Podcasts about Absolute

Absolute certainties make Marianne's Spidey senses start to tingle; Leslie simply ignores absolutes and does her own thing. Which means Leslie would have been much more fun in high school. But where do they come down on the native/non-native debate? Bouncing off a recent article in GardenRant, where Marianne laid out the development of a powerful movement in US horticulture, the girls dig into the tension -- and once or twice, into each other.In an industry where plants are happily termed ‘good' and ‘bad', invasive plants have now been joined in purgatory by the new baddie term of ‘emerging invasives', and not a little zealotry informs policy decisions that affect what we can buy, grow, work with, and write about, can we afford to ignore the issue? Have some thoughts? We would love to hear them AND read them on air in a future episode. Send them to comments@thegardenmixer.com or drop them in The Garden Mixer Chat on Substack with other Mixers from around the country.___________________Hit the subscribe button so we can keep you smiling while you hit the mess [your garden] out there.Full Show Notes at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠The Garden Mixer Podcast's Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠____________________Socials – Pick Your Platform:Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@thegardenmixer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Indulge us on TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@the.garden.mixer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spar with us on X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@gardenmixerpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠“French Bistro” theme by Adieu Adieu. License D0LZBINY30GGTBBW

Liverpool didn't just win — they made a statement.Four goals. Total control. Absolute domination of Galatasaray at Anfield.This is the full breakdown of a ruthless European performance — what clicked, what it means, and why Liverpool just sent a message to the rest of Europe.

Buh nuh nuh nuh neeeeaaaa nuh nuhBuh nuh nuh nuh neeeeaaaa nuh nuhBuh nuh nuh nuh neeeeaaaa nuh nuhBum Bum (bum bum)Buh nuh nuh nuh neeeeaaaa nuh nuhBuh nuh nuh nuh neeeeaaaa nuh nuhBuh nuh nuh nuh neeeeaaaa nuh nuhBum Bum (bum bum)Bum bum bum bum bum bum bum bum bum Bum bum bum bum bum bum bum bum bum Bum bum bum bum bum bum bum bum bum Bum Bum Bum BaaaaaaaaaaaaBuh nuh nuh nuh neeeeaaaa nuh nuhBum bum (Bum Bum! Sheeaaaa)Lyrics to X-Men the Animated Series OpeningBest BooksAbsolute Superman #17, X-Men #26, X-Men United #1, Magik and Colossus #2Book BlurbsGreen Arrow/Batman/The Question: Arcadia #3, Poison Ivy #42, DC KO #5, JSA #17, Iceman Omega #1, Nova Centurion #5, Batman #7, Action Comics #1096, Supergirl #11, Absolute Matman #18, Emperor Aquaman #15, Imperial Guardians #1, D'Orc #2, Doctor Strange #4Uncle's One More ThingLive Action One PieceMinishoot' Adventures

感谢金主妈妈妙界N12按摩加热护腰带的温暖赞助！ 点击收获疲惫娇娃专属购买链接 【聊了什么The What】 圣丹斯这个滑雪小城不仅有皑皑白雪，还有满肚子的小米粥和最真实的独立电影。这期节目小蓝和小杨用从夯到拉这个体系点评了这次我们在圣丹斯看到的几部作品。从震撼人心的战地纪录片《美国医生》，到让苹果肌飞起的孙锡久新作《贝德福特公园》，再到德黑兰地下的女性友谊。我们会聊聊那些让人燃到不行的先行者，也会毫不留情地吐槽那些把苦难奇观化的雷片。 This snowy ski-town version of Sundance came with more than just white peaks — it also came with full bellies of millet porridge and some of the most unvarnished independent films around. In this episode, Xiaolan and Xiaoyang rate the films we saw at Sundance on a scale from banger to flop. From the devastating war-zone documentary American Doctor, to Bedford Park, the new Son Suk-ku film that had our cheeks lifted the entire time, to stories of female friendship in Tehran's underground art scene — we talk about the trailblazers who left us completely fired up, and also roast, without mercy, the disasters that turn suffering into spectacle. 【时间轴 The When】 00:00 - 圣丹斯在Park City的最后一年，两个中国胃勇闯犹他 07:55 - 顶级：American Doctor（美国医生）关于加沙救援最硬核的纪录片 18:16 - 顶级 / 人上人：Bedford Park（贝德福特公园）韩裔美国人的新泽西爱情故事 26:44 - 顶级 / 人上人：The Friend's House Is Here（朋友的房子在这里）关于伊朗女性日常生活和日常反抗的故事 32:37 - NPC：The Moment - Charli xcx对过去的Brat Summer的伪纪录片 37:52 - 顶级：Give Me the Ball! 改变网球的传奇Billie Jean King的纪录片 47:44 - NPC：Ha-Chan, Shake Your Booty（小春，屁股摇起来）老派纯粹的跨文化爱情故事 54:44 - 没看上但很想看：Josephine 56:30 - 顶级 / 人上人：Take Me Home 关于残障身份的亲密家庭故事 59:24 - 拉到家了：Burning（炎上），看完只想炎上导演 00:00 - Sundance's last year in Park City 07:55 - Top-tier: American Doctor — hard-hitting documentary about medical relief in Gaza 18:16 - Top-tier / Elite: Bedford Park — a New Jersey Korean Americans love story and family drama 26:44 - Top-tier / Elite: The Friend's House Is Here — t Iranian women's everyday lives and everyday resistance 32:37 - NPC: The Moment — Charli xcx's mockumentary of Brat Summer 37:52 - Top-tier: Give Me the Ball! — a documentary about Billie Jean King, the legend who changed tennis 47:44 - NPC: Ha-Chan, Shake Your Booty — old-school, wholehearted cross-cultural love story 54:44 - Didn't get in, but really wanted to see it: Josephine 56:30 - Top-tier / Elite: Take Me Home — an intimate family story about disability identity 59:24 - Absolute flop: Burning — the fact that this got made???

Really? Almost a month between episodes? No wonder the listening audience has been getting restless! But we're back with another edition. Free agency and trades being made in the NFL...are either the Packers or Bears better afterwards? Tournament time in college hoops! Badgers draw a 5-seed. Marquette is done and needs some offseason work. Some bracket examination. Quick notes on the dismal Bucks plus NBA expansion. Brewers continue spring training around the World Baseball Classic. Less than two weeks until Opening Day. And we're done with the high school basketball season locally....not a great year as a whole. All that and more coming on this almost 90-minute episode! Tell your friends.

