• Street Fighter Movie Adds Dan And Balrog Actors, Confirms Akuma Casting - Report

    The new Street Fighter movie has added a few more names to the cast. Earlier this week, rapper-turned-actor Curtis "50 Cent" Jackson teased that he will play Balrog in the film. That rumor now appears to be confirmed, and another performer has signed up to play Dan Hibiki, one of the weakest fighters in the Street Fighter universe.According to Deadline, comedian Andrew Schulz will play Dan in the film. That's appropriate, since Dan is largely a comic relief character who gets played for laughs. This will mark Dan's first-ever appearance in live-action media. Schulz has previously appeared in The Underdoggs and the remake of White Men Can’t Jump, as well as the second season of Netflix's sitcom Tires. He is also the host of Flagrant Pod, a popular comedy podcast, and his most recent comedy special was streamed on Netflix.Jackson's casting as Balrog was confirmed in a subsequent report by The Hollywood Reporter. THR went a step further by confirming the roles of a few previously cast actors including Andrew Koji as Ryu, Noah Centineo as Ken, Jason Momoa as Blanka, and Orville Peck as Vega. Additionally, the outlet notes that Joe "Roman Reigns" Anoa’i, a longtime WWE superstar and former World Champion, will play Akuma, one of the film's primary villains.Continue Reading at GameSpot
    #street #fighter #movie #adds #dan
    Street Fighter Movie Adds Dan And Balrog Actors, Confirms Akuma Casting - Report
    The new Street Fighter movie has added a few more names to the cast. Earlier this week, rapper-turned-actor Curtis "50 Cent" Jackson teased that he will play Balrog in the film. That rumor now appears to be confirmed, and another performer has signed up to play Dan Hibiki, one of the weakest fighters in the Street Fighter universe.According to Deadline, comedian Andrew Schulz will play Dan in the film. That's appropriate, since Dan is largely a comic relief character who gets played for laughs. This will mark Dan's first-ever appearance in live-action media. Schulz has previously appeared in The Underdoggs and the remake of White Men Can’t Jump, as well as the second season of Netflix's sitcom Tires. He is also the host of Flagrant Pod, a popular comedy podcast, and his most recent comedy special was streamed on Netflix.Jackson's casting as Balrog was confirmed in a subsequent report by The Hollywood Reporter. THR went a step further by confirming the roles of a few previously cast actors including Andrew Koji as Ryu, Noah Centineo as Ken, Jason Momoa as Blanka, and Orville Peck as Vega. Additionally, the outlet notes that Joe "Roman Reigns" Anoa’i, a longtime WWE superstar and former World Champion, will play Akuma, one of the film's primary villains.Continue Reading at GameSpot #street #fighter #movie #adds #dan
    WWW.GAMESPOT.COM
    Street Fighter Movie Adds Dan And Balrog Actors, Confirms Akuma Casting - Report
    The new Street Fighter movie has added a few more names to the cast. Earlier this week, rapper-turned-actor Curtis "50 Cent" Jackson teased that he will play Balrog in the film. That rumor now appears to be confirmed, and another performer has signed up to play Dan Hibiki, one of the weakest fighters in the Street Fighter universe.According to Deadline, comedian Andrew Schulz will play Dan in the film. That's appropriate, since Dan is largely a comic relief character who gets played for laughs. This will mark Dan's first-ever appearance in live-action media. Schulz has previously appeared in The Underdoggs and the remake of White Men Can’t Jump, as well as the second season of Netflix's sitcom Tires. He is also the host of Flagrant Pod, a popular comedy podcast, and his most recent comedy special was streamed on Netflix.Jackson's casting as Balrog was confirmed in a subsequent report by The Hollywood Reporter. THR went a step further by confirming the roles of a few previously cast actors including Andrew Koji as Ryu, Noah Centineo as Ken, Jason Momoa as Blanka, and Orville Peck as Vega. Additionally, the outlet notes that Joe "Roman Reigns" Anoa’i, a longtime WWE superstar and former World Champion, will play Akuma, one of the film's primary villains.Continue Reading at GameSpot
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  • So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right?

    I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right?

    And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera?

    By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video.

    And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie.

    But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along.

    #Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche
    So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right? I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right? And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera? By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video. And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie. But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along. #Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche
    Arcane : Ekko et Jinx réunis dans le clip Ma Meilleure Ennemie
    Les équipes du studio d’animation Fortiche dévoilent le clip de la chanson Ma Meilleure Ennemie. Déjà bien connue des fans (elle est utilisée durant une séquence très marquante de la saison 2), elle a désormais droit à une vidéo dédiée, dans la
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  • Summer Game Fest Viewership Jumps 89% to Record 50 Million Livestreams

    The 2025 edition of Summer Game Fest saw an 89% year-over-year growth in live peak viewership, according to StreamsCharts.

    Airing live across YouTube, Twitch and Xon June 6, the Geoff Keighley-hosted video game showcase, which was held out of the YouTube Theater at SoFi Stadium in Los Angeles, reached more than 50 million livestreams. That marks a record high in viewership for the event, which is now in its sixth year.

    Related Stories

    Major games announced or further teased during the show included the reveal of “Resident Evil Requiem,” “Atomic Heart 2,” “Scott Pilgrim EX,” “Mouse: P.I. for Hire,” “Game of Thrones: War for Westeros,” “Marvel’s Deadpool VR,” “007 First Light,” “Death Stranding 2: On the Beach” and “ARC Raiders.”

    Popular on Variety

    SEE ALSO: Variety’s Summer Game Fest Recap

    Per a Friday press release from Summer Game Fest, which is produced by Keighley and iam8bit, “In total, the peak concurrent audience for SGF reached more than 3 million live simultaneous viewers across Twitch and YouTube, with significant year over year growth on both platforms in terms of average viewership, watch time and co-streams.”

    Peak viewership stood on YouTubewas up 43% compared to 2024, with the average audience up 38%, per StreamCharts data provided by SGF.

