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Transcript: Ezra Klein Interviews Nilay Patel
Transcript: Ezra Klein Interviews Nilay Patel
if you just think about the business model of the internet as — there’s a box that you can upload some content into, and then there’s an algorithm between you and an audience, and some audience will find the stuff you put in the box, and then you put an infinity amount of stuff into the box, all of that breaks.
more and more of the stuff that you consume is designed around pushing you towards a transaction. That’s weird. I think there’s a vast amount of white space in the culture for things that are not directly transactable.
We constantly ask huge amounts of the population to do things that are very rote. Keep inputting this data on forms, keep filling out this tax form. Some lawyers arguing for the Supreme Court, a lot of them just write up various contracts. And that’s a good job in the sense that it pays well, it’s inside work, but it doesn’t ask you to be that full of a human being.
I think a lot of organizations are not set up for a lot of people to use judgment and discernment. They treat a lot of people like machines, and they don’t want them doing things that are complicated and step out of line and poke at the assumptions in the Excel doc. They want the Excel doc ported over without any mistakes.
I think a lot of organizations are not set up for a lot of people to use judgment and discernment. They treat a lot of people like machines, and they don’t want them doing things that are complicated and step out of line and poke at the assumptions in the Excel doc.
I distinctly remember life before computers. It’s an experience that I had quite viscerally. And that shapes my view of these tools. It shapes my view of these companies. Well, there’s a huge generation now that only grew up in this way. There’s a teenage generation right now that is only growing up in this way. And I think their natural inclination is to say, well, this sucks. I want my own thing. I want my own system of consuming information. I want my own brands and institutions.And I don’t think that these big platforms are ready for that moment. I think that they think they can constantly be information monopolies while they are fending off A.I.-generated content from their own A.I. systems. So somewhere in there all of this stuff does break. And the optimism that you are sensing from me is, well, hopefully we build some stuff that does not have these huge dependencies on platform companies that have no interest at the end of the line except a transaction.
these models in their most reductive essence are just statistical representations of the past. They are not great at new ideas.And I think that the power of human beings sort of having new ideas all the time, that’s the thing that the platforms won’t be able to find. That’s why the platforms feel old. Social platforms like enter a decay state where everyone’s making the same thing all the time. It’s because we’ve optimized for the distribution, and people get bored and that boredom actually drives much more of the culture than anyone will give that credit to, especially an A.I. developer who can only look backwards.
the idea is, in my mind at least, that those people who curate the internet, who have a point of view, who have a beginning and middle, and an end to the story they’re trying to tell all the time about the culture we’re in or the politics we’re in or whatever. They will actually become the centers of attention and you cannot replace that with A.I. You cannot replace that curatorial function or that guiding function that we’ve always looked to other individuals to do.
I think as the flood of A.I. comes to our distribution networks, the value of having a powerful individual who curates things for people, combined with a powerful institution who protects their integrity actually will go up. I don’t think that’s going to go down.
·nytimes.com·
Transcript: Ezra Klein Interviews Nilay Patel
How we use generative AI tools | Communications | University of Cambridge
How we use generative AI tools | Communications | University of Cambridge
The ability of generative AI tools to analyse huge datasets can also be used to help spark creative inspiration. This can help us if we’re struggling for time or battling writer’s block. For example, if a social media manager is looking for ideas on how to engage alumni on Instagram, they could ask ChatGPT for suggestions based on recent popular content. They could then pick the best ideas from ChatGPT’s response and adapt them. We may use these tools in a similar way to how we ask a colleague for an idea on how to approach a creative task.
We may use these tools in a similar way to how we use search engines for researching topics and will always carefully fact-check before publication.
we will not publish any press releases, articles, social media posts, blog posts, internal emails or other written content that is 100% produced by generative AI. We will always apply brand guidelines, fact-check responses, and re-write in our own words.
We may use these tools to make minor changes to a photo to make it more usable without changing the subject matter or original essence. For example, if a website manager needs a photo in a landscape ratio but only has one in a portrait ratio, they could use Photoshop’s inbuilt AI tools to extend the background of the photo to create an image with the correct dimensions for the website.
·communications.cam.ac.uk·
How we use generative AI tools | Communications | University of Cambridge
The Comfortable Problem of Mid TV
The Comfortable Problem of Mid TV
Today's landscape is dominated by well-made but creatively conservative programs that trade ambition for dependability. The rise of streaming, the need to attract subscribers, and an abundance of talented creators have contributed to this trend, resulting in a proliferation of shows that are "fine" and "good enough" but lack the ability to truly surprise or engage viewers. There's an overall shift towards a "comfortable" and "familiar" middle ground in the industry.
What we have now is a profusion of well-cast, sleekly produced competence. We have tasteful remakes of familiar titles. We have the evidence of healthy budgets spent on impressive locations. We have good-enough new shows that resemble great old ones.
Put these two forces together — a rising level of talent and production competence on the one hand, the pressure to deliver versions of something viewers already like on the other hand — and what do you get? You get a whole lot of Mid.
MID IS NOT the mediocre TV of the past. It’s more upscale. It is the aesthetic equivalent of an Airbnb “modern farmhouse” renovation, or the identical hipster cafe found in medium-sized cities all over the planet. It’s nice! The furniture is tasteful, they’re playing Khruangbin on the speakers, the shade-grown coffee is an improvement on the steaming mug of motor oil you’d have settled for a few decades ago.
Mid is fine, though. It’s good enough.
Mid TV, on the other hand, almost can’t be bad for some of the same reasons that keep it from being great. It’s often an echo of the last generation of breakthrough TV (so the highs and lows of “Game of Thrones” are succeeded by the faithful adequacy of “House of the Dragon”).
As more people drop cable TV for streaming, their incentives change. With cable you bought a package of channels, many of which you would never watch, but any of which you might.
So where HBO used to boast that it was “not TV,” modern streamers send the message, “We’ll give you a whole lot of TV.” It can seem like their chief goal is less to produce standout shows than to produce a lot of good-looking thumbnails.
·nytimes.com·
The Comfortable Problem of Mid TV
The Internet Is Like a City (But Not in the Way You'd Think)
The Internet Is Like a City (But Not in the Way You'd Think)
the internet is declining because it is being re-organized into a more tree-like structure, with a few large platforms acting as centralized nodes. This is in contrast to the initial vision of the internet as a dynamic, overlapping semilattice.
Cities are commonly mapped and surveilled like the internet, said to be made up of “networks” and clusters of “users.”
A City Is Not a Tree can provide us with some answers. As Alexander argued almost 60 years ago, our minds are inclined to categorize the world as a tree, but an organic society and city actually resembles a semilattice. And just like with a city, organizing the internet like a tree stifles it completely.
The internet hasn’t become a tree, but there are certainly those who would like it to resemble one. Both leading tech platforms and governments believe themselves to be capable of containing information and separating its parts. The process started in earnest after the Arab Spring (2010-2012), when it became clear that online activity could produce shocks with real-world consequences. A growing pessimism about technology in the hands of the public developed at the top, as the interests of both “public safety” and profit converged to more deliberately plan the internet and mediate its branches. Simply put, complex systems are easier to surveil when information is neatly siloed into branches. It also simplifies data collection for advertisers.
Overlap on the internet is made possible through search and indexing which has, in almost all cases, badly declined.28 Google, as the leading indexer, has been the prime target of enshittification despite its market dominance increasing.29 Additionally, most platforms are walled gardens that are not easily searchable, their content only being found because it was reposted in another walled garden. Platforms have an interest in making sure users stay in their domain as much as possible. This makes overlap especially difficult by design, and so much of the internet now exists as islands on the periphery as a result. Effectively, that which would make a semilattice of the internet dynamic and alive is being dismantled.
Like a city, the internet is a receptacle for life, and how it organizes itself has consequences for the psychological well-being of its users.
·novum.substack.com·
The Internet Is Like a City (But Not in the Way You'd Think)
Western Music Isn't What You Think
Western Music Isn't What You Think
Western culture and music have been heavily influenced by outside, non-Western sources, contrary to common perceptions. The author argues that diversity and cross-cultural exchange are key strengths of Western culture.
·honest-broker.com·
Western Music Isn't What You Think
Trent Reznor and Atticus Ross Have a Plan to Soundtrack Everything
Trent Reznor and Atticus Ross Have a Plan to Soundtrack Everything
Guadagnino brought them Challengers, which will be released this month. Reznor said, “He started us down a path, saying, ‘What if it was very loud techno music through the whole film?’ ” (This is exactly what it turned out to be.)“I wish I had his notes,” Ross said of Guadagnino. “His notes were so fucking funny on what each piece was meant to do.”“Oh, yeah,” Reznor said. “ ‘Unending homoerotic desire.’ It was all a variation on those three words.”
·gq.com·
Trent Reznor and Atticus Ross Have a Plan to Soundtrack Everything
How Perplexity builds product
How Perplexity builds product
inside look at how Perplexity builds product—which to me feels like what the future of product development will look like for many companies:AI-first: They’ve been asking AI questions about every step of the company-building process, including “How do I launch a product?” Employees are encouraged to ask AI before bothering colleagues.Organized like slime mold: They optimize for minimizing coordination costs by parallelizing as much of each project as possible.Small teams: Their typical team is two to three people. Their AI-generated (highly rated) podcast was built and is run by just one person.Few managers: They hire self-driven ICs and actively avoid hiring people who are strongest at guiding other people’s work.A prediction for the future: Johnny said, “If I had to guess, technical PMs or engineers with product taste will become the most valuable people at a company over time.”
