Gowanus the media puppet probably shouldn't even be talking to me. Made of literal garbage--his origin story is that he was born in a dumpster in his namesake neighborhood in Brooklyn--he's the media representative for the Summer of Ludd, a Luddite festival that took place in New York earlier this month. The festival, which WIRED attended, included everything from workshops on how to flirt IRL to an evidence box, where people could submit testimonies on how Big Tech has negatively impacted their lives. Its rules were simple: Be present. No phones, recordings, or photographs allowed. So, philosophically speaking, it is somewhat contrary to Gowanus' beliefs to be in a podcast recording studio at Condé Nast's Manhattan offices. But he's pragmatic, telling us he wants to reach people, so he's willing to meet them where they're at. Still, he has some conditions--presented to me on a handwritten contract. Namely, that we not clip short-form video of the show, in an effort to encourage people to engage with the full interview. In a compromise, we agree to only clip Gowanus explaining the contract. You might be wondering why Summer of Ludd and its movement are represented by a puppet. It's a nod to the original Luddites, British textile workers who anonymously organized against being replaced by technology during the Industrial Revolution in the early 19th century. While the term "Luddite" has since become a derogatory way to refer to someone who opposes technology, there's a renaissance happening--and it's surprisingly being heavily embraced by Gen Z. Gowanus offers anonymity to the people behind the growing trend. I was curious about how being a modern-day Luddite works in practical terms--even organizing this interview was a challenge, because the Summer of Ludd folks weren't necessarily quick to reply to emails. And I wanted to know why the first generation to ever grow up totally online seems to be leading the charge on having less screen time.

A researcher found that using Anthropic's Claude Opus 4.7, he could break into the website of Front Gate--used by every festival from Lollapalooza to Bonnaroo--and freely issue any ticket he chose. Fears about AI tools capable of autonomous hacking usually involve nightmare scenarios like the theft of nuclear launch codes or zeroed-out bank reserves. Far more plausible, it turns out, is asking AI to gain super-administrator access on a ticketing website and then issuing yourself and all of your friends free VIP backstage passes to Bonnaroo. That was the discovery of security researcher Ian Carroll, who used the AI tool Claude Opus 4.7 in April to discover a technique that allowed him full access to the systems of Front Gate Tickets, which handles ticketing for practically every major US music festival, from Lollapalooza and South by Southwest to Austin City Limits. Carroll found that Front Gate, which like Ticketmaster is a subsidiary of the event company Live Nation Entertainment, had a bug in its website that he--with Claude's help--could exploit to gain access to millions of customer or staff records and freely issue tickets for any event, of any value, to himself or whoever he chose.

Prediction Market Philosophers Got What They Wanted. Getting the future right is now big business. But at a festival in the Bay Area, forecasters worry that sports markets could take the whole industry down. On June 11, Kalshi released a buzzy ad featuring noted New York Knicks fan Timothée Chalamet. It was a zeitgeist-capturing moment for prediction markets, akin to the 2022 Super Bowl, when seemingly every commercial featured a celebrity shilling crypto.

In its first week, the seventy-ninth edition of the festival unveiled standout new works by James Gray, Paweł Pawlikowski, and Ryûsuke Hamaguchi. Attend the Cannes Film Festival long enough, and you will grow wearily accustomed to the reality that some of the best films to première there are routinely overlooked for prizes. Lee Chang-dong magnificently unsettling psychological chiller, "Burning," failed to ignite the excitement of the 2018 jury. The tragicomic glories of Maren Ade's " Toni Erdmann," from 2016, were just as inexplicably unrewarded. Jurors shut out David Cronenberg's "A History of Violence," in 2005; Hou Hsiao-hsien's "Flowers of Shanghai," in 1998; Krzysztof Kieślowski's "Three Colors: Red," in 1994; Martin Scorsese's "Alice Doesn't Live Here Anymore," in 1975; and--the tradition goes way back--Vittorio De Sica's "Umberto D.," in 1952.

