A shadow is a lie, a lie is a PLAY

A shadow is a lie, a lie is a PLAY
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A shadow is a lie we forgot that we told.
A story-based lie that occurs for 2 hours on a stage is called a PLAY.

And a screenplay is meant to become a movie.
A PLAYwrite creates PLAYS.

Storytelling is lying intentionally.
Because it’s FUN.

At first it as an innocent, perhaps even playful experiment in wearing different masks. No more complex than peek-a-boo.

But then it kept going and going and going and our short term memory lost sight of where it began. So we innocently forgot we were lying.

Just how some of us (speaking from personal experience) can get caught up in the illusory tech world. It is a VIRTUAL reality. There is real reality and there is virtual. Virtual reality is an INTENTIONAL lie. Just like a movie is not real life, it is (ideally) an innocent artistic movement, purely creative. Lies are creative. Lies are not inherently evil. Playing in the distortions are what life is all about.
But the real chaos and havoc comes when we are just living in never-never-land 24/7 a have completely forgot about and fell asleep to the REAL world.

For over over 10 years I have been triggering myself on purpose.
A trigger is an 0rg@sm that we are unwilling to feel.

Anger is important trigger for me.
For sadness repressors, it’s sadness.
One of the most important realizations for me has been that COMEDY is the biggest trigger of them all because it feels the SAFEST.
People are still going to be repressing their primary emotions but if they can learn to have a sense of humor about it, they become MUCH safer to experience.

Kiloby coined the “reverse inquiry” approach which intentionally gets the subconscious mind to argue with you. This can be used properly with the emotion being processed fully (getting to a greater system regulation) or it can be used to traumatize oneself further if approached from a place of masochism.

Learning to triggering oneself is DEEPLY liberating because then we can better See our PROJECTIONS – mental interpretations of the outside world, which seemed totally real but were actually based on our fears [of] being triggered.

WE are AFRAID of being triggered because we feel GUILTY and for many of us, we deeply believe we have to face the wrath of H3LL if we are bad.

So we never actually take the time to discover the INNOCENT place from which we originally intentionally lied to ourselves.

The repressed emotion we are forgot how to play AS and are now terrified OF, is an experience we are longing no matter how much shame and guilt tries to convince us it’s wrong and evil.

We were PRETENDING it was evil.
It was a PLAY.

As real as it may seem now, we need to PLAY our way back into realizing it again.
Genuine facilitation is in PLAY because it is from a place of deeper system regulation, alignment, and homeostasis.

That seems paradoxical to the mind which is what makes so difficult to describe the benefits of deeply challenging ourselves. It is NOT masochistic self-punishment disguised as “personal development”.

It is a measurable and mechanical process of remember our True Will and building the strength of its influence.

Joshua

Sovereign Storytelling

Sovereign Storytelling
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Very often people are angry and dismissive of getting exactly what they need.

This is because our programming is designed to make us believe we cannot have our needs met, and so we develop personal opinions and philosophies that very conveniently reinforce our unconscious programming.

We actually CAN have our needs met, we CAN get what we want.

There are many, many examples of this.

The person who believes (has a personal philosophy) that rich people are evil – this is a convenient landing because this is the same persona who is allergic to developing a passive income stream.

The person who hates men or hates women and believes “men only want one thing” or “women only want one thing” ” – this is a convenient landing because they feel inept at whatever they are projecting onto the other.

The person who thinks that “the other” political affiliation is downright WRONG – this is a convenient landing because they themselves are deeply afraid of being WRONG.

The person who thinks that there is a RIGHT way and a WRONG way to do a specific type of art/craft/music/etc – this is a convenient landing because they themselves have an unacknowledged NEED which is NOT being met.

This is why in an earlier post I said all personal philosophies are landings. Every conclusion we come to which is NOT a living, breathing, dynamic, universally true law of the universe is a landing, which means an avoidance of addressing an underlying belief.

I am NOT suggesting gaslighting ourselves – that is wholly different. Self-gaslighting is ALSO a landing and a personal philosophy that is designed to avoid Seeing underlying constructs.

This cycle does NOT need to go on forever. It requires appropriate training and focus to tune into these programs in the body in a truthful way which does not require us to be perfect in order to discern what is true.