Typical projects we work on only have one or two people on it. The hardest projects have three or four people, max. For example, our podcast is built by one person end to end. He’s a brand designer, but he does audio engineering and he’s doing all kinds of research to figure out how to build the most interactive and interesting podcast. I don’t think a PM has stepped into that process at any point.
We leverage product management most when there’s a really difficult decision that branches into many directions, and for more involved projects.
The hardest, and most important, part of the PM’s job is having taste around use cases. With AI, there are way too many possible use cases that you could work on. So the PM has to step in and make a branching qualitative decision based on the data, user research, and so on.
a big problem with AI is how you prioritize between more productivity-based use cases versus the engaging chatbot-type use cases.
we look foremost for flexibility and initiative. The ability to build constructively in a limited-resource environment (potentially having to wear several hats) is the most important to us.
We look for strong ICs with clear quantitative impacts on users rather than within their company. If I see the terms “Agile expert” or “scrum master” in the resume, it’s probably not going to be a great fit.
My goal is to structure teams around minimizing “coordination headwind,” as described by Alex Komoroske in this deck on seeing organizations as slime mold. The rough idea is that coordination costs (caused by uncertainty and disagreements) increase with scale, and adding managers doesn’t improve things. People’s incentives become misaligned. People tend to lie to their manager, who lies to their manager. And if you want to talk to someone in another part of the org, you have to go up two levels and down two levels, asking everyone along the way.
Instead, what you want to do is keep the overall goals aligned, and parallelize projects that point toward this goal by sharing reusable guides and processes.
Perplexity has existed for less than two years, and things are changing so quickly in AI that it’s hard to commit beyond that. We create quarterly plans. Within quarters, we try to keep plans stable within a product roadmap. The roadmap has a few large projects that everyone is aware of, along with small tasks that we shift around as priorities change.
Each week we have a kickoff meeting where everyone sets high-level expectations for their week. We have a culture of setting 75% weekly goals: everyone identifies their top priority for the week and tries to hit 75% of that by the end of the week. Just a few bullet points to make sure priorities are clear during the week.
All objectives are measurable, either in terms of quantifiable thresholds or Boolean “was X completed or not.” Our objectives are very aggressive, and often at the end of the quarter we only end up completing 70% in one direction or another. The remaining 30% helps identify gaps in prioritization and staffing.
At the beginning of each project, there is a quick kickoff for alignment, and afterward, iteration occurs in an asynchronous fashion, without constraints or review processes. When individuals feel ready for feedback on designs, implementation, or final product, they share it in Slack, and other members of the team give honest and constructive feedback. Iteration happens organically as needed, and the product doesn’t get launched until it gains internal traction via dogfooding.
all teams share common top-level metrics while A/B testing within their layer of the stack. Because the product can shift so quickly, we want to avoid political issues where anyone’s identity is bound to any given component of the product.
We’ve found that when teams don’t have a PM, team members take on the PM responsibilities, like adjusting scope, making user-facing decisions, and trusting their own taste.
What’s your primary tool for task management, and bug tracking?Linear. For AI products, the line between tasks, bugs, and projects becomes blurred, but we’ve found many concepts in Linear, like Leads, Triage, Sizing, etc., to be extremely important. A favorite feature of mine is auto-archiving—if a task hasn’t been mentioned in a while, chances are it’s not actually important.The primary tool we use to store sources of truth like roadmaps and milestone planning is Notion. We use Notion during development for design docs and RFCs, and afterward for documentation, postmortems, and historical records. Putting thoughts on paper (documenting chain-of-thought) leads to much clearer decision-making, and makes it easier to align async and avoid meetings.Unwrap.ai is a tool we’ve also recently introduced to consolidate, document, and quantify qualitative feedback. Because of the nature of AI, many issues are not always deterministic enough to classify as bugs. Unwrap groups individual pieces of feedback into more concrete themes and areas of improvement.
High-level objectives and directions come top-down, but a large amount of new ideas are floated bottom-up. We believe strongly that engineering and design should have ownership over ideas and details, especially for an AI product where the constraints are not known until ideas are turned into code and mock-ups.
Big challenges today revolve around scaling from our current size to the next level, both on the hiring side and in execution and planning. We don’t want to lose our core identity of working in a very flat and collaborative environment. Even small decisions, like how to organize Slack and Linear, can be tough to scale. Trying to stay transparent and scale the number of channels and projects without causing notifications to explode is something we’re currently trying to figure out.
·lennysnewsletter.com·
How Perplexity builds product
Companionship Content is King - by Anu Atluru
Companionship Content is King - by Anu Atluru

Long-form "companionship content" will outlast short-form video formats like TikTok, as the latter is more mentally draining and has a lower ceiling for user engagement over time.

  • In contrast, companionship content that feels more human and less algorithmically optimized will continue to thrive, as it better meets people's needs for social connection and low-effort entertainment.
  • YouTube as the dominant platform among teens, and notes that successful TikTok creators often funnel their audiences to longer-form YouTube content.
  • Platforms enabling deep, direct creator-fan relationships and higher creator payouts, like YouTube, are expected to be the long-term winners in the content landscape.
Companionship content is long-form content that can be consumed passively — allowing the consumer to be incompletely attentive, and providing a sense of relaxation, comfort, and community.
Interestingly, each individual “unit” of music is short-form (e.g. a 3-5 minute song), but how we consume it tends to be long-form and passive (i.e. via curated stations, lengthy playlists, or algorithms that adapt to our taste).
If you’re rewatching a show or movie, it’s likely to be companionship content. (Life-like conversational sitcoms can be consumed this way too.) As streaming matures, platforms are growing their passive-watch library.
content isn’t always prescriptively passive, rather it’s rooted in how consumers engage it.
That said, some content lends better to being companionship content: Long-form over short. Conversational over action. Simple plot versus complex.
Short-form video requires more attention & action in a few ways: Context switching, i.e. wrapping your head around a new piece of context every 30 seconds, especially if they’re on unrelated topics with different styles Judgment & decision-making, i.e. contemplating whether to keep watching or swipe to the next video effectively the entire time you’re watching a video Multi-sensory attention, i.e. default full-screen and requires visual and audio focus, especially since videos are so short that you can easily lose context Interactive components, e.g. liking, saving, bookmarking,
With how performative, edited, and algorithmically over-optimized it is, TikTok feels sub-human. TikTok has quickly become one of the most goal-seeking places on earth. I could easily describe TikTok as a global focus group for commercials. It’s the product personification of a means to an end, and the end is attention.
even TikTok creators are adapting the historically rigid format to appeal to more companionship-esque emotions and improve retention.
When we search for a YouTube video to watch, we often want the best companion for the next hour and not the most entertaining content.
While short-form content edits are meant to be spectacular and attention-grabbing, long-form content tends to be more subtle in its emotional journey Long-form engagement with any single character or narrative or genre lets you develop stronger understanding, affinity, and parasocial bonds Talk-based content (e.g. talk shows, podcasts, comedy, vlogs, life-like sitcoms) especially evokes a feeling of companionship and is less energy-draining The trends around loneliness and the acceleration of remote work has and will continue to make companionship content even more desirable As we move into new technology frontiers, we might unlock novel types of companionship content itself, but I’d expect this to take 5-10 years at least
TikTok is where you connect with an audience, YouTube is where you consolidate it.5 Long-form content also earns creators more, with YouTube a standout in revenue sharing.
YouTube paid out $16 billion to creators in 2022 (which is 55% of its annual $30 billion in revenue) and the other four social networks paid out about $1 billion each from their respective creator funds. In total, that yields $20 billion.”
Mr. Beast, YouTube’s top creator, says YouTube is now the final destination, not “traditional” hollywood stardom which is the dream of generations past. Creators also want to funnel audiences to apps & community platforms where they can own user relationships, rely less on algorithms, engage more directly and deeply with followers, and enable follower-to-follower engagement too
Interestingly of course, an increasing amount of short-form video, including formats like clips and edits, seems to be made from what originally was long-form content.8 And in return, these recycled short-form videos can drive tremendous traffic to long-form formats and platforms.
90% of people use a second screen while watching TV. We generally talk about “second screen” experiences in the context of multiple devices, but you can have complementary apps and content running on the same device — you can have the “second screen” on the same screen.
YouTube itself also cites a trend of people putting YouTube on their real TV screens: “There are more Americans gathering around the living room TV to watch YouTube than any other platform. Why? Put simply, people want choices and variety … It’s a one stop shop for video viewing. Think about something historically associated with linear TV: Sports. Now, with [our NFL partnership], people can not only watch the games, but watch post-game highlights and commentary in one place.”
If I were to build an on-demand streaming product or any kind of content product for that matter, I’d build for the companionship use case — not only because I think it has a higher ceiling of consumer attention, but also because it can support more authentic, natural, human engagement.
All the creators that are ‘made’ on TikTok are looking for a place to go to consolidate the attention they’ve amassed. TikTok is commercials. YouTube is TV. (Though yes, they’re both trying to become each other).
certainly AI and all the new creator tools enabled by it will help people mix and match and remix long and short formats all day, blurring the historically strict distinctions between them. It’ll take some time before we see a new physical product + content combo thrive, and meanwhile the iPhone and its comps will be competing hard to stay the default device.
The new default seems to be that we’re not lonely as long as we’re streaming. We can view this entirely in a negative light and talk about how much the internet and media is contributing to the loneliness epidemic. Or we could think about how to create media for good. Companionship content can be less the quick dopamine-hit-delivering clips and more of this, and perhaps even truly social.
