Dueling documentaries illuminate the promise and perils of artificial intelligence

SAN FRANCISCO (AP) — Artificial intelligence's dystopian specter has spawned a pair of documentaries dissecting a technology that's depicted in the films as a ravenous parasite devouring humanity's knowledge, creativity and empathy.

The films, “Deepfaking Sam Altman” and “The AI Doc," examine the issue through different lenses while similarly illuminating why the technology evokes both existential fears and utopian visions about how it might change the world.

Both documentaries coincide with an intensifying debate about whether AI will become a catalyst that helps enlighten and enrich people or a technological toxin that insidiously dulls human intelligence while wiping out millions of high-paying jobs that have traditionally required college educations.

Dealing with AI dread

Imaginative production delivers excellent encore performances

When Brush Theatre first brought its flagship production, Doodle POP, to Winnipeg in 2022, the South Korean company was an unknown entity locally.

Not anymore: with its third visit to the Manitoba Theatre for Young People in five years underway, the highly imaginative troupe has scribbled its way into the memories of a generation of theatregoers.

While adult audiences might not appreciate a professional theatre company programming similar shows with such frequency, MTYP hasn’t hesitated to extend return invitations to Brush, which blends miming, clowning, drawing and dazzling projections into unique and approachable stage concoctions, driven by participation from a rapt, ever-changing audience.

A kid only gets one chance to see their first theatre performance, and Doodle POP is just about as fun and engaging an introductory experience one can dream up.

PTE play shines a light on cultural harms caused by forgeries

Drew Hayden Taylor explores art authentication with his signature wit in The Undeniable Accusations of Red Cadmium Light, a play inspired by the ongoing challenges to the artistic legacy of Anishinaabe painter Norval Morrisseau.

Exhibition digs into colonial ideas, societal pressures and resource use of lawns

Carrie Allison has thought a lot about lawns.

Specifically, the Halifax-based multidisciplinary artist thought about the time, money, resources and energy spent on the endless pursuit of the perfectly manicured, kelly-green squares in front of suburban houses; the colonial ideas about value, virtue, class and wealth lawns uphold; and the pressures exerted by societal expectations and full-on city bylaws to control what is a living thing.

It’s those ideas that inform we tend to care, a touring solo exhibition curated by Franchesca Hebert-Spence. The Winnipeg iteration of the show will be presented across two venues — Urban Shaman and within WAG-Qaumajuq’s permanent collection galleries — in collaboration with Marie-Anne Redhead, assistant curator of Indigenous and contemporary art at WAG-Qaumajuq.

“Lawns and grass are very much associated with that sort of, I would say, propaganda of what we value in society,” says Allison, 39, who is of nêhiýaw/Métis/mixed European descent. “They are used to tell people what they should value and how they should use their time.”

$54.7M sale of Frida Kahlo self-portrait breaks auction record for female artists

A haunting 1940 self-portrait by famed Mexican artist Frida Kahlo sold Thursday for $54.7 million and became the top-selling work by any female artist at an auction.

The painting of Kahlo asleep in a bed — titled “El sueño (La cama)” or in English, “The Dream (The Bed)” — surpassed the record held by Georgia O’Keeffe’s “Jimson Weed/White Flower No. 1," which sold for $44.4 million in 2014.

The sale at Sotheby's in New York also topped Kahlo's own auction record for a work by a Latin American artist. The 1949 painting “Diego and I,” depicting the artist and her husband, muralist Diego Rivera, went for $34.9 million in 2021. Her paintings are reported to have sold privately for even more.

The self-portrait is among the few Kahlo pieces that have remained in private hands outside Mexico, where her body of work has been declared an artistic monument. Her works in both public and private collections within the country cannot be sold abroad or destroyed.

Travelling sign painter finds his groove on the move

For someone whose writing appears all over the city, Joseph Pilapil’s penmanship isn’t the best.

You’ve probably seen his meticulously formed letters above store entrances, on shop windows and decorating sandwich boards all across the city.

But when it comes to writing on paper, well, the less said the better.

“My handwriting is terrible. When I am writing out my day-to-day stuff, it’s absolutely really bad,” he says, with a laugh.

