I’ve got friends who are pro photographers. Some of them have portrait photography – headshots – as an integral part of their businesses. Those photographers are about to have the metaphorical rug pulled out from under them by artificial intelligence.

So how can they adapt? By co-opting the process, making it so the client doesn’t have to do any heavy lifting, and turning AI photos to their advantage.

 Mornings in my world are spent teaching A/V classes to a bunch of bright-eyed teenagers in a rural high school that’s as small as it is full of character.

You might wonder what the scariest part of this routine is. For me, it’s the chill that runs down my spine when administrators grace the classroom with their presence for observation. But for the students? It’s the stark terror of facing the infinite possibilities of a blank screen (or page, but honestly, we rarely actually write anything).

Much like “Plan 9 from Outer Space,” there’s media out there that so terrible, so awful, so poorly-done that it flips around the scale back to being good.

In films, you have “Plan 9” and “The Room.” Commercials featuring the late Billy Mays (OXICLEAN!) and Vince Offer (The ShamWoW guy with the jaw). Or any commercial featuring a spokesperson with the title “Crazy.”  Music brings us the phenomena of William Hung, “Barbie Girl,” “Achy Breaky Heart” and a lot of the disco produced in the 1970s. Literature has “Fifty Shades of Grey” and the “Left Behind” series.

Not even presidents are immune. H. L. Mencken said that Warren Harding’s English was “so bad that a kind of grandeur creeps into it.”

At some point in your career, you’ll hit upon the idea of making something bad on purpose, hoping to get the so-bad-it’s-good magic that’ll make your production (in)famous.

DON’T DO IT.