So the AI will then amalgamate what it observes has been ‘award-winning’ content in the past.” This, she says, “can easily propagate past biases well into the future, creating yet further inertia in that direction.” She shares one example: “If you ask a generative AI system to give you some Academy Award-worthy plotlines, it will go through millions of pieces of data and find trends-from Hollywood’s movie history-of mostly white leading actors in mostly white-centric stories. “The main strength of generative AI is ironically also its biggest weakness,” McCreary says, “namely, that it is heavily based on pre-learning an existing data set, and most data sets-including the entertainment industry’s history of films and content-are inherently biased.” In her formulation, “bias has ‘inertia,’ and through tendency to learn and emulate previous examples, its systems tend to propagate that bias forward into the future, despite our best efforts to avoid this built-in phenomenon.” She views generative AI as just another tool, but one with drawbacks. A former computer scientist, McCreary founded Revelations Entertainment with the mission of fusing “artistic integrity with technological innovation.” Since 1996, and alongside her cofounder Morgan Freeman, she has produced a slate of movies and TV projects that includes everything from Invictus to The Story of God and the Emmy-nominated miniseries Through the Wormhole. Still, Lori McCreary tells me she is cautiously hopeful about what’s unfolding in the AI space. Giving away ownership of our image, and taking the image of others, is not questionable but quotidian.” “We have become so accustomed to accessing the likeness and image of celebrities and socialites in traditional media and online, that we don’t blink twice when we trade our own data for ‘free’ access to social media platforms. “Ownership of one’s image is something that has been tremendously lost as internet media and celebrity culture has grown,” she says. This moment is primed for bot-driven cultural theft, says Zari Taylor, a doctoral researcher at the University of North Carolina at Chapel Hill who specializes in digital studies. That AI could further warp our understanding of race by slowly scraping the fundamental soul from our visual identities, onscreen and online, especially in social domains where the mutation of identity has gotten easier, is no small matter. We obsess over what gateways might open inside of us. We obsess over the possibility of what we might see in the reflection of our digital screens. In this time of fixed spectacle, the marvel and mystery of visual media are inherent. One industry where this shift will have major implications is in Hollywood, where actors and writers are currently striking to ensure AI can’t have too heavy a hand in the visual entertainment the town exports. ![]() Some experts in generative AI anticipate that the majority of internet content may be “synthetically generated” by 2026. Of the many issues at stake amid the AI gold rush, from ethical concerns to ownership rights, perhaps the most terrifying is the purposeful distortion of our very selves. The video belongs to an emerging genre of AI-generated media that capitalizes on the disfigurement of race and gender. The sheer ridiculousness of the video was not lost on Minaj-hence, “I hope the whole internet get deleted!!!”-but its release does pinpoint an unsettling trend taking hold online. ![]() ![]() ![]() In the video, Nicki and Tom (as in actor Tom Holland) are depicted as a working-class couple who return from their honeymoon to find their next-door neighbor, Mark Zuckerberg, asleep on their sofa. The clip in question was from an episode of Deep Fake Neighbour Wars, an eccentric mockumentary-style show that broadcasts on ITV in the UK and lampoons celebrity culture.
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