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How AI Is Already Transforming the Media – POLITICO

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The news business is
falling apart
and here comes AI to finish the job — at least that’s what some worry. AI isn’t the first and is surely not the last technology to upset the journalistic status quo. The telegraph and then the telephone allowed reporters to file dispatches from blocks or thousands of miles away. The
Linotype machine
obliterated the labor-intensive craft of hand-setting type in the 1880s. Radio moved news instantaneously. Computers replaced the Linotype, displacing thousands of skilled production workers.

The early vibrations of AI have already been shaking the newsroom. One downside of the new technology surfaced at
CNET and Sports Illustrated
, where editors let AI run amok with disastrous results. Elsewhere in news media, AI is already writing headlines, managing paywalls to increase subscriptions, performing transcriptions, turning stories in audio feeds, discovering emerging stories, fact checking, copy editing
and more
.


Felix M. Simon
, a doctoral candidate at Oxford, recently published a
white paper about AI’s journalistic future
that eclipses many early studies. Swinging a bat from a crouch that is neither doomer nor Utopian, Simon heralds both the downsides and promise of AI’s introduction into the newsroom and the publisher’s suite.

Unlike earlier technological revolutions, AI is poised to change the business at every level. It will become — if it already isn’t — the beginning of most story assignments and will become, for some, the new assignment editor. Used effectively, it promises to make news more accurate and timely. Used frivolously, it will spawn an ocean of spam. Wherever the production and distribution of news can be automated or made “smarter,” AI will surely step up. But the future has not yet been written, Simon counsels. AI in the newsroom will be only as bad or good as its developers and users make it.

This interview was conducted over Zoom and online and has been edited for length and clarity.

Your report maintains that far from being a technology of the future, AI is already in the newsroom.

It’s not just in the newsroom, it’s in news organizations more broadly, and newsrooms are one part of that. If you consume news on a phone or computer and get any kind of article recommendation, in most cases, that is AI and machine learning. The end user is less aware of the use of AI in journalism in the production of news, like discovering information in very large datasets, which we’ve seen with the
Panama Papers
, which helps investigative reporters find stories in these big reams of data. Or something fairly common, like recording me and then having AI transcribe it.

Other specific uses?

The
Daily Maverick
in South Africa feeds original long-form content into AI systems that spits out summaries in bullet point form. In the days before AI, you would have to have a journalist write that summary and write those bullet points. Another is you can have articles read to you by an AI-generated voice. Instead of reading on your phone, or if you’re visually impaired, having a synthetic voice read to you becomes possible with the help of technology, and also possibly at scale.

What sort of road map for the adoption of AI in newsrooms do you see? Do you see expanded use in crunching big data sets? Grinding out formula stories like corporate earnings reports? AI illustrations? AI copy desks?

It will be an ongoing appropriation, but at different speeds, owing to the individual needs, capabilities, cultural mindsets and resources of different news organizations and newsrooms. So, an organization with a strong footprint in data journalism will likely use AI to drive more or deeper coverage on this front, whereas a newsroom that is focused mainly on churning out superficial fluff pieces will likely use it to that end.

Uses that will cut across are those that all newsrooms share in some ways. AI transcriptions are already standard, and everyone needs to copy edit or reformat content for different products and channels, or illustrate and visualize content — so these uses will increase. The same for content recommendation or dynamic paywalls. This was already on the rise, and I would be very surprised if this did not increase in the future. What is going to be really interesting — and most difficult to predict — are the more creative ways newsrooms will find to serve their audiences with the help of AI, not just in terms of good journalism that people will actually want to consume (and pay for), but also in formats that especially younger or currently underserved audiences will find appealing.

What can human journalists do that AI can’t?

Things like gaining someone’s trust, building up a connection to a source, maybe over months, maybe over years in some cases, which might not even lead anywhere in the beginning and then at one point you call them up and they say, I have a piece of information for you. That’s not something any AI system can do at the moment because it relies on human interaction and building rapport over a longer period of time. That’s not something you can do from typing a prompt into ChatGPT. You have to have boots on the ground, with their eyes and ears and going around and seeing what’s happening.

How will AI improve journalism?

That AI will improve journalism is not a foregone conclusion. If managers and editors decide to use it to help reporters do their work in a better way, that would be a quality improvement. But the decision has to be to made to use the technology for that end. It’s not something that happens automatically.

The opposite is also possible if you’re a news organization mainly interested in reaching lots of people, but not necessarily interested in quality journalism, as was the case in the
recent CNET’s example
[in which the site published shoddy AI-written pieces]. It basically comes down to what news organizations decide what to do with it.

Publishers might use it to boost quantity, not quality?

Any increase in efficiency and resources will generate an increase in resource consumption. AI can allow journalists to spend more time on the really valuable tasks. You can automate transcription with AI, make summaries with AI. But instead of giving you time to do more in-depth stuff, your editor might have you write 10 stories a day instead of five because technology speeds you up. It’s not necessarily all driven by technology, even though technology enables these different scenarios.

How should journalists relate to the current AIs? As a knowledgeable colleague? A sometimes reliable source? Or a lousy intern who fakes most assignments given to him?

