Daily Archives: March 20, 2021

The Indianapolis Colts are adamant about Carson Wentz's ability to take the franchise to new heights. But is the 28-year-old quarterback still capable of fulfilling such a tall order?

The answer is yes, according to JR.

"Carson Wentz should view this trade, this opportunity, this fresh start in Indianapolis, he should view this just as utopia," JR said on CBS Sports Radio's JR SportBrief show on Thursday. "He should take the bull, grab it by the horns, win the division, and set his career back up. Because for what we saw last year, Carson Wentz wasn't a Pro Bowl player. Carson Wentz wasn't an ascending star. Carson Wentz played a role in the Philadelphia Eagles becoming a joke. You can also thank Howie Roseman for that as well -- shoutout to the man who runs the show in Philly. Oh yeah, that's right, they did win a Super Bowl a few years ago and then they fell into the toilet...

"Carson Wentz can escape that. And I believe, in Indianapolis, this is the best place for Carson Wentz to turn it around. And I'm going to go ahead and I'm going to say that the Colts will go to the playoffs with Carson Wentz, and for right now, I would favor them to win the division. Let's see how they round out and try to bring back some members of that defense... But this Colts team, Carson Wentz, is he going to bounce back? I think the answer is yes. I don't think there's a better spot for him to bounce back with than his old coach, Frank Reich, in an offense that doesn't need to solely rely on him."

Wentz, the second overall pick in the 2016 draft, started and played only 11 games for the Philadelphia Eagles last season. He finished the campaign with career-low marks in touchdowns (16), completions (251), completion percentage (57.4), and passing yards (2,620). To make matters worse, Wentz also threw a career-high 15 interceptions, and was sacked 50 times.

The bar should be set somewhat high for Wentz in Indianapolis, as the Colts (11-5) finished the 2020 regular season as an AFC wild card team. And if Wentz is wondering what the franchise is looking for in terms of production, 39-year-old quarterback Phillip Rivers threw for 4,169 yards and 24 touchdowns in 16 games last year.

You can follow the JR SportBrief show on Twitter @JRSportBrief and Tom Hanslin @TomHanslin.

Originally posted here:

JR: Indy is 'the best place' for Wentz to turn career around - CBS Sports Radio - CBS Sports Radio

Her most recent work, The Negro Series, is her reaction to black trauma without depicting it. So far, it comes in three parts: 'Brunching Negros', 'Negros in Nature' and 'Negros at Home Minding Their Business'.

"I wanted to create a world where black people are safe. Specifically, 'Negros at Home' was a reaction to Breonna Taylor being killed in her home and how, unfortunately, it was a reminder that black people aren't safe in their places of residence. I didn't want to react to the trauma by depicting it. Instead of showing trauma, I wanted to show the opposite. A 'Utopia of Black people' that lets them be themselves and relax," says Justine.

I had the pleasure of speaking with Justine on her black utopias, the power of visual language and more.

I was always the class artist. I was the weird kid in school who didn't match, who was always walking around with a sketchbook in her hand. I was not a cool kid. My family is artsy, so I always had support, going into my career.

After graduation from college, I gained experience at both a screen printing and embroidery company and as an art director at an ad agency. That was fun. A video or production company would come in and give a presentation of their work; the nice thing about this that there would always be wine and cheese and crackers! I don't know many jobs where you can get kinda tipsy at, so that was cool cue Madmen jokes. All very bad for my waistline.

It was a rigorous job but also super rewarding. It gave me the experience of working with clients, creating art for everyday use and making art very quickly. It also gave me a sense of quality control, which helped me scrutinise my work. Overall it made me a better illustrator and designer.

When that was over, I took the time to figure out where I wanted to take my art and what I wanted to do with it. Once Covid-19 hit, I decided to take all this free time and draw like a madwoman.

Justine Allenette Ross, "The Negro Series"

Justine Allenette Ross, "The Negro Series"

I would describe my work as observational, figurative, playful, cartoony, chaotic, and human, with a touch of umami. I think it's obvious that I grew up watching Nickelodeon and Cartoon Network.

I hope my work ages gracefully that people will always get lost in it. I want my illustrations to look like the viewer just stumbled upon a moment.

