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The USDA Is Using Scarlett Johansson And Adam Driver To Scare Off Wolves

The USDA Is Using Scarlett Johansson And Adam Driver To Scare Off Wolves

Yahoo2 days ago
This cow-saving tactic might make you howl with laughter.
The United States Department of Agriculture is using audio of actors Scarlett Johansson and Adam Driver to scare off wolves, The Wall Street Journal reported last week.
In the wildly amusing report, the outlet explained that gray wolves in the American West are wreaking havoc on livestock.
'It's basically like driving through Burger King, easy pickings for them,' Mary Rickert, the owner of Prather Ranch in Northern California, told the Journal.
Although Rickert has lost as many as 40 calves to the carnivores, she can't just go John Wick on them. The wolves are endangered — which means it's illegal to harm them.
But the USDA has come up with a pretty creative way to keep herds of sheep and cattle from becoming a pack's all-you-can-eat buffet.
Essentially, the agency is using drones equipped with spotlights, loudspeakers and 'thermal cameras that can reveal any wolf lurking in the darkness.'
When the flying bot spots a wolf near a rancher's animals, it uses the light and the loudspeaker to scare it back into the woods.
Some of the recordings played on the drones' loudspeakers make logical sense — like loud fireworks or gunshots. But others are just straight-up silly, and include AC/DC's 'Thunderstuck' and the explosive fight between Johansson's and Driver's characters in Noah Baumbach's 2019 film, 'Marriage Story.'
'I need the wolves to respond and know that, hey, humans are bad,' a USDA district supervisor (who is totally a human and not a canine) named Paul Wolf told the Journal.
As goofy as this all sounds, the Journal says the recordings seem to be working.
The outlet reports that drones were deployed to an area in Oregon where '11 cows were killed by wolves there in a 20-day period.' After 85 days of the drones' booming recordings — which hopefully included Johansson screeching, 'You gaslighted me; you're a fucking villain!' and Driver yelling, 'I was hot shit and I wanted to fuck everybody, but I didn't!' — only two cows were killed.
Although the idea of using a movie scene to scare off wild animals is a bit goofy, the fight scene in 'Marriage Story' displays raw human emotions, and Johansson and Driver did deliver intense performances.
'They've lost their voices; they've lost a sense of who they are,' Baumbach described the scene to Entertainment Weekly in 2019. 'They're trying to figure out what they believe anymore. And that's a dangerous place, I think, for a couple to find themselves.'
Related...
Gray Wolves Regain Endangered Species Act Protections
Scientists Genetically Engineer Wolves To Resemble Extinct Dire Wolf
Yellowstone Wolves Caught On Camera Frolicking Amid Snowy Geysers
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Movie Review: Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'
Movie Review: Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'

Associated Press

time2 hours ago

  • Associated Press

Movie Review: Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'

Before Kristin Scott Thomas turned 12, she lost her father and stepfather. Both were Royal Navy pilots who died in crashes. The first happened when she was 5. The second at age 11. Thomas uses these facts, a kind of origin story, as the basis for her directorial debut, 'My Mother's Wedding,' a comedic drama about family, trauma and getting on with it that opens in theaters Friday. Knowing that the story comes from a real place is important for the experience. It gives 'My Mother's Wedding,' a perfectly average film that doesn't quite land the way it should, an emotional depth that it's otherwise lacking. This is a strange shortcoming considering the caliber of the cast, including Thomas as the bride to be, and Sienna Miller, Emily Beecham and Scarlett Johansson as her daughters. But it's a cruel reminder that a good hook, talented actors, one killer monologue and a picturesque setting (in this case, the English countryside) aren't guarantees that a movie will work. In the film, the deaths may be in the distant past, but they continue to haunt Diana's (Thomas) adult daughters as she prepares to marry another. Diana's new man is not a dashing pilot, forever preserved in handsome youth. Geoffrey (James Fleet) is very gray. He likes to talk about birds, ospreys in particular, has never had children and comes with a very silly last name (Loveglove) that she plans to take. Her girls are not exactly impressed, though they've all got their own stuff to deal with. It should be said that Johansson is indeed playing a British woman in this film, and while I don't feel qualified to comment on the nuances of her accent, all I can say is that there is a consistently strange disconnect to hear it coming out of her mouth. Johansson is a great actor who I've believed in many wilder roles, from Marvel movies right on down to her Ellen Greene riff during 'Saturday Night Live's' 50th anniversary show. But, somehow, she's hard to buy as Katherine Frost: A British, lesbian Royal Navy officer in a longtime relationship with a woman named Jack (played by fellow beauty Freida Pinto). Miller's character is Victoria, a Hollywood actor known for franchise dreck (no one can remember whether the latest 'Dame Of Darkness' is the fourth or fifth in the series) and short-lived relationships. And Beecham is the youngest Georgina, a nurse who suspects that her husband is having an affair. To find out, the girls hire a private detective to surveil her house and show them the footage after the wedding. It's a very busy, fraught weekend for everyone. There's lots of fretting over why Katherine won't marry Jack, and why Victoria is dancing around a relationship with a wealthy, older French man when her childhood crush still pines for her. There's lingering anxiety about their mom marrying this man who seems so unlike the two heroes that came before and much discussion about the importance of last names, marriage and making sure kids feel like they belong to someone. Some things get resolved, but it's hard to shake the feeling that everyone might need a new therapist by the end. 'My Mother's Wedding' also has a silly lightness to it that's aiming for something along the lines of a Richard Curtis romantic comedy. But coherency of the vision is limited, as is the audience's investment, though there are some lovely and inspired touches like using Iranian artist Reza Riahi to hand paint several animated flashback vignettes based on her memories of her fathers. Thomas co-wrote the script with her husband, journalist John Micklethwait, which includes a particularly poignant monologue for her character telling her daughters, essentially, to grow up and move on — a mature and worthy statement that might come a bit too late. 'My Mother's Wedding' feels only partially realized. But Thomas did have the good sense to end with a song that might just conjure up some feelings for any 'Heartburn' fans out there: Carly Simon's 'Coming Around Again,' this time a duet with Alanis Morissette. 'My Mother's Wedding,' a Vertical release in theaters Friday, is rated R by the Motion Picture Association for 'brief nudity, some sexual material and language.' Running time: 95 minutes. Two stars out of four.

