Latest news with #BlackMirror-esque
Daily Mirror
08-07-2025
- Entertainment
- Daily Mirror
Epic £4bn seaside city with bendy skyscraper designed by Akon suffers huge blow
Celebrity singer-songerwriter Akon has been left red-faced after his ambitious plans to build a futuristic seaside city to the tune of £4.4bn has descended into chaos Ambitious plans to build an uber-futuristic city by the coast to the tune of $6 billion (£4.4bn) has hit a major setback. Bizarrely spearheaded by singer-songwriter Alioune Badara Thiam (commonly known as Akon), the mega project aimed to transform an 800-hectare site in Mbodiène - a seaside city in Senegal, Africa - into a modern metropolis run entirely on renewable energy. Mock prints of the development - which has been compared to the fictional city of Wakanda from the Marvel universe - show an unusually bendy skyscraper dominating the centre, alongside a slew of equally Black Mirror-esque buildings and green spaces. Back in 2022, the Smack That star said his eponymously named 'Akon City', was '100,000 per cent moving' despite no significant construction following the initial launch ceremony. Phase one of the bold development was supposed to see a hospital, shopping mall, police station, school, waste station and solar plant all completed by the end of 2023. However, after five years of constant setbacks, it's clear Akon City remains a mere dream - as the site in Mbodiène remains 'mostly empty'. It is said the only structure in place is an 'incomplete reception building'; roads, housing, and even a power grid have yet to be established in the area - provoking outrage from those living nearby. "We were promised jobs and development," one local resident told the BBC. "Instead, nothing has changed." Serigne Mamadou Mboup, head of Senegal's tourism development body, Sapco, confirmed to the publication that Akon City 'no longer exists'. Officials blamed a lack of funding and halted construction efforts for the project being shelved. However, it says it has now reached an agreement with the celeb - who spent his childhood between Senegal and the US - to produce a more 'realistic project' that can still benefit the area. Specific details on how much the project would cost, or when it is expected to be finished, have yet to be confirmed. When Akon City was announced, plans for residents to use a brand new cryptocurrency called Akoin as as their primary payment method were also unveiled. According to the BBC, there have been questions over whether this would even be legal, as Senegal currently uses the CFA franc, which is both regulated and issued by the Central Bank of West African States. Akoin has also struggled to repay its investors over the years, with Akon reportedly admitting: "It wasn't being managed properly. I take full responsibility for that."
Daily Record
25-06-2025
- Entertainment
- Daily Record
'Perfect' series compared to Black Mirror streaming free despite studio's controversial move
The show's star has spoken out against the decision A series that's been hailed as 'literally perfect' and likened to Black Mirror, which was subsequently 'deleted' by the original studio, is now available for free streaming. All episodes of Made For Love can be streamed on Channel 4 at no additional cost. This includes both seasons one and two, originally released between 2022 and 2023. Described by the broadcaster as a comedy-drama with a Black Mirror-esque vibe, the plot revolves around a woman who attempts to escape her stifling marriage. However, her tech tycoon husband has implanted a device in her brain, enabling him to monitor her every move and emotion. The lead role of Hazel in Made For Love is played by Cristin Milioti, known for her roles as the Mother in How I Met Your Mother and Sofia Falcone in The Penguin. She also featured in two acclaimed Black Mirror episodes, including USS Callister. The cast also boasts Ray Ramano, Paula Abdul and Billy Magnussen, known for his roles in Boardwalk Empire and the Lilo and Stitch remake, reports Surrey Live. Despite garnering a dedicated fanbase and achieving an impressive score of 97% on Rotten Tomatoes, the series was cancelled after its second season. Moreover, the US studio behind it decided to 'delete' the show from its own platforms. The move resulted in the show no longer being available to US viewers, with Warner Bros pulling it from HBO Max - a surprising call considering the platform had originally commissioned it. It's thought this move was financially driven and Milioti herself recently voiced her discontent on a podcast. In an interview with Marc Maron for the WTF Podcast, she expressed: "It's so f**ked up. That happened because, umm, we were a tax write-off. I did it for Max... I just know that they ripped it off the platform... like when they ripped Westworld off. And it's such a bummer because, you know, that was three years of our lives." Milioti continued to share her thoughts: "There are so many parts of that show that have become like eerily prescient. It was all about people in this world of like advanced technology and utterly unable to communicate with each other. You can't even buy it. It's so weird... I'm also like... it's like on a USB stick somewhere probably. Just put it up." However, Milioti might not be aware that Channel 4 offers UK viewers a chance to rediscover this hidden gem, with many devotees eagerly advocating for others to watch it. One viewer took to the internet to voice their praise: "This show is literally perfect. A MUST WATCH dare I say. The casting of the actors, the dark comedy, the premise and the concept regarding the future of love was done so well. And also the pacing was very good I might add, none of the scenes seemed to drag. A perfect binge. I was