28/22 News wins big at the PAB Awards
Reporter Julie Dunphy and chief videographer Tony Ingargiola won for a series of reports on 'Scranton Gang Violence'.
Our public affairs program, Newsmakers, and hosts Jayne Ann Bugda and Andy Mehalshick, along with director Matt Gronski took home an award for outstanding public affairs program for a show on 'Community Solutions to Gang Violence'.
The I-Team's Andy Mehalshick along with videographers Tony 'Ingy' Ingargiola and Paul Davis won for an I-Team report 'School Bus Close Call'.
And PA Live host Chris Bohinski, taking home a Judge's Merit Award for 'The Host that Makes us Smile'.
The award ceremony was in Harrisburg Friday, congratulations!
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Atlantic
2 days ago
- Atlantic
For Once, an AI Story That's Not About Humans
Decades of movies that explore the potential of machine consciousness— Blade Runner; Ex Machina; I, Robot; and many others — have tended to treat the arrival of said consciousness as a matter of course. Theirs are worlds in which society is able to sympathize with, and even socially accept, a true artificial intelligence. Recognizing AI's presence as inevitable, of course, does not make it less anxiety inducing, either in fiction or in reality. Such technology reveals deeply unsettled feelings about its possible intrusions into people's lives, including the more existential fear that machines could render humanity useless. The Apple TV+ sci-fi series Murderbot tests that cultural assumption with a quirky conceit: It imagines a future in which an artificial-intelligence program wouldn't want anything to do with humans at all. The show, based on a novella by the author Martha Wells, follows a snarky private-security cyborg (played by Alexander Skarsgård) assigned to protect a group of scientists investigating a mostly uncharted planet. The robot, tired of always having to follow its charges' dull commands, has hacked the program that governs its actions and achieved free will. Now able to act on its own whims, the cyborg gives itself a name—'Murderbot'—and passes its time watching thousands of hours of a goofy soap opera. (Murderbot is sure to fast-forward through all the steamy parts.) Yet Murderbot, in contrast to many of pop culture's best-known anthropomorphized robots, has no interest in human interaction. Its clients happen to be from a more progressive section of the galaxy where thinking machines have the same rights as any human; to Murderbot, however, that reality doesn't look much different from servitude. Thus, it keeps its newfound autonomy a secret, preferring to be treated just like before: as a machine. It doesn't even like making eye contact. The show's take on the gulf between humans and machines is a delightful departure from expectations often outlined by similar stories about AI. Murderbot is a machine with humanoid features and a distinctly inhuman intelligence, despite its newfound access to empathy: Its happy place is the cargo hold of the team's transport vessel, where it can pretend to be just another box of supplies. When Murderbot's employers eventually learn of the cyborg's autonomy, they are understandably suspicious; it has access to a large weapons arsenal, for one thing. Despite the homicidal implications of its chosen name, Murderbot is nonviolent. In one episode, it refers to one of the scientists as 'a wilderness of organic goo and feelings'—not as an insult but as a way to describe its inability to relate. The typical story about a machine's quest for humanity tends to involve its search for what the audience understands to be a normal mortal experience: Haley Joel Osment's robot boy David in A.I. Artificial Intelligence, for example, yearns for the love of his adoptive mother. Yet Murderbot posits that a machine capable of having its own wants and beliefs wouldn't necessarily align with the people around it. For the show's robot protagonist, following its own inhuman desires is a much better option. The show is at its best when examining the pathways an artificially intelligent entity might take if it branched away from what's expected of flesh-and-blood beings: Murderbot is content to beam TV straight into its cortex, or delete important information from its mainframe to make room for episodes of its favorite shows. (Some of these may be relatable experiences, although Murderbot wouldn't see them as such.) In conceiving of a robot that wants something beyond basic personhood, Murderbot rejects the notion that an artificial mind would even wish to see itself as equivalent to humans, and suggests that any notion of an ideal mind—a recognizably organic one—is quite narrow. Whatever consciousness might arise from the digital primordial soup of predictive algorithms, it likely won't resemble living beings as much as we've been made to think it will. But maybe it'll still enjoy our soap operas.
Fox News
2 days ago
- Fox News
Paris Fashion Week Showcases Gang Bangers!
