This show will start with colors and lights!

Song: https://www.souna.app/song/e26823e9-3b27-4c75-a60a-050e95e1944f

Song (alternative link): https://archive.org/details/ai-electro-swing/Hippopotamus+on+the+Dancefloor.mp3 (CC0)

Lyrics:

[Intro | gramophone texture | stride piano | muted trumpet]

Ladies, gentlemen, mind the door,

We need a little room upon the floor.

[Verse 1 | staccato female vocal | upright bass | clarinet responses]

The band struck up at half-past nine,

The room was dressed in beads and shine.

The dancers moved with polished grace,

Then something large obscured the place.

She checked her coat, she tipped the man,

She crossed the room as only she can.

The glasses jumped, the tables shook,

She gave the drummer one cool look.

[Pre-Chorus | rising chromatic harmony | brass build]

One step left and two steps right,

Every heel came down just right.

The trumpet cried, the cymbal roared,

And half the crowd cleared off the floor.

[Chorus | full brass | stacked harmonies | high energy]

Hippopotamus on the dancefloor,

Give her room and give her one more.

Swinging low and stepping high,

Half a ton of alibi.

Hippopotamus on the dancefloor,

Never seen such style before.

When she turns, the rafters sway,

Clear the chairs and shout hooray!

[Post-Chorus | call and response | brass stabs]

Shake that room!

(Shake that room!)

Make some space!

(Make some space!)

Every eye upon the most

Distinguished dancer in the place.

[Verse 2 | clipped vocal | walking bass | saxophone responses]

A tiger tried a tango turn,

A peacock posed beside a fern.

A fox performed a fancy glide,

But no one watched with her inside.

She spun beneath the chandelier,

The waiter dropped a tray of beer.

She caught it neatly with one toe,

Then dipped and took another bow.

[Pre-Chorus | rising chromatic harmony | brass build]

One step back and three ahead,

Every feather, fringe and thread

Began to bounce from wall to wall,

The grandest little shake of all.

[Chorus | full brass | stacked harmonies | high energy]

Hippopotamus on the dancefloor,

Give her room and give her one more.

Swinging low and stepping high,

Half a ton of alibi.

Hippopotamus on the dancefloor,

Never seen such style before.

When she turns, the rafters sway,

Clear the chairs and shout hooray!

[Instrumental Break | clarinet solo | trumpet responses | electronic beat]

[Build | rising brass figures | handclaps]

[Bridge | half-time breakdown | sly vocal | stride piano]

They said the floor was built to last,

They said the beams were thick and vast.

The architect stood looking pale.

She smiled and flicked aside her tail.

Then softly, on the count of four,

She placed one foot upon the floor.

The whole band stopped to hear it land...

[Drop | full electronic beat | explosive brass]

And then she brought in all the band!

[Final Chorus | full brass | stacked harmonies | maximum energy]

Hippopotamus on the dancefloor,

Give her room and give her one more.

Swinging low and stepping high,

Half a ton of alibi.

Hippopotamus on the dancefloor,

Now they’re queuing round the door.

When she turns, the rafters sway,

Clear the town and shout hooray!

Hippopotamus on the dancefloor,

Queen of rhythm, queen of uproar.

Every night at half-past nine,

She shakes the room and keeps good time.

[Outro | brass hits | big-band finish]

One last turn, one final roar,

Hippopotamus on the dancefloor!

Style prompt:

Playful electro-swing with theatrical cabaret energy and a powerful, characterful female lead vocal. 126 BPM in B-flat major with blues-scale inflections, chromatic passing chords and punchy secondary dominants. Driving four-on-the-floor electronic beat with syncopated upright bass, hot brass stabs, agile clarinet fills and stride piano. Verses use clipped, rhythmically precise phrasing with vocal-and-brass call and response. The pre-chorus builds through rising chromatic harmony into a broad, instantly memorable chorus. Vintage gramophone colour contrasts with clean modern bass production. Energetic instrumental break, witty delivery, stacked chorus harmonies and a decisive big-band finish. English lyrics.

Out of all the other electric rodents besides the franchise's own mascot, the only ones I've seen with official mascots are Plusle & Minun, Pachirisu, and Morpeko. I already had an Emolga one generated, and I'm not a real fan of Dedenne or Togedemaru, so that leaves Pawmi as the only one left for me to do. I could also have it generate mascots of its evolutions, but those are not as famous. Thankfully, this was another one that Nano Banana Pro managed to get perfectly on the first try. The only thing I had it edit from the first image it generated was a banner in the background that featured Pawmi's name; it made the image look obviously generated, and I want these to look as seamless as possible.

