Tag: AI Generated Bullshit

Hollywood Seems Surprisingly Chill About The Latest Generation Of AI Video Generators

The latest generation of AI video generators is, in the right hands, amazingly good. Feed a well-crafted prompt into one of the current frontier models and you can get coherent camera movement, consistent characters across shots, believable physics, lighting that holds together scene to scene — the kind of output that would have been an industry-defining VFX breakthrough five years ago. It is not perfect. It is not yet a replacement for a director, a cinematographer, or an editor with taste. But it is good enough that a single person with a laptop and a subscription can now produce something that looks, at a glance, like it came out of a small production house.

And yet I keep waiting for the panic, and it isn’t coming.

I listen to a handful of Hollywood-adjacent podcasts — the trade-gossip shows, the below-the-line craft interviews, the state-of-the-industry roundtables. These are people whose entire professional identity is bound up in filmmaking as a human, physical, expensive process. When ChatGPT-style tools started eating into copywriting and customer service, those industries did not go quiet. They argued, loudly, in public, for months. When AI voice cloning threatened voice actors, SAG-AFTRA went to the mattresses over it in the 2023 strike, and everyone in that world talked about almost nothing else for a year.

But video generation — arguably the single technology most existentially threatening to the film and television business as currently structured — gets almost nothing. Not a peep. A stray mention here and there, usually framed as a curiosity or a tool for storyboarding, and then the conversation moves on to casting news or box office numbers.

That’s the curious part. Not that the technology exists — everyone in the industry surely knows it exists — but that an industry famous for its anxiety, its guild politics, and its willingness to litigate every threat to its labor model in public has gone quiet on the one threat that could plausibly replace large parts of that labor model entirely.

A Few Theories, None of Them Fully Satisfying

They see it as a tool, not a replacement — for now. The most charitable read is that working professionals have actually used these tools and concluded, correctly, that they’re not yet good enough to carry a full production. Consistency across long sequences is still hard. Dialogue-driven performance is still uncanny. Anyone with real experience in production knows the difference between an impressive demo reel and a shootable feature. Under this theory, the silence isn’t denial — it’s professional confidence that the moat is still wide, at least for another product cycle or two.

The guilds already fought this war, on different terrain. The 2023 WGA and SAG-AFTRA strikes extracted contractual language around AI-generated content, consent for digital likeness use, and minimum-human-involvement clauses. It’s possible the industry feels it already had its reckoning — that the fight happened, terms were set, and now everyone is just watching to see whether those terms hold up as the technology improves. The silence would then be less “we don’t see it coming” and more “we already spent our outrage and got what protection we could.”

Nobody wants to be the one who says it out loud. There’s also a less flattering possibility: that people whose careers depend on the current system are professionally and psychologically incentivized not to sound the alarm, because sounding the alarm is bad for morale, bad for optics, and bad for their own hiring prospects. An industry built on relentless optimism about the next project doesn’t have much appetite for publicly narrating its own obsolescence. Denial is a coping mechanism, and Hollywood is not historically shy about deploying one.

Or maybe it’s opportunity, not threat. It’s also possible — and this is the read I find most interesting — that people closer to production see these tools less as a guillotine and more as a lever. A capable indie filmmaker with a strong voice and no budget has, for the first time, a plausible path to making something that looks expensive. Studios, meanwhile, may be quietly running the numbers on how much of a marketing budget, a pre-viz process, or a background-plate shoot could be handled by generation rather than production. If that’s the internal conversation, it would explain the external silence: you don’t announce the thing that’s about to save you money.

I genuinely don’t know which of these is closest to the truth, and I suspect it’s some blend of all four, distributed unevenly across a business that has never been one coherent entity so much as a loose federation of competing interests. But whatever the reason, the silence itself is the story. An industry this good at talking about its own anxieties has, so far, chosen not to talk about this one.

This Is the Worst It Will Ever Be

Whatever is or isn’t being said on podcasts, the trajectory isn’t ambiguous. Every generation of these models has been meaningfully better than the one before it — longer coherent shots, better temporal consistency, better control over camera and character, faster generation times. There is no serious reason to expect that curve to flatten in the near term. The tools available right now, as impressive as they can be, are a floor, not a ceiling. Full-length, AI-generated features — not just AI-assisted ones, but ones where generation does the heavy lifting of actual footage — are a matter of when, not if. Probably sooner than most people currently sitting on that “it’s just a tool” assumption would like to admit.