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Gray's Youtube: https://www.youtube.com/channel/UC2NfSPGZ5OFcek6Baw3iQQw Join us on Friday Nights @ 7:15 PM EST on our Youtube channel https://www.youtube.com/@WeirdScienceComics when we do the Absolute show LIVE! YouTube: https://www.youtube.com/@WeirdScienceComics This Week's Patreon-Exclusive Spotlight Show is DC K.O. #5 & Batman #7 Listen to the Spotlight Podcast by signing up to our Patreon - https://www.patreon.com/weirdscience   FOLLOW WEIRD SCIENCE COMICS Twitter:  https://twitter.com/WeirdScienceDC  Patreon: https://www.patreon.com/weirdscience DC Comics Review Site: https://bit.ly/WeirdScienceDC Marvel Review Site: https://bit.ly/WeirdScienceMarvel   SUBSCRIBE TO WEIRD SCIENCE COMIC PODCASTS:  DC Comics Podcast iTunes - https://apple.co/47jNeme Spotify - https://spoti.fi/2XzDALI Stitcher - https://bit.ly/45XPtKS

Son of God. God the Son. Absolute proofs from John 14-16.

* Two Doctors: are Better than One This week Fred Williams and Doug McBurney welcome back Dr. Pete Moore, who helped us rethink relativity last summer and, for the first time Clifford Denton, PhD, who began his career as a pilot in the Royal Air Force, studied mathematics at the University of Cambridge, taught mathematics and computer studies, engaged in government funded research and was awarded a PhD at Oxford. Dr. Denton has been in Christian ministry for over 40 years in support of the Bible and home schools in regard to God's creation.   * The Case Against Einstein: Pete Moore discusses Menahem Simhony's EPOLA theory, measuring time and absolute time, the Michelson Morley Experiment, violations of the alleged speed of light constant and Isaac Newton's warning against arriving at "unusual and purely mathematical expressions" that "strain the sacred writings", (meaning they might just contradict Bible).   * Absolute: Dr. Denton takes us from the speed of sound through the speed of light from his paper: "The Passage of Light in the Universe - Absolute or Relative Motion", (published in Volume 37 of the Journal of Creation). And stay tuned for more "simple math and equations" that support the absolute nature of time and motion from Dr. Denton!   * Sponsor a Show! Go to our store, buy some biblically oriented science material and sponsor a show! * In The Beginning: Pre-order the 9th edition of Walt Brown's amazing, enlightening, biblically sound book explaining why Earth, (and the solar system) look the way they do!

* Two Doctors: are Better than One This week Fred Williams and Doug McBurney welcome back Dr. Pete Moore, who helped us rethink relativity last summer and, for the first time Clifford Denton, PhD, who began his career as a pilot in the Royal Air Force, studied mathematics at the University of Cambridge, taught mathematics and computer studies, engaged in government funded research and was awarded a PhD at Oxford. Dr. Denton has been in Christian ministry for over 40 years in support of the Bible and home schools in regard to God's creation.   * The Case Against Einstein: Pete Moore discusses Menahem Simhony's EPOLA theory, measuring time and absolute time, the Michelson Morley Experiment, violations of the alleged speed of light constant and Isaac Newton's warning against arriving at "unusual and purely mathematical expressions" that "strain the sacred writings", (meaning they might just contradict Bible).   * Absolute: Dr. Denton takes us from the speed of sound through the speed of light from his paper: "The Passage of Light in the Universe - Absolute or Relative Motion", (published in Volume 37 of the Journal of Creation). And stay tuned for more "simple math and equations" that support the absolute nature of time and motion from Dr. Denton!   * Sponsor a Show! Go to our store, buy some biblically oriented science material and sponsor a show! * In The Beginning: Pre-order the 9th edition of Walt Brown's amazing, enlightening, biblically sound book explaining why Earth, (and the solar system) look the way they do!

Hollywood feels weird right now… and awards season might be the messiest it's been in a long time. On this Reel Rejects live podcast, Greg Alba & Coy Jandreau are diving into all the biggest movie news, Oscars controversy, Marvel speculation, DC reactions, and Hollywood marketing chaos happening right now. We're talking Oscars predictions, the Timothée Chalamet backlash over his opera and ballet comments, BAFTA controversy, the bizarre Jim Carrey clone conversation, and why people are seriously asking: where is the Spider-Man: Brand New Day trailer? We're also getting into the Lanterns trailer reaction, why some DC fans were left disappointed, and why Aaron Pierre being part of Man of Tomorrow could still be a huge sign for the future of the DCU. And of course, we have to talk about the Marvel reunion being teased for the Oscars, all the Avengers: Doomsday trailer speculation, and whether Hollywood marketing has become way too obsessed with hype, “moments,” and forcing people to care instead of actually building excitement the right way. Is awards season broken? Is Hollywood marketing a complete mess? And are fans getting burned out by the nonstop hype cycle? Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Rhythmic Realms, guest DJ I's delivers a hypnotic journey through driving techno and rave-charged energy. Blending tribal percussion, psychedelic textures, and rolling grooves, the set moves between deep hypnotic rhythms and high-intensity warehouse moments, pulling listeners deeper into the pulse of the underground. ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Oscar Pareja is out in Orlando — and we're breaking down one of the more surprising coaching exits in recent MLS memory. Seven seasons, six straight playoff appearances, a contract extension less than a year ago... and then three games and 11 goals against to start 2026. Was it the right call? What's next for Orlando, and where does Pareja land? We get into all of it. Then, the Noahkai Banks situation is getting complicated. The 19-year-old center back is one of the most exciting American-eligible prospects in Europe — but Germany wants him too, and he's not ready to close that door. With the World Cup three months away, the clock is ticking on one of the most fascinating dual-national decisions in recent USMNT history. Speaking of three months out — we take the temperature on the World Cup. The tournament is coming home, and the vibes are building. Where does the USMNT stand heading into their final March friendlies, and what does a successful tournament actually look like for Pochettino's side? And in this week's MLS Lore Corner, we tell the full story of Mike Petke's legendary 2017 press conference — the one where he walked in with printed photos to prove his point about referee inconsistency. The printer broke before he could make more. He was fined $3,000. He tweeted the amount himself. Absolute scenes. Want bonus content and extended episodes? Join us on Patreon at patreon.com/thebestsoccershow — your support keeps the show going and gets you access to extra episodes, bonus breakdowns, and more. You can get Jason's twice-weekly newsletter here: https://jason-davis-soccer-eagle.ghost.io/ And you can find Morning Kickaround on YouTube or anywhere you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

THIS WEEK: • ABSOLUTE BATMAN #18  • EMPEROR AQUAMAN #15 (PALS POLL) • X-MEN UNITED #1  • TEENAGE MUTANT NINJA TURTLES #16  • D'ORC #2 • TIGRESS ISLAND #1 Become a Patron  - https://www.patreon.com/thecomicspals?fan_landing=true Subscribe on YouTube -  youtube.com/thecomicspals?sub_confirm... Join us on Discord: https://discord.gg/6RAX3sT Watch us LIVE on YouTube every: Thursday at 8 PM EST for Pals Pulls Saturday at 10:15 AM EST for The Comics Pals Podcast Pals Previews Uploaded Every Monday at 1PM EST Grab some merch here: https://streamlabs.com/thecomicspals/merch ------------------------------------------------------------------------------------------------- PodBean: https://thecomicspals.podbean.com/ X: https://twitter.com/thecomicspals  Bluesky: ‪@thecomicspals.bsky.social‬ Instagram: https://instagram.com/thecomicspals  ------------------------------------------------------------------------------------------------- The Pals: Sean: @SeansSoapbox Tyler: @TheTylerOlson Marco: @mrmarcoanimoto

5 Hour Stream of The ABSOLUTE STRANGEST Missing People Cases with Steve StocktonBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

After a two week absence, the Comic Corner returns! Join TJ Pistilli AKA Fat Thor and AF Parker of the Agents of Fandom Comic Corner crew to discuss this weeks comic books. We discuss Absolute Batman #19, Space Ghost, Storm: Mightiest Mutant, and more! Come hang out and discuss the latest in comic book news and chat about the state of the industry.Check out https://www.agentsoffandom.com for the latest TV and Movie reviews!

