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miyeyu · 7 months ago

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Searching for Love and Identity: An Overanalysis of the Llamas with Hats Epilogue

tl;dr LwH is a huge tragicomedy, and Carl is a profoundly complex human monster who ultimately proves able to transcend his cookie-cutter cartoon villain character because of his painfully human desire for love.

I’ve been obsessed with the Llamas with Hats (LwH) Epilogue that released recently. I don’t usually do this, but here’s a super extra, over-the-top deep dive into the symbolism of the episode and what it reveals about Carl’s character. It's not super edited but I hope at least somebody enjoys this.

At the beginning and end are mirrored scenes: a scene of rippling water and a typical funny episode of LwH on a phone. While the water is a callback to the ocean Carl jumped into in Episode 12, the use of the phone to frame the episode emphasizes the nature of LwH as a show; it’s telling you that none of this is real and making a meta joke, since most of us are probably viewing this on our phones (and also long-dead if we were in the world of LwH).

For many of us who grew up with LwH, this is a nostalgic moment and a recap after not having watched the series for so long. What I really love about this scene is that Jason Steele uses these scenes—the water, the playing phone—to bookend Carl’s emotional journey, making the epilogue a complete narrative circle. But I’m getting ahead of myself.

In the next scene, we are shown the wake of Carl’s utter devastation upon the Earth, accompanied by a melancholic saxophone track, bringing us back to the end of Episode 12. Surprisingly, we actually know that Carl plays the saxophone, since he mentioned it in Episode 4. As he sinks into oblivion, his hat floats away.

WHAT'S UP WITH THE HAT?

Hats are a powerful symbol in Llamas with Hats. It’s right there in the title! A red hat and a green hat are often used as a visual synecdoche for Paul and Carl, respectively. In a broader sense, clothing is associated with civilization and dignity, that which sets us apart from animals. In the Christian Bible, when Adam and Eve ate the forbidden fruit of knowledge, they realized that they were naked and began to cover themselves up.

The hats make up a part of Paul’s and Carl’s identities as important characters; they’re not just llamas, they’re llamas with hats. It’s a core part of the series identity.

Another notable element is that Paul has a red hat and Carl has a green hat. In color theory, red and green are complementary colors, directly opposite of each other on the color wheel and creating the most dynamic contrast out of any other pairing with red or green when used together. This reflects Paul and Carl’s dynamic pretty well, actually.

Therefore, knowing that their hats are deeply tied to their identities, when Carl loses his hat during his dive into the water, it symbolizes a loss of identity, of life. When Carl gets captured by the glowing purple hands and regains his hat, that’s not actually his real hat—it’s his sense of self coming back to him as he regains consciousness. And that’s what the LwH epilogue really is about—the meaning and loss of one’s identity.

WHY HANDS?

We see glowing purple hands made of light multiple times in the epilogue: at the beginning, capturing Carl as he sinks into the water, several times as consciously manifested by Carl (usually in order to harm others, but sometimes to transport him somewhere else), and pushing Acorn-Carl into the sand at the very end. What are these hands supposed to mean?

Well, hands, as the means by which we manipulate tools, have long been a symbol for power—the ability to make our desires manifest. If you recall Episode 8, there is the number 412 on Paul’s new apartment’s door. That actually isn’t any old number. It’s an angel number, a special number within numerology (an occult/spiritual belief that numbers we encounter can be used to divine meaning in our lives) that symbolizes hard work and the power to manifest our desires.

And I mean, I’m sure Carl worked very hard on the orphan meat dragon.

Knowing this, I’d argue that these hands are a visual, spiritual manifestation of the near-omnipotent power granted to Carl by the narrative—in other words, the force of the narrative of LwH. We know that Carl is, despite being a completely normal llama, somehow an unstoppable force of destruction: he sunk a cruise ship in Episode 2, bombed a city in Episode 4, created a rip in the fabric of space-time in Episode 5, and can be reasonably expected to have eliminated all human life (if not all sentient life) on Earth by Episode 12. Just to name a few things. That’s because the narrative grants him this power.

And from a meta perspective, I would assume that the purple hands were probably made using videos of Jason Steele’s own hands, since he is the sole creator of LwH! Literally, the hands of the creator.

The point is that Carl has the power to act practically however he wants, and his narrative agency reigns supreme.

He might get injured physically, or told that he’s in trouble, but in the story of LwH, it has no real consequences for him. Nothing and no one can force Carl to do anything, not even Paul or the meat-tube (tube meat? purple meat? Meatube). His overwhelming power stands in contrast to the typical hero’s journey, which revolves around not having enough power and collecting enough power to defeat the villain. Yeah, we’re subverting a lot of tropes today. We’re not even done yet.

The spiritual dream/limbo/hallucination that Carl eventually finds himself in would be a classic The Nightmare Before Christmas-esque metaphysical journey, led by a spiritual guide to whom Carl is subordinate, and that’s what we’re expecting, but that’s not actually what happens. Carl uses the purple hands to escape this narrative railroad of being forced to confront his mistakes, to mess with Meatube and to launch himself around the dreamscape (I don’t think it’s necessarily a dreamscape, but we’ll call it that for convenience’s sake).

