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Yesterday, Grimes was revealed to be among the signees on a short statement from the Center For AI Safety (CAIS) that warned of AI posing an extinction threat to humanity.

Others putting their support behind it included OpenAI and DeepMind’s executives and various AI researchers, according to Ars Technica.

“Mitigating the risk of extinction from AI should be a global priority alongside other societal-scale risks such as pandemics and nuclear war,” the brief statement read. CAIS also noted in a press release that they want to “put guardrails in place and set up institutions so that AI risks don’t catch us off guard.”

“We need to be having the conversations that nuclear scientists were having before the creation of the atomic bomb,” Dan Hendrycks, CAIS’ director, added.

The move is a notable one, as Grimes has been a notable supporter of AI over the past few months. The musician encouraged others to use her voice for new AI music and even started her own platform where they could do it on. From there, the first GrimesAI collaboration with another artist, Kito, was released.

She also said that she wouldn’t mind if the AI use of her voice continued posthumously.

“If I was dead I’d really like people to do it,” Grimes previously shared. “But I’m not sure everyone would agree. I feel like maybe Prince would’ve been up for it. If it was one of his friends doing it maybe. It’s a tricky one.”

“The Lakes,” a bonus track from Folklore, isn’t one of Taylor Swift‘s best-known songs. Unless you’re a Swiftie, and every song of hers is her best-known song (except “Me!” which still hasn’t played during the Eras Tour). But if one of the three contestants on Tuesday’s episode of Jeopardy! had known “The Lakes,” they would have gone home that much richer.

The category in Final Jeopardy was “Literary Groups.” The clue: “Windermere, Thirlmere & Grasmere are 3 of the sites that helped give a 19th-century literary group this name.” None of the contestants, Diandra D’Alessio, Nathan Dennis, and Ilhana Redzovic (who ultimately won), correctly guessed the answer, which was, what is the Lake Poets. They also revealed themselves as non-Swifties, as the name “Windermere” appears in “The Lakes” (“Take me to the Lakes where all the poets went to die / I don’t belong and, my beloved, neither do you / Those Windermere peaks look like a perfect place to cry”).

As noted by Entertainment Weekly, “Though the answer eluded the players, fans of Swift’s were quick to point out the answer on Twitter.” One wrote, “Got final jeopardy right thanks to @taylorswift13! All the contestants need to have a tutorial from the lyrics of Professor Swift,” while another added, “Thank you Taylor Swift, because of you I got final jeopardy right tonight.”

Jeopardy! should do a Swift-themed episode with clues like:

“Nothing good ever starts in this type of motor vehicle.”
“What is, a getaway car?”

Finally, an episode of Jeopardy! that wouldn’t make me feel like a total dummy.

(Via EW)

Like any good comic book tale, Spider-Man: Across the Spider-Verse was faced with an almost impossible task: Live up to the Oscar-nominated, groundbreaking spectacle of 2018’s Spider-Man: Into the Spider-Verse. According to the first batch of reviews, the sequel amazingly gets the job done, and somehow, with even more style.

Across the Spider-Verse, which brings back Miles Morales for another multiversal adventure, is racking up near-universal acclaim with the only complaint being that fans will have to wait a year for the second part of this tale that once again pushes the boundaries of animation and redefines what makes a great comic book movie in these days of superhero fatigue.

You can see what the critics are saying below:

Mike Ryan, Uproxx:

While watching Spider-Man: Across the Spider-Verse – which is very much on par with the first movie, Spider-Man: Into the Spider-Verse – that won an Oscar and, somehow, came out five years ago – I did wonder how fine the line is between this being the immersive, wonderful experience it is, as opposed to something that just gives one a headache. I suspect it’s closer than we realize. I think that’s why I’m so amazed by these movies. On paper, these really probably shouldn’t work. “An ambitious mess,” would be the most likely headline. Instead, it’s one of the most, if not the most, immersive superhero stories going, pushing far beyond the boundaries of what superhero stories should and could be.