    The archived video version of the live show has currently racked up more than eight million views. In total, the peak concurrent audience on YouTube reached over 1.5 million viewers globally,

    On gaming-focused social media platform Twitch, peak viewership for SGF was up 38% with more than 8,900 channels co-streaming the show. The total concurrent live audience stood at more than 1.4 million viewers worldwide.

    SGF was the top global trend on X/Twitter with 17 out of the top 30 trends in the U.S. related to Summer Game Fest, per the event.
    #summer #game #fest #viewership #jumps
    Summer Game Fest Viewership Jumps 89% to Record 50 Million Livestreams
    The 2025 edition of Summer Game Fest saw an 89% year-over-year growth in live peak viewership, according to StreamsCharts. Airing live across YouTube, Twitch and Xon June 6, the Geoff Keighley-hosted video game showcase, which was held out of the YouTube Theater at SoFi Stadium in Los Angeles, reached more than 50 million livestreams. That marks a record high in viewership for the event, which is now in its sixth year. Related Stories Major games announced or further teased during the show included the reveal of “Resident Evil Requiem,” “Atomic Heart 2,” “Scott Pilgrim EX,” “Mouse: P.I. for Hire,” “Game of Thrones: War for Westeros,” “Marvel’s Deadpool VR,” “007 First Light,” “Death Stranding 2: On the Beach” and “ARC Raiders.” Popular on Variety SEE ALSO: Variety’s Summer Game Fest Recap Per a Friday press release from Summer Game Fest, which is produced by Keighley and iam8bit, “In total, the peak concurrent audience for SGF reached more than 3 million live simultaneous viewers across Twitch and YouTube, with significant year over year growth on both platforms in terms of average viewership, watch time and co-streams.” Peak viewership stood on YouTubewas up 43% compared to 2024, with the average audience up 38%, per StreamCharts data provided by SGF. The archived video version of the live show has currently racked up more than eight million views. In total, the peak concurrent audience on YouTube reached over 1.5 million viewers globally, On gaming-focused social media platform Twitch, peak viewership for SGF was up 38% with more than 8,900 channels co-streaming the show. The total concurrent live audience stood at more than 1.4 million viewers worldwide. SGF was the top global trend on X/Twitter with 17 out of the top 30 trends in the U.S. related to Summer Game Fest, per the event. #summer #game #fest #viewership #jumps
    VARIETY.COM
    Summer Game Fest Viewership Jumps 89% to Record 50 Million Livestreams
    The 2025 edition of Summer Game Fest saw an 89% year-over-year growth in live peak viewership, according to StreamsCharts. Airing live across YouTube, Twitch and X (formerly Twitter) on June 6, the Geoff Keighley-hosted video game showcase, which was held out of the YouTube Theater at SoFi Stadium in Los Angeles, reached more than 50 million livestreams. That marks a record high in viewership for the event, which is now in its sixth year. Related Stories Major games announced or further teased during the show included the reveal of “Resident Evil Requiem,” “Atomic Heart 2,” “Scott Pilgrim EX,” “Mouse: P.I. for Hire,” “Game of Thrones: War for Westeros,” “Marvel’s Deadpool VR,” “007 First Light,” “Death Stranding 2: On the Beach” and “ARC Raiders.” Popular on Variety SEE ALSO: Variety’s Summer Game Fest Recap Per a Friday press release from Summer Game Fest, which is produced by Keighley and iam8bit, “In total, the peak concurrent audience for SGF reached more than 3 million live simultaneous viewers across Twitch and YouTube, with significant year over year growth on both platforms in terms of average viewership, watch time and co-streams.” Peak viewership stood on YouTube (via account for The Game Awards, which is the sister event to Summer Game Fest and is used as the feed for the SGF livestream as well) was up 43% compared to 2024, with the average audience up 38%, per StreamCharts data provided by SGF. The archived video version of the live show has currently racked up more than eight million views. In total, the peak concurrent audience on YouTube reached over 1.5 million viewers globally, On gaming-focused social media platform Twitch, peak viewership for SGF was up 38% with more than 8,900 channels co-streaming the show. The total concurrent live audience stood at more than 1.4 million viewers worldwide. SGF was the top global trend on X/Twitter with 17 out of the top 30 trends in the U.S. related to Summer Game Fest, per the event.
    0 Комментарии 0 Поделились
  • Too big, fail too

