Category: 5. Entertainment

Some video game players recently criticised the cover art on a new video game for being generated with artificial intelligence (AI). Yet the cover art for Little Droid, which also featured in the game’s launch trailer on YouTube, was not concocted by AI. It was, the developers claim, carefully designed by a human artist.

Surprised by the attacks on “AI slop”, the studio Stamina Zero posted a video showing earlier versions of the artist’s handiwork. But while some accepted this evidence, others remained sceptical.

In addition, several players felt that even if the Little Droid cover art was human made, it nonetheless resembled AI-generated work.

However, some art is deliberately designed to have the futuristic glossy appearance associated with image generators like Midjourney, DALL-E, and Stable Diffusion.

It’s becoming increasingly easy for images, videos or audio made with AI to be deceptively passed off as authentic or human made. The twist in cases like Little Droid is that what is human or “real” may be incorrectly perceived as machine generated – resulting in misplaced backlash.

Such cases highlight the increasing problem of the balance of trust and distrust in the generative AI era. In this new world, both cynicism and gullibility about what we encounter online are potential problems – and can lead to harm.

Wrongful accusations

This issue extends well beyond gaming. There are growing criticisms of AI being used to generate and publish music on platforms like Spotify.

Yet as a result, some indie music artists have been wrongfully accused of generating AI music, resulting in damage to their burgeoning careers as musicians.

In 2023, an Australian photographer was wrongly disqualified from a photo contest due to the erroneous judgement her entry was produced by artificial intelligence.

Writers, including students submitting essays, can also be falsely accused of sneakily using AI. Currently available AI detection tools are far from foolproof – and some argue they may never be entirely reliable.

Recent discussions have drawn attention to common characteristics of AI writing, including the em dash – which, as authors, we often employ ourselves.

Given that text from systems like ChatGPT has characteristic features, writers face a difficult decision: should they continue writing in their own style and risk being accused of using AI, or should they try to write differently?

Read more:
Google’s SynthID is the latest tool for catching AI-made content. What is AI ‘watermarking’ and does it work?

The delicate balance of trust and distrust

Graphic designers, voice actors and many others are rightly worried about AI replacing them. They are also understandably concerned about tech companies using their labour to train AI models without consent, credit or compensation.

There are further ethical concerns that AI-generated images threaten Indigenous inclusion by erasing cultural nuances and challenging Indigenous cultural and intellectual property rights.

At the same time, the cases above illustrate the risks of rejecting authentic human effort and creativity due to a false belief it is AI. This too can be unfair. People wrongly accused of using AI can suffer emotional, financial and reputational harm.

On the one hand, being fooled that AI content is authentic is a problem. Consider deepfakes, bogus videos and false images of politicians or celebrities. AI content purporting to be real can be linked to scams and dangerous misinformation.

On the other hand, mistakenly distrusting authentic content is also a problem. For example, rejecting the authenticity of a video of war crimes or hate speech by politicians – based on the mistaken or deliberate belief that the content was AI generated – can lead to great harm and injustice.

Unfortunately, the growth of dubious content allows unscrupulous individuals to claim that video, audio or images exposing real wrongdoing are fake.

As distrust increases, democracy and social cohesion may begin to fray. Given the potential consequences, we must be wary of excessive scepticism about the origin or provenance of online content.

A path forward

AI is a cultural and social technology. It mediates and shapes our relationships with one another, and has potentially transformational effects on how we learn and share information.

The fact that AI is challenging our trust relationships with companies, content and each other is not surprising. And people are not always to blame when they are fooled by AI-manufactured material. Such outputs are increasingly realistic.

Furthermore, the responsibility to avoid deception should not fall entirely on internet users and the public. Digital platforms, AI developers, tech companies and producers of AI material should be held accountable through regulation and transparency requirements around AI use.

Even so, internet users will still need to adapt. The need to exercise a balanced and fair sense of scepticism toward online material is becoming more urgent.

This means adopting the right level of trust and distrust in digital environments.

The philosopher Aristotle spoke of practical wisdom. Through experience, education and practice, a practically wise person develops skills to judge well in life. Because they tend to avoid poor judgement, including excessive scepticism and naivete, the practically wise person is better able to flourish and do well by others.

We need to hold tech companies and platforms to account for harm and deception caused by AI. We also need to educate ourselves, our communities, and the next generation to judge well and develop some practical wisdom in a world awash with AI content.