Owen Gleiberman, Variety:

“Spider-Man: Across the Spider-Verse” doesn’t just extend the tale of Miles Morales. The film advances that story into newly jacked-up realms of wow-ness that make it a genuine spiritual companion piece to the first film. That one spun our heads and then some; this one spins our heads even more (and would fans, including me, have it any other way?).

Valerie Complex, Deadline:

What sets this film apart from other superhero fare is its sheer commitment to authenticity. From the comic panel-like transitions to the dynamic action sequences, the movie exudes an organic love for its source material. It isn’t just a film but an experience and a nod to every Spider-Man fan who has ever flipped through the pages of a Marvel publication. The watercolor animation is a lustrous blend that swirls together to create something bold, enchanting, and innovative. It is a true step up from its predecessor, using a colorful palette that brings every frame to life as each scene appears as though it’s hand-painted.

Lovia Gyarkye, The Hollywood Reporter:

Across the Spider-Verse vibrates with the same energy as its predecessor even when it feels more leaden with backstory. This chapter is the first of a planned two-part sequel to Into the Spider-Verse. Dividing the follow-up in half gives the screenplay, written by Phil Lord, Christopher Miller and David Callaham, more room to settle into the ridges and grooves of Miles’ story. The additional space proves to be both a gift and a curse as Across the Spider-Verse pulls us deeper into Miles’ world.

Nick Schager, The Daily Beast:

Looks, though, are merely a part of Spider-Man: Across the Spider-Verse’s astonishing package. Staging a series of set pieces that are so swift and complex that trying to keep up is its own joy, the film leaves its blockbuster competition in the dust, buried beneath an avalanche of titanic urban-chaos action. The level of detailed planning and unhinged invention that must have gone into concocting these sequences is jaw-dropping. What ultimately matters, however, is the finished product, and what a product it is, with each milieu and chase, skirmish and rescue more distinctive and impressive than the last.

Brian Tallerico, RogerEbert.com:

Like the work of a young artist who refuses to be restrained by the borders of the frame, “Across the Spider-Verse” is loaded with incredible imagery and fascinating ideas. It is a smart, thrilling piece of work that reminded me of other great part twos like “The Dark Knight” and “The Empire Strikes Back.” Like those films, it leaves viewers anxiously anticipating the next chapter (which will come in March 2024), and it earns its cliffhangers by grounding them in a story of young people refusing to submit to a concept of what a hero’s arc needs to be.

Tom Jorgensen, IGN:

Spider-Man: Across the Spider-Verse surges with visual inventiveness and vibrance in an undeniably strong evolution of the style established in Into the Spider-Verse. Miles and Gwen’s search for their place in the multiverse is relentless and exciting, almost to a fault, and though the plot is often an afterthought to the pure chaos of creation on display, strong performances and character arcs that feel true to the heroes we met last time help ensure that Across the Spider-Verse is a more-than-worthy follow-up to an all-time classic.

Germain Lussier, io9:

Truly, this couldn’t be real. How could it actually be possible that a sequel to a basically perfect movie could, itself, be so incredible? And yet, it wasn’t a dream. Spider-Man: Across the Spider-Verse is that incredible. It’s everything everyone loved about the first film, but more human, more complex, and more visually stunning. Directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson lead a tour-de-force of filmmaking that transcends animation and will leave you heartbroken, breathless, and utterly dazzled.

Spider-Man: Across the Spider-Verse swings into theaters on June 2.

At the moment, Jeff Bezos is building a house (well, he’s probably not personally hammering too many nails). As Page Six notes, the $175 million, 28,000-square-foot home is currently under construction in Beverly Hills. Since there’s still work to do on the building, Bezos and reported fiancée Lauren Sánchez need somewhere to stay, so they’ve apparently turned to Kenny G. It looks like Kenny is making a pretty penny off the arrangement, too.

