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Content creators chasing engagement, regardless of what kind, to grow their followings happens all the time. And content creators morphing into a weird caricature of themselves much to the chagrin of their audience is pretty normal too.

unlike still-image memes, we still think they must contain some kind of truthfulness to them. And, worse, the more they’re shared, the more we believe it. So when we see a video like the ones Zesu makes — something that appears to be shot out in the world, without any immediately obvious tells that it’s staged, being passed around different platforms — we continue to share it as if it were real. And smart creators, like Zesu, or the porn star with the fake podcast, are taking advantage of that as a growth hack. But it’s also hard not to think that this is, at a macro level, making social media a more annoying place to be.

Not only are ads present on every physical surface you can imagine, they are also on every digital surface. Websites have ads, the most popular apps in the world are made by advertising companies, and many of the accounts people follow are walking billboards.

The race for the streamers to configure themselves as full-service production, distribution, and exhibition outlets has intensified the need for each to articulate a more specific brand identity.

What we are seeing with the streaming wars is not the emergence of a cluster of copy-cat services, with everyone trying to do everything, but the beginnings of a legible strategy to carve up the mediascape and compete for peoples’ waking hours.

Netflix’s penchant for character-centered stories with a three-act structure, as well as high production values (an average of $20–$50-plus million for award contenders), resonates with the “quality” features of the Classical era.

rom early on, Netflix cultivated a liberal public image, which has propelled its investment in social documentary and also driven some of its inclusivity initiatives and collaborations with global auteurs and showrunners of color, such as Alfonso Cuarón, Ava DuVernay, Spike Lee, and Justin Simien.

Quibi as short for “Quick Bites.” In turn, the promos wouldn’t so much emphasize “the what” of the programming as the interest and convenience of being able to watch it while waiting, commuting, or just taking a break. However, this unit of prospective viewing time lies uncomfortably between the ultra-brief TikTok video and the half-hour sitcom.

Peacock’s central obstacle moving forward will be convincing would-be subscribers that the things they loved about linear broadcast and cable TV are worth the investment.

One of the most intriguing and revealing of metaphors, however, isn’t so much related to war as celestial coexistence of streamer-planets within the “universe.” Certainly, the term resonates with key franchises, such as the “Marvel Cinematic Universe,” and the bevvy of intricate stories that such an expansive environment makes possible. This language stakes a claim for the totality of media — that there are no other kinds of moving images beyond what exists on, or what can be imagined for, these select platforms.

And there’s some toothy poignancy to the fact that the Roy children spend what will turn out to be their final moments with their father taunting him for his inability to apologize, and that his last words to them as a group are “I love you, but you are not serious people.”

No amount of money or power or connections can undo what has already happened, nor give Logan Roy’s children one more chance to set things right with their late father. Their grief and shock at the sudden loss seems compounded by the sudden-onset realization that their relationship with their father will now always be what it is in that moment. There will be no more fixing, no further rounds of negotiation. The deal is done.

You know, somebody said, would you ever want to play Donald Trump, I may have told you this before, and I said, well, no. Because I think it’s such a bad script, the Donald Trump script. But then I look at Donald Trump, and I think, God, he’s so lost. He’s just a lost individual, and he’s so full of shit, and the reason he’s full of shit is that he’s an abused child. He’s really an abused child, Donald Trump. A tragic figure. Even though a lot of these very right-wing individuals are repellant, ironically, from the actor’s point of view, when the actor gets into the skin of these guys, you begin to understand where they’re coming from.

Here are the basic ingredients for a riff: An inquisitive title, something that is not “the ultimate guide” but more “some notes on…” A few references - connecting the dots between some links, quotes from other sources An anecdote from your own work that provides rich texture and context for what you do Some open questions that invite people to A deliberate small list of 3-5 people you can send the post to

People’s first instinct with content is to try and make it polished and closed. To be useful by solving something or creating the ultimate guide to something. Those pieces of content can be good - but they’re very hard to write, and even harder to write well! Instead I prefer to take a more inquisitive and open-ended approach.

Closed writing is boring writing. If you’ve fully explored and put to bed the topic you’re writing about then there’s very little left for someone to react to. “Nice post” someone might say. But if you deliberately leave some rough edges, some threads that the reader can pull on, then you’re inviting the reader into the conversation. You’re saying (possibly explicitly!) - “Hey, what are your thoughts on this topic? How do you think about it?”

As Venkatesh says in the calculus of grit - release work often, reference your own thinking & rework the same ideas again and again. That’s the small b blogging model.

I think most people would be better served by subscribing to small b blogging. What you want is something with YOUR personality. Writing and ideas that are addressable (i.e. you can find and link to them easily in the future) and archived (i.e. you have a list of things you’ve written all in one place rather than spread across publications and URLs) and memorable (i.e. has your own design, logo or style). Writing that can live and breathe in small networks. Scale be damned.