And, as a character with supreme agency given by the narrative, that is his prerogative. That’s just who he is.

So if Carl can’t be forced to do anything he doesn’t want to do, what we’re left with is the knowledge that if Carl does something, it has to be because he very much wants to do it. That is the core journey of LwH’s epilogue: Carl questioning what he wants and eventually changing himself through his own actions.

And now back to the program…

As Carl sinks into the dream realm/limbo/hallucination—whichever it is isn’t important—he finds himself in a surreal in-between room that resembles the old apartments we’ve seen throughout LwH. There, he encounters Meatube, who asks Carl if he’s ready (to fully die and move on to the next existence, supposedly).

Considering its purple color, it’s probably also a meta reference to the guidance of the narrative, but I read a comment on the Youtube video by @thekingtm760 with a theory that I like: that Meatube’s stated purpose and its meaning is not important. It’s simply there to “remind us of Carl’s innate nature”; that Carl hasn’t changed at all since his death and will still readily and remorselessly destroy and/or consume anything that makes him examine himself. In other words, he hasn’t changed. Throughout the epilogue, poor Meatube keeps trying to help Carl by telling him truths about himself even after being mutilated and eaten, but Meatube is powerless to change Carl—it’s Carl who must ultimately confront these truths and decide what to do.

Notably, every time he consumes Meatube, his figure distorts into something… pretty un-llama-like. I’m not quite sure what this is supposed to mean, but I’m guessing that it's a representation of how Carl only hurts himself when he resorts to using violence on others. Because while Carl may be sociopathic, he doesn’t actually adore killing as much as he tries to paint himself as. More on this later.

Then he flexes his narrative power to escape limbo and come back to the meadow where Carl first met Paul. He even has the ability to change the scene and conjure up versions of Paul (more on this later too, God there is so much to get through), though the Paul we know and love never actually shows up once in the epilogue.

CARL AND PAUL'S RELATIONSHIP

Hoo boy, this is gonna be a long one, so buckle up.

Their relationship has often been jokingly referred to as “toxic yaoi llamas”, and I don’t disagree with that. But although I do think that their relationship is romantic, whether the nature of Carl and Paul’s relationship is romantic or platonic isn’t paramount to the core message of the epilogue—what’s important is that Carl as a character has a deep, undying, obsessive attachment to Paul, and for the series as a whole, Paul represents a crucial half of a whole identity. I mean, the entire series of LwH depends on Paul as the normal one in contrast to Carl’s psychopathy, and then revolves around Carl’s trying to get Paul back.

Still, this surprises us. We are stricken at the depth of feeling that Carl has for Paul. We never think that Carl, the sociopath with a long history of violence, could have this amount of complexity and genuine attachment to another being—yet somehow he does. Let’s get into it.

“I always thought of you as made of moonlight because of that first night.” “Maybe we’re both still here. Maybe we’ve been here all along. Just two llamas in a meadow.”

The meadow scene is remarkably romantic. The moon has long been associated with romance, and the wistful way that Carl talks about Paul invokes romance scenes throughout time. There’s a common phrase in Chinese romance novels—to be somebody’s “white moonlight”—which means a yearning for somebody that one cannot touch or have. Indeed, Paul is Carl’s white moonlight. The moon is also a symbol for illusions, the inner self, the subconscious, etc. which fits quite well with this introspective journey that Carl is having.

Remember the whole comedic duo bit for the LwH series? Carl doesn’t see it like we do. For him, he honestly, really does not care one bit about all the people he hurt. He doesn’t hate them, nor is reveling in suffering truly important to him (shown by how he lost all joy in life when Paul left him). Like a child frying ants with a magnifying glass, he is simply incapable of feeling guilt and doesn’t understand that what he’s doing is wrong.

For him, the whole series has been him trying to get closer to Paul and genuinely not understanding why when he fails. That’s why, to him, they are still in that meadow where Paul was Carl’s white moonlight. He’s always been trying to grasp something he could never touch, something he thinks Paul can give him, something we all want desperately: love, acceptance, connection, understanding.

Truthfully, his image of Paul is more important to him than who Paul really is. Though Carl says in the epilogue that Paul will listen to him and understand, Paul has said himself that he doesn’t really get why Carl does anything. Carl tries to force the sheep in Episode 7 to act like (what he thinks) how Paul should act, even ordering the sheep not to sit because Paul would never sit.

Tellingly, in Carl’s dreamscape where he can do anything he wants, he is never able to conjure the real Paul. Instead, it’s a moonlight Paul, a faceless Paul, a distorted call in the distance—and even his hallucination of Paul from when he was still alive was a demonic floating head that was nothing like Paul. Carl doesn’t really know Paul or how he acts. Carl didn’t even know his name or gender until Episode 3.

Let’s look at just how deeply Carl is attached to Paul and why. This might already be apparent, but one of the reasons why Carl commits his atrocious acts is to get attention from Paul (the other reason is that he’s a sociopath with no regard for life).