    Inside Apple’s high-gloss standoff with AI ambition and the uncanny choreography of WWDC 2025There was a time when watching an Apple keynote — like Steve Jobs introducing the iPhone in 2007, the masterclass of all masterclasses in product launching — felt like watching a tightrope act. There was suspense. Live demos happened — sometimes they failed, and when they didn’t, the applause was real, not piped through a Dolby mix.These days, that tension is gone. Since 2020, in the wake of the pandemic, Apple events have become pre-recorded masterworks: drone shots sweeping over Apple Park, transitions smoother than a Pixar short, and executives delivering their lines like odd, IRL spatial personas. They move like human renderings: poised, confident, and just robotic enough to raise a brow. The kind of people who, if encountered in real life, would probably light up half a dozen red flags before a handshake is even offered. A case in point: the official “Liquid Glass” UI demo — it’s visually stunning, yes, but also uncanny, like a concept reel that forgot it needed to ship. that’s the paradox. Not only has Apple trimmed down the content of WWDC, it’s also polished the delivery into something almost inhumanly controlled. Every keynote beat feels engineered to avoid risk, reduce friction, and glide past doubt. But in doing so, something vital slips away: the tension, the spontaneity, the sense that the future is being made, not just performed.Just one year earlier, WWDC 2024 opened with a cinematic cold open “somewhere over California”: Schiller piloting an Apple-branded plane, iPod in hand, muttering “I’m getting too old for this stuff.” A perfect mix of Lethal Weapon camp and a winking message that yes, Classic-Apple was still at the controls — literally — flying its senior leadership straight toward Cupertino. Out the hatch, like high-altitude paratroopers of optimism, leapt the entire exec team, with Craig Federighi, always the go-to for Apple’s auto-ironic set pieces, leading the charge, donning a helmet literally resembling his own legendary mane. It was peak-bold, bizarre, and unmistakably Apple. That intro now reads like the final act of full-throttle confidence.This year’s WWDC offered a particularly crisp contrast. Aside from the new intro — which features Craig Federighi drifting an F1-style race car across the inner rooftop ring of Apple Park as a “therapy session”, a not-so-subtle nod to the upcoming Formula 1 blockbuster but also to the accountability for the failure to deliver the system-wide AI on time — WWDC 2025 pulled back dramatically. The new “Apple Intelligence” was introduced in a keynote with zero stumbles, zero awkward transitions, and visuals so pristine they could have been rendered on a Vision Pro. Not only had the scope of WWDC been trimmed down to safer talking points, but even the tone had shifted — less like a tech summit, more like a handsomely lit containment-mode seminar. And that, perhaps, was the problem. The presentation wasn’t a reveal — it was a performance. And performances can be edited in post. Demos can’t.So when Apple in march 2025 quietly admitted, for the first time, in a formal press release addressed to reporters like John Gruber, that the personalized Siri and system-wide AI features would be delayed — the reaction wasn’t outrage. It was something subtler: disillusionment. Gruber’s response cracked the façade wide open. His post opened a slow but persistent wave of unease, rippling through developer Slack channels and private comment threads alike. John Gruber’s reaction, published under the headline “Something is rotten in the State of Cupertino”, was devastating. His critique opened the floodgates to a wave of murmurs and public unease among developers and insiders, many of whom had begun to question what was really happening at the helm of key divisions central to Apple’s future.Many still believe Apple is the only company truly capable of pulling off hardware-software integrated AI at scale. But there’s a sense that the company is now operating in damage-control mode. The delay didn’t just push back a feature — it disrupted the entire strategic arc of WWDC 2025. What could have been a milestone in system-level AI became a cautious sidestep, repackaged through visual polish and feature tweaks. The result: a presentation focused on UI refinements and safe bets, far removed from the sweeping revolution that had been teased as the main selling point for promoting the iPhone 16 launch, “Built for Apple Intelligence”.That tension surfaced during Joanna Stern’s recent live interview with Craig Federighi and Greg Joswiak. These are two of Apple’s most media-savvy execs, and yet, in a setting where questions weren’t scripted, you could see the seams. Their usual fluency gave way to something stiffer. More careful. Less certain. And even the absences speak volumes: for the first time in a decade, no one from Apple’s top team joined John Gruber’s Talk Show at WWDC. It wasn’t a scheduling fluke — nor a petty retaliation for Gruber’s damning March article. It was a retreat — one that Stratechery’s Ben Thompson described as exactly that: a strategic fallback, not a brave reset.Meanwhile, the keynote narrative quietly shifted from AI ambition to UI innovation: new visual effects, tighter integration, call screening. Credit here goes to Alan Dye — Apple VP of Human Interface Design and one of the last remaining members of Jony Ive’s inner circle not yet absorbed into LoveFrom — whose long-arc work on interface aesthetics, from the early stages of the Dynamic Island onward, is finally starting to click into place. This is classic Apple: refinement as substance, design as coherence. But it was meant to be the cherry on top of a much deeper AI-system transformation — not the whole sundae. All useful. All safe. And yet, the thing that Apple could uniquely deliver — a seamless, deeply integrated, user-controlled and privacy-safe Apple Intelligence — is now the thing it seems most reluctant to show.There is no doubt the groundwork has been laid. And to Apple’s credit, Jason Snell notes that the company is shifting gears, scaling ambitions to something that feels more tangible. But in scaling back the risk, something else has been scaled back too: the willingness to look your audience of stakeholders, developers and users live, in the eye, and show the future for how you have carefully crafted it and how you can put it in the market immediately, or in mere weeks. Showing things as they are, or as they will be very soon. Rehearsed, yes, but never faked.Even James Dyson’s live demo of a new vacuum showed more courage. No camera cuts. No soft lighting. Just a human being, showing a thing. It might have sucked, literally or figuratively. But it didn’t. And it stuck. That’s what feels missing in Cupertino.Some have started using the term glasslighting — a coined pun blending Apple’s signature glassy aesthetics with the soft manipulations of marketing, like a gentle fog of polished perfection that leaves expectations quietly disoriented. It’s not deception. It’s damage control. But that instinct, understandable as it is, doesn’t build momentum. It builds inertia. And inertia doesn’t sell intelligence. It only delays the reckoning.Before the curtain falls, it’s hard not to revisit the uncanny polish of Apple’s speakers presence. One might start to wonder whether Apple is really late on AI — or whether it’s simply developed such a hyper-advanced internal model that its leadership team has been replaced by real-time human avatars, flawlessly animated, fed directly by the Neural Engine. Not the constrained humanity of two floating eyes behind an Apple Vision headset, but full-on flawless embodiment — if this is Apple’s augmented AI at work, it may be the only undisclosed and underpromised demo actually shipping.OS30 live demoMeanwhile, just as Apple was soft-pedaling its A.I. story with maximum visual polish, a very different tone landed from across the bay: Sam Altman and Jony Ive, sitting in a bar, talking about the future. stage. No teleprompter. No uncanny valley. Just two “old friends”, with one hell of a budget, quietly sketching the next era of computing. A vision Apple once claimed effortlessly.There’s still the question of whether Apple, as many hope, can reclaim — and lock down — that leadership for itself. A healthy dose of competition, at the very least, can only help.Too big, fail too was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.
    #too #big #fail
    Too big, fail too
