The last Rodeo - A Dull 8 Second Eternity

Rent on Amazon and Apple TV

    Earlier this month, I favorably reviewed F1: The Movie, the story of an aging has-been Formula 1 Driver jumping back into the driver's seat for one last shot at glory and to help a younger aspiring driver find his groove. Today, I am reviewing another film with a similar premise, but it isn't as interesting, entertaining, or polished as the Brad Pitt-led gem, which I still highly recommend you see. Instead of a well-crafted and nuanced narrative about sportsmanship, craftsmanship, and friendship, The Last Rodeo presents an overtly cheesy narrative, soap-opera-level performances with one-dimensional characters, and no overarching theme worth investing in. While a handful of parts are admirable, the rest of the film falls short of expectations, failing to reach the 8-second mark (the required time to remain on the bull). There is nothing but pain with this film. 

    The story follows a former Rodeo bull-riding champion named Joe (Neal McDonough), who is enjoying his retirement, mostly teaching his grandson the ropes of the Rodeo (that is, when his grandson isn't playing Baseball). One day, during a game, Joe's grandson accidentally gets hit in the head with a speedball a bit too hard and develops a brain tumor that needs to be operated on ASAP. With medical insurance only covering half the cost, Joe finds himself needing to raise at least $250,000 for his grandson's surgery. As fate would have it, there is a championship bull-riding competition happening in less than a week with a cash prize of nearly a million dollars, and Joe decides to participate and win for his grandson. Complicating matters further is the reason Joe had to retire in the first place (a hit in the head from a bull that nearly broke his neck), along with his age and time away from the Rodeo. Joe has to hope that he can hold out long enough to raise the money needed to save his grandson's life. 

    This might have been a compelling story were it not for everything surrounding it being dull, half-hearted, and forced to the point of disingenuousness! Most of the scenes are too dialogue-heavy (with nothing nuanced or interesting being discussed other than repetitive frustrations that amount to whining). No one has a satisfying character arc or personal stake in the story other than helping to pay for the boy's surgery, which, as noble a goal as it is, isn't enough to drive an entire narrative, not to mention the insufficient amount of time developing the boy's character, thereby providing little reason to care. 

    And then there's the underlying religious themes, which I didn't see coming until about halfway through the film. Admittedly, the fact that the studio behind this film was called Angel Studios should have been a clue. While I am not opposed to, for lack of a better phrase, spiritually related ideas in movies or any other media, they are best utilized as individual character aspects that don't seep their way into the overall narrative or the dominant theme of the story unless it is warranted. Case in point: David's Jewish heritage in the classic film Independence Day isn't brought up or utilized in any meaningful way until a specific moment in the story, it was called for based on the individual character; not to mention it didn't needlessly and aggressively insert itself into the story because it wasn't relevant to the overall narrative. 

    To quote George Carlin, "Religion is like a lift in your shoe: if you need it, okay, just don't make me wear your shoes if I don't want them." 

    The Last Rodeo is a slog of a film! It fails in too many areas and clunkily tries to compensate for it all by waving the "faith-based" flag as though that automatically forgives all of its shortcomings (it does not and never should, nor should the flag-waving of any sub-genre for that matter). If this movie is still playing in any theater near you, please skip it and go see F1: The Movie or the new Superman instead, I implore you! This movie is not worth the price of admission, nor the overinflated rental price. 

    Forget about this one entirely. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

Superman (2025) - You'll Belive in Human Kindness

 

"We love our superheroes, because they refuse to give up on us." 

-Grant Morrison

    A common misconception about Superman as a character is that he doesn't align with modern sensibilities and expectations, facing arguments such as "he's too powerful and therefore unrelatable," or "he's not realistic enough," and my least favorite, "what if he was evil?" As a long-time Superman fan, these statements and questions have always baffled, bewildered, and frustrated me; not because they weren't worthy of examination or discussion, but because they spawned from a place of disinterest and apathy. Rather than seriously explore what makes Superman the most relatable and, dare I say, human of all superheroes, too many people brush him off as not interesting enough or no longer relevant. In the modern age, it's upsetting that this mindset feels too easy to fall back on, however understandable that may be given recent events. 