WASHINGTON, July 2 — Around two dozen YouTube channels are pumping out AI-generated videos with false claims about music mogul Sean “Diddy” Combs’s sex trafficking trial, racking up millions of views and profiting from misinformation, researchers say.

The flood of false content threatens to distort public perception of the musician’s seven-week New York trial, where jurors were deliberating yesterday to ascertain whether he acted as the ringleader of a criminal organisation that facilitated coercive sex marathons with escorts.

The sensational AI-driven channels have amassed nearly 70 million views from roughly 900 videos about Combs over the past year, according to data compiled by Indicator, a US publication investigating digital deception.

The videos typically feature AI-generated thumbnails showing celebrities on the witness stand alongside images of Combs, often paired with fabricated quotes.

One channel called Pak Gov Update uploaded a nearly 30-minute-long video titled Jay-Z Breaks His Silence on Diddy Controversy, which features a thumbnail of the American rapper.

The thumbnail shows Jay-Z breaking down in tears and holding up a CD above a fabricated quote: “I WILL BE DEAD SOON.”

Pak Gov Update has uploaded similar videos with fake testimonies attributed to other celebrities such as the American comedian Kevin Hart and singer-songwriter Usher.

It began posting content about the closely watched trial in recent weeks. The channel previously posted Urdu content about Pakistan.

“Pak Gov Update is one of 26 YouTube channels identified by Indicator that have used a mix of false claims and AI slop to cash in on the Diddy trial,” said Craig Silverman, co-founder of Indicator.

YouTube has “terminated several channels” among those highlighted by Indicator for “violating our terms of service and policies covering spam,” the site’s spokesman Jack Malon told AFP in a statement.

AI slop refers to often low-quality visual content — generated using cheap and widely available artificial intelligence tools — that increasingly appears to be flooding social media sites, blurring the lines between reality and fiction.

Many content creators on YouTube and TikTok offer paid courses on how to monetise viral AI slop on tech platforms, many of which have reduced their reliance on human fact-checkers and scaled back content moderation.

Combs, 55, faces life in prison if convicted on five federal charges that include racketeering, sex trafficking and transportation for purposes of prostitution.

Conspiracy theories and falsehoods surrounding his trial have flooded social media sites in recent weeks, threatening to shroud the facts and undermine real witnesses, experts say.

A song titled I Lost Myself at a Diddy Party and falsely attributed to Justin Bieber recently garnered millions of views across social media platforms, sparking a wave of conspiracy theories about the relationship between the two celebrities.

An audio clip of the song, which features lyrics about Bieber losing his innocence after attending a Combs party, was likely created using an AI tool, according to the disinformation watchdog NewsGuard.

Also gaining traction online was a manipulated image of Combs and sex offender Jeffrey Epstein sitting next to US President Donald Trump on a couch with young women. — AFP

Join us at the e-flux Screening Room rooftop for History Remade, the final program of the four-part series Decision Moment, presenting artists’ films and cinema features that reflect on historical moments of action and inaction and examine cinematic ways of approaching them.

At the core of each screening lies a past event shaped—knowingly or not—by a decision pursued, postponed, or left unmade, whose consequences continue to linger. Rather than reconstructing the past events as heroic acts, the films presented in this program embrace the limits of linear narration as ethical commitment to the complexities of historical decisions, and encourage viewers to reflect on their own actions and decisions in the present.

Screenings take place on Tuesdays from July 8–29, 2025, and begin after sunset.

IV: History Remade
Tuesday, July 29, 2025, 8:30pm

Can cinematic reenactments create new spaces for critique and self-reflection? Rea Tajiri’s Off Limits (1988) and Mohsen Makhmalbaf’s A Moment of Innocence (1996) reflect on the ethical and aesthetic implications of remaking past events—not only in order to achieve a deeper understanding of history but also to envision new perspectives for the future.

Rea Tajiri, Off Limits (1988, United States, 8 minutes)
Juxtaposing the text of another film titled Off Limits (1987), which portrays Saigon in 1968, with the soundtrack and visuals of the ending of Easy Rider (1968), Tajiri plays with the evocation and emptiness of the image across the two representations. She blacks out parts of Easy Rider while the words of a Vietnamese assassin crawl up the screen, building a structure of selective memory. The film points to the similarities and contradictions between 1960s hippie iconography and memories of the Vietnam War.