La créativité franco-manitobaine rayonne: Anna Binta Diallo expose à travers le pays

En 2025, l’artiste visuelle franco-manitobaine Anna Binta Diallo connaît une année charnière. De Vancouver à Toronto, en passant par Edmonton et Winnipeg, ses expositions se succèdent, confirmant la place qu’elle occupe désormais parmi les figures majeures de la scène artistique canadienne contemporaine.

Née à Dakar, Sénégal, en 1983 et élevée à Saint-Boniface, Anna Binta Diallo tisse depuis toujours des liens entre les continents et les mémoires. Ses œuvres explorent les intersections entre identité, nostalgie et nature, dans un langage visuel qui conjugue collage, vidéo, graphisme et sculpture.

“Le collage est depuis longtemps au cœur de ma démarche,” confie-t-elle. “J’aime réagencer des images anciennes, des sons, des fragments d’archives pour construire de nouveaux récits.”

L’artiste collecte cartes, livres et photos qu’elle transforme en compositions hybrides, à la croisée du passé et du futur.

Rosa Parks and Helen Keller statues unveiled at the Alabama Capitol

MONTGOMERY, Ala. (AP) — Statues of Rosa Parks and Helen Keller, pivotal figures who fought for justice and inspired change across the world, were unveiled Friday on the grounds of the Alabama Capitol.

The monuments honoring the Alabama natives whose advocacy helped dismantle racial segregation and promoted the rights of people with disabilities are the first statues of women to be installed on the lawn of the Alabama Capitol, broadening the history reflected on the grounds that also include tributes to the Confederacy, which was formed at the site in 1861.

Gov. Kay Ivey, currently the nation's longest serving female governor, said Parks and Keller “rose to shape history through quiet strength and unwavering conviction.”

“Courage changes the course of history, and today, these statutes stand as symbols of that courage — testaments to what one person, especially one determined one, can do to make the world a better place,” Ivey said.

Misguided dramedy not great

Making her directorial debut, actor Scarlett Johansson (whose movies range from Lost in Translation to The Avengers) has chosen a small human story that is enormously well-intentioned.

But as the central character in this awkward, uneven dramedy proves, good intentions can have disastrous consequences. Attempting to make a much-needed statement about our contemporary culture’s difficulty in dealing with age, grief and loneliness, Eleanor the Great misfires, sometimes badly.

There are things that work. As we often see in projects by actors-turned-directors, the film’s core strength comes from its performances, especially that of 95-year-old June Squibb, a veteran actress who has a long list of supporting work in such movies as Nebraska and About Schmidt and recently received star billing in 2024’s Thelma. Here she takes the title role of Eleanor Morgenstein, a cranky, critical but compassionate senior.

As the story opens, Eleanor is living in Florida with Bessie (Rita Zohar). After the deaths of their husbands, the two old friends have been looking after each other. When Bessie wakes from nightmares rising out of her experiences during the Holocaust — a story she has never related, even to her own family — she and Eleanor sit at the kitchen table and talk it through.

Local filmmaker’s lo-fi feature packs a punch

It feels right that this low-budget, lo-fi experimental feature should be showing as part of We’re Still Here, a slate of programming that marks 50 resilient and resourceful years of the Winnipeg Film Group.

Winnipegger’s artwork chosen for Walmart’s national Orange Shirt offering

As she walked into the Unicity Walmart department store, Indigenous artist Brooklyn Rudolph-Nicholas felt her excitement levels rising.

She headed towards the racks of instantly recognizable orange T-shirts, smiling as she glimpsed the familiar image on the front.

It was a pinch-me moment: her work was emblazoned on Walmart Canada’s National Day for Truth & Reconciliation orange shirts stocked in stores across the country.

The granddaughter of two residential school survivors, Rudolph-Nicholas made her T-shirt art in honour of her late grandparents.

Artist explores internal dialogues with a surreal twist

Can you ever truly be alone with your thoughts when your thoughts don’t leave you alone?

In the oil and acrylic paintings that populate Bria Fernandes’ solo show, Things Left Unsaid — on view now at Gallery 1C03 at the University of Winnipeg — feelings and thoughts of self-doubt, anxiety, grief and displacement show up as physical visitors, often in the most banal moments of daily life. Like when you’re brushing your teeth, say. Or making coffee.

