Arnold Schwarzenegger Cracks Surprising Joke About Ex-Wife Maria Shriver
Related: Sources Close to Ben Affleck Say He's Dying To Have More Kids
Schwarzenegger's new flick is a Christmas movie, which prompted him to bring up the older holiday film he starred in, according to Hola! magazine. 'Jingle All the Way was the greatest Christmas movie of all time,' the father of five joked of the 90s movie. 'They play it the whole month of December. I know because my ex-wife calls me about the residual.'
For those who may not remember, Schwarzenegger and Shriver divorced after news broke that he had an affair with the couple's housekeeper, Mildred Baena, and fathered a child as a result of the relationship. When Shriver found out about the relationship, she decided to put an end to their 25 year marriage.
Schwarzenegger rarely talks about his ex and the affair that ended their relationship, mostly because both he and Shriver have always said that they wanted to put their four children first. In fact, the last time he made a public comment about it was while he was promoting his book in 2021, right around the time his divorce was finalized.
The duo must be on pretty good terms these days for Schwarzenegger to make such a comment, especially since he has been quiet about so much else having to do with Shriver. That's good news for the couple's shared children, who have probably been through a lot in the years since the news of their father's affair broke.
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Gizmodo
14 hours ago
- Gizmodo
Does Steven Spielberg's ‘AI: Artificial Intelligence' Play Differently Today?
Rewatching Steven Spielberg's 2001 film AI: Artificial Intelligence, it feels as plausible as ever, but also more misguided. In 2001, AI was barely a thought in everyday life. It was the thing that destroyed the world in Terminator, and still a lofty goal in tech circles. Today, as the technology continues to grow and dominate daily conversation in almost every way, you may expect to watch the film and have a slightly new perspective. Some change in insight. Instead, the film falters as Spielberg's views on his titular technology take a backseat to a story unsure of what it wants to be. The movie's flaws shine brighter than ever before, even as its world becomes increasingly familiar and likely. But, maybe, there is more to it than meets the (A) eye. Based on a short story by Brian Aldiss and developed in large part from work previously done by the late Stanley Kubrick, AI is set in an undefined future after the icecaps have melted and destroyed all coastal cities. As a result, society has changed drastically, with certain resources becoming increasingly important and scarce. That's why robots, which don't need to eat or drink, have become so crucial. Tech companies are always looking ahead, though, and inventor Allen Hobby (William Hurt) thinks he's figured out the next step. He hopes to create an artificially intelligent robot child who can love a parent just as a normal child would. Hobby sees true emotion as the logical next step in robotic integration into human life, and about two years later, he believes he has achieved it. The first act of AI then follows David (Haley Joel Osment), a prototype child robot with the ability to love, as he attempts to help two parents, Monica (Frances O'Connor) and Henry (Sam Robards). Monica and Henry have a son, Martin, but he's been in a coma for about five years. Assuming Martin will pass away, Henry is chosen to bring David home. Initially, Monica and Henry treat David very coldly, and rightfully so. He's weird. He's creepy. He does not act human in any way. So, when Monica decides to keep him and 'imprint' on him, it feels like a bit of a shock. And this is the first of many places AI today just doesn't quite get things right. We learn that David can love whomever he's programmed to imprint on, but that it's irreversible. So, if for some reason the family doesn't want him anymore, he has to be destroyed, not reprogrammed. Which feels like a pretty big design flaw, does it not? David's deep-seated desire to be loved by Monica is crucial to the story, but watching it now, it feels almost silly that a company wouldn't have the ability to wipe the circuits clean and start it again. Also, the notion that any parent would want to have a child who stays a child forever simply feels off. Isn't the joy of parenting watching your kids grow up and discover the world? Well, David would never do that. He'd just be there, forever, making you coffee and pretending he loves you with the same, never-ending intensity. Which is a little creepy, right? The beginning of AI has very distinct horror vibes that feel even more prominent now than they did in 2001. But, clearly, this was the intention. Spielberg wants to keep the characters and audience on their toes. After two decades of killer robot movies, though, it's even more unmistakable and obvious. That unsettled tone makes it difficult to feel any connection to these characters, at least at the start. Eventually, Monica and Henry's son miraculously recovers, comes home, and develops a rivalry with David. The two clash, and, instead of returning David to the company to be destroyed, Monica leaves him in the woods. Which feels so much worse! Truly, it's irredeemable. When an animal is sick beyond aid, the merciful thing is to let them go, not throw them in the woods where they will scream in pain forever. But that's what Monica does to David. You hate her, you feel for him, and it's weird. From there, AI gets even weirder. David meets Gigolo Joe (Jude Law), an artificially intelligent sex robot who has way more emotion and humanity than the ultra-advanced David (the same goes for David's low-tech teddy bear sidekick, Teddy, the best part of the movie). The two traverse a world that has either become disgusted with machines taking over their lives or fully embraced it. It's an interesting dichotomy, one brought to life by wild production design such as