Reddit a porté plainte contre Anthropic devant un tribunal de San Francisco, mercredi 4 juin. DADO RUVIC / REUTERS La plateforme Reddit a porté plainte contre Anthropic, start-up californienne d’intelligence artificielle (IA). Reddit accuse l’entreprise d’avoir utilisé sans autorisation des conversations publiques de ses utilisateurs pour entraîner ses modèles d’IA générative – parmi lesquels figure Claude, un modèle de langage et chatbot concurrent de ChatGPT. D’après la plainte, déposée mercredi 4 juin à San Francisco, Reddit reproche à Anthropic d’avoir entraîné ses modèles de langage à partir de messages « humains » postés sur Reddit. L’action en justice se base notamment sur un document de recherche publié en décembre 2021 par les équipes d’Anthropic et cosignés par le chef de l’entreprise, Dario Amodei. Le texte mentionne certaines conversations spécifiques de Reddit pouvant servir à l’entraînement de tels modèles. Celles tenues sur Wikipédia sont aussi mentionnées. La plainte allègue que malgré les déclarations publiques d’Anthropic, qui a assuré avoir bloqué l’accès à Reddit à ses systèmes automatisés de récolte des données, les robots de l’entreprise ont malgré tout continué « à se connecter aux serveurs de Reddit, et ce plus de cent mille fois » depuis juillet 2024, indique le texte. Lire aussi | Le gouvernement retire une vidéo générée par IA sur la Résistance, à la suite d’une erreur historique Anthropic conteste « Nous ne sommes pas d’accord avec les affirmations de Reddit et nous nous défendrons vigoureusement », a réagi un porte-parole d’Anthropic auprès de l’Agence France-Presse. Fondée à San Francisco par d’anciens ingénieurs d’OpenAI, Anthropic promeut de manière ostensible un développement responsable de l’IA générative. « Cette affaire porte sur les deux personnalités d’Anthropic : la personnalité publique qui tente de faire croire aux consommateurs qu’elle est une entreprise juste qui respecte les limites et la loi, et la personnalité privée qui se moque de toutes les règles qui gênent ses tentatives de s’en mettre plein les poches », accuse Reddit dans la plainte. Reddit demande désormais des dommages et intérêts, et une injonction pour obliger Anthropic à respecter les termes de son contrat d’utilisation. Ce dernier interdit depuis 2024, date d’entrée en Bourse de Reddit, l’utilisation de données issues des discussions Reddit sans qu’un accord, ou un contrat, ne soit signé avec la plateforme. Reddit, qui déclarait en octobre 2024 compter sur 97,2 millions d’utilisateurs actifs chaque jour, a déjà conclu des accords de licence avec d’autres géants de l’IA générative, dont Google et OpenAI. Ces accords permettent à ces firmes d’utiliser les contenus de Reddit suivant des conditions qui protègent les informations confidentielles des utilisateurs, et offrent une compensation financière à la plateforme. Lire aussi | Article réservé à nos abonnés Un pionnier de l’IA veut construire des systèmes non nuisibles à l’humanité Le Monde avec AFP

L’intelligence artificielle (IA) est souvent saluée comme la solution aux défis les plus complexes de la médecine moderne. Qu’il s’agisse de prédire des infections chez les prématurés ou de recommander des traitements personnalisés, les outils d’IA promettent plus de précision et d’efficacité. En tant que chercheurs et médecins, nous voyons l’immense potentiel de l’IA. Mais nous constatons aussi un problème croissant : bien que l’IA soit conçue pour alléger la charge des cliniciens, elle pourrait en réalité l’aggraver. Comme nous l’avons souligné en mars dans un article publié dans le JAMA Health Forum, on