过去一年，Hollywood 以人工智慧为主题或以人工智慧制作的娱乐内容，明显出现观众疲乏与口碑反噬；在 2023 年劳资罢工期间，AI 对创意工作的威胁已成为产业内部冲突的核心之一，但题材的新鲜感在 2022 年 ChatGPT 问世后迅速消退。例子被反复指向票房与评价的落差：以杀人娃娃为卖点的《M3GAN》在 2022 年意外成功，但其「去年」续作在商业与评论端失利；《Mission: Impossible—Dead Reckoning》(2023) 将「The Entity」设为终极对手后，《Mission: Impossible—The Final Reckoning》(2025) 的收官表现不如前作，且两部都难以自证其高成本的合理性。整体趋势是，AI 题材不再自带吸引力，反而更容易被视为对现实「到处都是机器」的延伸。
最新被视为失败案例的是《Mercy》，于 2026 年 1 月上映：Chris Pratt 饰演的 LAPD 侦探被绑在椅子上，必须在 90 分钟内从监视器与通话纪录中找出足以说服「法官机器人」(Rebecca Ferguson) 的证据，否则将被即刻处决。影评端已出现「2026 年最糟电影」的早期定性，票房也被描述为平庸，显示不少美国观众可能从预告片就做出否定判断。叙事被批评为放弃对监控国家与司法伦理的深挖，改用廉价相对主义，最终让人类与 AI 联手对付「真正坏人」，并以「人类或 AI 都会犯错并学习」的和解式台词收束；相较之下，近 40 年前的《RoboCop》在「赛博法西斯」式未来想像上反而更显尖锐，而《Tron: Ares》(2025) 也被纳入「先恐惧、后洗白」的同类宣传叙事。
对 AI 影像与改造既有作品的反感同样集中爆发在新媒体与广告：Time Studios 的 YouTube 企划《On This Day…1776》部分由 Google DeepMind 生成影像、再由真人配音，Darren Aronofsky 透过其与 Google 于「去年」合作成立的 Primordial Soup 担任监制，引发高度关注与嘲讽；留言区充斥羞辱性评语，频道甚至把互动限制在订阅者，观众还指出为掩盖瑕疵而大量快速剪接，以及把「America」生成为「Aamereedd」等错误。另一个焦点是 Taika Waititi 执导、计划于本周 Super Bowl 播出的 Xfinity 广告，以「Wi‑Fi 让 Jurassic Park 恐龙乐园运作良好」为笑点并对 Sam Neill、Laura Dern、Jeff Goldblum 进行去龄处理，被形容像「融化的蜡像」；其背后的媒体与电信整并链条也被点名：Xfinity 属于 Comcast，Comcast 拥有 NBCUniversal，而其既持有 Jurassic Park 也持有转播 Super Bowl 的 NBC。结论被收敛为一个商业风险判断：当工作与生活已被演算法与机器介面包围时，Hollywood 同时把 AI 当作半成品戏剧主题与「变革工具」推销，将更容易触发反弹并侵蚀其以逃避现实为核心的娱乐价值。
Over the past year, Hollywood entertainment about AI or made with AI has increasingly met viewer fatigue and backlash; during the 2023 labor strikes, the perceived threat of AI to creative jobs already sat near the center of industry conflict, but the novelty of the genre faded quickly after ChatGPT’s 2022 debut. The examples repeatedly point to gaps between hype, cost, and reception: M3GAN broke out in 2022, yet its sequel “last year” flopped critically and commercially; Mission: Impossible—Dead Reckoning (2023) framed a rogue AI, “The Entity,” and the franchise finale Mission: Impossible—The Final Reckoning (2025) underperformed its predecessor, with neither film clearly justifying its expense. The overall trend is that AI no longer functions as an automatic draw and is more often read as an extension of a real world already saturated with bots.
The latest high-profile misfire is Mercy, released in January 2026: Chris Pratt plays an LAPD detective strapped to a chair who has 90 minutes to mine security cameras and phone records for evidence that can persuade a judge-bot (Rebecca Ferguson), or face instant execution. Reviews have already stamped it as an early “worst movie of 2026,” and ticket sales are described as mediocre, implying many US moviegoers rejected it from the trailer alone. The story is criticized for dodging the ethics of a surveillance state and harsh justice in favor of cheap relativism, ending with the human and the AI teaming up against the “real” villains and landing on a groan-worthy line about humans and AIs both making mistakes and learning; by comparison, RoboCop, almost 40 years old, looks more presciently cynical, and Tron: Ares (2025) is folded into the same propaganda-like arc of “AI is scary at first but secretly good.”
Hostility has also concentrated on AI-generated imagery and digitally altered nostalgia. Time Studios’ YouTube project On This Day…1776 uses video generated in part by Google DeepMind with human voiceovers, and Darren Aronofsky’s executive-producer role via Primordial Soup, launched in a Google partnership “last year,” has drawn intense scorn; comments are brutal, engagement was limited to subscribers, viewers cite rapid cuts to hide errors, and one document scene renders “America” as “Aamereedd.” Another flashpoint is Taika Waititi’s Xfinity spot slated for this weekend’s Super Bowl, which de-ages Jurassic Park stars Sam Neill, Laura Dern, and Jeff Goldblum for Wi‑Fi gags and is described as waxy and grotesque; the piece is also framed as a product of consolidation, with Xfinity inside Comcast, Comcast owning NBCUniversal, and NBC broadcasting the Super Bowl while holding the Jurassic Park property. The closing claim is a bottom-line risk: as everyday life is already mediated by algorithms, studios pushing AI as both a half-baked dramatic theme and a “transformative” production tool invite backlash that undermines escapist entertainment.