ElevenLabs Launches Eleven Music: Create Royalty-Free Sound Track with AI
ElevenLabs Launches Eleven Music: Create Royalty-Free Sound Track with AI

Associated Press

time6 hours ago

  • Associated Press

ElevenLabs Launches Eleven Music: Create Royalty-Free Sound Track with AI

ElevenLabs launches royalty-free AI music generator with section editing, vocal support, and rights-backed licensing from major partners. 'Eleven Music turns imagination into sound, giving creators full musical control from a single prompt.'— Khris NY, UNITED STATES, August 6, 2025 / / -- ElevenLabs, the AI audio company known for its pioneering work in voice synthesis, has officially launched Eleven Music v1.1, marking a major step forward in generative AI music. The update introduces advanced section-level generation, real-time streaming, multilingual lyric capabilities, and expanded control over musical structure, style, and lyrical content. Eleven Music is now available globally via the ElevenLabs platform. ==> Click Here to Get Started With ElevenLabs Music at The release also marks the company's expansion into full-stack audio generation, beyond synthetic voice—through a music creation engine that uses natural language input to produce finished, studio-quality songs in minutes. Tracks can be instrumental or include vocals, and support for multiple languages is available out of the box. According to the company, Eleven Music allows users to generate high-quality songs in any style or genre, selecting both the structure and sound using simple prompts. Styles like techno, minimal, tribal, and synthwave are included, while certain genre attributes—such as pop styling, gritty vocals, or heavy distortion—can be actively excluded for genre fidelity. From Prompt to Production: What's New in Eleven Music v1.1 Eleven Music v1.1 introduces two modes of operation: Simple Generation and Advanced Section-Based Generation. The Simple mode enables rapid song creation from a single natural language prompt, allowing users to set a total duration, choose instrumental vs. vocal formats, and specify the genre and mood. In Advanced mode, users define individual sections of a song—intro, verse, chorus, bridge—and apply specific attributes to each. For example, a user may choose to generate a synthwave-style intro with ambient lyrics followed by a tribal techno verse, each with its own tempo, tone, and lyrical structure. Additionally, the v1.1 update introduces real-time streaming during generation. As songs are created in discrete sections, listeners can preview finished portions immediately while the next sections are still rendering—significantly speeding up the iteration process. Learn more at Rights-Aware Innovation: Partnerships with Merlin and Kobalt Unlike many players in the fast-growing generative music space, ElevenLabs has pursued rights-first integration with the music industry. The company has announced licensing agreements with Merlin, a global digital rights agency for the independent music sector, and Kobalt, one of the world's largest music publishers. The partnerships were revealed alongside the v1.1 launch and reflect a broader effort by ElevenLabs to establish a transparent, rights-protective model for AI-generated music. A company spokesperson said, 'Eleven Music was built in partnership with artists, labels, and publishers, and includes guardrails to protect rightsholders.' Laurent Hubert, CEO of Kobalt, emphasized the value of such protections, stating: 'Our songwriters and clients entrust us to ensure that the AI revolution includes both strong protections for their intellectual property rights for AI training, as well as forward-looking and thoughtful opportunities to participate in AI revenue streams, subject to clear and fair guardrails. ElevenLabs has been a collaborative partner, committed to sourcing data directly from rightsholders and protecting them.' Hubert further confirmed that Kobalt and Merlin-affiliated songwriters will participate in the upcoming 'Eleven Music Pro' model, a future release designed in tandem with rightsholders to deliver commercial-quality outputs with premium licensing support. ===> You can learn more by visiting Eleven Music v1.1 Offers Full Creative Control and Real-Time Streaming for Musicians, Filmmakers, and Creators Tailored Sound for Every Use Case The v1.1 release is designed to accommodate the creative needs of both casual users and professionals. With broad commercial applications, Eleven Music enables high-quality music generation for: - Film and TV scoring: Generate cinematic orchestral or ambient soundtracks with precise mood shifts. - Advertising and branding: Quickly develop jingles, brand anthems, and short-form promotional music in multiple languages. - Gaming and interactive media: Produce loopable, atmospheric scores for various gameplay environments. - Podcasting and audio storytelling: Customize background tracks that match the narrative tone or voiceover style. - Corporate and event use: Generate on-brand music for keynote presentations, product launches, or digital events. Using prompt-based input