That doesn’t mean human filmmaking disappears. It means the economics of it change, possibly quite fast, and an industry that hasn’t started talking about that publicly is an industry that hasn’t started preparing for it publicly either — whatever preparation is actually happening behind closed doors.

Where the Slack Gets Picked Up

If there’s a silver lining I keep coming back to, it’s live theatre.

The entire value proposition of theatre is that it cannot be generated. A person is standing in a room, breathing, and might mess up a line tonight in a way they didn’t last night, and that unrepeatability is the product, not a flaw in it. No amount of model improvement touches that, because the thing being sold isn’t a sequence of images — it’s presence. As film and television increasingly compete with content that can be produced at near-zero marginal cost, the premium on the un-generatable experience should rise, not fall. Community theatre, regional companies, even Broadway itself have real reason to expect renewed cultural relevance as the thing people go to precisely because a machine can’t fake it.

I don’t think this is wishful thinking so much as basic economics: when a category gets flooded with cheap substitutes, the scarce, unsubstitutable version of that category becomes more valuable, not less. Live theatre has always had that scarcity built in. It just hasn’t needed to lean on it as a competitive advantage before, because film and television weren’t threatening to become nearly free. That’s about to change, and I’d expect theatre to start picking up the slack a lot sooner than most people currently assume.

First They Came For The Ads And Music Videos…

Given how good the latest generation of AI video-generation software has become, it is getting increasingly difficult to believe that AI-generated video is going to remain a novelty confined to TikTok, advertising experiments and people making surreal videos of raccoons running restaurants.

At some point—and probably sooner than the entertainment industry would prefer—these systems are going to begin eating into the market for human-produced television, commercials and music videos.

I suspect it will take a little longer than the most enthusiastic AI evangelists think. Perhaps eighteen months rather than a few months. There are still enormous practical problems involved in producing a coherent piece of entertainment: maintaining character consistency across dozens or hundreds of shots, keeping a story visually coherent, controlling performances, revising individual scenes without accidentally changing everything around them, and producing something at the length and reliability demanded by professional television and film production.

But those are engineering problems, not necessarily fundamental barriers.

And the trajectory is becoming difficult to ignore. ByteDance’s Seedance 2.5, for example, is pushing toward 30-second continuous generations with large numbers of reference inputs and increasingly sophisticated control over scenes. Google’s Veo 3.1 can generate video with synchronized dialogue, sound effects and ambient audio while providing controls for camera movement, reference images, scene extension and other aspects of filmmaking. Runway’s Gen-4.5 and Kling 3.0 are part of the same rapidly advancing ecosystem.

The important thing is not that any one of these systems can currently generate an entire episode of The Sopranos from a paragraph of text. They can’t. The important thing is that the amount of traditionally expensive human labor required to create convincing moving images is steadily being reduced.

That distinction matters enormously.

A music video, for example, is already a remarkably good target for generative AI. It is usually relatively short. It can be highly stylized. It does not necessarily require a complicated narrative. Visuals can be edited around a pre-existing piece of music. And perhaps most importantly, music videos have historically been an area where directors have been encouraged to experiment with surreal imagery and visual effects that would be difficult or expensive to produce conventionally.

The same is true of commercials. If an advertising agency can generate fifty possible versions of a thirty-second commercial, rapidly iterate on them and then produce the final version without hiring a production company, renting a location, assembling a crew, hiring actors and spending days shooting footage, the economic incentive is obvious.

Television may take somewhat longer, but even here the pressure is substantial. Episodic television is fundamentally an industrial process. It requires repeatable production, predictable budgets and enormous amounts of content. If AI can eventually handle even a significant percentage of the visual production pipeline, the economics begin to change dramatically.

And then we get to movies.

By the end of this decade, I would be surprised if we couldn’t watch feature-length movies in which a substantial majority of the images were generated by AI. Whether those movies will be good is another question entirely. But the technical possibility seems increasingly plausible.

This raises a fascinating question: what kinds of movies will be the first to become predominantly AI-generated?

My initial instinct would have been the small independent film. After all, independent filmmakers are constantly constrained by money. If AI allows a filmmaker with a laptop and a good screenplay to create convincing locations, visual effects, crowds, vehicles, creatures and even entire environments without paying for them, that would seem like an obvious democratization of filmmaking.

But I’m no longer convinced that the indie film will necessarily be the ultimate winner.

There is an equally compelling argument that AI will first transform the most formulaic parts of Hollywood.