Long-form wants to become the conversational third space for consumers too. The “comments” sections of TikTok, YouTube and all broadcast platforms are improving, but they still have a long way to go before they become even more community-oriented.
I’m not an “AI-head” but I am more curious about what it’s going to enable in long-form content than all the short-form clips it’s going to help generate and illustrate, etc.
The foreground tends to be utilities or low-cognitive / audio effort (text or silent video). Tiktok is a foreground app for now, YouTube is both (and I’d say trending towards being background).
·archive.is·
Companionship Content is King - by Anu Atluru
101 Additional Advices
101 Additional Advices
Forget trying to decide what your life’s destiny is. That’s too grand. Instead, just figure out what you should do in the next 2 years.
Try to define yourself by what you love and embrace, rather than what you hate and refuse.
Where you live—what city, what country—has more impact on your well being than any other factor. Where you live is one of the few things in your life you can choose and change.
Once a month take a different route home, enter your house by a different door, and sit in a different chair at dinner. No ruts.
Every now and then throw a memorable party. The price will be steep, but long afterwards you will remember the party, whereas you won’t remember how much is in your checking account.
Most arguments are not really about the argument, so most arguments can’t be won by arguing.
invent your own definition of success. Shoot your arrows first and then paint a bull’s eye around where they land. You’re the winner!
There should be at least one thing in your life you enjoy despite being no good at it. This is your play time, which will keep you young. Never apologize for it.
You have 5 minutes to act on a new idea before it disappears from your mind.
The patience you need for big things, is developed by your patience with the little things.
When you are stuck or overwhelmed, focus on the smallest possible thing that moves your project forward.
For steady satisfaction, work on improving your worst days, rather than your best days.
Your decisions will become wiser when you consider these three words: “…and then what?” for each choice.
If possible, every room should be constructed to provide light from two sides.  Rooms with light from only one side are used less often, so when you have a choice, go with light from two sides.
There is a profound difference between thinking less of yourself (not useful), and thinking of yourself less (better).
Always ask yourself: what would change my mind?
Becoming one-of-a-kind is not a solo job. Paradoxically you need everyone else in the world to help make you unique.
If you need emergency help from a bystander, command them what to do. By giving them an assignment, you transform them from bewildered bystander to a responsible assistant.
The most common mistake we make is to do a great job on an unimportant task.
Don’t work for a company you would not invest money in, because when you are working you are investing the most valuable thing you have: your time.
Fail forward. Failing is not a disgrace if you keep failing better.
Do not cling to a mistake just because you spent a lot of time making it.
For small tasks the best way to get ready is to do it immediately.
What others want from you is mostly to be seen. Let others know you see them.
When you try something new, don’t think of it as a matter of success / failure, but as success / learning to succeed.
use your honesty as a gift not as a weapon. Your honesty should benefit others.
A good sign that you are doing the kind of work you should be doing is that you enjoy the tedious parts that other people find tortuous.
Celebrating the success of others costs you nothing, and increases the happiness of everyone, including you.
To tell a good story, you must reveal a surprise; otherwise it is just a report.
a long horizon allows you to compound small advances into quite large achievements.
Often ideas are rejected because of the tone of voice they are wrapped in. Humility covers many blemishes.
When you are right, you are learning nothing.
Very small things accumulate until they define your larger life. Carefully choose your everyday things.
If you are impressed with someone’s work, you should tell them, but even better, tell their boss.
Humility is mostly about being very honest about how much you owe to luck.
·kk.org·
101 Additional Advices
Is Every Picture Worth 1,000 Words?
Is Every Picture Worth 1,000 Words?
The phrase a picture is worth a thousand words has two popular origin stories. One version credits advertising executive Frederick R. Barnard, who attributed the phrase to an ancient Chinese proverb. The closest Chinese equivalent translates to “Hearing something a hundred times isn’t better than seeing it once.” In other words, the Chinese Origin was made up: “…the Chinese derivation was pure invention. Many things had been thought to be ‘worth ten thousand words’ well before pictures got in on the act;”
the true origin of the proverb is not Chinese but adspeak.3 It shows how the phrase has morphed into a commercial, facile cliche.
Letting images and pictures compete for supremacy reduces the complex relationship between images and words into a direct, quantifiable comparison. Words and images function differently
A few carefully chosen words can say what 1,000 stock images cannot. The right image can counter cynicism, closed-mindedness, or an automatic dismissal of a convincing argument.
Tell your audience how you interpret the image. What the image means.
Use images to complement, not repeat or overshadow, the text. Get rid of images that are just there to add color.
Stock images are clichés. Clichés can be easily turned on their head because of their simplistic topic. You want to communicate that you’re diverse and you end up telling people that you’re a company run by a minority. Or you want to communicate success, but the focus on two middle-aged white people ends up communicating their privilege.
Whether you like it or not, people will read into this picture as well and they won’t find a lot of valuable or advantageous information in it. It again mostly says: “This boring website thinks that I don’t see that this is a meaningless stock image.”
Pictures have an impact when they tell a story that only a picture can tell.
·ia.net·
Is Every Picture Worth 1,000 Words?
Looking for AI use-cases — Benedict Evans
Looking for AI use-cases — Benedict Evans
  • LLMs have impressive capabilities, but many people struggle to find immediate use-cases that match their own needs and workflows.
  • Realizing the potential of LLMs requires not just technical advancements, but also identifying specific problems that can be automated and building dedicated applications around them.
  • The adoption of new technologies often follows a pattern of initially trying to fit them into existing workflows, before eventually changing workflows to better leverage the new tools.
if you had showed VisiCalc to a lawyer or a graphic designer, their response might well have been ‘that’s amazing, and maybe my book-keeper should see this, but I don’t do that’. Lawyers needed a word processor, and graphic designers needed (say) Postscript, Pagemaker and Photoshop, and that took longer.
I’ve been thinking about this problem a lot in the last 18 months, as I’ve experimented with ChatGPT, Gemini, Claude and all the other chatbots that have sprouted up: ‘this is amazing, but I don’t have that use-case’.
A spreadsheet can’t do word processing or graphic design, and a PC can do all of those but someone needs to write those applications for you first, one use-case at a time.
no matter how good the tech is, you have to think of the use-case. You have to see it. You have to notice something you spend a lot of time doing and realise that it could be automated with a tool like this.
Some of this is about imagination, and familiarity. It reminds me a little of the early days of Google, when we were so used to hand-crafting our solutions to problems that it took time to realise that you could ‘just Google that’.
This is also, perhaps, matching a classic pattern for the adoption of new technology: you start by making it fit the things you already do, where it’s easy and obvious to see that this is a use-case, if you have one, and then later, over time, you change the way you work to fit the new tool.
The concept of product-market fit is that normally you have to iterate your idea of the product and your idea of the use-case and customer towards each other - and then you need sales.
Meanwhile, spreadsheets were both a use-case for a PC and a general-purpose substrate in their own right, just as email or SQL might be, and yet all of those have been unbundled. The typical big company today uses hundreds of different SaaS apps, all them, so to speak, unbundling something out of Excel, Oracle or Outlook. All of them, at their core, are an idea for a problem and an idea for a workflow to solve that problem, that is easier to grasp and deploy than saying ‘you could do that in Excel!’ Rather, you instantiate the problem and the solution in software - ‘wrap it’, indeed - and sell that to a CIO. You sell them a problem.
there’s a ‘Cambrian Explosion’ of startups using OpenAI or Anthropic APIs to build single-purpose dedicated apps that aim at one problem and wrap it in hand-built UI, tooling and enterprise sales, much as a previous generation did with SQL.
Back in 1982, my father had one (1) electric drill, but since then tool companies have turned that into a whole constellation of battery-powered electric hole-makers. One upon a time every startup had SQL inside, but that wasn’t the product, and now every startup will have LLMs inside.
people are still creating companies based on realising that X or Y is a problem, realising that it can be turned into pattern recognition, and then going out and selling that problem.
A GUI tells the users what they can do, but it also tells the computer everything we already know about the problem, and with a general-purpose, open-ended prompt, the user has to think of all of that themselves, every single time, or hope it’s already in the training data. So, can the GUI itself be generative? Or do we need another whole generation of Dan Bricklins to see the problem, and then turn it into apps, thousands of them, one at a time, each of them with some LLM somewhere under the hood?
The change would be that these new use-cases would be things that are still automated one-at-a-time, but that could not have been automated before, or that would have needed far more software (and capital) to automate. That would make LLMs the new SQL, not the new HAL9000.
·ben-evans.com·
Looking for AI use-cases — Benedict Evans
AI lost in translation
AI lost in translation
Living in an immigrant, multilingual family will open your eyes to all the ways humans can misunderstand each other. My story isn’t unique, but I grew up unable to communicate in my family’s “default language.” I was forbidden from speaking Korean as a child. My parents were fluent in spoken and written English, but their accents often left them feeling unwelcome in America. They didn’t want that for me, and so I grew up with perfect, unaccented English. I could understand Korean and, as a small child, could speak some. But eventually, I lost that ability.
I became the family Chewbacca. Family would speak to me in Korean, I’d reply back in English — and vice versa. Later, I started learning Japanese because that’s what public school offered and my grandparents were fluent. Eventually, my family became adept at speaking a pidgin of English, Korean, and Japanese.
This arrangement was less than ideal but workable. That is until both of my parents were diagnosed with incurable, degenerative neurological diseases. My father had Parkinson’s disease and Alzheimer’s disease. My mom had bulbar amyotrophic lateral sclerosis (ALS) and frontotemporal dementia (FTD). Their English, a language they studied for decades, evaporated.