The answer to this question depends on the kind of AI system we are talking about as there is no one single AI at work in news organizations. Instead, AI is best understood as an assemblage of different techniques, systems and approaches used in different places and for different tasks. I also try not to anthropomorphize them: They are computer systems. Admittedly, very good ones, but they are not human.

But if we whittle this down for the sake of argument to journalists and how they make use of chatbots such as Bard, Claude or ChatGPT, caution is advised. The underlying large language models are nondeterministic by nature — so you can get different outputs even with the same prompt and they are prone to errors. But depending on the task, this is more or less of a problem. I would not blindly trust them if I were searching for information, but they are rather good at tasks such as copy-editing or summarizing. In any case, I’d always double-check.

One pipe dream of the early internet era was a “Daily Me” news site tailored to individual tastes. That never came. Will AI build it, or is having a news product that other people have more desirable than having a customized one?

Ha! Well, in some ways, there is a bit of the “Daily Me” already, right? Recommendation systems driving things like Apple News or Google News use machine learning, in other words AI, to tailor content to individual interests — and increasingly, publishers around the world are doing the same in their apps or on their websites. So we are going down that route already.

In terms of how this is received, the picture is somewhat ambiguous. There are academic studies indicating that news recommenders are viewed as fair and useful as human editors while others show that people are generally skeptical of any kind of recommendation and tailoring — and that they fear missing out on things other people get to see. What we do know is that those with higher trust in news and institutions are more likely to be happy with automated recommendations tailored to their interests, too. Meanwhile, news organizations automatically tailoring and recommending news can sometimes clash with editors’ desire to set agendas through the stories they place. It’s a mixed picture without a clear answer.

One of your findings is that AI will reinforce existing inequalities among news outlets, with well-resourced ones outracing the less.

If you are a larger news organization, you have the time to invest in research and development, attract and retain talent, and build a customized AI. If you’re a small organization, you’re more a technology taker than a technology maker. That’s one way we see winners and losers.

The big news organizations, like the New York Times and Axel Springer [owner of POLITICO], can engage in direct negotiations with Microsoft and Google. This is not the case with the Oxford Mail or the Offenbach Post, which was my local newspaper in Germany. We’ve seen this power imbalance emerging in recent weeks with the squabbles over questions of copyright and the use of news to do data training. If you are larger, you have an advantage because you can afford to go to court [editor’s note:
like the New York Times
].

Is it likely that Big Tech will be able to use its power to cement control over news information?

In many ways, it’s already done that, if you look at the ways news is distributed by Google and Meta. There is already a sort of dependency. AI is already used to sort information to curate information on the platforms of those very companies and will increasingly be rolled out more deeply. If you become a technology-taker rather than a technology-maker, you are dependent on cloud computing infrastructure from places like Microsoft. They hold all the cards if they decide to raise prices or change the conditions of licensing and accessing deals. You are at the short end of the stick in many ways.

For many users, AI is a black box whose workings they don’t understand. What problems does that present for newsrooms that become AI-dependent?

If you don’t know where the information comes from, that can create problems. One could expose you as a journalist or an organization to copyright infringement or plagiarism. If you don’t quite know how these systems work, if you don’t know when they work, where they failed, what exactly they do. That can create problems in the journalistic process, of course, and in the way we consume information.

******

I rely on un-artificial intelligence less and less every day. Send IQ points to
[email protected]
. No new email alert subscriptions are being honored at this time. My
Twitter
and
Threads
accounts welcome their robot masters. My dead RSS feed is a Luddite.

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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Arizona man accused of social media threats to Trump is arrested

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Cochise County, AZ — Law enforcement officials in Arizona have apprehended Ronald Lee Syvrud, a 66-year-old resident of Cochise County, after a manhunt was launched following alleged death threats he made against former President Donald Trump. The threats reportedly surfaced in social media posts over the past two weeks, as Trump visited the US-Mexico border in Cochise County on Thursday.

Syvrud, who hails from Benson, Arizona, located about 50 miles southeast of Tucson, was captured by the Cochise County Sheriff’s Office on Thursday afternoon. The Sheriff’s Office confirmed his arrest, stating, “This subject has been taken into custody without incident.”

In addition to the alleged threats against Trump, Syvrud is wanted for multiple offences, including failure to register as a sex offender. He also faces several warrants in both Wisconsin and Arizona, including charges for driving under the influence and a felony hit-and-run.

The timing of the arrest coincided with Trump’s visit to Cochise County, where he toured the US-Mexico border. During his visit, Trump addressed the ongoing border issues and criticized his political rival, Democratic presidential nominee Kamala Harris, for what he described as lax immigration policies. When asked by reporters about the ongoing manhunt for Syvrud, Trump responded, “No, I have not heard that, but I am not that surprised and the reason is because I want to do things that are very bad for the bad guys.”

This incident marks the latest in a series of threats against political figures during the current election cycle. Just earlier this month, a 66-year-old Virginia man was arrested on suspicion of making death threats against Vice President Kamala Harris and other public officials.

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