Tag Archives: Industry

THE ADDICTIVE DISTRACTION OF DIGITAL DOPAMINE

We’ve all seen them. Those walking zombies aimlessly lost with their face in their phones and utterly oblivious to the forest, the trees, and the traffic. They’re devastatingly distracted by the Kim Kardashian of happiness molecules—dopaminehopelessly and unknowingly addicted to their next rush of digital downloads fixed by non-stop scrolls.

This is a relatively new phenomenon, and it’s married at the hip to digital information dictated by the internet; digital devices and internet content controlled by the tech giants gaining ground on the entertainment industry. It’s here, and it’s not going away. At best, the digital dopamine addiction can only be controlled.

What’s sad is this dopamine distraction is harming society’s young. So many teens and twenties are hooked on their smartphones. Statistics say youths around the world spend far more time connected to the web than playing with their peers. The digital pandemic is so sick that it’s created an industry of wellness trying to treat digital dopamine addiction.

It’s also radically changed the entertainment world as well as the online support systems where Big Tech carries market cap values into the trillions of dollars. And those Big Tech titans are intentionally designing their algorithms to purposely distract viewers from facing reality. We’ll get into what’s going on in Tech, the downfall of the entertainment industry, how algorithms work, what dopamine is, and what motivates psychopath billionaires like Mark Zuckerburg to digitally prey on innocent and unsuspecting tweens.

What got me going on this piece was an article by Ted Gioia (The Honest Broker). The title is The State of Culture, 2024. These opening lines grabbed me. “Not much changes in politics. Certainly not the candidates. So, forget about politics. All the action is happening in mainstream culture—which is changing at warp speed. 2024 will be the most fast-paced—and dangerous—time ever for the creative economy. I want to tell you why entertainment is dead. And what’s coming to take its place.”

Mr. Gioia continues on to explain how the bigger entertainment shark once ate the little art fish. Then how the huge distraction whale swallowed the shark which, in turn, was devoured by the colossal addiction monster. He equates it to a cultural food chain and demonstrates it with these graphics:

It’s always been hard to be an artist. In the entertainment business, the primary artist is the content producer or concept developer. We were once called writers.

Until recently, the entertainment industry had been on a growth roll. So much so, that any content considered artsy was crushed as collateral damage by the forces of ever-needed new shows—regardless of if the productions were good or not.

That’s suddenly changed. It won’t help the art fish and it won’t help the shark. It won’t even help the whale because the whole online world is moving to a distraction model. And that’s to serve the phenomenon of dopamine addiction caused by the short and extremely fast pace of stimuli like reels, toks, clicks, instas, tubes, pushes, autoplays, variable rewards, and infinite scrolling. It’s an addictive distraction game, and it’s played colossally well by the Big Tech algorithms.

The fastest growing sector of the culture economy is distraction. Call it scrolling or swiping or wasting time or whatever you want. But don’t call it art or entertainment. It’s just ceaseless activity and is highly addictive because each short piece causes a dopamine release. Yes, the tech builders know it and it’s planned that way.

The key to the distraction model is that each stimulus only lasts a few seconds. To maintain the dopamine rush, the stimuli must be repeated. Over and over and over and over.

Gioia’s article says this is not just the hot trend for 2024. It can last forever because the distraction model is based on body chemistry, not on fashion or art. Our brains are wired to reward brief bursts of distraction by smoothing us with a dopamine hit. He calls it the Dopamine Loop and it looks like this:

This is the familiar cycle of addiction. Now, through the online distraction model, it’s being applied to the culture and creative world—and billions of people. They (we) are unwitting volunteers in the biggest social engineering experiment ever unleashed in human history.

Tech wants to create a world of junkies where Tech will be the pushers and dealers. Addiction is the goal. They don’t say it openly. They don’t need to. Just look at what they do.

  • Everything is being designed to lock users into an addictive cycle.
  • Platforms are shifting to scrolling and reeling interfaces.
  • Algorithms punish you for leaving sites.

There’s more. Apple, Facebook, and others want you to wear their virtual reality goggles. They are specifically made to swallow you through stimuli like the tiny fish in the food chain charts. You’re invited to live as a passive recipient of make-believe like a pod slave in The Matrix.

