In this captivating episode Rich and Paul venture into the year 2036, a world where advanced AI has seemingly replaced humans, leading to a thought-provoking exploration of the endless possibilities. This podcast is sponsored by Aboard.

Hey, happy New Year, Paul.

Hey, rich.

It's New Year.

What's, what's that about?

Well, when it turns January 1st, it's January 1st, 2036.

Oh, wow.

That's good.

I finally lost all the weight.

I feel great.

You look great.

Thank

you.

You too.

We're doing really

We're doing great.

I

I just had that new procedure, so I'm feeling better.

Are you excited about this game that's coming out?

Oh.

What's the new game

What do you mean?

What's the new game?

It's the new, um, Activision game that you don't know.

The new game.

Oh, wait, we have to figure out what the game is.

No,

they've got, they, they, they like mobilize their 6,000 AI brains

and on January 31st, 31 days from now.

Okay.

Okay.

Um, an entire video game will be released.

Oh.

And like we are not, we don't have anything to do with it.

Well, we made the computers that make it.

Oh.

So there's no humans involved.

There's no humans involved.

finally did it.

They got rid of the humans.

No, but here's the thing.

At the same time, Paul, guess what?

What else it gets released?

Uhhuh.

A line of clothes that no one's seen yet.

A logo, a brand,

a

20 minute short film that sets up the game and

no one's seen any of this.

And there'll be a soundtrack with tracks.

Guess who's, who are the musicians that are lined up for the tracks?

All AI, robot musicians.

Black Sabbath, but there's an extra H on the Sabbath,

Ah, like they licensed the, all the deceased members of Black Sabbath.

I, I guess, well, Ozzy's fine by the way.

It's the Air 2031 Ozzy's fine.

It's, it's not quite clear how that happens,

And so a bunch, I think 160 tracks are being released

on, uh, Spotify simultaneously.

seems like too many tracks, but it's great that Spotify still exists.

Didn't expect that.

do you feel about this?

That it had no director, it had no musicians, it had no

artists, and an entire product, which by the way, costs 1 29

This is, this was gonna be, so it's not like $5.

Like I'm gonna spend real money

Hell no.

It's not $5.

You gotta pay the, you gotta pay the electric bill for all these

computers coming up with this thing.

It's a vast world.

Do you remember Grant Theft Auto from 20 years ago?

I do.

It's pretty big.

You would drive around in your car

apparently it's bigger than that.

Okay.

And by a factor of roughly 20,000.

me ask you something, man.

I mean, do you remember when, like years ago, everybody's like, oh my God.

I asked the chat thing a question and the AI responded and it sounded like a person.

Now, here we are.

An entire product is coming out with I think, no input other than, other

than pointing it at other products.

Are you gonna buy it?

Of course I am.

It's gonna be amazing.

Is it gonna be better than death Stranding?

Death Stranding had you walking around the wilderness

and seeking energy from, I think, an unborn baby in a jar.

No.

Obviously it's not gonna be as good

Yeah.

Okay.

Thank you.

Just wanted to get there.

It

gets crazier.

Dude, you ready for this?

I'm ready

As soon as it comes out.

Kotaku.

Yeah.

And PC Gamer.

It's amazing.

Those still exist.

Well, they, well, they don't, because apparently robots will review the

game that just got made by the robots.

Hold on a minute.

Who's gonna play it?

Robots.

I mean, this is the thing, like at some point, do we hit the end

point here where it's just like the robots made it, the robots reviewed it.

AMC Theaters took out 500 theaters where you

can watch the game play itself effectively through different camera

Activision Blizzard, Microsoft, Google got together and made this happen.

Six.

sequels will be coming out every three months for the next two years of the

progress progression of this storyline.

That's wild.

Cuz they still haven't released the third avatar.

That's a different story, man.

That's a completely different story.

How

you feel about all this as a crea?

You, you used to write, didn't you?

Oh, that Paul's long dead.

Well, once you decided to fully commit to

being a musician, that's what

happened.