This week on Paneloids we're reviewing D'Orc #2, Absolute Batman #18, X-Men United #1, Alias: Red Band #1, Spider-Man: Meals to Astonish #1, Bleeding Hearts #2, Storm: Earth's Mightiest Mutant #1, Usagi Yojimbo Kaito '84 #1, 51 #1, and Planet of the Apes vs. Fantastic Four #2. We also cover our top 5 upcoming FOC and get into the latest nerdy news and rumors! Watch @paneloids live Wednesdays at 7PM EST for new comic book day reviews, news, rumors, and creator interviews. Follow, subscribe, and join the community at PANELOIDS.COM

An interview with Robert Harley, Editor-In-Chief of The Absolute Sound. In the Season 14 premier, we enter our 2026 collection of conversations with none other than Robert Harley himself. One of the more prolific reviewers of the hobby, Robert chats about his long tenure in high-end audio, along with his unique perspective (and history) with analog, critical listening, regionalized sounds and just enjoying the music. He also drops in some of his favorite designers and engineers in audio from over the years. A really great interview with a massively influential personality in HiFi. S14E1 Sponsors: AXPONAdotCOM - North America's Audio Expo AUDIOQUESTdotCOM — High-Performance Cables & Power Products — Made for You PTdotAUDIO - Great Sounds Meet Good Times THEVOICETHATISdotCOM - For The Joy Of Music BORDERPATROLdotNET - For Music Lovers, Not Scope Jockeys

BAM ADEBAYO JUST DROPPED 83 POINTS!

What happens when a casino wish coin, Hulk Hogan, John Carpenter, a NY Jets Fan, and the Macho Man collide in Las Vegas? Absolute chaos.

What happens when the next generation walks into the studio and immediately tries to replace the hosts of the number-one morning show in St. Louis?Absolute chaos.In this episode of The Rizzuto Show comedy podcast, Rizz brings his son and a crew of high-school juniors into the studio to show them what actually happens behind the scenes of a radio show. The teens immediately pitch the idea of kicking the hosts off the air and running the show themselves… which, honestly, might've been the boldest business plan we've heard all week.Of course, their pitch for content was… let's say “a work in progress.” The big idea? Talking about movies. Just… movies. No notes, no plan, just vibes.But things get interesting when the show turns into a full-blown Battle of the Generations music trivia game. The kids bring a playlist of songs they swear are huge right now. The adults attempt to identify them without sounding like confused parents asking, “Is this the mumble rap?”Shockingly, the crew does pretty well. They identify artists like Travis Scott and even pull off a miraculous Migos guess that honestly stunned everyone in the room.Then the tables turn.The teenagers have to identify songs from the Rizz Show era — and suddenly they're facing Nirvana, Britney Spears, Snoop Dogg, Blink-182, OutKast, and Green Day. Turns out the kids know way more about older music than anyone expected… which leads to one of the most surprisingly competitive music trivia battles the studio has seen.Along the way the teens roast the hosts about their age, the crew debates what actually counts as “old,” and the entire room realizes that modern playlists now include everything from David Bowie to modern hip-hop.Basically: teenagers walked into the studio thinking they were going to take over the show… and left with Pointfest tickets and a slightly higher opinion of 90s music.This episode of the comedy podcast is packed with generational roasting, music trivia chaos, and proof that the kids might actually be alright.If you've ever argued about music with someone 20 years younger (or older) than you, this episode will feel very familiar.And slightly humbling.Enjoy this episode of The Rizzuto Show comedy podcast, where the kids may not run the studio yet… but they're definitely getting closer.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShowHear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Absolute chaos in the Six Nations this week and we're here for it. Jim, Goodey and Producer Rob react to one of the wildest rounds the tournament has ever seen: Italy's historic first-ever win over England in Rome, piling the pressure on Steve Borthwick, Scotland producing a sensational 50-point performance to blow France away at Murrayfield, and Ireland grinding out a tough win over Wales in Dublin. The lads dig into what's gone wrong for England, how Scotland executed their gameplan to perfection, and look ahead to a massive final round with the title still in play. We get all the inside chat and reaction from pitchside at Murrayfield . Sign up to NordVPN by going to nordvpn.com/rugbypod to get a Huge Discount off your NordVPN Plan + 4 additional months free. It's completely risk-free with Nord's 30-day money-back guarantee Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ravens wife, Alicia, received a “Boy Wrapped Gift” on her birthday this weekend. Which brings Anna and Raven to the topic... What do you silently judge someone about? Having no wrapping skills and bragging about not voting? Speaker phone in the store. An Italian exchange student was brought to Olive Garden from his host family.  Anna quizzes her restaurant owner Italian father on the “Italian food” American's eat... and if its really Italian Anna went to an 80s themed fundraiser this weekend and it threw her back to high school immediately. She could see the cliques from a mile away. Producers Justin and Producer Sophia explain their High School cliques.  Ryan Gosling broke character, per usual, this weekend while hosting Saturday Night Live. Anna and Raven wrote commercials for each other and attempted to make one another break character. Do you think they can do it?  Absolute. Breaking. News. The Kelce family is notorious for their constant updates in pop culture news. Today it may be the biggest, and the entire world is talking about it. This time- its not a brother. Its Donna.  After Anna found out an Italian baseball team takes shots of espresso in the dugout during the game, she took matters into her own hands and wanted to do the same in the studio…. kind of. Anna and Raven go head to head in baseball trivia. Loser takes an espresso shot. That's a win-win for Anna, however, she's been in a handstand for 12 minutes. Minced Oath. Ever heard of it? us either? However, you probably know what it means. Its  A way around swearing. After majority said their kid are absolutely not swearing, we found a new route. Shut the front door.  Lexi became a stay-at-home mom last year and left her job after having her second baby. Her husband, Mitch, says that she needs to stick to a budget and wants to give her an "allowance" for a fun fund to reign in her spending. She thinks it's obnoxious to treat her like a child, she's a responsible adult and can decide how much she wants to spend on items. Just because she isn't working doesn't mean what she wants doesn't count. He argues that there needs to be structure in their finances. What do you think? Sue has a chance to win $500! All he has to do is answer more pop culture questions than Raven in Can't Beat Raven! 