such as 'A rich orchestral track, deeply cinematic, with symphonic strings and a jubilant crescendo,' users can generate polished, ready-to-use content with full control over dynamics, length, and instrumentation. Explore and Create With Eleven Music at Demo Workflow: A New Paradigm in Song Creation The Eleven Music interface supports timeline-based generation, allowing users to map out songs by section and style. For example, a user may input: - Intro (0:00–0:30): 'In the shadows where the beats collide…' in synthwave style - Verse (0:30–1:00): 'Thunder crashes through the storm…' with a minimal techno arrangement Each section can be tailored using natural language to define not only lyrics and instrumentation, but tone, pacing, and transitions. The streaming feature allows real-time preview of each segment, enabling iterative composition with minimal delay. This system supports multilingual lyrics, stylized mood alignment, and rich orchestral layering—all accessible without specialized audio software or prior production experience. Learn more at Entering a Crowded Field with a Unique Edge With this release, ElevenLabs enters a space populated by startups like Suno and Udio, both of which offer generative music platforms with rapidly growing user bases. However, Eleven Music v1.1 distinguishes itself on multiple fronts: - Licensing-led model: Unlike competitors that have faced legal scrutiny, ElevenLabs is building in collaboration with music rights organizations. - Section-based generation: Offers deeper editorial control than prompt-only solutions. - Streaming-first workflow: Reduces friction in music creation and speeds up feedback cycles. - Multilingual and narrative-ready: Supports song creation across multiple languages and moods, enabling storytelling through sound. Early testers and users have already begun comparing Eleven Music favorably to its competitors, particularly in terms of accuracy with lyrical alignment and overall audio fidelity. Availability and Access Eleven Music v1.1 launched globally on August 5, 2025, and is now available to all registered users via the ElevenLabs platform. The service offers a range of usage tiers including: - Free access with limited generation time - Credits-based generation for individual users - Enterprise and team subscriptions for commercial users with expanded licensing needs A premium model, Eleven Music Pro, is under development in partnership with Kobalt and Merlin to offer industry-grade outputs using licensed datasets from professional musicians and publishers. Full commercial use is permitted under ElevenLabs' platform terms, with attribution and licensing details available at or upon request. About ElevenLabs Founded in 2022 by CEO Mati Staniszewski and CTO Piotr Dąbkowski, ElevenLabs is a frontier AI audio company headquartered in London and New York. The company gained global recognition for its natural-sounding voice synthesis tools and is now expanding into full-scope generative audio. ElevenLabs' mission is to make professional-grade audio creation accessible to everyone—from storytellers and developers to artists and brands—while prioritizing ethical practices and creator rights. Learn more at Khris Steven KhrisDigital Marketing LLC email us here Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.

More Money Was Supposed to Help Poor Kids. So Why Didn't It?
More Money Was Supposed to Help Poor Kids. So Why Didn't It?

New York Times

time10 hours ago

  • New York Times

More Money Was Supposed to Help Poor Kids. So Why Didn't It?

Hosted by Natalie Kitroeff Featuring Jason DeParle Produced by Olivia NattMary Wilson and Jessica Cheung Edited by Marc Georges With Lisa Chow and Lexie Diao Original music by Pat McCusker and Rowan Niemisto Engineered by Alyssa Moxley For many, the logic seemed unassailable: Giving poor families money would measurably improve the lives of their children. And so, a few years ago, social scientists set out to test whether that assumption was right. The results of the experiment have shocked them. Jason DeParle, a Times reporter who covers poverty in the United States. A rigorous experiment appears to show that monthly checks intended to help disadvantaged children did little for their well-being. There are a lot of ways to listen to 'The Daily.' Here's how. We aim to make transcripts available the next workday after an episode's publication. You can find them at the top of the page. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at or on Apple Podcasts and Spotify. The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, M.J. Davis Lin, Dan Powell, Sydney Harper, Michael Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, Nina Feldman, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon M. Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Olivia Natt, Daniel Ramirez, Brendan Klinkenberg, Chris Haxel, Maria Byrne, Anna Foley and Caitlin O'Keefe. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Maddy Masiello, Isabella Anderson, Nina Lassam, Nick Pitman and Kathleen O'Brien.

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