The Parental Rights in Education Act specifically bans instruction of sexual orientation and gender identity "in a manner that is not age appropriate or developmentally appropriate for students." Critics contended that language was overly broad and, thus, subject to interpretation.

numerous sources say they cannot discern what kind of material Salke and head of television Vernon Sanders want to make. A showrunner with ample experience at the studio says, “There’s no vision for what an Amazon Prime show is. You can’t say, ‘They stand for this kind of storytelling.’ It’s completely random what they make and how they make it.” Another showrunner with multiple series at Amazon finds it baffling that the streamer hasn’t had more success: Amazon has “more money than God,” this person says. “If they wanted to produce unbelievable television, they certainly have the resources to do it.”

Twitter is not a public square controlled by a socialist government – it is a private company in a capitalist economy for the purpose of making money through advertising. Twitter has ZERO interest in promoting the public good.

Congressmembers would have better expertise on tech matters if the Office of Technology Assessment still existed. It was defunded in 1995 under Newt Gingrich’s “Contract to America” plan, because it was an unbiased organization that wouldn’t cow to political narratives. The Chew hearing is one of many instances that highlight both why Newt wanted to defund it, and why eliminating the agency was a detriment to politicians. (Ironically, Newt suggested shortly after the midterms that Republicans should come around to using TikTok to court young voters, despite the allegations of the app’s security risk.) Hopefully, someone in Congress will introduce legislation aimed at reviving the OTA somewhere down the line.

"The industrial revolution made the production of an instrument like [the piano] possible. Several planks of wood - six I think in this case - are overlaid and pressed into shape by tremendous force for six months. Nature is molded into shape. Many tons of force and pressure are applied, making the strings what they are. Matter taken from nature is molded by human industry, by the sum strength of civilization. Nature is forced into shape. Interestingly, the piano requires re-tuning. We humans say, 'It falls out of tune', but that's not exactly accurate - matter is struggling to return to a natural state. The tsunami, in one moment, became a force of restoration. The [tsunami-damaged] piano re-tuned by nature actually sounds good to me now. In short, the piano is tuned by force to please our ears or ideals; it's a condition that feels natural to us humans. But from nature's perspective, it's very unnatural. I think deep inside me somewhere, I have a strong aversion to that."

The whole nature vs civilization narrative, is a story told by happy regressors, who want to return to a ilusionary before time, were all things were harmony and civilization was not. It is of course, a call for mass murder on billions of humans with the rumbling instincts from the brain stem and guts as justification. Were it justified with any other argument, civilized society would tear them to shreds, but in the robe of the shaman, they are exempt from the duty of reasoning.None the less, his music is great and can be enjoyed, like any other artists, without listening to the political and culture drivel that artists sadly often produce. They are easily captured and swayed by instinct tautological ideologies.Just because it feels right does not mean it to be true.My favorite rendition of his "My love wears forbidden colors"

This is reflected in their name: a “language model” implies that they are tools for working with language. That’s what they’ve been trained to do, and it’s language manipulation where they truly excel. Want them to work with specific facts? Paste those into the language model as part of your original prompt! There are so many applications of language models that fit into this calculator for words category: Summarization. Give them an essay and ask for a summary. Question answering: given these paragraphs of text, answer this specific question about the information they represent. Fact extraction: ask for bullet points showing the facts presented by an article. Rewrites: reword things to be more “punchy” or “professional” or “sassy” or “sardonic”—part of the fun here is using increasingly varied adjectives and seeing what happens. They’re very good with language after all! Suggesting titles—actually a form of summarization. World’s most effective thesaurus. “I need a word that hints at X”, “I’m very Y about this situation, what could I use for Y?”—that kind of thing. Fun, creative, wild stuff. Rewrite this in the voice of a 17th century pirate. What would a sentient cheesecake think of this? How would Alexander Hamilton rebut this argument? Turn this into a rap battle. Illustrate this business advice with an anecdote about sea otters running a kayak rental shop. Write the script for kickstarter fundraising video about this idea.

A flaw in this analogy: calculators are repeatable Andy Baio pointed out a flaw in this particular analogy: calculators always give you the same answer for a given input. Language models don’t—if you run the same prompt through a LLM several times you’ll get a slightly different reply every time.

Coming back to the internet analogy, how did Google, Amazon etc ended up so successful? Metcalf’s law explains this. It states that as more users join the network, the value of the network increases thereby attracting even more users. The most important thing here was to make people join your network. The end goal was to build the largest network possible. Google did this with search, Amazon did this with retail, Facebook did this with social.

Collecting as much data as possible is important. But you don’t want just any data. The real competitive advantage lies in having high-quality proprietary data. Think about it this way, what does it take to build an AI system? It takes 1) data, which is the input that goes into the 2) AI models which are analogous to machines and lastly it requires energy to run these models i.e. 3) compute. Today, most AI models have become standardized and are widely available. And on the other hand, the cost of compute is rapidly trending to zero. Hence AI models and compute have become a commodity. The only thing that remains is data. But even data is widely available on the internet. Thus, a company can only have a true competitive advantage when it has access to high-quality proprietary data.

