Speaking with CNBC’s Jim Cramer, Arora said that while consumers might like to have an agentic browser that can perform tasks for them, enterprises will be wary, CNBC reported.

“I think unless there are controls built into agentic browsers, which are oriented around credentials and enterprise security, they’re not going to be allowed in enterprises in 24 months,” Arora said, per the report.

Arora also said there is a growing risk of credential theft and said Palo Alto Networks’ planned $25 billion acquisition of cybersecurity company CyberArk will help the company provide a solution that will help enterprises protect their privileged information.

Palo Alto Networks announced the acquisition on July 30, saying it expects the transaction to close during its fiscal year 2026, pending regulatory approvals.

The deal came amid a resurgence in high-profile cybersecurity mergers and acquisitions that includes Google completing its largest purchase to date when it acquired cloud security firm Wiz for $32 billion.

On the day his company announced the acquisition of CyberArk, Arora told CNBC: “They are poised to go and disrupt this market and create the platform we need and also solve the upcoming problem with agentic AI. From all those factors, we believe this is the right time to do something like this and be ready for the market in the next 12 to 18 months.”

Google announced its acquisition of Wiz in March, saying the cloud security platform would join Google Cloud when the deal becomes final.

“This acquisition represents an investment by Google Cloud to accelerate two large and growing trends in the AI era: improved cloud security and the ability to use multiple clouds,” Google said at the time in a press release.

The PYMNTS Intelligence report “AI at the Crossroads: Agentic Ambitions Meet Operational Realities” found that trust issues keep firms cautious about agentic AI rollouts, as the firms have concerns about accountability and compliance.

Eighty percent of high-automation enterprises cited data security and privacy as their top concern with agentic AI, according to the report.

July 1, 2014

Vanderbilt selected to participate in Undiagnosed Diseases Network

Armed with a $7.2 million grant from the National Institutes of Health (NIH) Vanderbilt University Medical Center is one of six medical centers around the country selected to participate in a network to develop effective approaches for diagnosing hard-to-solve medical cases (undiagnosed diseases).

By Nancy Humphrey

Showrunner, a technology platform that dubs itself the “Netflix of AI,” plans to use artificial intelligence to reconstruct 43 minutes of excised footage from Orson Welles’ “The Magnificent Ambersons,” a sweeping family drama that was famously butchered by studio executives.

Edward Saatchi, CEO of the Amazon-backed firm Showrunner, confirmed the plans in an interview with CNBC on Friday morning. Saatchi described “The Magnificent Ambersons” as a “ruined masterpiece,” adding that “using AI to reconstruct it” is a way to bring the film “back to life.”

The plans come as generative artificial intelligence tools threaten to dramatically upend the way films and television shows are typically made, sending waves of anxiety through Hollywood and other creative industries.

“Ambersons” would not be the first celluloid classic to get the AI treatment. In recent weeks, an AI-altered version of “The Wizard of Oz” on display at the Sphere in Las Vegas has stoked both curiosity and revulsion — especially from filmworld purists.

“I think that what’s coming is a world where we’re not the only creative species, and that we will enjoy entertainment created by AIs,” Saatchi told the hosts of CNBC’s “Squawk Box.” “We wanted to try our AI on the greatest storyteller of the last 200 years: Orson Welles.”

“The Magnificent Ambersons” was released in July 1942 after a pitched battle between Welles and executives at RKO Pictures. Welles — who enjoyed “final cut” privilege on his previous project, the revolutionary “Citizen Kane” — got kicked out of the editing room during the post-production of “Ambersons.”

The studio snipped off an hour of footage, slapped on a more cheerful ending and released a slight 88-minute cut into theaters. “Ambersons” drew largely positive reviews and nabbed a best picture nomination at the Academy Awards, but Welles long insisted the theatrical edition did not fulfill his creative vision.

“They destroyed ‘Ambersons,’ and it destroyed me,” Welles was once quoted as saying. Welles’ original, more melancholy 132-minute cut took on mythic stature among cinephiles. The late director William Friedkin (“The Exorcist”), for example, referred to Welles’ intended version as the “Holy Grail of cinema.”

“Ambersons,” adapted from a Pulitzer Prize-winning novel of the same name by Booth Tarkington, coincidentally centers on another period of immense technological change in America. It chronicles the declining fortunes of an affluent Midwestern family amid the arrival of the country’s automotive boom.

Showrunner is reportedly working on the AI-enabled “Ambersons” with Brian Rose, a filmmaker who has spent half a decade digitally rebuilding sets based on some 30,000 missing frames from “Ambersons.”

“There was, for example, a four-minute-long, unbroken moving camera shot whose loss is a tragedy,” Rose said in a statement to The Hollywood Reporter. “The camera moves from one end of a ballroom and then back up the other end [while] you have about a dozen different characters walk in and out of frame, and crisscrossing subplots.”

“It was really ahead of its time,” Rose added. “Yet all but about the last 50 seconds of the shot was cut.”

In response to Showrunner’s announcement, some X users expressed skepticism or outright hostility.

“Can’t wait to see what Joseph Cotten looks like with six fingers!” film critic Sean Burns posted on X, referring to the star of “Ambersons” and a common AI glitch that inserts extra hands or limbs into images of human beings.

Showrunner’s edition of “Ambersons” will not be commercialized because the company does not hold the rights, according to The Hollywood Reporter. The rights are held by the media conglomerate Warner Bros. Discovery, which controls the RKO library.

Saatchi did not immediately respond to NBC News’ request for comment.

Welles, who died in 1985 at age 70, left behind a variety of unrealized or incomplete projects — including “The Other Side of the Wind,” an experimental Hollywood satire that was largely shot in the early 1970s and completed in the 2010s. Netflix distributed the restored film in 2018.