Mohsen Makhmalbaf, A Moment of Innocence (1996, Iran, 78 minutes)
In a deeply self-reflexive film, Mohsen Makhmalbaf casts himself and his former adversary—a policeman he stabbed in his youth—as directors of parallel reenactments of the event. The film folds autobiography into fiction, revolutionary fervor into post-revolution disillusionment, and reopens the wound it cannot heal. Cinema for the Iranian director becomes the site of unfinished business, where memory is reconstructed not to settle the past, but to examine its enduring claims on the present.

For more information, contact program@e-flux.com.

The jury in the trial of Sean “Diddy” Combs will keep deliberating after reaching a partial verdict, but deadlocking on the most serious charge faced by the hip-hop mogul.

At the federal court in New York, the 12 jurors announced they had agreed on four of the five counts, but were unable to decide on the racketeering charge, which carries a possible life prison term.

The atmosphere was tense as the rapper sat with head bowed, hands folded in his lap. His lawyers occasionally put their arms around him. Deliberations will resume on Wednesday morning.

Mr Combs, 55, has pleaded not guilty to all five charges, including sex trafficking, racketeering and transportation to engage in prostitution.

At around 16:30 EDT on Tuesday (20:30 GMT), the jury announced they had reached a verdict on four of the five counts, after two days of deliberations.

Judge Arun Subramanian heard arguments from both the prosecution and the defence on how to proceed, before urging the jurors to keep trying.

The prosecution urged the judge to use an Allen charge, which is a set of instructions given to a hung jury to press its members to reach a unanimous decision.

Allen charges are controversial, as some believe they can put undue pressure on juries, forcing them to change their stances or cave to peer pressure – especially when their opinion is in the minority.

The foreperson eventually sent a note to the judge saying the jury had finished for the day.

They will return on Wednesday, and could potentially continue on 3 July – when the court is normally closed ahead of the 4 July public holiday.

Over the past two months, the jury has heard from 34 witnesses, including ex-girlfriends, former employees of Mr Combs, male escorts and federal agents.

The defendant, who has also gone by the names Puffy, Puff Daddy, P Diddy, Love, and Brother Love, is a well-known figure in the music industry.

In 2023, he released his fifth record The Love Album: Off The Grid and earned his first solo nomination at the Grammy awards. He also was named a Global Icon at the MTV Awards.

Anyone awaiting the second series of Rivals can sate their desires with this new play by Laura Wade who follows her episodes of Jilly Cooper’s 80s Rutshire bonkbuster with an adaptation of W Somerset Maugham’s almost century-old comedy of manners. The RSC’s production serves its own tennis-court lust, flagrant philandering, poisonous gossip and fabulous fashion.

In Maugham’s play, 36-year-old Constance responds to her surgeon-husband John’s affair with her best friend, Marie-Louise, by gaining economic independence through her new career as an interior decorator. Wade retains the 1920s Harley Street setting, trims the list of characters and gives space to Constance’s maternal concerns. She also seamlessly integrates some extremely funny one-liners alongside Maugham’s while gaining extra gags from riffing on his dated expressions such as “you’re a brick”. The play remains the same drawing-room comedy but plumped up, stylishly rearranged and with a fresh coat of paint (we’ll get to Anna Fleischle and Cat Fuller’s sumptuous designs later).

One of Wade’s principal changes is to explode the play’s straightforward chronology of three acts separated by the passing of a fortnight and a year respectively. She brings forward the moment in which Marie-Louise’s husband Mortimer bursts in to expose her affair and, in a lengthy flashback, adds a new scene to show Constance catching them in the act when she returns from dropping off their daughter at a Yorkshire boarding school brilliantly referred to as “Wuthering Gymslips”. Witnessing that discovery, and her mutual confidences with the butler Bentley (given a deepened character), heightens empathy for Constance who was rather more crisply calculated as written by Maugham.

In the lead role, Game of Thrones’ Rose Leslie – back on stage after a nine-year absence – arrives like a summer breeze in cool blue sailor chic. Leslie captures what Maugham called Constance’s “alert mind” and succeeds in the tricky balance of composed resolve with rawer emotion.

Despite the innuendo, some choice double-takes and the frantic cover-ups, Tamara Harvey’s poised and perfectly cast production finds more humour in a raised eyebrow or pursed lip than anything farcical. The more larkily handled scene changes, with swerving fireplace and slo-mo cast moves, have not yet quite gelled with the rest of the evening. Jamie Cullum’s original jazz compositions, alternately bristling and velvety, complement both mood and milieu while bringing their own comic notes accentuated by Ryan Day’s perky lighting design.