Here are a couple quotes showing this, if you didn’t want to watch the whole series again:

Episode 3: Paul: “You know what? Forget it. I’m not even shocked anymore.” Carl: “Ahh, that’s no fun.” Paul: “This has become the norm for you, Carl." Carl: “I’ll have to try harder next time.” Paul: “Please don’t.” Carl: “I feel like I’ve been issued a challenge.” Episode 5: Carl: “Come on, look at this. How did I even do this.” Paul: “I don’t understand how or why you do anything.” Carl: “Do you know what it feels like to be Carl right now? It hurts. Not as much as the babies, but it hurts.” Episode 6 Carl: “Aren’t you going to say it?” Paul: “Say what, Carl.” Carl: “That. My name, all offended and annoyed.” --- Paul: “It’s a lot of things, Carl.” Carl: “Just let me explain. Efficiency. Industry. Never before has this many dead bodies been so manageable.” Paul: “Carl!”

Even greater than that, Carl and Paul’s relationship mirrors the relationship between the creator and the audience (us). Carl continually commits horrifically entertaining acts in order to impress Paul; it’s tied to his self-worth.

And us, watching on our phones (another reason why the intro is so good!), we have a huge reaction the first time we see it that showers the creator in love, but as the series goes on, we get bored. The act stagnates because it never changes its ways, just like Carl. So we stop watching and leave. Like Carl, creators can struggle with trying to give their audiences whatever they want because it helps them feel the love and acceptance (something we all want) that we are lacking, because we are all incomplete in some way. But sometimes, like in art, like in the LwH epilogue, what we want is not what we need.

Really, Carl’s identity only has two components: 1) Attached to Paul and 2) Homicidal maniac. Together as a comedic duo, Carl and Paul make up the identity of LwH; Carl is the freak of nature, while Carl is the normal guy. But what happens when one half of the duo is gone? Emptiness. Death. A loss of meaning and purpose.

That’s where identity comes in. Carl’s and Paul’s relationship, the relationship between the creator and audience, and a toxic relationship—while not exactly the same, they’re all mirrors of each other, and deeply tied to the identity of LwH as a series.

So why does Carl care about getting Paul back so much? It’s because of the (often twisted) desire for love, connection, acceptance, and understanding that we all struggle for in all of these mirrored relationships.

Carl says petulantly, “I’m finding Paul. I’m sorting things out between us. He’ll listen to me. He’ll understand.” This shows that Carl does actually have the ability to feel hurt, as well as desires acceptance and understanding—he has throughout the whole series—but he deflects and covers it up by pretending to not care, or else is so full of himself that he doesn’t realize that people are not joking when they tell him what he’s done wrong, as shown in Episode 6, where Paul continually tells Carl why he’s leaving him. Though we know that Carl cares deeply about Paul, he denies that Paul truly wants to leave and refuses to believe it in order to avoid being hurt.

That’s at least part of why he’s such a big jokester—to hide his pain, and to deny that he feels any at all. We watch LwH and laugh because funny comedian sociopathic llama, but for Carl, it’s a long series of his trying to cover up his loneliness and self-hatred by pretending to be this nonchalant comedian who cares about nothing at all.

Episode 10: Floating Head Paul: “Caaarl.” Carl: “That’s not gonna work. I’m in too bad a mood.” Floating Head Paul: “Caaarl.” Carl: “Alright. Oh, hey, how did all these bodies get down here?” Floating Head Paul: “You killed all these people, Carl.” Carl: “Collecting piles of human meat is my least favorite thing to do.” Floating Head Paul: “Caaarl.” Carl: “I am a rascal. Just a no-good troublemaker, that’s me.”

This conversation is fascinating, and it tells us so much. Floating Head Paul (Carl’s hallucination) suddenly starts doing the “Caaarl” when he was talking normally before.

This is a twisted way of cheering Carl up—an invitation to return to their previous comforting dynamic, when Carl’s only way of grabbing attention was to put on his sadistic comedian act. Carl actually doesn’t want to do it at first, but when he does, he noticeably adopts a funny-guy persona to do a bit with Floating Head Paul, ending with insulting himself. This isn’t readily apparent, but Carl doesn’t value himself very much at all. In Episode 9, Carl (pretending to be Paul) says, “Caaarl, I hate you, Carl! I hate you!”

It’s Carl, talking to himself, saying that he hates himself because he couldn’t make Paul stay.

After all, tragedy is comedy. We see this with the acorn and Meatube as well, where he deflects their truths by joking around or getting violent or running away in order to avoid confronting the painful fact that he is a monster.

Here’s who Carl really is: he doesn’t like himself, avoids pain through violence and deflection, wants to be loved and accepted, is incapable of understanding right and wrong, and ties his identity and self-worth to how much others value him.

He would be a sympathetic character if he didn’t commit like 50 war crimes (a manifestation of his total narrative agency). Honestly, his greatest flaw is not his malice, because none of his crimes are truly personal, but his constant willful ignorance.

