🎬 The Rise of AI Horror Films

1. Self-described AI-native film production company Secret Level has teamed up with one of the most successful horror movie producers of all time for its next project. Secret Level’s Christina Lee Storm will co-produce alongside Steven Schneider (Paranormal Activity, Blair Witch, Insidious) a film called Terrarium, directed by Jason Zada. The film will also have backing from Artlist, which will serve as the film’s financing arm. “This is a new kind of film and it deserves the most forward thinking partners, filmmakers, artists, and collaborators,” said Storm via her LinkedIn account. “Looking forward to pioneering long form Done Right and sharing best practices.”

What It Means: I’ve long advocated for the idea that the two pioneering forms of AI film will be live-action horror and animation. My preview of Amazon’s work on AI animation came to fruition this week with the announcement of three new Amazon Prime Video AI-animated series greenlit at the studio. Despite one of the traditional animators working with Amazon dropping out of the project after anti-AI fan backlash, the AI series remains on track. With Terrarium, we have one of the masters of horror film production steering the enterprise, which means it could very well turn out to be the first major AI hit feature film. Schneider also produced the V/H/S horror anthology franchise, the recent Stephen King adaptation The Long Walk, Split, Blair Witch, and many other successful horror films. His involvement is a signal that Terrarium isn’t another AI video experiment.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work. All editorial text is written by humans.

A recent poll revealed that 61% of Americans have changed the way they shop for groceries due to higher prices. Even the affluent are experiencing sticker shock at the supermarket. Inflation has spiked prices at the grocery store nearly every year, making what was a $50 bag of groceries in 2020 feel closer to $120 in 2026. This frustratingly exorbitant pricing for everyday items is even occurring at formerly affordable grocery stores. Thankfully, we aren’t forced to subscribe to any one supermarket, and can pick and choose where our food dollar stretches the furthest. However, that wealth of choice is being squeezed out in the place where many of us feed our minds: the Internet and the digital products living on it.

Many artists today lament the fact that useful tools like Photoshop, which once allowed a pay-once-and-use-forever model, now require yearly subscriptions to do basic design work. And while there are non-subscription alternatives like Affinity Photo, access to the broader suite of Adobe apps in its “Creative Cloud” (Illustrator, InDesign, Premiere, etc.) is often enough to get users to pay the company’s subscription fee. In the last few years, some designers, rebelling against the integration of AI into nearly every Adobe product, finally cut the virtual cord and unsubscribed from Adobe for other alternatives that don’t subscriptionize every single function.

Why is this important to you, even if you’re not a designer and have zero interest in Adobe products? Well, Adobe (actually one of my favorite software suites) is just one example I’m using to illustrate why nearly every single software company is now trying to force consumers to use an AI feature recently added to its product. It’s not because AI is great (it can be). And it’s not because AI just has a lot of hype right now and every company needs to seem innovative (also true, but not the primary driver). No, it is because AI leads to paid subscriptions that most consumers will likely become dependent on.

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🤖 Do As I Say, Not As I Prompt: AI Book Update

1. We have a bit of an update on the story of Steven Rosenbaum and his book The Future of Truth: How AI Reshapes Reality. Since The New York Times exposed the fact that the book was riddled with AI-generated hallucinations and made-up quotes, the author has had at least one event related to the book canceled. The New York Public Library (NYPL) was set to host Rosenbaum for a conversation with former Washington Post editor Marty Baron called “Reclaiming the Truth” on May 20. However, as media reporter Max Tani pointed out, that event was quickly removed from the NYPL website on the 19th, the same day the Times’ exposé was released.

Subsequently, the review rating for the book on Amazon has plummeted to 2 stars, after a number of reviewers flocked to the book’s Amazon page and slammed it with 1-star reviews. “Unfortunately this author has discredited himself by publishing LLM hallucinated content in this book. Peak 2026 irony and a cautionary tale for all,” wrote one reviewer. “The AI slop in the 1st Edition is really doing that ‘show-don’t-tell’ work to fulfill the title’s promise,” wrote yet another reviewer. “I’m sure it all sounds good but maybe find something else to read if you value truth or epistemology. The author assured the NYT that the AI slop will be cleaned up for a 2nd Edition (see NYT article) but I’m not waiting on it.”


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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

This is the ultimate nightmare scenario. You spend decades building a credible career as a professional journalist, author, and speaker. And then AI comes along with its pernicious hallucinations and banal pablum outputs. You watch as harried college students and would-be corporate intellectuals alike are entranced by AI’s facile yet deceptively complex pantomimes of human cognition. You decide to pull the mask off of this sham and craft a book designed to warn the public about the perils and pitfalls of accepting AI outputs as the truth.

