Hacker Cinema
Ishtar
1987 · Film · 107 min
Directed by Elaine May
Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the CIA, the Emir of Ishtar, and the rebels trying to overthrow his regime.
3 neutralfrom 3 commenters
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3 comments on Hacker News
You are correct, but I think your prediction false. We need to remember that "Hollywood" is a specific set of entities. We're not talking about independent film producers. We're talking about the largest film publishers. And those film publishers are like publishers in any other creative endeavor - they have been almost completely eliminated in having any business reason to exist. While their empires were built upon solving the problem of distribution, that no longer has any value whatsoever. In fact, due to the ways they built their distribution networks, they are severely hampered in the ways in which they can actually do distribution compared to purely digital/online firms. Distribution, the golden goose that made them billions, is now a noose around their necks. Whereas once they funded new productions as a side hustle, something that was necessary just so they had something to distribute, their role as a source of money is now the only thing they have to offer that has any value.
Anyone can distribute a movie. A clever 12 year old who knows how CDNs work can set up global distribution in their spare time for fun. This is a problem. Being reduced to a source of funds in a creative business is almost guaranteed business death. In the past, total control over the distribution chain allowed movie publishers to manipulate things to be profitable. There is a very inconvenient fact that businesses in the creative space have to deal with (although they never admit it, not even to themselves) : the public response to any creative work is random. Truly and perfectly random. There is nothing you can do to improve your odds, they remain even. Sure it seems like there are things you can do to bend things in your favor, like use big-name stars, throw a lot of money at the project, etc. But run the numbers. It doesn't work. Not even a little. For every Titanic or Avatar you have a Waterworld or an Ishtar. The book 'A Drunkard's Walk' has a couple chapters about the creative fields, book publishing and movie publishing specifically, where they go through the research and the numbers. It's just random. The audience is different every time, so it makes sense that the end result is randomness in the theaters on opening weekend and right after publication.
So what do you do if you're a business who wants to make money, and your industry has changed from being this thing you could control and make profitable, kicking your failures aside as fast as possible and keeping your successes around for as long as possible, to being mostly a game of chance? You lean on the little control you still have, of course, and movie companies definitely do that in the theaters. Good luck catching a movie after opening weekend if not many people showed up that weekend. Maybe go see Avengers: Endgame for the third time? But that's pretty limited in how much it helps. It still hurts badly to drop $10 million filming a movie and then having to kick it to Bluray or streaming after 4 days in cinemas. What you do is play it as safe as humanly possible. You don't take any chances. You make sure the movies have big names, have big special effects, have big budgets, and you definitely don't do anything that would ever risk limiting your market whatsoever. You don't mention religion, you stay away from politics, you absolutely prostrate yourself at the feet of anyone and try to make the most broadly palatable thing you can based on aggressive focus-testing, analytics, etc. You go wholesale soulless. It's the only option, really. And it probably still won't work. It will probably still catch up to them eventually. Because you can't escape the numbers, and big chances even on the safest bets at the craps table is still gambling.
The creative work will continue to come from independent filmmakers, and their destiny is bright. Not billion-dollar Avengers: Endgame bright, but bright enough to keep yourself warm beside and make a living off of. No longer do they have to keep their fingers crossed and hope Weinstein buys the rights and puts it on a shelf somewhere to prevent it from competing against him in the box office. They can sell to Netflix or Amazon or Disney or just "publish" the thing themselves. And a niche market is fine and survivable.
I don't see irretrievable data as being significantly different than data that never existed to begin with, the only real difference is the belief that something valuable is hidden behind encryption. If and until the encrypted data is made plain, there's no telling what it contains, it could be tax records, transactions, commerce, or it could be a copy of the 1987 American action comedy film "Ishtar".
In the case of tax records (and ignoring that government would have a copy of said records), consider a dispute with the government who claims that a deceased person didn't pay taxes while the heirs claim taxes were paid (obviously a contrived example). If the "proof" is unavailable because the deceased encrypted it, then the result is the same as if the encrypted data never existed. The heirs could say that any random noise is encrypted data that provides proof of payment, but without any way to decrypt (and, arguably, to authenticate it) that random noise into actionable data, any claims the encrypted data contains the necessary "proof" is meaningless.
In other words, it's not the fault of encryption that the heirs have to deal with this beef from the government, but rather the fault of the deceased who encrypted things valuable to the heirs without a way for the heirs to access it (via sharing a key or explicit, chosen key escrow with a third party, etc). We like to say the answer will be legal and political, and it definitely has legal and political influences and impact, but given that the encryption is unbreakable, or the value of the dispute isn't worth the effort to undertake breaking it, we won't be able to legislate math to, uh, "not work".
Even if the government is the trusted entity of last resort and maintains a "legal" way to access encrypted content, there's nothing stopping the deceased in the above contrived example to have encrypted it using an unsanctioned algorithm or not have shared the key with the government, or whathaveyou. Then they die. Not only is the data inaccessible, but the responsible party is dead, and unable to have legal retribution rendered unto them for breaking the law. In this respect, the data is just as good as not having ever existed (which may very well have been the reason the now deceased encrypted it in the first place).
>In the pantheon of artistic endeavors ruined by a combination of hubris, too much money and too little discipline, Duke Nukem Forever now joins the likes of “Ishtar,” “Waterworld,” and “Spider-Man: Turn Off the Dark.”
It's actually funny that the author chose to compare computer game to two movies and a play. There are better (okay, more relevant for gamers) examples that pop into mind, like Daikatana or Doom 3.
P.S. And Waterworld is actually a quite entertaining movie.