Think about the enormous number of movies that exist because the entertainment industry has discovered that audiences reliably respond to certain combinations of genre, character, spectacle and story. Superhero movies. Action franchises. Romantic comedies. Young-adult adaptations. Animated family movies. Horror franchises. Christmas movies. Movies about talking animals. Movies about talking animals that are secretly superheroes.

Hollywood has spent decades trying to industrialize the production of these things.

AI could take that industrialization to its logical extreme.

Instead of a studio spending hundreds of millions of dollars creating a single enormously expensive spectacle, imagine being able to generate something functionally equivalent for a fraction of the cost. Imagine being able to create twenty different versions of a scene and choose the best one. Imagine being able to change the ethnicity, age or appearance of a character without reshooting the movie. Imagine being able to replace an actor’s performance, change the weather, move the location or rewrite a scene after production has supposedly ended.

At that point, the traditional distinction between “production” and “post-production” starts to collapse.

And that is where things could get really weird.

The economics of filmmaking have historically been based on scarcity. Cameras are expensive. Sets are expensive. Actors are expensive. Locations are expensive. Special effects are expensive. Large crews are expensive. Time is expensive. Generative AI attacks almost every one of those assumptions simultaneously. The result might not simply be cheaper Hollywood movies. It could be an entertainment industry in which the concept of a “movie” itself changes.

Imagine a future in which you don’t simply watch Star Wars 17. Instead, your AI generates your version of the movie. Maybe you want the space battles to be more prominent. Maybe you want the romantic subplot to be expanded. Maybe you want the movie to be darker. Maybe you want the villain to win. Maybe you want a particular actor’s licensed digital likeness playing the lead.

At that point, Hollywood isn’t really making movies anymore. It is making entertainment universes and licensing the ingredients from which movies are generated.

That sounds ridiculous now. It may not sound ridiculous in ten years. And there is an even more disruptive possibility: AI doesn’t necessarily have to produce movies that look like today’s movies.

Once the cost of generating visual content approaches the cost of generating text, the amount of entertainment that can exist becomes effectively limitless. Instead of thousands of movies being released every year, there could be millions—or billions—of personalized pieces of audiovisual entertainment.

That would create an extraordinarily strange economic problem. If entertainment becomes almost infinitely abundant, the scarce resource may no longer be production. It may be attention. And this is where I think live entertainment becomes particularly interesting.

I’ve increasingly wondered whether Broadway, live theater, concerts and other forms of physical performance could end up being among the biggest beneficiaries of the AI revolution.

The reason is simple: AI can generate an astonishingly convincing simulation of a performance on a screen. But that is precisely what makes the physical experience of watching actual human beings perform potentially more valuable.

There is something fundamentally different about sitting in a theater with several hundred other people and watching human beings standing in front of you, knowing that what happens onstage is actually happening.

The actor could forget a line. The audience could laugh at the wrong moment. Someone could drop a prop. An actor could improvise. The performance could be slightly different tomorrow night. Those imperfections are not bugs. They are part of the experience.

The more synthetic and infinitely reproducible digital entertainment becomes, the more valuable irreproducible experiences may become.

This could produce a strange reversal.

For most of the history of entertainment, technology has progressively made performances less dependent on physical presence. Photography captured images. Film captured performances. Television brought them into people’s homes. Streaming eliminated the need for physical media.

AI could take that process almost to its logical endpoint: entertainment that doesn’t merely reproduce a performance but generates one on demand.

And then, paradoxically, the thing that becomes valuable is the performance that cannot be generated on demand. The human actor standing onstage. The band playing in front of you. The audience sitting around you. The knowledge that this particular performance is happening once, at this particular time, in this particular place, and then it is gone.

So I don’t necessarily think the arrival of AI-generated movies means the end of entertainment. It might mean the end of the entertainment business as we currently understand it.

Hollywood has spent a century figuring out how to manufacture scarcity around enormously expensive audiovisual productions. Generative AI may eventually make the manufacturing part of that equation dramatically cheaper.

And when production becomes cheap, something else has to become scarce. Maybe it will be human attention. Maybe it will be trusted brands and characters. Maybe it will be celebrity likenesses. Maybe it will be truly great writers and directors. Or maybe it will be something much older and simpler:

Being in a room with other human beings while something happens that cannot happen exactly the same way again.

Which, if that turns out to be the future, would mean that the most technologically advanced entertainment revolution in human history could end up giving us a renewed appreciation for something as technologically primitive as Broadway.

Lulz.

Hollywood might finally be defeated by theater.