Yeah, no.

Look, how do I feel about this?

I, I feel that.

And this is, you know what?

You know what, what I really think, cuz you threw this one at me,

Richard, you threw this puzzle at me.

I don't know if there is a tremendous difference between the truly corporatized

media product like the Disney gge, you know this singing squirrels,

Alvin and the Chipmunks part 45.

Okay.

Okay.

And

saying that's not a product of just pure human creativity?

The thing is, well here's, here's where we've

landed as a society back in 2023.

Remember those days, which was, okay, it's a franchise based on a,

you know, like a, a gummy candy.

It'll be like gummy,

The Marvel Universe.

Gummy bears the movie.

Um, but.

But you would have these like, okay, well people like franchises

and they like existing ip, but we'll do our most interesting

and creative work inside of that.

The special effects, the comedy, we'll get first class voice talent or whatever.

Or sometimes they take a dark turn, they get a director

that's a little more on the

Yeah.

They love to make it.

The, the dark gritty reboot.

Reboot is how, how our culture deals with growing up.

Right.

It's

Yeah.

Yeah.

The Joker movie, which is a very sad,

Sort of a Scorsese homage based on Batman, right?

Like and so, um, Okay, so I, you know, we have this new framework where that

is essentially we've said, look, most creativity, true creativity of the

whole form, making a whole movie like The Godfather, which of course is based

on a novel or Star Wars, which is, has a ton of influences, is basically off

the table for the most part existing.

IP is the greatest risk reduction mechanism we can have.

But you can be unbelievably creative within that space.

You can do an enormous amount of stuff as long, you can have

as many dragons as you want.

Okay.

That, so if you tell me that we're gonna go from there to something where you

feed the ai, the dynamics of the ip,

the other movies.

yeah, no, but also just like make a thing.

And honestly, what I think would happen, and I think this is realistic, You are

not gonna fully get humans outta the loop.

That's just, we don't want that completely because you need a little guidance,

a little knowledge, a little insight.

You know the, these are not intelligent robots.

These are processes that generate content.

I don't know.

Paul, did you see the Godfather five that came out last year?

Pure AI generated.

It was really wild cuz it was Sophia Coppola and that guy

from Phoenix, it was her daughter just taking a helicopter around.

It was pretty wild.

Um, okay, so No, no, but I think like, all right, let's say humans remain

in the loop, but I think what you.

An infinitely generated narrative, visual, audio scape based on existing IP

is absolutely something that World would love, like Blizzard would love it, right?

Can we get, can Uber sort of like

blizzard, the game development

Can we make.

An even bigger environment.

Can we make it richer, more detailed?

There are generative and environments today.

There are games that every time you play them, the landscape is different.

but nothing, uh, yeah, like no man sky and stuff like

that, but, but there's nothing.

At this level where the, the real detail is almost like fractal detail

all the way down to the, down to the details.

just like we we're good at rendering arbitrary physical terrain

or, you know, wacky animals, but like adding narrative on top of that or

integrating it with the internet and, and having it use real, you know,

basically you could have a video game.

Where the existing ip, let's say it was a Star Wars type, right?

And the existing IP could reflect what's going on in the world at a

very like, almost like a nano level.

Like you could go into your town on a planet in Star Wars and every town on

the map would be a different planet.

And it would have, and they would read the news about what was happening in the

town, assuming there was still local news.

And they could generate sort of reflective, because I mean, what is

one of the things you can do with this?

You can say, Um, write me a story about the Star Wars universe

as if it was a local newspaper.

Mm-hmm.

You know, it's like, um, you can, you can do that, you can play with form that way.

So I do think that, uh, the dream, if you look at how we deal with IP and

you look at how we deal with humans being creative and experimental inside

of existing IP as the major kind of corporate way of expressing things

in a way that people will buy it.

Mm-hmm.

This is.

Utterly along that path.

Utterly along it, it absolutely makes sense to me.

Is it good or bad?

Oh, I don't know, man.

I that I'm too old for that question.

