Intelligence Artificial

The mere phrase artificial intelligence should be a clue that no good will come of fully opening this door. 

For what does it mean to be artificially intelligent?

Me, doing science

If we take the words as they present (which is really all we can do), it means an intelligence that is not real on its own but merely a poor man’s copy of smartness, acumen or whatever you want to call it.

It’s at best a simulation of something clever and at worst an abject lie.

Whatever it is, it’s certainly not actually superior thinking.  Its words literally tell us that.

So then, what is it?

Well, clearly it’s a fake out.  Or, as it’s better known in popular vernacular —

FAKE NEWS.

Ugh that term #ew

Donald J. Trump if what he spewed was merely a reordering of facts stolen from other sources rather than an incessant firehouse of bile-filed personal grievance posing as reality.

Though when you think about it that way, A.I.’s potential personal evolutions are a lot more frightening.

That is, if you can consider something that self-proclaims to be artificial, anything approaching a person.

Yet another issue for future U.S. Supreme Courts to debate and wrongly decide on.

My heart cannot take this

A couple of weeks ago I was watching MSNBC, which I admittedly do far too often.  It was towards the end of Joy Reid’s show, The Reid Out, and she began reporting on artificial intelligence by way of herself.

It seems that there is a viral video circulating that shows Joy being interviewed by CNN’s Anderson Cooper hawking weight loss gummies.  And when she played a 20 second clip from it there it was –

Hmmm… something’s not right here

Joy talking up these weight loss gummies in very factual, Joy-esque style to Anderson, after explaining lawyers have only recently cleared her to speak about it.  There were even before and after photos to support her personal weight loss.

If you saw this onscreen and paid as much attention to these kinds of claims as one usually does, you would swear it was real.

Except, well, it isn’t.

K bye everybody!

It’s an A.I.-generated-100%-phony use of the actual faces and voices of both news anchors.

Now, being a journalism junkie and show biz gadfly, I knew this story couldn’t be true because:

a. No MSNBC host would be allowed on CNN to sell a product and

b. Joy Reid doesn’t endorse merchandise publicly to make a buck.  That’s not what real working journalists with prime time news anchor platforms do.

It’s what people like Alex Jones and Joe Rogan do.

so…. this

But if you didn’t know better and chalked up a few words being slightly out of synch to the fact that almost every video known to man buffers or is slightly out of synch in spots on your screen of choice, you would swear this was real.

And we’re only at the start of the A.I. revolution

Who knows where all those pointy-headed potential Che Guevaras will strike next?

Oh wait, we do.  It’s… well… show biz!!

This this this

You might have heard there is a writers’ and actors’ strike going on and part of the issue is the future contractual regulation of the use of A.I. so actors and writers are not principally replaced by software duplicating their work and their images ad infinitum.

Recently, Disney CEO Bob Iger, being interviewed at a multimillionaire/billionaire business leader conference, called the union demands to work out a compromise for the protection of workaday creatives on A.I not realistic and very disturbing to him.

Et tu Bob I?

So it should surprise no one that the studios are now on a mass hiring spree for specialists they can employ to expand their A.I. capabilities.  This article from The Hollywood Reporter explains it far better than I can. 

But suffice it to say that Netflix, Disney, Sony and most of the other studios (Note: Amazon, Apple, WB, etc. etc.) are offering big bucks to those who can help them harness the technology that will enable them to throw off the shackles of how it’s done now and push past it all into a future where….

Well, the sky’s the limit.

Hello Hal do you read me?

And at starting salaries of anywhere from $150,000 to $900,000 per year plus perks.

Not nearly as much as the top ten Hollywood executives made in the last five year period, a list topped by the HALF A BILLION DOLLARS Warner Bros. Discovery’s head David Zaslav made.  (Note: Here’s the list.  Read it and think).

Barf

But if A.I. is going to occupy as big of a space as these guys seem determined to make room for – as witnessed by them turning a stubborn blind eye to the almost universal public roasting they are receiving for the way they are treating the creative people who enable them to make many billions of dollars each year – then there’s a hell of a lot of room to grow.  And grow.  And grow.

Gummie bears be damned.

“Crazy Little Thing Called Love” – Elvis Presley A.I.

(Note:  Elvis died two years before this song was written and released).

The Barbenheimer Report

How did it feel to give into the zeitgeist and make this a Barbenheimer weekend?

It. Felt. Great.

That is because in great part it reminded me of how I spent my 20s, 30s, 40s, 50s and beyond – indulging in the group anticipation and excitement of seeing movies, at a movie theatre, with a whole lot of other people, the very first weekend they opened.