The storytelling examples I gave above are codependent in nature. They utilize the rational mind in a way that depends on a disempowering agreement to exist.
As soon as this agreement is revealed or broken and this dependency cannot exist, it becomes totally obvious where self-responsibility and choice is being pushed away.

Sovereignty is the opposite of codependency. This is the state of being autonomous and self-sufficient. This is in reference to an energetic and psychological state and doesn’t discount the benefits of interdependency.

Stories are fed to us on a grand scale and then harbored in our own personal body/mind microcosm. From religious iconography to marketing, to the school system, to the medical and legal systems, stories of “right and wrong” have made their ways into hijacking our minds and then we have become totally convinced that our minds are free to choose – as we long as are choosing exactly the conclusions we have been fed to freely choose.

The worldwide film and television system is a literal encapsulation of these mediocre conclusions, personal philosophies, and landings that the general public has identified with. And illustrate exactly where seeking for universal truth has been effectively halted in favor of a wide-scale freeze response.

As story codes are hacked by modern mages and consciousness daredevils, the liberation of access to new stories has the ability to FINALLY break down the chains that bind us, especially within our unconscious insistence on suffering.

A NEW story is being told. It is generative and ALIVE and relevant and adaptive.

It is truly FOR you and not for your entertainment.
The gap between these two is IMMENSE.

Joshua

 

We are now in the 8th Iteration of Hollywood

 

According to my calculations…

Hollywood has completed six major iterations and is now on the 8th “version”.
I don’t pretend to know the complete history of Hollywood in detail.
My job is to play a role in re-creating it.

Here are the first 7 completed stages as I define them:

1. Silent Film Era (1890s-1920s): Movies were entirely silent, with actors’ gestures and expressions conveying the story. Accompanied by live music, often an organ or piano.

2. Golden Age of Hollywood (1930s-1940s): The rise of major film studios and the birth of the iconic star system. Introduction of sound and color, leading to classics like “Gone with the Wind” and “Casablanca.”

3. Post-War Decline (1950s): Television became a household staple, hitting cinema attendance. Hollywood countered with widescreen formats and spectacle films like “Ben-Hur.”

4. New Hollywood (1960s-1970s): The collapse of the studio system. Directors like Scorsese, Coppola, and Spielberg brought more freedom and innovative storytelling. Films tackled mature and controversial themes.

5. Blockbuster Era (1980s-1990s): High-concept films and franchises became prominent. Spielberg’s “Jaws” and Lucas’s “Star Wars” set the stage for massive box-office successes. Special effects became pivotal.

6. Digital Revolution (2000s): The transition from film to digital. Revolutionary advancements in CGI and VFX, leading to visually stunning films like “Avatar.” Streaming services started their rise.

7. Streaming Domination (2010s-2020s): Streaming services like Netflix, Amazon Prime, and Disney+ became dominant. Original content production increased, and binge-watching culture emerged. Traditional cinema faced challenges, while digital platforms thrived.

So then, what’s next?
Hollywood 8.0

Here are some predictions about what this new iteration of Hollywood will consist of…

Hollywood 8: The Immersive Entertainment Era

Overview
The Immersive Entertainment Era represents a paradigm shift in how stories are told and experienced, with a particular emphasis on adaptive content that creates custom experiences for each viewer. Traditional boundaries between various media forms blur, creating a more interactive, personalized, and dynamic entertainment landscape.

1. Most Importantly: BETTER STORIES
– **Storyweaving** Strategy: This website (and YouTube videos, books, podcast, etc) is all about creating stories which are truly transformational in nature. Audiences have HAD IT with bland, soulless, uninspired, rehashings of things that have “worked before”.
– Writers must truly emotionally engage in their process and give up simply being “clever”. It is time for an emotional intelligence revolution in Hollywood.