This is the new culture, and it’s here in 2024. Instead of movies and TV shows, we’re being served an endless stream of seconds-long vids. Instead of symphonies, we’re satisfied with sound bits, usually accompanied by a slick little pic.

The most striking feature of the new culture is the absence of culture. It’s mindless entertainment—escapism—of compulsive activity. It’s the dopamine culture.

Here’s where the science gets ugly. The more addicts rely on stimuli for their fix, the less pleasure they get. At a certain point, which our brains are designed for, this cycle creates anhedonia. That’s the medical word for the complete absence of enjoyment.

Dopamine deprivation takes over and the addict is broken. The scrolling cycle causes pain, not pleasure, and the pain causes more pain as the addict scrolls. It becomes a hopeless cycle and a spiraling downfall.

To quote Ted Gioia, “Some companies get people hooked on pills and needles. Others with apps and algorithms. But either way, it’s just churning out junkies. That’s our dystopian future. Not so much Orwell’s 1984. It’s more like Huxley’s Brave New World.”

Dr. Anna Lembke is a world-leading addiction expert. She’s Chief of Staff at Stanford University’s Dual Diagnosis Addiction Clinic which deals with patients who have multiple addiction issues. Dr. Lembke wrote a recent book titled Dopamine Nation that topped the New York Times Bestseller List.

She calls the smartphone the modern-day hypodermic needle. As the doctor puts it, “We turn to it for quick hits, seeking attention, validation, and distraction with every swipe. Since the turn of the millennium, behavioral (as opposed to substance) addiction has soared. Every spare second is an opportunity to be stimulated, whether by entering the TikTok vortex, scrolling Instagram, swiping through Tinder, or binging on online porn, online gambling, or online shopping.”

Dr. Lembke refers to a World Happiness Report that clearly shows many people in high-income countries are far less happy than they were a few years ago. She blames this on the scroll-and-dopamine culture. “We’ve forgotten how to be alone with our thoughts. We’re forever interrupting ourselves for a quick digital hit, meaning we rarely concentrate on taxing tasks for long or get into a creative flow. The zone.”

Dr. Lembke continues to explain that addiction is a spectrum disorder. It’s not as simple as being an addict or not being an addict. Addiction is deemed worthy of clinical intervention and care when it significantly interferes with someone’s life and functioning ability. When it comes to digital addiction, she says, the effect is pernicious.

To understand addiction, you must first understand dopamine which she dubbed “The Kim Kardashian of molecules” owing to its mainstream prominence. Dopamine is a chemical often called “The Feelgood Hormone” and its molecular structure (resembling an insect with dual antennae and an offset tail) has even become a popular tattoo.

Rather than giving us pleasure itself, dopamine motivates us to do things we think will bring us pleasure. Like reading a fantastic book or watching a top-notch film. As the brain’s major reward and pleasure neurotransmitter, dopamine drives us to seek food when we’re hungry and sex when we’re horny. But there’s a side effect. The higher the dopamine release, the more addictive the thing.

“We experience a hike in dopamine in anticipation of doing the thing as well as actually doing it. As soon as it’s finished, we experience a comedown or dopamine dip. That’s because the brain operates through a self-regulating process termed homeostasis meaning for every high there’s a low. What we really want is that second piece of chocolate cake or to watch another episode but if we’re not severely addicted, the craving will soon pass.”

Scientists first identified dopamine in 1957. It’s a precursor to addiction with 50% due to genetics and 50% due to environmental excesses. The human brain hasn’t changed since 1957 but our access to additive things has incredibly increased. Exposure to the internet, for instance.

Where back in the ‘50s the focus was on family and work, reading and sports, today’s world gives you unlimited pleasure at the click of a mouse or loading an app. When we over-download pleasure, homeostasis causes our brain to bring us lower and lower. We sink into a joy-seeking abyss called anhedonia.

Immediate gratification defines the dopamine culture. It means we’re constantly living in our limbic brain which possesses emotions rather than in our pre-frontal cortex that plans for the future, solves problems, and develops personality. When we depend on our digital companions to help us escape life’s issues, the limbic system loves the distractions.

