Future generations may believe that some of these Seadance 2.0 videos, unearthed from long-buried flash drives, represent the cutting edge of mid-20th century to early 21st century cinema. Perhaps they won’t notice the strange movements, lack of blinking, stilted dialogue, and obsession with hand-to-hand combat.
We hope not, but considering that physical film degrades at an alarming rate and digital content is nothing more than bits and bytes stored forever, this scenario isn’t all that far-fetched. Of course, that would be a disaster.
Silly 1960s AI short comedy made with Nano Banana and Seedance 2 pic.twitter.com/haKQuQVYqSFebruary 22, 2026
It’s almost mesmerizing because of its resemblance to mid-20th century Douglas Sirk films and 1950s-style saturated blues. I mean, if we can look beyond AI artifacts to something like a 12-piece band with 12 musicians. Or, if you will, a number of uncannily similar-looking restaurant patrons.
There are other anomalies, many of which are characteristic of AI video slops produced with Seedance 2.0 and other platforms. Still, the wealth of Seedance 2.0 content is almost unprecedented. As I write this, social media is flooded with short videos featuring countless characters. Usually engaged in some kind of battle or impossible crossroads across brands.
I’ve seen at least two Matrix rip-off videos featuring a rematch between Neo and Mr. Smith. There’s also a video of Marvel’s Doctor Strange fighting DC’s Superman, and a video of the cast of The Office meeting Iron Man.
battles occur one after another
The Matrix-level action scenes cost the Hollywood industry more than $10 million. Now it only takes 2 minutes. MartiniArt_’s Seedance 2.0 🔥 pic.twitter.com/uL1Y3Wf1IuFebruary 23, 2026
Time after AI time
In any case, those who create the prompts and produce the videos do not care about intellectual property rules or the concerns expressed by the actors’ representatives. What’s worse is that you’re the best person to play. [fill in the blank] In these rebel videos, characters are forced to play again (without their consent).
That’s certainly a big deal, but I found myself drawn to two of the more original videos that tried to tell a fresh story without leveraging someone else’s IP.
I wondered how they were created and started thinking that even if the ideas and characters are fresh, there’s an unavoidable oddity to the Seedance 2.0 videos.
At the house of Harsheh al-Ghairi time travelera character who unsurprisingly bears a slight resemblance to Al Ghairi gets into an H.G. Wells-style time machine and travels through time to stop the Vienna art school from rejecting Adolf Hitler and thereby averting World War II. But it doesn’t work. It only postpones the inevitable.
Time Traveler (Made with Seedance 2.0) This short time travel scene was created in just one day using Seedance 2.0 for less than $200. pic.twitter.com/ImeoTh0vLeFebruary 22, 2026
It’s a fascinating 5:30 minute clip, but the AI weirdness just keeps piling up. For some reason, all the characters are drawn in the middle, all in a “shot” Wes Anderson style.
No one blinks, and emotion is either absent or conveyed in odd nicks, like when one of the characters sniffs a pen in a panic.
As with much of the Seedance 2.0 content I’ve consumed so far, I’ve noticed that most of the characters’ skin feels a little plasticky at times. The effects can be good, but they tend to occur repeatedly. My guess is that al-Ghairi generated them once and then reused the sequences.
My favorite part might be the robot. However, like many things in this and other AI-generated videos, it is derivative.
All shots were created using this one image created with Nano Banana from @freepik. For some of the shots, I took screenshots from the video and put them back into Nano Banana to create variations and slightly edit them. pic.twitter.com/F0EXvwKmbBFebruary 23, 2026
Different AI time, different AI location.
I may hate these videos and the dismay, anxiety, and embarrassment they cause in various industries, but I’m fascinated by how they’re made.
Many creators like to claim that they created their work with “just one prompt,” but I suspect they are being somewhat dishonest.
I noticed in Christopher Gwinn’s post that he credits Nano Banana with some of his “Silly little AI 1960s Comedy Short”. I had to learn more, so I popped the question to him on social media.
- Was it a single prompt or multiple?
- Who wrote the dialogue?
- How much explanation did he need to provide to Seedance 2.0 to get the desired results?
- Did he tell them to “use the same ‘actor’ between multiple scenes and within the same scene”?
More than just a prompt
Gwynne, who works as a digital creator in Hollywood, told X that she started with a single AI-generated Nano Banana image (above) built on Freepik. That image inspired by the French director’s films. Jacques Tati (of Monsieur Hulot fame (he directed and starred in it)) was used to flesh out the entire Seadance 2.0 sequence.
Gwynne usually writes her own lines, but for this short comedy she took a different route. “I told Seadance what was going on in the shot. I only wrote a few lines myself. Sometimes the original dialogue was generated and then I tweaked it a little and re-ran the prompt,” he told me in the thread.
Gwynne also reused some characters across multiple shots. Once all the pieces were completed, including the same couple dancing in multiple scenes, they were cut and edited in traditional video editing software, switching between Adobe Premiere and CapCut.
What Gwynne explained to me was a process that ultimately wasn’t all that different from what a traditional filmmaker would do. There are some notable exceptions, such as using AI-generated people instead of actors. Moreover, all Gwyn’s work cannot completely get rid of the mirror atmosphere of the entertainment complex throughout the company.
something is wrong
Sure, it might remind you of comedies from the 1950s, 1960s, or even the 1970s, but it also feels a little different. There’s so little setup for each gag that it makes little sense as a slapstick comedy. We enter about halfway through each comedic moment. It felt like I was watching a trailer for a mid-season comedy that was trying too hard to make me laugh.
Other anomalies are evident in virtually all Seedance 2.0 clips, such as the physics not working perfectly and the body sometimes moving as if it had no bones. However, due to the rapid rate of advancement in AI, they will be resolved within a few months.
I like understanding how these videos are created. I feel a little better about the rapid advancement of this “art” knowing that the digital creators behind it are probably achieving their desired results far beyond a single prompt.
But I hope that in their quest to create ever stranger scenarios for Neo, Iron Man, Superman, Brad Pitt, and Tom Cruise, they will stop and think about how they can use these tools to create something new and, ultimately, art that can stand on its own.
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