Interviewing the couple in the Will Smith AI crowd video: “The sign was real. The emotions were real too”

Two weeks ago, I wrote about how everyone got the viral Will Smith AI video wrong.

Most people believe that Will Smith’s team used AI to generate fake crowds and fake fans, presumably to cover for low turnouts, but the reality was much more mundane: they used AI to turn real photos into short video clips for a montage. The crowds were real, but everyone was convinced they were fake.

The focus of the internet’s suspicions was a couple holding a sign saying that a Will Smith song helped them to survive cancer, which Futurism called “nightmare fuel” with an expression “never before seen on a living human face.” Redditors called it “pathetic,” “vile,” and “sad and weird.”

After writing my post, I was left wondering what this uniquely-modern experience was like for these two people.

How did it feel to have millions of people think that you didn’t exist and were generated by AI? What was the story behind their sign, and what did that moment mean to them?

So I tracked them down to ask them.

Photo on left from Will Smith’s Instagram, photo on right used with permission

Their names are Patric and Géraldine, and they live in Bern, Switzerland, where the festival was held that they were photographed at. I found Patric through his account on Instagram, and conducted the short interview below over email.

I saw that Will Smith posted on Instagram that he was “deeply moved” on the video posted from Gurtenfestival that you’re both in. I was wondering what that moment was like for both of you, and the story behind the sign. How did “You Can Make It” help your girlfriend in her fight with cancer?

Patric: On July 20, we were blown away when Will Smith posted a video of us on his Instagram and reacted to it. It was a huge moment for my girlfriend—she’s been a big fan of his since childhood. The Fresh Prince of Bel-Air was her favorite show, and as an only child, she always wished she had a big brother like Will.

The song “You Can Make It” got her through her cancer treatment—every time things got tough, the song gave her hope.

With the sign, she just wanted to thank Will for the song and the strength it gave her. At the same time, it was also a message to everyone who is struggling right now: You are not alone. You Can Make It.

Then, something incredible happened during the concert. Will came down to us, and she got to hug him. That hug gave her so much strength and comfort at that moment. As the song played, we stood there, overcome with emotion. Now we know that sometimes the right people see exactly what they need to see at the right time.

How did it feel to see the AI-generated version of you both in the tour video that went viral two weeks ago? Your face is the thumbnail and it’s clearly you, but it does look strange because the video was generated from a still photo.

Honestly, we didn’t even notice at first that the video was created with AI. To us, the moment itself was what mattered, and we were honored that our image was used as the preview image.

We only learned later that the video was generated from a still image using AI. The fact that it reached and touched so many people shows how emotions can be conveyed through new technologies. For us, being part of this moment was simply special.

Unfortunately, some of the press focused almost exclusively on the AI aspect, viewing it negatively instead of recognizing what the video is actually about.

The video is about how music connects people, regardless of their origin, circumstances, or technology. Honestly, we’re saddened by how technical discussions are pushing this into the background.

What was it like to have people convinced that you both aren’t real people, and that you and your sign were generated by AI? It must be strange to have people question your existence like that.

It was crazy to read that some people thought we weren’t real and that the sign was AI-generated.

But we were really there. The sign was real. The emotions were real, too.

Behind that moment lies a personal story with real people, real feelings, and a real background. Sometimes it pays to take a closer look.


Thanks to Patric and Geraldine for sharing their story.

As generative AI is built into every tool we use, it’s going to be increasingly common for artists and brands to use it for basic everyday tasks. It’s easy to imagine creators turning to AI to convert horizontal videos to vertical for TikTok and Reels, or localizing videos with translated lip-synced dialogue.

I’m sure Will Smith’s team felt it would be convenient and harmless to use AI to turn photos from his shows into short video clips for a tour montage.

In practice, it had wide-reaching unanticipated consequences.

The crowds were real, but the videos of them were in an uncanny space between fake and real. To turn still photos into motion, details were added that didn’t exist. Genuine people and signs became distortions of reality.

Using AI made people question whether the crowds existed at all, and led to reputational damage that will take more than a Snopes fact-check to undo. It also had a dehumanizing effect, turning some of Will Smith’s biggest fans into versions of themselves that appeared unreal.