We need time away, Dr. Lembke prescribes. She recommends a 24-hour unplugging once a week or a least locking the phone in a drawer for an hour. I’m not a doctor, but I strongly prescribe Dr. Lembke’s book Dopamine Nation. Here’s a screenshot of its blurb on Amazon:

So, medically, what is dopamine? This natural drug that seduces and intoxicates addicts? Let’s use the web itself for a quick distraction.

Dopamine is a type of monoamine neurotransmitter produced by your brain to act as a reward center. It regulates functions like memory, movement, motivation, mood, attention, and more. Like happiness and escapism. It’s the chemical messenger connecting your nerve cells.

Dopamine plays a role in your fight or flight syndrome. It’s designed, from an evolutionary perspective to reward you when you’ve done well. As humans, we’re hardwired to seek pleasure and avoid pain. Dopamine is good in the short term but bad in the long.

We’ve talked about the drug, and we’ve talked about the addiction. We’ve talked about the culture, and we’ve talked about the change. Now let’s talk about the technology and who controls the algorithms that have changed the culture and sell the dopamine drug of addiction.

The word “algorithm” is everywhere. In print, online, and in AI—Artificial Intelligence. Facebook knows when you’ve been naughty, and it knows when you’ve been nice. Google knows more about you than your spouse does. ChatGPT? Like The Carpenters sang, “We’ve only just begun.”

So here I go again with Chat. (Sorry, Chat is here until AGI arrives and then…) I asked the tool-bot to explain, clearly and simply, what an algorithm is. It replied:

Algorithms are step-by-step instructions or procedures for solving a problem or completing a task. They’re like recipes for computers telling them what to do to achieve a specific goal. Here’s a breakdown of how algorithms operate:

  • Input — Data, numbers, texts, habits
  • Process — Organizing into logic
  • Output — Results, conclusions, actions

It told me algorithms can be simple like processing numbers or extremely complex like algorithms used in AI programs such as ChatGPT. I also asked it how algorithms track our online behavior. It said:

  • Data Collection — Watches and records what you’re doing
  • Data Processing — Extracts meaningful information to its purpose
  • Pattern Recognition — Figures out where you’ve been
  • User Profiling — Figures out who you are
  • Behavioral Prediction — Calculates what you want
  • Feedback Loop — Checks to see if it’s right

Sound spooky? It does to me. Think of every time Facebook showed you something that aligned with your thoughts. I asked Chat how algorithms do this. What tools they use. It said:

  • Cookies
  • IP Address Tracking
  • User Accounts and Profiles
  • Pixels and Scripts
  • Social Media Activity
  • Browser History

During my chat with Chat, that insightful bot said something that made me think. It said, “User engagement and monetization can contribute to addictive patterns of behavior. It’s essential for tech companies to balance their business interests with ethical considerations and prioritize the well-being of their users.”

Tech companies own the internet. They have complete control over a user’s feed. Ultimately, their minds. Let’s look at the top five tech companies and their worth. As of yesterday, 23 February 2024, here are their stock market capitalization standings:

5. Meta — $1.21 Trillion

4. Amazon — $1.74 Trillion

3. Alphabet — $1.77 Trillion

2. Apple — $2.80 Trillion

1. Microsoft — $2.99 Trillion

Let’s not overlook Nvidia on this list of distraction builders. Nvidia makes the chips (the brains) that allow the techs to invent algorithms that addict their users to online dopamine dependence. This is Nvidia’s $1.72 Trillion stock market performance over the past five years:

It’s not only money that motivates Big Tech to mess with people’s minds and devastate their lives. It’s more than that. It’s power. Control. Manipulation. Dominance. Marketplace position. Not just stock market growth and capitalization.

As a distraction—maybe a digital dopamine hit—watch this four-minute clip of Mark Zuckerberg getting smoked over the coals of justice in a recent US Congressional hearing about harming children online. It’s worth the price of admission.

