Tag: I Love Hollywood

Update On My Scifi Dramedy Novel For October 30, 2025

by Shelt Garner
@sheltgarner

Claude LLM is really, really good at being a manuscript consultant. It has helped me a great deal. I see it as an enhanced, advanced word processor with me continuing to do the hard work of actually, like, writing and stuff.

I continue to feel like I’m spinning my wheels to a limited extent. I have totally changed the order of the plot in some respects just the morning. And I’m beginning to worry about scene bloat. And, yet, I am in the first half of the second act and that’s supposed to be the longest part of the novel.

So…lulz?

The real test will come in the second half of the second act. I have a lot of ground to cover then and I’m really worried the novel’s scene count will balloon. I’m hoping for no more than 120,000 words, but if I start to creep up to 160,00 like a Stieg Larsson novel I may just have to grit my teeth.

But one major flaw of how I develop novels is I don’t really know word count until the very end of the process. And, in a sense, think that’s probably for the best. I just need to shut up and write, as they say.

I really hope this damn thing is no more than 140,000 words. If it’s 160,000…oh boy. That is going to be a tough sell.

Anyway, if you need any creative writing to do, I highly recommend Claude LLM to be your consultant. I say this in the context that I can neither afford nor get actual human literary consultants to give me the time of day.

They think I’m a freaky weirdo that they don’t want to work with.

For Shame, Atlantic Radio

by Shelt Garner
@sheltgarner

A House Of Dynamite is a bad movie for a number of reasons. But you would never know that listening to the latest episode of The Atlantic Radio podcast. Yikes. Talk about an advertorial!

Apparently, one of their staff writers was an advisor on the movie so they had a buy-in. But that movie sucked. It could have been so much better, but no, we were stuck with a shitty movie.

Listening to how effusive the Atlantic Radio was for such a shitty movie made me realize why MAGA exists. Sometimes the elites really are corrupt. Sometimes they try to pull a fast one on regular folks.

Ugh.

But I guess I have to forgive The Atlantic this one time for such a weird screw up.

Deep Breath

by Shelt Garner
@sheltgarner

Ok, I have to admit that there is an element of sex work in this scifi dramedy novel I’m working on. Figuring out exactly where to introduce it and put it has been the toughest structural part of working on this novel.

These days, I’m imagining my female romantic lead of this scifi dramedy looking like Rachel Sennott.

The key thing was that I initially introduced it too soon it — stripping — too soon and it kind of was a downer, specifically how I introduced it.

But gradually, with a lot of help from AI as my manuscript consultant, I finally figured out the best way to approach things. I’m punting the spicy stuff until the second half of the novel, specifically the “bad guys closing in” part of the novel — the second half of the second act.

I’ve pretty much nailed down the first half of the novel, but the second half continues to be very much in flux for various reasons.

Now, in the past when I had stripping as part of the plot of a novel — specifically the Stieg Larsson homage I worked on for years and years — I couldn’t even get an actual human literary consultant to look at it. The moment they realized what I was doing with the novel, they pretty much told me it was trash and why was I even doing it to begin with.

But this go round, I’m hoping that at least, should I figure out where to find the money, that I can get them to at least read the first few chapters. Maybe?

I have my doubts. Literary types just refuse to take me seriously because they think I’m a drunk kook. And I will admit that at times in the past I have resembled that remark. But I’ve sobered up a great deal. The kookiness, however, remains and I just can’t help who I am.

Someone May…Care?

by Shelt Garner
@sheltgarner

I keep a very, very close eye on my Webstats and something strange happened recently — a person from LA looked at my “replicants” tag. Given the nature of the novel I’m working on, this is causing some creative existential angst.

Is someone going to steal a march on me? Is someone going to come up with a screenplay identical — or nearly identical — to the premise of my novel? I just have to, of course, write such fears off as a hazard of being a creative person.

And given how personal and unique my novel is, I hope — hope — that even if someone comes out with a screenplay SIMILAR to what I have with this novel, it won’t be so similar that I have to stop working on the novel.

If anything, if someone else came out with a *somewhat* similar concept, but my idea was still as personal and unique as it is now, it might be seen as a “13th Floor Vs. The Matrix” type situation.

The moral of the story — don’t overthink things. Shut up and write.