Yes, I want all work to be consistent, but at the same time, I'm not so beholden to a particular style that I can't switch it up for each illustration; I always try to give the piece what it needs. I ask myself, "What does this piece need to communicate my point?"

My main goal artistically is for my work to have a universal quality to it. I'm a relatively jaded and pessimistic person, so I think that's why my art is sooptimistic? I want to create the opposite world that lives in my head.

Justine Allenette Ross, "The Negro Series"

Growing up, I was surrounded by black art. It's all over! It's at your auntie's house and hair salons. I discovered Annie Lee, and she became a huge influence on me. Her work is figurative, and the way she tells visual stories is like no other.

Emory Douglas and Corita Kent are also huge for me, along with Chris Ware. Emory Douglas did work for the Black Panther Party, Corita Kent was a mid-century designer, and Chris Ware is a cartoonist and graphic novelist. In general, American comics from the '90s to the early '00s inspires me greatly.

But my favourite artist is definitely Keith Haring. His work has the universal quality to it without being vague or broad, incredibly approachable and inviting. He managed to make art that had a mass appeal without composing his vision or toning down who he was. He even made t-shirts and pins for people who couldn't afford his paintings or go to his galleries. His art is unifying. He truly made art for the people, and I admire him greatly for that.

Other than that, I'm constantly inspired by music: my two favourite artists are Beyonce and Sufjan Stevens, creators of worlds. It's umami your ears. I want to make umami for your eyes.

Justine Allenette Ross, "The Negro Series"

Justine Allenette Ross, "The Negro Series"

The Negro Series came from the comedian Dulc Sloan referring to herself as a "Brunch Negro". The term was so funny and sticky that I couldn't get it out of my head, so I decided to make some art out of it.

When I got back home from Northern Michigan, I decided to continue the series with a new theme, 'Negros in Nature'. I wanted to show black people enjoying nature and being unapologetic about it.

Then, since we're all stuck at home due to Covid-19, I made a series focused on being home. I had Breonna Taylor on my mind, and her situation weighed heavy on me, so I wanted to create a series where black people were safe in their homes. I named it 'Negros at Home Minding Their Business'.

With the 'The Negro Series', I wanted to combat collective trauma by envisioning a utopia where black people can be safe and themselves. We see so many depictions of black trauma, and I never felt compelled to add to that, so with this series, I hope people see my work and feel relieved, seeing black people being normal and happy. The series is ongoing, so stay tuned!

Justine Allenette Ross, "The Negro Series"

Justine Allenette Ross, "The Negro Series"

The pandemic is a double-edged sword for me; there was a lot of death. But being at home gave me time to focus on my craft and decide what I want to say in my art and what I want to put into the universe. I've been drawing like a madwoman, and as a consequence, my artwork has gotten better. Covid-19 gave me focus, as morbid as that sounds. I'm also a huge introvert, so staying at home and drawing was not a huge adjustment for me.

What's keeping me motivated during this time is such a positive reception of my work. People have been so positive about my output and my illustrations that it gives me the confidence to keep going. Illustration is such a lonely job that when I have the opportunity to work with clients or to collaborate with someone, that also helps. It keeps me normal.

Justine Allenette Ross, "The Negro Series"

Justine Allenette Ross, "The Negro Series"

Tactically, the best way for an artist to make a better world is to lend their creativity and vision to causes they believe in. Make signs for a protest, hit up your local non-profit to see if they need any creative services.

Holistically, however, the best way for an artist to create a better future is to do work that is true to themselves and their passions. If you're passionate about climate change, do work about that. If you're a feminist, do work about that. If you love house plants, draw house plants! Create honest work that's important to you, and by doing that, you'll show why what you're passionate about should be important to other people. If you're true to yourself, it's better for the planet.

Read more:

Justine Allenette Ross on black utopias, black trauma, and the power of visual language - Creative Boom

Hollywood, and the media that revolve around it, is having a moment.