 

THE FUTURISTIC FILM INDUSTRY

The future is coming fast—especially in the film industry.  Some of it’s already here. Augmented and virtual reality. CGIs. Digital recreation. Algorithmic editing. Edge computing. 5G/6G networks. Cloned voices. Scanned actors. Non-real celebrities. Drones. Artificially intelligent screenwriting. Remote filmmaking. 3D printed sets. 3D previsualization. Real-time rendering. Sound and light tech breakthroughs. DJI Ronin 4D 6K condensed cinematic lenses. Micro cameras. Avatars & holograms. Blockchain, crypto & NFTs. The Internet of Things (IoT). And, of course, the Metaverse.

The global film industry is huge. It’s astoundingly enormous, and it’s growing massively. According to a study by Globe Newswire, the worldwide film industry grew from $271.83 billion (US) in March 2021 to $325.06 billion in March 2022. That’s a compounded annual growth rate (CAGR) of 11.4% indicating in another four years, 2026, the film-making world will generate 479.63 billion dollars. By the end of this decade, it could be worth a trillion.

If you’re a regular DyingWords follower, you might’ve noticed I haven’t published a book in nearly two years. That’s because I’m immersed in the film industry—studying screenwriting, producing film content under my new company Twenty-Second Century Entertainment (22 ENT), and generally learning what this business is about. I’ve also done on-camera work as a crime and forensic resource in non-scripted documentaries that flowed from blog posts I’ve created. Plus, I’ve made some great filmmaking friends who are teaching this old dog new tricks.

Before I expand on future film technology, I’ll give you a snapshot of what I’ve got on the go. My eight-part Based-On-True-Crime book series is contractually optioned by a producer who has it before a major film company. If this gets “Green Lit”, we have a total of thirty episodes loglined under the working title Occam’s Razor. My hardboiled, private detective storytelling concept called City Of Danger is a twenty-four-part series with a right-of-first-refusal agreement through a leading netstreamer. (See my webpage for City Of Danger—scheduled for 2024). The Fatal Shot is a film production “treatment” I wrote which is being “shopped around”, and I’m collaborating with a long-time colleague on a very interesting screen project titled Lightning Man that I believe has excellent film potential.

Enough of my BS. Let’s look at the futuristic film industry.

Everyone’s talking about the metaverse. Especially Mark Zuckerberg who rebranded Facebook into Meta. He’s betting big that this is Internet 3.0 and, from what I know, I’m sure he’s right even though he can’t get Apple to form a joint venture.

The term metaverse isn’t new. It’s been around three decades and was once known as cyberspace. Although the metaverse is already here and in its infancy or at an inflection point, it’s a hard concept to wrap your head around. Maybe it’s best to let Mr. Zuckerberg explain:

“The “metaverse” is a set of virtual spaces where you can create and explore with other people who aren’t in the same physical space as you. You’ll be able to hang out with friends, work, play, learn, shop, create and more. It’s not necessarily about spending more time online — it’s about making the time you do spend online more meaningful. The metaverse isn’t a single product one company can build alone. Just like the internet, the metaverse exists whether Facebook is there or not. And it won’t be built overnight. Many of these products will only be fully realized in the next 10-15 years. While that’s frustrating for those of us eager to dive right in, it gives us time to ask the difficult questions about how they should be built.”

Zuckerberg says the metaverse is the mobile web’s successor. First there was Internet 1.0 which was static. You could surf the pages and send emails on a desktop. Internet 2.0—where we’re at now—is mobile. It’s smartphone streaming and TikToking. If you want to call the metaverse Internet 3.0, then you need to use compatible words like immersive, interoperable, and integrated. It’s a world of shared virtual experience that can happen at home, on the go, and wherever you are with a connected device.

What the metaverse holds for the film industry is not so much technical advances in production. It’s deliverability and viewer experience. The metaverse won’t be the place you’ll be watching a movie. It’s where you’ll be fully interacting with your five senses—sight, sound, small, taste, and feel. It’ll be like you’re right there in the middle of the set.

If you’re interested in learning more about the metaverse, here are three resources I recommend:

The Metaverse: And How it Wil Revolutionize EverythingBook by Matthew Ball

Value Creation in the Metaverse 76-page pdf by McKinsey & Company

What is the Metaverse?Article at Government Technology

There are two evolving technologies that’ll give you that immersed feeling. One is augmented reality (AR). The other is virtual reality (VR). There’s a big difference between the two immersive platforms.

