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Winbush seems a deeply internal person whose response to criticism or advice is to mull it over privately. It’s worth noting that this is indeed not the perfect constellation of traits for a film director, and Winbush’s eventual challenges on the show seem somewhat foretold.  But for reality TV, too, this quality of rumination means that Winbush leaves herself open to be defined by others.

My verdict: Threads sucks shit. It has no purpose. It is for no one. It launched as a content graveyard and will assuredly only become more of one over time. It’s iFunny for people who miss The Ellen Show. It has a distinct celebrities-making-videos-during-COVID-lockdown vibe. It feels like a 90s-themed office party organized by a human resources department. And my theory, after staring into its dark heart for several days, is that it was never meant to “beat” Twitter — regardless of what Zuckerberg has been tweeting. Threads’ true purpose was to act as a fresh coat of paint for Instagram’s code in the hopes it might make the network relevant again. And Threads is also proof that Meta, even after all these years, still has no other ambition aside from scale.

“The media” (or “mainstream media”): a meaningless phrase because there are countless very different media, which don’t act in concert.

“Gets it”: a social media phrase that is used to mean “agrees with me”.

Usually, though, people who claim to have been “cancelled” mean “criticised”, “convicted of sexual assault”, “replaced by somebody who isn’t an overt bigot” or simply “ignored”.

“Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind,” wrote George Orwell in his 1946 essay “Politics and the English Language” (the complete guide on how to write in just 13 pages). He lists other “worn-out and useless” words and phrases that were disappearing in his day: jackboot, Achilles heel, hotbed, melting pot, acid test, veritable inferno. The same fate later befell words overused in the aftermath of the 9/11 attacks: “heroes” (a euphemism for victims) and “greatest country on earth” (meaning largest military and GDP).

The philosopher Jane Bennett noted that matter is vibrant—everyday detritus, even trash in the gutter, can emit its own vibe that capitalist consumerism encourages us to ignore. The year’s most poignant piece of trash was a wrinkled face mask, paper or cloth, left strewn on the ground, its strings tangled, its symbolic hygiene demolished. There’s an abjectness to the mask; it’s the kind of detail a future movie would pan past in order to evoke the time period’s general despair.

“Liminal Spaces” VibesOffice-building hallway. Dead-end street. Loading dock. Nighttime hotel atrium. @SpaceLiminalBot is a Twitter account with more than four hundred and eighty thousand followers that tweets photos of “liminal spaces”: disused, off-hours, haunted. The mood is spooky but also calm; in these spaces, nothing happens. By definition, “liminal” means “transitional,” a threshold. (What qualifies, exactly, is hotly debated on the r/LiminalSpace subreddit.) But it became a meme in 2021, the year of liminality, its meaning expanded to describe pretty much anything empty and weird. Examples of liminal vibes include the Twitter account @gameauras, which collects “video game images with elegiac auras” and tweets screenshots of virtual liminal spaces, and the TikTok account @pineacre, which films montages of mundane institutions (laundromats, grocery stores) in the Arkansas Ozarks.

There is no better reminder of the combination of convenience and ennui of working from home than a mug of coffee going cold. You get up to microwave it, then repeat the process thirty minutes later. Even the mug seems exhausted.

As the construction industry matured, and best practices were commodified, the percentage of buildings requiring the direct involvement of architects plummeted. Builders can now choose from an array of standard layouts that cover most of their needs; materials and design questions, too, have been standardized, and reflect economies of scale more than local or unique contextual realities.

Cities have lots of rules and regulation about how things can be designed and built, reducing the need for and value of creativity

The situation is similar in our field. In 2009, companies might ask a designer to “imagine the shoe-shopping experience on mobile,” and such a designer would need to marshal a considerable number of skills to do so: research into how such activity happens today and how it had been attempted online before and the psychology of people engaged in it; explorations of many kinds of interfaces, since no one really knew yet how to present these kinds of information on smartphones; market investigations to determine e.g. “what % of prospective shoppers have which kinds of devices, and what designs can accommodate them all”; testing for raw usability: can people even figure out what to do when they see these screens? And so on.In 2023, the scene is very different. Best practices in most forms of software and services are commodified; we know, from a decade plus of market activity, what works for most people in a very broad range of contexts. Standardization is everywhere, and resources for the easy development of UIs abound.