demande aux médecins d’accomplir l’impossible. L’IA s’introduit dans les hôpitaux à un rythme que les réglementations ne peuvent pas suivre. Les médecins doivent décider – souvent seuls – quand se fier aux recommandations d’un algorithme et quand les rejeter. Et si le résultat est mauvais, ce sont eux qui en portent la responsabilité. Des recherches montrent que le public tend à blâmer davantage les médecins qui suivent une recommandation erronée d’IA que ceux qui suivent un avis humain fautif. Les médecins restent perçus comme les décideurs finaux, même lorsque la technologie échoue. Résultat : on demande aux médecins d’évaluer parfaitement la fiabilité d’outils qu’ils n’ont pas conçus et ne peuvent entièrement comprendre, tout en les tenant seuls responsables du résultat. Lire aussi | Intelligence artificielle et médecine : des promesses et beaucoup de questions Nous appelons cela le « dilemme surhumain du médecin ». La société attend depuis longtemps des médecins qu’ils soient infaillibles et l’IA ne fait qu’amplifier ces attentes. On demande désormais aux médecins d’interpréter instantanément des résultats algorithmiques, en naviguant entre deux risques constants : les faux positifs (faire confiance à une IA défectueuse) et les faux négatifs (rejeter une IA fiable). « Boîtes noires » Les voilà ainsi pris dans un double piège. S’ils suivent l’IA et que celle-ci se trompe, ils peuvent être blâmés pour avoir fait confiance à une machine. S’ils la rejettent et qu’un préjudice survient, ils peuvent être blâmés pour l’avoir ignorée. Cela ajoute de la pression, brouille leur jugement et érode la confiance, tant envers la technologie qu’envers eux-mêmes. Il vous reste 60.99% de cet article à lire. La suite est réservée aux abonnés.

Carnet de bureau. Les cadres vont-ils maîtriser l’intelligence artificielle (IA) avant que leur entreprise n’organise leur formation ? D’après l’étude « IA et emploi : l’utilisation de l’intelligence artificielle fait un bond chez les cadres », publiée mardi 3 juin par l’Association pour l’emploi des cadres (APEC), qui a interrogé en mars 2 000 cadres de plus de 1 000 entreprises, plus d’un cadre sur trois (35 %) et 42 % des manageurs utilisent déjà l’intelligence artificielle au moins une fois par semaine au travail. Selon l’Association pour l’emploi des cadres, 35 % des cadres et 42 % des manageurs utilisent déjà l’intelligence artificielle au moins une fois par semaine au travail. SOLÈNE REVENEY / LE MONDE Parmi les usages les plus courants de l’IA, la collecte de données, les synthèses, les comptes rendus de réunion concernent de multiples métiers. Dans un service d’édition du groupe de presse Ebra, toute l’équipe travaille déjà sur un même compte ChatGPT. L’assistant IA propose, les journalistes disposent et veillent à l’actualisation des outils pour les garder à leur service. Ils développent par exemple des prompts thématiques pour préparer les nécrologies. Un usage de l’IA quasi banalisé précisément décrit dans un récent article de La Revue des médias. Lire aussi | Article réservé à nos abonnés Intelligence artificielle : l’urgence de repenser le rôle de l’entreprise Les questions de l’enquête APEC sur l’utilité de l’IA pour les collaborateurs paraissent presque obsolètes. Des très petites entreprises (TPE) aux grands groupes, c’est déjà une évidence pour la majorité des entreprises. Elles en sont convaincues à 49 % pour les plus petites et à 76 % pour les plus grandes. Et 40 % des grandes organisations l’encouragent, tout comme 27 % des TPE. Il vous reste 58.91% de cet article à lire. La suite est réservée aux abonnés.