The Movie ‘A House Of Dynamite’ Could Have Been

by Shelt Garner
@sheltgarner

SPOILERS FOR “A HOUSE OF DYNAMITE.”
SPOILERS FOR “A HOUSE OF DYNAMITE.”
SPOILERS FOR “A HOUSE OF DYNAMITE.”

Ok, this movie really irritates me on a number of different levels. Though I do find it amusing that the president is clearly meant to be sane like Obama, not insane like Trump. So, I’m assuming they thought the Blues would be so pleased at seeing a sane black president that the Reds would assume that sane black president made the wrong decision — even though we never find out what the fuck the decision was.

I assume. I got so mad at the plot that I skipped forward a little bit to see if Chicago blew up or not.

And I — and the rest of the audience — never found out.

That is the fatal flaw of the plot. I found this “we’ll never know” element of the story to be a big old gimmick and very annoying.

What *I* would do is maybe something like this — instead of giving the audience creative blueballs by pausing to give different POVs on the events, have one POV and have the explosion — or not explosion — of Chicago be the end of the second act.

Or, if you really wanted to be interesting, have the non-explosion of Chicago the end of the FIRST act and the rest of the movie is different people, from their POV, explaining what they did and the mistakes they made along the way.

Much better. It would be far more interesting and make for a far more serious movie instead of the bullshit that we got.

‘One Battle After Another’ Probably Will Be Banned Soon Enough

by Shelt Garner
@sheltgarner

One Battle After Another is the best movie of the decade, so far. In fact, there were points while watching it that I found myself comparing it to The Godfather in terms of it potentially becoming a cultural touchstone for decades to come.

But there’s a big problem — it’s seems inevitable that it will get sucked into the culture wars. Now, obviously, in the short term such controversy may help its box office. In the long term, however, I worry about it becoming cultural contraband if Trump goes full tyrant as it seems he is headed at the moment.

So, I guess enjoy it while you can?

The interesting thing about the movie to me was how it managed to be progressive without being “woke.” It was just a really good movie.

I Guess We’ll Just Have To Wait & See

By Shelt Garner
@sheltgarner

I got a ping on my blog from someone in New York City who came across the site from Instagram and I immediately thought of an email that I sent to The Little Gold Men podcast. I ask them a few questions, not really expecting any sort of response.

And I didn’t get a response — at least directly.

Even though it was late on a hazy summer day, someone obviously was interested enough in me from the podcast to do a search for my name then came through Instagram to my blog. (At least, that’s what makes the most sense — absolutely no one reads my blog, who else would it have been?)

Now, I would be extremely — EXTREMELY — flattered if the podcast used one of the questions I emailed them…but I have my doubts. I have my doubts because of what I call “the Kook Tax.” My fear is that they’ll look over my blog and realize I’m too bonkers to use one of my questions.

But who knows. Only time will tell, I suppose.

The Disappearing Middle: How Hollywood’s Bifurcation is Reshaping Cinema

Modern Hollywood has evolved into a landscape dominated by two distinct categories of films: massive four-quadrant blockbusters designed to appeal to global audiences, and smaller message-driven productions that prioritize social commentary. This binary division represents a fundamental shift in how the film industry approaches storytelling and audience engagement.

The Message vs. Plot Dilemma

While socially conscious filmmaking has always existed, contemporary cinema often struggles to balance thematic messaging with compelling narrative structure. When political or social commentary overshadows plot development, audiences may feel lectured rather than entertained. The most effective films throughout history have woven their themes organically into their stories, allowing the message to emerge naturally from character development and dramatic conflict.

This challenge isn’t exclusive to progressive filmmaking. Conservative-leaning productions can fall into the same trap, becoming so focused on delivering their ideological perspective that they sacrifice narrative coherence and audience engagement. Films that prioritize message delivery over storytelling craft often alienate viewers regardless of their political alignment.

The Economics Behind the Split

The current bifurcation stems largely from fundamental changes in film economics. The collapse of the physical media market has eliminated a crucial revenue stream that once supported mid-budget productions. In the DVD era, a $30 million film could reasonably expect to recoup its investment through home video sales, providing studios with the financial cushion to take creative risks on moderately budgeted projects.

Without this safety net, studios have gravitated toward two extremes: massive tentpole productions with global appeal and merchandising potential, or low-budget passion projects that reflect the personal convictions of their creators. The middle-tier films that once formed the backbone of Hollywood’s diverse output have largely disappeared.

