THE NEW YORK TIMES MAGAZINE: The 11.1.26 Issue features Marcela Valdes on the actor Penélope Cruz; Francesca D’annunzio McKenzie Funk and Kirsten Luce on a small town in Texas and a local deputy who became the face of deportation; Sophie Haigney on dark nutrition; Lisa Lerer on OB-GYNs in Idaho; and more.
How Silicon Valley Stole the Future
A.I. will reshape our world. But does that mean the people who make the technology get to control our imagination, too? By Linda Kinstler
These days, the leading tech companies are not primarily fighting one another for market share or talent or computing power. The bigger battle is over who can claim to know the future.
In August, Meta’s chief executive, Mark Zuckerberg, published a manifesto titled “The Future Is for Everyone,” in which he argued that artificial intelligence will bring about “an abundance of personal agency” and other riches — but only if Meta is in charge. “If our beliefs and principles lead,” he wrote of his company, “then the balance of power will favor individuals and a better future for everyone.” In September, Sam Altman of OpenAI told the United Nations Security Council that A.I. could lead to either a society in which “more people can participate in the future” or one in which humans have lost “control of the future.” And in his recent call for the voluntary slowdown of A.I. development, Dario Amodei of Anthropic claimed it was imperative to stave off the future we are headed toward, if only for an “extra year or two.”
Martin McDonagh Says Art Can Change the World. Just Not as Much as Murder
The writer-director Martin McDonagh has carved out a highly esteemed cinematic career as a chronicler of extreme, and often extremely bloody, behavior carried out on a relatively intimate scale. “The Banshees of Inisherin” (2022), to pick one of his films, was about two friends on a remote Irish island descending into a feud. “Three Billboards Outside Ebbing, Missouri” (2017), to pick another, looked at a mother’s attempt to get justice for her murdered daughter. That those movies, despite their dark setups, are often as vulgarly funny as they are emotionally affecting is evidence of McDonagh’s originality — and his skill too. (McDonagh was an enfant terrible of the British theatrical world before he turned to filmmaking.) The 56-year-old’s films have earned a cumulative 18 Academy Award nominations, and “Six Shooter” (2004) earned him an Oscar for best live-action short. By David Marchese
The Vibe Is Dissatisfaction. The Result Is Endless Political Deadlock.
From France to Brazil, voters are railing against the status quo, even as the politics of disenchantment make lasting change nearly impossible. By David Wallace-Wells
She Was Racked With Anxiety and Crushed by Insomnia. Finally She Understood Why.
The woman’s symptoms were common, but the cause was not. By Lisa Sanders, M.D.
Shatner takes a comprehensive look at this singular performer, using archival sources and information culled from interviews with friends and colleagues to transport readers through William Shatner’s remarkably bumpy career: his spectacular failures and triumphs; tragedies, including the shocking death of his third wife, Nerine; and, ultimately, the resilience Shatner has shown, time and again, in the face of overwhelming odds. Author Michael Seth Starr unravels the mystery of William Shatner, stripping away the many myths associated with his personal life and his relationships with fellow actors, presenting a no-holds-barred, unvarnished look at the unique career of an inimitable performer.
“The Academy Museum gives us the opportunity to honor the past while creating a building for the future—in fact, for the possibility of many futures. The historic Saban Building is a wonderful example of Streamline Moderne style, which preserves the way people envisioned the future in 1939. The new structure, the Sphere Building, is a form that seems to lift off the ground into the perpetual, imaginary voyage through space and time that is moviegoing. By connecting these two experiences we create something that is itself like a movie. You go from sequence to sequence, from the exhibition galleries to the film theater and the terrace, with everything blending into one experience.”
Situated on the famed “Miracle Mile,” the museum will preserve and breathe new life into the former 1939 May Company department store, now re-named the Saban Building. Celebrating its history and imagining new possibilities, the additions to the building that date from 1946 have been removed and replaced with a spherical building that features the 1,000-seat David Geffen Theater and the Dolby Family Terrace with views towards Hollywood. The revitalized campus will feature more than 50,000 square feet of gallery space, two theaters, cutting-edge project spaces, an outdoor piazza, the rooftop terrace, an active education studio, a restaurant, and store.