It’s also the case that if a designer adds 15% to a design’s quality but increases cycle time substantially, is another cook in the kitchen, demands space for ideation or research, and so on, the trade-off will surely start to seem debatable to many leaders, and that’s ignoring FTE costs! We can be as offended by this as we want, but the truth is that the ten millionth B2B SaaS startup can probably validate or falsify product-market-fit without hiring Jony Ive and an entire team of specialists.

We design apps downstream of how Apple designs iOS. There’s just not that much room for innovating in UI at the moment

Today, for a larger-than-ever percentage of projects, some good libraries and guidelines like Apple’s HIG can get non-designers where they need to go. Many companies could probably do very well with1 designer to do native design + create and maintain a design systemPMs and executives for ideationFront-end engineers working off of the design system / component library to implement ideasSo even where commodification doesn’t mean no designers, it still probably means fewer designers.

If, for example, they land AR / VR, we will once again face a world of businesses who need to figure out how their goods and services make sense in a new context: how should we display Substack posts in AR, for example? Which metaphors should persist into the new world? What’s the best way to shop for shoes in VR? What affordances empower the greatest number of people?

But there will at least be another period when engineers who “just ship” will produce such massively worse user interfaces that software designers will be important again.

“design process” and “design cycles” are under pressure and may face much more soon. Speed helps, and so too does a general orientation towards working with production however it’s happening. This basically sums to: “Be less precious, and try to fit in in whatever ways help your company ship.”

being capable of more of the work of making software can mean becoming better at strategy and ideation, such that you’re ever executive’s favorite collaborative partner; you listen well, you mock fast (maybe with AI), and you help them communicate; or it can mean becoming better at execution, learning, for example, to code.

There’s a fatal near-sightedness to the script: It may be possible to puzzle out the characters’ motivations in any given scene, but there’s no guarantee those motives will continue into the next one, and in fact they probably won’t. This lends the show an overall incoherence. There are sharp, funny, and even poignant moments, and it’s certainly beautifully shot, but it’s so impressed with the sheer abundance of its own ideas that it fails to commit to a genuine artistic perspective. Instead, it’s pure provocation. The show wants to shock viewers with its violent imagery and moral ambiguity, but provocation without perspective is just spectacle.

we have And Just Like That, a show whose first failure is its name. While the second season is currently dropping week by week without too much fanfare, the first season garnered almost as much attention as The Idol. Everyone was wondering how HBO could possibly reanimate the glittering albeit “problematic“ New York of Sex and the City in 2021, and they were right to wonder. The overly self-conscious reboot has been ridiculed mercilessly for trying to right the wrongs of the original series with a heavy hand—and at huge narrative costs: jammed-in “diversity” in the style of high-school science textbook covers, story lines that seem constructed solely to demonstrate the characters’ awareness of social issues. A friend recently described it to me as “Sesame Street for adults,” which made me laugh. (Of course I continue to watch.)

To describe the plot of And Just Like That would be impossible, because there are anywhere between six and 10 subplots happening at any given time. This is an almost poetic consequence of the creators trying to say too much—and please too many people—at once. A peek: Carrie’s husband has died (trauma plot), she’s navigating the world of podcasts (age plot) and pronouns (pride plot), grappling with her willingness to say vagina on air (sex plot), developing a friendship with Seema, her girlboss Indian real estate agent (new friend-of-color plot—each original cast member gets one), whose Birkin was just stolen (tough-on-crime plot?). This covers about 1% of it and leaves me with no time to introduce the other eight main characters. Whatever sense of curiosity and spirit propelled the original series is revived here only in rare glimpses. The rest is reheated Twitter discourse.