Every item on this page was hand-picked by a House Beautiful editor. We may earn commission on some of the items you choose to buy.While some design-minded folks prefer the shiny, unmarked quality of newly made furniture and decor, others opt for the charm and history associated with vintage and antique treasures. Buying secondhand and locally is not only more sustainable, but it's a great way to avoid increased fees from recent tariff policies. There's never been a better time to invest in ready-made pieces that have seen decades (or even centuries) of history unfold. That said, discerning the true value of high-end antiques—whether it be a secretary desk whose top requires a bit of elbow grease to open or a Lalique bottle that bears a tiny chip in the base—is no easy feat. After all, if you don't know the ins and outs of this particular niche, you could very well get duped into overspending.To prepare you for your next outing to the antique shop, vintage store, or flea market, we asked experts in the field for their most helpful shopping tips. Here's what they had to say about sourcing decades-old treasures—without regretting your purchase later. Related Stories Buy From a Reputable Sourcetaikrixel//Getty Images"Fakes are really the rare outliers and not the norm in the world of antiques and vintage furniture," according to Anthony Barzilay Freund, editorial director and director of fine art at 1stDibs. He says that it's always best to investigate the reputation of individual dealers or browse a reputable online marketplace that sells only vetted and authenticated items. "When buying any piece of furniture that purports to be old, it's important that you are working with a reputable dealer who has a history of handling the type of material and a track record of participating in vetted fairs or selling on digital platforms such as 1stDibs that monitor inventory," Freund continues. That way, you can trust the info you're given. "You can perform your due diligence by asking the dealer to provide you with any information about the piece's provenance (who made it, where it was made, and who owned it over the years)."As for antique-hunting at thrift stores and flea markets, you may find a few quality pieces here and there. "And the more you look, the better able you'll be to discern quality," says Freund. So, browse often!Related StoryLook for a Maker’s MarkMany antiques from famed designers bear a stamp or signature indicating who made them—but many don't, and not all stamps can be trusted. "A piece that has a stamp may be an indication that it's by a specific designer, but there have been known cases in which some badly intentioned people use someone else's branding stamp to produce fakes," says Benoist F. Drut, owner of New York–based gallery Maison Gerard. The prolific 18th-century French designer George Jacobs, for instance, was famous for his iconic stamps, but even he didn't mark every piece he designed with a signature, so "you can't rely entirely on the stamp to prove authenticity," Drut says. That being said, he adds, "It's usually obvious if it's a real stamp and not a copy." Herman MillerIf there's an artist or design house you like, do some research first to uncover exactly what type of mark, if any, you should be seeking. For example, one of the most popular vintage pieces is the beloved Eames lounge chair. According to the brand, which still produces some of the designer's original designs, "Labels and stamps can be the best and the quickest method of authenticating your Eames design. It may also help you to date and value your piece." Every Eames piece, from the first designs from the early 1940s to the ones produced now, bears a label. The only exception is the fiberglass shell chair, each of which bears a stamp. Both the labels and stamps feature a series of letters and numbers that can help determine the exact age of the piece. Related StoryAsk for Provenance DocumentsThis may seem like the most straightforward step, but it's usually the least reliable for one key reason. "Pieces that are a few hundred years old move from place to place during their lifetime, and rarely do the papers follow them," Drut explains. In most cases, you simply have to decide whether or not you trust what the dealer is telling you to be true about a piece's provenance. Some items, however, do come with papers that can easily be authenticated. These pieces are typically ones that have been in the family's estate for generations. If such papers aren't available, he adds, a piece may also be listed in probate inventories or wills, so be sure to check everywhere.A piece with family provenance further helps validate its authenticity. In certain occasions, a piece may be seen in an early 20th-century black and white photograph or, in rare instances, in a daguerreotype.