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I couldn’t help but wish that other missing parts had been included in the adaptation: a scene that uses a billiard table as a metaphor for a particle accelerator; Liu’s deeper exploration of the VR game, which allows the reader to try to untangle its collection of mysteries along with the characters instead of just watching them solve it; more details about the ingenious “human computer” in VR, which looks cool but isn’t really explained on-screen.

Arthur C. Clarke hypothesized that "our technology must still be laughably primitive; we may well be like jungle savages listening for the throbbing of tom-toms, while the ether around them carries more words per second than they could utter in a lifetime".

The scenario the show ultimately posits bears little resemblance to traditional sci-fi fare; the aliens are coming, but not for another four hundred years, putting humanity on notice for an encounter—and possibly a war—that’s many lifetimes away. This time span is as much a curse as a blessing. Forget the science for a second; what kind of political will—totalitarian or otherwise—is required to keep centuries of preparation on track? How do we get the über-rich to contribute to a new space race in a way that also flatters their egos? And what resources does it take to accelerate scientific discovery to a breakneck pace?

Boreing said: "your story is inaccurate to the point of being false," though he did not specify a single inaccuracy, nor did he deny that the Daily Wire had sought and obtained a gag order on Owens at the same time they were publicly posturing as wanting a debate with her. The confirmation we obtained of all these facts is indisputable. Boreing added: "I’m sure you can appreciate how fraught a high profile break-up like this is. For that reason, we are trying to resolve our issues with Candace privately."It certainly seems true that the Daily Wire is attempting to achieve all of this "privately." Nonetheless, Ben Shapiro has constructed his very lucrative media brand and persona based on his supposed superiority in debating, a reputation cultivated largely as a result of numerous appearances at undergraduate schools around the country where he intrepidly engages with students who are often in their teens or early twenties. Both Shapiro and the Daily Wire have also predicated their collective media brand on an eagerness to engage in free and open debate with anyone, and to vehemently oppose any efforts to silence people, especially those in media, from expressing their political views.

For situations with long documents or a lot of additional background content, Claude generally performs noticeably better if the documents and additive material are placed up top, above the detailed instructions or user query

When working with long documents (particularly 30K+ tokens), it's essential to structure your prompts in a way that clearly separates the input data from the instructions. We recommend using XML tags to encapsulate each document. This structure is how Claude was trained to take long documents, and is thus the structure that Claude is most familiar with

Handling the vast volume of AI-generated images still requires precise curation, adjustments, and post-production. The prompt is just a starting point. These images rarely manage to stand alone without context; layout, copywriting, and motion need to click in place, and the formula needs to be replicable to create a robust brand system. That’s the right moment to pull in multiple collaborators, bringing expertise and taste into play. It's good to have more time for that.

I use generative AI primarily for concepting and moodboarding. It helps clients imagine what their brand identity could look like. I save time browsing stock image libraries or trying to describe art direction concepts (“It would look like this illustration depicting a car, but it would actually show a jar of cream!”). AI-generated concepts then serve as a brief for skilled illustrators, photographers, and other creatives to build upon.

For early-stage companies, I often use AI-generated images because it's a cost-effective way of creating a library of differentiated visual assets that they otherwise wouldn't be able to afford to produce.

I mostly use Midjourney, TopazAI, Glif.app, Visual Electric, Krea, ChatGPT, Magnific, Adobe Firefly

Some images look like they were made under a robotic sugar high. Lots of warm colors, but they make everything look like candy… they’re so overly sweet that they give you visual diabetes..

Average AI images drag down everything around them. An AI hero image is a comedian opening the show with a knock-knock joke. Good images enrich your article, bad images steal its soul.

“The way he described ‘Challengers’ was on a one-sentence email,” recalls Ross. “‘Do you want to be on my next film? It’s going to be super sexy.’ Two x’s.”  “Luca said, ‘What if all the music was driving, thumping techno, like a heartbeat that makes the movie fun?’” adds Reznor.

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.”

Tashi Duncan is exactly what we have been missing from our screens; a selfish, messy, calculated woman who wields her intelligence and sensuality as weapons. She’s a cheater, a woman unable to see beyond her own needs, who refuses to lie even when she could save someone the heartbreak of the truth — “unlikeable” by all standards. When her golden retriever malewife of a partner Art tells her he loves her, she simply looks over and purrs “I know” in response. It is coolly dismissive and self-assured in a way that we do not usually get to see Black women behave onscreen.