Recently, Chamath Palihapitiya gave an interview where he had this interesting analogy. He compared these large language models like GPT to refrigeration. He said “People that invented refrigeration, made some money. But most of the money was made by Coca-Cola who used refrigeration to build an empire. And so similarly, companies building these large models will make some money, but the Coca-Cola is yet to be built.” What he meant by this is that right now there are lot of companies crawling the open web to scrap the data. Once that is widely available like refrigeration, we will see companies and startups coming up with proprietary data building on top of it

The success of frozen pizza, in general, and Minnesota’s Totino’s company, in particular, caught his eye and he wanted to move quickly into that arena. He would, of course, develop his own frozen pizza, but Paulucci had another idea. Chun King churned out thousands of mini egg rolls per day and Jeno figured that an egg roll wrapper could be filled with just about anything. He told his vice president of research and development to turn this idea into reality. The VP, in turn, assigned the task to Beatrice (Luoma) Ojakangas, by coincidence, the older sister of the engineer who had developed the egg roll machine for Chun King.

If the general feeling toward pizza rolls in the 2020s is that they’re for busy kids or stoned adults (as is the consensus in those Reddit discussions explaining the food to non-Americans, which I think tracks with the broader cultural understanding of who eats them today), in the 1960s, they were something different: a new and nifty treat you could serve as a canapé.

In many ways, then, pizza rolls are the perfect American food: a slightly ridiculous and nontraditional dish that pulls from multiple cultural sources outside this country. Their very existence, and the way in which they’re sold, symbolizes the abundance of the USA—its richness of cultures, its excess of resources, its delight in just kinda making things up and seeing if they work.

American food, as a broad-brush concept, is defined not by a specific set of dishes or flavors but by its incredible variety. Obviously—obviously—you can find lots of tasty food in the USA and plenty of regional specialties. But many of those local delicacies have faded away over the years, and as a nation, our signature thing is that you can get, for example, dozens of kinds of orange juice at any time of the year and hundreds of yogurt flavors, and seemingly every grocery store and strip mall has foods that originated in various far-off corners of the world.

inveterate

Software is misunderstood. It can feel like a discrete thing, something with which we interact. But, really, it is the intrusion into our world of something very alien. It is the strange interaction of electricity, semiconductors, and instructions, all of which somehow magically control objects that range from screens to robots to phones, to medical devices, laptops, and a bewildering multitude of other things. It is almost infinitely malleable, able to slide and twist and contort itself such that, in its pliability, it pries open doorways as yet unseen.

the clearing price for software production will change. But not just because it becomes cheaper to produce software. In the limit, we think about this moment as being analogous to how previous waves of technological change took the price of underlying technologies—from CPUs, to storage and bandwidth—to a reasonable approximation of zero, unleashing a flood of speciation and innovation. In software evolutionary terms, we just went from human cycle times to that of the drosophila: everything evolves and mutates faster.

A software industry where anyone can write software, can do it for pennies, and can do it as easily as speaking or writing text, is a transformative moment. It is an exaggeration, but only a modest one, to say that it is a kind of Gutenberg moment, one where previous barriers to creation—scholarly, creative, economic, etc—are going to fall away, as people are freed to do things only limited by their imagination, or, more practically, by the old costs of producing software.

We have almost certainly been producing far less software than we need. The size of this technical debt is not knowable, but it cannot be small, so subsequent growth may be geometric. This would mean that as the cost of software drops to an approximate zero, the creation of software predictably explodes in ways that have barely been previously imagined.

Entrepreneur and publisher Tim O’Reilly has a nice phrase that is applicable at this point. He argues investors and entrepreneurs should “create more value than you capture.” The technology industry started out that way, but in recent years it has too often gone for the quick win, usually by running gambits from the financial services playbook. We think that for the first time in decades, the technology industry could return to its roots, and, by unleashing a wave of software production, truly create more value than its captures.

Software production has been too complex and expensive for too long, which has caused us to underproduce software for decades, resulting in immense, society-wide technical debt.

technology has a habit of confounding economics. When it comes to technology, how do we know those supply and demand lines are right? The answer is that we don’t. And that’s where interesting things start happening. Sometimes, for example, an increased supply of something leads to more demand, shifting the curves around. This has happened many times in technology, as various core components of technology tumbled down curves of decreasing cost for increasing power (or storage, or bandwidth, etc.).

Suddenly AI has become cheap, to the point where people are “wasting” it via “do my essay” prompts to chatbots, getting help with microservice code, and so on. You could argue that the price/performance of intelligence itself is now tumbling down a curve, much like as has happened with prior generations of technology.

it’s worth reminding oneself that waves of AI enthusiasm have hit the beach of awareness once every decade or two, only to recede again as the hyperbole outpaces what can actually be done.

Without preconceptions — without having already half-templated and half-mapped the world we are trying to perceive and navigate — we would have to evaluate afresh every smallest object our attention falls upon.

Most facts in consciousness seem to be partly made. A report is the joint product of the knower and known, in which the role of the observer is always selective and usually creative. The facts we see depend on where we are placed, and the habits of our eyes.

For the most part we do not first see, and then define, we define first and then see. In the great blooming, buzzing confusion of the outer world we pick out what our culture has already defined for us, and we tend to perceive that which we have picked out in the form stereotyped for us by our culture.