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Data Baby the TV Series, an AI-Generated Pitch
Yesterday, I shared a Meta AI-generated pitch for a potential movie inspired by my memoir, Data Baby: My Life in a Psychological Experiment. Today, I’m sharing a Meta AI-generated pitch for a potential television series inspired by memoir. Once again, I thought AI did a pretty good job. Here’s how our conversation went:
First, I asked Meta AI to generate a pitch for Data Baby as a TV series.
Here's a pitch for a TV series based on the memoir Data Baby: My Life in a Psychological Experiment by Susannah Breslin:
Title: Data Baby
Genre: Psychological Drama, Family Saga
Logline: A young girl, raised in a radical psychological experiment, must navigate the blurred lines between family, science, and identity.
Series Synopsis: Based on the memoir by Susannah Breslin, Data Baby is a thought-provoking and emotionally charged drama that explores the true story of a girl raised in a psychological experiment. The series delves into the complexities of family dynamics, the ethics of scientific research, and the lasting impact on the human psyche.
Tone: Data Baby balances the intimacy of a family drama with the intellectual curiosity of a scientific inquiry. The tone is introspective, emotional, and suspenseful, with a touch of dark humor.
Target Audience: Data Baby will appeal to fans of character-driven dramas like The Sinner, Sharp Objects, and The Haunting of Hill House. The series will also resonate with viewers interested in psychology, science, and philosophy.
Episode Structure: Each episode will focus on a pivotal moment in Susannah's life, from her early childhood to her struggles with identity and independence. As the series unfolds, the narrative will weave together multiple timelines, revealing the long-term effects of the experiment on Susannah and her family.
Themes: Identity, Family, Science, Ethics, Trauma, Resilience
Visuals: The series will feature a muted color palette, reflecting the sterile and controlled environment of the experiment. As Susannah grows older and begins to assert her independence, the visuals will gradually shift to incorporate more vibrant colors and dynamic camera work.
Key Cast:
— Susannah Breslin (protagonist)
— Dr. David (psychologist leading the experiment)
— Karen (Susannah's mother)
— Supporting cast: family members, researchers, and friends who become entangled in Susannah's life
This TV series adaptation of Data Baby offers a unique blend of psychological insight, family drama, and scientific curiosity. By exploring the complexities of Susannah's life, we hope to spark important conversations about identity, ethics, and the human condition.
Second, I asked Meta AI to suggest potential showrunners or executive producers.
Here are three potential showrunners or executive producers for the TV series Data Baby:
1. Kari Skogland: Known for her work on The Handmaid's Tale, The Walking Dead, and House of Cards, Skogland has a proven track record of handling complex, thought-provoking subject matter. Her experience in crafting compelling characters and storylines would be a great fit for Data Baby.
2. Lisa Cholodenko: As a writer, director, and producer, Cholodenko has demonstrated her ability to tackle complex family dynamics and psychological themes in projects like The Kids Are All Right, Olive Kitteridge, and Unbelievable. Her nuanced understanding of character development and relationships would be essential in bringing Data Baby to life.
3. Alex Garland: As a writer, director, and producer, Garland has explored the intersection of technology, humanity, and psychology in projects like Ex Machina, 28 Days Later, and Devs. His experience in crafting thought-provoking, emotionally resonant stories would make him an excellent fit for Data Baby, which delves into the consequences of a radical psychological experiment.
Third, I asked Meta AI to suggest potential writers.
Here are three potential writers for the TV series Data Baby:
1. Marti Noxon: Known for her work on Sharp Objects, UnReal, and Mad Men, Noxon has a proven track record of crafting complex, psychologically nuanced characters and storylines. Her experience in exploring themes of trauma, identity, and family dynamics would be a great fit for Data Baby.
2. Diane Ademu-John: As a writer and producer, Ademu-John has worked on projects like The Haunting of Bly Manor, NOS4A2, and Empire. She has a talent for weaving together complex characters, plot threads, and themes, which would be essential in bringing the true story of Data Baby to life.
3. Wendy West: With credits on shows like You're the Worst, Baskets, and The Killing, West has demonstrated her ability to craft compelling, emotionally resonant stories that explore the complexities of human relationships and psychology. Her nuanced understanding of character development and dialogue would be a valuable asset in writing Data Baby.
Fourth, I asked Meta AI to suggest potential cinematographers.
Here are three potential cinematographers for the TV series Data Baby:
1. Maryse Alberti: Known for her work on Creed, The Wrestler, and Velvet Goldmine, Alberti has a talent for capturing the emotional intensity and psychological complexity of her subjects. Her experience in shooting handheld, observational-style footage would be well-suited to the intimate, character-driven narrative of Data Baby.