    Inside Apple’s high-gloss standoff with AI ambition and the uncanny choreography of WWDC 2025There was a time when watching an Apple keynote — like Steve Jobs introducing the iPhone in 2007, the masterclass of all masterclasses in product launching — felt like watching a tightrope act. There was suspense. Live demos happened — sometimes they failed, and when they didn’t, the applause was real, not piped through a Dolby mix.These days, that tension is gone. Since 2020, in the wake of the pandemic, Apple events have become pre-recorded masterworks: drone shots sweeping over Apple Park, transitions smoother than a Pixar short, and executives delivering their lines like odd, IRL spatial personas. They move like human renderings: poised, confident, and just robotic enough to raise a brow. The kind of people who, if encountered in real life, would probably light up half a dozen red flags before a handshake is even offered. A case in point: the official “Liquid Glass” UI demo — it’s visually stunning, yes, but also uncanny, like a concept reel that forgot it needed to ship. that’s the paradox. Not only has Apple trimmed down the content of WWDC, it’s also polished the delivery into something almost inhumanly controlled. Every keynote beat feels engineered to avoid risk, reduce friction, and glide past doubt. But in doing so, something vital slips away: the tension, the spontaneity, the sense that the future is being made, not just performed.Just one year earlier, WWDC 2024 opened with a cinematic cold open “somewhere over California”: Schiller piloting an Apple-branded plane, iPod in hand, muttering “I’m getting too old for this stuff.” A perfect mix of Lethal Weapon camp and a winking message that yes, Classic-Apple was still at the controls — literally — flying its senior leadership straight toward Cupertino. Out the hatch, like high-altitude paratroopers of optimism, leapt the entire exec team, with Craig Federighi, always the go-to for Apple’s auto-ironic set pieces, leading the charge, donning a helmet literally resembling his own legendary mane. It was peak-bold, bizarre, and unmistakably Apple. That intro now reads like the final act of full-throttle confidence.This year’s WWDC offered a particularly crisp contrast. Aside from the new intro — which features Craig Federighi drifting an F1-style race car across the inner rooftop ring of Apple Park as a “therapy session”, a not-so-subtle nod to the upcoming Formula 1 blockbuster but also to the accountability for the failure to deliver the system-wide AI on time — WWDC 2025 pulled back dramatically. The new “Apple Intelligence” was introduced in a keynote with zero stumbles, zero awkward transitions, and visuals so pristine they could have been rendered on a Vision Pro. Not only had the scope of WWDC been trimmed down to safer talking points, but even the tone had shifted — less like a tech summit, more like a handsomely lit containment-mode seminar. And that, perhaps, was the problem. The presentation wasn’t a reveal — it was a performance. And performances can be edited in post. Demos can’t.So when Apple in march 2025 quietly admitted, for the first time, in a formal press release addressed to reporters like John Gruber, that the personalized Siri and system-wide AI features would be delayed — the reaction wasn’t outrage. It was something subtler: disillusionment. Gruber’s response cracked the façade wide open. His post opened a slow but persistent wave of unease, rippling through developer Slack channels and private comment threads alike. John Gruber’s reaction, published under the headline “Something is rotten in the State of Cupertino”, was devastating. His critique opened the floodgates to a wave of murmurs and public unease among developers and insiders, many of whom had begun to question what was really happening at the helm of key divisions central to Apple’s future.Many still believe Apple is the only company truly capable of pulling off hardware-software integrated AI at scale. But there’s a sense that the company is now operating in damage-control mode. The delay didn’t just push back a feature — it disrupted the entire strategic arc of WWDC 2025. What could have been a milestone in system-level AI became a cautious sidestep, repackaged through visual polish and feature tweaks. The result: a presentation focused on UI refinements and safe bets, far removed from the sweeping revolution that had been teased as the main selling point for promoting the iPhone 16 launch, “Built for Apple Intelligence”.That tension surfaced during Joanna Stern’s recent live interview with Craig Federighi and Greg Joswiak. These are two of Apple’s most media-savvy execs, and yet, in a setting where questions weren’t scripted, you could see the seams. Their usual fluency gave way to something stiffer. More careful. Less certain. And even the absences speak volumes: for the first time in a decade, no one from Apple’s top team joined John Gruber’s Talk Show at WWDC. It wasn’t a scheduling fluke — nor a petty retaliation for Gruber’s damning March article. It was a retreat — one that Stratechery’s Ben Thompson described as exactly that: a strategic fallback, not a brave reset.Meanwhile, the keynote narrative quietly shifted from AI ambition to UI innovation: new visual effects, tighter integration, call screening. Credit here goes to Alan Dye — Apple VP of Human Interface Design and one of the last remaining members of Jony Ive’s inner circle not yet absorbed into LoveFrom — whose long-arc work on interface aesthetics, from the early stages of the Dynamic Island onward, is finally starting to click into place. This is classic Apple: refinement as substance, design as coherence. But it was meant to be the cherry on top of a much deeper AI-system transformation — not the whole sundae. All useful. All safe. And yet, the thing that Apple could uniquely deliver — a seamless, deeply integrated, user-controlled and privacy-safe Apple Intelligence — is now the thing it seems most reluctant to show.There is no doubt the groundwork has been laid. And to Apple’s credit, Jason Snell notes that the company is shifting gears, scaling ambitions to something that feels more tangible. But in scaling back the risk, something else has been scaled back too: the willingness to look your audience of stakeholders, developers and users live, in the eye, and show the future for how you have carefully crafted it and how you can put it in the market immediately, or in mere weeks. Showing things as they are, or as they will be very soon. Rehearsed, yes, but never faked.Even James Dyson’s live demo of a new vacuum showed more courage. No camera cuts. No soft lighting. Just a human being, showing a thing. It might have sucked, literally or figuratively. But it didn’t. And it stuck. That’s what feels missing in Cupertino.Some have started using the term glasslighting — a coined pun blending Apple’s signature glassy aesthetics with the soft manipulations of marketing, like a gentle fog of polished perfection that leaves expectations quietly disoriented. It’s not deception. It’s damage control. But that instinct, understandable as it is, doesn’t build momentum. It builds inertia. And inertia doesn’t sell intelligence. It only delays the reckoning.Before the curtain falls, it’s hard not to revisit the uncanny polish of Apple’s speakers presence. One might start to wonder whether Apple is really late on AI — or whether it’s simply developed such a hyper-advanced internal model that its leadership team has been replaced by real-time human avatars, flawlessly animated, fed directly by the Neural Engine. Not the constrained humanity of two floating eyes behind an Apple Vision headset, but full-on flawless embodiment — if this is Apple’s augmented AI at work, it may be the only undisclosed and underpromised demo actually shipping.OS30 live demoMeanwhile, just as Apple was soft-pedaling its A.I. story with maximum visual polish, a very different tone landed from across the bay: Sam Altman and Jony Ive, sitting in a bar, talking about the future. stage. No teleprompter. No uncanny valley. Just two “old friends”, with one hell of a budget, quietly sketching the next era of computing. A vision Apple once claimed effortlessly.There’s still the question of whether Apple, as many hope, can reclaim — and lock down — that leadership for itself. A healthy dose of competition, at the very least, can only help.Too big, fail too was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story. #too #big #fail
    UXDESIGN.CC
    Too big, fail too
