SOMEWHERE EITHER very far above or below the street level of the Financial District—it’s hard to tell when you’ve spent a few hours stumbling around in the dark—I ended up in the American West. In one of many hidden rooms inside the labyrinth of Life and Trust, the floor turned into the soft earth of a corral, the walls were painted with a view of red-rock mesas, and a performer in cowboy gear was circling another person who happened to be wearing a horse mask. The horse was forced to the ground, then the other man stood above as the horse slowly rose up on its knees, seemingly tamed.
Watching the scene felt not unlike unlocking an achievement in a video game: I had been wandering up and down and across the six floors that compose this vast new immersive theater project, hoping to find something cool to brag about discovering, and here it was. The choreography, by Jeff and Rick Kuperman (of muddy rumble in The Outsiders), was moody and muscular, and the action was mysterious enough without slipping into anything too coy and winking. I had the feeling of relief—Okay, thank God I found something that really stood out—as both an audience member and a critic. Then, as the situation ended, the feeling of anxiety returned. The actors sped off to their next cues, and I scurried after them, hoping I had chosen a path that would return me to a compelling moment.
Diese Geschichte stammt aus der Aug 12 - 25, 2024-Ausgabe von New York magazine.
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Diese Geschichte stammt aus der Aug 12 - 25, 2024-Ausgabe von New York magazine.
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Drowning in Slop - A thriving underground economy is clogging the internet with AI garbage-and it's only going to get worse.
SLOP started seeping into Neil Clarke's life in late 2022. Something strange was happening at Clarkesworld, the magazine. Clarke had founded in 2006 and built into a pillar of the world of speculative fiction. Submissions were increasing rapidly, but “there was something off about them,” he told me recently. He summarized a typical example: “Usually, it begins with the phrase ‘In the year 2250-something’ and then it goes on to say the Earth’s environment is in collapse and there are only three scientists who can save us. Then it describes them in great detail, each one with its own paragraph. And then—they’ve solved it! You know, it skips a major plot element, and the final scene is a celebration out of the ending of Star Wars.” Clarke said he had received “dozens of this story in various incarnations.”
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