In the 2024 work Ain’t Misbehavin’, they arrive when the central figure is pulling on her socks. A melancholy blue figure leans against her thigh as though seeking comfort. Another appears from behind, hands on her shoulders.

“She’s trying to live her life, and she’s having these thoughts, and the thoughts in her mind are coming out into reality and interacting with her,” Fernandes says.

Drawn to their unique grain pattern, carver gravitates to trees’ ungainly outgrowths

There’s more to a burl than meets the eye. On the surface the flawed wood is a gnarly, lumpy mess. But beneath the scars hides something rather special.

“Burls are an unappealing wart-like growth on a tree,” artist Gary Foidart, 69, explains.

“They are horrific looking on the outside. Some of them look terrible. You never know what you are going to hit when you cut a burl open but the wood inside is the most beautiful wood there is. Each one is totally unique.”

Bulbous and rough, a wood burl forms when a tree experiences stress or disruption to its growth. Burls can also develop from insect infestation, bacterial or fungi growth, and environmental injuries.

The defunded Corporation for Public Broadcasting will get one of TV’s biggest prizes

The Corporation for Public Broadcasting will be honored with one of the television's top prizes even as it winds down its nearly 60-year work after the U.S. government withdrew funding.

The organization, which has helped pay for PBS, NPR, 1,500 local radio and TV stations as well as programs like “Sesame Street” and “Finding Your Roots,” will be awarded the Television Academy's Governors Award, which honors those who have "made a profound, transformational and long-lasting contribution to the arts and/or science of television.”

It will be handed to Patricia de Stacy Harrison, the longest-serving president and CEO of the Corporation for Public Broadcasting at the Creative Arts Emmy Awards ceremony on Sept. 7.

“For more than half a century, CPB has been a steadfast champion of storytelling that informs, educates and unites us and ensures public media remains a vital space where diverse voices are heard and communities are served,” Television Academy Chair Cris Abrego said in a statement Tuesday.

‘No safety rules’: Concerns grow as AI-generated videos spread hate online

At first it appears to be a quirky video clip generated by artificial intelligence to make people laugh.

In it, a hairy Bigfoot wearing a cowboy hat and a vest emblazoned with the American flag sits behind the wheel of a pickup truck.

“We are going today to the LGBT parade,” the apelike creature says with a laugh. “You are going to love it.”

Things then take a violent and disturbing turn as Bigfoot drives through a crowd of screaming people, some of them holding rainbow flags.

Not just Big Bird: Things to know about the Corporation for Public Broadcasting and its funding cuts

The Corporation for Public Broadcasting, which helps pay for PBS, NPR, 1,500 local radio and television stations as well as programs like “Sesame Street” and “Finding Your Roots,” said Friday that it would close after the U.S. government withdrew funding.

The organization told employees that most staff positions will end with the fiscal year on Sept. 30. A small transition team will stay until January to finish any remaining work.

The private, nonprofit corporation was founded in 1968 shortly after Congress authorized its formation. It now ends nearly six decades of fueling the production of renowned educational programming, cultural content and emergency alerts about natural disasters.

Here's what to know:

Canadian researchers create tool to remove anti-deepfake watermarks from AI content

OTTAWA - University of Waterloo researchers have built a tool that can quickly remove watermarks identifying content as artificially generated — and they say it proves that global efforts to combat deepfakes are most likely on the wrong track.

Academia and industry have focused on watermarking as the best way to fight deepfakes and "basically abandoned all other approaches," said Andre Kassis, a PhD candidate in computer science who led the research.

At a White House event in 2023, the leading AI companies — including OpenAI, Meta, Google and Amazon — pledged to implement mechanisms such as watermarking to clearly identify AI-generated content.

AI companies’ systems embed a watermark, which is a hidden signature or pattern that isn’t visible to a person but can be identified by another system, Kassis explained.

Celebrating cats and the pet parents who love them

The cats have come back to the big screen.

Graham Avenue stretch to get pedestrian, bike-only trial when buses vanish

The city will turn a four-block stretch of Graham Avenue into a living lab when Winnipeg Transit’s network overhaul pulls buses off the downtown street.

It will be cyclists and pedestrians only between Carlton and Garry streets in an indefinite pilot project scheduled to begin after June 29.