In Hollywood, during the Red Scare, the fear that crippled the industry, turned everyone against each other. The paranoid frenzy that led many to suspect that movies were somehow carrying dangerous anarchist messages was not only about exposing communists in their midst, but also about implicating anyone who might be associated with anyone who might be a communist. Communism was the thing, coming out of World War II, that scared Americans so much they were willing to turn in their friends, people they knew, because they had to turn on someone. They felt threatened by something they could not see or prove it could be anywhere, in anyone.

The era of paranoia would eventually produce some great art. But to get to the art they had to be able to face the truth, the dark truth, the hard truth about what was actually happening versus how people were behaving inside the bubble of hysteria.

Humans are built for this kind of dynamic: build a utopia, protect that utopia, purge undesirables. Were living through one right now not just in Hollywood, not just in the awards race, but on the Left overall. While most industry members and most Americans are not on board with what has come to be known as cancel culture, they will not speak out against it and, if given the chance, they will join in; if you are the person doing the accusing, then its likely you wont be one of the accused. But really, anyone is vulnerable. Every day there is a new sacrifice, with no apparent end in sight.

I bring all of this up because were heading right into the center of the storm as we barrel towards the Oscars. Can the awards race even survive this level of intense scrutiny, where guilt and crimes are decided in the moment and punishment is enacted immediately, without any sort of rational perspective or due process. One after the other they fall an old tweet, something said once, something worn once, even if you just defend people who have been cancelled you too will be targeted, as I have personally found out too many times on Twitter. They rationalize it and justify it as holding people accountable for the bad things they do, as though there are people who are walking around who have never said or done or thought a bad thing.

The Golden Globes and the BAFTA and the Oscars have all been exposed, dismantled, transformed. But have they been forgiven? Are they still seen as part of the systemic racism that the Left believes is everywhere in this country, in everything and in every person? As someone, a white person, said to me on Twitter yesterday, Whiteness is evil. Well, okay, so how do you come back from that? The answer from Twitter is always do better. That is supposed to be mean choose better, think better, watch better, read better, speak better uphold the high ideals that will offer up redemption instead of persecution.

Varietys Clayton Davis has written a scathing indictment of the Golden Globes that essentially says even making the hires they plan to make isnt going to fix their problem of systemic racism. He doesnt use that term but it is very much his point.

The organization has reportedly turned down press conferences for Black-led projects like Bridgerton, Girls Trip and Queen & Slim, giving various excuses that left some filmmakers with no real chance at attention from the Golden Globes, which are a strong precursor to the Academy Awards and the Emmys. Black artists and Times Up have called for radical change within the organization, calling for accountability from NBC Universal which hosts its annual show. Over 100 publicists have sent a letter to the HFPA stating they were instructing their clients to not work with the HFPA until lasting change to eradicate the longstanding exclusionary ethos is addressed.

Its infuriating how easily the HFPA could fix the problems, but transparency is something the HFPA does not seem interested in. They seem to be only concerned with what director DuVernay recalled during her press conference for Netflixs When They See Us more came in the room when the pix were to be taken, at which time two peddled their scripts. In fact, the grip n grin ritual of having the members take pictures with stars at the end of press conferences is another antiquated ritual that should be retired.

Message for the HFPA: If you want better press, then be better press. Simple as that.

I dont disagree with Davis on his premise, that the hirings alone will not solve the problem they want solved because I dont think any film awards can meet the new standards. The reason being, you are dealing with power as the desired goal but the road getting there is about something ephemeral and subjective as our relationship to film and art. But what is the problem they want solved? What is the end goal? What is the point of any of film awards? The problem is with the members and the membership, it has been said, but what happens if they make all of those changes, add new members, do whatever is required of them to justify their annual showcase of contenders en route to Oscar and they still dont pick the right nominees? Ill never forget when I was part of the Womens Journalist Film Critics groups and they chose Argo over Zero Dark Thirty. It is not always the case that voters will comply with a political desire for change. Why, because art is, well, art. It doesnt always or necessarily follow that black members will always choose black films or black-themed films. Will that be the requirement for new members?

Missing in this conversation, and in Davis piece, is what the end result would look like. What would be an idea Golden Globes? Or BAFTA? Or Oscars?