It made everything twice as complicated. I shared caretaking duties with non-English speaking relatives. Doctor visits — both here and in Korea — had to be bilingual, which often meant appointments were longer, more stressful, expensive, and full of misunderstandings. Oftentimes, I’d want to connect with my stepmom or aunt, both to coordinate care and vent about things only we could understand. None of us could go beyond “I’m sad,” “I come Monday, you go Tuesday,” or “I’m sorry.” We struggled alone, together.
You need much less to “survive” in another language. That’s where Google Translate excels. It’s handy when you’re traveling and need basic help, like directions or ordering food. But life is lived in moments more complicated than simple transactions with strangers. When I decided to pull off my mom’s oxygen mask — the only machine keeping her alive — I used my crappy pidgin to tell my family it was time to say goodbye. I could’ve never pulled out Google Translate for that. We all grieved once my mom passed, peacefully, in her living room. My limited Korean just meant I couldn’t partake in much of the communal comfort. Would I have really tapped a pin in such a heavy moment to understand what my aunt was wailing when I knew the why?
For high-context languages like Japanese and Korean, you also have to be able to translate what isn’t said — like tone and relationships between speakers — to really understand what’s being conveyed. If a Korean person asks you your age, they’re not being rude. It literally determines how they should speak to you. In Japanese, the word daijoubu can mean “That’s okay,” “Are you okay?” “I’m fine,” “Yes,” “No, thank you,” “Everything’s going to be okay,” and “Don’t worry” depending on how it’s said.
·theverge.com·
AI lost in translation
The Triumph of Philanthropy - Scott Sherman
The Triumph of Philanthropy - Scott Sherman
  • Many billionaires have opted to give away a significant portion of their fortunes through philanthropy rather than paying taxes, often through secretive limited liability companies with little transparency.
  • concerns about the growing influence of private wealth in shaping public life, often with minimal public oversight or accountability
  • Philanthropists increasingly seen as wielding more power than governments in setting societal agendas, esp in lieu of government funding for the public sector
  • The philanthropic world as a black box dictated by the ultra-wealthy
In their quest for social change, givers like Arnold are reluctant to support “causes”; they want to “solve problems—big ones,” as Callahan puts it. But, in Arnold’s case, lessons had to be learned along the way. His early forays into philanthropy, including an effort to reform public pensions, were scorned, with critics noting that Enron’s collapse had resulted in the loss of billions of dollars in pension funds.
Moskovitz and Tuna weren’t keen to embrace traditional development organizations, which they are inclined to view as lethargic and bureaucratic. For them, grant making is akin to venture-capital investing: they want to act decisively and disrupt traditional models and structures. They have contributed $32 million to a group called Give Directly, which is not interested in vaccinating children, digging wells, building toilets, and creating schools. Rather, it gives cash handouts to the poor, who are free to spend the money as they wish. Callahan is skeptical of the ideology guiding Moskovitz and Tuna—who favor Silicon Valley mantras such as “empower individuals over institutions”—but he knows they are too influential to ignore. The couple will give away hundreds of millions of dollars every year. They are not yet thirty-five years old.
There are growing concerns about the influence and reach of the superwealthy: “Philanthropy is becoming a much stronger power center,” Callahan says, “and, in some areas, is set to surpass government in its ability to shape society’s agenda.” The state has retreated; the givers have advanced.
in many U.S. cities, elected officials are overwhelmed by debt obligations, and as a result have precious little money to spend on parks, museums, and other public services. The givers have no such constraints. In Boston, the Barr Foundation has done much to shape the city’s arts, culture, and political milieu. In Houston, Richard Kinder is helping to forge a massive network of urban trails. In Detroit, the Kresge Foundation is contributing funds for a new light-rail system. In New York, the Leon Levy Foundation has helped to revitalize a pair of Brooklyn landmarks, the Brooklyn Public Library and the Brooklyn Botanic Garden. These are worthy endeavors, but Callahan is right to express concern about a fundamental shift of power from a “hollowed-out public sector” to elite private givers who are not fully accountable and operate in dark corners.
In 2008 Stephen A. Schwarzman, another cofounder of Blackstone, gave $100 million to the New York Public Library at a moment when the Library was secretly undertaking a dubious real estate and construction scheme. For nearly a decade, the NYPL refused to reveal how Schwarzman’s money was being utilized. Only in recent months did the Library account for the gift’s use: the $100 million formed part of the endowment and will soon be used for new renovation projects.
Under an initiative backed by Broad and like-minded funders, L.A. could add hundreds of new charter schools in a decade. Broad is quick to refute allegations that he is overreaching: “I think everyone is getting heard,” he informed Callahan. “We’re getting heard, the philanthropists. The unions and administrators are getting heard. Overall, we’re creating debate.”
That may be so, but increasingly the debate is among people who already agree. The Givers makes a persuasive case that the superwealthy are expanding their influence at a moment when many Americans are bolting from civic and political life. The author, drawing on the scholarship of Theda Skocpol, evokes an earlier era when mass-membership organizations such as trade unions flourished, giving ordinary citizens a certain degree of influence vis-à-vis elite power structures. These days, he writes, “We’re fast moving toward a future where private funders, not elected officials and the citizens they answer to, choreograph more of public life.”
Of the top eighty American foundations, only twenty-six post detailed information about their current grant making on public databases. The Susan Thompson Buffett Foundation, endowed by Warren’s wealth, “has no real website and the information available on its grant making through tax returns is always a few years out of date,” Callahan notes.
The Givers is alive to these and other contradictions in the philanthropic sector and poses thorny questions for elected officials and nonprofit leaders: why is a check to a right-wing think tank tax-deductible but a check to a conservative senator is not? Why are many large foundations spending a mere 5 percent of their assets each year when they can easily afford to spend more? Why do so many foundations exist in perpetuity, instead of “spending down” and closing their doors? Why is the sector so lightly regulated by government, particularly the IRS? Finally, what exactly is the public getting in exchange for colossal tax breaks granted for philanthropy, which mainly go to rich people?
The Givers, which went to press before Donald Trump was elected, concludes with a stark and prescient warning: the nonprofit sector should initiate its own reforms, before politicians do it with a heavier and more mischievous hand. “It’s not okay,” he warns, “to settle for a status quo in which the foundation world remains forever a black box.” His proposals for change—the creation of a new U.S. federal office of charitable affairs, a reevaluation of what should qualify for tax-exempt status, trustee boards that are more inclusive and transparent—are not likely to be embraced in Trump’s Washington, however.
Katz, writing after Trump’s victory, argued that Callahan has sidestepped the central issue: Our current dire political situation is the product of both traditional American anti-statism and a very different and deliberate assault on the state by plutocrats. We do not have so many billionaires, and thus mega-foundations, because we now have a larger and more adept entrepreneurial class, but because the structure of (mostly federal) economic policy has been captured by people of wealth, who have rewritten the laws to enable themselves to become extraordinarily rich…It seems to me that the new plutocrats are in fact the problem, and they are quite unlikely to be part of the solution, as Callahan contends.
My own wish is that Callahan had confronted, in a more pungent way, the structural features of the behemoth that looms before him: the grant-making model itself, upon which modern American philanthropy rests. Foundation leaders advocate transparency, inclusion, and equality, but they operate in a strikingly hierarchical manner. They are a cloistered elite.
Does this top-down model—in which grantees spend immense time and energy chasing cash—inhibit the growth of dues-paying organizations, which may be more vibrant and democratic than nonprofit organizations dominated by an aloof board of trustees and an executive director? Passages in The Givers suggest that Callahan has pondered these matters, but he stops short of a full critique.
There are now more than ninety thousand private foundations, whose assets total $700 billion. These foundations supply money to more than a million tax-exempt, nonprofit organizations. Some of these nonprofits are financially secure, but many chafe under immense anxiety as they await annual grants from their masters in the foundation suites.
·laphamsquarterly.org·
The Triumph of Philanthropy - Scott Sherman
How McKinsey Destroyed the Middle Class - The Atlantic
How McKinsey Destroyed the Middle Class - The Atlantic

The rise of management consulting firms like McKinsey played a pivotal role in disempowering the American middle class by promoting corporate restructuring that concentrated power and wealth in the hands of elite managers while stripping middle managers and workers of their decision-making roles, job security, and opportunities for career advancement.

Key topics:

  • Management consulting's role in reshaping corporate America
  • The decline of the middle class and the rise of corporate elitism
  • McKinsey's influence on corporate restructuring and inequality
  • The shift from lifetime employment to precarious jobs
  • The erosion of corporate social responsibility
  • The role of management consulting in perpetuating economic inequality
what consequences has the rise of management consulting had for the organization of American business and the lives of American workers? The answers to these questions put management consultants at the epicenter of economic inequality and the destruction of the American middle class.
Managers do not produce goods or deliver services. Instead, they plan what goods and services a company will provide, and they coordinate the production workers who make the output. Because complex goods and services require much planning and coordination, management (even though it is only indirectly productive) adds a great deal of value. And managers as a class capture much of this value as pay. This makes the question of who gets to be a manager extremely consequential.
In the middle of the last century, management saturated American corporations. Every worker, from the CEO down to production personnel, served partly as a manager, participating in planning and coordination along an unbroken continuum in which each job closely resembled its nearest neighbor.
Even production workers became, on account of lifetime employment and workplace training, functionally the lowest-level managers. They were charged with planning and coordinating the development of their own skills to serve the long-run interests of their employers.