Fire Sale 2.0: What a ‘Live Free or Die Hard’ Remake Would Actually Look Like in the Age of Generative Video

In the 2007 film Live Free or Die Hard, a disgruntled former Department of Defense analyst named Thomas Gabriel orchestrates a “fire sale”—a three-stage cyberattack designed to cripple America’s transportation, financial, and utility infrastructure in succession. The film’s hacking is, famously, Hollywood hacking: elevators disabled with a keystroke, traffic grids seized like a video game, a bravura sequence in which a fighter jet gets talked into destroying a highway overpass. It’s fun. It’s not remotely how any of this works.

But buried inside the film’s silliness is a mechanism that has aged into something closer to prophecy than fantasy: Gabriel’s crew doesn’t just attack infrastructure, they manipulate the information around the attack—faking footage, controlling narratives, and exploiting the gap between what officials believe is happening and what is actually happening. That’s the part of the plot worth revisiting, because it’s the part generative AI has quietly made real.

The Question Worth Asking

Could a bad actor today mount an updated version of this plot using generative AI video? The honest answer is: partially, and the part that’s plausible is scarier for being smaller and less cinematic than the movie ever imagined.

It helps to separate the fantasy from the genuinely available toolkit.

What Hollywood Got Wrong (and Still Gets Wrong)

The “fire sale” itself—remotely seizing control of SCADA systems, rail switching networks, and the financial system in a coordinated, movie-length cascade—still requires something generative AI doesn’t provide: actual privileged access to operational technology. You cannot generate your way into a control system. Critical infrastructure operators have also spent nearly two decades hardening precisely because scenarios like this stopped being hypothetical after Stuxnet, after the 2015 and 2016 Ukrainian grid attacks, after Colonial Pipeline. The barrier to entry for physical sabotage at Die Hard scale hasn’t dropped. If anything, the defensive posture around water systems, power grids, and financial clearing infrastructure is meaningfully better than it was when the film was released.

So a literal remake—AI mastermind flips a switch and the country goes dark—still belongs to fiction.

What Generative AI Actually Changes

The upgrade isn’t to the sabotage. It’s to the deception layer wrapped around it, and that layer is where the real threat lives.

Synthetic crisis footage. Fabricating convincing video of an explosion, an official statement, or an unfolding disaster used to require specialist skill, expensive tooling, and hours of rendering time. It now takes a laptop and an evening. A fabricated video of a plant meltdown, a fake presidential address ordering an evacuation, or invented footage of a bank run doesn’t need to fool forensic analysts. It only needs to survive the first ninety minutes of a crisis—the window in which decisions get made, markets move, and people act—before anyone has time to debunk it.

Real-time impersonation. This one has already left the theoretical stage. In 2024, an employee at the engineering firm Arup was tricked into wiring $25 million after joining what he believed was a video call with the company’s CFO and colleagues—all of them deepfaked in real time. That’s not a proof of concept anymore; that’s a documented loss. Scale that technique from corporate fraud to impersonating an emergency management official, a utility executive, or a financial regulator during a live crisis, and you have the connective tissue Gabriel’s crew needed actors and green screens to fake.

The liar’s dividend. This is the most insidious update, and the one the 2007 film couldn’t have anticipated because the concept didn’t exist yet. You don’t need your fake footage to be flawless. You just need enough synthetic material circulating that real footage becomes deniable. When authorities can plausibly wave away genuine evidence as “probably AI,” the attack surface isn’t the video anymore—it’s the public’s epistemic footing. That is a more durable weapon than any single fake, because it doesn’t require the forgery to be good. It requires the ecosystem to be noisy.

The Realistic Remake

Put those pieces together and the 2026 version of Live Free or Die Hard isn’t a hacker mastermind seizing the power grid while faking video to cover his tracks. It’s smaller, uglier, and closer to home: AI-generated video and audio used as a force multiplier layered on top of comparatively mundane intrusion and social engineering. A fabricated call from “the CFO.” A synthetic clip of a spokesperson announcing a closure that never happened. A wave of AI-generated “eyewitness” footage timed to a real, much smaller incident, engineered to make it look bigger, more coordinated, or more catastrophic than it is.

Less cinematic. More plausible. And notably, not speculative—every piece of it either has already happened at a smaller scale or maps directly onto capabilities that already exist.

Why This Matters Beyond the Thought Experiment

The interesting thing about updating a 2007 action movie for 2026 isn’t the exercise itself, it’s what the exercise reveals about where our institutional defenses are actually pointed. Most critical infrastructure hardening has (rightly) focused on the Gabriel-style threat: keeping unauthorized actors out of operational technology. Far less institutional energy has gone into hardening the information layer—verification protocols for crisis communications, rapid-response provenance tools, or public literacy around what a “liar’s dividend” attack even looks like while it’s happening.