Both The Idol and And Just Like That are fueled by internet-sourced neuroticism. Each is overly focused on audience reception as it manifests online, only with different aims: one hopes to shock, the other to appease. These goals aren’t surprising—they merely demonstrate the inevitable result of mistaking a marketing strategy for an artistic one.

Maybe we’ll get to a point where the novelty will be that a human being wrote something: This person proved that they were in a box away from any A.I. when they wrote this thing

as writers and creators, you want people to watch your show, so if you can make something look and sound like something else that people already want to watch, then you might be able to convince a producer that it will have legs. But I discovered through doing “Fleabag” that you have to write something that is more dangerous, more honest, more unusual and more provocative — especially if it’s going to go into a pool with a million other things. Honing the uniqueness of whatever you do is your best chance. I know I’m saying that having just signed up to do “Tomb Raider,” which has an audience already, and I know that’s what Amazon wants, and Amazon made this unbelievable deal8 8 In 2019, Variety reported about Waller-Bridge’s development deal with Amazon Studios, that “sources say the deal is worth around $20 million a year.” with me. I care so much about delivering for them. Being able to do that dangerous, naughty, transgressive stuff in the heart of something that is very valuable to them in terms of I.P. satisfies both of those things, but the discipline for me is to not just give them the “Tomb Raider” they think they want, but to give them something else.

People are going to interpret everything I do as my feelings on contemporary womanhood because I’m a contemporary woman. I don’t want to escape that part of me. I can see how I’ve gone into masculine roles with Bond and “Indiana Jones,” but those worlds are the ones that always intrigued me. The high-stakes action world appeals to me, whether it’s masculine or feminine. I like the urgency of it and the idea of being able to write a female character in a world like that.

It’s a window into your psychology: You want to be a pleaser and do the assignment well, but what you actually want to do is something riskier. Oh, my gosh. That’s exactly what it is. But the best thing is when you satisfy both. The journey there can be quite [laughs] — I love the feeling of having done what’s been asked, but I hate the feeling of pleasing.

I think that with Bond there is something dangerous, transgressive and incendiary about that character, and it’s the same with Indy. He completely revolutionized the action hero, which Harrison1 1 Harrison Ford, of course, who has said “Indiana Jones and the Dial of Destiny” will be his last go-round with Indy’s famous whip and fedora. is dead set against him being described as, but there was something that broke the form. We accept them now as the biggest franchises, but in the kernel of these characters is something naughty and dangerous. They were the rascals of their time, and I feel like Villanelle and Fleabag are rascals.2 2 Villanelle is the name of the assassin character, played by Jodie Comer, in “Killing Eve.” “Fleabag,” for those who haven’t seen it, is that show’s title character, played by Waller-Bridge. The show earned six Emmy Awards and 11 nominations for its second season. So it was less like, “I want to go do this big movie,” and more, “I want to play in the sand pit with these rascals.” That’s one way of looking at it.

I couldn’t write anything that I felt didn’t have that deeper element sincerely at the heart of it, and that writer is with me everywhere I go. It’s ever-present: What does this mean? Because I’m obsessed with having an audience be moved.6 6 Waller-Bridge said the most recent things that moved her were the TV series “Dead Ringers,” a concert by the singer Christine Bovill in which she performed Edith Piaf songs and a revival of “Guys and Dolls” at the Bridge Theater in London. I was moved when I read the script, and I was moved when I heard Jim7 7 James Mangold, the director of “Dial of Destiny.” He is the first director other than Steven Spielberg to direct an “Indiana Jones” movie. and Harrison and Kathy talk about it. I mean, I wasn’t in tears on the floor, but I felt that tingle of, this has got some human stuff going on. But the day-to-day? Some of the days were superfun, and we did look really cool. But the proper actors don’t want to just look cool. They want to make you cry while looking cool.

In the coming weeks, when you search for something that might benefit from the experiences of others, you may see a Perspectives filter appear at the top of search results. Tap the filter, and you’ll exclusively see long- and short-form videos, images and written posts that people have shared on discussion boards, Q&A sites and social media platforms. We’ll also show more details about the creators of this content, such as their name, profile photo or information about the popularity of their content.

