AI Will Revolutionise How You Travel, Priceline CEO Says

With its 1997 launch as a name-your-own-price site, Priceline helped usher in the era of online travel booking―and the growth of a trillion-dollar category. Priceline itself has mushroomed into a global business with 1,500 full-time employees; along with global airline bookings, the site claims to offer 1.2 million accommodations in 116 countries.

Now, the Connecticut-based company is focusing on generative AI, and CEO Brett Keller is behind the leap. It’s just the latest technology push from Keller, a 25-year veteran of the company who has also served as CMO and COO. Under Keller, Priceline launched the travel industry’s first full-service mobile app in 2009; he also helped conceive the hugely popular William Shatner-fronted “Negotiator” ad campaign.

Keller, 56, talked to Penta about how AI is changing travel planning, what luxury travellers do to save money, and why Japan blows his mind.

Penta: Much of Priceline’s marketing is about value. Do you see luxury travellers in your customer mix along with budget-conscious travellers?

Brett Keller: High-net-worth consumers take a significantly higher number of trips than the average leisure traveller. For a high-end vacation like a safari in Tanzania, they’ll work with experts. But for the other 30 trips they book that year, either for themselves or family members, they don’t always reach for the stars. They want to manage money effectively. And as they’re moving around the country and the world, they need a fast, easy way to book travel that accommodates their needs. Priceline is a great platform for that kind of trip. And if you’re taking a quick weekend trip to Miami, and want to stay in the Four Seasons, we’ve negotiated with them. Even high-net-worth individuals seek value.

Priceline made headlines last year for partnering with both Google and OpenAI on Penny, your AI assistant. How has Penny evolved?

She’s gone from, “I can answer questions about the hotel you’re looking at” to actually servicing the customer through more complicated scenarios. If you need to cancel a hotel that’s fully refundable, you can do it with one click. But if there are issues, like a reservation that’s not fully cancelable, Penny can walk through those steps for you.

Penny’s also helping people find, search, and book properties. For example, if the customer tells her, “I’m looking for a great resort with these features, anywhere warm”—she’ll present recommended properties that meet those requirements. You can continue with Penny on the site, or go with the traditional experience.

Has there been any pushback from consumers about Penny and generative AI?

There has been none. Customers still have access to phone agents. Anyway, the younger generation doesn’t want to talk to anyone. And with traditional chat agents, live agents, or even messaging apps, there’s typically a delay. Penny answers immediately and in real time.

What’s the future of generative AI and online travel booking?

The future is a highly personalised shopping experience. It’s hard to achieve, because we don’t know about the consumer when they come in. But generative AI lets us dramatically improve personalisation. As you work with Penny, and tell us your preferences, the way you interact lets us find and book the best products and services every time you return. The ability to customise and personalise increases exponentially.

Is the travel experience even more bifurcated between elite, ultra-high-net-worth travellers and everyone else?

Consumers seem to be a little less sensitive in some areas. On planes, first-class and comfort-plus seats are the first to go, most of the time, and people are burning through points to sit in the front because they’re tired of not having legroom. But seats are packed in economy, too, so people are flying.

Hotel bookings are more economically driven in the U.S. Higher-income people are not as affected by interest rates or the cost of living, so they spend more freely than economy-minded consumers. There is a bit of bifurcation there. The low end is not filling, but the high end is.

It’s been reported Europe’s going to get even more crowded this summer. Does Priceline ever suggest alternatives to over-touristed or overpriced destinations?

We’re not in the business of telling you where you shouldn’t travel. We market popular destinations because that’s where people want to go. As much as we could tell people, “Las Vegas is overcrowded, don’t go,” people will want to go.

Social media is highlighting some overpopulated destinations and suggesting alternatives, so that comes back to us. But price is the No. 1 motivator. Vegas is a great value. There are so many hotel rooms available that you can go in a non-peak period and get a room in a four-star hotel for US$120. Try doing that in New York City.

What destinations are going to pop over the next year or two?

Asia will continue to be exciting and interesting to people. Bangkok is a great place to move in, then travel throughout Southeast Asia. As the region gets more popular, people will keep trying to find more remote and more unique destinations. People love Europe, but it was the hot spot in 2022 and ’23. Some travellers are saying, “I’ve had enough, and I’m moving on.” Japan is also amazing, for so many reasons. It’s easy to navigate. English is not a challenge. It’s safe. It feels like a different world, but completely first-world. The strength of the dollar is also driving some of that―again, price plays a role.

Beyond that, Mexico and the Caribbean took a real hit in 2022 and ’23 after a boom in 2021. They’re coming back now. A lot of people don’t want to travel far—“I just want to go to a beach and not think of anything.” And because not everyone wants to travel overseas, unique and relaxing cities like Nashville, Tennessee; Houston; and Austin, Texas, will be popular, especially into the fall.

Every day brings more headlines about airline woes. Who gets blamed if a Priceline customer has a bad flying experience, you or the airline?

When you have a bad experience traveling, you want to blame everybody. No matter what happened, the online travel agency takes blame and the airline takes the blame. It could be your seat, the person sitting next to you, whatever. We get the complaint, and we take on that responsibility and that role. We have leverage because of the amount of business we drive to partners. They want to work with us to make sure the customer has the best experience. Something goes wrong almost every time you take a trip. That’s just the reality.

What are your favourite places to travel?

My favourite destination, and a place where I spend a lot of time every summer, is [resort town] McCall, Idaho, one of the most beautiful towns in the West, with hiking, trails, and mountain biking. Outside of the country, it’s Japan, absolutely. Tokyo is the most exciting city in the world. It’s mind-blowing.

This interview has been edited for length and clarity.

Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.

AI Will Revolutionise How You Travel, Priceline CEO Says

Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.