Join Kyle, Nader, Vibhu, and swyx live at NVIDIA GTC next week!Now that AIE Europe tix are ~sold out, our attention turns to Miami and World's Fair!The definitive AI Accelerator chip company has more than 10xed this AI Summer:And is now a $4.4 trillion megacorp… that is somehow still moving like a startup. We are blessed to have a unique relationship with our first ever NVIDIA guests: Kyle Kranen who gave a great inference keynote at the first World's Fair and is one of the leading architects of NVIDIA Dynamo (a Datacenter scale inference framework supporting SGLang, TRT-LLM, vLLM), and Nader Khalil, a friend of swyx from our days in Celo in The Arena, who has been drawing developers at GTC since before they were even a glimmer in the eye of NVIDIA:Nader discusses how NVIDIA Brev has drastically reduced the barriers to entry for developers to get a top of the line GPU up and running, and Kyle explains NVIDIA Dynamo as a data center scale inference engine that optimizes serving by scaling out, leveraging techniques like prefill/decode disaggregation, scheduling, and Kubernetes-based orchestration, framed around cost, latency, and quality tradeoffs. We also dive into Jensen's “SOL” (Speed of Light) first-principles urgency concept, long-context limits and model/hardware co-design, internal model APIs (https://build.nvidia.com), and upcoming Dynamo and agent sessions at GTC.Full Video pod on YouTubeTimestamps00:00 Agent Security Basics00:39 Podcast Welcome and Guests07:19 Acquisition and DevEx Shift13:48 SOL Culture and Dynamo Setup27:38 Why Scale Out Wins29:02 Scale Up Limits Explained30:24 From Laptop to Multi Node33:07 Cost Quality Latency Tradeoffs38:42 Disaggregation Prefill vs Decode41:05 Kubernetes Scaling with Grove43:20 Context Length and Co Design57:34 Security Meets Agents58:01 Agent Permissions Model59:10 Build Nvidia Inference Gateway01:01:52 Hackathons And Autonomy Dreams01:10:26 Local GPUs And Scaling Inference01:15:31 Long Running Agents And SF ReflectionsTranscriptAgent Security BasicsNader: Agents can do three things. They can access your files, they can access the internet, and then now they can write custom code and execute it. You literally only let an agent do two of those three things. If you can access your files and you can write custom code, you don't want internet access because that's one to see full vulnerability, right?If you have access to internet and your file system, you should know the full scope of what that agent's capable of doing. Otherwise, now we can get injected or something that can happen. And so that's a lot of what we've been thinking about is like, you know, how do we both enable this because it's clearly the future.But then also, you know, what, what are these enforcement points that we can start to like protect?swyx: All right.Podcast Welcome and Guestsswyx: Welcome to the Lean Space podcast in the Chromo studio. Welcome to all the guests here. Uh, we are back with our guest host Viu. Welcome. Good to have you back. And our friends, uh, Netter and Kyle from Nvidia. Welcome.Kyle: Yeah, thanks for having us.swyx: Yeah, thank you. Actually, I don't even know your titles.Uh, I know you're like architect something of Dynamo.Kyle: Yeah. I, I'm one of the engineering leaders [00:01:00] and a architects of Dynamo.swyx: And you're director of something and developers, developer tech.Nader: Yeah.swyx: You're the developers, developers, developers guy at nvidia,Nader: open source agent marketing, brev,swyx: and likeNader: Devrel tools and stuff.swyx: Yeah. BeenNader: the focus.swyx: And we're, we're kind of recording this ahead of Nvidia, GTC, which is coming to town, uh, again, uh, or taking over town, uh, which, uh, which we'll all be at. Um, and we'll talk a little bit about your sessions and stuff. Yeah.Nader: We're super excited for it.GTC Booth Stunt Storiesswyx: One of my favorite memories for Nader, like you always do like marketing stunts and like while you were at Rev, you like had this surfboard that you like, went down to GTC with and like, NA Nvidia apparently, like did so much that they bought you.Like what, what was that like? What was that?Nader: Yeah. Yeah, we, we, um. Our logo was a chaka. We, we, uh, we were always just kind of like trying to keep true to who we were. I think, you know, some stuff, startups, you're like trying to pretend that you're a bigger, more mature company than you are. And it was actually Evan Conrad from SF Compute who was just like, you guys are like previousswyx: guest.Yeah.Nader: Amazing. Oh, really? Amazing. Yeah. He was just like, guys, you're two dudes in the room. Why are you [00:02:00] pretending that you're not? Uh, and so then we were like, okay, let's make the logo a shaka. We brought surfboards to our booth to GTC and the energy was great. Yeah. Some palm trees too. They,Kyle: they actually poked out over like the, the walls so you could, you could see the bread booth.Oh, that's so funny. AndNader: no one else,Kyle: just from very far away.Nader: Oh, so you remember it backKyle: then? Yeah I remember it pre-acquisition. I was like, oh, those guys look cool,Nader: dude. That makes sense. ‘cause uh, we, so we signed up really last minute, and so we had the last booth. It was all the way in the corner. And so I was, I was worried that no one was gonna come.So that's why we had like the palm trees. We really came in with the surfboards. We even had one of our investors bring her dog and then she was just like walking the dog around to try to like, bring energy towards our booth. Yeah.swyx: Steph.Kyle: Yeah. Yeah, she's the best,swyx: you know, as a conference organizer, I love that.Right? Like, it's like everyone who sponsors a conference comes, does their booth. They're like, we are changing the future of ai or something, some generic b******t and like, no, like actually try to stand out, make it fun, right? And people still remember it after three years.Nader: Yeah. Yeah. You know what's so funny?I'll, I'll send, I'll give you this clip if you wanna, if you wanna add it [00:03:00] in, but, uh, my wife was at the time fiance, she was in medical school and she came to help us. ‘cause it was like a big moment for us. And so we, we bought this cricket, it's like a vinyl, like a vinyl, uh, printer. ‘cause like, how else are we gonna label the surfboard?So, we got a surfboard, luckily was able to purchase that on the company card. We got a cricket and it was just like fine tuning for enterprises or something like that, that we put on the. On the surfboard and it's 1:00 AM the day before we go to GTC. She's helping me put these like vinyl stickers on.And she goes, you son of, she's like, if you pull this off, you son of a b***h. And so, uh, right. Pretty much after the acquisition, I stitched that with the mag music acquisition. I sent it to our family group chat. Ohswyx: Yeah. No, well, she, she made a good choice there. Was that like basically the origin story for Launchable is that we, it was, and maybe we should explain what Brev is andNader: Yeah.Yeah. Uh, I mean, brev is just, it's a developer tool that makes it really easy to get a GPU. So we connect a bunch of different GPU sources. So the basics of it is like, how quickly can we SSH you into a G, into a GPU and whenever we would talk to users, they wanted A GPU. They wanted an A 100. And if you go to like any cloud [00:04:00] provisioning page, usually it's like three pages of forms or in the forms somewhere there's a dropdown.And in the dropdown there's some weird code that you know to translate to an A 100. And I remember just thinking like. Every time someone says they want an A 100, like the piece of text that they're telling me that they want is like, stuffed away in the corner. Yeah. And so we were like, what if the biggest piece of text was what the user's asking for?And so when you go to Brev, it's just big