But somewhere along the way, while imparting your decades of experience as a sage countervoice to those who might haphazardly embrace AI as a proxy for rigorous research and the muscle-building scutwork of actually writing, you let yourself fall victim to the very seductive AI dangers your book was meant to warn others about.

This is the cold sweat, snap awake at 3 a.m. moment. Trembling and thanking the universe that it was just a horrible phantasm lurking in the darker corners of your mind. Until you trudge over to your bathroom mirror, slap a palm full of cold water onto your face, and realize…this isn’t a nightmare at all. It really just happened.

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🔈 Taylor Swift’s Producer Goes Scorched Earth on AI

Jack Antonoff, the producer and songwriter behind some of the greatest tracks from Taylor Swift, Sabrina Carpenter, Lana Del Rey, St. Vincent, Lorde, and many others, has a few thoughts on the growing phenomenon of AI-generated music. But instead of sitting for an interview on the topic, he followed in the footsteps of the likes of Reese Witherspoon and opted to post his thoughts directly on Instagram this week.

“You don’t have to write music anymore, you don’t have to record it and you don’t have to bring the band out and play it. And yet for us, the idea of optimizing what we do is a complete miss of the entire point of what compels us in the first place,” wrote Antonoff on Wednesday, just before midnight West Coast time.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

🎬 Golden Globes Warm Up to AI?

1. Movie and TV awards season is now over, but that hasn’t slowed the decision-making process regarding how AI will or will not impact how outstanding achievement on the big and small screen is determined. On Thursday, the Golden Globes released new guidelines, with AI taking up a significant portion of the update. Despite the trend toward anti-AI sentiment in Hollywood, the organization is taking a surprisingly permissive stance on the technology.

“The use of artificial intelligence (AI), including generative AI, does not automatically disqualify a work from consideration, provided that human creative direction, artistic judgment, and authorship remain primary throughout the production process,” reads the updated rules. “AI and similar technologies may be used as part of the production process…but may not replace the core creative contributions of human talent.”

This could significantly broaden the films and TV shows eligible for Golden Globes as AI continues to make inroads across all platforms, most notably Netflix, which has devoted a good deal of attention to crafting its own internal AI tools.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

I love YouTube and Reddit. You can learn a lot from them if you filter well. But one of my pet peeves has been the normalization of people sitting in their bedrooms, turning on a camera, reading the Internet, and then speaking the words, “Last week, I REPORTED on what’s happening with [insert city/company/person]. We went over a lot of detail…” No. That’s not what happened. What happened was you read an article on a website, or on social media, and gave your OPINION on a story someone else did the work to report to the public. Sometimes you, dear influencer, even read, verbatim, every line of a reporter’s article in front of the camera as if that, voilà!, was reporting the story.

Initially, I decided that getting irritated by this new way of using a reporter’s work, often without ever mentioning their name, was futile, and I pushed it to the back of my mind. Then, over time, I noticed that more and more of these social media influencers were reporting stories from sources that weren’t actually legitimate news sources. These influencers began reading gossip tweets as sources, Reddit threads as statements of fact, secondhand chat sessions from yet another influencer, or some SEO-optimized clickbait site written in English but originating from somewhere in Asia or Eastern Europe with no masthead, office address, or editorial names, just a crude but effective echo of what a legitimate news site might look like.

The lines between what is true and what is potentially nonsense had been blurred. And then came AI.

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🎬 China Launches the AI Feature Film Era

1. China isn’t waiting for Hollywood to give the world the green light on major feature films created using AI video, one of its biggest film distributors plans to pioneer the space. China’s Bona Film Group is teaming up with ByteDance to use Seedance 2.0 to produce a 90-minute science fiction film that will be released in major Chinese theaters. The project’s national theatrical release wouldn’t be possible without the sign-off from the China Film Administration (CFA), an arm of the Chinese Communist Party (CCP) that reviews domestic films and approves releases.

Now that the Bona Film Group has that approval, all systems are go. Although the film will simulate live-action, it will officially be classified as animation by the CFA. The name of the film is Sanxingdui: Future Memories and will be the first AI-generated film approved for release by the Chinese government.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

I’m regularly engaged with traditional visual artists, musicians, and filmmakers who, to varying degrees, either passionately hate AI or are trying to figure out how to use it to stay conversant in the next phase of the tech-enabled creative landscape. But these people are not the majority of the people in our society. Our artisans are a relatively small cohort. Their anger is being mediated and, in some cases, outright ignored, depending on your position. However, the general public has begun to come to grips with AI, and many of them are worried. Some are even angry.