Fleischle’s set, with its elegant curves, screens and geometric patterns, is adorned with a chaise longue and painted in shades that evoke Fortnum & Mason’s lavish confectionery. Fleischle and Fuller’s costumes heighten the imperiousness of Constance’s mother (Kate Burton) as much as the shrewdness of her sister, Martha (Amy Morgan, in a role gaining elements of the excised character Barbara).

Wade astutely reckons with the double standards and hypocrisies at play and frankly considers the financial and emotional investments of marriage and the ways in which marital harmony is sustained after the first flush of romance. While the play’s take on generational shifts in feminism recalls Wade’s Home, I’m Darling – and these 1920s debates feel apt today – there is also a meta playfulness, never overdone, akin to her comedy The Watsons.

Some choice observations about theatre match a clever self-awareness in the staging. In one scene, Constance recognises the audience as another set of neighbours waiting to judge her reaction as “the wronged woman”. When Martha tells her sister that her next move could become a blueprint for others it is almost as if she is speaking to Ibsen’s Nora.

Emma McDonald is ridiculously good as the calculating Marie-Louise, grovelling towards Constance on her knees for forgiveness, even if as in Maugham’s play you never believe their friendship in the first place. John (Luke Norris), Mortimer (Daniel Millar) and Constance’s puppyishly devoted Bernard (Raj Bajaj) remain more purely comical as in the original but Mark Meadows’ devotion as Bentley cuts deeper.

It’s a roundly well-acted and sophisticated evening that offers plenty of light delight while seriously considering a marriage rerouted not by a seven-year itch but a 15-year switch.

Warner Music Group will lay off an unspecified number of employees as part of a months-long restructuring plan to cut costs, Chief Executive Robert Kyncl said in a memo to staff Tuesday.

Kyncl said in the memo that the plan to “future-proof” the company includes reducing annual costs by roughly $300 million, with $170 million of that coming from “headcount rightsizing for agility and impact.” The additional $130 million in costs will come from administrative and real estate expenses, he said.

The cuts are the “remaining steps” of a period of significant change at the company, Kyncl said, with previous rounds of layoffs and leadership switch-ups happening in the last two years as he worked to “transform” the company.

“I know that this news is tough and unsettling, and you will have many questions. The Executive Leadership Team has spent a lot of time thinking about our future state and how to put us on the best path forward,” Kyncl said in the internal memo that was reviewed by The Times. “These decisions are not being made lightly, it will be difficult to say goodbye to talented people, and we’re committed to acting with empathy and integrity.”

It’s unclear how many employees will be laid off or what departments will see cuts, but Kyncl emphasized the company will be focused on increasing investments in its artists and repertoire department and mergers and acquisitions.

Hours before the news of layoffs, the company announced a $1.2-billion joint venture with Bain Capital to invest in music catalogs. The collaboration will add to the company’s catalog-purchasing power across both recorded music and music publishing, Kyncl said.

“In an ever-changing industry, we must continue to supercharge our capabilities in long-term artist, songwriter, and catalog development,” he wrote. “That’s why this company was created in the first place, it’s what we’ve always been best at, and it’s how we’ll differentiate ourselves in the future.”

In 2024, Warner Music laid off 600 employees, or approximately 10% of its workforce, and in 2023, 270 jobs were cut.

Warner Music Group shares closed at $27.83, up 2.17%, on Tuesday.

The latest: James Gunn’s Superman flies into theaters July 11.

Over the years, James Gunn has established himself as one of Hollywood’s top blockbuster directors. From early screenwriting credits like Scooby-Doo (2002) to his breakout with the Dawn of the Dead (2004) remake, and eventually helming Marvel’s Guardians of the Galaxy (2014) franchise, Gunn has carved out an entertaining and action-packed film career. Now, he’s stepping into the DC Universe with his latest project, Superman, which soars into theaters July 11. Here’s a look at some of his most iconic projects, followed by a Tomatometer ranking of his films. (Michael Cahn)

James Gunn’s path to becoming a blockbuster filmmaker started in an unconventional way. As a child, Gunn found comfort in comic books, a passion that would eventually shape his career. He began making Super 8 horror films, played in a rock band, and even worked as a hospital orderly while creating underground comic strips. After earning an MFA in creative writing from Columbia University, Gunn got his start in low-budget filmmaking with Troma Entertainment, co-writing and co-directing the film Tromeo and Juliet (1996). He broke into Hollywood with the surprise success of Scooby-Doo (2002) and its sequel, followed by the hit Dawn of the Dead remake, making him the first screenwriter to top the box office two weeks in a row.