Anyone thinking of taking the shortcuts that these AI tools offer needs to be aware of these risks, and everyone — especially the press — should be very careful assuming what’s real and what’s fake. The grey area between the two is growing every day.

Will Smith’s concert crowds are real, but AI is blurring the lines

This minute-long clip of a Will Smith concert is blowing up online for all the wrong reasons, with people accusing him of using AI to generate fake crowds filled with fake fans carrying fake signs. In the last day, the story’s been covered by Rolling Stone, VIBE, NME, Cosmopolitan, The Daily Mail, The Independent, Mashable, and Consequence of Sound.

And it definitely looks terrible! The faces have all the characteristics of AI slop, with familiar artifacts like uncanny features, smeared faces, multiple fingers/limbs, and nonsensical signage. “From West Philly to West Swig̴̙̕g̷̤̔͜y”?

It gets worse the more you look at it.

But here’s where things get complicated.

The crowds are real. Every person you see in the video above started out as real footage of real fans, sourced from multiple Will Smith concerts during his recent European tour.

Continue reading “Will Smith’s concert crowds are real, but AI is blurring the lines”

Vote on the 2025 Tiny Awards Finalists

For the third year, the Tiny Awards have released their list of finalists that represent “the best of the small, poetic, creative, handmade web.” Voting is now open and runs until the end of this month, closing on September 1.

I was on the judging committee this year, returning after a year away to focus on the final XOXO, and helped narrow down the finalists from 176 nominated websites.

I love this little low-stakes contest, and the experience of being bombarded with so many great weird experimental projects is an honor for me.

Like my roundup two years ago, here’s a little about each of this year’s 11 finalists to help inform your vote.

Continue reading “Vote on the 2025 Tiny Awards Finalists”

The XOXO 2024 Talks

Last week, we released the talks from the final XOXO.

In the eight years that Andy McMillan and I put on XOXO, we had so many wonderful talks—you can peruse the featured tag for some of our favorites from the full archive—but I think we both agreed this was the single best day of talks we ever had.

The consistency was so high, it was clear every speaker understood the assignment. Every talk is worth watching.

The Talks

“We can build the web we want to see.” Molly White kicked off XOXO 2024’s conference with a hopeful talk about building Web3 Is Going Just Great and how we can “push the web back towards the wonderful, joyful, beautiful place it used to be.”

Continue reading “The XOXO 2024 Talks”

Kind of Bloop 15th Anniversary Vinyl

Mockup of the Kind of Bloop album with moody blue pixel art of a man playing trumpet in silhouette and the blue vinyl album halfway out of sleeve

15 years ago this week, Kind of Bloop: An 8-Bit Tribute to Miles Davis came out on the 50th anniversary of the release of Kind of Blue, the bestselling jazz album of all time.

I started the project as a bit of a goof, launching on Kickstarter on May 12, 2009, only 14 days after Kickstarter itself launched. I wanted to test out the platform I’d helped to build, to see what the experience was like as a creator. For years, I’d also wondered what “chiptune jazz” might sound like, and figured this was a good way to do both.

Continue reading “Kind of Bloop 15th Anniversary Vinyl”

The Quiet Death of Ello’s Big Dreams

Ello launched on August 7, 2014 with big dreams and big promises, a new social network defined by what it wouldn’t do.

They laid it all out in a manifesto, right on their homepage:

Your social network is owned by advertisers.

Every post you share, every friend you make and every link you follow is tracked, recorded and converted into data. Advertisers buy your data so they can show you more ads. You are the product that’s bought and sold.

We believe there is a better way. We believe in audacity. We believe in beauty, simplicity and transparency. We believe that the people who make things and the people who use them should be in partnership.

We believe a social network can be a tool for empowerment. Not a tool to deceive, coerce and manipulate — but a place to connect, create and celebrate life.

You are not a product.

Screenshot of Ello's invite-only homepage with the manifesto, and two buttons: I Agree and I Disagree.

From its launch, Ello defined itself as an alternative to ad-driven social networks like Twitter and Facebook. “You are not a product.” (The “I Disagree” button linked to Facebook’s privacy page.)

I’d link to that manifesto on Ello’s site, but I can’t, because Ello is dead.