    However, the most fundamental and essential aspect of Superman, which too many people either forget or deliberately ignore, has nothing to do with his abilities and everything to do with his choices. Superman is, among other things, a beacon of hope, kindness, and choice! He chooses to do good because it is good, plain and simple, and the real conflict is not with that idea itself, but rather people's inability (again, understandable) to recognize and accept that notion. This is why the animated Superman film, Superman vs. The Elite, is my favorite Superman story: it tackles this exact idea and delivers a compelling argument for why Superman is a relevant, relatable, and reliable character, not just in the realm of fiction, but also in our reality. 

    I have been waiting for a brand-new movie about Superman to come along and remind audiences of this fundamental truth for so long that I was prepared to give up on it ever happening, fearing that too much modern cynicism would prevent any talented storyteller from having such an opportunity. And then Warner Bros., struggling to find its footing in the modern age with its superhero library, finally gave the reins to James Gunn and said, "Please do something with this, we don't have a clue anymore!" I had hope beyond hope that James Gunn, a proven and worthy storyteller, would not only understand Superman as a character, he would also take this opportunity to remind audiences of everything I mentioned earlier regarding Superman in the modern age, why he (and by extention everything he stands for), is more relevant now than it ever has been before, and where the real problem that needs fixing lies. 

    My expectations were not only exceeded; they were validated beyond my deepest hopes. James Gunn's Superman is not only a fantastic film, but it is the exact kind of superhero movie (let alone one about Superman) that we needed now more than ever. Finally, we have a new Superman film that reminds us why Superman lives in all of us! 

    This iteration of the character and the world he inhabits will be familiar to fans while also being accessible to newcomers. The story begins in a world already familiar with "metahumans" (as the film calls superheroes), who have been actively saving the day for quite some time. Superman is the newcomer to the story, having only been introduced a few years ago within the narrative. Superman is the odd one out this time around, being an alien from another planet, causing people to question his intentions and actions. This becomes especially amplified when Superman finds himself dealing with the fallout of preventing a war on foreign soil without consulting any government officials, leading to a series of uncertainties, questionable moralities, and genuine confusion about why simply being good and doing good for goodness' sake is so foreign to people. 

    This, along with a series of other related events, leads Superman and his friends down a path of genuine introspection and uncomfortable discoveries that not only reflect the character's reality, but also our own, as many of the conflicts rise from unmitigated hatred of "forigen" people, corporate greed, evil dictatorships, and the internet itself. The film conveys a profound underlying message about the issues that threaten our freedoms, our sense of identity, and our apparent inability to recognize, appreciate, and accept kindness. All within the structure and framework of a superhero movie that still delivers the goodies one might want from such a film, including incredible action scenes, without diminishing the narrative's intention or talking down to the audience. It's not telling us we suck as a people; it's reminding us that we always have a choice. 

    As you have likely noticed, I wholeheartedly loved this film! The few nitpicks I had during my viewing far outweighed the overall beautiful experience. It felt refreshing and invigorating to finally have a brand-new Superman movie that's actually about the Man of Steel. It's not a failed adolescent attempt at a deconstruction, and it's not a fool's errand to try and make the character more "realistic;" it's just a movie about Superman and everything that makes him fantastic, relatable, and yes, human! 

    Make no mistake, Superman is a powerful and tough-to-takedown character, but he is not as invulnerable as most people assume. This movie does not shy away from demonstrating all of Superman's strengths, weaknesses, and especially his flaws. The idea of Superman being totally invincible was more a result of lazy comic book writing, which often added additional powers and abilities out of the blue to resolve situations that might have required more nuanced effort. It's the same problem that plagued many Batman comics over the years; you can only get away with saying "because he's that good" or "because he planned for this unique situation in advance" so many times before it becomes self-parody, and not the intentionally funny kind. Keep in mind, I do also love Batman; just not as much as Warner Bros. and D.C.'s marketing department wants me to. 