—Erik GronningRelated StoryDo Your Own ResearchBeeldbewerking//Getty ImagesIf you're considering an older piece, the dealer from whom you're buying it should have a general idea of the year or decade it was produced. With that information, do some digging about how similar pieces of furniture were made and with which types of materials. "Look at books about that time period and, if you can, visit museums," says Drut. "It doesn't take a professional to see all of the subtle details—such as the materials and techniques used—that indicate if it's authentic or not." Along the way, you might uncover some lesser-known designers whose pieces are still genuine works of art, but may be easier to find and more affordable to purchase. (If an Eames chair is out of your price range, for example, you might want to look into a Plycraft seat.)Related StoryPerform a “Run-Down”Before making a big-ticket purchase, ask the dealer what the piece is made of—the response will be another indicator of authenticity. Take chairs as an example."Plenty of chairs and sofas made today are filled with foam," says Drut. "An 18th-century chair, however, will be filled with horsehair, as foam was not invented until much later in the 20th century."You'll also want to observe where small marks or imperfections in the construction may bear the signature of a handcrafted (as opposed to mass-produced) item. "The process of making a piece of furniture using only hand tools leaves behind 'tool marks,'" says Erik Gronning, Sotheby's head of Americana. "Saws leave a mark called a saw kerf while planes leave plane marks, and modern electrical powered saws and planes also leave marks, but theirs are regular and not inconsistent as one sees with hand tools." Related Story Request Pre-Restoration PhotosGiorez//Getty Images"If the piece has been extensively cleaned and/or refinished," Freund advises, "ask to see pre-restoration photographs." Any reputable restorer regularly enlisted by antique dealers is likely to have a few on hand. Here's the thing about restorations: They're not a bad thing, and they're definitely not a reason to question a piece's authenticity or age. For instance, Drut says, if you're considering buying a 19th-century chair whose back leg is attached with glue, "that's because it's 200 years old and, without the glue, the chair may not be usable." Looking at an image of the chair before the glue was applied can reassure you that you're getting a strengthened original, not a fake. On the other hand, if you find a centuries-old piece that looks spotless, "How can you explain that? You can't," says Drut." An alleged antique that looks too good to be true probably is." Consider what an update may be concealing: "If something has been fully painted over, that often means that someone has something to hide. Stay away," says Drut. More specifically, Gronning adds that "18th- and early 19th-century pieces in their 'original' surface have a very dark or nearly black appearance that, to the untrained eye, could appear dirty or ratty, but it is this appearance that helps authenticate its age." If this is the case with an antique treasure you're considering, it's important to look at any perceived flaws as marks of character. "Antiques and vintage pieces have a patina and personality that one cannot find in a newly constructed object," Freund says. "Rather than viewing this as damage or wear and tear, antique lovers think signs of age give an object a visual interest, warmth, and uniqueness that really enhances the character of a room." Follow House Beautiful on Instagram and TikTok.

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

💵 RésuméType : 100% télétravailTemps : Temps-pleinLangue : Français (obligatoire)Disponibilité : ImmédiateRémunération : 10 000€ - 14 400€ par anHorizon : Long-terme (3+ ans)🛠 Missions :Rapide et efficace : capacité à produire 3 vidéos par jour (45 à 60 secondes)Création de vidéos publicitaires en français Respecter les codes des bonnes vidéos publicitaires (respect de la charte graphique, accroche forte, montage dynamique)✅ Profil recherchéMinimum 1 an d'expérience en montage de vidéos e-commerceOU Minimum 3 ans d'expérience en montage de vidéos organiques (TikTok, Instagram, Youtube)Créatif.ve, rapide, et autonome📩 Merci de nous envoyer vos travaux précédents pour évaluation.👤 Pourquoi on a besoin de toi ?Si tu es un monteur expérimenté, motivé et compétent, et que tu cherches une opportunité long-terme stable pour développer tes compétences, ce rôle est pour toi !Notre agence marketing s'est développé rapidement en seulement 18 mois. Nous avons 10 monteurs aujourd'hui mais pour continuer à grandir, il nous manque des capacités de montage et on a besoin de nouveaux monteurs expérimentés pour rejoindre notre équipe ! Notre objectif : construire une équipe de montage hyper-performante capable de maintenir une qualité de très haut niveau pour nos clients !🚀 Pourquoi REACH ?REACH est une agence marketing unique en France dans le domaine de l'e-commerce. Après 8 ans aux Etats-Unis, on a développé une méthode pour faire grandir des marques e-commerce. Aujourd'hui, on travaille avec les plus belles marques françaises pour les faire grandir en France et en Europe avec cette méthodologie.Nous faisons des tournages intensifs de 10 jours par mois, et nous lançons plus de 1000 vidéos par mois pour nos marques. Nous avons des vidéos uniques, des marques avec un branding fort.🎯 Nos valeursNos valeurs ne sont pas des citations à placarder sur des murs. Ce sont des règles qui dictent toute la culture, et qui détermine si quelqu'un reste, quitte le navire, ou prend des responsabilités rapidement.Performance : Être capable de délivrer des résultats, peu importe les circonstances. Transparence : On a une culture du feedback. Il n'y a pas de place pour l'égo. Humain : On est une équipe, donc l'aspect humain est clef. RequirementsMinimum 1 an d'expérience en montage de vidéos e-commerceOU Minimum 2 ans d'expérience en montage de vidéos organiques (TikTok, Instagram, Youtube)Créatif.ve, rapide, et autonomeCapacité à travailler sous pression et à respecter les délais.Préférence pour des profils qui maîtrisent Adobe Premiere Pro