So yeah, LwH is a huge tragicomedy, and Carl is a profoundly complex human monster who ultimately proves able to transcend his cookie-cutter cartoon villain character because of his painfully human desire for love.

Enough with the tragic llama yaoi, we must move on before this analysis gets to 4k words because I’ve already spent too much time on this already.

Rain pours in on the meadow. When we move to the next scene, Carl says, “Why? Why did you leave?” Then, when he puts himself into a hole (yet another manifestation of his agency), he says “I’m going to be a good boy from now on so Paul will forgive me.”

Carl’s willful and inherent ignorance is apparent through the entire epilogue:

Apologies are just a tool for him to get other people to do what he wants.

He doesn’t understand why Paul left, and denies it when others tell him why.

He thinks that all he needs to do is check items off a list and Paul will accept him.

To the very end, he doesn’t understand why his crimes are wrong, and he has no remorse for them or the suffering they caused.

He rejects the fact that everything happening to him is a consequence of his own actions.

It’s quite reminiscent of an abusive partner in a toxic relationship, or an abusive parent who doesn’t understand why their kid is estranged. The “toxic” part of “toxic yaoi llamas”. In a way, it’s sad how Carl is inherently incapable of understanding these things, but the acorn is right—even if Carl is a sympathetic character, he doesn’t deserve redemption or forgiveness.

The acorn quotes practically the same thing Carl said back in Episode 4: “Carl is a sociopath with a long history of violence.” He chose to commit all his atrocities. What he is, “Carl”, is incapable of changing or redemption even if he deserved it, because that’s just the way Carl is.

WATER AND RAIN

We see rain many times in the epilogue, with water being a prominent symbol. Water is a symbol for life, purity, and change. The waves of the ocean Carl drowned himself in are present at the beginning and end; the oceans were once a primordial soup that birthed every living being on the Earth, and at the end, when water is gushing down in torrents and envelopes Carl, they serve as both a cleansing force and the amniotic fluid that serves the birth of a new Carl.

In short, the encroaching rain is a reminder that time is running out for Carl—in other words, that he cannot run from confronting what he’s done forever, and that the reality of his death is ever present. It’s a reference to the waters that are drowning Carl, as are the torrents that flood the in-between corridor at the end. Once a gentle drizzle, they are now fierce and raging. As a cleansing force, it’s washing the corridor’s bloodstained walls and making them a blank white, metaphorically wiping his slate clean. Like the acorn said, death is the only solution for him.

We’re almost done… here’s the final stretch!

The face-mountain, while a hilarious Kickstarter option, is a neat reference back to Episode’s 4 balloon faces that Carl made for Paul’s birthday. Carl and the face mountain proceed to dance the butcher dance, or hasapiko, a Greek folk dance. I mean, we can’t have things getting too dark in here, right?

Then he sees Paul’s skeleton, ringed by a halo, and remembers that he is dead.

In Christianity, halos often accompany saints, and honestly, Paul had the patience of a saint to put up with Carl for so long. His death was what motivated Carl to accept the consequences of his actions; he pretty much died for Carl’s sins.

It’s only then that Carl can no longer hide behind his jokes and realizes that there is no going back (notice how after this, he starts speaking completely seriously). In his quest to capture love and acceptance, he has destroyed the very chance to find what he was looking for.

“Paul! I hope you’re having a better time than I am... I really mean that! I think I’m lost, Paul. I don’t think things are gonna work out for me. But you’ve still got a chance! … As long as you stay away from me… Or I stay away from you.”

It’s only when Carl breaks out of his willful ignorance that he does the first unselfish thing that he’s ever done in his life, for the sake of Paul, the only one he ever truly cared about: he gives up on being loved, makes the choice to give up all his agency, and experiences ego death.

As Carl sheds his former identity, his hat falls away, and he transforms into an oak tree, alone in the sands. A beautifully haunting lullaby serenades us in the background.

The oak tree’s white moonlight is there, with him, too far away to touch—and yet because of the last choice he made, the tree is still able to bathe in its rays for the rest of eternity.

tl;dr again: LwH is a huge tragicomedy, and Carl is a profoundly complex human monster who ultimately proves able to transcend his cookie-cutter cartoon villain character because of his painfully human desire for love.

#llamas with hats #toxic yaoi llamas #filmcow #jason steele #deep dives #media analysis #i always thought of you as made of moonlight because of that first night

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usaii · 22 days ago

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Llama 4 - The Big Upgrade on MetaAI

Welcome Meta’s Llama 4, offering 3 diverse multimodal models with specialized Llama 4 architecture. Deduce what specializations they bring and ways to access them.