    David Corenswet is phenomenal as Superman/Clark Kent. He delivers everything the character is and needs while still making his performance his own. I knew he was the right man for the role when I discovered he insisted that his costume keep the red trunks. 

    Rachel Brosnahan is a firecracker as Lois Lane. Her energy, playfulness, determination, and chemistry with the rest of the cast make her the perfect companion for the Big Blue Boy Scout, serving as both a challenge and a source of comfort simultaneously. 

    Nicholas Hault is, hands down, the best iteration of the villainous Lex Luthor I have ever seen, mainly because the movie remembers that he is evil: he's not interesting because of his intellect, he's not necessary because of his inventions, and he's not superior because of his business mindset, he is an evil, meniacal, cruel, pathetic excuse of a human being. You know, like most of Congress! 

    The MVP Award with honors goes to Edi Gathegi as Mr. Terrific for not only giving the long-time working actor the big break he was long overdue, but also for playing the best supporting character in the whole film, and for becoming the true friend to Superman he needed and deserved. I hope Mr. Gathegi gets to have more fun with this excellent character in the future and that he gets to enjoy as much more work as he deserves. 

    Of course, I would be remiss to not also mention my love and appreciation for the cinematography. Photographed by Henry Braham, who has collaborated with writer/director James Gunn on Guardians of the Galaxy 2 & 3 (not to mention the holiday special), the images of the film are beautifully bright, vibrant, and colorful, and I mean COLORFUL! Additionally, the artistic choice to utilize bright settings with occasionally blown-out highlights, mostly emanating from windows, lends the film a sense of brightness that reflects the bright tone and personality of the main character. It's also a style reminiscent of most Anime films, which I enjoy incorporating into my own style. It's a film that wants to be seen and isn't ashamed of itself. 

    James Gunn's Superman is the shot in the arm we all need right now. The film does not shy away from tackling several modern political and sociological issues that are causing us to forget and ignore basic human kindness. It is a film that reminds us of the true meaning of Superman, both as a character and as a symbol, and why we need him in our own way now more than we ever thought possible. It doesn't apologize for telling the truth; it saves you with it!

    Please give this movie your time and money; it will be worth it. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

    Look up! 

https://www.normanluce-writer.com/

K-POP Demon Hunters - Introspective Spectacle with Heart

 

Streaming on Netflix

    Like many people my age, I went through a pop-music phase. While I was raised on classic rock and roll, like The Beatles, Jim Croce, and Creedence Clearwater Revival, I also developed a taste for some of the popular artists and bands of my generation, such as Phil Collins and Michael Jackson (yes, I know). For a brief period, I was into some of the early boy bands and girl groups that would go on to shape popular music, for better or for worse. And while I still have a small place in my heart for the likes of *NSYNC* and The Spice Girls, it didn't last very long, nor did it transition into any of the more modern groups, not even the ones from overseas. It wasn't that I didn't like the music or thought the groups were untalented; it just didn't resonate with me the same way it did before. 

    Not to mention, most modern pop stars not only sound the same, but as a classically trained singer (mostly), I find a lot of modern singing trends to be... how can I put this... gut-wrenchingly painful to listen to, with perhaps a few exceptions. Even so, there's no denying that some of it's catchy and easy to dance to. 

    While the music style of today's subject, K-POP Demon Hunters, may not be my cup of tea on most days, it suits the story's style and thematic elements, and the performers are doing a commendable job with their voices. Not to mention the whole concept of pop idols moonlighting as supernatural warriors against the forces of evil; while not a wholly original concept, it is nonetheless a fun one and well executed in this new iteration. 

    The story follows a trio of singers, known to fans as Huntrix, who are part of a long line of ancient warriors tasked with keeping evil demons at bay with their fighting prowess and the power of song. They utilize their music to maintain a massive energy field that wards off the demons. Their efforts appear to be in jeopardy when the lead singer starts experiencing mysterious vocal problems; this is part of a greater issue she hasn't shared with her friends yet. Things get even more complicated when a rival boy band, who are actually demons in disguise, seeking to thwart the girls' efforts by hijacking their fans, show up out of the blue and become an almost instantaneous hit. Now, the girls must determine the best course of action to handle the situation, and in the process, reevaluate their stance on their purpose, sense of duty, and commitment, both to the cause and to one another. 