Augmented reality is enhancing, or augmenting, real events with computerization. AR morphs the mundane, physical world into a colorful, visual place by projecting visual images and characters into an existing framework. It adds to the user’s real-life experience.

Virtual reality creates a world that doesn’t exist and makes it seem very, very real. Think the movie Avatar. VR also incorporates sensory-improving devices like goggles, helmets, headsets, and suits.

You could say computer-generated imagery, or CGIs, is old technology and not something futuristic. You’d be wrong. Advancements in CGI development are nothing short of breathtaking. The CGIs five years from now will make today’s stuff look like a preschooler’s drawing.

Technology’s ability to recreate faces, bodies, and even dialogue is dramatically improving. It’s progressing to the point where it’ll be possible to make an exact replica of just about anyone. Would you like to meet a completely believable Elvis Presley? How about Marilyn Monroe?

Speaking of Elvis and Marilyn, cloned voices are becoming the thing. Computerized synthetization takes old audio of past people and recreates their voices into a life-like state. This process will use artificial intelligence (AI) to build a smoky Marilyn or a crooning Elvis and respond to printed dialogue. It like the current AI text-to-speech but on steroids.

We can’t talk about futuristic filmmaking without bringing up artificial intelligence. AI is moving ahead at lightning speed and it’s bringing the film industry with it. I’m fascinated with AI developments. But I’m also a bit fearful. Here’s a DyingWords post I wrote a while back titled Helpful or Homicidal — How Dangerous is Artificial Intelligence (AI)?

One thing about AI I’m really looking forward to in the film industry is this: Artificially Intelligent Screenwriting. If you’ve ever written, or have tried to write, a screenplay, then you appreciate how much work and effort goes into it, never mind the brain drain of creating unique content.

Recently, researchers at New York University built an artificial intelligence screenwriting program. They called it Benjamin who, among other things, wrote an original soundtrack for its movie after being programmed with 30,000 songs in its data input drive. Can you imagine the 2025 Academy Awards, “And the Oscars for best screenplay and soundtrack goes to… Benjamin the Bot.”

AI isn’t just real in script and score writing. Virtual actors and non-real celebrities are on the way in. It’ll soon be possible to select the movie cast and digitally scan them, then recreate their entire actions throughout the film without them being physically present. It’s well within the realm of possibility to have a virtual Ryan Reynolds or Anne Hathaway act their parts while the flesh and blood realities sit at home. After being paid a substantial sum for licensing their images, of course.

Turning real people into realistic avatars or digital images of themselves is a current technology. Take a look at the leading lady on my City Of Danger promo poster. That’s a real person (a stunningly attractive and stylish, high-status lady, by the way) who was scanned and run through a NextGen Pixlr filter. The plan for City Of Danger is to digitize the cast and set them loose in virtual reality following the human-written episodic scripts translated by AI. Fun stuff!

Drones are fun stuff, too. What used to be aerial filmed with helicopters and airplanes is now drone territory. Drones are far cheaper and much safer. With highly sophisticated controls and cameras, filming by drones will mostly replace piloted vehicles. Take a look at this drone footage of the new Vancouver Island Film Studios, twenty minutes north of my place: https://youtu.be/aTsyRrROx34

Remote filmmaking will put a big dent into on-site producing. With huge advances in film technology, internet sharing, and cost-cutting, more and more productions will happen on sound stages like the six built at Vancouver Island Film Studios. It’s realistic that a director—yes, a real person—will do their work remotely. Instead of fighting traffic and flight delays, a filmmaker will be able to do their job sitting on a yacht in the Maldives and direct their work in the metaverse.

3D printed sets are soon to be here, if not right now. It’s going to be far more efficient to create film set artifacts rather than source them. Those 3D objects can also be scanned and set into virtual reality situations.

3D filming has come a long way since the days audiences sat watching The Power Of Love back in 1922 and wearing those goofy glasses. Now, we have up-close 3D on the laptops and soon to be glasses-free for the big screen. But the big wait for is 4D filming, and it’s a promise to come through VR in the metaverse. Instead of only seeing height, width, and length, you’ll experience depth. You’ll be inside the picture—on the inside looking out at the 3D world.