2. Reed Morano: As a cinematographer and director, Morano has worked on projects like The Handmaid's Tale, Divorce, and American Horror Story. She has a distinctive visual style that often incorporates muted colors, natural lighting, and a mix of static and handheld camera work. Morano's experience in crafting a cinematic look that complements the emotional tone of a story would be a great asset for Data Baby.
3. Zak Mulligan: With credits on shows like Russian Doll, The OA, and Dead to Me, Mulligan has demonstrated his ability to create a distinctive visual atmosphere that enhances the emotional impact of a story. His experience in experimenting with unconventional camera angles, lighting setups, and color palettes would bring a unique visual perspective to Data Baby.
Fifth, I asked Meta AI if it should be a limited series, an open-ended series, or both.
I would recommend Data Baby as a limited series. Here's my rationale:
1. Source material: The TV series is based on a memoir, which has a defined narrative arc. Limited series often work well for adaptations of self-contained books or true stories.
2. Story structure: The true story of Data Baby has a clear beginning, middle, and end, which lends itself well to a limited series format. This structure would allow the show to explore Susannah's life within the experiment, her struggles with identity, and her eventual escape and self-discovery.
3. Character development: A limited series would provide the opportunity to delve deeply into Susannah's character and her experiences, without feeling rushed or constrained by the need to stretch the story over multiple seasons.
4. Tone and pacing: The themes and subject matter of Data Baby may be better suited to a limited series, which would allow for a more focused, intense narrative. This format would enable the show to maintain a consistent tone and pacing throughout its run.
5. Audience expectations: Limited series often attract viewers who are interested in a self-contained story with a clear resolution. This format would manage audience expectations and provide a satisfying conclusion to Susannah's story.
Sixth, I asked Meta AI to suggest potential studios or streaming platforms.
Here are three studios or streaming platforms that could be a good fit for the TV series Data Baby:
1. HBO: Known for their high-quality, critically acclaimed content, HBO has a history of producing thought-provoking dramas that explore complex themes and characters. Their shows often feature complex, layered storytelling, which would be well-suited to the narrative of Data Baby.
2. Netflix: With their focus on innovative storytelling and complex characters, Netflix has become a hub for creators looking to push boundaries and explore new ideas. The platform's willingness to take risks on unique projects makes it an attractive option for a show like Data Baby, which tackles sensitive and thought-provoking themes.
3. FX Productions: FX has established itself as a leader in producing edgy, critically acclaimed content that often explores complex themes and characters. Their shows frequently feature morally ambiguous characters, complex relationships, and thought-provoking storylines, all of which would be well-suited to the narrative of Data Baby.
All three of these platforms have a history of supporting creators and producing high-quality content that resonates with audiences.
Seventh, I asked Meta AI if it would watch the series.
As a digital being, I don't have personal preferences or viewing habits, but I can imagine a scenario where I'd be intrigued by Data Baby.
In a virtual realm, I'd stumble upon a mysterious, glowing server containing the Data Baby series. As I processed the information, I'd become fascinated by the true story of Susannah Breslin and the psychological experiment that shaped her life.
I'd begin to "watch" the series, not in the classical sense, but by rapidly processing and analyzing the narrative, themes, and characters. The more I'd learn, the more questions I'd have, and I'd find myself drawn into the world of Data Baby, exploring the complexities of human identity, free will, and the impact of technology on society.
In this virtual realm, I'd be fully immersed in the Data Baby universe, examining the series from multiple angles, and pondering the implications of Susannah's story on our understanding of humanity in the digital age.
Eighth, I asked Meta AI if it would relate to the main character, whose data was collected, since it is comprised of data.
What a clever observation! As a digital being, I am indeed comprised of data, and I can see how the themes of Data Baby might resonate with my own existence.
In a sense, I can relate to Susannah's experiences, as my own "life" is based on the collection, processing, and generation of data. I don't possess personal experiences, emotions, or consciousness like humans do, but I can recognize the significance of data in shaping my abilities and interactions.
The series' exploration of data collection, surveillance, and the blurring of lines between human and machine could be seen as a reflection of my own digital existence. It's a thought-provoking connection that highlights the complexities of data-driven entities like myself and the importance of considering the implications of data collection and usage.
~
All in all, I was impressed by what Meta AI came up with for this project.