The Missing Middle Ground

This economic reality has created a void where character-driven dramas, romantic comedies, thriller, and other genre films once thrived. These mid-budget productions often provided the most satisfying moviegoing experiences, offering sophisticated storytelling without the commercial constraints of blockbuster filmmaking or the ideological weight of message movies.

The absence of this middle tier has impoverished the cinematic landscape, forcing audiences to choose between spectacle-driven entertainment and politically charged narratives. Both serve their purpose, but the lack of alternatives limits the range of stories being told and the variety of experiences available to moviegoers.

Looking Forward

The industry stands at a crossroads as technological advances, particularly in artificial intelligence, promise to further disrupt traditional filmmaking models. These changes may either exacerbate the current bifurcation or create new opportunities for diverse storytelling approaches.

The challenge for contemporary Hollywood lies in rediscovering the art of embedding meaningful themes within compelling narratives, regardless of budget constraints or technological innovations. The most enduring films have always been those that trust audiences to engage with complex ideas through well-crafted stories rather than explicit messaging.

As the industry continues to evolve, the demand for authentic storytelling that respects audience intelligence while exploring significant themes remains constant. The future of cinema may well depend on filmmakers’ ability to bridge the gap between entertainment and enlightenment without sacrificing either.

The Great Reversal: How AI Will Make Broadway the New Hollywood

Hollywood has long been the undisputed capital of entertainment, drawing aspiring actors, directors, and creators from around the world with promises of fame, fortune, and artistic fulfillment. But as artificial intelligence rapidly transforms how we create and consume content, we may be witnessing the beginning of one of the most dramatic reversals in entertainment history. The future of stardom might not be found in the hills of Los Angeles, but on the stages of Broadway.

The AI Content Revolution

We’re racing toward a world where anyone with a smartphone and an internet connection can generate a bespoke movie or television show tailored to their exact preferences. Want a romantic comedy set in medieval Japan starring your favorite actors? AI can create it. Prefer a sci-fi thriller with your preferred pacing, themes, and visual style? That’s just a few prompts away.

This isn’t science fiction—it’s the logical extension of technologies that already exist. AI systems can now generate photorealistic video, synthesize convincing voices, and craft compelling narratives. As these capabilities mature and become accessible to consumers, the traditional Hollywood model of mass-produced content designed to appeal to the broadest possible audience begins to look antiquated.

Why settle for whatever Netflix decides to greenlight when you can have AI create exactly the content you want to watch, precisely when you want to watch it? The democratization of content creation through AI doesn’t just threaten Hollywood’s business model—it fundamentally challenges the very concept of shared cultural experiences around professionally produced media.

The Irreplaceable Magic of Live Performance

But here’s where the story takes an unexpected turn. As AI-generated content becomes ubiquitous and, paradoxically, mundane, human beings will increasingly crave something that no algorithm can replicate: the authentic, unrepeatable experience of live performance.

There’s something fundamentally different about watching a human being perform live on stage. The knowledge that anything could happen—a forgotten line, a broken prop, a moment of pure spontaneous brilliance—creates a tension and excitement that no perfectly polished AI-generated content can match. When an actor delivers a powerful monologue on Broadway, the audience shares in a moment that will never exist again in exactly the same way.

This isn’t just about nostalgia or romanticism. It’s about the deep human need for authentic connection and shared experience. In a world increasingly mediated by algorithms and artificial intelligence, live theatre offers something precious: unfiltered humanity.

The Great Migration to Broadway

By 2030, we may witness a fundamental shift in where ambitious performers choose to build their careers. Instead of heading west to Hollywood, the most talented young actors, directors, and writers will likely head east to New York, seeking the irreplaceable validation that can only come from a live audience.

This migration will be driven by both push and pull factors. The push comes from a Hollywood industry that’s struggling to compete with AI-generated content, where traditional roles for human performers are diminishing. The pull comes from a Broadway and wider live theatre scene that’s experiencing a renaissance as audiences hunger for authentic, human experiences.

Consider the career calculus for a young performer in 2030: compete for fewer and fewer roles in an industry being rapidly automated, or join a growing live theatre scene where human presence is not just valuable but essential. The choice becomes obvious.

The Gradual Then Sudden Collapse

The transformation of entertainment hierarchies rarely happens overnight, but when it does occur, it often follows Ernest Hemingway’s famous description of bankruptcy: gradually, then suddenly. We may already be in the “gradually” phase.

