Lights. Camera. Me.
Oscar Week: The Sequel
Some weeks are just weeks. This one was an entire Netflix lineup.
It started, as most things do for me, with memories, triggered by the Oscars last week. The Bridgehampton Drive-in. “The Jungle Book” in my PJs. My mother was buying me popcorn and whispering, “We’re leaving,” right before “Whatever Happened to Baby Jane” started. Back then, one theater showed multiple movies. She had excellent timing.
I’ve been chasing that feeling ever since.
When I was 12, I checked out every book on film history from the East Hampton library. My mother vetoed California for college, so I hung up my filmmaker dreams and went into marketing instead.
But the stories never left. They just changed format. Puppet shows. Podcasts. Content shoots. Quirky little AI animations. And this week, a full-blown cinematic obsession disguised as a content calendar.
The Oscars gave me the excuse. What happened next was equal parts human, artificial, and genuinely surprising.
The Crew
Every good film needs a crew. Mine looked like this:
Korbin Christie / K27 Media: filmmaker, videographer, and the guy whose brilliant films are screening at the Phoenix Film Festival this spring. He showed up on my content shoot on Monday with a camera and a director’s eye. I showed up with opinions, weird seasonal props, and fits.
Sherry / Mischief Makeup: hair and makeup artist, and the only person who can make me Oscar-ready before 11 am. She got an acceptance speech this week. She deserved it.
Beulah: my collective name for my AI assistants. This week Beulah wrote, researched, built a quiz, styled me for the red carpet in two very different ways, and distributed everything across six platforms. Beulah never sleeps and never complains about craft services.
The Productions
Here is everything I made this week in the name of moving images, storytelling, and Oscar season:
A deep dive into the history of film and what Hollywood has always known about storytelling that most marketers still miss
A BODIES & BOTS post breaking down AI, moving images, and why the special effects are always the last thing you add
A content shoot with Korbin at K27 Media and Sherry at Mischief Makeup that will fuel April and May content
Two AI-generated clips of me on the red carpet. Same brief. Two different agents. Two very different Nancys. One of them hypersexualized me. I’ll let you guess which. See below.
A quiz so you can rate yourself on your own use of moving images in your brand. Take it. Be honest
Reserved a spot at the Phoenix Film Festival to see Korbin’s new films on an actual big screen. Because some things still deserve that
Who Wore It Best?
Two AI agents. Same Nancy. Same red carpet. Completely different results.
Option A. Option B. Or Option C: neither. Send the real Nancy to the Oscars as a REAL human.
Drop your vote in the comments. I’ll reveal which agent made which after the votes are in.
Want to Be Your Own Little Spielberg or Greta Gerwig?
Over the past 90 days, my AI-powered storytelling approach has driven more than 100% increases in viewership and engagement for my own brand. That’s not luck. That’s strategy, creativity, and knowing which tools do what.
Whether it’s a Hollywood blockbuster or a 30-second Reel, great on-screen content takes vision, talent, technology, perseverance... and sometimes luck.
This week had all five.
If you want to bring that same energy to your brand, let’s talk. The bAIbs at theONswitch are standing by.
PS. If this week’s cinematic deep dive stirred something in you, you might enjoy YOUR NERVE, my memoir-in-progress on Substack. More stories from a life spent watching, making, and occasionally starring in things that probably should have stayed on the cutting room floor. Subscribe here.