Tashi Duncan is too formidable a character to be pushed around, least of all by white stans who don’t know what it means to strive beyond the approval of men. The story underneath all the tennis is about Tashi’s heartbreak, the mourning over the loss of her career and the identity it gave her and how she forges ahead anyway.

in every charged moment we see between Patrick and Art, Guadagnino makes it clear that the center of their connection is Tashi. Even the now infamous churros scene revolves almost entirely around Tashi. Patrick says that he likes seeing Art riled up, that he enjoys seeing him willing to connive and fight for something — even if that thing is his girlfriend. Even their lust for one another is moderated by her, unleashed by her. They would have stayed perfectly content meandering in suggestion if she had not forced them to confront their attraction for one another tongue-first in that bedroom scene.

Tashi Duncan is a woman so in control of herself that even in her greatest moment of heartbreak — sitting alone under a tree with an injury that has ruined her chance at doing the only thing she knows how to do — does not allow herself to break. Zendaya’s portrayal of her is glorious here. You watch the hurt, pain, grief, anger, and then finally resolute determination pass over her face as she makes her choice. She will not mope. That moment makes the woman we meet years later, who tells her husband that her love is absolutely conditional on his success as a player.

Tashi Duncan is utterly unique, a manifestation of a particular kind of female rage that makes her hard to forget or even fully hate. It’s what makes the boys so obsessed with her.

Challengers is filled with details like that, people and places that may not matter to the drama but are integral to dropping us into a world that feels authentic and joyful. Joyful because Guadagnino’s delight in them is contagious; you can feel his affection for every cheap hotel and country club tennis court and all of the unimportant people whose lives are built around them. There are a lot of wonderful, trashy American locations in this movie and every one of them Guadagnino films as if it were a beautiful villa somewhere in Northern Italy.

And you always get the sense that they love what they’re doing, leaning deep into their material and capturing it with a cinematic verve that is often unexpected but never pretentious. Even when I feel totally lost to the plot of Guadagnino’s Suspiria, I can feel his love for the theatricality of Tilda Swinton’s old age makeup or the fountaining blood pumps that end the film.

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.

Challengers is filled with details like that, people and places that may not matter to the drama but are integral to dropping us into a world that feels authentic and joyful. Joyful because Guadagnino’s delight in them is contagious; you can feel his affection for every cheap hotel and country club tennis court and all of the unimportant people whose lives are built around them. There are a lot of wonderful, trashy American locations in this movie and every one of them Guadagnino films as if it were a beautiful villa somewhere in Northern Italy.

These movies could exist without the guys who directed them…but they would be shells of what they are now. Demme and Guadagnino bring their love for character, for actors, for bodies, for genre, for the camera, for music, for landscape, for Applebee’s, and suddenly what could have been just very good becomes truly great.

I was so used to hearing from teachers and family that if I just didn’t procrastinate and worked all the time, I could do anything! I had all this potential I wasn’t living up to! And that’s true, as far as it goes, but that’s like saying if Usain Bolt just kept going he could be the fastest marathon runner in the world. Why does he stop at the end of the race??

Now, I’ve found that I do need to work on not procrastinating. Not because the product is better, even, but because it’s better for my mental health and physical health to not have a full, sweating, panicked breakdown over every task even if the task itself turns out excellently. It’s a shitty way to live! You feel bad ALL the time! And I don’t deserve to live like that anymore.

I don’t have an ocean of productivity and accomplishments inside of me that I could easily, effortlessly access if I just sat down 8 hours a day and worked. There’s no fucking way. That’s not real. It’s an illusion. It’s fine not to live up to an illusion.

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).

Missed context - Because you’re not a full-time employee (even if you’re working 5 days a week) you may not be included on all-hands emails, announcements and so on and so you always have to work hard to gain the full context of a client. Tightly scripting a performance doesn’t leave room for new contexts to emerge during the performance. Instead there should always be room for new context to emerge and get integrated into the performance in real-time. Missed feedback - It’s not uncommon as a consultant to be the most proficient powerpoint user in the org (or at least your portion of the org). This has benefits but it also has the unintended consequence of making everything you touch look “finished”. And finished work gets very different feedback from people than raw materials and thinking. So sometimes it’s important to un-design and un-polish your work, to invite people onto the stage to co-create the performance - this way you ensure that you get the appropriate feedback.

“thinking on your feet” is about the balance between deflecting decisions for further analysis and providing the answer there and then.

learning to provide an answer that you believe in but leaves room for revision later is key. The real game that’s being played here is not one of being right or wrong - it’s the executive asking two questions at once - firstly “how much do you know?” and secondly “can you improv?” to understand how useful you’re going to be in the theatre of work.

There’s a fine line between reacting to a situation in the room and bullshitting. As a consultant this is especially hard to avoid. Your default mode of operating is the liminal space between industries, businesses and markets. A few times a year I’m forced to learn something new from scratch. This forces us to work in spaces where we’re often the least knowledgeable about a specific business (even if we are experts in the industry… And sometimes we’re experts at a discipline but neither knowledgeable about the business or the industry).