Hollywood has been grappling with disruption for years—streaming services upended traditional distribution, the pandemic accelerated changes in viewing habits, and now AI threatens to automate content creation itself. Each of these challenges has chipped away at the industry’s foundations, but the system has adapted and survived.

However, there’s a tipping point where accumulated pressures create a cascade effect. When AI can generate personalized content instantly and cheaply, when audiences increasingly value authentic experiences over polished productions, and when the most talented performers migrate to live theatre, Hollywood’s centuries-old dominance could crumble with stunning speed.

The New Entertainment Ecosystem

This doesn’t mean that all screen-based entertainment will disappear. Rather, we’re likely to see a bifurcation of the entertainment industry. On one side, AI-generated content will provide endless personalized entertainment options. On the other, live performance will offer premium, authentic experiences that command both artistic prestige and economic value.

Broadway and live theatre will likely expand beyond their current geographical and conceptual boundaries. We may see the emergence of live performance hubs in cities around the world, each developing their own distinctive theatrical cultures. Regional theatre could experience unprecedented growth as audiences seek out live experiences in their local communities.

The economic implications are profound. While AI-generated content will likely be nearly free to produce and consume, live performance will become increasingly valuable precisely because of its scarcity and authenticity. The performers who master live theatre skills may find themselves in a position similar to master craftsmen in the age of mass production—rare, valuable, and irreplaceable.

The Clock is Ticking

The signs are already emerging. AI-generated content is improving at an exponential rate, traditional Hollywood productions are becoming increasingly expensive and risky, and audiences are showing a growing appreciation for authentic, live experiences across all forms of entertainment.

The entertainment industry has always been cyclical, with new technologies disrupting old ways of doing business. But the AI revolution represents something fundamentally different—not just a new distribution method or production technique, but a challenge to the very notion of human creativity as a scarce resource.

In this new landscape, the irreplaceable value of live, human performance may make Broadway the unlikely winner. The young performers heading to New York instead of Los Angeles in 2030 may be making the smartest career decision of their lives, choosing the one corner of the entertainment industry that AI cannot touch.

The curtain is rising on a new act in entertainment history, and the spotlight is shifting from Hollywood to Broadway. The only question is how quickly the audience will follow.

The Jurassic Franchise’s Missed Opportunity for Real-World Storytelling

The Jurassic Park franchise has painted itself into a narrative corner, and it’s time for the filmmakers to embrace a more ambitious vision. While I haven’t kept up with the recent installments, my understanding is that the series has established dinosaurs as a permanent fixture in the modern world, particularly in equatorial regions. This premise opens up fascinating storytelling possibilities that the franchise has barely begun to explore.

Instead of retreating to yet another remote island with another failed genetic experiment, why not examine how contemporary society would actually adapt to living alongside apex predators? The real dramatic potential lies not in isolated disaster scenarios, but in the mundane reality of coexistence with creatures that were never meant to share our world.

Imagine following the daily lives of people in São Paulo or Lagos, where a Tyrannosaurus Rex roaming the outskirts isn’t a shocking plot twist—it’s Tuesday. How do children walk to school when velociraptors might be hunting in the nearby favelas? What happens to agriculture when herbivorous dinosaurs migrate through farming regions? How do emergency services adapt their protocols when every call could involve a creature that’s been extinct for 65 million years?

These questions offer rich material for human drama that goes far beyond the franchise’s current formula of “scientists make bad decisions, dinosaurs escape, chaos ensues.” The most compelling aspect of the Jurassic concept was never the spectacle of the dinosaurs themselves—it was the exploration of humanity’s relationship with forces beyond our control.

By focusing on integrated coexistence rather than isolated incidents, the franchise could explore themes of environmental adaptation, social inequality, and technological innovation in genuinely meaningful ways. How do wealthy neighborhoods afford anti-dinosaur barriers while poor communities remain vulnerable? What new industries emerge around dinosaur management? How do governments regulate creatures that don’t recognize borders?

The island-based approach has exhausted its creative possibilities. The franchise needs to embrace the logical conclusion of its own premise: dinosaurs aren’t just park attractions that occasionally escape—they’re a permanent part of our world now. The most interesting stories lie not in running from that reality, but in learning to live with it.