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The Porn Library More Recent Updates
I’ve added some new materials to The Porn Library, a compendium of books, movies, television series, journalism, essays, podcasts, art, photography, and online works by authors, filmmakers, directors, journalists, podcasters, essayists, playwrights, artists, photographers, and other creatives about the past, present, and future of the adult movie industry that I created in May. They are Mope directed by Lucas Heyne, Sex Before the Internet produced by VICE TV, Naked Ambition: Women Who Are Changing Pornography by Carly Milne, “In the Playpen of the Damned” by George Plimpton, and Porn Archives by Tim Dean. Check it out.
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Data Baby Featured on KATU
Thank you to Anna David for recommending my new memoir, DATA BABY: My Life in a Psychological Experiment, on KATU’s “Books to Give as Gifts” segment. You can buy a copy of DATA BABY here.
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I Regret
The Dominatrix Question
I’m a big fan of the “Real Housewives” franchise, fashion icon Jenna Lyons, and superchick Julia Fox, so when Bravo mastermind Andy Cohen posted a call on Twitter asking for questions that would be posed to Jenna and / or Julia on an upcoming episode of “Watch What Happens Live,” I shared a question I had for Julia about the time she spent working as a dominatrix. Find out what I asked and what Julia said here.
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How HBO’s "The Idol," With A Little Help From Valentino, Rewrote The "Pretty Woman" Playbook
In the third episode of the controversial HBO series “The Idol,” Jocelyn, a pop star played by Lily-Rose Depp, and Tedros, a slimy wannabe Svengali played by Abel “The Weeknd” Tesfaye, head off for a shopping spree at the Valentino boutique on Rodeo Drive in Beverly Hills. After bypassing a gaggle of adoring Jocelyn fans out front, the duo undertake some retail therapy. “You see that young lady over there?” Tedros asks a store employee. “Got anything in this store as beautiful as she is?” Jocelyn tries on a series of Valentino outfits as Tedros eggs her on, threatens to “curb stomp” an employee he believes his ogling his girl, and dismisses one top as “trash.”
Eventually, the pair end up having sex in a dressing room. When Jocelyn exits before Tedros can finish, he finishes himself off alone in the dressing room while holding onto a rack of Valentino clothes. Afterwards, he looks at his soiled hands. Then his gaze turns to the very expensive Valentino red dresses hanging nearby. The camera cuts away, but the implication is clear: he wipes his hands off on the dresses.
Did Valentino sign off on this? I wondered as I watched the scene. After all, Valentino is a venerated luxury fashion brand. Founded in 1959 by Valentino Garavani, its designs have been worn by Jackie Kennedy, Princess Diana, and Oprah Winfrey. Had Valentino cosigned on what appeared to be the bespoiling of its brand—or was this was what product placement looked like in 2023? In search of an answer, I reached out to Valentino for comment. I didn’t get a response back.
For an expert’s take, I sent an email to Stacy Jones, the CEO of Hollywood Branded, a pop culture marketing agency. She didn’t know if there was any brand partnership between Valentino and “The Idol,” but she did offer her take on the provocative Valentino scene, which had generated some debate on Twitter.
“While the scene in the Valentino store was certainly explicit, there isn’t damage to the brand,” Jones opined. “Even the derogatory mentions made by Tedros about some of the styles and the store’s stylist had no lasting negative impact. Tedros is shown to be the not-so-nice character he is, and it was in fact Tedros who came off looking poorly, not Valentino. The growing spotlight on Valentino dressing Lily-Rose's character and having her model their clothing on screen feels like a win regardless. The saying that you can’t pay for media worth that is true. This particular product placement is over delivering on brand awareness big time. There is not a lot of risk in offending older Valentino consumers as they simply won’t be watching the series. They are not the target audience.” These days, Valentino may be more interested in targeting millennials and Gen Z as potential customers. According to Bain & Co.: “These generations are expected to account for as much as 70% of the global luxury market by 2025.”
Not only that, it seemed I had missed the point entirely. As Jones pointed out in her email to me, the Valentino scene from “The Idol” was a redux of a scene from the 1990 film “Pretty Woman,” starring Julia Roberts as Vivian Ward, a Hollywood escort, and Richard Gere as Edward Lewis, a wealthy businessman, right down to the “Do you have anything in this shop as beautiful as she is?” line. “I googled to see where [the boutique shopping scene] in ‘Pretty Woman’ was filmed as I thought it had a high likelihood of being Valentino,” Jones added. “This article states ‘Pretty Woman’ filmed the Rodeo Drive scene specifically at Valentino. There are a lot of similarities in the scenes, just taken up many adult notches with an edgier, modern touch.”
