018. In this far-reaching conversation, we spoke with Husain about where AI stands today, what the ultimate promise of AI is and the value standards may be able to bring to this still-emerging technology. How do you define Artificial Intelligence?

When director Stanley Kubrick released 2001: A Space Odyssey 50 years ago, he intended it to be a "nonverbal experience." The movie's dialogue was sparse, and it relied heavily on visuals and score. It was, Kubrick told Playboy in 1968, a subjective film, meant to reach audiences "at an inner level of consciousness, just as music does." The same cannot be said of its 1976 comic book adaptation. Marvel's oversized Treasury Edition, which was written, drawn, and edited by the late Jack Kirby--legendary co-creator of Captain America, the X-Men, Black Panther, and dozens of others--left little up to interpretation.

Science fiction has long been criticised for its lack of racial diversity and inclusion. It's rare to see a lead character who isn't white. One study of the top 100 highest-grossing films in the US showed that just eight of those 100 movies had a non-white protagonist, as of 2014. Six of those eight were Will Smith, according to diversity-focused book publisher Lee and Low Books. The long-term exclusion of people of colour from science fiction offers up an interesting paradox.

Solo: A Star Wars Story stars Alden Ehrenreich as a young Han Solo, Donald Glover as a young Lando Calrissian, and Phoebe Waller-Bridge as droid L3-37. Meet the Millennium Falcon: The ship that made the Kessel Run to Wakanda and... wait, what? Presale tickets for Solo: A Star Wars Story went on sale on Fandango at midnight Eastern Time and have already doubled presales for Marvel's blockbuster hit Black Panther in less than 24 hours. Among 2018 films, Solo's presale numbers are second only to Avengers: Infinity War. Ticket-buyers receive a free Solo poster but must pay shipping and handling charges.