Kevin Perjurer (not their real name) recounts the history of Disney's "Living Characters Initiative", a multi-decade attempt to create a more immersive character-driven experience.
spoilers
This is basically an introductory course on AI as told through the history of Disney's animatronics. There is a companion video which covers the early decades of robotics and focuses on Walt's futurism; this longer video focuses on how AI has attempted to ~~pull money out of customer wallets~~ delight park visitors by putting smiles onto faces. Perjurer focuses on concrete examples; there's no talk of hyperreality here, although there is a bit of theory-building which fits each example into a generic framework for understanding conversations.
The video has too many good sneers for me to choose. A common theme is guests tricking AI hosts into behaving inappropriately. There's this theme of the robots only functioning properly within controlled conditions, as if every robot were its own science experiment. This lines up with what I've seen in manufacturing and logistics; robots sure can work fast but they are inflexible, pre-programmed, and highly sensitive to unexpected variance in their environment.
No, I take it back. Listening to E.T. say "D-D-D-D-D-D-" or "lasagna, lasagna" is very funny. Skip to the interlude about Universal Studios for that.
Of course, little of this is truly new, but it's nice to see a version of this history which puts everything together to point out that Disney's goal of creating robots which imitate inhuman characters is fucked-up horror but which isn't a fucked-up horror story. Going in the other direction, an AI-skeptical viewpoint could maybe make those stories more interesting.
Glitch just wrapped a Youtube series by putting their final episode onto big screens in multiple countries. There's been a lot of media noise about the difficulty of getting films into theaters, and a lot of blaming Glitch, but there's not been any understanding about what Glitch actually did differently that is scaring Hollywood. I think it's that, just like with the Youtubers producing Backrooms and Iron Lung and FNAF, the thing Hollywood misses is the audience demographic. Glitch and other Youtubers are targeting an emerging young-adult audience which wants edgy, gritty, emotionally sincere content that fills the gap between PG-13 and R ratings. To older folks, e.g. Murder Drones is facile cringe, while to tweens (young teens, PG-13 sensibilities) it's too intense and scary. But it's a happy medium for catcher-in-the-rye emo young adults, which is why every second t-shirt sold at Hot Topic has a murder drone on it.
By literally no coincidence, Glitch's next greenlight is a grimdark gritty deconstruction which critiques the dystopia of Disney parks, illustrated by their brand-new 2D animation department, designed by a former Disney showrunner who left because Disney wouldn't let them tell stories aimed at young adults. (Dana Terrace, not Alex Hirsch.) Disney's not the only game in town; Turner previously ran shows by Owen Dennis and Rebecca Sugar while putting pressure on them. Lotta animators with big dreams who have been told "no" by big producers; in particular Lauren Faust supposedly has been waiting for decades for somebody to give her an animation team without creative limits, like Glitch just gave Terrace. (Faust worked on The Iron Giant and animated the character of Sawyer in Cats Don't Dance; the sheer poetry of her career could be enough to transform the industry (again).)