2. AI-Driven Personalization and Adaptive Content (Our Original Terminology )
– **Dynamic Storytelling**: AI algorithms adjust storylines, pacing, and even outcomes in real-time based on viewer preferences, emotional responses, and viewing history.
– **Personalized Character Development**: Characters evolve differently for each viewer, emphasizing traits or backstories that resonate most with the individual.
– **Adaptive Visuals and Soundscapes**: Visual styles, color palettes, and musical scores adjust to match viewer preferences and enhance emotional engagement.
– **Contextual Adaptation**: Content adapts based on viewing context (time of day, location, device) and viewer’s current mood or stress levels.
– **Custom Boundaries**: Implementations include options for viewers to set boundaries on how much adaptation occurs, preserving artistic integrity while allowing personalization.

3. Virtual Reality (VR) and Augmented Reality (AR) Integration
– **Immersive Storytelling**: Full-length VR movies become mainstream, allowing viewers to experience stories from within.
– **Interactive Narratives**: Viewers can influence storylines, with adaptive systems guiding the experience based on individual interactions.
– **AR Enhanced Reality**: Real-world environments are augmented with personalized digital elements, creating unique hybrid viewing experiences for each user.

4. Multiplatform Storytelling
– **Transmedia Narratives**: Stories unfold across multiple platforms (films, games, social media) simultaneously, with adaptive systems ensuring coherent yet personalized experiences across all mediums.
– **Interactive Streaming**: Streaming platforms offer branching narratives and real-time interaction, with AI managing the complexity of countless potential story variations.
– **Social Viewing Experiences**: Virtual watch parties where each viewer sees a personalized version of the content, with shared elements for discussion.

5. Biotechnology Integration
– **Mood-Responsive Content**: Biofeedback devices adjust content based on viewers’ emotional states, creating a dynamic feedback loop between viewer and content.
– **Sensory Enhancement**: Technologies stimulating smell, touch, and taste complement visual and auditory experiences, adapting to individual sensory preferences and thresholds.
– **Neural Interfaces**: Early-stage direct brain-computer interfaces allow for deeper personalization based on subconscious preferences and responses.

6. More Sustainable Production
– **Virtual Production**: Advanced virtual sets reduce the need for physical locations and travel, with adaptive systems generating personalized environments on-the-fly.
– **AI-Optimized Workflows**: Increased efficiency in production and post-production processes, allowing for the creation of vast libraries of adaptive content elements.
– AI Actors: CGI characters with AI become common, adapting their performances to individual viewers while adhering to predefined ethical guidelines.

7. Globalized Content Creation
– **AI Translation and Cultural Adaptation**: Real-time, culturally nuanced translation and adaptation make content instantly global and personally relevant.
– **Glocalized Productions**: Stories are easily adapted for different cultural contexts, with AI managing nuanced cultural variations for each viewer.
– **Decentralized Studios**: Blockchain and virtual production allow for more decentralized, global collaborations, enabling diverse creators to contribute to adaptive content libraries.

8. New Economic Models
– **Microtransactions**: Pay-per-scene or pay-per-choice models for interactive content, with pricing adapting to individual viewing habits and preferences.
– **NFT Integration**: Unique digital assets and experiences sold as NFTs, with the possibility of personalized NFTs generated by adaptive content systems.
– **Creator Economy**: Direct fan funding and participation in production decisions, with adaptive systems managing complex webs of viewer preferences and creator visions.

9. Challenges and Considerations
– **Digital Divide**: Ensuring access to high-tech, adaptive entertainment across socioeconomic groups.
– **Privacy Concerns**: Balancing deep personalization with data protection and viewer autonomy.
– **Artistic Integrity**: Maintaining core artistic vision while allowing for extensive personalization and adaptation.
– **Regulatory Hurdles**: Adapting laws and regulations to new forms of adaptive content, especially regarding data usage and content responsibility.
– **Mental Health**: Addressing potential issues with hyper-immersive and highly personalized experiences, including addiction and reality distortion.
– **Filter Bubbles**: Ensuring that adaptive content doesn’t limit viewers’ exposure to diverse perspectives and challenging content.

10. Potential Landmark Productions
– First Oscar-winning fully adaptive VR film with millions of unique viewer experiences
– AI-human collaborative blockbuster series that evolves based on global viewer interactions
– Globally simultaneous, culturally adaptive release with personalized storylines for each major market
– First mainstream neural interface entertainment experience offering “dream-like” adaptive narratives

This era promises to redefine the boundaries of entertainment, merging technology and storytelling in unprecedented ways. The challenge for Hollywood will be to embrace these innovations while preserving the core essence of compelling narrative and human connection, all while navigating the complex landscape of personalized, adaptive content.