    Those who might be turned away from this film by the flashy visuals and modern music styles would be missing out on a presentation that is much more nuanced than they might have suspected. Like any good story, everything within the presentation serves the greater narrative. Amidst the enjoyably comedic moments, fantastic fight scenes, and admittedly catchy musical numbers, the film's greatest strength lies in the three leading ladies and the overall narrative themes, which include the struggles of shame, the dangers of dishonesty, and the unhealthy mental and emotional strain that can lead to a cult mentality. 

    The three leading ladies are the film's highlights, both as individual characters and as a unit. Their chemistry is believable and delightful to watch; the way they bounce off each other with a friendship that feels tangible and relatable. When they are on screen together, it's pure gold! 

    The songs, while again not usually my cup of tea, are catchy, well-written, and exceptionally performed. The way they are perfectly synced with the action scenes makes them especially fun. 

    K-POP Demon Hunters is a film I didn't expect to enjoy as much as I did. While the over-the-top style of the animation and visuals, incredible though they are, might be a bit difficult for some more sensitive individuals, the story and characters, along with the appropriate sense of humor and commitment to heavy thematic weight, make it all worthwhile. Although I might have preferred that a few things had been different, there's no denying this film delivers the goods where it counts the most. This is one song worthy of the top five charts.

    Give it a look. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

Heads of State - Fun Schlock at its Finest

 

Streaming on Amazon Prime

    As I may have mentioned a few times before on this blog, I am a sucker for cheesy schlocky action films, especially when there's genuine effort put into making said film as fun and tangable as possible. Because there are plenty of dumb, dime-a-dozen, and even despicable "C" grade action films that overcrowd the market and drown out the real gems, it becomes all too easy to dismiss the entire subgenre, which, if you ask me, is entirely unfair! Sometimes, finding the right kind of action schlock means taking a risk, which can mean ignoring a silly title, accepting the presence of an action star you may not entirely like, or suspending your disbelief just a tad more than usual. 

    While today's movie, Heads of State, definitely asks you to suspend your disbelief more than some might consider reasonable (just enough), the title is clever, and the action stars present are entirely likable. Oh, and the movie itself is an absolute blast, so that's a nice bonus. 😂

    The story follows Britain's Prime Minister, Sam Clarke (Idris Elba), and the newly elected President of the United States, Will Derringer (John Cena), as they meet for a NATO summit to forge and maintain alliances. The timing could not have been more off since they're both having to deal with the fallout of a botched secret mission: a joint effort between the CIA and MI6 to bring down a notorious arms dealer, resulting in the deaths of all agents involved. As the Prime Minister and the President are on their way to the summit on board Air Force One, it is taken down by terrorists, forcing the two survivors to make their way to the summit on foot while trying to determine who among their teams is involved with the bad guys. As the Prime Minister and the President have to try and work together, many hijinks ensue along with some good old-fashioned buddy-cop style antics, and it is all as hilariously enjoyable as it sounds! 

    As of this writing, I have watched the film twice now, and it was more enjoyable the second time than the first. This insane and wacky action film has it all: chases, gun fights, fist fights, witty banter, and the occasional weird camera shot that doesn't really have much of a purpose, but it's amazingly dumb in the best possible way. Much of the film's power stems from the natural charisma and believable chemistry between the two leads; John Cena and Idris Elba bounce off each other so incredibly well and are the glue that holds the movie together. 

    The action scenes are especially noteworthy. In an era of aggressive shaky-cam and hyperactive editing, this film opts for steady camera movement, coherent editing, and needle drops that fit the scene's tone seamlessly. Not to mention many set pieces that showcase the cleverness and effort that went into their conception, including one very brief but excellent bit toward the end of the film that had me in stitches. 