Like that is a question.

Is it bad?

Well, let's define good or bad.

The Majo movies create an enormous amount of jobs.

Everybody likes 'em.

I'm sure they play really well in like Jordan.

Like you go to Jordan and you can see Avengers end game.

Yeah, right.

Like for real, like

oh, it's gonna be great.

Like

the, you know, they make them in such a way that they perform well

in the Chinese market and they perform.

So you have these like, Global properties that bring people together

that have, you know, a rough sense of morals and decency and Chris Hemsworth

is highly muscular and just kind of That's your, that's the thing.

I don't have this fan.

I used to have the fantasy that people were being denied

the experience of great art.

Yeah.

But I, I don't think most people, actually, most people

want to have a nice hamburger.

I, I, I think you're right.

I, I, I have two observations here.

Yeah.

Like, I'm gonna bet you most people, most people in the world

have not seen Goodfellas, which is a very fun movie to watch.

I gotta tell you, I I, we could go on a tirade

right now about Goodfellas.

I run into it in reruns, like flipping through

Oh, it's so good.

and it's, it's, so he, you could sense that he, the director is

trying, is just having the best time.

He's just having such a good time and it comes through such that you can watch any

15 minutes of that movie and it's just joy

The thing about the thing about Goodfella is this Scorsese assembled

the perfect cast and he's such a good director that you could see that is like

having the world's greatest sports car.

Like, he's like, I have De Niro.

Yeah, right here.

He's just having a good time and, and it's a wonderful film.

But, and so here is, here is, I have two observations.

One

remember Dances with Wolves when the Oscars that year.

here.

I know, I know.

I run into that Wikipedia page

Yeah, you don't.

When's the last time you watched Dances with Wolves?

I've

not seen dance in a very long time.

Um, uh, two observations.

One is, um, yeah, people like the familiar and it's kind of, we're veering right

into the wheelhouse of ai generative technologies like ai, uh, because we can.

can.

We can process more familiar stuff.

Right.

And I, and I think I, you know, will there be a day where Beyonce hits a button and

says, I know what this is, but I advocated for it because I fed the machine.

Yeah.

Yeah.

We will pay money not just for Beyonce's output, but for Beyonce's

willingness to feed a machine

or it, it will be who can do style transfer and sing on America's

Got Talent using Beyonce's voice.

et cetera, et

cetera.

And they'll have to hit all the notes themselves or the voice will crack.

Yeah.

But it'll be Beyonce's voice coming out.

So can you perform your song in the style with the voice of Beyonce and

everybody will be like, that is wild.

It sounds just like Beyonce.

Yeah.

But it was a, a Husky man.

Exactly.

Named Edgar.

And we'll be entertained.

Yes.

And we will be entertained and, and to sit here and say, well that's not art.

That's true.

It's not art.

So my first point is this.

Uh, there's always gonna be somebody who has a desire to make some art.

Probably because they have no money.

Yeah.

That is

are going, do you remember that movie,

Blair

Project?

Yeah.

That movie was like a phenomenon, like they did it with $11.

Yeah.

This, I think Chris Rock did a bit about this.

Like it was just, but it looked like they did it with $11.

watched it and I'm like, that sucked.

I didn't think it was good.

But people were enamored with the constraints around it.

Right.

And I think art artists will always seek out those constraints, whether it be

street art or whether it be a musician who just doesn't have the money and they

produce a thing on shitty hardware or

Witch Project was capable.

It wasn't well

tell everyone what it is cuz we're 150

right.

It was a movie that came out in the nineties.

It cost about $20,000 to produce and it was made by a couple young filmmakers.

And it's about literally you get lost in the woods and you can't

find your way out and you keep finding all these creepy objects.

Well, it was a found camera.

that's right.

We, we found the camera and it turns out that like the witch of the

woods has, has gotten these people.

Yes,

And it gets more and more ridiculous cuz it's like, put

the camera down and run the idiot.

But like regardless, the conceit worked really well.

