The recent ousting of Sam Altman as CEO of OpenAI has not only sparked debates in the tech community but has also found its way into the world of theater. Matthew Gasda's new play, "Doomers," premiered in New York City in February 2024 and is set to make its way to San Francisco in March 2024. The drama, while rooted in real events, serves as a fictional exploration of broader philosophical questions surrounding artificial intelligence (AI) safety and alignment.
Set within the fictional boardroom of MindMesh, a company inspired by OpenAI, "Doomers" features a cast of ten characters, half of whom are influenced by real-life figures such as Altman, OpenAI's co-founder Mira Murati, and Greg Brockman. The play begins with the pivotal moment when Ilya Sutskever, OpenAI’s former chief scientist, informs Altman of his termination. This dramatic turn sets the stage for an exploration of the tensions that arise following such a significant corporate upheaval.
Gasda has crafted "Doomers" not as a documentary but as a work of fiction that uses real events as a foundation for its narrative. The play delves into the fears and anxieties of the MindMesh board members, who grapple with the consequences of their decisions. Among these concerns is the potential for retribution from the ousted CEO, portrayed in the play as a character named Seth. He embodies traits that have been described as egotistical and childish, reflecting the complexities of leadership and ambition in the tech world.
The philosophical underpinnings of "Doomers" resonate throughout the narrative. The play addresses the dual nature of AI—its capacity for both existential threat and unprecedented promise. The characters express a range of viewpoints about the acceleration of AI innovation, highlighting the urgency of the issue. As Seth declares, “The only thing to do is outcompete and out-engineer,” he encapsulates the competitive spirit driving technological advancement.
Alina, another character in the play, offers a contrasting perspective when she remarks, “You make it sound like a genie in a bottle.” This line reflects the fear that technologies once unleashed may not be easily contained or controlled. Throughout "Doomers," these conflicting views on AI's potential are explored in depth, raising critical questions about responsibility and foresight in an industry characterized by rapid innovation.
Gasda’s writing process involved considerable effort; he completed 35 drafts before previewing "Doomers" for early audiences in August 2023. His commitment to refining the narrative showcases his dedication to crafting a nuanced reflection on current events. Gasda has expressed that he views Altman's ousting as a microcosm for larger discussions about AI safety, suggesting that theater can serve as a vital medium for exploring these complex issues.
The play also incorporates cultural references that ground its narrative in contemporary discussions surrounding technology. For instance, it mentions Waymo's robotaxis and the Cali-sober trend, linking the fictional events to real-world advancements and societal shifts. These elements offer audiences a familiar frame of reference while engaging them with the ethical dilemmas presented.
As "Doomers" unfolds in its fictional setting, it also highlights the emotional turmoil experienced by its characters. One poignant moment features a character expressing vulnerability: “I know drinking is low status, but I really need a drink.” This line captures the stress and pressure that accompany high-stakes decision-making in corporate environments, especially when intertwined with groundbreaking technology.
The interplay between beauty and ugliness is another theme explored through Alina's remark: “Because we’re so ugly, and it’s based on us.” This statement prompts contemplation about humanity's role in shaping technology and its consequences. As characters navigate their fears and ambitions, they confront their own imperfections and responsibilities.
Leave a Reply