GPU chips with the type that you want withswyx: beautiful animations that you worked on pre, like pre you can, like, now you can just prompt it. But back in the day. Yeah. Yeah. Those were handcraft, handcrafted artisanal code.Nader: Yeah. I was actually really proud of that because, uh, it was an, i I made it in Figma.Yeah. And then I found, I was like really struggling to figure out how to turn it from like Figma to react. So what it actually is, is just an SVG and I, I have all the styles and so when you change the chip, whether it's like active or not it changes the SVG code and that somehow like renders like, looks like it's animating, but it, we just had the transition slow, but it's just like the, a JavaScript function to change the like underlying SVG.Yeah. And that was how I ended up like figuring out how to move it from from Figma. But yeah, that's Art Artisan. [00:05:00]Kyle: Speaking of marketing stunts though, he actually used those SVGs. Or kind of use those SVGs to make these cards.Nader: Oh yeah. LikeKyle: a GPU gift card Yes. That he handed out everywhere. That was actually my first impression of thatNader: one.Yeah,swyx: yeah, yeah.Nader: Yeah.swyx: I think I still have one of them.Nader: They look great.Kyle: Yeah.Nader: I have a ton of them still actually in our garage, which just, they don't have labels. We should honestly like bring, bring them back. But, um, I found this old printing press here, actually just around the corner on Ven ness. And it's a third generation San Francisco shop.And so I come in an excited startup founder trying to like, and they just have this crazy old machinery and I'm in awe. ‘cause the the whole building is so physical. Like you're seeing these machines, they have like pedals to like move these saws and whatever. I don't know what this machinery is, but I saw all three generations.Like there's like the grandpa, the father and the son, and the son was like, around my age. Well,swyx: it's like a holy, holy trinity.Nader: It's funny because we, so I just took the same SVG and we just like printed it and it's foil printing, so they make a a, a mold. That's like an inverse of like the A 100 and then they put the foil on it [00:06:00] and then they press it into the paper.And I remember once we got them, he was like, Hey, don't forget about us. You know, I guess like early Apple and Cisco's first business cards were all made there. And so he was like, yeah, we, we get like the startup businesses but then as they mature, they kind of go somewhere else. And so I actually, I think we were talking with marketing about like using them for some, we should go back and make some cards.swyx: Yeah, yeah, yeah. You know, I remember, you know, as a very, very small breadth investor, I was like, why are we spending time like, doing these like stunts for GPUs? Like, you know, I think like as a, you know, typical like cloud hard hardware person, you go into an AWS you pick like T five X xl, whatever, and it's just like from a list and you look at the specs like, why animate this GP?And, and I, I do think like it just shows the level of care that goes throughout birth and Yeah. And now, and also the, and,Nader: and Nvidia. I think that's what the, the thing that struck me most when we first came in was like the amount of passion that everyone has. Like, I think, um, you know, you talk to, you talk to Kyle, you talk to, like, every VP that I've met at Nvidia goes so close to the metal.Like, I remember it was almost a year ago, and like my VP asked me, he's like, Hey, [00:07:00] what's cursor? And like, are you using it? And if so, why? Surprised at this, and he downloaded Cursor and he was asking me to help him like, use it. And I thought that was, uh, or like, just show him what he, you know, why we were using it.And so, the amount of care that I think everyone has and the passion, appreciate, passion and appreciation for the moment. Right. This is a very unique time. So it's really cool to see everyone really like, uh, appreciate that.swyx: Yeah.Acquisition and DevEx Shiftswyx: One thing I wanted to do before we move over to sort of like research topics and, uh, the, the stuff that Kyle's working on is just tell the story of the acquisition, right?Like, not many people have been, been through an acquisition with Nvidia. What's it like? Uh, what, yeah, just anything you'd like to say.Nader: It's a crazy experience. I think, uh, you know, we were the thing that was the most exciting for us was. Our goal was just to make it easier for developers.We wanted to find access to GPUs, make it easier to do that. And then all, oh, actually your question about launchable. So launchable was just make one click exper, like one click deploys for any software on top of the GPU. Mm-hmm. And so what we really liked about Nvidia was that it felt like we just got a lot more resources to do all of that.I think, uh, you [00:08:00] know, NVIDIA's goal is to make things as easy for developers as possible. So there was a really nice like synergy there. I think that, you know, when it comes to like an acquisition, I think the amount that the soul of the products align, I think is gonna be. Is going speak to the success of the acquisition.Yeah. And so it in many ways feels like we're home. This is a really great outcome for us. Like we you know, I love brev.nvidia.com. Like you should, you should use it's, it's theKyle: front page for GPUs.Nader: Yeah. Yeah. If you want GP views,Kyle: you go there, getswyx: it there, and it's like internally is growing very quickly.I, I don't remember You said some stats there.Nader: Yeah, yeah, yeah. It's, uh, I, I wish I had the exact numbers, but like internally, externally, it's been growing really quickly. We've been working with a bunch of partners with a bunch of different customers and ISVs, if you have a solution that you want someone that runs on the GPU and you want people to use it quickly, we can bundle it up, uh, in a launchable and make it a one click run.If you're doing things and you want just like a sandbox or something to run on, right. Like open claw. Huge moment. Super exciting. Our, uh, and we'll talk into it more, but. You know, internally, people wanna run this, and you, we know we have to be really careful from the security implications. Do we let this run on the corporate network?Security's guidance was, Hey, [00:09:00] run this on breath, it's in, you know, it's, it's, it's a vm, it's sitting in the cloud, it's off the corporate network. It's isolated. And so that's been our stance internally and externally about how to even run something like open call while we figure out how to run these things securely.But yeah,swyx: I think there's also like, you almost like we're the right team at the right time when Nvidia is starting to invest a lot more in developer experience or whatever you call it. Yeah. Uh, UX or I don't know what you call it, like software. Like obviously NVIDIA is always invested in software, but like, there's like, this is like a different audience.Yeah. It's aNader: widerKyle: developer base.swyx: Yeah. Right.Nader: Yeah. Yeah. You know, it's funny, it's like, it's not, uh,swyx: so like, what, what is it called internally? What, what is this that people should be aware that is going on there?Nader: Uh, what, like developer experienceswyx: or, yeah, yeah. Is it's called just developer experience or is there like a broader strategy hereNader: in Nvidia?Um, Nvidia always wants to make a good developer experience. The thing is and a lot of the technology is just really complicated. Like, it's not, it's uh, you know, I think, um. The thing that's been really growing or the AI's growing is having a huge moment, not [00:10:00] because like, let's say data scientists in 2018, were quiet then and are much louder now.The pie is com, right? There's a whole bunch of new audiences. My