Guilty pleasures
By Associated Press
OpenAI pauses a ChatGPT voice after some say it sounds like Scarlett Johansson
NEW YORK | OpenAI says it plans to halt the use of one of its ChatGPT voices after some users said it sounded like Scarlett Johansson, who famously voiced a fictional, and at the time futuristic, AI assistant in the 2013 film “Her.”
In a post on the social media platform X Monday, OpenAI said it is “working to pause” Sky — the name of one of five voices that ChatGPT users can chose to speak with. The company said it had “heard questions” about how it selects the lifelike audio options available for its flagship artificial intelligence chatbot, particularly Sky, and wanted to address them.
OpenAI was also quick to debunk the internet’s theories about Johansson in an accompanying blog post detailing how ChatGPT’s voices were chosen.
“We believe that AI voices should not deliberately mimic a celebrity’s distinctive voice — Sky’s voice is not an imitation of Scarlett Johansson but belongs to a different professional actress using her own natural speaking voice,” the company wrote. It said it could not share the name of its voice actors for privacy reasons.
San Francisco-based OpenAI did not comment further on why it still decided to pause Sky’s use.
OpenAI first rolled out voice capabilities for ChatGPT, which included the five different voices, in September, allowing users to engage in back-to-forth conversation with the AI assistant. “Voice Mode” was originally just available to paid subscribers, but in November, OpenAI announced that the feature would become free for all users with the mobile app.
And ChatGPT’s interactions are becoming more and more sophisticated. Last week, OpenAI said the latest update to its generative AI model can mimic human cadences in its verbal responses and can even try to detect people’s moods.
OpenAI says the newest model, dubbed GPT-4o, works faster than previous versions and can reason across text, audio and video in real time. In a demonstration during OpenAI’s May 13 announcement, the AI bot chatted in real time, adding emotion — specifically “more drama” — to its voice as requested. It also took a stab at extrapolating a person’s emotional state by looking at a selfie video of their face, aided in language translations, step-by-step math problems and more.
GPT-4o, short for “omni,” isn’t widely available yet. It will progressively make its way to select users in the coming weeks and months. The model’s text and image capabilities have already begun rolling out, and is set to reach even some of those that use ChatGPT’s free tier — but the new voice mode will just be available for paid subscribers of ChatGPT Plus.
While most have yet to get their hands on these newly announced features, the capabilities have conjured up even more comparisons to the Spike Jonze’s dystopian romance “Her,” which follows an introverted man (Joaquin Phoenix) who falls in love with an AI-operating system (Johansson), leading to many complications.
OpenAI CEO Sam Altman appeared to tap into this, too — simply posting the word “her” on the social media platform X the day of GPT-4o’s unveiling.
Many reacting to the model’s demos last week also found some of the interactions struck a strangely flirtatious tone. In one video posted by OpenAI, a female-voiced ChatGPT compliments a company employee on “rocking an OpenAI hoodie,” for example, and in another the chatbot says “oh stop it, you’re making me blush” after being told that it’s amazing.
That’s sparked some conversation on the gendered ways critics say tech companies have long used to develop and engage with voice assistants, dating back far before the latest wave of generative AI advanced the capabilities of AI chatbots. In 2019, the United Nations’ culture and science organization pointed to “hardwired subservience” built into default female-voiced assistants (like Apple’s Siri to Amazon’s Alexa), even when confronted with sexist insults and harassment.
“This is clearly programmed to feed dudes’ egos,” The Daily Show senior correspondent Desi Lydic said of GPT-4o in a segment last week. “You can really tell that a man built this tech.”
‘The Apprentice,’ about a young Donald Trump, premieres in Cannes
CANNES, France | While Donald Trump’s hush money trial entered its sixth week in New York, an origin story for the Republican presidential candidate premiered at the Cannes Film Festival on Monday, unveiling a scathing portrait of the former president in the 1980s.
