Ahead of the hit show's finale, cocreators Paul W. Downs and Lucia Aniello talk about media consolidation, the perils of censorship, and why they find AI "deeply disturbing." If you're a WIRED reader who uses AI in any creative context, I'd suggest staying far, far away from anyone involved in the TV show . In an interview earlier this year, actor Hannah Einbinder (who plays young comedy writer Ava Daniels on the show) described AI creators as "losers," "not artists," and "not special." In a wide-ranging conversation for ahead of the series finale on HBO Max, Paul W. Downs and Lucia Aniello were resolute about the value of human creativity--and what can be lost when AI enters the picture. If their work on is any indication, Downs and Aniello (along with their third cocreator, Jen Statsky) would be wise to stick with the tough, tiring, absolutely-no-shortcuts approach they take to making entertainment. Across five excellent seasons--if you haven't seen the show, I really do recommend it-- has been praised for its sharp writing and wit, and its thoughtful portrayal of Deborah Vance and Ava's complex, constantly evolving relationship. The show has also acted as something of a mirror for the real-world entertainment industry, weaving in plotlines that tackle everything from media consolidation to corporate censorship to, yes, artificial intelligence. The show's cast and creators have been on a media whirlwind as it all comes to an end. When they came knocking on WIRED's door, we jumped at the chance to chat, and I was lucky enough to spend an hour with Downs and Aniello--both WIRED subscribers, much to my delight--earlier this month. KATIE DRUMMOND: Lucia Aniello and Paul Downs, who I just learned are married, congratulations and welcome to . You should have been there. You should have been there. Ugh, why didn't we bring you? We are going to renew for our 10-year at the same place though. Lucia was born in Italy, so it was closer to a lot of family. And you were married in what year? You have time to find your look. A major priority for me in my life is perfecting my look. We do work at Condé Nast, and my boss is Anna Wintour.

Miniature people have been a staple of science fiction and fantasy going all the way back to Jonathan Swift's, and shrunken characters have taken the spotlight in everything from classic Hollywood movies like and to family-friendly blockbusters like and . References to these movies and others are strewn throughout the new Peacock limited series, but the drawn-out, 10-episode show isn't a particularly worthwhile addition to the sci-fi shrinking canon. Taking only the title and basic premise from Manuel Gonzales's 2014 short story, stars Elizabeth Banks as Lindy Littlejohn, a once-prominent author who now works as a university professor and has been overshadowed by her scientist husband Les (Matthew Macfadyen). Lindy, you see, feels metaphorically small in both her personal and professional lives, and is about to become literally small following an accident - or it? The most pressing problem for Lindy is that Les has yet to develop a stable antidote to his formula, and everything that he has attempted to return to its original size thus far has almost immediately exploded.

No matter how well your favorite streaming service's algorithm knows you, come February, sometimes even the smartest technology can be swayed by the power of Valentine's Day. But love--romantic or otherwise--can be found in the oddest of places, including the radioactive wasteland of postapocalyptic Los Angeles, Westeros in the rare midst of relative peace, or behind the scenes of the latest MCU blockbuster. Whether you're in the mood for a reliable sci-fi gem or an enlightening new docuseries courtesy of director Josh Safdie, February's streaming lineup offers plenty of options to swoon over. Here are the 10 shows we're falling for right now. Picking up from roughly where Bryan Fuller and Alex Kurtzman's left off when it ended in 2024, might be best described as for the TikTok age or simply the franchise's horniest iteration.

Collaborative filtering methods based on implicit feedback (e.g., purchase records and browsing history) are widely used in recommender systems. Compared to explicit feedback (e.g., 1-5 star ratings), implicit feedback is more abundant and accessible in real-world applications. However, the missing data of implicit feedback also brings two challenges.

Latent embeddings offer an effective way of defining a content gap.