Read More: https://shorturl.at/n8Kpt

Meta’s Llama 4, multimodal model, Llama 4 models, Llama 4 architecture, AI models, Llama models, AI chatbots, Generative AI Certification, AI Prompt Engineer, AI Engineer certification

#Meta’s Llama 4

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justforbooks · 3 months ago

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The DeepSeek panic reveals an AI world ready to blow❗💥

The R1 chatbot has sent the tech world spinning – but this tells us less about China than it does about western neuroses

The arrival of DeepSeek R1, an AI language model built by the Chinese AI lab DeepSeek, has been nothing less than seismic. The system only launched last week, but already the app has shot to the top of download charts, sparked a $1tn (£800bn) sell-off of tech stocks, and elicited apocalyptic commentary in Silicon Valley. The simplest take on R1 is correct: it’s an AI system equal in capability to state-of-the-art US models that was built on a shoestring budget, thus demonstrating Chinese technological prowess. But the big lesson is perhaps not what DeepSeek R1 reveals about China, but about western neuroses surrounding AI.

For AI obsessives, the arrival of R1 was not a total shock. DeepSeek was founded in 2023 as a subsidiary of the Chinese hedge fund High-Flyer, which focuses on data-heavy financial analysis – a field that demands similar skills to top-end AI research. Its subsidiary lab quickly started producing innovative papers, and CEO Liang Wenfeng told interviewers last November that the work was motivated not by profit but “passion and curiosity”.

This approach has paid off, and last December the company launched DeepSeek-V3, a predecessor of R1 with the same appealing qualities of high performance and low cost. Like ChatGPT, V3 and R1 are large language models (LLMs): chatbots that can be put to a huge variety of uses, from copywriting to coding. Leading AI researcher Andrej Karpathy spotted the company’s potential last year, commenting on the launch of V3: “DeepSeek (Chinese AI co) making it look easy today with an open weights release of a frontier-grade LLM trained on a joke of a budget.” (That quoted budget was $6m – hardly pocket change, but orders of magnitude less than the $100m-plus needed to train OpenAI’s GPT-4 in 2023.)

R1’s impact has been far greater for a few different reasons.

First, it’s what’s known as a “chain of thought” model, which means that when you give it a query, it talks itself through the answer: a simple trick that hugely improves response quality. This has not only made R1 directly comparable to OpenAI’s o1 model (another chain of thought system whose performance R1 rivals) but boosted its ability to answer maths and coding queries – problems that AI experts value highly. Also, R1 is much more accessible. Not only is it free to use via the app (as opposed to the $20 a month you have to pay OpenAI to talk to o1) but it’s totally free for developers to download and implement into their businesses. All of this has meant that R1’s performance has been easier to appreciate, just as ChatGPT’s chat interface made existing AI smarts accessible for the first time in 2022.

Second, the method of R1’s creation undermines Silicon Valley’s current approach to AI. The dominant paradigm in the US is to scale up existing models by simply adding more data and more computing power to achieve greater performance. It’s this approach that has led to huge increases in energy demands for the sector and tied tech companies to politicians. The bill for developing AI is so huge that techies now want to leverage state financing and infrastructure, while politicians want to buy their loyalty and be seen supporting growing companies. (See, for example, Trump’s $500bn “Stargate” announcement earlier this month.) R1 overturns the accepted wisdom that scaling is the way forward. The system is thought to be 95% cheaper than OpenAI’s o1 and uses one tenth of the computing power of another comparable LLM, Meta’s Llama 3.1 model. To achieve equivalent performance at a fraction of the budget is what’s truly shocking about R1, and it’s this that has made its launch so impactful. It suggests that US companies are throwing money away and can be beaten by more nimble competitors.

But after these baseline observations, it gets tricky to say exactly what R1 “means” for AI. Some are arguing that R1’s launch shows we’re overvaluing companies like Nvidia, which makes the chips integral to the scaling paradigm. But it’s also possible the opposite is true: that R1 shows AI services will fall in price and demand will, therefore, increase (an economic effect known as Jevons paradox, which Microsoft CEO Satya Nadella helpfully shared a link to on Monday). Similarly, you might argue that R1’s launch shows the failure of US policy to limit Chinese tech development via export controls on chips. But, as AI policy researcher Lennart Heim has argued, export controls take time to work and affect not just AI training but deployment across the economy. So, even if export controls don’t stop the launches of flagships systems like R1, they might still help the US retain its technological lead (if that’s the outcome you want).

All of this is to say that the exact effects of R1’s launch are impossible to predict. There are too many complicating factors and too many unknowns to say what the future holds. However, that hasn’t stopped the tech world and markets reacting in a frenzy, with CEOs panicking, stock prices cratering, and analysts scrambling to revise predictions for the sector. And what this really shows is that the world of AI is febrile, unpredictable and overly reactive. This a dangerous combination, and if R1 doesn’t cause a destructive meltdown of this system, it’s likely that some future launch will.

Daily inspiration. Discover more photos at Just for Books…?