Slither (2006): James Gunn’s directorial debut Slither is a gloriously grotesque throwback to creature features and alien invasion flicks, soaked in gore and dark humor. When a parasitic extraterrestrial crashes into the sleepy town of Wheelsy, chaos ensues, and it’s up to the local sheriff (Nathan Fillion) to stop the spreading infestation. Powered by sharp writing and a strong cast including Elizabeth Banks and Michael Rooker, Slither is a loving, slimy salute to schlock horror. The film was a cult favorite that put Gunn on the horror genre map.

Variety’s Joe Leydon on Slither: “Gunn—a Troma Entertainment alumnus whose writing credits range from Scooby Doo to 2004’s Dawn of the Dead remake—deftly balances broad humor, rude shocks and gross-out special effects for a fang-in-cheek extravaganza that often feels like a slightly more upscale version of cheapie-creepy Troma product.”

Guardians of the Galaxy (2014): After Slither, Gunn made the dark comedy Super (2010) and contributed to the sketch film Movie 43 (2013), before making the unexpected jump to big-budget superhero filmmaking with Guardians of the Galaxy. The film was a bold and wildly entertaining entry in the Marvel Cinematic Universe, where Gunn was able to turn C-list comic characters into pop culture icons, such as the wisecracking Rocket Raccoon. With Chris Pratt leading the charge as roguish outlaw Peter Quill, the film blends stunning visuals, humor, and a killer retro soundtrack to deliver one of the MCU’s most beloved adventures. Gunn followed the success of Guardians of the Galaxy with two more installments, Guardians of the Galaxy Vol. 2 (2017) and Guardians of the Galaxy Vol. 3 (2023).

Jeffrey Rexl on Guardians of the Galaxy: “The way the plot elegantly alters the setting and the story step by step is remarkable, and the tone quickly feels similar to Back to the Future or Ghostbusters. Gunn manages to keep control of the plot, and manages to introduce the main characters in a way that makes them likeable and interesting. This movie makes you care about a talking tree and a raccoon in need of anger management.”

The Sucide Squad (2018): After the release of the second Guardians of the Galaxy installment, Gunn brought his twisted wit and savvy storytelling to the DC Universe with The Suicide Squad. Fired (temporarily) from Marvel in 2018, Gunn was quickly scooped up by Warner Bros. The resulting collaboration is a blood-soaked, comedic, and unexpectedly heartfelt Suicide Squad standalone sequel. Margot Robbie returns as Harley Quinn, joined by Idris Elba’s Bloodsport and John Cena’s scene-stealing Peacemaker. The Suicide Squad is pure Gunn: irreverent and wildly entertaining.

Vulture’s Bilge Ebiri on The Suicide Squad: “The Suicide Squad works best when Gunn the director can go to town with the dirty jokes and the over-the-top gunplay. He’s a slick filmmaker, to be sure. He shoots action cleanly and has a flair for visual punchlines that make his more grotesque indulgences acceptable.”

Superman (2025): In 2022, was appointed co-CEO of the newly restructured DC Studios, alongside producer Peter Safran. Now one of the most influential voices in comic book cinema, Gunn is writing, directing, and producing Superman, the first chapter in his reimagined DC slate. Rather than retell the familiar origin story, this reboot will focus more on Clark Kent’s dual identity and his relationship with Lois Lane. Stepping into the cape is David Corenswet, offering a more earnest and optimistic take on the character to contrast Henry Cavill’s brooding version. While the casting change stirred controversy, Gunn’s track record of reinvigorating well-worn franchises has fans watching closely.

#1

Critics Consensus: Guardians of the Galaxy is just as irreverent as fans of the frequently zany Marvel comic would expect — as well as funny, thrilling, full of heart, and packed with visual splendor.

Synopsis: Brash space adventurer Peter Quill (Chris Pratt) finds himself the quarry of relentless bounty hunters after he steals an orb [More]

#2

Critics Consensus: Enlivened by writer-director James Gunn’s singularly skewed vision, The Suicide Squad marks a funny, fast-paced rebound that plays to the source material’s violent, anarchic strengths.

