Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
Just when you thought you’d seen it all, a legend returns to flip the script. Michael Ninn, the visionary director who stepped away from the industry a decade ago, is back. But he didn’t bring cameras or a film crew. Instead, he’s returned with an AI, a haunting story, and a sequel to his 2005 classic, “Catherine,” that was made entirely by artificial intelligence.
The new project, “Catherine II: The Series,” is a nudity-free psychological thriller that picks up where the original left off, but swaps skin for code. It features a fully digital cast, original music from the late, great Eddie Van Halen that was recorded for the first film, and a story that dives deep into the unsettling intersection of technology, faith, and justice.
“This new project isn’t nostalgia, it’s evolution,” Ninn stated on the project’s official website. “I’ve been exploring what AI can mean to a filmmaker — not as a shortcut, but as a canvas, a partner, and something strangely… alive.”
The Ghost in the Machine
So, what’s the story? “Catherine II” follows Audrey Burke (modeled after the iconic Audrey Hollander), who is serving a life sentence for murdering her abusive husband. Inside the prison, reality itself starts to fray. We meet a journalist haunted by visions, a prison psychiatrist questioning his own sanity, and a chaplain whose faith is crumbling as a dark presence grows.
At the heart of it all is Zara, an evolving AI (modeled after Aerial) that’s becoming more sentient—and more dangerous—than anyone suspects. And of course, there’s Catherine, the supernatural force from the original film, still lingering in the shadows.
Produced by Todd Carey and executive produced by Sssh.com’s Angie Rowntree, the series is a bold experiment. It’s not about sex; it’s about what happens when our minds, our guilt, and our technology collide.
“A Glimpse of Its Soul”
For Ninn, who calls himself “a coder at heart,” this project was nearly two years in the making. He didn’t just grab some off-the-shelf AI program. He built his own large language model (LLM), painstakingly training it on his unique aesthetic using his own photography and images.
“I shot a lot of 8K skin textures and close-ups of eyes, all that kind of stuff, and I started playing with how close I could get them to look how I wanted them to look,” Ninn told XBIZ. He explained that he runs a closed system locally, using open-source tools like ComfyUI and Automatic 1111, enhanced with custom plugins to achieve his signature look.
“Every tool we’ve ever held was just a vessel for vision, and this strange and modern brush called AI is no different,” Ninn wrote. “If you let it, [AI] will challenge you. And if you’re patient, it may even show you a glimpse of its soul.”
Fellow retired director Colin Rowntree, who was digitally recreated as the prison chaplain Father McKenzie, was blown away by the process. “Michael is one of the most brilliant people I’ve ever known. It’s astounding what he did,” he said.
Rowntree described the shockingly simple process of being “digitized”: his wife took five photos of him with an iPhone against their garage door and recorded a minute of him speaking in different tones. “My wife sent Michael those five photos and the three 20-second clips… and the next day, it was done,” he remarked.
A New Frontier or a ‘Soylent Green’ Future?
The rise of AI in the creative space is a hot-button issue, and the project doesn’t shy away from the conversation. Rowntree offered a stark warning for new performers entering an industry where this tech is becoming more accessible.
“Producers are going to have a steady stream of real, live humans to ingest,” he cautioned, comparing the potential for exploitation to the dystopian film ‘Soylent Green.’ “New performers who aren’t so savvy about paperwork are going to be taken advantage of, so they should be careful.”
Despite the warnings, Rowntree doesn’t believe AI is a replacement for human performance. He sees it as an enhancement, much like how a beloved video game can be adapted into a hit TV series.
“My broad overview of AI is that it’s not going to replace the business; it’s going to enhance it,” Rowntree explained. “People are still going to want to see real people have sex. AI is a whole different thing… They’re two different media, but they intersect and they don’t hurt each other.”
What’s Next for Catherine?
The series is set to be released in four 15-minute installments, and according to Ninn, it’s already attracting interest from streaming services like Tubi. The story is designed to continue, with the final episode of Season 1, “The Arrival,” setting the stage for a second season.
Below, you can see Colin Rowntree’s digital double in action in a character reel for Father McKenzie.
Ninn is already looking toward a future that’s rapidly approaching. “It used to take 20 years to map the human genome, and now we can do it in 20 minutes, so I think this will be an unrecognizable world in 5-10 years,” he predicted.
For now, one of the industry’s most creative minds is back at the helm, charting a new, uncertain, and fascinating course.
“I’m still here — still creating [and] chasing the edges of what story and image can do,” Ninn promised. “‘Catherine’ is returning — changed, fearless, and more hauntingly beautiful than ever.”
* Photo from xbiz.com