hooked from the first scene. The show kept up the intrigue and the comic relief, while also maintaining emotional depth. Billy Magnussen and Cristin Milioti's acting skills: spot on." Another fan chimed in, expressing admiration for its uniqueness: "This is one of the most original shows I've seen in a long time. The pacing and execution is perfect. The different dynamics they explore tow the line of brevity and weight in such a beautiful way while still having a great balance of comedy. I'm so excited about this show." On the topic of how it stands out despite similarities to other programmes, a third individual shared their viewpoint: "I was hooked from the first seconds of watching. I personally think that Billy Magnussen is a highly underrated actor so I was elated when I saw he was starring. He's great in it just as I figured he would be .This show is not like all the others being churned out right now. I'm so sick of everything being so similar that they are al just looking and feeling the same to me at this point. Made for Love is an original in a time of not much originality. I love it!"
Express Tribune
31-05-2025
- Entertainment
- Express Tribune
Nobody's content with the 'content'
Recently, Fahad Mustafa's old comments against family vlogging and the overuse of the word 'content' resurfaced online and caused an uproar among Tiktokers and YouTubers. "'Content' is the most overrated word in this country. There is no such thing as content. Everyone is selling their families. They haven't even left graveyards alone. They go to their mother's grave, and record themselves saying I'm missing my mother, please pray for her. What kind of 'content' is this?" Mustafa had said when asked about sharing the screen with digital content creators during a TV appearance. "I can tell a good or a bad story. But I can't sell my family. I can't sell myself. If you go on a film or TV shoot, it takes time to do this. They can't understand that this takes us 8 to 10 hours since they live in a 10-second world." While the comment offended the Instagram, TikTok and YouTube content creators especially Rajab Butt, as Ricky Gervais says, "Just because you're offended doesn't mean you're right." This back-and-forth has sparked a debate between the traditional media vs digital 'content'. But it's not a clash between Mustafa and Butt. The actor didn't even mention the YouTuber by name. The scope of this is much bigger than a forced, illogical personal feud. Content overload What Mustafa spoke about is a worldwide concern of artists in the face of countless challenges faced today. Be it AI coming in as a wrecking ball to destroy authentic human expression, shorter attention spans engineered over the last decade by social media overconsumption or the declining understanding of storytelling and art due to the aforementioned issues, there are already more than enough battles artists today are fighting to preserve their chosen media and forms of expression. This is not to defend shows like Mustafa's Jeeto Pakistan, which feed into the same Black Mirror-esque humiliation-in-exchange-of-gifts convention. But Mustafa has created work with a certain artistic integrity in film and TV both, namely Actor in Law and Kabhi Main Kabhi Tum. However, phone cameras and social media platforms combined today have created an illusion that everyone is an artist, actor, or filmmaker. While the democratisation of the media has had numerous benefits, and this is certainly not an issue of gatekeeping, talking into a camera and showing what you cooked for lunch does not exactly require an abundance of talent or skill. There are many arguments to be made against family vlogging. The internet is full of stories of disgruntled and traumatized individuals forced by their in-house vlogger, be it a parent or a child, to be documented 24/7 for the sake of views. But the crux of the matter isn't even that. It's the fact that 'content' has replaced art, cinema and storytelling. The issues start with the usage of the word 'content' which piles up every artform into one giant automated factory where every creation serves the algorithm and the algorithm, in turn, feeds it back to us. It disintegrates the distinguishing characters of each art form and strips it of any value. This is why Mustafa's comments about the word ring true. If everything is content, then there's no difference between a feature film that takes years to produce and a bag of apples. This argument doesn't devalue platforms like YouTube which can be used for a myriad of purposes from education to art and music and everything in between. It criticizes the forced homogeneity of all art forms. And family vlogging is definitely not an art form. Casting influencers In recent years, even in Hollywood, we have seen a number of so-called social media influencers turn to film and TV. But none comes to mind when thinking about who has excelled and been recognized for their skills. One can bring up Logan Paul but he has succeeded in WWE and pro-wrestling is a vastly different kind of storytelling than film or TV. Films which star the influencers usually land on streaming platforms which again play by the algorithm and casting content creators becomes essentially the same as product placement or a gimmick to cater to the said individual's social media following. Earlier this year in an interview with Variety, Ethan Hawke also lamented the fact that filmmakers are being forced to cast based on Instagram following. He said, "Sometimes I'll be setting a movie up and someone will say, 'Oh, you should cast Suzie.' I'm like, 'Who is she?' 'She has 10 million followers.' I'm like, 'OK cool, has she acted before?' 