TMZ reports that since March, Bezos and Sánchez have been renting Kenny G’s Malibu home. The cost: $600,000 per month. For reference, Zillow says the average value of a home in California (to buy, not rent) is about $728,000. What Bezos and Sánchez are paying doesn’t even include furniture: Kenny’s things are in storage and has been replaced with Bezos’ own stuff.

It’s not clear how long construction on Bezos’ home will last or how long he and Sánchez will rent from Kenny, but the annual rent adds up to $7.2 million. Bezos is worth about $114 billion, so the rent probably isn’t a huge deal for the Amazon founder.

Of Kenny’s property, TMZ notes, “The 5,500-square-foot house sits on 2 1/2 acres, with an enormous backyard, the obligatory pool, a screening room, recording studio, a 3,500-square-foot guesthouse, and a key to Little Dume Beach, one of the most exclusive beaches in the Bu.”

Erykah Badu is set to hit the screen soon. Today (May 31), Netflix announced that the “On & On” singer will be joining the cast of the feature film adaptation of The Piano Lesson.

Badu joins the likes of Samuel L. Jackson, John David Washington, Ray Fisher, Danielle Deadwyler, Michael Potts, and Corey Hawkins in this post-Depression-era story.

The Piano Lesson takes place in 1936 in Pittsburgh following the Great Depression. The story chronicles the members of the Doaker Charles household and their family piano, which contains carvings and messages from an enslaved ancestor of the Charles family.

Jackson and Washington have previously starred in a Broadway adaptation of The Piano Lesson. This show recently concluded its run at the Ethel Barrymore Theatre after playing 27 previews and 124 regular performances. This edition of The Piano Lesson is the highest-grossing revival of a play on Broadway and the highest-grossing August Wilson production on Broadway ever.

The show also earned two Tony awards — Best Revival Of A Play and Best Performance By An Actor In A Featured Role In A Play, the latter for Samuel L. Jackson’s performance.

At the time of writing, Badu’s role in the upcoming film adaptation of The Piano Lesson has not yet been specified.

Robert De Niro recently welcomed his seventh child at age 79, and Al Pacino might have responded, “Hold my cannoli.”

That’s possibly the worst The Godfather joke in history, but that’s the spirit of the occasion. Not only do the former Corleone actors have that Francis Ford Coppola franchise in common, but they also starred together in Michael Mann’s Heat and Martin Scorsese’s The Irishman. (What’s that you said about Righteous Kill? Never heard of it.) Now, they’re about to co-star in a real-life buddy comedy of sorts, given that both men will be changing diapers at an age when, well, they probably did not envision doing so.

Yet here they are. TMZ broke the news (and confirmed with Pacino’s rep as well) that Pacino’s girlfriend, Noor Alfallah (age 29) is 8 months pregnant. She’s been dating Pacino for about a year after previously dating billionaire Nicolas Berggruen (as shown below in 2019) and Mick Jagger.

TMZ notes, unavoidably, that “Pacino would be 100, God willing, when the child turns 18.” Granted, this will only be Pacino’s fourth child, so De Niro is still outdoing him with seven children, if this were to be considered a competition. And that’s where social media is running with this ball. Not only are Heat and “Disgusting Brother” jokes flying, but there’s a doozy involving Zoolander and Hansel (“so hot right now”).

(Note: TMZ has spliced together two Getty photos, seen here and here while reporting this story.)

(Via TMZ)

Donald Trump got roasted on Tuesday for a Truth Social post where he refers to his former press secretary Kayleigh McEnany as “milktoast,” and yes, he spelled it exactly like that. After leaving the Trump administration, McEnany has been working at Fox News, which has seemingly thrown its weight behind Ron DeSantis, prompting almost daily rants from Trump.

“Kayleigh ‘Milktoast’ McEnany just gave out the wrong poll numbers on Fox News,” Trump wrote on Truth Social. “I am 34 points up on DeSanctimonious, not 25 up. While 25 is great, it’s not 34. She knew the number was corrected upwards by the group that did the poll. The RINOS & Globalists can have her. Fox News should only use REAL Stars!!!”