mom's wondering what she's doing. My sister's learned, like taught herself how to code. Like the, um, you know, I, I actually think just generally AI's a big equalizer and you're seeing a more like technologically literate society, I guess.Like everyone's, everyone's learning how to code. Uh, there isn't really an excuse for that. And so building a good UX means that you really understand who your end user is. And when your end user becomes such a wide, uh, variety of people, then you have to almost like reinvent the practice, right? Yeah. You haveKyle: to, and actually build more developer ux, right?Because the, there are tiers of developer base that were added. You know, the, the hackers that are building on top of open claw, right? For example, have never used gpu. They don't know what kuda is. They, they, they just want to run something.Nader: Yeah.Kyle: You need new UX that is not just. Hey, you know, how do you program something in Cuda and run it?And then, and then we built, you know, like when Deep Learning was getting big, we built, we built Torch and, and, but so recently the amount of like [00:11:00] layers that are added to that developer stack has just exploded because AI has become ubiquitous. Everyone's using it in different ways. Yeah. It'sNader: moving fast in every direction.Vertical, horizontal.Vibhu: Yeah. You guys, you even take it down to hardware, like the DGX Spark, you know, it's, it's basically the same system as just throwing it up on big GPU cluster.Nader: Yeah, yeah, yeah. It's amazing. Blackwell.swyx: Yeah. Uh, we saw the preview at the last year's GTC and that was one of the better performing, uh, videos so far, and video coverage so far.Awesome. This will beat it. Um,Nader: that wasswyx: actually, we have fingersNader: crossed. Yeah.DGX Spark and Remote AccessNader: Even when Grace Blackwell or when, um, uh, DGX Spark was first coming out getting to be involved in that from the beginning of the developer experience. And it just comes back to what youswyx: were involved.Nader: Yeah. St. St.swyx: Mars.Nader: Yeah. Yeah. I mean from, it was just like, I, I got an email, we just got thrown into the loop and suddenly yeah, I, it was actually really funny ‘cause I'm still pretty fresh from the acquisition and I'm, I'm getting an email from a bunch of the engineering VPs about like, the new hardware, GPU chip, like we're, or not chip, but just GPU system that we're putting out.And I'm like, okay, cool. Matters. Now involved with this for the ux, I'm like. What am I gonna do [00:12:00] here? So, I remember the first meeting, I was just like kind of quiet as I was hearing engineering VPs talk about what this box could be, what it could do, how we should use it. And I remember, uh, one of the first ideas that people were idea was like, oh, the first thing that it was like, I think a quote was like, the first thing someone's gonna wanna do with this is get two of them and run a Kubernetes cluster on top of them.And I was like, oh, I think I know why I'm here. I was like, the first thing we're doing is easy. SSH into the machine. And then, and you know, just kind of like scoping it down of like, once you can do that every, you, like the person who wants to run a Kubernetes cluster onto Sparks has a higher propensity for pain, then, then you know someone who buys it and wants to run open Claw right now, right?If you can make sure that that's as effortless as possible, then the rest becomes easy. So there's a tool called Nvidia Sync. It just makes the SSH connection really simple. So, you know, if you think about it like. If you have a Mac, uh, or a PC or whatever, if you have a laptop and you buy this GPU and you want to use it, you should be able to use it like it's A-A-G-P-U in the cloud, right?Um, but there's all this friction of like, how do you actually get into that? That's part of [00:13:00] Revs value proposition is just, you know, there's a CLI that wraps SSH and makes it simple. And so our goal is just get you into that machine really easily. And one thing we just launched at CES, it's in, it's still in like early access.We're ironing out some kinks, but it should be ready by GTC. You can register your spark on Brev. And so now if youswyx: like remote managed yeah, local hardware. Single pane of glass. Yeah. Yeah. Because Brev can already manage other clouds anyway, right?Vibhu: Yeah, yeah. And you use the spark on Brev as well, right?Nader: Yeah. But yeah, exactly. So, so you, you, so you, you set it up at home you can run the command on it, and then it gets it's essentially it'll appear in your Brev account, and then you can take your laptop to a Starbucks or to a cafe, and you'll continue to use your, you can continue use your spark just like any other cloud node on Brev.Yeah. Yeah. And it's just like a pre-provisioned centerswyx: in yourNader: home. Yeah, exactly.swyx: Yeah. Yeah.Vibhu: Tiny little data center.Nader: Tiny little, the size ofVibhu: your phone.SOL Culture and Dynamo Setupswyx: One more thing before we move on to Kyle. Just have so many Jensen stories and I just love, love mining Jensen stories. Uh, my favorite so far is SOL. Uh, what is, yeah, what is S-O-L-S-O-LNader: is actually, i, I think [00:14:00] of all the lessons I've learned, that one's definitely my favorite.Kyle: It'll always stick with you.Nader: Yeah. Yeah. I, you know, in your startup, everything's existential, right? Like we've, we've run out of money. We were like, on the risk of, of losing payroll, we've had to contract our team because we l ran outta money. And so like, um, because of that you're really always forcing yourself to I to like understand the root cause of everything.If you get a date, if you get a timeline, you know exactly why that date or timeline is there. You're, you're pushing every boundary and like, you're not just say, you're not just accepting like a, a no. Just because. And so as you start to introduce more layers, as you start to become a much larger organization, SOL is is essentially like what is the physics, right?The speed of light moves at a certain speed. So if flight's moving some slower, then you know something's in the way. So before trying to like layer reality back in of like, why can't this be delivered at some date? Let's just understand the physics. What is the theoretical limit to like, uh, how fast this can go?And then start to tell me why. ‘cause otherwise people will start telling you why something can't be done. But actually I think any great leader's goal is just to create urgency. Yeah. [00:15:00] There's an infiniteKyle: create compelling events, right?Nader: Yeah.Kyle: Yeah. So l is a term video is used to instigate a compelling event.You say this is done. How do we get there? What is the minimum? As much as necessary, as little as possible thing that it takes for us to get exactly here and. It helps you just break through a bunch of noise.swyx: Yeah.Kyle: Instantly.swyx: One thing I'm unclear about is, can only Jensen use the SOL card? Like, oh, no, no, no.Not everyone get the b******t out because obviously it's Jensen, but like, can someone else be like, no, likeKyle: frontline engineers use it.Nader: Yeah. Every, I think it's not so much about like, get the b******t out. It's like, it's like, give me the root understanding, right? Like, if you tell me something takes three weeks, it like, well, what's the first principles?Yeah, the first principles. It's like, what's the, what? Like why is it three weeks? What is the actual yeah. What's the actual limit of why this is gonna take three weeks? If you're gonna, if you, if let's say you wanted to buy a new computer and someone told you it's gonna be here in five days, what's the SOL?Well, like the SOL is like, I could walk into a Best Buy and pick it up for you. Right? So then anything that's like beyond that is, and is that practical? Is that