Helpful information can often live in unexpected or hard-to-find places: a comment in a forum thread, a post on a little-known blog, or an article with unique expertise on a topic. Our helpful content ranking system will soon show more of these “hidden gems” on Search, particularly when we think they’ll improve the results.We’ve also worked to improve how we rank review content on Search – for example, web pages that review businesses or destinations – to place greater emphasis on the quality and originality of the information. You’ll now see more pages that are based on first-hand experience, or are created by someone with deep knowledge in a given subject. And as we underscore the importance of “experience” as an element of helpful content, we continue our focus on information quality and critical attributes like authoritativeness, expertise and trustworthiness, so you can rely on the information you find.

While the companies are each in wildly different spaces, throughout the interviews there was a clear common thread across the three: they each went after problems their co-founders saw first hand. They made something that people want. Something that they themselves wanted, or that the people immediately around them wanted.

So how "expressive" is her wedding website company? How custom are her services? What would a couple ask her to produce or put on their website? What variety of services would Smith be offering? What other website designers could couples use? We don't have any answers to those questions, except the ones Smith and her lawyers invented to make their case as strong as possible.

I think hardcore Twitter users have rose-colored glasses about the site’s coolness. The reason for its success, if you can argue that it was ever really successful, wasn’t that it was cooler than Facebook. It was because of its proximity to power. The reason it was so popular with activists, extremists, journalists, and shitposters was because what you posted there could actually affect culture.

The thing that ties together pretty much everything that’s happened on Twitter since it launched in 2006 was the possibility that those who were not in power (or wanted more) could influence those who were.

I subscribe to the belief that internet trends are defined by a ratio of laziness to social reward. Users will always do the laziest possible thing to achieve the maximum amount clout. So, if every platform becomes either a Twitter alternative or a short-form video feed, but all with their own unique requirements for virality, users won’t make individual posts for each. They will instead shotgun blast all of them with the same posts and bet on the odds that something will breakthrough eventually. Which means everything eventually just becomes a reuploaded video or a screenshot from somewhere else.

While trying to track down the actual hyperlink to a post I found a screenshot of on a closed social network I was struck by how on an internet full of closed platforms, broken embeds, and crumbling indexes, the last reliable way to share anything is a screenshot.

the camera roll is, at this point, the real content management system of the social web. This is something that TikTok realized faster than other platforms, with their downloadable watermarked videos that have now become ubiquitous on every platform that allows video.

My theory as to why New Yorkers were so allergic to independent content creators is because for all the tedious guffawing about being a city of hustlers, most of the people who live there crave, on some level, institutional legitimacy and influencers, by definition, don’t get it or really need it. It could also just be that New Yorkers hate tourists and content creators are, in some form, permanent tourists of their own lives.

I actually think the post-COVID New York TikTok boom is already cresting. I think once these trends become calcified enough to report on, they’re already on their way out. I also don’t think Gen Z TikTokers are driving rents up, but rather documenting its rise due to other factors, like landlords being able to blame TikTok hype to jack up their rents.

The full wording of the ruling follows: The GRAMMY Award recognizes creative excellence. Only human creators are eligible to be submitted for consideration for, nominated for, or win a GRAMMY Award. A work that contains no human authorship is not eligible in any Categories. A work that features elements of A.I. material (i.e., material generated by the use of artificial intelligence technology) is eligible in applicable Categories; however: (1) the human authorship component of the work submitted must be meaningful and more than de minimis; (2) such human authorship component must be relevant to the Category in which such work is entered (e.g., if the work is submitted in a songwriting Category, there must be meaningful and more than de minimis human authorship in respect of the music and/or lyrics; if the work is submitted in a performance Category, there must be meaningful and more than de minimis human authorship in respect of the performance); and (3) the author(s) of any A.I. material incorporated into the work are not eligible to be nominees or GRAMMY recipients insofar as their contribution to the portion of the work that consists of such A.I material is concerned. De minimis is defined as lacking significance or importance; so minor as to merit disregard.

the human portion of the of the composition, or the performance, is the only portion that can be awarded or considered for a Grammy Award. So if an AI modeling system or app built a track — ‘wrote’ lyrics and a melody — that would not be eligible for a composition award. But if a human writes a track and AI is used to voice-model, or create a new voice, or use somebody else’s voice, the performance would not be eligible, but the writing of the track and the lyric or top line would be absolutely eligible for an award.”