the 'Flesh Fair,' where humans watch robots be destroyed for fun, and 'Rogue City,' which is basically AI Las Vegas. And yet, these scenes only touch on larger concepts of what AI means and what it has done to society. Joe delivers a monologue about humans' distrust of technology that feels poignant and thoughtful, but then it's largely forgotten. The ideas are there, but not crucial to what's happening around them. What stands out about all of this, especially from a modern viewpoint, is how Spielberg's vision of AI is still so distant. Things in the movie are well beyond what we have today. Even with modern chatbots, self-driving cars, generative AI, and the like, everything in the movie is clearly science fiction. Artificial intelligence in Spielberg's world isn't special. It's been around for so long; it's already been monetized, exploited, embraced, and rejected. One scene, however, does ring truer now than it did in 2001. As Joe and David look for the Blue Fairy that can turn him into a real boy (more on that in a second), they go to 'Dr. Know,' a store where an AI Albert Einstein, voiced by Robin Williams, can search through the entirety of human knowledge to answer any question for you. It's basically ChatGPTat its highest form, and in this world, it's just a cheap attraction in a strip mall. Dr. Know is a crucial plot device in the film because it puts Joe and David back on the track of the Blue Fairy, a character from Pinocchio who turned that character into a real boy, and whom David believes is real and can do the same for him. This is another disconnect that's hard to get your head around. We're continuously told how advanced David is supposed to be technologically, and yet he exhibits none of that mentally. He only shows the emotions and mind of a small child. There's never any hint that he'll learn or develop past that. That he'll evolve in any way. He's the most advanced robot in the world, but can't grasp that Pinocchio isn't real. So, we're left confused about what he believes, what he doesn't, his potential, and his overall purpose. Nevertheless, when Joe and David ask Dr. Know about how the Blue Fairy can turn him into a real boy, the program somehow understands this request and sends them on a journey to Manhattan, which has been lost under rising seas. There, David finds Hobby, his creator, and we learn Hobby and his team have been monitoring and even subtly seeding David's adventure to get him to this place. Which feels incredibly forced on multiple levels, but also essential to the big reveal. To this point, AI has been pretty all over the place. Cautionary, brutal, near-horror movie. Wild, cross-country adventure. Whimsical fairy tale. But finally, Hobby explains the film's central drive. Having completed this adventure, David is the first robot to actually chase his dreams. To act on his own self-motivation, not that of a human, and that's a huge jump ahead for artificial intelligence in this world. It's a fascinating revelation ripe for exploration. And yet, it immediately gets forgotten as Joe helps David escape and complete his journey to find the Blue Fairy, which he settles on being a submerged carnival attraction at Coney Island. Now, I hadn't seen AI in probably 20 years, and, for some reason, this is the ending I remember. David, stuck underwater, looking at the Blue Fairy forever. His dream, kind of, achieved. But that's not the ending. I forgot that the movie had about 20 more minutes left. We jump ahead 2,000 years. The world has ended, and advanced aliens are here studying our past. They find David buried in the ice, the last being on the planet with any connection to living humans, and, to make him happy, they bring his mom back for one day. The happiest day of his life. Roll credits. It's a touching ending, but it also speaks to how all over the map the movie plays in 2025. Basically, the movie is a horror, fairy tale, social commentary, and sci-fi adventure with heart… but only sort of. There's no real reason why David's mom can't be around for more than one day. It's just an arbitrary rule the aliens tell us. However, it does hammer home the film's ultimate message about the importance of love and how emotions are what make humans so special. A message that works completely independently of anything regarding artificial intelligence. In fact, calling the movie AI in 2025 is almost a conundrum beyond the movie itself. Upon release, most of us assumed the title just referred to David and the robots. But now, maybe I see that's not the case. AI in the movie is so not the point, maybe calling it that is a commentary on human intelligence itself, or the lack thereof. We certainly take for granted the things we inherently have as people. In the end, I did not care for AI: Artificial Intelligence as much as I did when it came out. At the time, I found it kind of profound and brilliant. Now I find it sort of messy and underwhelming, with a few hints of genius. But, there are a lot of good ideas here, and as the world of the movie becomes increasingly recognizable, I'd imagine another 25 years is likely to re-contextualize it all over again. AI: Artificial Intelligence is not currently streaming anywhere, but is available for purchase or rent. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Newsweek
20 hours ago
- Newsweek