Synopsis: Welcome to hell–a.k.a. Belle Reve, the prison with the highest mortality rate in the US of A. Where the worst [More]

#3

Critics Consensus: A slimy, B-movie homage oozing with affection for low-budget horror films, Slither is creepy and funny — if you’ve got the stomach for it.

Synopsis: Wheelsy is a small town where not much happens and everyone minds his own business. No one notices when evil [More]

#4

Critics Consensus: Guardians of the Galaxy Vol. 2‘s action-packed plot, dazzling visuals, and irreverent humor add up to a sequel that’s almost as fun — if not quite as thrillingly fresh — as its predecessor.

Synopsis: Peter Quill and his fellow Guardians are hired by a powerful alien race, the Sovereign, to protect their precious batteries [More]

#5

Critics Consensus: A galactic group hug that might squeeze a little too tight on the heartstrings, the final Guardians of the Galaxy is a loving last hurrah for the MCU’s most ragtag family.

Synopsis: In Marvel Studios “Guardians of the Galaxy Vol. 3” our beloved band of misfits are looking a bit different these [More]

#6

Critics Consensus: Super‘s intriguing premise and talented cast are drowned in a blood-red sea of graphic violence, jarring tonal shifts, and thinly written characters.

Synopsis: After his wife (Liv Tyler) leaves him, a fry cook (Rainn Wilson) emulates a TV superhero and transforms himself into [More]

#7

Critics Consensus: A star-studded turkey, Movie 43 is loaded with gleefully offensive and often scatological gags, but it’s largely bereft of laughs.

Synopsis: Twelve directors, including Peter Farrelly, Griffin Dunne and Brett Ratner, contributed to this collection of outrageous spoofs and stories. A [More]

Ace Greene has been making waves on Love Island USA Season 7. Not only did one of his fellow Islanders jokingly call him out for acting like the “president of the villa,” his hot-and-cold love connections and budding new friendships have been keeping viewers on their toes as each new episode drops. 

If you spend time scrolling on social media, you’ll likely seen Ace before. The Los Angeles-based content creator and influencer currently has millions of followers on Instagram and TikTok, and has gone viral many times with his dance class videos. As he continues to keep viewers intrigued with his journey on Love Island USA, read on to learn all about the Islander, his age, connections, and more. 

RELATED: The Love Island USA Season 7 Cast: Every Islander That’s Entered the Villa

Love Island USA’s Ace Greene calls himself a “short king”

Ace introduced himself on Love Island USA as a “short king” who’s 5’10” tall. 

“The benefits to being a short king — dudes who are 6 foot plus hide behind their height. I’m not that type of dude, you gonna get this personality off the rip, baby,” Ace says in his Love Island USA intro. “Now I might be 5’10, but I ain’t got no problem talking to taller ladies. If you’re 6’2, 6’3, I’ll chop that tree.”

RELATED: How to Vote for Love Island USA Season 7: An Easy Guide (DETAILS)

Ace Greene and Chelley Bissainthe met each other before Love Island USA

During the Season 7 premiere episode, it was quickly revealed that Ace and Chelley Bissainthe had met before Love Island USA. “Wait, wait, wait. This can’t be real life,” Chelley said as Ace walked into the villa. Ace then explained that they met in New York “outside of the club.”

Chelley later told the girls she and Ace “were talking on Instagram and stuff” after they first met, but their conversations didn’t progress into anything because they live far from each other. Since then, however, the two Islanders have quickly formed a connection in the villa and have been on a rollercoaster together as new bombshells have shaken things up. 

Ace, who’s formed friendships with Nic Vansteenberghe and Taylor Williams, has also been outspoken about what’s happening in the villa. During the early days of Season 7, when Huda Mustafa and Jeremiah Brown quickly locked in on each other and lots of drama immediately followed, Ace did not hesitate to tell them he thought their connection was a “scam.”

RELATED: What We Know So Far About Love Island’s Mailbox Twist: “The Islanders Speak Up…”

RELATED: Is Love Island USA Filmed in Real-Time? The Schedule Is Wild (DETAILS)

How to watch new episodes of Love Island USA Season 7

Find out what happens with Ace when new episodes of Love Island USA Season 7 air daily, except on Wednesday, at 6 p.m. PT/9 p.m. ET exclusively on Peacock.