Oh ElonWell, look, if I were the newly hired chief executive officer of a social media company, and if the directors and shareholders who brought me in as CEO had told me that my main mission was to turn around the company’s precarious financial situation by improving our position with advertisers, and if I spent my first few weeks reassuring advertisers and rebuilding relationships and talking up our site’s unique audience and powerful engagement, and then one day my head of software engineering came to me and said “hey boss, too many people were too engaged with too many posts, so I had to limit everyone’s ability to view posts on our site, just FYI,” I would … probably … fire ... him?

I mean I suppose I might ask questions like “Is this because of some technological limitation on our system? Is it because you were monkeying with the code without understanding it? Is it because you tried to stop people from reading the site without logging in, 3 and messed up and stopped them from reading the site even when they logged in? Is it because you fired and demoralized too many engineers so no one was left to keep the systems running normally? Is it because you forgot to pay the cloud bills? Is it because deep down you don’t like it when people read posts on our site and you want to stop them, or you don’t like relying on ad revenue and want to sabotage my ability to sell ads?”

no matter what the answers are, this guy’s gotta go. If you are in charge of the software engineers at a social media site, and you make it so that people can’t read the site, that’s bad.

Over the past 10 days, [Ultimate Fighting Championship President Dana] White said he, Mr. Musk and [Mark] Zuckerberg — aided by advisers — have negotiated behind the scenes and are inching toward physical combat. While there are no guarantees a match will happen, the broad contours of an event are taking shape, said Mr. White and three people with knowledge of the discussions.People keep emailing to ask about, like, the fiduciary duties and securities-law disclosure issues here, but I’m gonna wait until they’re in the octagon before I worry about that stuff

The Learn In Public movement has encouraged thousands of people to write, speak, draw, or otherwise pick up what mentors put down, with the end goal of lifelong L(N*P) growth in personal knowledge and network. A key part of this strategy is maintaining your own Digital Garden. A Digital Garden is your very own place (often a blog, or twitter account) to plant incomplete thoughts and disorganized notes in public - the idea being that these are evergreen things that grow as your learning does, warmed by constant attention and fueled by the unambiguous daylight of peer review. It is in part a trick for creators to play on themselves: For perfectionists who stress over shipping anything less-than-polished and therefore never ship anything, it is a license to trade off self review for peer review and increased velocity. Many report both improved quality and quantity of output after giving themselves the permission to do this.

People with audiences do of course have some obligation to not do them a disservice, else they don’t deserve that audience. However this doesn’t mean that they must do exhaustive due diligence and be authoritative in every context - there needs to be space to experiment, grow, and quite frankly, be ignorant and wrong.

I will “steelman” arguments - the opposite of “strawman arguments” - instead of picking on the weakest piece of their argument, I will confront head on their best argument by seeking first to understand before trying to be understood.

I consider myself as an internet offspring. I had the chance to access to computers very early in my life and I think it had a big influence on who I am right now. Like a lot of us, internet citizens, what I value the most is learning. Whatever the subject, whatever it takes, whatever it cost, money or time, what I like most is learning. That's, I think, the biggest reason of why I'm starting this "Limitless Exploration" project.

Just as Marvel had gone from ailing comic-book publisher to Hollywood behemoth, the toymaker could leverage its intellectual property at the multiplex. Kreiz told me, “My thesis was that we needed to transition from being a toy-manufacturing company, making items, to an I.P. company, managing franchises.”

She told me, “There are people who adore Barbie, people who hate Barbie—but the bottom line is everyone knows Barbie.” She wanted a film adaptation to confront those “sharp edges, ” but when she met with Kreiz she led with her desire to take the brand seriously.