Mom's Honest Take on Parenting Goes Viral: 'One Window of Enjoyment'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Parenting comes with challenges, joys and a fair share of chaos—but according to one mom, there's a surprisingly narrow "sweet spot" when it comes to truly enjoying it. In a clip on TikTok, Nicole Collings from the southeast of England (@nicoleisthisme) explained what she called the "one window of enjoyment" in raising children. Her verdict: it's roughly between the ages of 5 and 11, with 12 being the outer limit "and that's being generous." Mom, 40, with blonde hair wearing white shirt speaking to camera for TikTok video. Mom, 40, with blonde hair wearing white shirt speaking to camera for TikTok video. @nicoleisthisme "The baby stage? Hard—cute, but hard," the mom of three said in the video. "Once they get on the move—impossible. Especially when you've got more than one." Collings, 40, explained that things start to get easier around age 3, and by 4 or 5, parents can "see the light at the end of the tunnel." But from there, the real magic begins, until it suddenly vanishes. "When they turn 11 or 12, the magic leaves," Collings said. "Father Christmas, the tooth fairy and the magic of Disney movies vanish. "All those cute little days out that you used to have at theme parks, the farm, the park, picnics? Gone. That is replaced with being a constant taxi driver and an ATM machine." Collings told Newsweek she first came up with her theory during a sleepless night while her three teenagers—two 13 year olds and a 15-year-old—were chatting loudly on FaceTime and raiding the kitchen. "I realized how different things were compared to when they were younger," she said. "It made me reflect on those magical early years, which inspired me to share my perspective on TikTok." For Collings, that 5-to-11 window wasn't defined by a single memory but by a season of life filled with wonder. "I used to go all out for Christmas, Easter and Halloween, transforming our home into a wonderland," she said. "Seeing my children's faces light up with excitement was incredibly rewarding. Family outings to water parks, theme parks, or even simple picnics were such special times." But as her kids approached their teens, the shift was swift. "They became less engaged in family activities and more focused on friends," she said. "The bedtime stories and cozy movie nights faded away, and I felt like the magic had slipped through my fingers." Collings' clip struck a chord online. Amassing over 350,000 views and hundreds of comments, many other parents said they'd experienced the same bittersweet shift. "You've hit the nail on the head. My eldest is 13. We're currently on holiday and constantly been called cringe, embarrassing and been told this is the worse holiday ever," one user wrote. "Eleven-25 could really have dodged those years. They're lovely after that though," another parent shared. Collings' message to other parents with babies and toddlers would be to savor every moment. "Don't wish it away," she said. "Embrace the messiness of toys and a chaotic house because, before you know it, those toys will be replaced by iPads and iPhones, and you might find yourself missing the noise and chaos."
Yahoo
2 days ago
- Yahoo
Great American Media Announces A Belle Christmas, a New Original Movie, Starring Ash Tsai, Marshall Williams, and Julia Reilly
Premiering on Great American Family, Streaming on Great American Pure Flix, Premiering on GFam+ in October as part of 5th Anniversary Edition GREAT AMERICAN CHRISTMAS NEW YORK, Aug. 14, 2025 /PRNewswire/ -- Great American Media announced production is underway for a new Original Movie, A Belle Christmas, starring Ash Tsai (Journey to Christmas), Marshall Williams (Jingle Bell Jubilee, "Glee"), and Julia Reilly ("County Rescue"). This film is currently being shot at Great Point Studios in Buffalo, New York, and is set to premiere as part of the 5th Anniversary of GREAT AMERICAN CHRISTMAS in 2025. The beloved programming event will begin airing in October on Great American Family, GFam+, and streaming on Great American Pure Flix. A Belle Christmas joins a new, all-star lineup for Great American Christmas 2025, celebrating faith, family, love, joy, and hope. Christmas as it is meant to be. In A Belle Christmas, Belle Carter (Tsai), dedicated but exhausted head of beloved local nonprofit, Bedford House, has devoted her whole life to making Christmas bright for those in need. But with the holidays just days away, donations are down, time is running out, and Belle feels her efforts are slipping away. When the town's Mayor announces a new nonprofit consultant, Clara James (Reilly) will be joining Belle to help, Belle fears she's being replaced in the role that has defined her for years. Annoyed at first, Belle unexpectedly finds space for joy she has long ignored. The season brings another surprise: the return of Marine Sgt. Will Mattinson (Williams) who is welcomed home from military service. As old feelings stir, Belle struggles to release responsibility and open her heart to possibility. With Christmas fast approaching and the community's hopes hanging in the balance, Belle discovers believing in the best of people is the greatest gift of all. A Belle Christmas is A Belle Christmas production. Tom Vitale and Bob Rich are executive producers. Mac Cappuccino produces. Oliver Friedman directs from an Original Screenplay by Summer Israel Johnson. ABOUT GREAT AMERICAN MEDIAGreat American Media is home to a family-friendly portfolio of brands including Great American Family, Great American Pure Flix, GFAM+, and Great American Faith & Living. As the flagship linear TV network, Great American Family features original Christmas movies, rom-coms and classic series that celebrate faith, family and country. Great American Pure Flix is a leading faith and family streaming service that inspires, uplifts and entertains with content that you can confidently stream with the entire family. Other platforms include, Great American Faith & Living, the unscripted companion to Great American Family that celebrates faith, family, and country every day and every season; Great American Adventures and Pure Flix TV, FAST channels (free ad-supporting streaming TV). Great American Media was established in June 2021 by Bill Abbott and a group of US-based family offices. MEDIA CONTACTS:Pam SlayGreat American MediaNetwork Program Publicity & Talent Relations818.415.3784pamslay@ Debbie DavisCrosswind Media & PRDirector of Client ServicesC: 214.802.8979 (call or text)media@ View original content to download multimedia: SOURCE Great American Media Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