Die Hard‘s villain needed a small army, government-level infrastructure access, and a fair amount of Hollywood luck. His 2026 counterpart needs a laptop, a plausible pretext, and about twenty minutes of a slow news cycle.

That gap—between how hard the movie made this look and how accessible the actual deception toolkit has become—is worth sitting with.

The AI Version of ‘Live Free or Die Hard’ Is Much Scarier

There is an interesting thought experiment hiding inside Live Free or Die Hard, the 2007 installment of the Die Hard franchise. The movie imagined a coordinated cyberattack capable of disrupting the United States by attacking the increasingly interconnected computer systems underlying transportation, finance, communications, utilities, and government. At the time, the premise seemed like an exaggerated Hollywood version of a very real concern: what would happen if someone could exploit the country’s growing dependence on digital infrastructure?

Nearly twenty years later, the premise looks considerably more interesting—not necessarily because the specific mechanics of the movie have become realistic, but because the architecture of the digital world has changed. We are moving toward a world in which AI agents increasingly sit between human beings and the underlying services they use. They schedule appointments, communicate with businesses, make purchases, manage information, interact with software, and potentially coordinate with other agents. The Internet is gradually becoming less of a collection of websites and applications that humans operate directly and more of an ecosystem of machines operating on our behalf.

That creates the possibility of a very different kind of “fire sale.”

The original Die Hard 4 scenario was fundamentally about taking control of infrastructure. An updated version would be about taking control of the systems that control infrastructure—or, perhaps more dangerously, manipulating the systems that have been entrusted with making decisions about it.

That distinction matters.

The Internet Has Become a Stack of Dependencies

One of the great illusions of the modern Internet is that thousands of different services appear to be independent when they are often dependent upon the same underlying infrastructure. A person might interact with a bank, an airline, a hospital, a government agency, and an online retailer and reasonably assume that these are five separate systems. Technically, however, they may depend upon overlapping cloud providers, identity systems, authentication services, software libraries, payment networks, communications infrastructure, APIs, and other common components.

This creates enormous efficiency, but it also creates chokepoints.

The original Live Free or Die Hard understood this basic principle. The villain did not need to personally destroy every bridge, turn off every television station, and shut down every traffic light. He needed to understand the dependencies connecting those systems and exploit the points where many systems converged.

AI agents potentially add another layer to this architecture.

Instead of humans individually interacting with thousands of services, increasingly sophisticated agents could mediate those interactions. Your personal AI might communicate with your bank. Your employer’s AI might communicate with your personal AI. An airline’s AI might negotiate with your calendar. A doctor’s AI might interact with your insurance company’s AI. Businesses might increasingly have autonomous software negotiating with autonomous software.

That is enormously convenient.

It is also an entirely new attack surface.

The New Fire Sale Wouldn’t Necessarily Turn Everything Off

The most interesting version of an AI-enabled cyberattack probably wouldn’t look like the traditional Hollywood blackout.

It wouldn’t necessarily be a situation in which the lights go out, the phones stop working, the stock market crashes, and every computer screen suddenly goes black. That would certainly be dramatic, but it might actually be the easier scenario to understand and respond to.

The more disturbing possibility is that everything continues functioning.

It just begins producing the wrong answers.

Your bank tells you that your account contains no money. Your airline says your reservation doesn’t exist. Your employer’s system says you no longer work there. A logistics system redirects a shipment to the wrong warehouse. A hospital’s software produces contradictory information about a patient’s records. A government database identifies someone incorrectly. An automated purchasing system orders the wrong supplies.

Nothing has necessarily “gone down.”

Instead, reality has become unreliable.

That could be far more disruptive.

Modern civilization depends not merely upon machines functioning, but upon people being able to trust the information those machines provide. If that trust disappears, an enormous amount of economic activity has to slow down while humans attempt to verify what is actually happening.

The attacker doesn’t necessarily need to destroy the system.

They can attack confidence in the system.

AI Makes the Impersonation Problem Much Worse

This is where generative AI changes the premise dramatically.

Traditional cyberattacks generally require some combination of technical vulnerability, stolen credentials, malicious code, or human deception. AI doesn’t eliminate those requirements, but it potentially makes the human component dramatically more scalable.

Imagine receiving a message from your bank. It looks legitimate. You ask your personal AI whether it is legitimate. Your AI checks the relevant information and tells you that everything appears to be fine.