As you might guess from the topic of these weekly writings, I’m still a tech optimist. That’s why the weekly roundup is called Man “AND” Robots, not Man “Versus” Robots. I think there’s a way to make AI work for us in a way that adds, not subtracts, from who we are as individuals and a society. But I’ve already exhausted my own AI angst long ago and circled the bend without crashing out. I am not, however, convinced that the general public will make that same AI-as-crisis-to-possible-augmentation journey without first introducing the space to some of the aggression we’re seeing in other parts of our lives now. I sincerely hope I’m overstating this. I’ve never wanted something I’ve written to be wrong so much as now.

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🎬 Star Wars Films & AI

1. Next to Disney’s Marvel films, the franchise most heavily reliant on visual effects (VFX) is the Star Wars universe, also under the Disney umbrella. Jon Favreau (The Mandalorian & Grogu, Iron Man 1 and 2), one of the captains of the Marvel Cinematic Universe, recently gave his thoughts on how AI may play out in film. Now, fellow Star Wars director Shawn Levy (Star Wars: Starfighter, Deadpool & Wolverine) is weighing in on the conversation nearly everyone in Hollywood is having.

“To date, I’ve not incorporated AI in any meaningful way in any phase of my storytelling process, but I have no doubt that in the course of my career we will see its integration,” Levy said…

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work. All editorial text is written by humans.

“We use the Apple Vision Pro on set. I’m making an IMAX movie, and I’m looking at a TV screen. No matter how big your TV screen is, it’s not an IMAX screen,” Favreau said during an interview with Matt Belloni at last week’s CinemaCon event. “We built software so that I could pop on my Apple Vision Pro and be sitting in an IMAX movie theater and see the full aspect ratio when we’re lining a shot up. I could watch that take and see what people will see.”

Favreau’s IMAX use case is a story I’ve been telling since I first got my hands on the Vision Pro back in 2024. I’ve purchased more IMAX tickets than the average moviegoer because it’s such a great experience and nothing comes close to it, except for the Vision Pro. The product is the first wearable computing device that truly makes you feel as though your home has temporarily become an IMAX theater. Of course, because of the device’s intimidating $3,500 price and reports of varying comfort experiences, the tech media has successfully steered some of the public away from the premium device.

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While so many in Hollywood are worried about AI taking jobs from actors, the more immediate fundamental shift AI is forcing is how VFX are done. VFX is where most of the budgetary and speed benefits of AI are showing up in film and TV. And for the AI refuseniks out there, it might be helpful for you to know that AI in the way of VFX was central to the production of George Miller’s Furiosa: A Mad Max Saga, to name just one example.

What the Acme AI & FX approach reminds me of is Robert Rodriguez’s Sin City and Zack Snyder’s 300. Both use cutting-edge (although, in some ways, old school) approaches to filming actors against green/blue screens to simulate environments and deliver stirring films on relatively modest budgets. Fittingly, Lawrence Grey, one of the founders of Acme AI & FX, was also a producer on 300, so he intimately understands what is possible when you innovate around human actors working in virtual environments.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

In February, Ars Technica, one of the most trusted names in technology media, terminated its relationship with writer Benj Edwards after it was discovered that one of his recent articles included fake, AI-generated quotes. “I decided to try an experimental Claude Code-based AI tool to help me extract relevant verbatim source material. Not to generate the article but to help list structured references I could put in my outline,” wrote Edwards, explaining what happened in the aftermath.

Edwards, who had been writing for Ars Technica for nearly four years, clearly didn’t need AI. Nor should all of his prior work suddenly be tainted by his recent editorial stumble. He’s a real tech journalist, with real talent. But in a time when differentiating AI-generated text and research from human-crafted journalism is one of the last bulwarks defending the viability and fragile reader trust in mainstream media, Ars Technica was compelled to protect its long-held pedigree in whatever way it saw fit.

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Seedance 2.0 adoption in the U.S. faces new friction in the way of price. The deal that gave Oracle a majority stake in TikTok also covers CapCut (leaving ByteDance with nearly 20% ownership in the U.S. joint venture). Almost immediately after the handoff took place, Oracle doubled the price of CapCut from $90 a year to $180 a year. And that price only covers a smattering of Seedance 2.0 credits, so most users will need to buy additional credits to use the AI video tool inside the CapCut video editor. Note: Runway also announced the availability of Seedance 2.0 on its platform starting Thursday.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work. All editorial text is written by humans.

