A ranking of top AI-generated films and series by views lists titles such as "ALADDIN: THE CAVE OF WISHES" (16.3M views), "The Return Of The Last King" (16M views) and "Sinbad and the Seven Voyages" (6M views), all on YouTube with English audio. The entries span fantasy, sci-fi, thriller and animation, including full-length features and short films.
An article examines MyMuse and similar apps producing AI-generated microdramas — short, vertical, cliffhanger-driven series that viewers pay for with coins or subscriptions — noting that 93% of subscribers were still watching an hour after signing up. It describes how generative AI lets a series be made in about two weeks versus 12 for live-action, while arguing the output recycles the same plots and faces and that platform control over distribution concentrates power despite promises of democratized filmmaking. It also cites China, where roughly 430,000 microdramas were released in the first eight months of 2026 with over 90% reporting some AI use.
In a ChinaTalk interview, Xianyu, the writer behind the satirical blog "Funeral AI" (葬AI), discusses why AI writing isn't funny, how he built MemeBench — a public arena where ordinary users rank video models by meme-ability — and why Five-Year Plans function as a kind of benchmark while "AGI" lacks quantitative indicators. He describes recruiting about 300 students via QQ to seed the rankings, and recounts that MiniMax's open-source H3 beat ByteDance's Seedance in the meme arena, prompting ByteDance to question the result and MiniMax to complain about an earlier article. He also argues that Chinese AI startup themes rotate every three months following Silicon Valley, with many "world models" actually being post-trained versions of Alibaba's Wan video model.
The author describes how 'slopcore'—AI-generated music videos made largely with code-based animation tools like Claude Opus 5.5—emerged from the 2024 song 'I'm Upping My P(doom)' and grew into a scene with its own chart, SlopHits. He curates videos that address AI safety, governance and regulation, including 'AI is a normal technology?', anabology's Claudia trilogy, and ClaudiaGI's French-language 'C'est de l'IA'. He notes the irony that a genre about AI regulation is largely compliant with the AI Act's Article 50 transparency labelling rules.
A review of Elon Musk's seven-minute Grok AI-generated "Odyssey" episode, made after he condemned Christopher Nolan's film adaptation. The critic calls the AI footage ponderous and inert, with motiveless dramatic moments and robotic voice work, arguing it shows Musk has no passion for the story, only for winning an argument he long since lost. The piece concludes that AI has financial merit but no artistic merit, and urges Musk to retreat from his "phoney AI Dull-yssey."