![]() Worse yet, since "Visions" is an anthology, it includes episodes peppered throughout the "Star Wars" timeline, meaning that the AI's claim that it's the final chronological "Star Wars" installment is woefully wrong.Īn equally galling error: the AI lists the 2008 "The Clone Wars" movie as taking place after "The Clone Wars" TV series. In other words, if the AI was going to include the non-canon "Visions," it might as well include the non-canon 1980s "Star Wars: Droids" animated series, or the notorious 1978 "Star Wars Holiday Special." The AI provided no explanation for the discrepancy. The final entry on the list, "Star Wars: Visions," is not canonical to the "Star Wars" universe at all instead, by its explicit framing, it's a reinterpretation of the franchise's mythology that doesn't conform to established canon. Despite all the mistakes and lack of staff consent, it appears that Gizmodo's bot-generated article has still managed to rank and appear on the first page of Google results when you search for the words "Star Wars movies."Īnd while some of the listicle's most egregious errors have been corrected, it's still exposing readers to incorrect information that a human "Star Wars" aficionado most likely would have caught.įor starters, it contains a glaring typo, referring to "The Clone Wars" as "An nimated film."Ī more serious issue is that every installment the AI listed is canon - meaning that they comprise the authoritative lore of the "Star Wars" franchise - except one. It was, to put it mildly, a terrible look for the company - and in the aftermath, the humans at Gizmodo pushed back even harder, with deputy editor James Whitbrook calling the listicle "embarrassing, unpublishable, disrespectful." Before it was corrected, the list failed to put the movies and shows into their correct chronological order and excluded some more recent chapters and spinoffs of the beloved franchise. The post, a so-called " Chronological List of Star Wars Movies & TV Shows," was terribly written and riddled with factual mistakes. In the very first AI-generated article Gizmodo published last week, the website's "Gizmodo Bot" completely missed the mark. Unsurprisingly, employees across G/O Media-owned publications were furious in response to the news. "We're convinced here that the changes AI will bring to the media and journalism worlds will be very meaningful, if difficult to predict with certainty, in 2023." "It shouldn't be a surprise that we've done a significant amount of thinking about Artificial Intelligence, just as everyone in the media business has been doing of late," Merrill Brown, the media group's editorial director, wrote in an email to employees. To back up a bit: at the end of June, G/O Media - which owns Gizmodo, Kotaku, The Onion, and Quartz, among others - announced that it would begin to publish AI-generated content across their many publications as part of a "modest test." It's an early glimpse of a dystopian future in which AI models generate content for the sake of other bots, at the expense of any humans caught up in the fallout. In the aftermath of the mess it took to get here, that finding should concern everyone in the media industry. It’s all sparkle, no soul.Gizmodo owner G/O Media's first foray into AI-generated content was messy, avoidable, and insulting to readers and employees alike.Īnd yet, the AI-generated article in question ultimately did what it was seemingly designed to do: rank in search results. ![]() Jokes hinge upon McCarthy mugging her way through the film, interacting loudly with elements of modernity such as pizza restaurants and gym equipment. Flora offers unlimited wishes, and a chance for Bernard to reconnect with the true spirit of Christmas consumerism. His wife enforces a trial separation, which leaves Bernard staring down the barrel of the loneliest of Christmases.īut then, thanks to some fairly ropey CGI effects and a jewellery box of uncertain provenance, Bernard finds himself lumbered with a temporary roommate: a 2,000-year-old genie named Flora (Melissa McCarthy). A frazzled, overworked dad, Bernard (Paapa Essiedu), disappoints his wife and daughter one too many times when he prioritises his extravagantly mean boss (Alan Cumming) at a Manhattan auction house over his family. In the overstuffed banquet of Christmas movies, this Richard Curtis-scripted fantasy directed by Sam Boyd is the bread sauce: bland, predictable and seemingly chucked together with minimal effort at the last minute from the most basic ingredients.
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