    Inside Apple’s high-gloss standoff with AI ambition and the uncanny choreography of WWDC 2025There was a time when watching an Apple keynote — like Steve Jobs introducing the iPhone in 2007, the masterclass of all masterclasses in product launching — felt like watching a tightrope act. There was suspense. Live demos happened — sometimes they failed, and when they didn’t, the applause was real, not piped through a Dolby mix.These days, that tension is gone. Since 2020, in the wake of the pandemic, Apple events have become pre-recorded masterworks: drone shots sweeping over Apple Park, transitions smoother than a Pixar short, and executives delivering their lines like odd, IRL spatial personas. They move like human renderings: poised, confident, and just robotic enough to raise a brow. The kind of people who, if encountered in real life, would probably light up half a dozen red flags before a handshake is even offered. A case in point: the official “Liquid Glass” UI demo — it’s visually stunning, yes, but also uncanny, like a concept reel that forgot it needed to ship.https://medium.com/media/fcb3b16cc42621ba32153aff80ea1805/hrefAnd that’s the paradox. Not only has Apple trimmed down the content of WWDC, it’s also polished the delivery into something almost inhumanly controlled. Every keynote beat feels engineered to avoid risk, reduce friction, and glide past doubt. But in doing so, something vital slips away: the tension, the spontaneity, the sense that the future is being made, not just performed.Just one year earlier, WWDC 2024 opened with a cinematic cold open “somewhere over California”:https://medium.com/media/f97f45387353363264d99c341d4571b0/hrefPhil Schiller piloting an Apple-branded plane, iPod in hand, muttering “I’m getting too old for this stuff.” A perfect mix of Lethal Weapon camp and a winking message that yes, Classic-Apple was still at the controls — literally — flying its senior leadership straight toward Cupertino. Out the hatch, like high-altitude paratroopers of optimism, leapt the entire exec team, with Craig Federighi, always the go-to for Apple’s auto-ironic set pieces, leading the charge, donning a helmet literally resembling his own legendary mane. It was peak-bold, bizarre, and unmistakably Apple. That intro now reads like the final act of full-throttle confidence.This year’s WWDC offered a particularly crisp contrast. Aside from the new intro — which features Craig Federighi drifting an F1-style race car across the inner rooftop ring of Apple Park as a “therapy session”, a not-so-subtle nod to the upcoming Formula 1 blockbuster but also to the accountability for the failure to deliver the system-wide AI on time — WWDC 2025 pulled back dramatically. The new “Apple Intelligence” was introduced in a keynote with zero stumbles, zero awkward transitions, and visuals so pristine they could have been rendered on a Vision Pro. Not only had the scope of WWDC been trimmed down to safer talking points, but even the tone had shifted — less like a tech summit, more like a handsomely lit containment-mode seminar. And that, perhaps, was the problem. The presentation wasn’t a reveal — it was a performance. And performances can be edited in post. Demos can’t.So when Apple in march 2025 quietly admitted, for the first time, in a formal press release addressed to reporters like John Gruber, that the personalized Siri and system-wide AI features would be delayed — the reaction wasn’t outrage. It was something subtler: disillusionment. Gruber’s response cracked the façade wide open. His post opened a slow but persistent wave of unease, rippling through developer Slack channels and private comment threads alike. John Gruber’s reaction, published under the headline “Something is rotten in the State of Cupertino”, was devastating. His critique opened the floodgates to a wave of murmurs and public unease among developers and insiders, many of whom had begun to question what was really happening at the helm of key divisions central to Apple’s future.Many still believe Apple is the only company truly capable of pulling off hardware-software integrated AI at scale. But there’s a sense that the company is now operating in damage-control mode. The delay didn’t just push back a feature — it disrupted the entire strategic arc of WWDC 2025. What could have been a milestone in system-level AI became a cautious sidestep, repackaged through visual polish and feature tweaks. The result: a presentation focused on UI refinements and safe bets, far removed from the sweeping revolution that had been teased as the main selling point for promoting the iPhone 16 launch, “Built for Apple Intelligence”.That tension surfaced during Joanna Stern’s recent live interview with Craig Federighi and Greg Joswiak. These are two of Apple’s most media-savvy execs, and yet, in a setting where questions weren’t scripted, you could see the seams. Their usual fluency gave way to something stiffer. More careful. Less certain. And even the absences speak volumes: for the first time in a decade, no one from Apple’s top team joined John Gruber’s Talk Show at WWDC. It wasn’t a scheduling fluke — nor a petty retaliation for Gruber’s damning March article. It was a retreat — one that Stratechery’s Ben Thompson described as exactly that: a strategic fallback, not a brave reset.Meanwhile, the keynote narrative quietly shifted from AI ambition to UI innovation: new visual effects, tighter integration, call screening. Credit here goes to Alan Dye — Apple VP of Human Interface Design and one of the last remaining members of Jony Ive’s inner circle not yet absorbed into LoveFrom — whose long-arc work on interface aesthetics, from the early stages of the Dynamic Island onward, is finally starting to click into place. This is classic Apple: refinement as substance, design as coherence. But it was meant to be the cherry on top of a much deeper AI-system transformation — not the whole sundae. All useful. All safe. And yet, the thing that Apple could uniquely deliver — a seamless, deeply integrated, user-controlled and privacy-safe Apple Intelligence — is now the thing it seems most reluctant to show.There is no doubt the groundwork has been laid. And to Apple’s credit, Jason Snell notes that the company is shifting gears, scaling ambitions to something that feels more tangible. But in scaling back the risk, something else has been scaled back too: the willingness to look your audience of stakeholders, developers and users live, in the eye, and show the future for how you have carefully crafted it and how you can put it in the market immediately, or in mere weeks. Showing things as they are, or as they will be very soon. Rehearsed, yes, but never faked.Even James Dyson’s live demo of a new vacuum showed more courage. No camera cuts. No soft lighting. Just a human being, showing a thing. It might have sucked, literally or figuratively. But it didn’t. And it stuck. That’s what feels missing in Cupertino.Some have started using the term glasslighting — a coined pun blending Apple’s signature glassy aesthetics with the soft manipulations of marketing, like a gentle fog of polished perfection that leaves expectations quietly disoriented. It’s not deception. It’s damage control. But that instinct, understandable as it is, doesn’t build momentum. It builds inertia. And inertia doesn’t sell intelligence. It only delays the reckoning.Before the curtain falls, it’s hard not to revisit the uncanny polish of Apple’s speakers presence. One might start to wonder whether Apple is really late on AI — or whether it’s simply developed such a hyper-advanced internal model that its leadership team has been replaced by real-time human avatars, flawlessly animated, fed directly by the Neural Engine. Not the constrained humanity of two floating eyes behind an Apple Vision headset, but full-on flawless embodiment — if this is Apple’s augmented AI at work, it may be the only undisclosed and underpromised demo actually shipping.OS30 live demoMeanwhile, just as Apple was soft-pedaling its A.I. story with maximum visual polish, a very different tone landed from across the bay: Sam Altman and Jony Ive, sitting in a bar, talking about the future.https://medium.com/media/5cdea73d7fde0b538e038af1990afa44/hrefNo stage. No teleprompter. No uncanny valley. Just two “old friends”, with one hell of a budget, quietly sketching the next era of computing. A vision Apple once claimed effortlessly.There’s still the question of whether Apple, as many hope, can reclaim — and lock down — that leadership for itself. A healthy dose of competition, at the very least, can only help.Too big, fail too was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.
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  • ‘Resident Evil Requiem’ Sets February 2026 Release From Capcom