'No, but ' And you're like, 'Wow, so this is going to help me get the movie made? This is crazy.' So if I don't have this public-facing [platform], I don't have a career? And if I get more followers I might get that part? What?" Just because someone is a social media 'content' creator doesn't automatically mean they'd be good at acting or creating any kind of art. The mindset involved in both is on the opposite ends of the spectrum. That ties in with another question: aren't most studio films made with the intent of profit and hence, they cast bankable actors to attract their fanbase. How is that different from casting a digital content creator? One response to that would be that the bankable actors can usually, if not always, act and do their job well. It's the same as when Pakistani media networks and digital platforms tried to make the 'Chaiwala' into the next big star after he went viral for his looks. It didn't work. As a filmmaker, there's a massive difference between working with trained professionals and amateur enthusiasts. Most of the time, the lack of understanding of the process results in a low-calibre work. But we live in a world where everyone only wants to be on screen and get those 15 minutes of fame. And if 10-second reels can do that, who would spend months and years to tell a good story?
CNET
15-05-2025
- CNET
AI Can Analyze Every Aspect of Your Writing. Here's How to Implement It
I have always loved storytelling, regardless of medium or platform. However, learning the "rules" of grammar — and how they shift depending on use or context — felt like a headache in the otherwise wonderful world of narrative and world-building. I believe writing can always be strengthened, and I also learn best from direct, blatant feedback. Basically, I was determined to learn about my writing process and the writing of those I am inspired by. With a couple of clicks, I ran across Slick Write, an online writing tool founded in 2002 by Craig Russell that released AI-focused features late in 2023. With so many AI companies having launched merely months ago, it's refreshing to come in contact with a company that has longevity. What is Slick Write, and how does it use AI? At its core, Slick Write was made to help its customers gain knowledge and understanding around grammar, style and readability. Over time, it's evolved to add AI capabilities like real-time feedback on its tools. The platform also offers precision analysis for potential grammar issues, down to nitty-gritty details like punctuation, sentence structure and phrasing. In an odd, Black Mirror-esque way, I can't help but wonder what Slick Write would think of AI-generated content, using its AI tools to identify areas for improvement. (Without touching on the seemingly never-ending em dash debate.) How to use Slick Write for grammar and tone Slick Write is one of the easiest platforms to try out due to no cost, no signup, no subscriptions and no installation. But do you get what you pay for? Head to Slick Write's website, and on the landing page, you can try the demo for a full deep dive into every aspect of the site. You can also select Start Writing or Check Your Own Document. For writing, copy and paste your content into the text box in the Editor tab. You can now run a check by clicking the green Check button at the top right of the editor. Slick Write will generate results based on the types of edits you ask of it: Structure, Critique, Grammar & Spelling, Flow and Stats, which come together to create a document of edits reminiscent of your (least-)favorite professor's colorful pen grading, all over your document to the point of illegibility. Each editing tab will explore feedback in detail to provide explanations or suggestions, as well as a breakdown of writing stats and tips for improvement. You have the option to revise your work or run a new analysis as needed. To kick things up, access the Features tab for writing tools like associations and related words, a rhythm tool and word frequency. Once satisfied, you can copy the revised text over. Heads up: some aspects of Slick Write still operate like it's 2002, including no download option. There is the option to autosave text to your browser's local storage under Settings — though it's unclear where it goes from there. (Maybe stick to copy and paste for now.) Should you use Slick Write? Slick Write's examination of a piece of writing from Arthur Conan Doyle. Slick Write / Screenshot by CNET Slick Write's AI tools primarily allow its target audience to streamline and create more concise language for various writing styles, objectives and formats. They make for a useful student resource but also benefit bloggers, writers and those who want to elevate their writing quality with a different type of AI output. As far as tools go, I think capturing your first draft with creative writing tools like Sudowrite and then asking Slick Write for feedback is a powerful pairing to home in on creative style and rule-oriented grammar. (Or the reverse, if you're seeking writing education and then want to build worlds around your language.) But it's hard to gauge if Slick Write is best for you without comparing it with its competitors, newcomers (in comparison) Grammarly, ProWriting Aid and Hemingway Editor. The key difference for Slick Write isn't necessarily in its features, but in its ease — Slick Write leans into longevity, simplicity and a detailed educational experience across grammar and readability checks versus fancy enhancements. Though I do believe product evolution is necessary to some extent in an ever-changing world. Even though its competitors have a different target audience, I believe that Slick Write, when used in conjunction with other writing tools, can hold its own in a fast-paced market, without overcomplication or overstimulation.