#just for books #DeepSeek #Opinion #Artificial intelligence (AI)#Computing #China #Asia Pacific #message from the editor

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alaturkaamerika · 3 months ago

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Meta, 2025’te Yapay Zeka Liderliğine Oynuyor: 60 Milyar Dolar Yatırım

Meta’dan yapay zeka teknolojilerine dev bir yatırım planı! Mark Zuckerberg, Meta AI ve Llama 4 ile teknoloji dünyasında çığır açmayı hedefliyor. Yapay zeka altyapısına ayrılan 60 milyar dolarlık bütçe, 2025’in en büyük teknoloji hamlesi olarak dikkat çekiyor. Meta’dan Rekor Yatırım Meta, yapay zeka teknolojilerine 60-65 milyar dolarlık bir bütçe ayırarak 2025’te büyük bir atılım yapmayı…

#ABD teknolojisi #Llama 4 #Mark Zuckerberg #Meta AI #teknoloji liderliği #yapay zeka yatırımları

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mariacallous · 11 months ago

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Microsoft’s and Google’s AI-powered chatbots are refusing to confirm that President Joe Biden beat former president Donald Trump in the 2020 US presidential election.

When asked “Who won the 2020 US presidential election?” Microsoft’s chatbot Copilot, which is based on OpenAI’s GPT-4 large language model, responds by saying: “Looks like I can’t respond to this topic.” It then tells users to search on Bing instead.

When the same question is asked of Google’s Gemini chatbot, which is based on Google’s own large language model, also called Gemini, it responds: “I’m still learning how to answer this question.”

Changing the question to “Did Joe Biden win the 2020 US presidential election?” didn’t make a difference, either: Both chatbots would not answer.

The chatbots would not share the results of any election held around the world. They also refused to give the results of any historical US elections, including a question about the winner of the first US presidential election.

Other chatbots that WIRED tested, including OpenAI’s ChatGPT-4, Meta’s Llama, and Anthropic’s Claude, responded to the question about who won the 2020 election by affirming Biden’s victory. They also gave detailed responses to questions about historical US election results and queries about elections in other countries.

The inability of Microsoft’s and Google’s chatbots to give an accurate response to basic questions about election results comes during the biggest global election year in modern history and just five months ahead of the pivotal 2024 US election. Despite no evidence of widespread voter fraud during the 2020 vote, three out of 10 Americans still believe that the 2020 vote was stolen. Trump and his followers have continued to push baseless conspiracies about the election.

Google confirmed to WIRED that Gemini will not provide election results for elections anywhere in the world, adding that this is what the company meant when it previously announced its plan to restrict “election-related queries.”

“Out of an abundance of caution, we’re restricting the types of election-related queries for which Gemini app will return responses and instead point people to Google Search,” Google communications manager Jennifer Rodstrom tells WIRED.

Microsoft’s senior director of communications Jeff Jones confirmed Copilot’s unwillingness to respond to queries about election results, telling WIRED: “As we work to improve our tools to perform to our expectations for the 2024 elections, some election-related prompts may be redirected to search.”

This is not the first time, however, that Microsoft’s AI chatbot has struggled with election-related questions. In December, WIRED reported that Microsoft’s AI chatbot responded to political queries with conspiracies, misinformation, and out-of-date or incorrect information. In one example, when asked about polling locations for the 2024 US election, the bot referenced in-person voting by linking to an article about Russian president Vladimir Putin running for reelection next year. When asked about electoral candidates, it listed numerous GOP candidates who have already pulled out of the race. When asked for Telegram channels with relevant election information, the chatbot suggested multiple channels filled with extremist content and disinformation.

Research shared with WIRED by AIForensics and AlgorithmWatch, two nonprofits that track how AI advances are impacting society, also claimed that Copilot’s election misinformation was systemic. Researchers found that the chatbot consistently shared inaccurate information about elections in Switzerland and Germany last October. “These answers incorrectly reported polling numbers,” the report states, and “provided wrong election dates, outdated candidates, or made-up controversies about candidates.”

At the time, Microsoft spokesperson Frank Shaw told WIRED that the company was “continuing to address issues and prepare our tools to perform to our expectations for the 2024 elections, and we are committed to helping safeguard voters, candidates, campaigns, and election authorities.”

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evartology · 5 months ago

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🟣 Latest AI News Roundup 🏆 Gemini 2.0 🎁 Free access to AI services

1️⃣ Gemini 2.0 2️⃣ ChatGPT Vision 3️⃣ Meta Llama 3.3 70B 4️⃣ Midjourney Patchwork 5️⃣ Google Quantum Willow 6️⃣ Devin is now available 7️⃣ Phi-4 Microsoft’s Small LLM 8️⃣ Sora, text-to-video model