On this episode of the fxpodcast, we have an exclusive behind-the-scenes look at the visual effects work for Amazon’s Étoile, featuring an in-depth discussion with David Gaddie from Afterparty VFX. The team undertook the challenging face replacement work for the show’s ballet dancers, employing cutting-edge AI technology to seamlessly blend lead actors’ faces onto the performances of professional dance doubles. Étoile, the latest series from Amy Sherman-Palladino, renowned creator of The Marvelous Mrs. Maisel and Gilmore Girls, centers on elite ballet dancers. To realize this vision, the show’s VFX supervisor, Lesley Robson Foster, engaged Afterparty VFX to research and develop innovative AI-driven solutions capable of handling the demanding visual complexities inherent in ballet sequences. This task was notably difficult, as traditional deepfake tools are typically optimized for straightforward, frontal shots. Ballet, however, involves rapid spinning, flips, significant motion blur, and hair frequently obscuring faces, creating immense technical hurdles. Additionally, director Amy Sherman-Palladino preferred long, uninterrupted takes, some lasting nearly a full minute, eliminating conventional editing methods and cheats used to mask transitions between the actors and their dance doubles. Crucially, the final shots needed to authentically reflect the actors’ performances, rather than simply showcasing their doubles. In this episode, we explore in-depth how David Gaddie and the Afterparty VFX team developed proprietary solutions tailored specifically to these unique challenges. Their process combined computer-generated imagery, advanced AI, meticulous data segmentation, extensive manual refinements, and significant artistic skill to achieve convincing, performance-driven visual effects.

L’Union européenne (UE) promeut l’idée d’un marché unique. Pour les consommateurs, cela est en grande partie vrai. Mais, pour les entrepreneurs, elle demeure un patchwork de systèmes nationaux, d’interprétations incohérentes et d’incertitudes réglementaires. Chaque pays applique ses propres règles fiscales, lois du travail, obligations de reporting [rapport d’activité] et cadres en matière de protection de la vie privée. En conséquence, passer de l’Italie à la France, à l’Allemagne ou à tout autre pays de l’UE ne donne que rarement l’impression d’une extension du périmètre de l’entreprise. Cela ressemble plutôt à un nouveau départ à chaque fois. Lire aussi | Article réservé à nos abonnés Pour les start-up européennes, la grande tentation américaine Un jour, nous avons reçu deux évaluations contradictoires de taxe sur la valeur ajoutée, émanant du même bureau des impôts. L’une affirmait que nous avions trop payé. L’autre que nous n’avions pas payé assez. En demandant des éclaircissements, la réponse du fonctionnaire fut : « Cela dépend de celui qui contrôle. » Dans un autre cas, l’administration fiscale italienne nous a reproché d’avoir transféré trop de revenus à l’étranger, tandis que l’autorité allemande nous accusait de ne pas en avoir transféré assez. Les deux exigeaient une rectification. Ce manque de clarté accroît les risques, ralentit les décisions et oblige les fondateurs à consacrer leurs ressources à régler les problèmes de conformité plutôt qu’à s’occuper de leurs clients. Dans un continent où l’échec est encore souvent vécu comme une marque d’infamie plutôt que comme une expérience valorisante, trop de start-up renoncent tout simplement à essayer de croître. Alors que les Etats-Unis accélèrent leur domination en termes de plateformes et d’investissements dans l’intelligence artificielle, et que la Chine développe ses infrastructures domestiques, l’Europe risque de demeurer une voix politique sans aucune base compétitive. Cette situation n’est pas tenable. Les récentes tensions avec les Etats-Unis autour des taxes technologiques et des droits de douane soulignent encore davantage le danger d’une dépendance numérique. L’Europe ne peut pas se permettre de déléguer à des entreprises étrangères les systèmes qui propulsent son économie. Elle doit les construire, et les soutenir. C’est le moment pour nous de ne plus observer depuis les coulisses, mais d’agir aux côtés des Etats-Unis et de la Chine. Pour cela, il faut rendre la croissance possible, et non pénalisante. Il vous reste 47.55% de cet article à lire. La suite est réservée aux abonnés.