More info @

1. Silent Film Era (1890s-1920s): Movies were entirely silent, with actors’ gestures and expressions conveying the story. Accompanied by live music, often an organ or piano.

2. Golden Age of Hollywood (1930s-1940s): The rise of major film studios and the birth of the iconic star system. Introduction of sound and color, leading to classics like “Gone with the Wind” and “Casablanca.”

3. Post-War Decline (1950s): Television became a household staple, hitting cinema attendance. Hollywood countered with widescreen formats and spectacle films like “Ben-Hur.”

4. New Hollywood (1960s-1970s): The collapse of the studio system. Directors like Scorsese, Coppola, and Spielberg brought more freedom and innovative storytelling. Films tackled mature and controversial themes.

5. Blockbuster Era (1980s-1990s): High-concept films and franchises became prominent. Spielberg’s “Jaws” and Lucas’s “Star Wars” set the stage for massive box-office successes. Special effects became pivotal.

6. Digital Revolution (2000s): The transition from film to digital. Revolutionary advancements in CGI and VFX, leading to visually stunning films like “Avatar.” Streaming services started their rise.

7. Streaming Domination (2010s-2020s): Streaming services like Netflix, Amazon Prime, and Disney+ became dominant. Original content production increased, and binge-watching culture emerged. Traditional cinema faced challenges, while digital platforms thrived.

More info at www.hollywoodeight.com

 

A skill one BECOMES

Ordinary storytelling is about satisfying an audience.
Storyweaving is about taking an audience places they have never been before.
Ordinary storytelling is a skill one learns.
Storyweaving is a skill one BECOMES.
Ordinary storytelling is focused on the plot, the characters, the dialogue, and the stakes.
Storyweaving operates outside of time, in the silent spaces in between thoughts.
Ordinary storytelling rearranges various patterns, tropes, and ideas in various new orders.
Storyweaving attunes to entirely unique frequencies which have never existed before and act as pattern interrupts.
Ordinary Storytelling pauses for dramatic effect, and manipulates the nervous system of the audience.
Storyweaving brings an audience a new experiential awareness that the state of their nervous system does not define them.
Ordinary storytelling portrays superheroes and gets an audience to use their imagination.
Storyweaving pushes their audience toward becoming the superhero they were destined to become.
Ordinary storytelling imparts morals upon the audience.
Storyweaving puts the audience in touch with humility beyond where morals can ever penetrate.

An Experience Created by Nature

Not only is Storyweaving a storytelling strategy, it is also a transformational experience. The Storyweaving experience was actually created by nature. All transformation and transmutation and alchemy are the same thing as a Storyweaving experience. By naming it as a strategy and identifying the necessary steps under which it operates, we’re able to apply this very natural growth and consciousness expansion process to the business and art of storytelling.
The power of this alchemy experience cannot be underestimated. This is the same process through which the sun burns, through which a plant grows, through which our heart beats, through which a child is born. This is the transformation of one substance to another, of one energy to another.
What’s interesting though, about naming it and identifying it as a strategy, is that we are in doing so making conscious these processes that are normally under the radar. Typically these are automatic processes handled by nature. So, tapping into what is typically a mysterious phenomenon and making it into an intentional practice bridges the world of what is normally dreaming and is now awake. By awaiting our biological primal intelligence we are tapping into the biology of storytelling, which takes it beyond the realm of entertainment.
We have so much force inside of us and applying only a small portion of it to our storytelling deprives our audience of who we really are. In our society we are so accustomed to wearing masks and putting on a show to impress our fellow humans, even our storytellers don’t know how to set down the mask. This may sound intimidating and it can have its moments of being scary. But this is also the path of freedom, which means the path of fun with the right attitude. What appears as perhaps dangerous territory is to a story weaver the only thing actually worth putting time and energy into. Even a comedy project is enhanced by story weaving because the storyteller gets an insight into what comedy actually is in nature.
How things are arranged in nature is you’re either a predator or you are prey. From the Storyweaver’s perspective, story is either generous or it’s parasitic. This doesn’t mean that a story needs to be perfect, but by being aware of all of these nuances an artist is able to express a story in more and more pure forms of art. A story can be impeccable in addressing what it must address. Art which is not so pure is an emotional reaction to something, revealing an issue that the storyteller doesn’t want. Pure art on the other hand has a higher quality of awareness and is therefore the true creative manifestation of the storyteller’s essence. Settling for anything less from a bird’s eye view, looking at society, is the sabotage of our species.

