Data is invaluable but it’s not creative, even when it’s generative. Data can’t tell you what people want, because people don’t even know what people want.
Succession . But they should care, especially if they want to keep making money. Because with all that’s been learned, analyzed, and written about what makes great story, there’s still an alchemy to it.
There’s an unknowable magic factor that can elude even the most gifted and experienced storytellers sometimes. It’s this magic everyone’s trying to monetize. The value is in that organic piece that can’t be decoded or commodified, no matter how we try. The other day on the picket lines, I was chatting with another writer about always taking the time to sleep on a draft before turning it in. Most writers I know acknowledge a place in the subconscious, most accessible on the edge of dreams, where plot problems are solved and groundbreaking ideas are born. It lives somewhere between a light slumber and a drowsy awakening. It feels spiritual. I don’t know a lot about technology, but I’m guessing AI doesn’t have that.AI can let Joe Schmo cast himself as Iron Man in a personalized Marvel movie. But Joe Schmo wouldn’t want to be Iron Man in the first place without that first MCU film. That movie was born from an alchemical blend of a whip-smart script , Favreau’s deft direction, and the impish charm of Robert Downey, Jr. They reinvigorated the superhero genre with a fresh tone. And tone, especially a fresh one, lives on a razor’s edge that can only be seen with an organic, visionary eye. It defies data and sometimes even logic. Data is invaluable but it’s not creative, even when it’s generative. Data can’t tell you what people want, because the people don’t even know what people want. If data future casting were accurate, you’d be reading this in the metaverse in between episodes of your favorite shows on Quibi. I’m not suggesting writers are psychic, but artists of all kinds do tend to be prognosticators. The studios want what they want, faster and for less money. But it’s called “breaking story” for a reason. The first idea is rarely, if ever, the best one. Crafting narratives that entertain is hard, mostly communal work that takes as long as it takes. People engage with story based on how it makes them feel. They align themselves with characters they strongly empathize with, root for, or despise. Will people watch a certain degree of regurgitated nonsense they’ve seen before? Sure, to a point. I’ve seen every episode of. But will they consistently, continuously keep paying for reduxes? In a world where every family’s dollar means more than ever, I highly doubt it. One of the Guild signs on the picket lines says “AI Doesn’t Have Childhood Trauma.” It doesn’t. And that matters. We turn to stories to see and understand ourselves. Basic plots and themes might be easy for computers to replicate, but that’s not what studios sell. If the goal is to make shows people will value enough to pay for, there is still an untapped gold mine. The vast majority of storytellers from historically excluded communities have long been underestimated, dismissed, or noted into oblivion by the studios. Higher profits don’t lie in cutting artists out, but in untying their hands.
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