Despite Trump getting widely mocked for his “milktoast” spelling, it didn’t take long for a GOP politician to parrot the phrase, and directly to McEnany’s face. While appearing on Fox News later that evening, Rep. Chip Roy made a reference to Trump’s insult while discussing the latest debt ceiling deal.

Via Mediaite:

“First of all, you know, everything that we’re seeing out of the bill that’s been put forward, this deal hatched this weekend is pretty milquetoast if that word might mean something to you,” Roy responded, alluding to Trump’s slam.

After Roy wrapped up his debt ceiling remarks, McEnany moved on without acknowledging the Trump reference.

(Via Mediaite)

Blackpink’s Jennie is prepping for the streaming premiere of her role in HBO’s upcoming series, The Idol, which airs this coming Sunday (June 4).

Although the series has been met with controversy for its explicit scenes and alleged behavior from creator Sam Levinson in a Rolling Stone piece, the pop star is still expressing her excitement about the project.

Specifically, in a recent interview with Women’s Wear Daily, Jennie noted that her co-star, the show’s lead, Lily-Rose Depp, helped her feel more comfortable on the set.

“It definitely was a challenge, because I’ve never experienced anything like that before,” Jennie said. “It was like, breaking a wall for me. She really helped me a lot. Telling me about scenes, and it was very comforting to have her there. She just taught me to express myself and be comfortable with myself, to not be scared.”

She also spoke a bit about Levinson and why she thought she was a fit for the show.

“The fact that it was about the music industry fascinated me, and I thought I could bring something to the role,” she added. “It was an opportunity to just be myself and be brave. I didn’t really train for it, or prep anything. Sam wanted me to just be myself.”

Fans of Jennie will only have to wait a few more days to see her shine with new acting skills and learn more about her role in The Idol.

Ken is a feature-less doll, an everyman for no one. But there are people out there who believe Ryan Gosling is “too old” and “dry” (?) to play Barbie’s friend-who-is-a-boy in Greta Gerwig’s Barbie movie in example #42,974 why maybe it’s a good thing that Twitter is dying.

In an interview with GQ, Gosling was asked about the ageist criticisms.

“It is funny, this kind of clutching-your-pearls idea of, like, #notmyken. Like you ever thought about Ken before this?” he said. “Everyone was fine with that, for him to have a job that is nothing. But suddenly, it’s like, ‘No, we’ve cared about Ken this whole time.’ No, you didn’t. You never did. You never cared. Barbie never fucked with Ken. That’s the point. If you ever really cared about Ken, you would know that nobody cared about Ken. So your hypocrisy is exposed. This is why his story must be told.”

Gosling, who described Ken’s job as “beach” (“What the fuck does that even mean?”), added with a laugh, “I care about this dude now. I’m like his representative. I’m like his representative. ‘Ken couldn’t show up to receive this award, so I’m here to accept it for him.’” If Gosling wins Best Oscar for his performance in Barbie, as he should, this should be his acceptance speech.

(Via GQ)

I Think You Should Leave With Tim Robinson has become one of the most beloved sketch comedy series of the past few years thanks to its completely bizarre humor. The show has produced some memorable music moments, too, like an Ezra Koenig song and the sketch where a recording session goes off the rails and ends up becoming about zombie skeletons (a song that Death Cab For Cutie’s Ben Gibbard later covered).

Well, the third season just premiered on Netflix yesterday (May 30), and Robinson brought the music world into the fold this time, too: As Pitchfork notes, the season features new music from Turnstile and Christian Lee Hutson.

In “Children’s Choir,” a sketch from the fourth episode, there’s a song called “Listening” by Everything-You-Knows, a group consisting of Turnstile’s Brendan Yates, Pat McCrory, Daniel Fang, and Franz Lyons. Turnstile’s appearance in the show makes sense, since Robinson popped up at one of their concerts in 2021.

Hutson, meanwhile, wrote and performed a song called “Is This It” that appears in “Sitcom Taping,” a sketch from the second episode.

Check out the new season of I Think You Should Leave here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.