Tomorrow Tuesday — October 2026 (Issue #12)
Welcome to another issue of Tomorrow Tuesday, where we cover the revolution running through film, video games, music and the creative industries.
If I’m being honest, I thought this newsletter wouldn’t make it past issue 4. But here I am writing number 12 and I’m having a pretty good time, so Tomorrow Tuesday is here to stay.
A newsletter by SOUTS, where we explore what happens when artificial intelligence stops being just a tool and starts changing the way we create and consume stories.
How far are we from the first Oscar for an AI film?
Gossip Goblin, one of the leading AI filmmakers, released the trailerfor their film Gods Don’t Give Gifts, a 104-minute sci-fi horror movie produced together with Fable.
The film is made with AI-generated images and video, but screenwriters, voice actors, musicians and other human artists were also part of it. Pretty similar to the process we follow at SOUTS with the Max Wild series.
This week it was announced as the first AI film to receive a rating from the Motion Picture Association (an R rating, for adults only).
The commercial release is December 4 in select theaters in the United States and the United Kingdom, and the plan is to run a campaign to compete for the Oscar for Best Animated Feature.
Without having seen it, its chances of getting nominated look less than slim, but it’s a beautiful precedent. This is the invitation we always make from SOUTS: to dream big with the content we make.
Gossip Goblin has one thing going for them, one of the few moats left in 2026: they’ve been building a community for a long time.
Now comes a big challenge: whether they can turn those audiences into full theaters.
While we wait for December 4, you can watch the content Gossip Goblin uploads, some of the highest-quality AI creator work out there.
Jane Austen in Fortnite
Neal Stephenson, author of Snow Crash and the person responsible for popularizing the term metaverse, teamed up with game designer Karen Laur to create Whenere, a platform that aims to turn literary universes into interactive worlds.
Their first project is called Pride & Extreme Prejudice, based on Jane Austen’s Pride and Prejudice.
To build it they used Unreal Editor for Fortnite and Dreamlands, a 3D world generation platform that runs on Google’s Gemini.
The idea behind Whenere is that users can step into these universes, write their own dialogue, invent scenes and watch them come to life with AI-controlled characters.
Since the very first issue of this newsletter we’ve been talking about stepping into the world of stories and building our own stories inside those universes.
Whenere takes that logic to video games.
Why Pride and Prejudice? Because it’s in the public domain. They don’t need to negotiate the rights to anything.
Along the lines of what we discussed last week with SCP Foundation: how does the economic model change when fans are also creators?
Maybe the way to think about Hollywood’s next big franchise is more about the world and its rules than about specific stories.
You can read what Neal Stephenson was saying about this back in 2024 here.
Software no longer has a moat
Since Claude Code went massively mainstream around January and February, the speed at which the software world has changed is impossible to predict.
For example, if a couple of years ago you had told me you were going to compete with Adobe, the only possible answer was ‘you’re crazy’.
This week a developer named Brandon Thomas used Claude to recreate seven Adobe apps. Alternatives to Photoshop, Illustrator, Premiere Pro and After Effects.
The project is called ArtCraft and it’s open source.
The apps are at a very early stage, they have serious bugs and they’re far from replacing Adobe’s tools. But the fact that a single developer, on their own, can build prototypes of these tools is impressive.
For decades, software itself was a huge barrier to entry. Building a complex application took gigantic engineering teams, years of development and a ton of capital.
Now the cost of building software has collapsed.
The moat (competitive advantage) comes from somewhere else: network effects, distribution, community.
The ones using this most to their advantage are artists. We’re all building the tools we want to have.
John Gaeta, the visual effects wizard behind The Matrix, announced a partnership between the Escape.AI platform and Reallusion, a company specialized in 3D animation.
The pitch is tools that give you more control over generation than just a prompt. The artist defines characters, movements and cameras inside a 3D environment and uses that information to guide the generation.
LTX introduced post-production tools, including Alpha Gen, to generate masks without a green screen, and Layout to Render, to turn basic 3D animations into finished shots with AI.
It all follows last week’s thread: the value is no longer in getting a quality generation, it’s in the control we have.
While building software gets easier, the tools we use to create content get more and more specific and powerful.
That was Tomorrow Tuesday, the weekly newsletter. If you want to subscribe, subscribe!
At SOUTSwe try to always stay on top of what’s happening, and every time there’s something relevant we’ll bring it to you in this newsletter.
See you next Tomorrow Tuesday.
Yves