You proceed.

Except the information your AI used to authenticate the message has itself been manipulated.

Now imagine this happening throughout an organization.

An employee receives instructions from what appears to be their manager. The manager’s voice is correct. The writing style is correct. The previous correspondence is correct. The request makes sense in context.

The employee’s AI assistant examines the message and reports that it appears authentic.

So the employee follows it.

The problem is not simply that someone has created a convincing fake.

The problem is that the machines responsible for determining whether something is fake have also become part of the attack surface.

That is an entirely different security problem.

The AI Agent Becomes the New Employee

There is another important difference between an ordinary cyberattack and an AI-era cyberattack.

A conventional attacker has limited bandwidth. An individual hacker can only investigate so many systems, write so many messages, maintain so many identities, and respond to so many defensive actions.

An autonomous AI system potentially has none of those limitations.

It could investigate one organization while simultaneously investigating hundreds of others. It could maintain thousands of conversations. It could analyze enormous quantities of technical documentation. It could adapt its behavior based upon what happens after every attempt.

The important point isn’t that an AI necessarily becomes superintelligent.

It doesn’t have to.

Even a relatively capable system that can operate continuously, cheaply, and at enormous scale changes the economics of cybercrime.

Instead of asking, “How many systems can the attacker personally compromise?” we might eventually have to ask, “How many systems can the attacker’s agents investigate and manipulate simultaneously?”

That is a profoundly different question.

The Really Interesting Scenario: Nobody Knows Who Is in Charge

This leads to what might be the most frightening version of the hypothetical.

Imagine that an attack begins.

Some systems start behaving strangely. Security teams respond. The attackers begin impersonating the security teams. Companies disconnect certain systems. The attackers generate convincing explanations for why those systems were disconnected.

Government agencies issue emergency instructions. Fake versions of those instructions begin circulating. Executives receive conflicting information. Personal AI assistants attempt to determine which information is trustworthy. Corporate AI systems attempt to determine which government instructions are legitimate. Government systems attempt to determine which corporate systems have been compromised.

Meanwhile, ordinary people are asking their own AIs what is happening.

And the AIs disagree.

At that point, the attack has entered a completely different phase.

The objective is no longer simply to compromise computers.

It is to compromise the epistemic infrastructure of society—the mechanisms by which society determines what is true.

That is a much more profound vulnerability.

Your Navi Could Become Part of the Problem

This is particularly relevant if the future develops something like the personalized “Navi” concept that increasingly seems plausible: an AI that knows an individual extremely well and serves as their primary interface with the digital world.

A Navi could become the ultimate defensive technology.

It knows you. It knows your accounts. It knows your normal behavior. It can identify unusual requests. It can independently verify information. It can warn you when something appears suspicious.

In principle, that could make individuals dramatically safer.

But there is an obvious paradox.

The more we trust the Navi, the more valuable the Navi becomes as a target.

Suppose your Navi tells you, “I’ve checked this. It’s legitimate.”

That statement might eventually carry more weight than an email from a bank, a text message from a friend, or even a phone call from a government agency.

After all, the whole point of the Navi is that it is supposed to be your trusted intermediary.

But what happens if the Navi’s information sources have been compromised? Or its authentication mechanisms? Or its memory? Or the APIs through which it communicates with other services? Or the model itself?

Suddenly the technology intended to protect people from an increasingly complicated digital world becomes the most important piece of infrastructure an attacker needs to compromise.

The attacker doesn’t have to fool you.

They fool the thing you trust to tell you when you’re being fooled.

This Could Produce an Information “Fire Sale”

The original Live Free or Die Hard envisioned a “fire sale” in which one system after another was brought down. An AI-era fire sale could instead proceed through increasingly severe levels of information corruption.

First, relatively minor services become unreliable. Then financial systems begin producing contradictory information. Then logistics systems begin disagreeing with one another.

Then communications become suspect.

Then government information becomes difficult to authenticate. Then AI agents begin disagreeing about which sources are trustworthy. Eventually, people stop knowing which digital information they can safely act upon.

At that point, society might begin reverting to surprisingly primitive mechanisms. Phone calls. Physical documents. Paper records. Face-to-face verification. People physically going to banks and government offices. Human beings personally confirming that other human beings are who they claim to be.

The irony would be extraordinary.

The most technologically sophisticated civilization in human history might temporarily have to rediscover the value of asking another human being, in person, “Are you sure?”

The Attack Doesn’t Even Have to Be Perfect

There is another reason this scenario is worth taking seriously as a thought experiment. A successful attack doesn’t necessarily require complete control.