If Barbie and Oppenheimer initially felt like a strange cinema pairing in that regard, well, they were. 

And yet… it works

What does a cotton candy-world take on women, all bathed in day glow pink and bursting with MTV video song stylings, have in common with a dense, three-hour science for dummies biopic over multiple timelines about the man who spearheaded the invention and building of the first atomic bomb that officially ended WWII?

Well, mega box-office success, for one thing.

Together both films grossed more than HALF A BILLION DOLLARS (Note: $511 million, to be exact) this weekend at the box-office worldwide. 

Not your traditional box office bomb

And included in that number is $235.5 million domestically, which in itself is a record.

It’s hard to explain just how good those numbers are, especially in a post-pandemic, or, well, any world.

But consider this:

Never before have TWO Hollywood films EVER opened in the US and Canada to such huge numbers in the SAME weekend.  Meaning Barbie took in $155 million and Oppenheimer posted $80.5 million in just a handful of days in North America.

And the summer is not even half over.

So much for phrases like top tier theatrical films are not worth the risk and there is just not enough room for everyone.

And all kinds of other words passed off as common wisdom these days.

Oh, hi AMPTP. 

A quick reminder that Barbie supports the WGA and SAG AFTRA

Just look out your window any day this week and you’ll see us writers and actors still on the picket line trying to get your attention for a fair deal so the rest of us can make you even more money.

That is, if you’re interested in doing it this way anymore.

It took the talents of two A list artistic type writer-directors, Greta Gerwig and Christopher Nolan, to steer the ship on two projects that on paper didn’t scream instant hit. 

Because let’s face it – Universal first made a deal with Mattel for the rights to make a movie about Barbie in 2009 and the non-fiction book chronicling the life of Robert J. Oppenheimer came out in 2004. 

Yeah, Ms. Gerwig and Mr. Nolan have each had hit films but they are also considered to be filmmakers who lead with integrity and artistic vision, qualities that are barely tolerated by the bottom line corporate overlords running most of the platforms out there these days.

Why grant them carte blanche on such tricky projects when we could just do another… sequel… or reboot…. or prequel…. or….. anything but something this risky?

Trust in Barbenheimer

The irony is that both writer-directors cut their teeth in the independent film world, he as a gritty 8mm filmmaker and she originally as a left of center young actress – the kind of backgrounds A.I. aspiring ceo’s are doing their best to eliminate from their preferred class of future creators if they had their way.

Which is not to say that this strategy will work out the way they intend, if this weekend is any indication.

I had two diametrically different moviegoing experiences at theatres showing both films this weekend and each audience seemed anywhere from happy to thrilled to blown away with what they were viewing.

Yes… yes it was

On Saturday night I was a guest at the Academy of Motion Picture Arts and Sciences’ 1000 plus seat Samuel Goldwyn Theatre for a screening of Oppenheimer.  Anticipating a crowd, we arrived almost an hour early only to be met with several lines that snaked around the block in order to get in.

That is unusual for many reasons.

But mostly because the famous and not so famous Academy members and their guests were so excited they actually got there that early and queued up to ensure they and at least one friend would be guaranteed a seat.

Once the 70 mm print was announced inside to applause there was then three hours of rapt attention to the screen, the sound, the images, the actors and what I can only categorize (Note: No spoilers here) as a master filmmaker at his best.

Utterly entranced

By the time the movie was done and we were released back into the real world it was clear an audience of industryites agreed, some by enthusiastic applause and others by stunned silence, over just how thoroughly they had been transported.

Yet the next evening, at a long-standing public movie theatre in Westwood that seldom sells out but did so this night, I watched the cultural phenomenon known as Barbie.

Teenage girls with their friends, straight boy college guys with their friends, moms and dads with grade school kids hugging blankets in tow, mothers and daughters in matching pink daisy hair clips; a thirty-something woman with her grandmother, and many many couples – hetero, gay, non-binary and yes, even platonic.  White, black, brown and many other colors.

Barbie fans turned it out

In the movie business they used to call this a four-quadrant audience.

Nowadays, in big blue cities, we simply refer to it as life.

Interestingly, while what’s onscreen narratively in the Barbie movie is an exaggerated view of life, the ages, races and ethnicities of its characters were pretty reflective of the wide swath of real live people watching its story unfold in that theatre in Westwood.

Like Christopher Nolan, Greta Gerwig knows how to wow her audience and engage her audience.  Their strategies may be totally different but the results are in the numbers and the inevitable awards attention both films will receive.

Far be it for any of us to put a value on either other than to conclude that there is room for both them. 

And many more than that.

Ryan Gosling – “Just Ken”