The Guardian
26-03-2025
- Entertainment
- The Guardian
In Vitro review – a suspenseful marriage drama set on a futuristic Australian cattle farm
Film and television tend to be thought of as predominantly visual mediums, a bias reflected in the very term motion pictures. But productions like the Australian sci-fi thriller In Vitro encourage us to rethink this preconception, because hot damn, our ears get a great workout – fed all sorts of strange electronic textures and aural gradients. Co-directors Tom McKeith and Will Howarth keep a tight control of the film's visuals, bringing a sparse, lean quality to the remote cattle property where the two lead characters reside and much of the drama unfolds. But sound-wise, this film travels to far-flung corners of the cosmos; hats off to composer Helena Czajka, supervising sound designer Matthew Perrott and sound editor Paul Reeves for stellar work. In Vitro unfolds in a not-too-distant future: a word sequence laden with dystopian associations and often involving Black Mirror-esque commentary on dangerous technology. Times are tough for cattle farmers like wearied married couple Layla (Talia Zucker) and Jack (Ashley Zukerman), the climate crisis having terribly affected the agricultural industry. During introductory moments, we see a newspaper article pinned to a wall, with a headline reading: 'Local man bets big on new tech.' The couple have invested in cloning technology, which, we learn, delivers products 'for a growing population, still hungry for the real thing'. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning The heavy, slightly disaffected ways that Layla and Jack interact suggest there's some distance between them, though we're not sure whether these gaps are bridgeable and to what extent their union has soured. Thanks largely to strong, understated performances from Zucker and Zukerman, you buy the film first and foremost as a marriage drama. This provides a strong psychological foundation upon which McKeith and Howarth can pivot to sci-fi elements and unravel an 'uh-oh' plot trajectory. We clearly sense early on that either Layla or Jack – or even both of them – are being deceptive, with a strong inference that their secrets are abstract and actual, a satisfying combination. You can feel the film's momentum gathering, like a large stone tumbling down a hill, with things starting to really sizzle around the 45-minute mark. The directors maintain a spare approach, building anticipation for an interestingly peculiar final act that pushes the actors (one in particular) in perhaps unexpected directions. They were wise to keep the runtime at a trim 88 minutes; this is the sort of suspense-filled production that can lose viewers if it starts to feel too heavy and cumbersome. McKeith and Howarth infuse visions of the vast Australian landscape with a sense that psychological space is being reduced, the air pinched by sinister forces. The film's terrific sound design plays a key role in this. The score projects the characters' emotions and stretches them out over the land, imbuing physical terrain with a disquieting feel – not quite menace, initially, though one can sense the gravitational pull of this world tilting in that direction. Sometimes Czajka's score contains an ominous drumming noise, which sounded to me as if an alien had been tasked with replicating the sound of a heartbeat, returning with something not entirely wrong, rhythmically speaking, but lacking a fundamental human quality. There are whistling noises and brassy vibrations; there are metallic sounds that feel like they're both coming towards us and drifting away. These noises have a profound effect, reaching every corner of the mise en scène and every gesture from the actors. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Simple lines like 'I don't feel right' and 'what did you do?' sound heavier and tinnier than usual. Words that come out linger in the air, not wanting to leave. The same can be said of the film itself: In Vitro has an amorphous, floating quality, like an ominous grey cloud sticking to the horizon. In Vitro opens in Australian cinemas on 27 March
