The subversive bacchanal for San Francisco’s eccentric underground is ageing out amid an influx of the super-rich

Burning Man, the infamous arts festival in the Nevada desert, turned 40 this year, and it’s showing some distinct signs of middle age.

It’s not just the tech billionaires who show up to party, the chartered flights straight to the desert or the HBO documentary about behind-the-scenes power struggles. The tens of thousands of people who assemble each year to create a tent city in the wilderness appear to be growing older, and it doesn’t seem that they’re being replaced by as many younger “burners”, as festival participants are called.

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© Photograph: San Francisco Chronicle/Hearst Newspapers/Getty Images

© Photograph: San Francisco Chronicle/Hearst Newspapers/Getty Images

© Photograph: San Francisco Chronicle/Hearst Newspapers/Getty Images

Anthropic researcher Jacob Coxon quit and posted at X last Tuesday, to over 25 million views, that “No other human activity poses this level of danger.”

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Alex Gibney’s marathon documentary delivers numerous eye-raising insights into the broligarch’s business deals, early idealism and apocalyptic appetite for fathering children

Veteran documentarian Alex Gibney’s film about the richest broligarch on the planet has been one of the most eagerly anticipated films at the Venice film festival this year. The Oscar-winning 72-year-old, who has in previous films taken on the US military, the Catholic church, Vladimir Putin and Scientology, has been investigating the tech tycoon’s ascent and speaking to people in his orbit since late 2022, before his Maga turn and Trump 2.0.

The result clocks in at just under four hours and presents a comprehensive answer to how on earth one man managed to amass so much money and political influence. It is shocking less for any individual new pieces of information Gibney has unearthed than for its totality. Here are six things the film tells us:

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© Photograph: Alex Brandon/AP

© Photograph: Alex Brandon/AP

© Photograph: Alex Brandon/AP

Venice film festival: Alex Gibney interviews former colleagues, wives, the trillionaire’s father and a CG avatar in this absorbing documentary

‘Elon is a nuke.” The speaker is Ashley St Clair, a former conservative Maga influencer and one of Elon Musk’s former girlfriends-slash-baby mommas.

She is a fascinating expert witness in Alex Gibney’s four-hour epic study of the world’s richest and dullest man: the overgrown brattish South-African-born trillionaire plutocrat, ersatz visionary and Trump courtier who owns Tesla cars, SpaceX rocket ships, Starlink satellites on which nation states’ military capabilities are increasingly reliant, X (formerly Twitter) which shapes the collective incel id of billions and GrokAI whose vast server farms daily guzzle oceans of precious water.

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© Photograph: Alex Brandon/AP

© Photograph: Alex Brandon/AP

© Photograph: Alex Brandon/AP

Amelia Dimoldenberg says publicists ignored her interview show for years but she can now be picky over A-list guests

Just a decade ago, Amelia Dimoldenberg found it impossible to drum up any mainstream celebrities to come on her mock date YouTube show, in which she chats awkwardly with guests over chicken and chips.

Even persuading a local actor connected with her London youth club to come on took years of prodding. Managers of A-listers with movies or albums to push instead battled to claim a spot on the hallowed cushions of the primetime TV chatshow sofa.

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© Photograph: Chicken Shop Date

© Photograph: Chicken Shop Date

© Photograph: Chicken Shop Date

Bayreuth festival theatre, Bayreuth
For the festival’s 150th anniversary, the creative team have turned to AI to generate visuals reflecting Wagner’s tetralogy’s past, present – and future. The hyperactive result is a dismal, mindless mess

Unveiled the same week in which tech company Anthropic admitted that its AI model Claude had gone rogue during testing, Bayreuth festival’s new AI-generated staging of Wagner’s four-part Ring of the Nibelungen is at least timely. But anyone who assumes that the cycle’s obsession with knowledge, power and possession might make it an ideal forum for reflection on AI as a major contemporary frontier will be disappointed, as will anyone hopeful about AI’s creative potential within opera.

Commissioned to mark the festival’s 150th anniversary, the production is “curated” – emphatically not “directed” – by a team led by German stage director Marcus Lobbes. He apparently spent weeks in dialogue with AI models about possible interpretations of the Ring. According to the programme book, “power structures, capitalism, mythology, gender roles, nationalism”, all came up. So far, so mainstream Wagner reception. But if these human-machine exchanges were revelatory, you wouldn’t know it from the resulting staging, which uses AI “as an extension of a cultural memory that is never complete”.

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© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

© Photograph: urheberrechtlich geschuetzt - Enrico Nawrath

Le « festival de l’enfer » n’a jamais aussi bien porté son nom : le seuil des 40 °C sera probablement frôlé et l’ambiance sera véritablement électrique à Clisson en Loire-Atlantique. Cette édition 2026 sera certainement la plus chaude jamais enregistrée.