Automatically detecting abnormal events in videos is crucial for modern autonomous systems, yet existing Video Anomaly Detection (VAD) benchmarks lack the scene diversity, balanced anomaly coverage, and temporal complexity needed to reliably assess real-world performance. Meanwhile, the community is increasingly moving toward Video Anomaly Understanding (VAU), which requires deeper semantic and causal reasoning but remains difficult to benchmark due to the heavy manual annotation effort it demands. In this paper, we introduce Pistachio, a new VAD/VAU benchmark constructed entirely through a controlled, generation-based pipeline. By leveraging recent advances in video generation models, Pistachio provides precise control over scenes, anomaly types, and temporal narratives, effectively eliminating the biases and limitations of Internet-collected datasets. Our pipeline integrates scene-conditioned anomaly assignment, multi-step storyline generation, and a temporally consistent long-form synthesis strategy that produces coherent 41-second videos with minimal human intervention. Extensive experiments demonstrate the scale, diversity, and complexity of Pistachio, revealing new challenges for existing methods and motivating future research on dynamic and multi-event anomaly understanding.

A.2 provides the definitions of six predicates used A.3 provides implementation details of our models. Logic expression is the actual predicate logic constraints that we use in the model. T ask 1: Story Generation Input expression: Order(hated, stupid) & Order(stupid, insulting) & Order (insulting, punched) Logic expression: Order(hated, stupid) Order(stupid, insulting) Order (insulting, punched) T5: I had a crush on a man. I told him I was stupid. He hated me for insulting me.

We present a node-based storytelling system for multimodal content generation. The system represents stories as graphs of nodes that can be expanded, edited, and iteratively refined through direct user edits and natural-language prompts. Each node can integrate text, images, audio, and video, allowing creators to compose multimodal narratives. A task selection agent routes between specialized generative tasks that handle story generation, node structure reasoning, node diagram formatting, and context generation. The interface supports targeted editing of individual nodes, automatic branching for parallel storylines, and node-based iterative refinement. Our results demonstrate that node-based editing supports control over narrative structure and iterative generation of text, images, audio, and video. We report quantitative outcomes on automatic story outline generation and qualitative observations of editing workflows. Finally, we discuss current limitations such as scalability to longer narratives and consistency across multiple nodes, and outline future work toward human-in-the-loop and user-centered creative AI tools.

The rapid growth of online video content, especially on short video platforms, has created a growing demand for efficient video editing techniques that can condense long-form videos into concise and engaging clips. Existing automatic editing methods predominantly rely on textual cues from ASR transcripts and end-to-end segment selection, often neglecting the rich visual context and leading to incoherent outputs. In this paper, we propose a human-inspired automatic video editing framework (HIVE) that leverages multimodal narrative understanding to address these limitations. Our approach incorporates character extraction, dialogue analysis, and narrative summarization through multimodal large language models, enabling a holistic understanding of the video content. To further enhance coherence, we apply scene-level segmentation and decompose the editing process into three subtasks: highlight detection, opening/ending selection, and pruning of irrelevant content. To facilitate research in this area, we introduce DramaAD, a novel benchmark dataset comprising over 800 short drama episodes and 500 professionally edited advertisement clips. Experimental results demonstrate that our framework consistently outperforms existing baselines across both general and advertisement-oriented editing tasks, significantly narrowing the quality gap between automatic and human-edited videos.

Serialized television narratives present significant analytical challenges due to their complex, temporally distributed storylines that necessitate sophisticated information management. This paper introduces a multi-agent system (MAS) designed to extract and analyze narrative arcs by implementing principles of computational memory architectures. The system conceptualizes narrative understanding through analogues of human memory: Large Language Models (LLMs) provide a form of semantic memory for general narrative patterns, while a vector database stores specific arc progressions as episodic memories. A multi-agent workflow simulates working memory processes to integrate these information types. Tested on the first season of Grey's Anatomy (ABC 2005-), the MAS identifies three arc types: Anthology (self-contained), Soap (relationship-focused), and Genre-Specific. These arcs and their episodic developments are stored in a vector database, facilitating structured analysis and semantic comparison. To bridge automation with critical interpretation, a graphical interface enables human oversight and refinement of the system's narrative memory. While demonstrating strong performance in identifying Anthology Arcs and character entities, the system's reliance on textual paratexts (episode summaries) revealed limitations in discerning overlapping arcs and opaque dynamics, underscoring the challenges in computational memory consolidation versus human holistic understanding. This memory-centric approach highlights the potential of combining AI-driven memory processing with human expertise. Beyond television, it offers promise for serialized written formats where narrative is entirely text-based. Future work will focus on integrating multimodal inputs to enrich episodic memory, refining memory integration mechanisms within the MAS, and expanding testing across diverse genres.

Video Comment Art enhances user engagement by providing creative content that conveys humor, satire, or emotional resonance, requiring a nuanced and comprehensive grasp of cultural and contextual subtleties. Although Multimodal Large Language Models (MLLMs) and Chain-of-Thought (CoT) have demonstrated strong reasoning abilities in STEM tasks (e.g. mathematics and coding), they still struggle to generate creative expressions such as resonant jokes and insightful satire. Moreover, existing benchmarks are constrained by their limited modalities and insufficient categories, hindering the exploration of comprehensive creativity in video-based Comment Art creation. To address these limitations, we introduce GODBench, a novel benchmark that integrates video and text modalities to systematically evaluate MLLMs' abilities to compose Comment Art. Furthermore, inspired by the propagation patterns of waves in physics, we propose Ripple of Thought (RoT), a multi-step reasoning framework designed to enhance the creativity of MLLMs. Extensive experiments reveal that existing MLLMs and CoT methods still face significant challenges in understanding and generating creative video comments. In contrast, RoT provides an effective approach to improve creative composing, highlighting its potential to drive meaningful advancements in MLLM-based creativity. GODBench is publicly available at https://github.com/stan-lei/GODBench-ACL2025.

Serialized TV shows are built on complex storylines that can be hard to track and evolve in ways that defy straightforward analysis. This paper introduces a multi-agent system designed to extract and analyze these narrative arcs. Tested on the first season of Grey's Anatomy (ABC 2005-), the system identifies three types of arcs: Anthology (self-contained), Soap (relationship-focused), and Genre-Specific (strictly related to the series' genre). Episodic progressions of these arcs are stored in both relational and semantic (vectorial) databases, enabling structured analysis and comparison. To bridge the gap between automation and critical interpretation, the system is paired with a graphical interface that allows for human refinement using tools to enhance and visualize the data. The system performed strongly in identifying Anthology Arcs and character entities, but its reliance on textual paratexts (such as episode summaries) revealed limitations in recognizing overlapping arcs and subtler dynamics. This approach highlights the potential of combining computational and human expertise in narrative analysis. Beyond television, it offers promise for serialized written formats, where the narrative resides entirely in the text. Future work will explore the integration of multimodal inputs, such as dialogue and visuals, and expand testing across a wider range of genres to refine the system further.