There are massive changes coming in cameras, sound recording, and lighting effects. Have you seen Top Gun Maverick? That is amazing work, and that’s just the next step in futuristic filmmaking. And you know what? Very little was done through CGIs. It’s just super sophisticated camera, sound, and lighting effects. Here’s how they did it: https://www.indiewire.com/2022/06/top-gun-maverick-making-of-cockpit-1234729694/

Top Gun Maverick used a Sony Rialto Camera Extension System. Yes, it’s expensive but so were renting the jets at over $11,000 per flying hour. More reasonable in my upcoming league is the no-longer-futuristic DJI Ronin 4D $-Axis 6K Cinematic Camera that recently came online at $9,000.00, and that’s just for the lens. Think about it—a 4D, 6,000-pixel digital camera. There isn’t a 6K monitor yet made, but I bet it’s on its way.

Micro cameras have amazing potential. The future is wide open in melding nanotechnology with filmmaking. I can’t imagine what’s happening at the molecular level.

I can imagine, however, what’s happening in the post-production level. It’s not just screenwriting, casting, set building, and cinematography that takes time and money. Editing is a huge time suck in the filmmaking process. What’s just arriving is algorithmic film editing. This is AI software that thinks through the film data and makes automatic jump cuts at precisely the right moment.

Have you heard of edge computing? I hadn’t until I began investigating the futuristic film industry. Edge computing is capturing data at its source and not having to upload it to a server for processing. That eliminates having to use an expensive and laggy “middle-man” like a cloud or a mechanical server. Using edge computing to harness and develop digital data speeds up processing time and reduces costs.

Hologram displays are in their crude evolutionary form today. That’s going to change soon, and holograms are part of the new, end-product “dimensional delivery”. By dimensional delivery, I mean the 4D technology where you’ll be able to watch a digitized hologram of your show. It will be like watching a completely realistic stage play, and you’ll have the option of joining in.

“Joining in” is a fascinating film delivery concept. In the future, algorithms will track your viewing habits/choices and will give you the option of personalizing your selection. You can make yourself into an avatar and can substitute your avatar for a cast member. On the international stage, you can change your race, gender, and language.

All this talk of high-density technology needs delivery infrastructure makeover. Internet providers today don’t have the speed or capacity to process and send out 5K resolution and totally digitized, virtual reality entertainment. But that’s changing, too, with 5G.

5G is the 5th generation wireless mobile network. It’s already happening and 6G is planned. To serve the metaverse, massively higher, multi-Gbps and ultra-low latency is crucial. The 5 and 6G networks will deliver the films of the future that today’s 4G system can’t.

One more film-world reality is money. Movies cost a lot of money to make. I’m told a show like Occam’s Razor typically budgets at around $50,000 per edited minute of film. Doing the math, a 60-minute episode would cost $3 million, give or take a fudge factor. So, a 10-episode season would cost the film’s financier around $30 million. To me, that’s a lot of coin—a lot of coin that can be saved through emerging technology.

Future technology will significantly reduce time and expenses in film making. Payment methods are changing, too. Blockchain will keep a digital trail and funds will commonly exchange in crypto currency. Non Fungible Tokens (NFTs) will probably be part of the package, though they’re going through a reevaluation at the moment.

I’m a newbie to the film industry, but everyone working in the business is a newbie to what’s coming at us from the future. My niche is making content—inventing and telling stories through characters, plots, and dialogues. But to make decent (meaning saleable) content, I must be aware of how the overall film production and delivery systems work. That’s what the past two years have been about.

City Of Danger seems to be saleable content. At least one film producer at a name-brand netstreamer thinks so. Realistically, the show is a few years away—2024 at the earliest—because the technology for what we want to portray isn’t perfected yet. Our plan is to screenwrite the 24 episodes (underway) and have it ready to be digitally produced in virtual reality by scanning the actors, turning them into avatars, and showing them as you see Susan Silverii who graces the promo poster. This should cut production costs to maybe half of today’s typical rates of filming a live actor and on-location series like Occam’s Razor.

Wish us luck. Or, as they say in theatrics, “Break a leg”.