    The ninth installment in the “Resident Evil” video game franchise, titled “Resident Evil Requiem,” is set to release in February 2026.

    The new game was announced during Summer Game Fest in Los Angeles on Friday, complete with a trailer drop, which came as a surprise after developer Capcom teased the “Resident Evil” franchise’s upcoming 30th anniversary and a ninth game earlier in the presentation — but didn’t include any new footage or release date.

    Related Stories

    “Thanks to all of you, ‘Resident Evil’ is about to celebrate its 30th anniversary this coming March,” Capcom game director Jun Takeuchi said in a video message. “We truly appreciate your continued support. Now, about the latest ‘Resident Evil’ game you’ve all been waiting for, bear with us a little longer, just a blink of an eye more, and it’ll be ready. We’re incredibly grateful for your ongoing support of the ‘Resident Evil’ series.”

    Popular on Variety

    About 20 minutes later, the “Resident Evil Requiem” trailer and release date was the final piece of news revealed before the SGF 2025 show ended.

    The survival horror game will launch on PlayStation 5, Xbox Series X and S and Steam on Feb. 27, 2026.

    The last “Resident Evil” game, “Resident Evil Village,” launched in 2021 as the eighth installment in the franchise. The original “Resident Evil” was created by Shinji Mikami and Tokuro Fujiwara for PlayStation and debuted in 1996. In addition to spawning multiple followup games, “Resident Evil” has been adapted for TV and film franchises.

    Watch the trailer for “Resident Evil Requiem” in the video below.
    #resident #evil #requiem #sets #february
    ‘Resident Evil Requiem’ Sets February 2026 Release From Capcom
    The ninth installment in the “Resident Evil” video game franchise, titled “Resident Evil Requiem,” is set to release in February 2026. The new game was announced during Summer Game Fest in Los Angeles on Friday, complete with a trailer drop, which came as a surprise after developer Capcom teased the “Resident Evil” franchise’s upcoming 30th anniversary and a ninth game earlier in the presentation — but didn’t include any new footage or release date. Related Stories “Thanks to all of you, ‘Resident Evil’ is about to celebrate its 30th anniversary this coming March,” Capcom game director Jun Takeuchi said in a video message. “We truly appreciate your continued support. Now, about the latest ‘Resident Evil’ game you’ve all been waiting for, bear with us a little longer, just a blink of an eye more, and it’ll be ready. We’re incredibly grateful for your ongoing support of the ‘Resident Evil’ series.” Popular on Variety About 20 minutes later, the “Resident Evil Requiem” trailer and release date was the final piece of news revealed before the SGF 2025 show ended. The survival horror game will launch on PlayStation 5, Xbox Series X and S and Steam on Feb. 27, 2026. The last “Resident Evil” game, “Resident Evil Village,” launched in 2021 as the eighth installment in the franchise. The original “Resident Evil” was created by Shinji Mikami and Tokuro Fujiwara for PlayStation and debuted in 1996. In addition to spawning multiple followup games, “Resident Evil” has been adapted for TV and film franchises. Watch the trailer for “Resident Evil Requiem” in the video below. #resident #evil #requiem #sets #february
    VARIETY.COM
    ‘Resident Evil Requiem’ Sets February 2026 Release From Capcom
    The ninth installment in the “Resident Evil” video game franchise, titled “Resident Evil Requiem,” is set to release in February 2026. The new game was announced during Summer Game Fest in Los Angeles on Friday, complete with a trailer drop, which came as a surprise after developer Capcom teased the “Resident Evil” franchise’s upcoming 30th anniversary and a ninth game earlier in the presentation — but didn’t include any new footage or release date. Related Stories “Thanks to all of you, ‘Resident Evil’ is about to celebrate its 30th anniversary this coming March,” Capcom game director Jun Takeuchi said in a video message. “We truly appreciate your continued support. Now, about the latest ‘Resident Evil’ game you’ve all been waiting for, bear with us a little longer, just a blink of an eye more, and it’ll be ready. We’re incredibly grateful for your ongoing support of the ‘Resident Evil’ series.” Popular on Variety About 20 minutes later, the “Resident Evil Requiem” trailer and release date was the final piece of news revealed before the SGF 2025 show ended. The survival horror game will launch on PlayStation 5, Xbox Series X and S and Steam on Feb. 27, 2026. The last “Resident Evil” game, “Resident Evil Village,” launched in 2021 as the eighth installment in the franchise. The original “Resident Evil” was created by Shinji Mikami and Tokuro Fujiwara for PlayStation and debuted in 1996. In addition to spawning multiple followup games, “Resident Evil” has been adapted for TV and film franchises. Watch the trailer for “Resident Evil Requiem” in the video below.
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  • Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more

    Not Ready

    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered.