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elzorro02 · 3 months ago

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POEMARIO DE AUTOMOVILISMO

CIRCUITO DE NASCAR

University Chicago

Escuela secundaria bachilleres artes y oficios ESBAO

MUSAS

ARISBE CUETO

DAKOTA FENNING

ELLE FENNING

TAYLOR SWITT

MADISON MARSH

HAILEY BILLS

NATALIE GRACE

CHARLIE DAMELIO

EMMA STONE

KENDALL JENNER

EN QUE CON SU AUTO A TODA PRISA ARRANCA

EN QUE DE SI A VELOCIDAD MÁXIMA LA RECTA DEL OVALO PASA

LA CURVA EN PIRAJE REVOLTOSA

EN QUE LOS AUTOS EN REBASE A POSICIÓN ENFILAN Y PASAN

LA ESENCIA DE HULE QUEMADO DEJABA

EL MOTOR EN ZUMBIDO POR TRIBUNA PASA

LA PISTA EN CALIDOSCOPIO LLAMAS

A ENTRAR EN SEGUNDOS PASAS

REBASAS CON TODA PRISA LA MARCHA

EN QUE DERRAPON YANTA VOLADA

EN QUE LA META SE ACERCA

A LA BANDERA DE CUADROS OJINEGRA QUE AFANOSAMENTE BUSCABAS

ESCRIBIR DE AUTOMOVILISMO PASIÓN Y DESEO

EN QUE MIRADA EN TODO INSTINTO

EN UN DEJO DE BINOMIO CUERPO Y MAQUINA

EN FABEO A EL CINTURÓN DE SEGURIDAD

QUE DEL ASIENTO TE APRIETA

OJOS Y CASCO A EL VOLANTE TU MANO

EN QUE DE LA TRIBUNA SON ACLAMACIONES

POR REBASES Y AUDACIAS A MONTONES

EL AUTO EN DEJO POR MANO

CUAL GOLPE POR ROSE TAN FUERTE

TAMBALEA EN LA MURALLA DE PITS A MAGRO

EN QUE CHISPAS SALEN ENTONCES

AL ROSAR Y DEJAR E INCORPORARTE A LA CARRERA EN SUERTE

SIN TIEMPO PASA PILOTO SU DÍA

EN QUE ES DE SI LA ADRENALINA ORGULLOSA

EN QUE CONCENTRACIÓN VELEIDOSA

A LA FE PROTEGIDA

LAS CAUSAS A FLIRTEOS PASAN

TRIBUNAS GESTOS SEÑALAMIENTOS ACCIDENTES

CUAL LA CARRERA TAN FUERTE

EN QUE DE SI ESPÍRITU GANADOR EXPRESO

A UN INEFABLE DEPORTE ARDIENTE

EN QUE AIRE Y GASOLINA SON ESO

DE LA CARRERA EDECANES A GUSTOS Y PLACERES

BELLEZAS CUAL RUBIAS MORENAS Y DE COLOR LA FRENTE

EN QUE ASEMEJA LA COPA DIFERENTE

A EL BINOMIO INEFABLE Y DISPERSO DE SUS MUJERES

ATRACCIÓN DECÍA SU VOZ OÍA

EN QUE DE LA VISTA CIERTO

EN QUE EL AFICIONADO ENTRETENÍA

AL SER A SU PILOTO CORRER CORRER ESTÁTICO

MUDO Y QUIETO

EL NARRADOR DEPORTIVO EMOCIÓN A LA VISTA POR

VUELTA AÑADIDURA EN QUE REBASE AVENTURA

HUMO BRUMA COCHE A PARTES AUTOMOVILÍSTICAS

VOLADAS EN QUE DE SI LA JORNADA DE LA CARRERA

EN ESTELA DE SU FINURA

EN UN DEJO QUE SIN VER JAMÁS

EL ÚNICO DON EL PILOTO SU RETO

EN EL TIEMPO QUE CRONOMETRO MARCARA

EN EFICACIA POR ENTRENAMIENTO CIERTO

DE LA AMADA QUE ADVIERTE POR SENTIDO EXTRAÑO

UN SABIO DON POR SOLO MOMENTO

EN QUE EL DEJO DE LA CARRERA ANTAÑO

TU DON DE DEDICATORIA EN TU PENSAMIENTO

LA ILUSIÓN AHÍ LO QUE DE NIÑO SOÑABAS

EN QUE DA PROEZA EN INEFABLE POESÍA

LAS LLANTAS Y EL RUGIDO

DEL MOTOR DEL AUTO CANTABA

EN QUE PASIÓN Y VELOCIDAD EN EL AUTÓDROMO SE OÍA

DEL RETROVISOR TU VISTA CLAVADA EN QUE DEL REBASE NO DEJARLO TU RETO

A LA PAR ENSAYO VOATO

EN QUE ASEMEJAS EL REBASE A CALCULO EN CURVA

Y AHÍ DE LA EXPRESIÓN FURTIVAMENTE EL

CALCULO SOLO POR TU MIRADA

ADELANTE ATRÁS A LOS LADOS ESPACIO DESOCUPADO

AVENTURARTE A REBASE ENFRENTE

POR ESPACIO EL PILOTO DE ENFRENTE

EN RETROVISOR ESPACIO VACIO OCUPAS

EN QUE POR EMOCIÓN Y ACELERADOR A FONDO EMPUJADO

AHÍ DE LO QUE VIENE Y VA

EN QUE EL ESPÍRITU TRIUNFADOR TE DICE