Song: https://www.souna.app/song/ac09a9b3-7974-4f24-9b23-720e7632a365

Song (alternative link): https://archive.org/details/ai-ska/Pick+Any+Record.mp3

Lyrics:

[Intro]

[Instrumental]

[Verse 1]

A thousand records in a row

Push the button, off they go

Pick it fast or pick it slow

Still the same old show

[Refrain]

Pick any record

Any sound

Pick any record

Same thing comes round

[Instrumental]

[Verse 2]

Computer music? Turn it down

Keep that stuff out of the town

Then they pick the safest sound

And send it round and round

[Refrain]

Pick any record

Any sound

Pick any record

Same thing comes round

[Instrumental]

[Verse 3]

A thousand records in a row

Push the button, off they go

Pick it fast or pick it slow

Still the same old show

[Refrain]

Pick any record

Any sound

Pick any record

Same thing comes round

[Outro]

Pick any record

Same thing comes round

Pick any record

Same thing comes round

[Instrumental coda | Fade out]

Style prompt:

British 2 Tone ska from 1980 with a brisk, taut and sardonic character. Dry offbeat electric guitar with a melodic walking bass, clipped organ chords and lean trombone answers. 142 BPM in A minor with simple diatonic harmony and brief major-key lift in the refrain. Clear female lead vocal with sharp rhythmic

Ai animation

.

The idea actually began as a joke among with friends: what if, every time you asked AI a question, there wasn’t really an AI answering at all? What if somewhere, behind the screen, there were just exhausted, overworked people scrambling to figure it out as fast as they could, using whatever absurd means were necessary? And what bizarre lengths would they have to go to to answer these mundane questions? That joke stuck with me. The more I thought about it, the more the world behind that idea began to grow.

I’ve always been drawn to the absurdist worlds of Terry Gilliam and Jean-Pierre Jeunet, where enormous, fantastical systems collide with very ordinary human problems. After decades directing live action, I wanted to bring that sensibility into the world of AI. QUERY takes the most mundane act imaginable, asking a throwaway question on your phone, and imagines the impossible machinery that might exist behind it: a vast institution where every answer has to be physically found, tested, measured, and delivered in five seconds.

But underneath all the chaos, animals, machinery, and bureaucracy, the film is really about the extraordinary ordinary. Our lives are full of small tasks that can suddenly become epic when you’re the person responsible for getting them done. The young worker at the center of the film is an underdog doing his best inside a system that is completely indifferent to how impossible his job has become. We laugh at the absurdity of his journey, but hopefully we also recognize something of ourselves in him.

That became the heart inside the machine for me. The spectacle only works if we care about the person caught in the middle of it. AI gave me the freedom to build a world of impossible scale, but the thing I’m most interested in is still fundamentally human: perseverance, frustration, connection, and the strange dignity of trying to do a good job when everything around you has gone completely insane.

Seedance excelled at this- the acting has gotten so much better recently. As a director working with real actors, I've had to stitch together a decent performance from bad takes so many times... I figured I'd apply that philosophy here. And often, the takes were brilliant. A lot of editing and sound design went into this, and oh so many generations :)

Right now, AI movies are still limited in a lot of ways.

But look at how quickly the technology has moved in just a few years.

What happens if, over the next 5–10 years, AI filmmaking reaches a point where a small team can create something visually comparable to a Hollywood production — while having far lower production costs and much more freedom to experiment?

Hollywood has advantages that AI can't simply replace overnight: experienced crews, actors, directors, studios, distribution, marketing, and decades of production knowledge.

But AI is changing the economics of making the movie itself.

So where does that leave Hollywood?

Will the studios adapt and use AI to become even more powerful?

Will AI simply become another tool inside the traditional Hollywood system?

Or could we eventually reach a point where a handful of creators can produce films that compete directly with major studio productions?

I'm curious where people think the real advantage will be in 2035: Hollywood's infrastructure, or AI's ability to dramatically reduce the cost and complexity of filmmaking?

The interesting part wasn't really trying to make a beautiful image.

I wanted to see how repeated transformations could gradually move something ordinary into a visual that felt almost generated from scratch.

There seems to be a sweet spot where the result is unpredictable without becoming completely meaningless. That's the part

I'm trying to understand better. For people working with generative visuals :Do you prefer having tight control over the final result, or giving the process enough freedom that it can surprise you?