Hollywood bows to OpenAI

Netflix, A24, Focus Features, and Warner Bros.’ Watches have it all he says he decided to just pass by Creative activities – Director Luca Guadagnino’s new drama about OpenAI cofounder / CEO Sam Altman – for distribution. And time Neon and Mubi says he’s still excited about the film, which makes it seem like Hollywood no longer has the courage to speak out against Big Tech.

Design after Creative activities was about to end when Amazon MGM made an unexpected announcement last week that it no longer wants to distribute the film. The story was surprising because of the length of the film and it says that Amazon originally wanted to deliver a short, Oscar-worthy performance later this year. Creative activities It was also supposed to release in early 2027 and premiere at the SXSW Film & TV Festival, but those plans are dead in the water.

Even Amazon didn’t explain in detail why it went down Creative activitiesthe company said Deadline that he felt the film “would be better served if released by another studio.” Although Neon or Mubi may be better houses for this project, Amazon’s idea is following its own $50 billion investment in OpenAI from earlier this year. Amazon has explained clearly that it wants to be in the AI ​​business in a big way, and it’s easy to understand why the company would be reluctant to release a film that portrays the AI ​​chief wrongly. But the big problem is that Amazon probably won’t be the last studio to make a move like this.

On paper at least, the whole saga plays out as a drama that could effectively and timely examine one of Silicon Valley’s most powerful executives. After work like The Audacity, Mountainhead, The Dropout, and Aaron Sorkin is coming Social Accounting, Creative activities it feels like a film that fits Hollywood’s recent fixation on superhero stories. And in this era of artificial AI being shoved down everyone’s throats, audiences are treated to a star-studded look at some of the people responsible for technology’s ubiquity.

All of this presents a very worrying picture of the possible future of Hollywood – where films and series are made with gen AI and studios that refuse to say anything true or bad about the technology or its creators. Work like The AI ​​Doc: Or How I Became an Apocaloptimist has already shown us how uninspired and soulless movies about AI can be when they are made by people who look like tech executives. And what we are looking at now is the year when the giants of Hollywood are doing everything possible to remain the best of Silicon Valley. Acting that way – from a place of fear in the service of technology-driven profit – is the opposite of creating good art.