It made a ton of money.

it embraced the constraints that they had, which

is like, wait, we don't have editors, we don't have good cameras.

We don't have good microphones.

But that's what a horror like, they, they did it.

Right.

Well, and it captured exactly one feeling, which is the feeling of

being lost in the woods, which is scary.

Sure I've been lost in the woods, and you don't know where

you gotta find the stream.

Right?

And in the, in the movie, they can't, they keep finding the things that would

get them home, but they stay lost.

And so it's terrifying.

Right?

So like, okay, okay.

But yeah,

was a low budget outside of mainstream production

product that did well.

And you're always gonna have that.

And if you really wanna see the weird foreign film that's like made in a

oppressive society and they snuck it out, you're always gonna be able to see it.

So

Well, there's always an Iranian cabby narrative.

You know, he drives people around and talks to them, and

it's really, it's very sad.

films that come out of

All right.

It's an amazing filmmaking culture.

So look, here's what you're saying.

What you set us up with, I think is utterly practical and seems like a

natural continuation of the themes of the entertainment industry.

Now, here's what I would say.

So if, if, if we fast forward to whatever it was, 2037 and AI is

creating enormous games, scapes.

I think my idea of it being based on, on IP and so on and so forth is utterly

realistic the way things are going.

I could see that path because it doesn't require computers to

magically become intelligent.

It just imagines it.

It imagines that people want to consume the familiar,

Yes.

But

the nature of human perversity is that we like

variety and so I do wonder, like.

You get to a certain point, I don't think there's actually room in the world

for a whole lot more Marvel movies.

Like the new ones aren't doing that great comparatively

is that right?

Well, they're also boring.

I mean, look, I, I'm sounding like a snob right now, but, um, it's a lot of the same

I don't do.

I mean, it doesn't, it they don't have the cultural purchase.

Here's what's tricky.

They can still make 300 million, $400 million.

Right?

So like, but I mean, does anyone been like, oh my God, I had to

be at opening night for Quantum Mania Ant Man three, like, no.

Right.

And, and you know, they'll be, the sequels come and it's, you know, this part of the

love that burst of surprise.

We do

We do, and we're perverse, right?

And so there's this entire possibility, and I think it's real.

It's not, the fantasy is like indie games, but what will happen is, is like

you could see independent creators, like certain things going viral and getting

big and being brought in because suddenly it becomes imperative that you turn your

back on some of the AI based IP generation machinery because humans don't want.

All of that all the time.

I

I mean, I remember when Pulp Fiction came out Distinctly.

And it was such a shockingly ridiculous movie at that time because you know the

trajectory of, of films that are getting signed off on and getting $10 million.

It was very clear,

unusual in that the film, you never were.

Far away from the idea that you were watching a movie like Tarantino

loves to be like movie, movie, movie.

Like there's a point where exactly.

You know, he draws a little line on the screen as Zuma Thurmond moves

He's had, I mean he's literally a movie video

rental clerk who's obsessed with movies who got to make a movie.

Like essentially what happened there.

But it was feet and Beta

and Beta Max.

Those were like his two things

and it was.

It was a burst of, it was just like the windows were flown open and fresh

air came through and it was like, whoa, this is gonna change some things.

Oh, it's

Guy Richie came

Violent.

And you know, and it was also that when they show you the subcultures

that you're somewhat familiar with, when you see your own world reflected

on screen instead of like a world of people in suits and ties, didn't

Can't AI generate a pulp fiction out of the blue?

Not really.

Not yet.

Maybe, maybe.

But it just, what's the point?

We like humans doing things.

We do.

And here's the thing about humans, it's the point I want to close with.

When Pixar took hold, everybody's like, oh my God, it is going to take a 10th

of the time to make an animated film and it's gonna be so much cheaper.

Because they used to hand draw 'em.

They used to literally

yeah,

like, I forget what the name of that paper is like.

They,

Have you seen,

they would flip pages to make the person, you know, the character walk.

see Toy Story in the movie theater?

It looks ridiculous.