Mainstream Story Consulting vs The Storyweaving Strategy

Mainstream Story Consulting vs The Storyweaving Strategy

A wise person is also known as a Seer because they can deeply See, amongst other things the hidden motivations. If a writer is writing from a place of self-importance, neediness, self-pity, and deficiency, it greatly behooves the writer to be informed of this and to become aware of their blind spots. Not to be told how to write, but to be told about themselves so that writing from a place of more integrity and power becomes the obvious choice.

In the Western world, we’ve forgotten the purpose of stories. Stories are for transferring wisdom. Transferring wisdom means the transfer of knowledge of the self. A good story is designed to help the audience to know themselves better. A wise person is someone who knows themselves. Most writers don’t know themselves and so their writing tends to be flaccid, weak, and not very impactful for the audience. A powerful story requires wisdom.

A story that is meant to make a significant impact on an audience requires that the writer have access to power. If a writer doesn’t have access to power, the best they can do is analysis. This is not authentic writing, this is manipulation based on self-importance, where most writers are coming from when they write.

No amount of writing analysis is going to transfer knowledge of the self to an audience. This has nothing to do with moral support, this is an issue of being faced with the harsh truth of our blind spots as writers.

It can be extremely uncomfortable to be confronted with our blind spots, and most people are not willing to do so. Knowledge of the Self is the difference between a good writer and an astonishing writer.

The True Purpose of Stories

“Stories are for entertainment” is a made up western idea, hijacking the true purpose of stories.
The western world has the greatest denial in this area, and we don’t need to contribute to that.
The real purpose of stories is to transfer wisdom. And of course, making it entertaining surely helps. Entertainment is the glitter.
It makes a story more digestible. Making a story all about that turns it into Pepsi and French fries. Junk stories rot people’s minds.

