Daily Papers

The reasoning performance of large language models (LLMs) can be substantially improved by training them with reinforcement learning (RL). The RL objective for LLM training involves a regularization term, which is the reverse Kullback-Leibler (KL) divergence between the trained policy and the reference policy. Since computing the KL divergence exactly is intractable, various estimators are used in practice to estimate it from on-policy samples. Despite its wide adoption, including in several open-source libraries, there is no systematic study analyzing the numerous ways of incorporating KL estimators in the objective and their effect on the downstream performance of RL-trained models. Recent works show that prevailing practices for incorporating KL regularization do not provide correct gradients for stated objectives, creating a discrepancy between the objective and its implementation. In this paper, we further analyze these practices and study the gradients of several estimators configurations, revealing how design choices shape gradient bias. We substantiate these findings with empirical observations by RL fine-tuning Qwen2.5-7B, Llama-3.1-8B-Instruct and Qwen3-4B-Instruct-2507 with different configurations and evaluating their performance on both in- and out-of-distribution tasks. Through our analysis, we observe that, in on-policy settings: (1) estimator configurations with biased gradients can result in training instabilities; and (2) using estimator configurations resulting in unbiased gradients leads to better performance on in-domain as well as out-of-domain tasks. We also investigate the performance resulting from different KL configurations in off-policy settings and observe that KL regularization can help stabilize off-policy RL training resulting from asynchronous setups.

We propose a fully automated AI system that produces short comedic videos similar to sketch shows such as Saturday Night Live. Starting with character references, the system employs a population of agents loosely based on real production studio roles, structured to optimize the quality and diversity of ideas and outputs through iterative competition, evaluation, and improvement. A key contribution is the introduction of LLM critics aligned with real viewer preferences through the analysis of a corpus of comedy videos on YouTube to automatically evaluate humor. Our experiments show that our framework produces results approaching the quality of professionally produced sketches while demonstrating state-of-the-art performance in video generation.

We provide a syllabification algorithm for the Divine Comedy using techniques from probabilistic and constraint programming. We particularly focus on the synalephe, addressed in terms of the "propensity" of a word to take part in a synalephe with adjacent words. We jointly provide an online vocabulary containing, for each word, information about its syllabification, the location of the tonic accent, and the aforementioned synalephe propensity, on the left and right sides. The algorithm is intrinsically nondeterministic, producing different possible syllabifications for each verse, with different likelihoods; metric constraints relative to accents on the 10th, 4th and 6th syllables are used to further reduce the solution space. The most likely syllabification is hence returned as output. We believe that this work could be a major milestone for a lot of different investigations. From the point of view of digital humanities it opens new perspectives on computer assisted analysis of digital sources, comprising automated detection of anomalous and problematic cases, metric clustering of verses and their categorization, or more foundational investigations addressing e.g. the phonetic roles of consonants and vowels. From the point of view of text processing and deep learning, information about syllabification and the location of accents opens a wide range of exciting perspectives, from the possibility of automatic learning syllabification of words and verses, to the improvement of generative models, aware of metric issues, and more respectful of the expected musicality.

Stand-up comedy, and humor in general, are often studied through their verbal content. Yet live performance relies just as much on embodied presence and audience feedback. We introduce TIC-TALK, a multimodal resource with 5,400+ temporally aligned topic segments capturing language, gesture, and audience response across 90 professionally filmed stand-up comedy specials (2015-2024). The pipeline combines BERTopic for 60 s thematic segmentation with dense sentence embeddings, Whisper-AT for 0.8 s laughter detection, a fine-tuned YOLOv8-cls shot classifier, and YOLOv8s-pose for raw keypoint extraction at 1 fps. Raw 17-joint skeletal coordinates are retained without prior clustering, enabling the computation of continuous kinematic signals-arm spread, kinetic energy, and trunk lean-that serve as proxies for performance dynamics. All streams are aligned by hierarchical temporal containment without resampling, and each topic segment stores its sentence-BERT embedding for downstream similarity and clustering tasks. As a concrete use case, we study laughter dynamics across 24 thematic topics: kinetic energy negatively predicts audience laughter rate (r = -0.75, N = 24), consistent with a stillness-before-punchline pattern; personal and bodily content elicits more laughter than geopolitical themes; and shot close-up proportion correlates positively with laughter (r = +0.28), consistent with reactive montage.

We present ManzaiSet, the first large scale multimodal dataset of viewer responses to Japanese manzai comedy, capturing facial videos and audio from 241 participants watching up to 10 professional performances in randomized order (94.6 percent watched >= 8; analyses focus on n=228). This addresses the Western centric bias in affective computing. Three key findings emerge: (1) k means clustering identified three distinct viewer types: High and Stable Appreciators (72.8 percent, n=166), Low and Variable Decliners (13.2 percent, n=30), and Variable Improvers (14.0 percent, n=32), with heterogeneity of variance (Brown Forsythe p < 0.001); (2) individual level analysis revealed a positive viewing order effect (mean slope = 0.488, t(227) = 5.42, p < 0.001, permutation p < 0.001), contradicting fatigue hypotheses; (3) automated humor classification (77 instances, 131 labels) plus viewer level response modeling found no type wise differences after FDR correction. The dataset enables culturally aware emotion AI development and personalized entertainment systems tailored to non Western contexts.