At McDonald’s, Ed Rensi worked his way up from flipping burgers in the 1960s to become CEO. More broadly, a 1952 report by Fortune magazine found that two-thirds of senior executives had more than 20 years’ service at their current companies.
Top executives enjoyed commensurately less control and captured lower incomes. This democratic approach to management compressed the distribution of income and status. In fact, a mid-century study of General Motors published in the Harvard Business Review—completed, in a portent of what was to come, by McKinsey’s Arch Patton—found that from 1939 to 1950, hourly workers’ wages rose roughly three times faster than elite executives’ pay. The management function’s wide diffusion throughout the workforce substantially built the mid-century middle class.
The earliest consultants were engineers who advised factory owners on measuring and improving efficiency at the complex factories required for industrial production. The then-leading firm, Booz Allen, did not achieve annual revenues of $2 million until after the Second World War. McKinsey, which didn’t hire its first Harvard M.B.A. until 1953, retained a diffident and traditional ethos
A new ideal of shareholder primacy, powerfully championed by Milton Friedman in a 1970 New York Times Magazine article entitled “The Social Responsibility of Business is to Increase its Profits,” gave the newly ambitious management consultants a guiding purpose. According to this ideal, in language eventually adopted by the Business Roundtable, “the paramount duty of management and of boards of directors is to the corporation’s stockholders.” During the 1970s, and accelerating into the ’80s and ’90s, the upgraded management consultants pursued this duty by expressly and relentlessly taking aim at the middle managers who had dominated mid-century firms, and whose wages weighed down the bottom line.
Management consultants thus implemented and rationalized a transformation in the American corporation. Companies that had long affirmed express “no layoff” policies now took aim at what the corporate raider Carl Icahn, writing in the The New York Times in the late 1980s, called “corporate bureaucracies” run by “incompetent” and “inbred” middle managers. They downsized in response not to particular business problems but rather to a new managerial ethos and methods; they downsized when profitable as well as when struggling, and during booms as well as busts.
Downsizing was indeed wrenching. When IBM abandoned lifetime employment in the 1990s, local officials asked gun-shop owners around its headquarters to close their stores while employees absorbed the shock.
In some cases, downsized employees have been hired back as subcontractors, with no long-term claim on the companies and no role in running them. When IBM laid off masses of workers in the 1990s, for example, it hired back one in five as consultants. Other corporations were built from scratch on a subcontracting model. The clothing brand United Colors of Benetton has only 1,500 employees but uses 25,000 workers through subcontractors.
Shift from lifetime employment to reliance on outsourced labor; decline in unions
The shift from permanent to precarious jobs continues apace. Buttigieg’s work at McKinsey included an engagement for Blue Cross Blue Shield of Michigan, during a period when it considered cutting up to 1,000 jobs (or 10 percent of its workforce). And the gig economy is just a high-tech generalization of the sub-contractor model. Uber is a more extreme Benetton; it deprives drivers of any role in planning and coordination, and it has literally no corporate hierarchy through which drivers can rise up to join management.
In effect, management consulting is a tool that allows corporations to replace lifetime employees with short-term, part-time, and even subcontracted workers, hired under ever more tightly controlled arrangements, who sell particular skills and even specified outputs, and who manage nothing at all.
the managerial control stripped from middle managers and production workers has been concentrated in a narrow cadre of executives who monopolize planning and coordination. Mid-century, democratic management empowered ordinary workers and disempowered elite executives, so that a bad CEO could do little to harm a company and a good one little to help it.
Whereas at mid-century a typical large-company CEO made 20 times a production worker’s income, today’s CEOs make nearly 300 times as much. In a recent year, the five highest-paid employees of the S&P 1500 (7,500 elite executives overall), obtained income equal to about 10 percent of the total profits of the entire S&P 1500.
as Kiechel put it dryly, “we are not all in this together; some pigs are smarter than other pigs and deserve more money.” Consultants seek, in this way, to legitimate both the job cuts and the explosion of elite pay. Properly understood, the corporate reorganizations were, then, not merely technocratic but ideological.
corporate reorganizations have deprived companies of an internal supply of managerial workers. When restructurings eradicated workplace training and purged the middle rungs of the corporate ladder, they also forced companies to look beyond their walls for managerial talent—to elite colleges, business schools, and (of course) to management-consulting firms. That is to say: The administrative techniques that management consultants invented created a huge demand for precisely the services that the consultants supply.
Consulting, like law school, is an all-purpose status giver—“low in risk and high in reward,” according to the Harvard Crimson. McKinsey also hopes that its meritocratic excellence will legitimate its activities in the eyes of the broader world. Management consulting, Kiechel observed, acquired its power and authority not from “silver-haired industry experience but rather from the brilliance of its ideas and the obvious candlepower of the people explaining them, even if those people were twenty-eight years old.”
A deeper objection to Buttigieg’s association with McKinsey concerns not whom the firm represents but the central role the consulting revolution has played in fueling the enormous economic inequalities that now threaten to turn the United States into a caste society.
Meritocrats like Buttigieg changed not just corporate strategies but also corporate values.
GM may aspire to build good cars; IBM, to make typewriters, computers, and other business machines; and AT&T, to improve communications. Executives who rose up through these companies, on the mid-century model, were embedded in their firms and embraced these values, so that they might even have come to view profits as a salutary side effect of running their businesses well.
When management consulting untethered executives from particular industries or firms and tied them instead to management in general, it also led them to embrace the one thing common to all corporations: making money for shareholders. Executives raised on the new, untethered model of management aim exclusively and directly at profit: their education, their career arc, and their professional role conspire to isolate them from other workers and train them single-mindedly on the bottom line.
American democracy, the left believes, cannot be rejuvenated by persuading elites to deploy their excessive power somehow more benevolently. Instead, it requires breaking the stranglehold that elites have on our economics and politics, and reempowering everyone else.
·archive.is·
How McKinsey Destroyed the Middle Class - The Atlantic
On Openings Essays, Conferences Talks, and Jam Jars
On Openings Essays, Conferences Talks, and Jam Jars
how to write better openings and introductions / intros in non-fiction writing
The beginning is almost never the most compelling or important part. It's just the bit you thought of first, based on your subjective chronology.
Signposting what you're going to write about is good, but starting with an exhaustive list of definitions is extremely boring.
Invoking paleolithic people is an overplayed way to convince us your topic is cosmically important.
Openings need tension – paradoxes, unanswered questions, and unresolved action
Good openings propose problems, pose questions, drop you into an unfinished story, or point at fundamental tensions within a topic. Ideally within the first paragraph or two.
"Good writing starts strong. Not with a cliché ("Since the dawn of time"), not with a banality ("Recently, scholars have been increasingly concerned with the questions of..."), but with a contentful observation that provokes curiosity."A Sense of StyleStephen Pinker
Creating tension in non-fiction work is trickier because your story is (hopefully) constrained by reality. You are not at liberty to invent suspicious murders, salacious extramarital affairs, or newly-discovered-magical-powers to create tension and mystery. You have to deal with the plain, unexotic facts of the world.
Your job becomes much harder if you pick topics with no tension, problems, or puzzles within them. To paraphrase Williams, it is more of a failure to pose an uninteresting problem, than to poorly articulate an interesting one
Your interest in the topic is your best directional clue for finding the tension or interesting paradox. Your urge to write about the thing hopefully comes from a place of curiosity. You have unanswered questions about it. It feels important or consequential for unexplained reasons. You think you've seen things in it other people haven't. Pay attention to that interest.
Problems are a destabilising condition that has a cost for a community of readers that needs a solution. Destabilising condition is just a fancy word for “change” here – a change in the status quo. Put another way, a problem is an expected turn of events, that has undesireable consequences, for an audience who will care about it, that we want to explore solutions to.
Williams is speaking to a community of academic writers in his book. They're trying to present scientific and research problems in plain, objective language, which isn't necessarily what we want to do with narrative writing like blogging or personal essays. We have a little more liberty to put interesting padding around the change, consequences, and solution, such as telling an opening anecdote, or drawing readers in with characters, rich details, and sensory descriptions.
Williams suggests we try to state our problem and then ask a series of so what?'s to get at the underlying problem
For your writing to be worth reading, you need to be exploring something of consequence for someone
When McPhee writes, after first immersing himself in his raw material (field notes, interview transcripts, official documents) for weeks, he then draws a structure for the work. The structure lays out the major themes and scenes he'll work through, in the order that will make them most compelling and coherent.
Developing a structure requires navigating the tension between chronology and theme. Chronology is what we default to, but themes that repeatedly appear want to pull themselves together into a single place. The themes that really matter should be in your opening. Even if the moment that best defines them happens right before the end of the timeline.
·maggieappleton.com·
On Openings Essays, Conferences Talks, and Jam Jars
From Tech Critique to Ways of Living — The New Atlantis
From Tech Critique to Ways of Living — The New Atlantis
To move beyond Heidegger, the author draws on the work of Yuk Hui, who argues for the idea of "multiple cosmotechnics" – the unification of the cosmos and morality through technical activities rooted in different cultural cosmologies: "dao" (the way/life force) and "qi" (tools/utensils)
We might think of the shifting relationship of human beings to the natural world in the terms offered by German sociologist Gerd-Günter Voß, who has traced our movement through three different models of the “conduct of life.”
The first, and for much of human history the only conduct of life, is what he calls the traditional. Your actions within the traditional conduct of life proceed from social and familial circumstances, from what is thus handed down to you. In such a world it is reasonable for family names to be associated with trades, trades that will be passed down from father to son: Smith, Carpenter, Miller.