An Argument for More Effective Storytelling

The Global Influence of American Cinema:
An Argument for More Effective Storytelling
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The film industry around the world is influenced by one country more than any other place because the birth of cinema is the United States of America. Hollywood is the capital of the film industry as an undisputed fact. And America of course places its spin on things, as an Enneagram 3 country it is obsessed with image and achievement.
Another fact that is interesting is that the film industry is perhaps more inconsistent and therefore remains more undiscovered than any other industry. Airplanes, for example, are quite reliable. They have a necessarily strict track record because there are lives on the line. The more that is at stake, the more all industries take their precautions seriously.
The film industry is the modern equivalent of the stories around the campfire industry, which of course has been around since the dawn of humanity. Storytelling is unique to the human species. This is a massive evolutionary benefit because we can convey experiences in more than just one note. While animals can convey the resulting energy of their experiences (in their excited behaviors) there is a nuance that only exists within storytelling which only humans take advantage of.
This is our superpower, and yet in storytelling school, we are kindergarteners because the real purpose of storytelling is only rarely used. And it’s rare that an effectively life-changing movie ever comes out. If the airplane industry had those stats, it would be unacceptable. This suggests that the answer might be in making the film industry internationally recognized as having stakes as great or greater than life or death industries.
This industry should be taken as seriously as anything else we use for our evolution. The popularity of cinema should be evidence that we are literally worshipping stories because of course it’s not the story that is needed but it is the alchemy that happens inside of the audience which humans are actually longing for.
This alchemy happens within the realm of our feelings. This is the realm in which the deepest truths can be realized. When we recognize the vast difference between feelings and emotions it becomes more apparent that simply feeling strong emotions is not a useful goal to have in storytelling. If it doesn’t increase their level of self-awareness, it’s wasting their time.
The whole point of storytelling, including the light-hearted and comedic, is to make it so that people are genuinely more free and more wise than they were before they came in. Oftentimes, the price of freedom is at the cost of our comfort. Horror movies and the like take advantage of this and create traumas in the name of getting out of our comfort zones. It takes the ability to See what is actually going to benefit people to get this equation right.
When freedom is not the goal, what is the goal? And then that raises the question – “Why did I have any goal other than freedom?” And “Was that goal actually my own idea, or was that planted in me and forced upon me?” And, “Did I actually give consent to adopt a secret predatorial fixation?” Usually, the answer is yes, storytellers gave their consent to being taken over by self-serving forces in the name of survival. At a very young age.
Becoming aware of our own inner predator trains us to stalk our inner parasite. Otherwise, the parasite uses the evasive maneuvers of the predator and we remain blind to our survival fixation. If a storyteller is satisfied just to “make people feel something” (namely an emotion) perhaps they can find their own parasitic vampirism in this approach? Perhaps they can attune to how they are being siphoned by a thought-form. Maybe they can see that they are defending an inner war and a worthless idea in order to keep their pride intact. It is far more inconvenient to acknowledge than just keeping the show going and carrying on with “how things are done”.
This self-denial is rampant, especially in the storytelling industry. The parasite specifically identifies fame as being a place of safety. The industry is so “exclusive” to participate in, and it has a lasting impact and a legacy on so many millions of people. This makes people feel important to work in the film industry. And so the film industry is a natural magnet for self-importance.
Self-importance is caused by self-pity and self-pity is creating massive distortions in the rationality of our entire society. We are actually worshipping rationality. Meanwhile, rationality is a completely fluctuating universe. It simply demonstrates the belief system of its user. If one person looks through blue glasses and they see a blue world and they say I see a blue world, they’re not wrong. And if another person looks through red glasses and sees a red world and says I live in a red world they’re also not wrong. So they have differences because they have different perspectives but the actual reality is so all-encompassing that it’s not anywhere close to either of these apparent two options.
So now we’re at a crossroads where we can either aim our storytelling to trigger emotions and trap people in their pre-existing biases, or we can aim to place people in touch with their true feelings. Our answer reveals what we are driven by. If we are driven by our emotions, we are covertly wanting to keep validating emotions.
This attachment is actually the cause of our suffering, it is not the emotions themselves.
By default, people experience their emotions through the prison of self-pity. Feeling our emotions can be useful and healing, but it’s not useful without proper guidance. This can be easy to misunderstand. Passivity keeps us trapped, while genuinely surrendering our attachments is an engaging and participatory activity. It is giving our identity over to the unimaginable – the unknowable. It is an energetic movement, not just an idea.
As storytellers, it is our responsibility to create the best possible product we can by completely extricating our own parasite from all stories we venture to tell. This is how we embody the impeccability of a true storyteller.
The world awaits American cinema’s greatest act.

Intent in Stories

The act of Storytelling is ultimately just a manipulation of Intent.

Intent, unlike intentions, is the funneling of energy beyond the realm of the mind.

For example, if you were to witness someone telling a story in an incomprehensible foreign language, the intent they’re able to manipulate is easier to perceive because we don’t get caught up in the words.

If we cannot See Intent, we do not know what we are manipulating.

When an audience participates in a Storytelling experience, they are trusting that the storyteller has done their homework and understands what they are conveying.

Audiences are playing the more receptive role, while the storyteller is acting more as the provider.

This more receptive role is more innocent and naive. This means that they don’t know what they don’t know. And it’s not their job.

They don’t know if they’re being roped into the unresolved issues from the author’s childhood.

They don’t know if the author is using their own self-pity to appeal to their emotional body.

They don’t know if the author’s usage of Intent is conscious or unconscious, and so it’s become a rare and “lucky” find to come across truly great stories.

This is also why producers are constantly on the lookout for high-quality stories because typically they are completely contrived as they are coming from unconscious agendas.

So, the Storyweaving revolution was just begging to be born. It could change the entertainment industry completely.

Storyweaving is nurturing the nurturers, birthing the birthers, and cultivating the cultivators.

This is big.

Joshua