“I will share a recent anecdote that really struck home for me… I went to my first robot cafe,” said OpenAI CEO Sam Altman on Monday, hands blithely conjuring his now-familiar sincerity of personal life transparency spell on his employees.

“I was so excited to try it. I thought I was going to love it. And it was the most underwhelming experience. I thought I was someone that did not need a barista at Starbucks to smile at me and say ‘Hi,’ and ask how my day was going. I really thought I didn’t care about that. Turns out that I really want that. Walking in [to the robot cafe] to push on the screen and have the robot do the thing and give you a delicious cup of coffee was, like, deeply unfulfilling. I don’t want this experience.”

Sam, I feel your pain. Or rather, your patron’s nagging discord in the absence of human communion. It’s exactly the same thing I felt when I started reading the AI policy paper you and your OpenAI team released on the same day as your video chat session. I stared at the dense 5,417 words of AI utopianism titled “Industrial Policy for the Intelligence Age: Ideas to Keep People First,” [PDF], and thought, this has to be AI-generated. So, I decided to check.

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APRIL 3, 2026

📡 NPR Is Building Its Own AI Brain

1. Last Fall, National Public Radio (NPR) was forced to conduct cutbacks following President Trump’s executive order to end roughly half a billion dollars in funding for it and PBS. Nevertheless, that hasn’t stopped NPR from rushing into the AI age, as a new job posting on the org’s website says it’s looking for a Senior AI Engineer for its AI Labs. The mission: To build “NPR’s first Generative AI (GAI)-focused product.” They’re willing to pay upwards of $186k a year, which in the current AI engineer environment, isn’t a very competitive salary. But there is likely a solid group of NPR fans who also happen to be AI engineers who would love to work on the project.

All Robots Considered?: For those concerned that this means NPR is about to launch AI radio hosts, slow down. Based on the details of the job listing, it appears that, at least initially, the goal is to make NPR’s vast database optimized for personalized summaries, discovery of topic threads and stories via AI-enhanced metadata, and perhaps even monetizing NPR’s archive of shows. Could all of this engineering eventually lead to an AI host? It’s possible, but based on NPR’s track record of speaking directly to its listeners, that seems unlikely. At least for now.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

MARCH 27, 2026

🕶️ AI Fashion Witch Hunt At Prada

1. A new fashion campaign for Prada’s Spring/Summer 2026 line has stirred up some AI controversy. Crafted by artist Jordan Wolfson, the still images and videos feature actors Nicholas Hoult (Superman, Mad Max: Fury Road), Damson Idris (F1: The Movie, Snowfall), Carey Mulligan (Drive, Shame), and Levon Hawke (Marty Supreme), all Prada ambassadors. The images and videos, all featuring large nightmarish birds next to the actors, have drawn criticism from Prada fans on Instagram, YouTube, and X.com for being AI-generated. There’s just one problem: neither the artist nor Prada has openly stated that the works are AI-generated.

Behind the AI Outrage: I think I know why Prada fans are assuming the works are AI. Wolfson is known to use technology in his art installations, so AI wouldn’t be a stretch. Then there’s the language on the Prada campaign page which states, “The artist gives life to nameless, unreal and dreamlike creatures, defined by complex visual codes, which interact with the cast both in photos and videos and make the imagination tangible … [Wolfson] investigates perceptions of the world around us, as well as the way in which technologies and images can define our way of thinking.” Is that a stealthy way of saying he used AI without directly saying it? It’s unclear, but many Prada lovers are nevertheless convinced AI is involved, and they’re not happy about it.

The other thing that may have Prada fans assuming AI is in the mix is the fact that Meta is reportedly working on a pair of Prada smartglasses, which would be AI-enabled. The public was reminded of this last month when Mark Zuckerberg showed up to a Prada runway show with his wife, Priscilla Chan. What this unconfirmed AI outrage from Prada watchers is telling us is that it may now be necessary for brands to openly state that a visual was not AI-generated if other methods were used. And if AI was used, then consumers clearly want to know about it.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work.

The publishing world was rocked last week when a Hachette book titled Shy Girl, by Mia Ballard, was canceled after suspicions that it was AI-generated were raised by The New York Times. Book nerds will know that YouTuber Frankie, a book reviewer, was first to make the claim, alleging back in January that the book was probably AI-generated.