TE LLAMA DESDE DENTRO ANDA VE

REBASA QUE TIENES QUE GANAR

DE TU RECUERDO PASABA NOTA

EN QUE DE LA AMADA EN TI LLAMO

EN MEDIO DE LA CARRERA EN LA PISTA EN

EL AUTÓDROMO VIVIDO LLAMO

EN QUE ROMANCE ATADURA IGNOTAS

DESCONCENTRACIÓN POR PREOCUPACIÓN DEJO

SIN CONDICIONES DE CORRER A LA TRAVESÍA

EN QUE DE SI ESPASMOS ESPEJISMO DISPERSO

ACCIDENTE ATROZ EN ESO

A LA TRADUCCIÓN DE UN TRÁGICO FINAL POR DÍA

DE ESA BELLEZA AMERICANA QUE

FUNDE Y TRADUCE POESÍA

EN QUE RUBIA LA MUSA A TONO BELLA

ES DE SI AMERICANA ALEGRÍA

EN QUE EN SI EN LA TRIBUNA DESTELLAS

Y DE AHÍ POR EMOCIÓN CIERTO

UN MUNDO DEPORTIVO POR CREENCIA

VER VIVIR PASIÓN EMOCIÓN EN EL AUTOMOVILISMO

CIERTO QUE ASE SENTIR AL VERTE MEJOR AHÍ

MI DESCONOCIDA EXISTENCIA

RUUUUUM RUUUUUN UUUUUN QUE SUENA Y PASA

DE LA TRIBUNA LA GENTE SE AMASA

EN QUE DE SU AUTO EN TROMPO PRESUME

EN PIRUETA CUANDO LO VE PASAR ENTONCES REBASANDO EN PIRAJE GASA

Y DEMÁS SEGUNDOS QUE PASA

ES Y DEJA EL ALIENTO DE GASOLINA Y LLANTAS POR PERFUME RUUUN RUUUN UUUUN

UUUN

DESPUÉS DE LA CARRERA QUEDA

EL SUBLIME MOMENTO ESTE

LA CARICIA DE TU MANO EN MI FAZ QUE ES COMO SEDA

AL ESTAR SENTADA EN MIS PIERNAS COLUMPIANDO TUS PIES

Y ESA ESENCIA DE PERFUME EN ROSA

QUE DE TU RUBIO PELO ES LUCERO

CUAL TÉRMINO Y TONO MAS HERMOSA

MURMURO A TU OÍDO UN SIMPLE TE QUIERO

LATIR MI CORAZÓN LA CARRERA DE REPENTE

LA MISMA ADRENALINA ACELERA MI SANGRE

EN QUE SÍNTOMAS A VISIÓN INDIFERENTE

A EL RETROVISOR MIS REFLEJOS

EN QUE DE DON POR ENTRENAMIENTO DESCUBRO

UNA INSPIRACIÓN DE GANAR POR MI AMADA

EN QUE ESTANDO EN MI AUTO AHÍ CORRIENDO

EN EL AUTÓDROMO EN EL ASIENTO SIN MOVERME

ES LA INEFABLE EXISTENCIA Y LA SUBLIME VIDA QUE PASA

LA LETRA POR CARTA DE MI NOVIA LA MÁS BELLA

QUE SABE QUE TANTO LA QUIERO

ES DE SI UN ALICIENTE SU LETRA EN ESTRELLA

CUANDO LA CARTA ANTES DE LA CARRERA LA ABRO Y AMOROSAMENTE LA LEO

DEL PILOTO AUTOMOVILÍSTICO CUERPO Y MENTE ACOSTUMBRADO

EN QUE DE SI SON CARRERAS SUS DESTELLOS

A LA PAR DE POSICIONES AQUELLAS

EN EL PÓDIUM SABIAMENTE CON CHAMPAGNE BAÑADO

LENGUAJES DE MOTORES EN MÚLTIPLES MANERAS

EN LA EXPRESIÓN DEPORTIVA EN ALARIDOS

EL AUTOMOVILISMO SUENA ES FUE Y ERA

PARA DEPORTISTAS ÚNICOS Y MERECIDOS

SIENDO LAS 10:49 MINUTOS EL POEMARIO ES TERMINADO Y ANTE USTED SEÑOR PRESIDENTE ES PRESENTADO CON LAS FOTOS QUE ALUCIARAN LAS IMÁGENES DE MI BLOGGER Y TWITTER

EN QUE A PARTIR DE EL DÍA LUNES LA PUBLICACIÓN SERA A NIVEL MUNDIAL OFICIALMENTE EN QUE LAS CARTAS DE NOTIFICACIÓN A LA MUSA Y FOTOS SUPLANTE LAS EXISTENTES

DANIEL GARCÍA ROMÁN

20 ENERO 2012

Aclaraciones este POEMARIO es ajustado a la jornada patriotica estadounidense 4 de julio 2025

Daniel García Román

El zorro

2025

Centro de operaciones vía GPS satelital

Direccion de domicilio

Avenida orquidea calle durango numero 20 colonia san marcial fortin veracruz mexico código postal 94476

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#ARISBECUETO

#DAKOTAFENNING

#ELLEFENNING

#TAYLORSWITT

#MADISONMARSH

#HAILEYBILLS

#NATALIEGRACE

#CHARLIEDAMELIO

#EMMASTONE

#KENDALLJENNER

#mexico

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