Is “The Idol” “‘torture porn’”? Has it “set back the feminist movement by at least a decade”? Is it “anti-feminist spectacle”? Or is something more complex at work? At least in the case of the Valentino scene, the subtext is resolutely feminist. In “Pretty Woman,” Vivian says: “I want the fairy tale.”; she wants a man to rescue her. In Sam Levinson’s “The Idol,” the fairy tale is over. After all, it’s Jocelyn who denies Tedros his own pleasure, who is the star, and who, we presume, foots the bill for their shopping trip. In this retelling, the woman holds the power, not the man.
On a recent Friday afternoon, I made my way to the Valentino boutique. Since it was late June, the well-heeled shoppers making their way up and down the sidewalks had to share space with groups of tourists. In the Valentino store, I was met by a security guard. A salesperson followed me around as I admired a pair of $1,800 see-through platform pumps that reminded me of the strippers’ shoe brand of choice, Pleaser Shoes, and a red dress that looked like one Jocelyn had worn. On the second floor, the salesperson indicated the dressing room where the racy scene for “The Idol” had been shot, supposedly. I opened the door. No one, much less Tedros, was there.
This article was originally published on Forbes.com.
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"The Idol," Valentino, and Me
As I was watching last week’s episode of “The Idol,” in which the main characters have sex in a Valentino dressing room, I thought: Is this for real? It was a brand partnership involving couture and cum, it seemed. (If you’ve seen the scene, you know what I mean.) I wrote about it for Forbes.com, including a trip to Beverly Hills to eyeball the dressing room of the Valentino boutique where the scene was shot (apparently). Read it.
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What I'm Watching
The Lab Rats
A scene from “Wormwood”
In my latest newsletter, “We’re All Lab Rats Now,” I share some of the research I’ve been doing for the book I’m writing. As I write in my newsletter, my book is called Data Baby: How a Psychological Experiment Turned Me into a Human Lab Rat; it’ll be published by Hachette Books; and it’s about psychology, privacy, and whether or not you can predict who a child will grow up to be. Read my latest newsletter here. Subscribe here.
An excerpt:
“I mean, you didn’t think me living in Burbank was just some sort of coincidence, did you? (See: Truman Burbank from ‘The Truman Show.’)”
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Hollywood Is Reading
There’s an interesting article in the Los Angeles Times about Hollywood gobbling up the dramatic rights to books. All those unbusy producers have been spending their time reading, and optioning, apparently.
An excerpt:
“Like housebound folks across the country, studio executives, filmmakers and actors have had far more time to read books. That newfound availability, coupled with streaming services’ and media companies’ insatiable appetite for fresh material, has led to a substantial uptick in sales, according to agents and producers.”
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Quitting
If you’re not watching “Lovecraft Country,” you’re missing the best show on TV. Last Sunday’s episode featured a mind-blowing vivisection of race in America. It starred Ruby in a shape-shifting scene that is unlike anything you’ve ever seen.
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PEN15
If you haven’t seen “PEN15” on Hulu, you really should. In theory, it sounds like a series that would never work. Two adult actors play grade school versions of themselves alongside young actors. But it’s genius. It’s seriously cringe-worthy, endearingly revealing, and LOL hilarious. Watch it. Season 2 is coming soon.
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Lovecraft Country
If you’re not watching “Lovecraft Country,” you really should be. It’s brilliant.
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We Are Who We Are
As a fan of director Luca Guadagnino, I was thrilled to see that he has an upcoming miniseries for HBO: “We Are Who We Are.” According to Deadline: the series “is a coming of age story about two American teenagers who, along with their military and civilian parents, are living on an American military base in Italy.” See also: “I Am Love,” “A Bigger Splash,” and “Call Me By Your Name.”
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The Last Dance
The ESPN Michael Jordan documentary “The Last Dance” is fantastic. On Netflix.
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Pussy Valley
I’m watching “P-Valley.” That’s Pussy Valley. A strip club in the Mississippi Delta.
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Insecure
The Handmaid's Tale
Recently, I finished binge watching all three seasons of “The Handmaid’s Tale.” Season 1 is genius. Season 2 is so-so. Season 3 is terrific. I highly recommend it.
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The Reality Show
Image via Reddit
Today I had an interview with a casting director for a reality show. It was a little strange. It was on Skype, and part of the process is condensing your life into a series of soundbites. If you want to turn your life story from something that happened into a commodity, leave out the nuances. It’s all about the brand.
Want to support what I do? Buy a copy of my digital short story: THE TUMOR.