Its a reality that for decades Hollywood sold stories that ignored oppressed and neglected groups or even mocked them. But that isnt true anymore. Our art now has been cleansed of any kind of potentially offensive content, probably to the point of making it less like art and more like a corrective guidebook for how were all supposed to be. Art is a way to expose truths in ways people cant or dont expect, but it cant really do its job if it is being monitored and disciplined for correctness at the same time.

Ralph Fiennes talks about the aspect of monitoring or policing art in a recent interview with the Telegraph:

I get worried if its decided that certain classical plays are irrelevant. I think often theres a superficial reading Restoration drama is colonialist, hierarchical, quasi racist. But theyre just plays. You can turn them on their head. The danger is of labelling stuff. These texts are there so pull the humanity out of them, pull out the stuff thats relevant. If youre going it doesnt tick these boxes, youre lowering the portcullis of judgement before youve even got into the room with it. I think thats troubling.

He praises artistic free-spirits from other disciplines citing Picasso and Henry Miller. We need to have those voices that risk being offensive. How sad if we sat on any expressive voice that could shake the scenery, that could get inside us and make us angry and turn us on. I would hate a world where the freedom of that kind of voice is stifled.

There is a very high likelihood that Fiennes will be made to apologize for having said what he actually thought instead of speaking in a way that wont offend, which is how 99% of people in the public eye speak. Or maybe no one will care. Either way, he seems to be saying what a lot of artists probably are thinking but cant say. If we cant have a conversation how can we ever reach agreement or anything?

Another piece from Persuasion talks about how the book world is changing too, called Beware of Books! A new moralism is gripping the literary world, treating grownups like children.

It starts this way:

Literature used to be a place for transgressive ideas, a place to question taboos, and seek naked insights into humanity. It no longer is.

Critics, writers and publishers are today enforcing a new vision that treats books less as a vehicle for artistic expression than as a product to be inspected for safety and wholesomeness. In the past few years, this has only gained momentum, with much of what is written about literature, old and new, becoming a series of moral pronouncements.

And it ends this way:

None of this is to say that the inequities of our time cant be addressed by other meansthrough economics and elections, through debate and compromise. But we must ask ourselves: Is this frenzy for censure, moralizing, and a seemingly endless expansion of the definition of harm, how well correct current disparities and historical wrongs? Is this how we intend to talk about art from now on? Which is to say, wed just talk politics, and hardly mention art at all.

The Oscars, the Globes, all of film awards are, for the foreseeable future, in the grips of a new moralism. There is no doubt about that. It springs from the need to be good. Goodness is the currency. But no human can be good all of the time. Sooner or later, their badness has to come out one way or another. Right now, that way is in chasing down anyone who commits a thoughtcrime, or says something offensive, or disagrees with the status quo. This is everywhere on the American Left right now, from politics to art and yes, to the Oscars.

Art has survived through phases of persecution, paranoia and great social upheaval. It survives because it has to. Humans will always need it as a way to relieve pressure, to expose hidden truths and to point out hypocrisy. I worry that so many young ones are growing up now believing they can and should police art the way they police their favorite influencers: watching everything they do to make sure it is 100% correct.

The broad prediction is that it is probably going to be a painful next two months. It will be painful in a lot of ways for a lot of different reasons, not the least of which is that so many of us are still trapped inside with only social media algorithms to bounce ideas off of.

And now, onto the reason you clicked on this link. Oscar predictions.

Predicting the Oscars is probably not going to be hard this year. The choices are limited as it is. There is a frontrunner and likely that frontrunner will carry through to the end of the season, April 25. I expect, when the Oscars are finally done, there will be a heavy sigh of relief that they (the awards community writ large) will be off the hot seat. Hopefully by this time next year we will have more than Twitter to shape our world view, our conversation, and our community.