“The Apprentice,” directed by the Iranian Danish filmmaker Ali Abbasi, stars Sebastian Stan as Trump. The central relationship of the movie is between Trump and Roy Cohn (Jeremy Strong), the defense attorney who was chief counsel to Joseph McCarthy’s 1950s Senate investigations.
Cohn is depicted as a longtime mentor to Trump, coaching him in the ruthlessness of New York City politics and business. Early on, Cohn aided the Trump Organization when it was being sued by the federal government for racial discrimination in housing.
“The Apprentice,” which is labeled as inspired by true events, portrays Trump’s dealings with Cohn as a Faustian bargain that guided his rise as a businessman and, later, as a politician. Stan’s Trump is initially a more naive real-estate striver, soon transformed by Cohn’s education.
The film notably contains a scene depicting Trump raping his wife, Ivana Trump (played by Maria Bakalova). In Ivana Trump’s 1990 divorce deposition, she stated that Trump raped her. Trump denied the allegation and Ivana Trump later said she didn’t mean it literally, but rather that she had felt violated.
That scene and others make “The Apprentice” a potentially explosive big-screen drama in the midst of the U.S. presidential election. The film is for sale in Cannes, so it doesn’t yet have a release date.
Variety on Monday reported alleged behind-the-scenes drama surrounding “The Apprentice.” Citing anonymous sources, the trade publication reported that billionaire Dan Snyder, the former owner of the Washington Commanders and an investor in “The Apprentice,” has pressured the filmmakers to edit the film over its portrayal of Trump. Snyder previously donated to Trump’s presidential campaign.
Neither representatives for the film nor Snyder could immediately be reached for comment.
In the press notes for the film, Abbasi, whose previous film “Holy Spider” depicts a female journalist investigating a serial killer in Iran, said he didn’t set out to make “a History Channel episode.”
“This is not a biopic of Donald Trump,” said Abbasi. “We’re not interested in every detail of his life going from A to Z. We’re interested in telling a very specific story through his relationship with Roy and Roy’s relationship with him.”
Regardless of its political impact, “The Apprentice” is likely to be much discussed as a potential awards contender. The film, shot in a gritty ‘80s aesthetic, returns Strong to a New York landscape of money and power a year following the conclusion of HBO’s “Succession.” Strong, who’s currently performing on Broadway in “An Enemy of the People,” didn’t attend the Cannes premiere Monday.
“The Apprentice” is playing in competition in Cannes, making it eligible for the festival’s top award, the Palme d’Or. At Cannes, filmmakers and casts hold press conferences the day after a movie’s premiere. “The Apprentice” press conference will be Tuesday.
Studio Ghibli takes a bow at Cannes with an honorary Palme d’Or
CANNES, France | Studio Ghibli, the Japanese anime factory of surreal ecological wonders that has for 39 years spirited away moviegoers with tales of Totoros, magical jellyfish and floating castles, was celebrated Monday by the Cannes Film Festival with an honorary Palme d’Or.
In the 22 years that Cannes has been handing out honorary Palmes, the award for Ghibli was the first for anything but an individual filmmaker or actor. (This year’s other recipients are George Lucas and Meryl Streep.) Hayao Miyazaki, the 83-year-old animation master who founded Studio Ghibli in 1985 with Isao Takahata and Toshio Suzuki, didn’t attend the ceremony, but he spoke in a video message taped in Japan.
“I don’t understand any of this,” said Miyazaki. “But thank you.”
At Cannes, where standing ovations can stretch on end, the fervor that greeted Ghibli’s emissaries — Goro Miyazaki (son of Hayao) and Kenichi Yoda — was nevertheless among the most thunderous receptions at the festival. Thierry Fremaux, Cannes’ artistic director, walked across the stage of the Grand Théâtre Lumière filming the long ovation, he said, for a video to send to Miyazaki.
“With this Palme d’Or, we’d like to thank you for all the magic you’ve brought to cinema,” said Iris Knobloch, the president of the festival, presenting the award.