The first non-European Pope in more than 1,000 years, the Oscar-winning star of Annie Hall and The Godfather, a soul legend and one of the world's most famous designers - here are some of the well-known faces no longer with us. Among those we remember are Hollywood stars Robert Redford, Diane Keaton and Gene Hackman, and theatrical dames Joan Plowright and Patricia Routledge. Robert Redford's acting career spanned more than 50 films and won him an Oscar as a director. For many filmgoers though, he was simply the best-looking cinema star in the world - once described as a chunk of Mount Rushmore levered into stonewashed denims. As well as leading roles in hits such as All The President's Men, Butch Cassidy and the Sundance Kid and The Way We Were, Redford also launched the Sundance Film Festival to champion independent filmmakers. Los-Angeles-born Keaton shot to fame with her role in The Godfather, but enjoyed a long creative partnership with Woody Allen. Annie Hall, a comedy based on their off-screen relationship, earned her a Best Actress Oscar and they collaborated on several other films. She was nominated for three further Oscars - all in the best actress category - for her work in Something's Gotta Give, Marvin's Room and Reds. BASIL! - the unmistakable sound of Sybil Fawlty admonishing her pompous and incompetent husband, is probably how Prunella Scales will best be remembered. Apart from starring in sitcom Fawlty Towers, she played many other roles on screen and stage, including Queen Elizabeth II in Alan Bennett's play, A Question of Attribution.

An ensemble of about 10 robots - which will not be androids but ground vehicles between 40cm and 2m tall - will work with humans to learn how to be funny. An ensemble of about 10 robots - which will not be androids but ground vehicles between 40cm and 2m tall - will work with humans to learn how to be funny. A robot walks into a bar: can a Melbourne researcher get AI to do comedy? Robots can make humans laugh - mostly when they fall over - but a new research project is looking at whether robots using AI could ever be genuinely funny. If you ask ChatGPT for a funny joke, it will serve you up something that belongs in a Christmas cracker: "Why don't skeletons fight each other? Because they don't have the guts."

Prunella Scales, who died at the age of 93, was one of Britain's finest comic actors. But despite a long and distinguished career on stage and screen, she will inevitably be remembered as Sybil Fawlty in the 1970s TV comedy, Fawlty Towers. It was Sybil's mission in life to keep tabs on her stick insect husband Basil - played by John Cleese - between cigarette-fuelled phone conversations with her friend, Audrey. It fell to her to placate guests who had been shouted at, totally ignored or, in some cases, throttled by Basil when in one of his more manic moods. Her nightmarish laugh, gravity-defying hairdo and ferocious temper were part of a carefully constructed character that ranks as a comic masterpiece.

As large language models (LLMs) are increasingly used in human-AI interactions, their social reasoning capabilities in interpersonal contexts are critical. We introduce SCRIPTS, a 1k-dialogue dataset in English and Korean, sourced from movie scripts. The task involves evaluating models' social reasoning capability to infer the interpersonal relationships (e.g., friends, sisters, lovers) between speakers in each dialogue. Each dialogue is annotated with probabilistic relational labels (Highly Likely, Less Likely, Unlikely) by native (or equivalent) Korean and English speakers from Korea and the U.S. Evaluating nine models on our task, current proprietary LLMs achieve around 75-80% on the English dataset, whereas their performance on Korean drops to 58-69%. More strikingly, models select Unlikely relationships in 10-25% of their responses. Furthermore, we find that thinking models and chain-of-thought prompting, effective for general reasoning, provide minimal benefits for social reasoning and occasionally amplify social biases. Our findings reveal significant limitations in current LLMs' social reasoning capabilities, highlighting the need for efforts to develop socially-aware language models.

Many will assume that OpenAI's Sora app represents a new era of social media. But that's wrong--all it does is reanimate our current one. As a purely creative instrument, Sora, the new AI video app from OpenAI, is a game changer. Dream up any scenario and it appears in an instant. Mr. Rogers teaching Tupac Shakur the lyrics to the legendary rap diss "Hit Em Up."