A still from animated film La Sélection Mécanique, directed by Jules Blachier. A still from animated film La Sélection Mécanique, directed by Jules Blachier. While emerging technology is banned from the Palme d'Or, an upstart movement is gaining investment and attention I n Cannes' darkened screening rooms, the supposed future of cinema flickered into life this week and it was strange. The first edition of the World AI film festival (WAIFF) showcased visions of men with fish scales erupting from their necks and seaweed from their mouths, a heroine with a heart beating outside her body and so many massed armies of AI-generated tanned men sweeping across battlefields that David Lean would have blushed. Last week the Cannes film festival, entering its 76th year, banned the emerging technology from its Palme d'Or competition, insisting "AI imitates very well but it will never feel deep emotions".

A visitor has called it a miracle no-one was hurt when a section of cliff collapsed on to a beach on Dorset's Jurassic Coast. Suzanne Sears, from Hemel Hempstead in Hertfordshire, was taking a walk near West Bay when she heard a deep cracking noise coming from the cliffs before the rockfall shortly after 16:00 GMT on Tuesday. The Maritime and Coastguard Agency confirmed a rescue team was sent to a report of a cliff fall at West Bay and no one was found to be in distress. A woman was forced to run to safety as the Dorset cliff collapsed on Saturday. The kayakers spotted the creature after hearing it exhaling loudly off Portland Castle beach.

The annual food fight festival ''Els Enfarinats'' has left the Spanish town of Ibi covered in flour and egg shells. Every year participants wear military-style costumes and stage a fake coup using eggs, flour and firecrackers. The eggers go around asking for taxes - donations to charity - from local people and if you don't pay you could end up getting splatted. The festival, held in the province of Alicante, is more than 200 years old and takes place on the 28 December each year to coincide with the Day of the Innocents - Spain's equivalent of April Fools' Day. The French model and actress has died at the age of 91.

It was a Monday night in Myanmar's Chang U township in the central Sagaing region, where nearly 100 people had gathered to mark Thadingyut, the festival of the full moon. Some held candles at the event, which doubled as both a celebration and a protest against the military, which seized power in 2021, plunging the country into a bloody civil war. But the celebration soon turned into horror as a motorised paraglider - known locally as a paramotor - flew overhead and dropped bombs onto the crowd. The attack lasted just seven minutes, but at least 26 people died as a result and dozens more were injured. Initially, I thought the lower part of my body had been severed, one 30-year-old who was at the gathering told news agency Reuters.

We introduce DRISHTIKON, a first-of-its-kind multimodal and multilingual benchmark centered exclusively on Indian culture, designed to evaluate the cultural understanding of generative AI systems. Unlike existing benchmarks with a generic or global scope, DRISHTIKON offers deep, fine-grained coverage across India's diverse regions, spanning 15 languages, covering all states and union territories, and incorporating over 64,000 aligned text-image pairs. The dataset captures rich cultural themes including festivals, attire, cuisines, art forms, and historical heritage amongst many more. We evaluate a wide range of vision-language models (VLMs), including open-source small and large models, proprietary systems, reasoning-specialized VLMs, and Indic-focused models, across zero-shot and chain-of-thought settings. Our results expose key limitations in current models' ability to reason over culturally grounded, multimodal inputs, particularly for low-resource languages and less-documented traditions. DRISHTIKON fills a vital gap in inclusive AI research, offering a robust testbed to advance culturally aware, multimodally competent language technologies.

Large Language Models (LLMs) have emerged as powerful general-purpose reasoning systems, yet their development remains dominated by English-centric data, architectures, and optimization paradigms. This exclusionary design results in structural under-representation of linguistically diverse regions such as India, where over 20 official languages and 100+ dialects coexist alongside phenomena like code-switching and diglossia. We introduce PARAM-1, a 2.9B parameter decoder-only, text-only language model trained from scratch with an explicit architectural and linguistic focus on Indian diversity. PARAM-1 is trained on a bilingual dataset consisting of only Hindi and English, constructed with a strong focus on fact-rich, high-quality content. It is guided by three core principles: equitable representation of Indic languages through a 25% corpus allocation; tokenization fairness via a SentencePiece tokenizer adapted to Indian morphological structures; and culturally aligned evaluation benchmarks across IndicQA, code-mixed reasoning, and socio-linguistic robustness tasks. By embedding diversity at the pretraining level-rather than deferring it to post-hoc alignment-PARAM-1 offers a design-first blueprint for equitable foundation modeling. Our results demonstrate that it serves as both a competent general-purpose model and a robust baseline for India-centric applications.