The occasion wasn’t marked by any new Ghibli film but four earlier shorts that hadn’t previously been shown outside Japan. “Mei and the Baby Cat Bus,” a brief follow-up to Miyazaki’s 1989 “My Neighbor Totoro,” expands the Cat Bus of that classic to a whole fleet of cat conveyances, most notably the mini Baby Cat Bus.
The shorts, all of which were made for the Studio Ghibli Museum outside Tokyo, included “Mr. Dough and the Egg Princess,” a culinary-themed desert for Miyazaki’s 2001 film “Spirited Away.” The other two — “House Hunting” and “Boro the Caterpillar” — make musical mini-adventures for forest creatures.
The Studio Ghibli celebration came on the heels of Miyazaki’s long-awaited “The Boy and the Heron” winning the Academy Award in March for best animated film. (A documentary on its making, “Hayao Miyazaki and the Heron,” also played in Cannes.)
Miyazaki sat out that ceremony, too. Goro Miyazaki, whose own films include “From Up on Poppy Hill” and “Tales From Earthsea,” said they had to use a hotel towel to wrap the Oscar to bring home to his father. On Monday, he was relieved by the portability of the Cannes prize.
“I’m reassured seeing the Palme d’Or was in a box,” he said, grinning.
In Saudi Arabia, an all-women psychedelic rock band jams out
RIYADH, Saudi Arabia | Leaning into the microphone in Saudi Arabia’s capital, Nora let loose a primal scream. Guitars wailed and drums throbbed behind her as part of a set with her bandmates during a recent show.
The performance by Seera, an all-women psychedelic rock band that blends traditional Arabic melodies with the resurgent psychedelia of bands like Tame Impala, would have been unthinkable just years earlier in the kingdom.
But as Saudi Arabia liberalizes some aspects of its society, Seera represents the way women now are finding their voice and expressing themselves through the arts in a nation long associated with ultraconservative Islam and the strict separation of the sexes.
“We didn’t know how people would react,” said Meesh, the band’s bassist, who like other members asked to be identified by their stage names. “We believe strongly in self-expression. To our surprise, they really had open arms for us.”
The band’s name, Seera, can mean “life” or “biography” in Arabic. Band members say they try to embrace the multiple meanings one can draw from a word in the language in its sound, whether through the driving drums and cymbals or the synthesizer backing the guitars.
Seera’s music style revolves around the life experiences of the four-member band, who are all Saudi nationals. They sing in the Saudi dialect of Arabic, while drummer Thing wears a traditionally embroidered red face covering.
“I thought this would be great as a reflection of the culture, the heritage and the roots,” she said. “At the same time it would be a cool representation between the traditional and the modern and the expression of it. That’s also within our sonic identity as well.”
Seera is quick to point out they aren’t the first female band in the kingdom. Instead, they say that goes to The Accolade, which formed in 2008 and could only play underground. Things have changed radically in the kingdom in recent years since the accession of King Salman and his assertive son, Crown Prince Mohammed bin Salman.
In 2018, women gained the right to drive. Movie theaters and other entertainment centers opened. Women are no longer required to wear the fully cloaking black abaya.
Clear limits still remain on speech and any political activity in the tightly governed kingdom. But in the arts space, Saudi Arabia is slowly opening up, as could be seen by Seera’s show earlier this month at The Warehouse, a live music space in Riyadh’s Diriyah neighborhood.
There, dozens of youths in leather jackets and black rock T-shirts swayed and danced to the music. One young man with heavy eyeliner wore a shirt declaring: “I HATE LIFE.” The fashion choices resembled any other punk show at a club in the West, though there was an absence of smoking or any alcohol in the dry kingdom.
“Things have become definitely better, more towards inclusivity and in a broader perspective and in a broader way,” Thing said. “There’s definitely room for more growth.”
Seera plans to release their debut album later this year. They’ve also booked their first international concert in Dubai, where they’ll get their first chance to perform outside of Saudi Arabia.
Nora said she wanted the band to be “an inspiration for the younger generation” to express themselves.
“It’s OK to look, act, behave the way you want as long as you’re not harming anyone,” she said.
—From AP reports