In June 2023, the servers just started returning errors, making nine years of member contributions inaccessible, apparently forever — every post, artwork, song, portfolio, and the community built there was gone in an instant.

How did this happen? What happened between the idealistic manifesto above and the sudden shutdown?

It’s a story so old and familiar, I predicted it shortly after Ello launched.

Continue reading “The Quiet Death of Ello’s Big Dreams”

Interviewing Dracula Daily’s Matt Kirkland at Powell’s Books

If you’re in the Portland, Oregon area, I’ll be at Powell’s Books at Cedar Hills this Thursday interviewing Matt Kirkland, the creator of the enormously popular Dracula Daily, which originally serialized Bram Stoker’s 1897 novel as a Substack newsletter, creating an internet-scale book club with over 240,000 subscribers, now published as a gorgeous hardcover volume annotated with memes, fan art, and comics from the community.

Bram Stoker’s Dracula is an epistolary novel, told in the form of a series of diary entries and letters, and Dracula Daily delivers each one to subscribers “as-it-happens,” on the day that each message is dated, pacing it out over a period of six months from May to November.

Continue reading “Interviewing Dracula Daily’s Matt Kirkland at Powell’s Books”

Weird A.I. Yankovic, a cursed deep dive into the world of voice cloning

In the parallel universe of last year’s Weird: The Al Yankovic Story, Dr. Demento encourages a young Al Yankovic (Daniel Radcliffe) to move away from song parodies and start writing original songs of his own. During an LSD trip, Al writes “Eat It,” a 100% original song that’s definitely not based on any other song, which quickly becomes “the biggest hit by anybody, ever.”

Later, Weird Al’s enraged to learn from his manager that former Jackson 5 frontman Michael Jackson turned the tables on him, changing the words of “Eat It” to make his own parody, “Beat It.”

This got me thinking: what if every Weird Al song was the original, and every other artist was covering his songs instead? With recent advances in A.I. voice cloning, I realized that I could bring this monstrous alternate reality to life.

This was a terrible idea and I regret everything.

Continue reading “Weird A.I. Yankovic, a cursed deep dive into the world of voice cloning”

The Tiny Awards Winner Is…

Earlier this month, I wrote about Tiny Awards, a tiny prize to honor websites that “best embodies the idea of a small, playful and heartfelt web.” I was invited to be a part of the inaugural award’s selection committee, and helped narrow down the 270 submissions to 16 finalists, which were then open to public voting.

This morning, Tiny Awards announced the winner: the dizzying and delicious Rotating Sandwiches by Lauren Walker. When I linked to it here back in March, I described it simply as the “best of the web, right here,” so I’m pretty happy with this result. Lauren will receive a $500 prize and a tiny trophy. Congrats!

The organizers of the award also released the full list of all 272 nominated websites, a “dizzying snapshot of the boundless creativity and artistic endeavor (and, occasionally, silliness) of the web (and, by extension, the people who make it).”

The organizers originally asked each member of the selection committee to decide on their top two picks from the full list of nominees. Given the volume, diversity, and quality of the entries, this was no easy task.

Now that the winner’s announced, I thought I’d share my own decision-making process, along with my personal list of runners-up.

Continue reading “The Tiny Awards Winner Is…”

Tiny Awards, a celebration of the small, playful, and heartfelt web

In May, the creators of two of my favorite newsletters, Naive Weekly and Web Curios, reached out to see if I’d consider joining the selection committee of Tiny Awards, a tiny prize to honor websites that “best embodies the idea of a small, playful and heartfelt web.” I loved the idea and quickly accepted.

There were some additional rules: sites must have launched in the last 12 months, work on mobile and desktop without requiring an app or download, made by individuals or a group of creators (i.e. not agencies or brands), and should be primarily non-commercial.

Nominations were free and open to the public, unlike some other web awards, and the selection committee ended up reviewing over 270 submissions, which we narrowed down to a shortlist of 16 finalists, a wonderfully eclectic collection of websites.

The winner is decided by public voting, which is also free and easy, and closes next Thursday, July 20. I hope you take a look and cast your vote. Here’s a little about each of the finalists. Update: The winner was announced!

Continue reading “Tiny Awards, a celebration of the small, playful, and heartfelt web”