Well, no, but did you ever see it When I, I went out because I

was like, this is wh they're doing 3D animation in the movie theater.

I went and saw, and it was so bright and shiny and it was beautiful.

And you look at it now and it is dog

shit.

Like, it is

look like dog

it looks like a, like a 90 90.

It looks like somebody playing descent on a Mac in 1997.

here's my point about humans.

You would think, oh my God, we don't have to draw every cell anymore.

Every bit of animation doesn't have to be hand drawn.

This is gonna be so much cheaper

No, no.

They have to do every single palm tree in Moana on the island.

It still costs a hundred million dollars.

Yeah.

To make an animated film.

It

never gets cheaper

It, and it always requires the human hand to

come back into the mix there.

It's just a different skill, a different set of

I, I think that's right.

I think you'll see AI will make a better and more detailed island, but it'll still

somehow be just as expensive and different kinds of CPUs and GPUs will be involved.

But then I also just think there's this fundamental human perversity that'll

be like, oh, they want me to buy this.

I'm gonna buy something else just to tell 'em to go to hell.

hell.

A hundred percent.

But also if the indie creator can get hold of these tools and make

more ridiculous things with it versus like, I only can use my phone to film.

It is, it is true.

We might get past the, you know what, you know what'd be really fun is as

this gets better and better, the, let's say you create your 2D platformer and

it's kind of quirky and you know, black and white graphics or whatever, and.

You can extend it, right?

You can make that first scene and you can say, let's keep drawing and

you can make a bigger game world.

You still need the originating idea.

Yeah, but like the ELE

could elevate

the elevator in the game could be a lot cooler.

Yes.

Right.

And you could go, you could, some scenes could be a minute or two longer.

Now.

Now an hour gets added and people will spend more time and more money

on experiences like that and you can enhance them with these technologies.

think that's the interesting, the, the, the demo democratization of

these like production tools that are only in the hands of, you know, really,

really wealthy production studios and whatnot, I think could lead to like

really, really interesting things.

The

you described at the beginning is still a billion dollars to get it out.

We are very good at creating more work and

making things more expensive.

know why, though?

You know, you know, the other secret thing in here is like, let's say

create that surface and humans are gonna participate and they'll engage.

The price goes up because you have to market into that surface to get their

attention and get their money right?

So it's like everybody's like, ah, it's gonna be free.

There'll be content everywhere.

It's like, well, if there is, there'll be, you'll have to like either pay

to access it, or it'll be really expensive for advertisers to put their

AI generated ads in the middle of it.

we're really good at selling to

We, we will create a marketplace out of this

enormous cultural garbage fire.

Well, Paul, I I just wanna say you, you look great for your age.

Oh, I'm, I'm real.

I don't even know how old I am right now.

That's how

Don't worry about it.

That's, there's age has been eliminated as a required question

for anything now in society.

So you look great.

Uh, you feel good.

We are in a climate controlled pod right now hovering over Manhattan

Yeah.

That, that part's not so great.

And I do have to get those hourly injections of teenager blood.

But other than that, everything's good.

So take care of yourself.

Um, now, uh, aboard.com is celebrating its 10000000th user.

Oh, this is amazing.

We built this product years ago, back when there was fiat

currency and a stable government.

And now take off

in Latvia as sort of the seed of this success.

And here we are building one of our, the Lana board Supercenter.

It's pretty exciting.

Uh, we're gonna be there, we're gonna be there this week, cutting the ribbon.

At a board.com.

Yeah.

To

To collect, organize, and collaborate on pretty much

anything you find on the internet.

It's a great tool.

Uh, check it out.

And, uh, congratulations Paul.

This is our seventh thousandth episode.

I

I can't believe we made it work this

I'm glad we still get along.

Good for

Good for us.

All right, Richard.

Uh, so if you like this podcast, you can follow us on Twitter at zdi ford.

Send us an email hello@zdiford.com.

We love you.

Uh, give us a good rating if you're in the mood, and we will talk to you soon.

Have a lovely week.

Bye.