'Call of Duty' will remain on the PlayStation after Microsoft's acquisition of Activision Blizzard/

MrBeast is known for his elaborate videos, with over 175 million subscribers waiting to see what he gets up to next – this time, he has teased that his very own Extreme Olympics will be his "biggest video ever". The 25-year-old YouTuber is no stranger to breaking records. Recently, his '7 Days Stranded At Sea' video also became the most viewed non-music YouTube video in 24 hours. MrBeast is perhaps best known for his '$456,000 Squid Game In Real Life' video inspired by the Korean dystopian Netflix show, which has over 480m views and is also the fastest non-music video to reach 100 million views too. Sign up to our free Indy100 weekly newsletter But according to the content creator, the Extreme Olympics is going to be even grander spectacle than this. In a tweet, he wrote: "Next Saturday's video I had a subscriber from every country on Earth compete in my own version of Extreme Olympics... "...the sets are 2x bigger than our Squid Game sets, and it's my biggest video ever." MrBeast also shared two stills from the video which show how large one of the sets is as competitors participate in the games, while another shows the YouTuber in a referee top clapping with competitors in the background. When asked in the comments how much the video cost, MrBeast replied: "Over $4 million." The Extreme Olympics video is set to be released on MrBeast's YouTube channel this Saturday (August 19). Elsewhere, MrBeast is being counter-sued for $100 million by Virtual Dining Concepts, the company behind Beast Burger restaurants. Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

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The current wave of generative AI tools like ChatGPT will soon be surpassed by “interactive artificial intelligence”, according to AI pioneer Mustafa Suleyman. The co-founder of DeepMind, which was acquired by Google for $500 million in 2014, said the next generation of AI tools will be “a step change in the history of our species”, allowing people to not just obtain information but also order tasks and services to be carried out on their behalf. “The first wave of AI was about classification. Deep learning showed that we can train a computer to classify various types of input data: images, video, audio, language. Now we’re in the generative wave, where you take that input data and produce new data,” Mr Suleyman told MIT Technology Review. “The third wave will be the interactive phase. That’s why I’ve bet for a long time that conversation is the future interface. You know, instead of just clicking on buttons and typing, you’re going to talk to your AI.” This will allow users to ask these AI to perform tasks for them, which they will carry out by talking with other people and interacting with other AIs. “That’s a huge shift in what technology can do. It’s a very, very profound moment in the history of technology that I think many people underestimate,” he said. “Technology today is static. It does, roughly speaking, what you tell it to do. But now technology is going to be animated. It’s going to have the potential freedom, if you give it, to take actions. It’s truly a step change in the history of our species that we’re creating tools that have this kind of, you know, agency.” When questioned about the potential risks of giving artificial intelligence autonomy, Mr Suleyman said it was important to set boundaries for the technology and make sure that it is aligned with human interests. When Mr Suleyman was still working at DeepMind, his colleagues helped develop what became known as a “big red button” that would effectively serve as an off switch for rogue AI. A research paper titled ‘Safely Interruptible Agents’ described how any misbehaving robot could be shut down or overriden by a human operator in order to avoid “irreversible consequences”. Read More 10 ways AI will change the world – from curing cancer to wiping out humanity

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This content originally appeared on Mashable for a US audience and has been adapted for

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