But the rise of the various forces that we call “modernity” led to the emergence of the strategic conduct of life: a life with a plan, with certain goals — to get into law school, to become a cosmetologist, to get a corner office.
thanks largely to totalizing technology’s formation of a world in which, to borrow a phrase from Marx and Engels, “all that is solid melts into air,” the strategic model of conduct is replaced by the situational. Instead of being systematic planners, we become agile improvisers: If the job market is bad for your college major, you turn a side hustle into a business. But because you know that your business may get disrupted by the tech industry, you don’t bother thinking long-term; your current gig might disappear at any time, but another will surely present itself, which you will assess upon its arrival.
The movement through these three forms of conduct, whatever benefits it might have, makes our relations with nature increasingly instrumental. We can see this shift more clearly when looking at our changing experience of time
Within the traditional conduct of life, it is necessary to take stewardly care of the resources required for the exercise of a craft or a profession, as these get passed on from generation to generation.
But in the progression from the traditional to the strategic to the situational conduct of life, continuity of preservation becomes less valuable than immediacy of appropriation: We need more lithium today, and merely hope to find greater reserves — or a suitable replacement — tomorrow. This revaluation has the effect of shifting the place of the natural order from something intrinsic to our practices to something extrinsic. The whole of nature becomes what economists tellingly call an externality.
·thenewatlantis.com·
From Tech Critique to Ways of Living — The New Atlantis
The negotiation cycle. — ethanmarcotte.com
The negotiation cycle. — ethanmarcotte.com
my friend showed editorial work they’d done for various publications: beautiful illustrations that would accompany a feature article, a longform essay, or the like. They mentioned they didn’t really do that work any more, in part because of how tiring it was to constantly, quickly, ceaselessly produce concepts for each new piece.
our industry’s relentless investment in “artificial intelligence” means that every time a new Devin or Firefly or Sora announces itself, the rest of us have to ask how we’ll adapt this time. Dunno. Maybe it’s time we step out of that negotiation cycle, and start deciding what we want our work to look like.
I remember them talking about that work, and a phrase they used: “It requires you to be endlessly clever.”
·ethanmarcotte.com·
The negotiation cycle. — ethanmarcotte.com
The Beastification of YouTube may be coming to an end - WSJ
The Beastification of YouTube may be coming to an end - WSJ
Known as “retention editing” because of its unique ability to keep a user glued to their screen, this style features loud sound effects, fast cuts, flashing lights and zero pauses.
“It’s the Beastification of YouTube,” said Noah Kettle, co-founder of Moke Media Co., a video editing and social media monetization consultancy. MrBeast, whose real name is Jimmy Donaldson, built his reputation by creating hyper-engaging, fast-paced videos with frequent action on screen. That led smaller YouTubers and content creators to mimic his style.
Donaldson tweeted a plea to his fellow YouTubers to “get rid of the ultra fast paced/overstim era of content.” He said that in the past year, he has slowed his videos, focused more on storytelling, “let scenes breathe, yelled less” and focused on longer videos, all of which has resulted in even more views.
if content creators require fewer editing resources, it could alter the outside editing services that many content creators use.
Creating a retention edited video requires a lot of work. “Every clip in the video should be under two seconds,” said Dara Pesheva, a 17-year-old who works as a freelance video editor for social media content creators. “Every 1.3 to 1.5 seconds you have to have a new graphic or something moving, you have to [use] a lot of effects. For every image and every transition, you have to add a sound effect. You need flashing graphics, and you have to have subtitles in every video.”
TikTok has trained users to scroll away if they aren’t hooked within the first half-second, social media video editors said. This is why so many retention edited videos start with a loud bang or whoosh sound.
“People around my age can’t focus,” Pesheva said. “They have very short attention spans. They’re used to TikTok, and so editors have to adjust for Gen Z. They have to adjust to the fact that people can’t keep their attention on something for more than a second if it’s not entertaining.”
CapCut, the video editing platform owned by TikTok parent company ByteDance, allows users to add catchy sounds and special effects to their videos with just a few taps. This has allowed anyone, even children, to create videos with tons of explosions, laser effects and animated text. Replicating those same effects on older video editing tools such as Adobe Premiere or After Effects could take hours and is far more complicated.
Connor Bibow, a freelance videographer in Georgia, said that it’s no surprise retention editing works so well on channels like MrBeast’s that cater to children, because the editing format is very similar to children’s cartoons. “It’s a lot of noises and bright colors,” he said.
Like CoComelon
Thavaseelen said he began leveraging retention editing after seeing MrBeast speak about it. “MrBeast is very open and transparent with his content, and he tells people what he said,” Thavaseelen said. “He tells people you have to optimize for retention. A lot of clips he puts on short form are retention edited.”
as MrBeast has cooled on the style, experts say that other creators are already beginning to follow. “There’s been a wave of creators who have now transitioned to just making hour-and-a-half videos with just them and a whiteboard,” Kettle said, “and they’re outperforming every single video that they’ve done that was optimized for attention.”
Cicero, the Syracuse University instructor, said that YouTube, like many art forms, has different styles that define different periods. Retention editing, he said, has defined the 2020 to 2024 era, but fatigue eventually sets in.“Early on, it was very easy to blow up and become a viral hit with [this type of editing], but now it’s a lot harder,” he said. “There are these waves of different trends in editing, or in fine art, or in music, where you have these different styles. Maybe retention editing is like the impressionist period for YouTube.”
·archive.is·
The Beastification of YouTube may be coming to an end - WSJ
Welcome to the video bloat era
Welcome to the video bloat era
A Pivot To Video tends to arrive in stages, with each stage being more expensive and producing less interesting content as things progress. Usually it goes like this: The experimentation phase, the factory phase, and the bloat phase. A great editor I worked for during the second Pivot To Video, roughly 2013-2017, who, herself worked through the first, roughly 2003-2007, described it as a massive waste of resources that wastes more resources as it becomes clearer to everyone not directly involved how much of a waste of resources it is.
It’s a fundamental issue with video as a medium that online platforms haven’t fixed and, I suspect, never will because it makes user-generated content platforms feel more professional and consistent. Like TV. The cost to produce video content always balloons as you add more people, more tools, more structure to the workflow, pushing out smaller creators and teams. And even with the pandemic lowering the barrier of entry for making video online considerably, it’s still happening again. We’re in the bloat phase now.
MrBeast, the platform’s biggest star, is spending between $3-$5 million per video right now, up from around $200,000 a video just a few years ago. To put that absolutely outrageous number in perspective, a MrBeast video is roughly the same cost per video as any episode from the first five seasons of Game Of Thrones.
Guides last year were saying you had to capture viewers in the first three seconds. I’ve read a few guides from this year that are now saying hooking a TikTok user has to happen in the first 1.5 seconds. There’s an oft-quoted “shoeshine boy” theory of markets, usually attributed to Joe Kennedy in the late 1920s, who said that when the boy shining his shoes had stock tips, he knew the market was about to collapse. Well, here’s a similar rule for digital video: If you’re trying to optimize your video in microseconds, the video pivot is probably already over.
YouTube is laser-focused on capturing the world’s televisions. In fact, the platform’s CEO, Neal Mohan announced yesterday that the platform is adding even more features for YouTube’s TV app. And TikTok, if it’s not banned or whatever, is trying to use its massive inventory of short-form video content to prop up both a search engine and an e-commerce operation. And we haven’t even talked about Meta’s video products here. There is simply no incentive for these platforms to regress even though users seem to want them to.
Tastes are clearly changing. The Washington Post article pointed to Sam Sulek, a giant muscleman on YouTube who posts 30-minute workout vlogs with barely any editing as a possible direction this is all headed in. I tried watching one of his recent videos and I’m not even sure it has any cuts in it? It’s possible that’s what’s coming next, but it’s less certain if platforms will, or rather can, allow it. Time to find out if they know how to pivot.
·garbageday.email·
Welcome to the video bloat era
Why Success Often Sows the Seeds of Failure - WSJ
Why Success Often Sows the Seeds of Failure - WSJ
Once a company becomes an industry leader, its employees, from top to bottom, start thinking defensively. Suddenly, people feel they have more to lose from challenging the status quo than upending it. As a result, one-time revolutionaries turn into reactionaries. Proof of this about-face comes when senior executives troop off to Washington or Brussels to lobby against changes that would make life easier for the new up and comers.
Years of continuous improvement produce an ultra-efficient business system—one that’s highly optimized, and also highly inflexible. Successful businesses are usually good at doing one thing, and one thing only. Over-specialization kills adaptability—but this is a tough to trap to avoid, since the defenders of the status quo will always argue that eking out another increment of efficiency is a safer bet than striking out in a new direction.
Long-tenured executives develop a deep base of industry experience and find it hard to question cherished beliefs. In successful companies, managers usually have a fine-grained view of “how the industry works,” and tend to discount data that would challenge their assumptions. Over time, mental models become hard-wired—a fact that makes industry stalwarts vulnerable to new rules. This risk is magnified when senior executives dominate internal conversations about future strategy and direction.
With success comes bulk—more employees, more cash and more market power. Trouble is, a resource advantage tends to make executives intellectually lazy—they start believing that success comes from outspending one’s rivals rather than from outthinking them. In practice, superior resources seldom defeat a superior strategy. So when resources start substituting for creativity, it’s time to short the shares.
One quick suggestion: Treat every belief you have about your business as nothing more than a hypothesis, forever open to disconfirmation. Being paranoid is good, becoming skeptical about your own beliefs is better.
