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The World is Changing: AI For Creativity By Jeffrey Katzenberg A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.” I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul." Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create. A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.” A Distinction With a Difference I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . . Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new. Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new. One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground. A Path Forward In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . . Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling. The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

之前累计融资 1700 万美元的 T-REX，最近完成了品牌升级，现在正式更名为 @Rexy_AI。 我去新官网逛了一圈。除了名字和ui变了，产品思路也和以前不太一样——这次更像是在把你真实使用过的 Web2 / Web3 账号，变成可验证的数字身份。 目前官网开放了 3 枚限量徽章，可以先去做一下： 🔗 任务一共分为 6 类： 1. Trading：验证自己平时使用的交易账户。 CEX 支持 Binance、OKX 等；如果不方便验证交易所，也可以连接 Hyperliquid、Uniswap 等链上地址，Polymarket 账户也在支持范围内。 2. AI：验证 OpenAI、Grok 等 AI 产品账户。 完成基础账号验证可以拿积分，付费会员验证对应更高积分；如果你本身有平台支持的 Agent 身份，也可以看看是否符合验证条件。 3. Entertainment：绑定影音娱乐平台 绑定 Netflix、Apple Music、Disney+ 等影音娱乐平台。部分进阶任务需要验证有效的付费订阅。 4. Gaming：绑定游戏平台 目前主要支持 PlayStation 和 Nintendo。刚好我自己有 PS 会员，所以账号和会员验证都顺利通过了。 5. Invite Friends 邀请朋友一起参与，完成对应邀请任务。 6. Stay Active for 5 Days 连续活跃 5 天即可完成，不需要一天内把所有任务肝完。 三枚徽章不一定要全部拿满，因为部分高阶验证确实需要真实交易、持仓或付费会员资格。没必要为了做任务硬凑账号，优先验证自己本来就在使用的服务就好。 不过，拿下第一枚需要 600 积分的徽章并不难。把基础验证和连续活跃做完，基本就能覆盖不少积分。 我觉得更值得关注的，是 Rexy 现在的任务逻辑。 平台里有一个叫 EdWealth 的 Offer，是一款理财类 App。按照当前页面规则，完成验证可以获得 5 USDT 试用奖励，购买会员后还有 45 USDT 返现。 这种模式和 Galxe 一类以关注、转发、签到为主的任务平台不太一样。Rexy 更像是在用零知识证明，把真实的交易、订阅、消费和使用行为转化为可信凭证，再连接到品牌优惠和实际奖励。 这两年有一个很明显的感觉：网上越来越难分清，屏幕对面到底是真人，还是 AI。 评论可以生成，购买记录可以模拟，用户画像也能批量拼出来。但一个人用了几年什么产品、续过哪些会员、长期保持什么习惯，这些真实积累下来的经历，没那么容易伪造。 所以，当“像真人”变得越来越简单，真正的真人反而更值钱了。这也是我觉得 T-REX 这次品牌升级比较有意思的地方 Proof ≠ Data。 既能证明你符合条件，又不用把隐私全部交出去。如果这套逻辑能真正跑通，我们过去积累的交易、订阅和使用记录，也许就不再只是平台手里的数据，而是能为自己换来权益的东西

Tonight, the Empire State Building tower lights will turn to a pink sparkle at 9:25 to honor the late Dolly Parton. Dolly was a global cultural icon whose seven-decade career reached generations of fans. Beyond entertainment, Dolly leaves a significant philanthropic legacy through the Dollywood Foundation and Imagination Library, which has provided hundreds of millions of books to children worldwide. At Nine-Two-Five tonight, we celebrate her and her legacy 💖

Click Media is building the future of entertainment media through our streaming TV platform CLICK: Movies and TV our AI production studio, and our AI marketplace. We are the first vertically integrated streaming TV platform as we are a technology provider, a direct movie distributor, and a studio.

Pacers Sports & Entertainment has teamed up with the Indianapolis Colts to donate $250,000 to the American Red Cross to support Central Indiana families impacted by historic flooding and severe weather. Learn more:

Brilliance in every light. ✨ From morning focus to late-night entertainment, the MSI PRO MAX OLED 271UPJW12, powered by TCL CSOT’s IJP OLED display solution,combines stunning 4K clarity and rich contrast with advanced visual comfort technologies. Made for every hour in front of the screen.

新浪财经报道了一个搞笑名场面，探讨了其中蕴含的娱乐社交价值。 看到这种笑点，我突然想到：社交场合里，大家其实都在用笑来互相‘打气’，就像朋友间偷偷分享一个冷笑话，谁都不想被当真，但又忍不住想笑出来。 Sina Finance reported a hilarious scene that highlights the entertainment social value embedded within it. Watching this, I realized: in social settings, people often use humor to keep each other going, like sharing a joke that's too weird to take seriously but still makes you smile. via China Entertainment Gossip ·

🔥全网热点实时更新 娱乐资讯｜热门话题｜网络趋势 每天发现大家都在关注的内容📱 黑料网 HLW Studio 掌握最新动态，不错过每一个热门瞬间👇 #黑料网# #热门资讯# #Trending# #Entertainment#

With the Galaxy Z Fold 8, Samsung has finally made a book-style foldable that’s geared less toward productivity and more toward entertainment. Get it now -