
CEO of AI company gets bloodied pig's head in horror package as he's called a 'Clark Kent knockoff'
Blake Owens, founder and CEO of Agrippa, an AI-powered platform to connect commercial real estate investors and developers without traditional brokers, received the bloodied pig's head along with the menacing note on July 29.
The gruesome parcel was sent to a relative's home, and the message criticized Owens' use of AI - with personal insults that called him a 'Clark Kent knockoff' and ended ominously with: 'And don't get greedy because pigs get fat and hogs get slaughtered.'
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Owens told KLAS: 'Perhaps this person watched too much of The Godfather.
'Needless to say, I still take it very seriously, but don't feel like I'm being truly threatened. It was a message.'
The note was signed only with the initial 'M' and appeared to be motivated by a June TV segment that profiled Owens and Agrippa's AI tool, known as 'Marcus', to automate real estate transactions by matching developers with investors and evaluating property bids.
The sinister letter also said: 'AI is not going to replace brokers. Clearly you don't understand real estate wasn't built by developers or investors. And it sure as hell wasn't built by tech guys in Lululemon. It was built by brokers. We did it the hard way. No shortcuts, no tech, just people.'
Owens said he believed the sender was fearful of being displaced by automation.
The businessman said: 'I understand this person is probably just frustrated that business isn't going well for them, and then they see AI replacement stories on top of that. And I just so happen to be someone they can focus their frustration on.'
A photo of the package showed the sender was labeled as 'Marcus Agrippa' - a reference to the company's AI system.
Owens joked: 'Is this a message that you know your own AI is turning against you? I wasn't quite sure how to interpret it.'
Las Vegas PD confirmed it was investigating the incident and classified it as a harassment case.
A suspect was yet to be identified.
Owens said he did not feel 'genuinely threatened' and would not press charges should the sender be eventually identified.
He told KLAS: 'I don't want to punch down on this person; they may be in a tough spot in life. I do see this as an opportunity to show people you don't become a better person by making another man a lesser person.'
Owens also addressed potential anxiety surrounding AI's growing presence in the workforce, particularly in fields such as real estate that had historically relied on personal relationships.
He said: 'You know, people are scared. They feel displaced and when disruption moves faster than education, fear just fills the gap.'
Owens added that Agrippa was not designed to replace humans but it was created to empower professionals through AI.
He said: '[Winston Churchill] said to be perfect is to change often. I think a lot of people are afraid of change and what's coming with AI, because it really is a tsunami of change that people are trying to resist. But the more you embrace it, the better you'll do, the more skills that you'll accumulate, more value you'll bring to the table.'
Despite the threatening nature of the package, Owens remained committed to encouraging dialogue and told Inman: 'If I knew who this person was, I'd say, "Hey, feel free to reach out to me - maybe not with a package, just send me an email - I'm happy to share whatever education I can on keeping up with AI."'
The investigation into the incident remained ongoing.

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31 minutes ago
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'They can get in the way of recognising and accommodating what has been lost, because you can interact with a deathbot in an ongoing way.' For example, people often wonder what a dead loved one might have done or said in a specific situation. 'Now it feels like you are able to ask them.' But deathbots may also provide 'sanitised, rosy' representations of a person, said Cholbi. For example, someone creating a deathbot of their late granny may choose not to include her casual racism or other unappealing aspects of her personality in material fed into an AI generator. There is also a risk of creating a dependency in the living person, said Nathan Mladin, the author of AI and the Afterlife, a Theos report published last year. 'Digital necromancy is a deceptive experience. You think you're talking to a person when you're actually talking to a machine. Bereaved people can become dependent on a bot, rather than accepting and healing.' The boom in digital clones of the dead began in the far east. In China, it can cost as little as 20 yuan (£2.20) to create a digital avatar of a loved one, but according to one estimate the market was worth 12bn yuan (£1.2bn) in 2022 and was expected to quadruple by 2025. More advanced, interactive avatars that move and converse with a client can cost thousands of pounds. Fu Shou Yuan International Group, a major funeral operator, has said it is 'possible for the dead to 'come back to life' in the virtual world'. According to the China Funeral Association, the cost is about 50,000 yuan per deceased person. The exploitation of grief for private profit is a risk, according to Cholbi, although he pointed to a long history of mis-selling and upselling in the funeral business. Kasket said another pitfall was privacy and rights to digital remains. 'A person who's dead has no opportunity to consent, no right of reply and no control.' The fraudulent use of digital material to create convincing avatars for financial gain was another concern, she added. Some people have already begun stipulating in their wills that they do not want their digital material to be used after their death. Interactive avatars are not just for the dead. Abba Voyage, a show that features digital versions of the four members of the Swedish pop group performing in their heyday, has been a runaway success, making about £1.6m each week. Audiences thrill – and sing along – to the exhilarating experience while the band's members, now aged between 75 and 80, put their feet up at home. More soberly, the UK's National Holocaust Centre and Museum launched a project in 2016 to capture the voices and images of Holocaust survivors to create interactive avatars capable of answering questions about their experiences in the Nazi death camps long into the future. According to Cholbi, there is an element of 'AI hype' around deathbots. 'I don't doubt that some people are interested in this, and I think it could have some interesting therapeutic applications. It could be something that people haul out periodically – I can imagine they bring out the posthumous avatar of a deceased relative at Christmas dinner or on their birthday. 'But I doubt that people will try to sustain their relationships with the dead through this technology for very long. At some point, I think most of us reconcile ourselves with the fact of death, the fact that the person is dead. 'This isn't to say that some people might really dive into this, but it does seem to be a case where maybe the prospects are not as promising as some of the commercial investors might hope.' For Mladin, the deathbot industry raises profound questions for ethicists and theologians. The interest in digital resurrection may be a consequence of 'traditional religious belief fading, but those deeper longings for transcendence, for life after death, for the permanence of love are redirected towards technological solutions,' he said. 'This is an expression of peak modernity, a belief that technology will conquer death and will give us life everlasting. It's symptomatic of the kind of culture we inhabit now.' Kasket said: 'There's no question in my mind that some people create these kinds of phenomena and utilise them in ways that they find helpful. But what I'm concerned about is the way various services selling these kinds of things are pathologising grief. 'If we lose the ability to cope with grief, or convince ourselves that we're unable to deal with it, we are rendered truly psychologically brittle. It is not a pathology or a disease or a problem for technology to solve. Grief and loss are part of normal human experience.'