·archive.is·
Why Success Often Sows the Seeds of Failure - WSJ
Design Engineering at Vercel - What we do and how we do it
Design Engineering at Vercel - What we do and how we do it
Design Engineers at Vercel blend aesthetic sensibility with technical skills. This allows us to deeply understand a problem, then design, build, and ship a solution autonomously.The team is made up of people with a wide array of skills and a lot of curiosity. We constantly experiment with new tools and mediums. This multidisciplinary approach allows the team to push what’s possible on the web.
Design Engineers care about delivering exceptional user experiences that resonate with the viewer. For the web, this means:Delightful user interactions and affordancesBuilding reusable components/primitivesPage speedCross-browser supportSupport for inclusive input modes (touch, pointers, etc.)Respecting user preferencesAccessible to users of assistive technology
Being part of the Design team gives Design Engineers the autonomy and ability to work on things that would often get deprioritized in an Engineering backlog.
The team puts resources towards polished interactions, no dropped frames, no cross-browser inconsistencies, and accessibility. Examples of design-led projects are:Vercel’s Geist font: A Sans and Mono font. An interactive playground to see every glyph and try the font.Vercel’s design system documentation: An interactive docs playground used by engineers across the company to ship Vercel.Vercel’s Design Team homepage: An exploratory page for testing new web techniques and providing design resources.Delighters in the Vercel Dashboard: Features in the Vercel Dashboard that bring it to life and delight the user.
While no individual is expected to have all the skills, the team collectively is able to execute on ambitious designs because we can:Design in FigmaDesign in codeWrite production codeDebug browser performanceWrite GLSL shadersWrite copyCreate 3D experiences with Three.jsCreate 3D models/scenes in BlenderEdit videos using CGI and practical camera effects
You can see our team’s work across Vercel:Creating and maintaining components for the internal design system used on everything from Vercel.com to the Vercel Toolbar and the Next.js documentation.Websites like the Next.js Conf website and Vercel’s product pages.Product work and docs for Vercel and Next.js.Building proof of concepts for branding and marketing.Improving the accessibility of all Vercel web properties.
·vercel.com·
Design Engineering at Vercel - What we do and how we do it
The Marriages Hanging On by a $19 Deck of Cards
The Marriages Hanging On by a $19 Deck of Cards
Players must assume full responsibility for their cards, a strategy dubbed “C.P.E.” — Conception, Planning, Execution — that was designed to combat the male tendency to execute (pick up milk from the market when asked) but leave the conceiving (recognizing that your toddler only drinks 2 percent milk) and planning (monitoring the fridge to ensure the 2 percent doesn’t run out) to the female partner. In other words, as Rodsky told me, “Own. Your. Shit.” Partners also must agree to a Minimum Standard of Care (or “M.S.C.”) for tasks, meaning that even if the owner of the Garbage card is fine with empty pizza boxes piling up on the kitchen counter, he may still have to throw them out promptly.
often, several persistent challenges emerge. Implementing the practice is time-consuming and so is maintaining it. In fact, in all of my interviews, I failed to find a couple who followed the rules to a tee for longer than a few months. Just to get Fair Play off the ground, the initiator has to read the book, procure the cards, create an organizational system (I’ve seen everything from Google spreadsheets so detailed they resemble stock-portfolio trackers to oversize whiteboards dotted with custom Etsy chore magnets), then explain it all to a partner.
A woman recently polled one group to ask whether her spouse should be expected to pick up his own socks if she owned the Cleaning card. Another turned to the Fair Play community after a family member died, seeking advice on how to ask her partner to cover her chores while she grieved. All this time and effort falls overwhelmingly on women by design.
social movements start with the oppressed,” Rodsky says, because “people who want the status quo maintained” won’t push for change. As Rodsky recently said on a podcast, “You teach somebody something now because it will benefit your future hours.” But the prep work has pushed many women away because, as one Brooklyn mother put it, it’s “more than I can handle right now.”
Stories also abound of partners agreeing to cards only to quietly drop them. This sometimes leads to “chore chicken,” a resentment-fueled phenomenon in which Partner A refuses to pick up the slack on Partner B’s tasks, so the dirty dishes fester or shirts languish at the dry cleaners. Partner A silently rages because this isn’t how C.P.E is supposed to work.
Other spouses, when invited to play fair, have responded with “I get it. You want me to do more. But I don’t want to play a game. Just tell me what to do.” That’s what Paige Connell, 33, a Boston mom of four under 6, heard when she first showed her husband the deck. “But that places the burden right back on the woman,” she says. “I don’t want to be his project manager.”
The manner in which the “fewer cards” partner responds to the Fair Play system can serve as a barometer for the health of a relationship, says Jenny Cooke Malstrom, a marriage and family therapist in Seattle. Fair Play doesn’t cause divorce, she says, but it’s more likely to backfire in at-risk relationships where the baseline level of love and respect is already low. “To have your husband straight up say ‘This isn’t important’ makes what’s already implicitly happening explicit,” Malstrom says.
a 2017 Sex Roles study which suggested that the perception of fairness in family labor is a stronger predictor of maternal mental health than the actual division of labor. The study is the primary reason her system intentionally prioritizes feelings of equity over literal equality. Rodsky isn’t the only relationship expert to say that a 50/50 chore split isn’t realistic. Brené Brown famously went viral in a 2020 appearance on The Tim Ferriss Podcast, when she explained that the balance of responsibility in her marriage changes day to day depending on each partner’s mental and emotional capacity — and that constant responsibility trading is critical to supporting one another.
“It was never written to be prescriptive. My intention was to [help women] hold their boundaries in a different way. Any movement towards ‘I’m not going to live this way anymore,’ I consider a win.”
·thecut.com·
The Marriages Hanging On by a $19 Deck of Cards
The Case for Marrying an Older Man
The Case for Marrying an Older Man
I could diligently craft an ideal existence, over years and years of sleepless nights and industry. Or I could just marry it early. So naturally I began to lug a heavy suitcase of books each Saturday to the Harvard Business School to work on my Nabokov paper. In one cavernous, well-appointed room sat approximately 50 of the planet’s most suitable bachelors. I had high breasts, most of my eggs, plausible deniability when it came to purity, a flush ponytail, a pep in my step that had yet to run out. Apologies to Progress, but older men still desired those things.
I was competitive by nature, an English-literature student with all the corresponding major ambitions and minor prospects (Great American novel; email job). A little Bovarist, frantic for new places and ideas; to travel here, to travel there, to be in the room where things happened.
Restless one Saturday night, I slipped on a red dress and snuck into a graduate-school event, coiling an HDMI cord around my wrist as proof of some technical duty. I danced. I drank for free, until one of the organizers asked me to leave. I called and climbed into an Uber. Then I promptly climbed out of it. For there he was, emerging from the revolving doors. Brown eyes, curved lips, immaculate jacket. I went to him, asked him for a cigarette. A date, days later.
Omfg
I used to love men like men love women — that is, not very well, and with a hunger driven only by my own inadequacies.
I had grown bored of discussions of fair and unfair, equal or unequal, and preferred instead to consider a thing called ease.
The greater and more visible the difference in years and status between a man and a woman, the more it strikes others as transactional. Transactional thinking in relationships is both as American as it gets and the least kosher subject in the American romantic lexicon. When a 50-year-old man and a 25-year-old woman walk down the street, the questions form themselves inside of you; they make you feel cynical and obscene: How good of a deal is that? Which party is getting the better one?
The truth is you can fall in love with someone for all sorts of reasons, tiny transactions, pluses and minuses, whose sum is your affection for each other, your loyalty, your commitment. The way someone picks up your favorite croissant. Their habit of listening hard. What they do for you on your anniversary and your reciprocal gesture, wrapped thoughtfully. The serenity they inspire; your happiness, enlivening it. When someone says they feel unappreciated, what they really mean is you’re in debt to them.
There is a boy out there who knows how to floss because my friend taught him. Now he kisses college girls with fresh breath. A boy married to my friend who doesn’t know how to pack his own suitcase. She “likes to do it for him.” A million boys who know how to touch a woman, who go to therapy because they were pushed, who learned fidelity, boundaries, decency, manners, to use a top sheet and act humanely beneath it, to call their mothers, match colors, bring flowers to a funeral and inhale, exhale in the face of rage, because some girl, some girl we know, some girl they probably don’t speak to and will never, ever credit, took the time to teach him. All while she was working, raising herself, clawing up the cliff-face of adulthood. Hauling him at her own expense.
My younger brother is in his early 20s, handsome, successful, but in many ways: an endearing disaster. By his age, I had long since wisened up. He leaves his clothes in the dryer, takes out a single shirt, steams it for three minutes. His towel on the floor, for someone else to retrieve. His lovely, same-age girlfriend is aching to fix these tendencies, among others. She is capable beyond words. Statistically, they will not end up together. He moved into his first place recently, and she, the girlfriend, supplied him with a long, detailed list of things he needed for his apartment: sheets, towels, hangers, a colander, which made me laugh. She picked out his couch. I will bet you anything she will fix his laundry habits, and if so, they will impress the next girl.
Adulthood seemed a series of exhausting obligations. But his logistics ran so smoothly that he simply tacked mine on.
we live in a world in which our power has a different shape from that of men, a different distribution of advantage, ours a funnel and theirs an expanding cone.
She has raised her fair share of same-age boyfriends. She has put her head down, worked laboriously alongside them, too. At last she is beginning to reap the dividends, earning the income to finally enjoy herself. But it is now, exactly at this precipice of freedom and pleasure, that a time problem comes closing in. If she would like to have children before 35, she must begin her next profession, motherhood, rather soon, compromising inevitably her original one.