Kreiz, meanwhile, hired a veteran of Miramax, Robbie Brenner, to head up the newly minted Mattel Films. Her first task: assemble a team of development executives to rummage through Mattel’s toy chest and identify I.P. that could be fodder for Hollywood studios. Mattel would help match properties with writers, actors, and directors; studios would provide all the funding. The brands, and audiences’ familiarity with them, were their own form of currency. Brenner told me, “In the world we’re living in, I.P. is king. Pre-awareness is so important.”

Jeremy Barber, an agent at U.T.A. who represents Gerwig and Baumbach, is close with Brenner, so he could be blunt. “Are you crazy?” he told her. “You should’ve come into this office and thanked me when Greta and Noah showed up to write a fucking Barbie movie!”

Barber told me that Mattel had figured out how to “engage with filmmakers in a friendly way.” Gerwig, meanwhile, was looking to move beyond the small-scale dramas she was known for. “Greta and I have been very consciously constructing a career,” Barber explained. “Her ambition is to be not the biggest woman director but a big studio director. And Barbie was a piece of I.P. that was resonant to her.”

Although Barber was pleased with the “Barbie” partnership, he was clear-eyed about its implications. “Is it a great thing that our great creative actors and filmmakers live in a world where you can only take giant swings around consumer content and mass-produced products?” he said. “I don’t know. But it is the business. So, if that’s what people will consume, then let’s make it more interesting, more complicated.”

The future of moviegoing now seems increasingly tenuous, and studios have leaned on pre-awareness as a means of drawing people to theatres: a nostalgia play like “Hot Wheels” is seen as a safer bet than an original concept. The box office has borne this out: the ten highest-grossing films of 2022 were all reboots or sequels. Disney’s much derided strategy of remaking “Aladdin” and other animated classics as live-action spectacles has largely paid off; by contrast, Pixar’s recent attempt at an original story, “Elemental,” bombed.

The mandate for audience recognition has pushed artists to take increasingly desperate measures—including scrounging up plotlines from popular snacks. Eva Longoria recently directed the Cheetos dramedy “Flamin’ Hot”; Jerry Seinfeld is at work on “Unfrosted: The Pop-Tart Story.”

creating “a story where there hadn’t been a story” felt like solving “an intellectual Rubik’s Cube.”

Whereas Scott’s “Monopoly” was shamed into nonexistence, advance screenings of “Barbie,” billed as “blowout parties,” are selling out. Nevertheless, the film’s slogan—“If you love Barbie, this movie is for you. If you hate Barbie, this movie is for you”—is indicative of the tightrope it has to walk. “Barbie” is somehow simultaneously a critique of corporate feminism, a love letter to a doll that has been a lightning rod for more than half a century, and a sendup of the company that actively participated in the adaptation.

When Robbie’s character ventures beyond Barbie Land, Gerwig explained, the film’s visual language also changes: “The way the camera moves and the way it feels is different once we’re in the real world.”

Mattel was sometimes uneasy with Gerwig’s interest in the brand’s missteps. In 1964, the company released a doll named Allan, whose packaging marketed him as “Ken’s buddy,” with the tagline “All of Ken’s clothes fit him!” Allan was soon pulled from shelves. When Gerwig learned about him, she found the ad copy both sad and amusing. In “Barbie,” Allan is played by Michael Cera, and much is made of the fact that his relationship to Ken is his main identifying feature. The company, Gerwig remembered, required some convincing: “There was just an e-mail that went around where they said, ‘Do you have to remind people that this was on the box?’ ”

Gerwig told me, “Barbie seems so monolithic, and there’s a quality where it just seems as if she was inevitable, and she’s always existed. I think all the dead ends are a reminder that they were just trying stuff out.” Although she understood why Mattel wanted “to protect Barbie,” she felt that “dealing with all the strangeness of it is a way of honoring it.”