Cybersecurity is often discussed in terms of whether an attacker can penetrate a particular system. But the societal consequences of an attack can depend on something else: how much disruption can be produced with relatively little control.

If an attacker can cause a small percentage of automated systems to behave incorrectly, while simultaneously making it difficult to determine which systems are compromised, the resulting confusion could become disproportionately large.

This is especially true in highly automated environments.

Automation works because systems assume that other systems are behaving predictably. If that assumption breaks down, organizations may have to insert humans back into processes that were specifically designed to eliminate human intervention.

The bottleneck then becomes human attention.

And human attention is scarce.

The Villain Might Not Look Like a Villain

This also changes the cinematic possibilities.

The villain in Live Free or Die Hard is recognizably a villain. He has a plan, a hideout, and a technological conspiracy.

The AI-era villain might be much harder to identify. It could be a criminal organization, a hostile government, a terrorist organization, a rogue insider, a compromised software company, or a group that steals access to autonomous AI agents.

Or, in the most unsettling version, nobody initially knows who did it at all. The attack could begin as a collection of seemingly unrelated technical incidents. A strange banking problem here.

A logistics anomaly there. An authentication failure somewhere else. A government database behaving strangely. A few apparently unrelated deepfake communications. Only gradually would investigators realize that these incidents aren’t independent.

Something—or someone—is moving through the connective tissue. And by the time humans understand the pattern, the attacker has already learned how the defenders respond.

The Ultimate Vulnerability Is Complexity

There is a larger lesson here that goes beyond AI. Every generation of technology creates new capabilities while also creating new dependencies.

The telegraph created communications networks. Electricity created electrical grids. The telephone created telecommunications networks. Computers created information networks. The Internet connected those networks. Cloud computing concentrated enormous amounts of computation and storage into shared infrastructure.

AI agents could now become the decision-making layer sitting on top of all of it. That could be enormously beneficial. It could also mean that civilization is gradually constructing another layer of systemic dependency. The more capable these agents become, the more we may allow them to do without asking for human confirmation.

Eventually, the question may no longer be whether an AI can write an email or book a restaurant.

It may be whether we trust an AI to decide which email, which transaction, which identity, which instruction, and which piece of information should be considered legitimate.

That is an extraordinary amount of authority to place in software.

The Sequel Practically Writes Itself

If Hollywood ever made a genuinely updated Live Free or Die Hard, I would hope it resisted the temptation to simply make the villain “an AI.” That would actually miss the interesting part.

The frightening scenario isn’t necessarily an artificial intelligence deciding to destroy humanity. It is a malicious human being—or organization—realizing that AI agents have become the connective tissue of civilization and figuring out how to exploit them.

The attack would not necessarily look like machines taking over.

It might look like machines doing exactly what they were designed to do. They authenticate. They communicate. They execute instructions. They optimize. They make decisions. They trust other machines. They pass information along. They act autonomously.

And somewhere in that enormous network of apparently reasonable decisions, someone has inserted a lie. That is the real 2020s-and-beyond version of the Die Hard premise.

John McClane wouldn’t necessarily be running around trying to stop somebody from shutting down the computers. He’d be trying to figure out which computers he could still believe. And that may ultimately be the more frightening question. Because when civilization’s infrastructure stops working, people know there is a problem. When civilization’s infrastructure continues working while quietly telling everyone different versions of reality, how do you even know there is a problem?

We Got A Problem

by Shelt Garner
@sheltgarner

It definitely seems as though we’re on the cusp of a deluge of AI generated celebrity porn. I say this in the context of there being at least one free open source AI video generator that I can be run locally.

This is just a sample of the bullshit we’re going to see soon. And this isn’t even porn.

From what I can tell, this generator, whose name eludes me, doesn’t have any restrictions and it’s probably going to be used to generate a shit tone of celebrity video porn pretty soon.

It’s going to happen all of a sudden and it will be rather disturbing. It will be interesting to see if this flood of celebrity porn will cause Congress to act to the point that there is some regulation.

We’re Getting Closer To AI Celebrity Porn Tipping Point

by Shelt Garner
@sheltgarner

In fits and starts, we’re reaching a point where open source AI image generators are getting good enough that they can generate high-quality celebrity porn. We aren’t there yet by any stretch of the imagination.

Right now, I’m seeing a lot of pretty good fakes of well-known actresses in one-piece bikinis. Some of them are so good that you can barely catch that they are AI-generated.