“In July 2025, buses will be removed from four blocks, creating a rare opportunity to transform the street into a safer, pedestrian-first space. With a focus on recreation, public gathering areas, and cultural programming, Graham Avenue can become a dynamic hub of activity in the heart of downtown,” a city document states.

Without changes, the area risks becoming a neglected corridor with minimal foot traffic once buses leave, it warns.

‘Elio’ is an intergalactic tale — but for Toronto’s Domee Shi, it hits close to home

TORONTO - For Domee Shi, making a movie about an introverted kid getting abducted by aliens felt oddly familiar.

Not because she’s had any close encounters, but because she remembers being a teenager longing to be taken away to a world where her weirdness was understood.

The Toronto native co-directs “Elio,” a Pixar animated sci-fi film about an 11-year-old orphan who yearns to be snatched by extraterrestrials to escape his loneliness — and gets his wish when an interplanetary organization mistakes him for Earth’s ambassador.

“He's this lonely artsy kid who just wants to belong somewhere. I definitely felt that way growing up,” says the Oscar-winning animator behind 2022’s coming-of-age Toronto-set hit “Turning Red.”

Diversified roles in society shape painter Brian Hunter’s work and process

Brian Hunter’s multiple roles within society inform the works in his current exhibition, On Shaky Ground, at 226 Gallery, located at 226 Main St.

It’s his first solo show in seven years.

The 22 oils, created in response to “the current shifting and uncertain atmosphere,” are a departure from the artist’s previous work.

Nine years ago Hunter snagged top spot at the RBC Canadian Painting Competition. He spent a year in an art residency at the Gwangju Museum of Art in South Korea, and has shown in South Korea, Spain, Montreal and Toronto.

Carrie’s voice is back. So is the show’s soul as ‘And Just Like That…’ grows up

PARIS (AP) — “She’s messy. It can be messy. But it’s real.”

So says Cynthia Nixon — not just of Miranda Hobbes, the character she’s embodied for almost three decades, but of the show itself. “And Just Like That...,” HBO’s “Sex and the City” revival, has come into its own in Season 3: less preoccupied with pleasing everyone, and more interested in telling the truth.

Truth, in this case, looks like complexity. Women in their 50s with evolving identities. Not frozen in time, but changing, reckoning, reliving. Queerness that’s joyful but not polished. Grief without melodrama. A pirate shirt with a bleach hole that somehow becomes a talisman of power.

At its glittering European premiere this week, Nixon and co-star Sarah Jessica Parker, flanked by Kristin Davis and Sarita Choudhury, spoke candidly with The Associated Press about how the show has evolved into something deeper, rawer and more reflective of who they are now.

Protests over ‘please walk on me’ flag artwork prompt its removal from New Zealand gallery – again

WELLINGTON, New Zealand (AP) — A New Zealand flag printed with the words “please walk on me” and laid on the floor of an art gallery has once again been packed away following public outcry, 30 years after protests forced the removal of the same artwork.

The Suter Art Gallery in the city of Nelson said Thursday it had taken down the work by Māori artist Diane Prince due to escalating tensions and safety fears. The episode mirrored an Auckland gallery's removal of the work amid public backlash and complaints to law enforcement in 1995.

This time, the flag was meant to remain on display for five months. Instead, it lasted just 19 days, reigniting long-running debates in New Zealand over artistic expression, national symbols and the country’s colonial history.

Police told The Associated Press on Friday that officers were investigating “several” complaints about the exhibition.

Paul Reubens tells his story in ‘Pee-wee as Himself.’ Here’s how it came together after his death

Paul Reubens did not tell his director that he was dying.

On July 31, 2023, the news of Reubens' death came as a shock to documentary filmmaker Matt Wolf, who had spent a year trying to convince him to make the ambitious two-part documentary “Pee-wee as Himself,” now streaming on HBO Max, and over 40 hours interviewing him on camera.

But in 2023, the project was in danger of falling apart: The two had been at an impasse for a while over the issue of creative control and they’d finally found a way forward. He had one last interview scheduled, set for the first week of August. Then the texts started coming in. Wolf sat there shaking.

They’d spoken about everything — Reubens' childhood, his complicated relationship with fame, his ambitions, his commitment to his alter-ego Pee-wee Herman, his sexuality, his arrest — except the fact that he’d been battling cancer for the past six years. But after the initial shock, a renewed purpose set in.