Best Picture1. Nomadland (Globe/Critics Choice winner Picture and Director, Scripter winner, PGA/DGA nominee)2. Minari3. Promising Young Woman4. The Trial of the Chicago 75. Judas and the Black Messiah6. Mank7. Sound of Metal8. The Father

Best Director1. Chloe Zhao, Nomadland (DGA)2. David Fincher, Mank (DGA)3. Lee Isaac Chung, Minari (DGA)4. Emerald Fennell, Promising Young Woman (DGA)5. Thomas Vinterberg, Another Round

Best Actor1. Chadwick Boseman2. Riz Ahmed, Sound of Metal3. Anthony Hopkins, The Father4. Steven Yeun, Minari5. Gary Oldman, Mank

Best Actress1. Andra Day, The United States v. Billie Holiday1. Carey Mulligan, Promising Young Woman3. Viola Davis, Ma Raineys Black Bottom4. Frances McDormand, Nomadland5. Vanessa Kirby, Pieces of a Woman

Mulligan is coming in with more nominations, Andra Day only has the one for Best Actress. But Days work is powerful enough that it could pull an upset, potentially. She won the Globe already but is not nominated for the SAG or the BAFTA. Mulligan is nominated for the SAG but not the BAFTA. So its a mess. And if it aint, itll do til the mess gets here.

Best Supporting Actor1. Daniel Kaluuya, Judas and the Black Messiah2. Lakeith Stanfield, Judas and the Black Messiah3. Leslie Odom Jr., One Night in Miami4. Sacha Baron Cohen, The Trial of the Chicago 75. Paul Raci, Sound of Metal

Best Supporting Actress1. Youn Yuh-jung, Minari2. Maria Bakalova, Borat Subsequent Moviefilm3. Amanda Seyfried, Mank4. Olivia Colman, The Father5. Glenn Close, Hillbilly Elegy

Best Adapted Screenplay1. Nomadland2. One Night in Miami3. The White Tiger4. Borat Subsequent Moviefilm5. The Father

Best Original Screenplay1. Promising Young Woman2. The Trial of the Chicago 73. Minari4. Judas and the Black Messiah5. Sound of Metal

Best Costume Design1. Ma Raineys Black Bottom, Ann Roth2. Mank, Trish Summerville3. Emma, Alexandra Byrne4. Mulan, Bina Daigeler5. Pinocchio

Best Original Score1. Soul, Trent Reznor, Atticus Ross, Jon Batiste2. Mank, Trent Reznor, Atticus Ross3. Minari, Emile Mosseri4. Da 5 Bloods, Terence Blanchard5. News of the World, James Newton Howard

Best Sound1. Sound of Metal2. Soul3. Greyhound4. Mank5. News of the World

Best Film Editing1. Sound of Metal2. Nomadland3. The Trial of the Chicago 74. Promising Young Woman5. The Father

Best Cinematography1. Mank2. Nomadland3. Judas and the Black Messiah4. News of the World5. The Trial of the Chicago 7

Best Makeup and Hairstyling1. Ma Raineys Black Bottom2. Mank3. Hillbilly Elegy4. Emma5. Pinocchio

Best Production Design1. Mank2. Tenet3. Ma Raineys Black Bottom4. News of the World5. The Father

Best Visual Effects*1. Tenet2. Love and Monsters3. The Midnight Sky4. Mulan, Sean Faden,5. The One and Only Ivan

*No clue. No Best Picture nominees. But Tenet is the only one with both Prod and VFX.

Best Documentary Feature1. Crip Camp2. Collective3. My Octopus Teacher4. Time5. The Mole Agent

Best Animated Feature Film1. Soul2. Wolfwalkers3. Onward4. Over the Moon5. Shaun the Sheep Movie: Farmageddon

Best International Feature Film1. Another Round, Denmark2. Better Days, Hong Kong3. Collective, Romania4. The Man Who Sold His Skin, Tunisia5. Quo Vadis, Aida?(Bosnia and Herzegovina

Best Documentary Short Subject1. A Love Song for Latasha2. Colette3. A Concerto Is a Conversation4. Do Not Split5. Hunger Ward

Best Animated Short Film1. If Anything Happens I Love You2. Burrow3. Opera4. Genius Loci5. Yes-People

Best Live Action Short Film1. Feeling Through2. The Letter Room3. The Present4. Two Distant Strangers5. White Eye

Best Original Song1. Speak Now, One Night in Miami2. Fight for You, Judas and the Black Messiah3. Hear My Voice, The Trial of the Chicago 74. Hsavk, Eurovision Song Contest5. Io Si, Seen, The Life Ahead

See the rest here:

Predictions Friday: The Show Must Go On - Awards Daily

Back in the nineties, my favorite TV show was called Tomorrows World, a UK-based show which ran for a whopping 38 years on the BBC. It discussed the latest developments in science and technology (just look at this snippet of what the home in 2020 would look like).