A rival, Kenner, was having runaway success with “Star Wars” action figures, and Mattel scrambled to launch a science-fantasy saga of its own. Play-testing had revealed that young boys fixated on the notion of “power,” and that a muscle-bound hero was more appealing than the slighter action figures of the era. This intelligence yielded He-Man and the Masters of the Universe. When a retailer pointed out that kids would have no idea who these characters were—even then, pre-awareness was a consideration—Mattel hastily produced comic books that explained their backstories.

Brenner sat at the head of a long table while her right hand, Kevin McKeon, provided updates on various projects. His descriptions sometimes sounded like a Hollywood version of Mad Libs. A screenwriter, he informed the group, was at work on an American Girl script that would be “ ‘Booksmart’ meets ‘Bill & Ted.’ ” Jimmy Warden, the screenwriter of “Cocaine Bear,” had devised a horror-comedy about the Magic 8 Ball.

McKeon seemed most excited by Kaluuya’s Barney project, which would be “surrealistic”; he compared the concept to the work of Charlie Kaufman and Spike Jonze. “We’re leaning into the millennial angst of the property rather than fine-tuning this for kids,” he said. “It’s really a play for adults. Not that it’s R-rated, but it’ll focus on some of the trials and tribulations of being thirtysomething, growing up with Barney—just the level of disenchantment within the generation.” He told me later that he’d sold it to prospective partners as an “A24-type” film: “It would be so daring of us, and really underscore that we’re here to make art.”

Talk turned to a few recent pitches that had surprised the team. “Somebody just asked me about Bass Fishin’, which is, like, a toy fishing rod,” Bassin said. The pitch was for an “intense sports drama about this cheating scandal in competitive fishing”—an attempt, it seemed to me, to Trojan-horse a story that the writer actually wanted to tell into a conceit that might be green-lighted.

Gerwig’s “Barbie,” for all its gentle mockery of Mattel, has already paid dividends for the company. A fifty-dollar doll resembling Robbie as she appears in the film, unveiled in June, has sold out; so has a seventy-five-dollar model of Stereotypical Barbie’s pink Corvette.

It felt comfortable. It felt like a part of life that I knew and had experienced. It felt like memory. And then, in talking to my wife about it, I realized that that’s not a relationship you ever see in films, but it feels like you’ve seen it before. It’s so complete, in the telling. It taps into things, particularly those of us who have 16-year-old daughters, as I do, who are into theater. It’s very precise.

people aged 60 and over lead active social lives and value internal, psychological strengths. Aging Americans use technology: 84 percent of respondents report that they use the internet to read news, social network sites or other information on a weekly basis, despite only 29.1 percent of on-screen characters engaging with technology. On screen, one third of seniors pursue interests in hobbies and 38.5 percent attend events, while in reality, they are more than two times as likely to engage socially with friends or relatives on a weekly or monthly basis. The top five traits respondents rated as most important to aging successfully were self-reliance, awareness, honesty, resilience and safety. In film, seniors are rarely depicted as the masters of their own stories or destinies.

Yolangel Hernandez Suarez, vice president and chief medical officer of care delivery at Humana said: “As a health care company, we’re committed to helping aging Americans defy stereotypes and take steps to achieve their best health. That’s why it’s important to note that, according to our findings, seniors who report being optimistic about the aging process also report better health. As a boomer myself, I can tell you that being optimistic about my future helps me make healthier choices every day.”

There are clear gaps between the way Hollywood sees older people and the way they see themselves. Humana, the health and wellness company, surveyed 2,000 people 60 and older about whether they felt they were depicted accurately in movies and, explained Dr. Yolangel Hernandez Suarez, “the answer was a resounding no. They thought themselves to be more healthy in mind and body, more connected, and more savvy than they were portrayed in film.”

52.6 percent of the movies that featured senior characters also included comments that the researchers interpreted as ageist. Many of those comments were spoken by other characters to older people, but in a number of movies, older characters made self-deprecating or diminishing comments about their own age.

"And just get to the bigger issue that is on my mind whenever I see this stuff in the policy space, which is, again: Who are you trying to help? Who are you trying to make better off? And what public policy problems do you get up in the morning thinking about how to solve?"