In a since-deleted comment on Frankie’s video, Ballard wrote, “Someone in my writing group offered to help [edit the book] and assured me she’d do a thorough job, so I trusted her. In the process, she also changed a lot of the wording and encouraged me to lean more poetic because that’s my background, and I listened … I did not use AI to write this book. What I can say is that the version you’re referencing was edited by someone else, and I only later realized she may have run parts of it through an AI tool during her editing process.”

There’s no way to know for sure if what Ballard says is true or not. But after several exhaustive reviews of Shy Girl by online book reviewers, the claim that it wasn’t deliberately written using AI (versus just being heavily edited using AI) hasn’t seemed to convince many critics. Once the specter of AI is raised at all, trust in the provenance of the work is difficult to regain. Initially, Shy Girl had good reviews and healthy sales in the UK (1,800 print copies) before the book was pulled. Several blurbs from other authors with solid publishing track records also graced the now-deleted publisher page for the book. So this has shaken the confidence of some in the book publishing space about the future of writing as a profession.

And because of this embarrassing incident, publishers are likely to be more circumspect regarding newer authors, a terrible outcome in a field that is already difficult to break into under a major book publisher. Currently, Amazon is flooded with AI-generated books of fiction and non-fiction, mostly self-published. So when even a professional publisher fails to filter out an AI-generated book, some book fans are wondering, are AI books just inevitable?

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March 19, 2026

🤖 AI Resurrects Val Kilmer One Year After Death

1. One of the sacred lines drawn between human actors and AI-generated avatars is being crossed, and it’s in the name of the late Val Kilmer (Heat, Batman Forever, Top Gun). Independent film As Deep As the Grave, directed by Coerte Voorhees, will feature an AI-generated version of Kilmer in one of the key roles. Kilmer, who died of throat cancer in April 2025, had been cast to work on the film years ago, but his medical issues hindered his involvement. Now Kilmer’s estate and family have authorized the production to use an AI-generated image and voice depicting the actor in various stages, young to old, during the film’s plot. “He always looked at emerging technologies with optimism as a tool to expand the possibilities of storytelling,” Mercedes Kilmer, Val Kilmer’s daughter, told Variety. “This spirit is something that we are all honoring within this specific film, of which he was an integral part.”

Kilmer’s AI Stance: Prior to his death, Kilmer worked with AI audio startup Sonantic to help him deliver his lines in 2022’s Top Gun: Maverick. The producers are paying Kilmer’s estate for for the use of his likeness, and claim they are following SAG guidelines [PDF], but there will surely be some outrage regarding this AI version of Kilmer just one year after his passing.

Keep Watch: Sonantic was acquired by Spotify for $93 million in 2022, so keep an eye out for Spotify as an AI in Hollywood collaborator.

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MAN AND ROBOTS is a weekly column from MARS Magazine on AI, Hollywood, and the future of work. All editorial text is written by humans.

The AI avatar dubbed Tilly Norwood made a big splash a couple of months ago in Hollywood, with Variety repeatedly featuring the AI-generated construct. Its creator, UK startup Particle6, framed it as an “AI actor.” Predictably, many in the film and TV business ridiculed the avatar and any hopes it might have of replacing human actors. Then, last week, the world got a taste of what Tilly was capable of via a music video titled “Take The Lead,” in which the avatar proclaimed “AI is not the enemy!”

Now, after 204,000 views on YouTube, we can finally get an accurate sense of how Tilly was received…and it’s not good. The video currently has 1.2k Likes and 4.8k Dislikes. Similarly, the comment section is filled with negative comments about the music (created using Suno), the quality of the avatar, and the very notion of attempting to replace humans with AI-generated avatars.

However, none of this is static and, depending on the project, opinions may change. But what the incident did tell me is that humans aren’t necessarily enthusiastic about letting go of reality. I experienced a hint of this during my many years researching and reporting on virtual reality. Although I was and remain thoroughly enthralled with VR, so far, the audience for virtual experiences seems to be limited.

In fact, just this week, chief VR evangelist Mark Zuckerberg and his Meta company admitted defeat and sent a message to all Quest VR headset users that “By March 31, 2026, Horizon Worlds and Events will no longer appear in the Store on Quest.”

Is there a throughline between VR and AI? Will humans have the same instinctual revulsion to AI’s virtual humans and environments that many have had to VR?

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