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- Written by: Anne Wienbloch
Tom Brady’s new Las Vegas museum arrives glittering with promise and provenance, a showroom where Super Bowl rings sit alongside Elvis suits under the bright theology of spectacle [2]. It’s an irresistible headline—“has it all”—and a useful mirror held up to our era’s favorite parlor trick: converting celebrity aura into cultural value, and cultural value into market price [2]. Across the Atlantic, a very different headline announces the reopening of Norwich Castle’s majestic medieval keep after restoration, a civic project that treats history as a shared endowment rather than a speculative asset [1]. Between these two announcements lies the crucial question for a culture hooked on hype yet hungry for meaning: what, precisely, are we rewarding when we reward culture—and how might price be tuned to public enrichment rather than just private excitement?
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- Written by: Anne Wienbloch
The headline that stuck with me this week wasn’t a market forecast or a new model drop; it was a reminder to speak up when creative labor is quietly swapped for a prompt. “My best friend recently taught me an important lesson about AI pessimism: Don’t remain silent and accept no substitutes” tells the story of a woman who saw her local Pride event use an AI logo and pushed the organizers to hire her instead—a small act that exposed a larger pattern of how skills, especially women’s skills, get treated as interchangeable in the algorithmic era [4]. It’s a parable for August 2025: AI is everywhere, and so is the temptation to applaud the output while erasing the artist.
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- Written by: Anne Wienbloch
The Runway AI Film Festival, featuring finalists displayed on IMAX screens nationwide, has sparked a discussion not just about the potential of AI in filmmaking, but about the deeper implications of financial speculation in the arts. As AI-generated content gains market traction, it raises questions about whether such works truly enrich our cultural landscape or merely inflate market bubbles.
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- Written by: Anne Wienbloch
Park Chan-Wook's latest project, 'No Other Choice,' adapted from Donald Westlake's novel, offers more than a cinematic experience—it is a timely meditation on authorship in an era increasingly dominated by algorithms. At a time when AI is often heralded as the great democratizer of creativity, Park’s return reminds us of the nuanced dance between human vision and machine capability. As we stand on the cusp of what AI can offer the arts, Park’s work urges a reconsideration of what it means to create and consume art in the digital age.