Overlay the years a woman is supposed to establish herself in her career and her fertility window and it’s a perfect, miserable circle. By midlife women report feeling invisible, undervalued; it is a telling cliché, that after all this, some husbands leave for a younger girl. So when is her time, exactly? For leisure, ease, liberty?
There is no brand of feminism which achieved female rest. If women’s problem in the ’50s was a paralyzing malaise, now it is that they are too active, too capable, never permitted a vacation they didn’t plan.
the great gift of my marriage is flexibility. A chance to live my life before I become responsible for someone else’s — a lover’s, or a child’s. A chance to write.
I dream of new structures, a world in which women have entry-level jobs in their 30s; alternate avenues for promotion; corporate ladders with balconies on which they can stand still, have a smoke, take a break, make a baby, enjoy themselves, before they keep climbing.
End of article--see discussions in comments
·thecut.com·
The Case for Marrying an Older Man
How we redesigned the Linear UI (part Ⅱ) - Linear Blog
How we redesigned the Linear UI (part Ⅱ) - Linear Blog
the tooling we choose has a profound impact on the work we do, and, in the best case scenario, becomes a standard for how we build products. This is why we put so much care into even the tiniest details in Linear.
Even when doing concept work, you often need to focus your efforts. The design concept should feel like an exciting evolution of the product.
I didn't adhere to a specific method during the exploration phase, but typically, each day I designed a complete set of screens and flows. One day might be dedicated to designing the Inbox view, while the next day I could focus on the roadmap and projects. Other days, I explored upcoming product features. During this process, I experimented with different iterations of the sidebar, visual styles, and colors, and then linked the screens together as a prototype to assess their functionality.
Through this process, I generated hundreds of screens and was able to narrow down a few major directions that resonated most. Around this time, I began sharing the screens with other designers and people within the company to gather feedback and additional insights.
Ultimately, we settled on the main design direction, and I created a few views to showcase it
We started with the concept design Karri had originally imagined, but it wasn’t fully figured out and needed some additional design work. We didn’t know how we would bridge the previous UI design with the new style or if the new design could support all of our application states and options. We were able to make some changes off the bat, such as updating the color system, while other changes had to be punted to later on, such as the different headers you come across while navigating the app.
It’s easy for the scope of UI redesign projects to blow up. Before we got too far down any one path, we needed to get some confidence on the right option to keep everyone focused. So we ran some stress tests (or crash tests if you want to be dramatic) before going into implementation and iterating with engineers. We tested three main focus areas: the environment, the appearance, and the hierarchy.
Our app runs on Electron, so our navigation needed to work not just on macOS and Windows as a native app but also in any browser. That meant that previous/next navigation buttons, history, and tabs needed to be easily removable to work with browsers. We tested a lot of options, from very condensed to more spacious configurations. I often relied on Apple standards, which also helped get close to the feeling of a native app.
I also spent time aligning labels, icons, and buttons, both vertically and horizontally in the sidebar and tabs. It was definitely a challenge given the amount of UI elements we have on this tiny surface. This part of the redesign isn’t something you’ll immediately see but rather something that you’ll feel after a few minutes of using the app.
Karri mostly worked with opacities of black and white during his explorations, which really helped him get results quickly and helped me understand the relationship he had in mind between the elements and their respective elevation and hierarchy. As our system relied on a set of variables, I worked with Andreas on our software engineering team to polish and iterate on both the core variables and the operations we apply to them to generate our aliases for surfaces, texts, icons, and controls.
A while back, we rebuilt the system for generating custom themes in Linear, using the LCH color space instead of HSL. LCH has the benefit that it’s perpetually uniform, meaning a red and a yellow color with lightness 50 will appear roughly equally light to the human eye. This makes it possible to generate more consistently good-looking themes, regardless of which base colors are used.
Yes, the theme generation system also supports a contrast variable which defines how contrasty a theme should be. This allows us to automatically include super high-contrast themes for users who need it for accessibility reasons.
Linear relies on a set of structured layouts that support the navigation elements and content. It integrates additional headers to store filters and display options, side panels to display meta properties, as well as the actual display: list, board, timeline, split, and fullscreen.When I joined the project, Karri had already gathered most of the app's views and their respective states, so I was able to run all of my tests quite effectively. I mostly worked by type of view (list, board, split, etc.) as I found it easier to focus and ensure that every decision worked in all cases.
We divided the project into five milestones:Stress tests: Following the series of explorations made in November 2023, we tested if the direction felt right in the main views of Linear: Inbox, Triage, My Issues, Issues List, Project, Cycles, Roadmap, Search.Behavior definitions: As the direction was refined, we documented and defined the behaviors of the main components of the app: sidebar, tabs, app headers, and view headers.Sidebar and chrome refresh: We implemented the first bits of the refresh on the sidebar, tabs, and view headers. We also improved the appearance and contrast of our theme for light and dark modes. We used a feature flag to allow for internal testing at this stage.Private beta: We started rolling out the new design in Private beta to get initial feedback. Once we felt comfortable, we began rolling out the changes to a percentage of workspaces each day.GA: We released the new UI to all workspaces.
We knew that in order to move quickly and ship our work successfully, we needed to dedicate time and team resources to it. We couldn’t treat it as a side project.
Each afternoon, we divided the coding portions into groups of two engineers while designers iterated on other parts of the project, building a pipeline for us to work from. This daily back-and-forth between designers and engineers helped us get the first working version of the new UI by the end of the week
Next, we worked on the Inbox. We redesigned notifications to be more centered around the notification type and emphasized the faces of your teammates. We simplified headers and filters to improve the overall navigation. We also reviewed comments alignments and harmonized the look of our buttons with the new themes.
We started using Inter Display to add more expression to our headings while maintaining their readability and kept using regular Inter for the rest of the text elements.
·linear.app·
How we redesigned the Linear UI (part Ⅱ) - Linear Blog
A design reset (part I) - Linear blog
A design reset (part I) - Linear blog
On advocating for a widespread product redesign at a company that resists it
The challenges start from the fact that it's never a good time to do a redesign. It's hard to make it a priority. It's difficult to calculate the ROI on it. And if you run your product with A/B testing, every global redesign will tank the metrics in the short term.
The real need for redesigns often comes when you have created a successful product and it has evolved with the market and users over time.
We ship small changes daily, and something major almost every week. Every year, it's almost like a new product. This incremental way of building the product is hugely beneficial, and often necessary — though it unbalances the overall design, and leads to design debt. Each new capability adds stress on the product's existing surfaces for which it was initially designed. Functionality no longer fits in a coherent way. It needs to be rebalanced and rethought.
If your product evolves fast, you should be paying this debt every 2-3 years. The longer you wait and the more successful your product becomes, the more you will have to untangle.
Slowly the user sentiment and perception might start turning negative and you might start looking like a dinosaur incumbent. This leaves an opportunity for some nimbler player to come along and compete in your market. Companies often try to address this with brand refreshes, but if you don’t refresh the product, nothing truly changes about the experience.
While the design debt often happens in small increments, it’s best to be paid in larger sweeps. This goes against the common wisdom in engineering where complete code rewrites are avoided. The difference is that on the engineering side, a modular or incremental way of working can work as the technical implementation is not really visible. Whereas the product experience is holistic and visual. You cannot predict which path the user takes. If you update just one module or view at a time, the overall experience becomes more disjointed. Secondly, if your goal is to reset and rebalance the whole product UI and experience, you have to consider all the needs simultaneously. An incremental approach doesn’t let you do that.
I’ve never seen redesigns successfully executed without the CEO behind it. While design might have a seat at the table generally, they are usually not able to convince everyone around that table. Only the CEO can push through all the excuses and give the latitude to a project touching all of the surfaces the product needs.
The way to get the CEO involved is to tie a design reset into a larger company shift or directional change. For example, if a company is looking at a new product, or major new feature, a redesign project can be a way to imagine how it might look or feel. This can be the justification for why you need to spin up the team (and at the same time, you can make a case for updating the rest of the product experience).
Organizations are often quite stuck in their views and ways of doing things, making them less enthusiastic about something new. When I was at Airbnb, the mobile redesign project was a way to shift the company to become mobile-first. It set the tone and got the message across to the whole company that mobile was happening and that it was happening now. While it looks like an obvious change in hindsight, there were many arguments against it at the time and it took a lot of convincing. Switching to think about mobile meant the design and features had to be rethought to work in that platform.
While Linear is a smaller and younger company, we’re also undergoing a shift. The product vision has widened from a simple issue tracker to a purpose-built system for product development. We are now moving into planning workflows that naturally come before the building or execution phase of building products. This product evolution creates new future needs from the product design, and we have to make space for it.
When you realize that a design reset is needed for your product, how do you actually get started with the project? You start with a standalone team to explore the new concept design and create something the company can rally around.The auto industry has a practice of building “concept cars”, where they explore the next version of the car freely and boldly without considering practicality. A concept car sets the direction, but usually is not expected to land in production because it’s too impractical or costly to manufacture.
A secret I've learned is that when you tell people a design is a "concept" or "conceptual" it makes it less likely that the idea is attacked from whatever perspective they hold or problems they see with it. The concept is not perceived as real, but something that can be entertained. By bringing leaders or even teams along with the concept iterations, it starts to solidify the new direction in their mind, eventually becoming more and more familiar. That's the power of visual design.
·linear.app·
A design reset (part I) - Linear blog