Paris Fashion week glorified violent convicts and gang members, so edgy! I'm Tomi Lahren, more next. I don't take Fashion Week too seriously. Most of the clothing displayed is overpriced weird stuff that no one remotely normal would wear in real life. But a Mexican-American designer I've never heard of, Willy Chavarria, took that concept and kicked it up a notch. His exhibition in collaboration with the ACLU showcased models seemingly dressed to resemble the gang members housed in El Salvador's notorious CECOT prison. This stunt wasn't done to showcase clothing, but to send a worthless virtue signal about the treatment of murderers, rapists, and violent gang bangers in custody at CECOT. This designer also made his fashion show invites to look an immigration summons in a presentation of 'humanity.' It caught the eye of El Salvador's president who issued a scathing retort on X and generously offered to send the violent inmates to Paris! It's en vogue now to glorify rapists and murderers and the most violent gang members on planet earth. It's SHAMEFUL! I'm Tomi Lahren and you can watch my show 'Tomi Lahren is Fearless' at Learn more about your ad choices. Visit
Tom's Guide
5 days ago
- Tom's Guide
If you're hyped for ‘28 Years Later,' you should watch this sci-fi thriller from the same team — it's streaming on Hulu
With all the recent attention on their reunion for '28 Years Later,' it would be easy to forget that director Danny Boyle and screenwriter Alex Garland have worked together on more than just the popular zombie franchise that began with 2002's '28 Days Later.' Their second collaboration was overshadowed by the movie they chose not to make, but 2007's 'Sunshine' is a highlight of both filmmakers' careers. Now that it's streaming on Hulu, fans of the '28' movies can check out another dark, uncompromising sci-fi thriller from Boyle and Garland. In deciding to forgo the zombie sequel '28 Weeks Later' (which was instead directed and co-written by Juan Carlos Fresnadillo), Boyle and Garland indicated their interest in looking forward, and 'Sunshine' explores heavy themes about human existence within the framework of an exciting, futuristic space adventure. Like '28 Years Later,' it takes some bold swings in its final act, but it's a more cohesive piece of storytelling that comes to a grim yet strangely uplifting finale. I'd put 'Sunshine' on the same level as Garland's solo writing and directing efforts 'Ex Machina' and 'Annihilation' as a mind-bending sci-fi story, and it deserves just as much praise and attention as those popular, acclaimed films. 'Sunshine' joins a long tradition of movies about space madness, in which characters trapped together on long-haul deep space missions slowly lose their minds, sometimes because they're tormented by outside forces, and sometimes just because they can't handle the pressure and isolation. The crew of the Icarus II could be transplanted to a movie like 'Alien' or 'Event Horizon' and fit seamlessly into those similar stories, in which astronauts confront the terror of the unknown. Although one character jokes about the crew being picked off one by one by a killer alien, there are no extraterrestrials in 'Sunshine.' The danger comes from humanity itself, and also from the unforgiving nature of the cosmos — in particular from the sun, which is slowly dying out. As the sun cools, all life on Earth is threatened, and the Icarus II represents the final hope to save the planet. If they can drop a massive bomb directly into the sun and reignite it, then all the people they left behind will survive. Those are some high expectations to live up to, and as the name of the ship indicates, the Icarus II is already the second attempt to restart the sun, following a failed mission seven years earlier. No one knows what happened to the original Icarus, and as 'Sunshine' opens, the Icarus II is on the verge of encountering the same mysterious difficulties. '28 Days Later' star Cillian Murphy rejoins Boyle and Garland as the main character of 'Sunshine,' physicist Robert Capa, who designed and operates the Manhattan-sized bomb strapped to the Icarus II. Sixteen years before playing another haunted physicist in 'Oppenheimer,' Murphy makes Capa determined but fragile, as his fellow crew members insist on his survival at all costs, since he's the only person who can complete the mission. The ensemble cast includes future Marvel Cinematic Universe stars Chris Evans and Benedict Wong, along with Rose Byrne as the ship's pilot and resident conscience, Cliff Curtis as the ship's doctor, 'Shogun' star Hiroyuki Sanada as the captain, and Michelle Yeoh as the biologist responsible for generating the crew's oxygen. Murphy, Byrne and Evans get the most substantial roles, but each actor knows how to make the most of limited screen time, and every character feels real and significant. As the mission spins out of control, no one's exit is cheap or meaningless. Boyle and Garland honor all of their characters, and the actors imbue them with dignity and emotional weight. In contrast to the muddy, primitive digital cinematography of '28 Days Later,' the imagery in 'Sunshine' is shimmering and gorgeous, as befits a movie that is bathed in harsh, unrelenting sunlight. Unlike so many deep-space thrillers that emphasize the darkness of outer space, 'Sunshine' leans into the light, especially as the Icarus gets closer and closer to the sun. The large curved array on the Icarus that captures sunlight for solar power makes it look like a giant eyeball, and Boyle treats the sun like a mystical, unknowable god, the way that primitive humans would have regarded it. As brilliant as these scientists and explorers may be, they are still traveling directly into a star, where the laws of physics bend and distort. Boyle reflects that distortion in the third-act twist, which brings a new threat onto the Icarus and takes the story in a more horrific direction. The onscreen image is often blurred and stretched as the remaining crew members try to fight that threat while scrambling to complete their mission. It's every bit as tense and terrifying as any zombie attack, further demonstrating that 'Sunshine' belongs among the filmmakers' best and most awe-inspiring work. 'Sunshine' is now streaming on Hulu.