    Image credit: Capcom/Summer Game Fest

    News

    by Sherif Saed
    Contributing Editor

    Updated on June 6, 2025

    The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed.
    During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised.

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    A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026.
    The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it.
    Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for.
    As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S.
    #resident #evil #real #arriving #next
    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Not Ready Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered. Image credit: Capcom/Summer Game Fest News by Sherif Saed Contributing Editor Updated on June 6, 2025 The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed. During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised. To see this content please enable targeting cookies. A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026. The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it. Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for. As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S. #resident #evil #real #arriving #next
    WWW.VG247.COM
    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Not Ready Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered. Image credit: Capcom/Summer Game Fest News by Sherif Saed Contributing Editor Updated on June 6, 2025 The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed. During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised. To see this content please enable targeting cookies. A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026. The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it. Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for. As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S.
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  • Manus has kick-started an AI agent boom in China

    Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them. 

    There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March. 

    These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions. 

    China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life. 

    For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country. 

    As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom.

    Set the standard

    It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees. 

    Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project. 

    Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks.

    “Manus represents a promising product experience for AI agents,” says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.”

    In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s. 

    Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over million in yearly revenue.

    Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management softwarethan a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”.

    What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market.

    A global address

    Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products. 

    Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.”

    But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away. 

    Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant.

    But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model. 

    An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch.

    Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time.”

    For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month.

    A super‑app approach

    Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges. 

    ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers.

    Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis.

    Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat. 

    Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy.

    Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience.

    But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups.

    Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China’s AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date. 

    ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments.

    “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.”

    Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”
    #manus #has #kickstarted #agent #boom
    Manus has kick-started an AI agent boom in China
    Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. “Manus represents a promising product experience for AI agents,” says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management softwarethan a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time.” For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China’s AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.” #manus #has #kickstarted #agent #boom
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    Manus has kick-started an AI agent boom in China
    Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised $75 million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. “Manus represents a promising product experience for AI agents,” says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over $36 million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management software (think Notion) than a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time.” For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China’s AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”
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  • Will Eleven Die at the End of ‘Stranger Things’?