Back then, the future was extra exciting. Technology would make our lives infinitely easier wed be commuting to work in electric, automated cars, and life at home would just be one smooth series of button pushing.

The height of this slightly skewed future gazing was my favorite Saturday morning space-age animated sitcom, The Jetsons, which first aired in the 1960s. The Jetsons are a middle-class family of four Jane, George, and their two kids, Elroy and Judy who live in a space town called Orbit City in the year 2062. Buildings in Orbit City are built on adjustable columns, an architectural style that isnt too far a leap from Seattles Space Needle. The familys apartment is huge, colorful and minimalist, and they travel by flying car, space board or a pneumatic tube.

In one sense, its a space utopia. But the Jetsons are human after all, and they often get themselves into the usual family arguments or awkward situations that many Earthbound families do today.

Having not seen the Jetsons for many years, I wondered if any of the technology in the show had actually became a reality. The Simpsons famously has an uncanny ability to predict the future including Trump as President and a virus sweeping the globe. So how well did the Jetsons creators do in predicting how wed live in the future?

Probably the most familiar concept of them all. Video calling is the norm in the Jetsons, although they call it a televiewer and it comes in the form of a large fixed screen, rather than a mobile device. Wherever theyre located, connectivity is always crystal clear low latency and high throughput has clearly been a major success in Orbit City. Could it be an evolved version of 5G? High speed connections, billions of connected devices, and transforming communication from your handheld device to whole industries the evidence certainly points in that direction, especially if we consider George Jetsons job

Caption: Is connectivity in a Jetsons world a distant cousin of 5G?

When it comes to work, the familys father figure, George Jetson, is a Digital Index Operator at Spacely Space Sprockets, although its hard to distinguish what he actually does during the day apart from button pushing. Hes also often late to his desk, even though he doesnt have to work until 11am, and he finishes just three hours later.

Interestingly, during a confrontation with his boss about how much hes been thinking about a certain issue, his boss responds, You THINK?! Your machine is meant to do the thinking, Jetson! It seems that in Orbit City, Industry 4.0 has reached its zenith. Work life isnt much more than checking a few monitors and doing as little hands-on work as possible, as exemplified by Georges outburst after a hard day on the job: I pushed the button on and off five times!

Orbit City reflects many of the future predictions for industries like manufacturing. The expansion of 5G and cellular technology will reshape many sectors of society and transform industries, increasing efficiency and productivity in the process. With that, comes a widely recognized fear that automation will make people jobless. But many also see the benefit of expanding automated jobs to free up workers for other, more meaningful work. In Ericssons Creative Machines report for example, half of workers claimed that having an AI to help them improve their workcapacity or do simpler work tasks would bea good idea.

We could also see the expansion of remote robotics controlling one or a series of machines from a distance. While we may not be carrying out tasks with our feet up quite like George Jetson, but he certainly knows a thing a or two about using technology to his advantage.

Hear about the future with remote robotics from Azimeh Sefidcon, Research Director for Cloud Systems and Cloud Platforms at Ericsson

Home cooking at the Jetsons is my kind of cooking. Kitchen aesthetics may not have changed that much in Orbit City, but when you can order a meal from a wall-mounted menu (otherwise known as a food-o-mat), Im all in. But even the machines in 2062 have their glitches overdoing the eggs and burning the toast are common occurrences.

I doubt the Jetsons do their own food shopping I cant see George or Jane running out of milk on a Saturday morning. Again, it seems that automated decision making and zero-touch consumption is a concept that isnt too far away. Imagine refrigerators that reorder the groceries, or virtual assistants that take care of all the boring aspects of home life paying bills, setting up bank transfers, staying on top of insurance policies. Its all highly likely.