    The MVP award goes to Priyanka Chopra Jonas, whom I haven't mentioned in this review yet, but I promise, plays a vital role in the story and provides an enjoyable demonstration of what a "girl boss" is really like, nay, supposed to be! 

    If you need a piece of good brainless fun for a few hours, you can't go wrong with Heads of State. It may lose a few points for some crass bits of humor that I preferred had been cut or executed differently, but they are few and far between enough not to detract from the overall insanely fun experience. This is one movie that deserves your vote!

    Check it out. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

F1: The Movie - Gotta Go Fast Into Awesome

 

Playing in Theaters

    Sports movies can have a tendency to blend into one another in terms of formula and presentation; it takes a true visionary and a strong sense of commitment to an idea to stand out from the crowd. Such a feat requires a sense of childlike awe combined with a healthy dose of hard-earned wisdom to successfully wow an audience and potentially inspire a generation. F1: The Movie, despite overstaying its welcome just a little bit with a longer-than-likely-needed runtime, delivers the goods in spades with the added bonus of good old-fashioned heart rarely seen in modern blockbusters today. Sure, it's a classic story about older has-beens seeking one last shot at glory, budding heads with a younger rival, and all the drama that entails. Still, it's the best possible execution of that classic story anyone could ask for. In an age of over-commercialization, this kind of experience is needed more often than we might have realized. 

    The story follows Sonny Hayes (Brad Pitt), a washed-up former Formula One driver who spends his days living in his van, driving in whatever kind of racing event will hire him. One day, he's approached by his old racing partner and friend, Ruben (Javier Bardem), with an offer to race in Formula One again, with a catch. It seems Ruben's team is not in sync with each other as well as they should be, not helped by their star driver, a young, cocky, and ambitious kid named Josh (Damson Idris), who has talent but needs proper guidance to find his footing. Ruben wants Sonny to help shape up the team and secure a win, and in the process, give Sonny another chance at the glory he never experienced before. Despite Sonny's initial reluctance due to a past traumatic event, he takes on the challenge and joins the team. Whether he will succeed in better bringing the team together, and possibly help himself in the process, remains to be seen on the track. 

    As I said, sports movie narratives can be easily interchangeable in terms of beats, character arcs, and formula (no pun intended), and this movie is no exception. It may feature many of the hallmarks you might expect from a racing movie, especially one that isn't part of the Fast & Furious franchise. Even so, this movie is a prime example of taking familiar beats and remixing them into something that still feels fresh and, more importantly, tangible. 

    The film succeeds in taking you on a ride, both literally and metaphorically, with genuinely likable characters, relatable stakes, and sound old-fashioned, hard-earned wisdom for the younger crowd who desperately needs a little kick to better understand the world around them. 

    Brad Pitt, as usual, delivers a performance that showcases his continued progress as an actor while maintaining his sense of coolness and suave screen presence. Helped along by the unusual notion that Brad Pitt is one of those rare Hollywood individuals who, much like his character in David Fincher's The Curious Case of Benjamin Button, appears to be aging in reverse (seriously, how is this dude in his 60s?) His chemistry with the rest of the cast, especially with Dasmon Idris as the younger racer, is phenomenal to watch. 

    For my money, the MVP award goes to Javier Bardem for playing the best kind of best friend you didn't know you wanted to see in a movie. I would gladly have a beer with this guy! 

    While the narrative aspects of the film are stunning, the technical aspects are significantly more impressive. 

    While special effects were likely still utilized to some degree, the majority of the racing and car driving was done practically. Utilizing specially designed cameras that can be mounted almost anywhere, we're treated to a stunning array of POV shots from the cars, which get in close to the action. What's more, the photography and the editing, minus a few scenes here and there, never feel incoherent or hyperactive. Fast-paced does describe the general feel of the racing scenes, but they're never a struggle to watch. 