    Stranger Things fans are worried about the ultimate fate of main character Eleven, played by Millie Bobby Brown, and even some think the teen might not make it out alive at the end of the series.Eleven has been an integral part of the Duffer Brothers’ smash hit Netflix series since it first hit streaming in the summer of 2016.Viewers immediately gravitated toward the show for its spooky atmosphere and mystery-centered plot, nostalgic ’80s vibes and lovable cast of Goonies-esque teen characters.Fans have loved Eleven ever since she made her first appearance in Season 1, Episode 1, “The Vanishing of Will Byers,” and they've watched the unsure, traumatized and quiet young girl transform into a confident, spunky teen with powerful telekinetic abilities over the course of four seasons.Now though, with the series’ fifth and final season set to air later this year, longtime fans are worried about what the end of the show might spell for Eleven, now also known as Jane Hopper.Does Eleven Die in Stranger Things?Nothing about the fate of the core Stranger Things characters is known for sure at this time. However, that hasn’t stopped viewers from theorizing and speculating.During an appearance on U.K. talk show The Jonathan Ross Show in March 2024, Millie Bobby Brown may have inadvertently hinted that her character dies at the end of the show thanks to some questionable phrasing.While discussing the final season, the actress hinted, “I know how she ...” before catching herself and correcting, “I know what happens to my character.”The initial wording of “I know how she” sparked fans’ ears, many of whom thought the actress almost blurted out, “I know how she dies.”Brown also worried fans during a 2024 interview with Capital Radio, when she admitted she discovered her character’s fate after “kind ofmyself into the writers’ room.”“I saw my ending and thought, ‘Oh,’ and then I walked away very slowly,” she cryptically teased.For years fans have speculated about the ending of Stranger Things, particularly about which of the core group might not make it out alive.Some fan theories suggest that Eleven is ultimately doomed, and might be forced to lock herself in the Upside Down forever to close the gate between the Upside Down and the real world, or will die heroically closing the gate and saving her friends and loved ones.Others believe Will Byers, who was the first to venture into the Upside Down and appears to still be connected to it as well as the series’ villain Vecna, will ultimately die in the finale.Of course, these are just fan theories. Hopefully, all the kids end up just fine and there's a big, happy ending!Stranger Things Season 5 will pick up after the epic events of Season 4, in which the kids learned about the evil Vecna, who ended the season by opening a hellish portal between the town of Hawkins and the Upside Down.The fifth season will be released in three parts: The first four episodes will hit Netflix on Nov. 26, three episodes will begin streaming on Dec. 25 and the series finale will air on Dec. 31.Sitcom Moments That Were Surprisingly DarkSitcoms such as The Simpsons and The Golden Girls are often seen as light-hearted comedies, but these darker TV moments offer a different, deeper perspective.Gallery Credit: Ryan ReichardGet our free mobile appREAD MORE: TV Shows Everyone Loves That Are Actually BadChild Stars Who Quit ActingStacker compiled this list of 25 child actors who quit show business, pulling from historical news coverage to include everyone from Mary-Kate and Ashley Olsen to Carrie Henn, who played the little girl in Aliens.Gallery Credit: Sophia June
    #will #eleven #die #end #stranger
    Will Eleven Die at the End of ‘Stranger Things’?
    Stranger Things fans are worried about the ultimate fate of main character Eleven, played by Millie Bobby Brown, and even some think the teen might not make it out alive at the end of the series.Eleven has been an integral part of the Duffer Brothers’ smash hit Netflix series since it first hit streaming in the summer of 2016.Viewers immediately gravitated toward the show for its spooky atmosphere and mystery-centered plot, nostalgic ’80s vibes and lovable cast of Goonies-esque teen characters.Fans have loved Eleven ever since she made her first appearance in Season 1, Episode 1, “The Vanishing of Will Byers,” and they've watched the unsure, traumatized and quiet young girl transform into a confident, spunky teen with powerful telekinetic abilities over the course of four seasons.Now though, with the series’ fifth and final season set to air later this year, longtime fans are worried about what the end of the show might spell for Eleven, now also known as Jane Hopper.Does Eleven Die in Stranger Things?Nothing about the fate of the core Stranger Things characters is known for sure at this time. However, that hasn’t stopped viewers from theorizing and speculating.During an appearance on U.K. talk show The Jonathan Ross Show in March 2024, Millie Bobby Brown may have inadvertently hinted that her character dies at the end of the show thanks to some questionable phrasing.While discussing the final season, the actress hinted, “I know how she ...” before catching herself and correcting, “I know what happens to my character.”The initial wording of “I know how she” sparked fans’ ears, many of whom thought the actress almost blurted out, “I know how she dies.”Brown also worried fans during a 2024 interview with Capital Radio, when she admitted she discovered her character’s fate after “kind ofmyself into the writers’ room.”“I saw my ending and thought, ‘Oh,’ and then I walked away very slowly,” she cryptically teased.For years fans have speculated about the ending of Stranger Things, particularly about which of the core group might not make it out alive.Some fan theories suggest that Eleven is ultimately doomed, and might be forced to lock herself in the Upside Down forever to close the gate between the Upside Down and the real world, or will die heroically closing the gate and saving her friends and loved ones.Others believe Will Byers, who was the first to venture into the Upside Down and appears to still be connected to it as well as the series’ villain Vecna, will ultimately die in the finale.Of course, these are just fan theories. Hopefully, all the kids end up just fine and there's a big, happy ending!Stranger Things Season 5 will pick up after the epic events of Season 4, in which the kids learned about the evil Vecna, who ended the season by opening a hellish portal between the town of Hawkins and the Upside Down.The fifth season will be released in three parts: The first four episodes will hit Netflix on Nov. 26, three episodes will begin streaming on Dec. 25 and the series finale will air on Dec. 31.Sitcom Moments That Were Surprisingly DarkSitcoms such as The Simpsons and The Golden Girls are often seen as light-hearted comedies, but these darker TV moments offer a different, deeper perspective.Gallery Credit: Ryan ReichardGet our free mobile appREAD MORE: TV Shows Everyone Loves That Are Actually BadChild Stars Who Quit ActingStacker compiled this list of 25 child actors who quit show business, pulling from historical news coverage to include everyone from Mary-Kate and Ashley Olsen to Carrie Henn, who played the little girl in Aliens.Gallery Credit: Sophia June #will #eleven #die #end #stranger
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    Will Eleven Die at the End of ‘Stranger Things’?
    Stranger Things fans are worried about the ultimate fate of main character Eleven, played by Millie Bobby Brown, and even some think the teen might not make it out alive at the end of the series.Eleven has been an integral part of the Duffer Brothers’ smash hit Netflix series since it first hit streaming in the summer of 2016.Viewers immediately gravitated toward the show for its spooky atmosphere and mystery-centered plot, nostalgic ’80s vibes and lovable cast of Goonies-esque teen characters.Fans have loved Eleven ever since she made her first appearance in Season 1, Episode 1, “The Vanishing of Will Byers,” and they've watched the unsure, traumatized and quiet young girl transform into a confident, spunky teen with powerful telekinetic abilities over the course of four seasons.Now though, with the series’ fifth and final season set to air later this year, longtime fans are worried about what the end of the show might spell for Eleven, now also known as Jane Hopper.Does Eleven Die in Stranger Things?Nothing about the fate of the core Stranger Things characters is known for sure at this time. However, that hasn’t stopped viewers from theorizing and speculating.During an appearance on U.K. talk show The Jonathan Ross Show in March 2024, Millie Bobby Brown may have inadvertently hinted that her character dies at the end of the show thanks to some questionable phrasing.While discussing the final season, the actress hinted, “I know how she ...” before catching herself and correcting, “I know what happens to my character.”The initial wording of “I know how she” sparked fans’ ears, many of whom thought the actress almost blurted out, “I know how she dies.”Brown also worried fans during a 2024 interview with Capital Radio, when she admitted she discovered her character’s fate after “kind of [forcing] myself into the writers’ room.”“I saw my ending and thought, ‘Oh,’ and then I walked away very slowly,” she cryptically teased.For years fans have speculated about the ending of Stranger Things, particularly about which of the core group might not make it out alive.Some fan theories suggest that Eleven is ultimately doomed, and might be forced to lock herself in the Upside Down forever to close the gate between the Upside Down and the real world, or will die heroically closing the gate and saving her friends and loved ones.Others believe Will Byers, who was the first to venture into the Upside Down and appears to still be connected to it as well as the series’ villain Vecna, will ultimately die in the finale.Of course, these are just fan theories. Hopefully, all the kids end up just fine and there's a big, happy ending!Stranger Things Season 5 will pick up after the epic events of Season 4, in which the kids learned about the evil Vecna, who ended the season by opening a hellish portal between the town of Hawkins and the Upside Down.The fifth season will be released in three parts: The first four episodes will hit Netflix on Nov. 26, three episodes will begin streaming on Dec. 25 and the series finale will air on Dec. 31.Sitcom Moments That Were Surprisingly DarkSitcoms such as The Simpsons and The Golden Girls are often seen as light-hearted comedies, but these darker TV moments offer a different, deeper perspective.Gallery Credit: Ryan ReichardGet our free mobile appREAD MORE: TV Shows Everyone Loves That Are Actually BadChild Stars Who Quit ActingStacker compiled this list of 25 child actors who quit show business, pulling from historical news coverage to include everyone from Mary-Kate and Ashley Olsen to Carrie Henn, who played the little girl in Aliens.Gallery Credit: Sophia June
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