Chores are obviously a thing of the past in the world of the Jetsons. Robotic vacuum cleaners are widely available, as they are today. Theres also Rosie the sprightly rent-a-maid, who despite being a slightly outdated model, ends up as a well-loved member of the family. Importantly, shes not just a robotic cleaner shes a confidant, and has her own firm opinions about things. In this sense, Rosie may just reflect whats to come for virtual home assistants. According to our 10 hot consumer trends report, half of survey respondents with virtual assistants believe that their devices will soon understand our emotions, and will likely act on situations rather than commands. Further, 42 of respondents claim that they think their virtual assistants will soon know them better than their friends do reassuring, or unnerving?

Robots also help the family get dressed in the morning via long, extendable arms that emerge from the wardrobe. This might be a step too far for me, but we should perhaps consider the kinds of clothes we might wear in a Jetsons world. According to a recent ConsumerLab study Connected Intelligent Machines, 76 percent of consumers say that by 2030, therell be intelligent posture-supporting suits that help people maintain the correct position during daily activities. Further, 71 percent predict that by 2030, well have AI assistants that translate everything we say to code, giving us humans the power to program any device to do what we ask. The world will truly be your programmable oyster.

It may not come as a surprise that the main form of transport in 2062 is a nimble little flying saucer or flying car. Despite the Jetsons having zero gravity on their side, flying cars may not be as far off as you might think. In September 2020, a Japanese company test piloted a manned flying car using drone technology. The flight only last four minutes, but the company is planning on launching the vehicle in 2023 with the possibility of air taxis coming on to the market in the next few years.

And who wouldnt love a skateboard turned hovering spaceboard for a future Christmas? The Jetson children use this as their main mode of transport a kids dream, surely? Unfortunately, it seems that, alongside Back to the Future fans, its here were the furthest away from a Jetsons lifestyle. Nevertheless, what we are seeing today is digital technology increasingly influencing and innovating within the automotive industry. Think connected vehicles, in-car AR services, and automated public transport perhaps not quite as space age, but out there, nonetheless.

Many of the concepts in the show are certainly plausible. Heightened communication, automation, and using technology for an efficient lifestyle are all points to consider. We should remember however, that we can never fully predict the challenges that might affect how technology develops in the future, as Nigel Willson, speaker, influencer, and advisor on AI, innovation, and technology, points out:

Programs like The Jetsons piqued our imagination, showing us exciting ways our future could unfold, from gadgets in the home to the way we might be working. Now with the rapid acceleration of new technologies, the future seems much closer, and new programs like Black Mirror can make it seem less exciting and more foreboding.

The reality is our world is a rapidly and ever-changing place, in which predictions of our future become much harder. For example, our lives have been immeasurably altered by a pandemic, the impact of which no one could have predicted as we started 2020.

In my future, I would love to see robot helpers, flying cars and a much reduced working day! But my greater hope is that we see a fairer and more equitable future for everyone as our world becomes an ever-shrinking sphere, and our lives become interconnected and interdependent, with technology and connectivity used as the enabler to make that happen. We all need to take the opportunity to dream big!

For Michael Bjrn, Head of Research Agenda and Quality at Consumer & IndustryLab, theres also one major factor that the Jetsons missed:

One thing that is completely missing from the world of the Jetsons is how digital and physical experiences will complement each other and form a merged reality perspective. We may still be a few years away from what the Jetsons could do, but once we get there, we will speed quickly past them into a future where an internet of senses makes any experience possible. The Jetsons need jets to fly, for example, but we might be flying just by waving our arms!

Caption: Get a taste for the Internet of Senses.

The Internet of Senses is the concept that in the future well be able to experience the internet with all our senses. We could taste food made locally in Japan, we could travel to Peru through our connected thoughts, and we could experience the touch of a new garment on a virtual trip to a department store.

Im sure even the Jetsons would have been taken aback at those kinds of digital possibilities. However technology develops, it will clearly help us experience the world in a completely new way by 2062. Even so, Ill still be holding out hope for that spaceboard

Will we see brain-controlled technology in just ten years?

Learn more about 5G and a world without traffic jams.

Explore our10 Hot Consumer Trends 2030report to find out how the internet of senses is shaping consumer expectations.

More here:

How close are we to becoming the Jetsons? - Ericsson