Hollywood
AP names Jennifer Lawrence ‘Entertainer of the Year’
MUMBAI: The battle for the Associated Press (AP) entertainer of the year came down to the Girl on Fire and the Queen of Twerk.
Jennifer Lawrence edged out Miley Cyrus by one vote in the Associated Press annual survey of its newspaper and broadcast members and subscribers for “Entertainer of the Year”.
There were 70 ballots submitted by US editors and news directors. Voters were asked to consider who was the most influential on entertainment and cultural front in 2013. Lawrence won 15 votes, Cyrus had 14, Netflix was a close third, earning 13 votes for altering the TV landscape with its on-demand format and hit original series.
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However, Lawrence, who started the year with an Academy Award for best actress, hit it big all through the year first with The Hunger Games Catching Fire and wrapped 2013 with a critically acclaimed performance in David O. Russell’s American Hustle that has just earned Golden Globe and Screen Actors Guild Award nominations.
Lawrence was a favourite of many because of her diverse roles as well as her Academy Award for Best Actress. She has since been nominated for both a Golden Globe and Screen Actors Guild Award for American Hustle.
The second in the list – Miley Cyrus also made headlines in 2013, but for many different reasons. She made her first splash in August during the MTV Video Music Awards, but kept her twerking ways for the rest of the year. Cyrus later smoked pot onstage in Europe, continued to undress in many different situations and went through a very public break up with fiancé Liam Hemsworth.
She also made fashion headlines with her pixie haircut.
Hollywood
Utopai Studios partners Huace to deploy PAI for long form content
Deal includes revenue sharing as Huace adopts AI engine across global ops
MUMBAI: Lights, camera… algorithm, the script just got a silicon co-writer. In a move that signals how storytelling itself is being re-engineered, U.S.-based Utopai Studios has partnered China’s Huace Film & TV Co. Ltd. to bring artificial general intelligence into the heart of long-form content creation.
At the centre of the deal is PAI, Utopai’s cinematic storytelling system, which Huace will deploy as a core engine across its production pipeline from development and creative iteration to global localisation. The partnership includes a large-scale annual usage commitment from Huace, alongside a usage-based revenue-sharing model, underscoring both ambition and commercial confidence on both sides.
For Huace, one of China’s largest film and television companies, the bet is not on automation alone but on scale with control. With distribution spanning over 200 countries and a presence across more than 20 international platforms, including Netflix and YouTube, the company brings a vast content ecosystem where even marginal efficiency gains can translate into significant output shifts. Its extensive TV IP library further positions it as fertile ground for AI-assisted storytelling workflows.
The choice of PAI follows what Huace described as a rigorous evaluation of existing AI tools, many of which remain limited to fragmented use cases such as video generation or editing. What tipped the scales, according to the company, was PAI’s ability to handle long-form narrative complexity maintaining continuity, structure, and creative coherence across entire story arcs rather than isolated clips.
Utopai, for its part, is using the partnership to anchor its international expansion strategy, pitching PAI as an enterprise-ready system built for customisation, privacy, and regulatory adaptability across markets. That positioning becomes particularly relevant as global media companies increasingly scrutinise how AI integrates into proprietary workflows.
The timing is notable. Earlier this month, Utopai upgraded PAI to support three-minute 4K video generation and advanced multi-shot sequencing features designed to tackle one of AI storytelling’s biggest hurdles: consistency across scenes.
What emerges is not just another tech collaboration, but a glimpse into how the grammar of filmmaking could evolve. Because if stories were once crafted frame by frame, the next chapter might just be coded scene by scene.