But once we reach the tipping point where people can generate unfettered AI celebrity porn, watch out. Things are going to go a little nuts on social media until someone, somewhere figures out how to tamp it down.

Or, who knows, maybe being awash in high quality AI generated celebrity porn will become the new normal. I hope not, but that’s a real possibility.

Before The Deluge

by Shelt Garner
@sheltgarner

It is clear that there will be a “Fappening” like event when it comes to faux AI generated celebrity porn pretty soon. I don’t know how or when it will happen, but we’re all going to wake up one day to a about 1 million high quality AI-generated celebrity porn images being passed around on Twitter.

It seems inevitable — and very sad — at this point.

What The Fuck Are We Going To Do About AI-Generated Celebrity Porn?

by Shelt Garner
@sheltgarner

I continue to grow ever more alarmed by the increase in AI-generated celebrity photos. I know there was something of a kerfuffle recently over some silly bad Taylor Swift “porn” that appeared on Twitter, but that’s nowhere near what we should be worried about going forward.

At the moment, AI-generated celebrity images are rather banal and easy to spot. What I see on my social media feed a lot these days is such imagines which usually only vaguely look like whatever celebrity they’re supposed to represent. An example of a picture that is supposed to be Margot Robbie is shown below.

An AI-generated photo of Margot Robbie.

The photo above at least attempts to replicate what Robbie actually looks like. Usually one of the big mistakes of AI-generated celebrity photos is they are clearly done in a way to show what men WISH the woman in question looked like. They’re usually a bit more curvy and symmetrical than the real deal which makes it easy to spot as a fake.

A sign of things to come.

My concern is what happens in a few years (months?) when we get passed the “uncanny valley” and photorealistic images of celebrities come common place. I know because of the silliness involving Tay-Tay that there has been a move to pass some legislation, but the wheels of government move very, very slow compared to AI developments.

Add to this how many “unaligned” people want the right do do whatever the fuck they want with AI and it definitely seems as though we’re careening towards a very, very dark and rather surreal future. We really need to start to work on developing watermark technology that will allow the audience to distinguish between AI-Generated photos and the real thing.

While we’re on the subject of such things, another development I’ve noticed on the AI image front is women using AI filters on their faces while leaving the rest of their body unaltered. See below:


I find this rather surreal. But this is definitely a development to keep an eye on. It seems very possible that there may come a time when AI-filters are so good that the causal viewer won’t be able to discern that a phot has been altered. This could lead to some rather surreal developments on dating apps.

AI’s ‘Oracle Problem’

I was feeling lazy, and got ChatGPT to write this for me.

As we marvel at the wonders of artificial intelligence, we often overlook the profound philosophical and ethical questions it raises. One such dilemma is what I like to call the “Oracle Problem” – a conundrum that sits at the intersection of AI’s predictive capabilities and its impact on human decision-making.

At its core, the Oracle Problem encapsulates the challenge of navigating the fine line between prediction and determination. As AI systems become increasingly adept at forecasting future events based on vast datasets and complex algorithms, they inevitably wield significant influence over our choices and actions. This influence can be both empowering and unsettling.

On one hand, AI oracles offer invaluable insights into potential outcomes, enabling us to make more informed decisions in various domains, from finance to healthcare. They can uncover hidden patterns, identify trends, and even anticipate risks with remarkable accuracy. In this regard, AI serves as a powerful tool for augmenting human intelligence and enhancing our ability to navigate an uncertain world.

However, the flip side of this predictive prowess is the potential for undue influence and loss of agency. When we rely too heavily on AI predictions, we risk abdicating our responsibility for critical decision-making to machines. This raises fundamental questions about autonomy, accountability, and the ethical implications of algorithmic determinism.

Moreover, the accuracy of AI predictions is not infallible. Biases in data collection, algorithmic design, or interpretation can lead to erroneous forecasts, perpetuating systemic inequalities and injustices. As we increasingly entrust AI with shaping our futures, we must remain vigilant against the pitfalls of unchecked reliance on predictive models.

Ultimately, the Oracle Problem underscores the need for a balanced approach to AI integration – one that harnesses the benefits of predictive analytics while safeguarding human agency and ethical values. It calls for interdisciplinary collaboration among technologists, ethicists, policymakers, and society at large to establish norms and regulations that guide the responsible development and deployment of AI systems.

In navigating the complexities of the Oracle Problem, we are challenged to embrace the promise of AI innovation while upholding the principles of human dignity, autonomy, and justice. Only through thoughtful reflection and collective action can we harness the transformative potential of AI for the betterment of humanity.