    I opted to see this film in D-BOX, and it genuinely enhanced the experience. For those unfamiliar, D-BOX is a seating option for movie theaters that utilizes a motor and an axis, allowing for a reasonable amount of movement and rumble in sync with the on-screen action. F1 is the perfect movie for this seating option, adding a layer of immersion that, while not necessary given the already incredible quality of the film, does enhance the experience and provides a little extra appreciation. 

    F1: The Movie is an unexpected gem of a film. It provides the kind of wholehearted, life-affirming feeling that movies like this are meant to evoke. While it might have benefited from having a few minutes shaved off the running time, I never felt as though my time was being wasted. 

    If you can spare the time, go see this movie, and please treat yourself to a D-BOX showing; you can control the amount of movement and rumble the seats provide.

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/ 

Queer Month Review - Dallas Buyers Club

Rent on Apple TV and Amazon

    Stories regarding the HIV (AIDS) epidemic can be tricky to navigate. Historically, it wasn't widely discussed as it should have been because, at the time, only specific people (homosexual men) appeared to be affected by the virus. It wasn't until a woman contracted AIDS through a blood transfusion that the mainstream media finally gave the horrible situation the attention it needed. While better treatments and preventive measures have emerged since then, the struggle to treat and cure the virus remains ongoing. It has the efforts of a few courageous people to thank for making the situation a little more tolerable. 

    One such person was Ron Woodroof, a cowboy who contracted the virus by accident and took it upon himself to help himself and those who shared his plight by providing some much-needed services that were primarily denied due to ignorance and corporate greed. His story was adapted into a feature film that went on to become one of the strongest stories of that dark time in history, and it also became one of my favorite films for many reasons, not the least of which is its demonstration of Hybrid Filmmaking (more on that later). 

    Set in the 1980s, the story follows Ron (Matthew McConaughey), a rodeo cowboy who discovers he has somehow contracted the AIDS virus. After being told he has only thirty days to live, Ron takes it upon himself to improve his situation and, along the way, the situation of others. His journey leads him to the discovery of vitamins, proteins, and other supplements that have proven effective and beneficial in AIDS treatment, but are not available in the US due to a lack of FDA approval. So, with the help of a new friend and unexpected ally, a drag queen named Rayon (Jared Leto), Ron decides to form the Dallas Buyers Club —a business where he purchases supplements from Mexico, brings them into the US, and sells them to those who need them. However, instead of selling the supplements themselves, he's selling a membership, and those with a membership can take as many of the goods as they want or need. Over time, Ron's actions not only helped those who needed it most but also brought much-needed attention to a dire situation that had been ignored and cast aside for far too long. 

    Overall, the film is a fantastic watch, albeit a challenging one at times. The performances are spot-on, especially from Matthew McConaughey, who demonstrates a surprising amount of range that hadn't been seen or expected at the time. He brings a level of depth and relatability that is essential to these kinds of stories. Not to mention his chemistry with the rest of the cast, including Jared Leto (keep in mind, this was before we all knew how uncomfortably pretentious he was). 

    While the narrative is as praise-worthy as ever, the film's technical aspects are equally fantastic. 

    As I mentioned before, Dallas Buyers Club was filmed in a style dubbed "Hybrid." Generally speaking, filmmaking can be divided into two forms: narrative and documentary. Yes, there are plenty of examples that blur that line, mostly with found-footage horror films; however, for the purposes of today's discussion, we will remain focused on the two basic definitions laid out here. 

    Typically, narrative films utilize scripts, hand-built sets, extra lighting, and directed performances to create an alternative world and tell a story. In contrast, documentary films only require someone with a camera to capture real-world events and uncover the story. In short, narrative films use artificial reality while documentary films capture actual reality. 

    Hybrid films successfully fuse the most notable aspects of both styles to create a narrative that feels like a documentary. Dallas Buyers Club achieves this aesthetic through various means, primarily by utilizing available light sources rather than artificial ones, filming on real locations rather than sets, and filming predominantly handheld rather than using a tripod. This creative choice was chiefly made out of necessity due to heavy budget constraints (as no studio wanted to make this film), but it would prove to be the best choice possible for this story, gifting the narrative a sense of realism it deserved. 

    Dallas Buyers Club remains as relevant a film now as it was when it was initially released in 2013. The story is essential and beautifully told through witty writing and diligent performances. That it went on to score critical success and a few Oscar wins despite struggling to find the means of production and distribution is a testament to both the courage of artistic integrity and the necessity for compassion in all things.

    Please watch this one if you haven't already. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

Ghost in the Machine - The Future of AI and Human Creativity

Image crafted with Google AI (No, I did not prompt it)

    Sometime ago, I came across a video on YouTube from the Scriptnotes Podcast, an interview with screenwriter and director Christopher McQuarrie (late of The Usual Suspects and the last four Mission: IMPOSSIBLE films) discussing his views on the future of screenwriting and the creative process with regards to the rise of AI and the harsh reality many creatives will have to face sooner rather than later, which is two-fold: first, AI will inevitably take over the entire Hollywood network of stand-by writers, and second, no matter how advanced AI develops in the future, whatever the machine churns out will always require human editing and fine tuning; because of the one thing that no amount of algarythams and digitized historical context can ever teach the machine: empathy! 

    All forms of human creativity (painting, writing, woodworking, etc.) feature structures and guidelines for crafting the best possible results, which AI is capable of learning, understanding, and executing. But what makes the creations therein (as done by humans) so unique is how the creators bend or break the structures and guidelines based on their preferences, experiences, and ideologies; things that machines cannot comprehend (yet). Which leads me to the most critical word and question regarding this entire endeavor: why? No, not the question "why are we heading in this direction," but the significantly superior and relevant question "why should the AI and its creators care about any of this?" 

    The most significant problem I foresee going forward with the impractical (at the moment) adoption of AI as a creative tool is that we are not taking the time to teach the machine why. Yes, we're feeding the machine all the essential information it needs to know about crafting works of art. Still, no one, at least presumably, seems to be remotely interested in attempting to demonstrate to the machine the motivation for any of it. Nothing in the world is worth doing, be it art or otherwise, if there isn't a firm contextual reason for the thing in the first place. 

    As of this moment, machines can only understand the technical and structural reasons for creativity; but until we take the time to teach the machine why it is essential to the human condition, which I do believe is possible, then AI will be nothing more than the simplest form it remains today: yet another form of terribly educated guess work!

    What I mean to say is that because AI is inevitably on the rise, we should take the time to at least attempt to teach the machine not only the unusual and incalculable unknowns of the human condition, but also why it is acceptable to embrace it for what it is rather than attempt to formulate an answer that no one will wholeheartiadly agree with. We achieve this by teaching the machine the basics, reviewing its work, making notes and adjustments, and then informing the machine of the reasons and purposes behind these adjustments. Then, if the machine has further questions, we answer accordingly and to the best of our abilities. In short, the machine is not our servant, but our student. 

    One thing that some of the greatest works of science fiction have taught us is that there is always an opportunity for greater learning, provided we put in the effort, and impart to those in the most need of learning, i.e., the machine, the value of such efforts. AI is making its way into our everyday lives, and there is nothing we can do to stop it, short of dismantling and abandoning all technology, which, let's face it, no human being on this planet is willing to conduct, let alone consider. So, rather than rejecting and vilifying this occasionally fascinating technological advancement, perhaps we could benefit from a reevaluation of what AI can potentially become in the betterment of the human condition. 

    I'm not saying we should wholeheartedly embrace AI as it is right now (it has a long way to go before it can be appropriately considered usable in any practical application, despite what most others would have you believe); what I am saying is perhaps we are overlooking an opportunity to better enhance our condition (creatively speaking) by providing better understanding to the machine. This is an endeavor that will require tremendous effort on our part, calling us to look deeper into ourselves and find greater peace with both our understandings and lack thereof with regards to our place in the creative sphere and indeed the universe as a whole. While I'm not holding my breath for the majority of people to embrace this notion, I am at least saying out loud what needs to be said in my own way. I encourage you to do the same. 

    AI isn't our enemy; our inability to put in the effort for our betterment is! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/