how we're gonna, you know, let's say give everyone in the [00:16:00] company a laptop, like obviously not. So then like that's the SOL and then it's like, okay, well if we have to get more than 10, suddenly there might be some, right?And so now we can kind of piece the reality back.swyx: So, so this is the. Paul Graham do things that don't scale. Yeah. And this is also the, what people would now call behi agency. Yeah.Kyle: It's actually really interesting because there's a, there's a second hardware angle to SOL that like doesn't come up for all the org sol is used like culturally at aswyx: media for everything.I'm also mining for like, I think that can be annoying sometimes. And like someone keeps going IOO you and you're like, guys, like we have to be stable. We have to, we to f*****g plan. Yeah.Kyle: It's an interesting balance.Nader: Yeah. I encounter that with like, actually just with, with Alec, right? ‘cause we, we have a new conference so we need to launch, we have, we have goals of what we wanna launch by, uh, by the conference and like, yeah.At the end of the day, where isswyx: this GTC?Nader: Um, well this is like, so we, I mean we did it for CES, we did for GT CDC before that we're doing it for GTC San Jose. So I mean, like every, you know, we have a new moment. Um, and we want to launch something. Yeah. And we want to do so at SOL and that does mean that some, there's some level of prioritization that needs [00:17:00] to happen.And so it, it is difficult, right? I think, um, you have to be careful with what you're pushing. You know, stability is important and that should be factored into S-O-L-S-O-L isn't just like, build everything and let it break, you know, that, that's part of the conversation. So as you're laying, layering in all the details, one of them might be, Hey, we could build this, but then it's not gonna be stable for X, y, z reasons.And so that was like, one of our conversations for CES was, you know, hey, like we, we can get this into early access registering your spark with brev. But there are a lot of things that we need to do in order to feel really comfortable from a security perspective, right? There's a lot of networking involved before we deliver that to users.So it's like, okay. Let's get this to a point where we can at least let people experiment with it. We had it in a booth, we had it in Jensen's keynote, and then let's go iron out all the networking kinks. And that's not easy. And so, uh, that can come later. And so that was the way that we layered that back in.Yeah. ButKyle: It's not really about saying like, you don't have to do the, the maintenance or operational work. It's more about saying, you know, it's kind of like [00:18:00] highlights how progress is incremental, right? Like, what is the minimum thing that we can get to. And then there's SOL for like every component after that.But there's the SOL to get you, get you to the, the starting line. And that, that's usually how it's asked. Yeah. On the other side, you know, like SOL came out of like hardware at Nvidia. Right. So SOL is like literally if we ran the accelerator or the GPU with like at basically full speed with like no other constraints, like how FAST would be able to make a program go.swyx: Yeah. Yeah. Right.Kyle: Soswyx: in, in training that like, you know, then you work back to like some percentage of like MFU for example.Kyle: Yeah, that's a, that's a great example. So like, there's an, there's an S-O-L-M-F-U, and then there's like, you know, what's practically achievable.swyx: Cool. Should we move on to sort of, uh, Kyle's side?Uh, Kyle, you're coming more from the data science world. And, uh, I, I mean I always, whenever, whenever I meet someone who's done working in tabular stuff, graph neural networks, time series, these are basically when I go to new reps, I go to ICML, I walk the back halls. There's always like a small group of graph people.Yes. Absolute small group of tabular people. [00:19:00] And like, there's no one there. And like, it's very like, you know what I mean? Like, yeah, no, like it's, it's important interesting work if you care about solving the problems that they solve.Kyle: Yeah.swyx: But everyone else is just LMS all the time.Kyle: Yeah. I mean it's like, it's like the black hole, right?Has the event horizon reached this yet in nerves? Um,swyx: but like, you know, those are, those are transformers too. Yeah. And, and those are also like interesting things. Anyway, uh, I just wanted to spend a little bit of time on, on those, that background before we go into Dynamo, uh, proper.Kyle: Yeah, sure. I took a different path to Nvidia than that, or I joined six years ago, seven, if you count, when I was an intern.So I joined Nvidia, like right outta college. And the first thing I jumped into was not what I'd done in, during internship, which was like, you know, like some stuff for autonomous vehicles, like heavyweight object detection. I jumped into like, you know, something, I'm like, recommenders, this is popular. Andswyx: yeah, he did RexiKyle: as well.Yeah, Rexi. Yeah. I mean that, that was the taboo data at the time, right? You have tables of like, audience qualities and item qualities, and you're trying to figure out like which member of [00:20:00] the audience matches which item or, or more practically which item matches which member of the audience. And at the time, really it was like we were trying to enable.Uh, recommender, which had historically been like a little bit of a CP based workflow into something that like, ran really well in GPUs. And it's since been done. Like there are a bunch of libraries for Axis that run on GPUs. Uh, the common models like Deeplearning recommendation model, which came outta meta and the wide and deep model, which was used or was released by Google were very accelerated by GPUs using, you know, the fast HBM on the chips, especially to do, you know, vector lookups.But it was very interesting at the time and super, super relevant because like we were starting to get like. This explosion of feeds and things that required rec recommenders to just actively be on all the time. And sort of transitioned that a little bit towards graph neural networks when I discovered them because I was like, okay, you can actually use graphical neural networks to represent like, relationships between people, items, concepts, and that, that interested me.So I jumped into that at [00:21:00] Nvidia and, and got really involved for like two-ish years.swyx: Yeah. Uh, and something I learned from Brian Zaro Yeah. Is that you can just kind of choose your own path in Nvidia.Kyle: Oh my God. Yeah.swyx: Which is not a normal big Corp thing. Yeah. Like you, you have a lane, you stay in your lane.Nader: I think probably the reason why I enjoy being in a, a big company, the mission is the boss probably from a startup guy. Yeah. The missionswyx: is the boss.Nader: Yeah. Uh, it feels like a big game of pickup basketball. Like, you know, if you play one, if you wanna play basketball, you just go up to the court and you're like, Hey look, we're gonna play this game and we need three.Yeah. And you just like find your three. That's honestly for every new initiative that's what it feels like. Yeah.Vibhu: It also like shows, right? Like Nvidia. Just releasing state-of-the-art stuff in every domain. Yeah. Like, okay, you expect foundation models with Nemo tron voice just randomly parakeet.Call parakeet just comes out another one, uh, voice. TheKyle: video voice team has always been producing.Vibhu: Yeah. There's always just every other domain of paper that comes out, dataset that comes out. It's like, I mean, it also stems back to what Nvidia has to do, right? You have to make chips years before they're actually produced.Right? So you need to know, you need to really [00:22:00] focus. TheKyle: design process starts likeVibhu: exactlyKyle: three to five years before the chip gets to the market.Vibhu: Yeah. I, I'm curious more about what that's like, right? So like, you have specialist teams. Is it just like, you know, people find an interest, you go in, you go deep on whatever, and that kind of feeds back into, you know, okay, we, we expect predictions.Like the internals at Nvidia must be crazy. Right? You know? Yeah. Yeah. You know, you, you must. Not even without selling to people, you have your own predictions of where things are going. Yeah. And they're very based, very grounded. Right?Kyle: Yeah. It, it, it's really interesting. So there's like two things that I think that Amed does, which are quite interesting.Uh, one is like, we really index into passion. There's a big. Sort of organizational top sound push to like ensure that people are working on the things that they're passionate about. So if someone proposes something that's interesting, many times they can just email someone like way up the chain that they would find this relevant and say like, Hey, can I go work on this?Nader: It's actually like I worked at a, a big company for a couple years before, uh, starting on my startup journey and like, it felt very weird if you were to like email out of chain, if that makes [00:23:00] sense. Yeah. The emails at Nvidia are like mosh pitsswyx: shoot,Nader: and it's just like 60 people, just whatever. And like they're, there's this,swyx: they got messy like, reply all you,Nader: oh, it's in, it's insane.It's insane. They justKyle: help. You know, Maxim,Nader: the context. But, but that's actually like, I've actually, so this is a weird thing where I used to be like, why would we send emails? We have Slack. I am the entire, I'm the exact opposite. I feel so bad for anyone who's like messaging me on Slack ‘cause I'm so unresponsive.swyx: Your emailNader: Maxi, email Maxim. I'm email maxing Now email is a different, email is perfect because man, we can't work together. I'm email is great, right? Because important threads get bumped back up, right? Yeah, yeah. Um, and so Slack doesn't do that. So I just have like this casino going off on the right or on the left and like, I don't know which thread was from where or what, but like the threads get And then also just like the subject, so you can have like working threads.I think what's difficult is like when you're small, if you're just not 40,000 people I think Slack will work fine, but there's, I don't know what the inflection point is. There is gonna be a point where that becomes really messy and you'll actually prefer having email. ‘cause you can have working threads.You can cc more than nine people in a thread.Kyle: You can fork stuff.Nader: You can [00:24:00] fork stuff, which is super nice and just like y Yeah. And so, but that is part of where you can propose a plan. You can also just. Start, honestly, momentum's the only authority, right? So like, if you can just start, start to make a little bit of progress and show someone something, and then they can try it.That's, I think what's been, you know, I think the most effective way to push anything for forward. And that's both at Nvidia and I think just generally.Kyle: Yeah, there's, there's the other concept that like is explored a lot at Nvidia, which is this idea of a zero billion dollar business. Like market creation is a big thing at Nvidia.Like,swyx: oh, you want to go and start a zero billion dollar business?Kyle: Jensen says, we are completely happy investing in zero billion dollar markets. We don't care if this creates revenue. It's important for us to know about this market. We think it will be important in the future. It can be zero billion dollars for a while.I'm probably minging as words here for, but like, you know, like, I'll give an example. NVIDIA's been working on autonomous driving for a a long time,swyx: like an Nvidia car.Kyle: No, they, they'veVibhu: used the Mercedes, right? They're around the HQ and I think it finally just got licensed out. Now they're starting to be used quite a [00:25:00] bit.For 10 years you've been seeing Mercedes with Nvidia logos driving.Kyle: If you're in like the South San Santa Clara, it's, it's actually from South. Yeah. So, um. Zero billion dollar markets are, are a thing like, you know, Jensen,swyx: I mean, okay, look, cars are not a zero billion dollar market. But yeah, that's a bad example.Nader: I think, I think he's, he's messaging, uh, zero today, but, or even like internally, right? Like, like it's like, uh, an org doesn't have to ruthlessly find revenue very quickly to justify their existence. Right. Like a lot of the important research, a lot of the important technology being developed that, that's kind ofKyle: where research, research is very ide ideologically free at Nvidia.Yeah. Like they can pursue things that they wereswyx: Were you research officially?Kyle: I was never in research. Officially. I was always in engineering. Yeah. We in, I'm in an org called Deep Warning Algorithms, which is basically just how do we make things that are relevant to deep warning go fast.swyx: That sounds freaking cool.Vibhu: And I think a lot of that is underappreciated, right? Like time series. This week Google put out time. FF paper. Yeah. A new time series, paper res. Uh, Symantec, ID [00:26:00] started applying Transformers LMS to Yes. Rec system. Yes. And when you think the scale of companies deploying these right. Amazon recommendations, Google web search, it's like, it's huge scale andKyle: Yeah.Vibhu: You want fast?Kyle: Yeah. Yeah. Yeah. Actually it's, it, I, there's a fun moment that brought me like full circle. Like, uh, Amazon Ads recently gave a talk where they talked about using Dynamo for generative recommendation, which was like super, like weirdly cathartic for me. I'm like, oh my God. I've, I've supplanted what I was working on.Like, I, you're using LMS now to do what I was doing five years ago.swyx: Yeah. Amazing. And let's go right into Dynamo. Uh, maybe introduce Yeah, sure. To the top down and Yeah.Kyle: I think at this point a lot of people are familiar with the term of inference. Like funnily enough, like I went from, you know, inference being like a really niche topic to being something that's like discussed on like normal people's Twitter feeds.It's,Nader: it's on billboardsKyle: here now. Yeah. Very, very strange. Driving, driving, seeing just an inference ad on 1 0 1 inference at scale is becoming a lot more important. Uh, we have these moments like, you know, open claw where you have these [00:27:00] agents that take lots and lots of tokens, but produce, incredible results.There are many different aspects of test time scaling so that, you know, you can use more inference to generate a better result than if you were to use like a short amount of inference. There's reasoning, there's quiring, there's, adding agency to the model, allowing it to call tools and use skills.Dyno sort came about at Nvidia. Because myself and a couple others were, were sort of talking about the, these concepts that like, you know, you have inference engines like VLMS, shelan, tenor, TLM and they have like one single copy. They, they, they sort of think about like things as like one single copy, like one replica, right?Why Scale Out WinsKyle: Like one version of the model. But when you're actually serving things at scale, you can't just scale up that replica because you end up with like performance problems. There's a scaling limit to scaling up replicas. So you actually have to scale out to use a, maybe some Kubernetes type terminology.We kind of realized that there was like. A lot of potential optimization that we could do in scaling out and building systems for data [00:28:00] center scale inference. So Dynamo is this data center scale inference engine that sits on top of the frameworks like VLM Shilling and 10 T lm and just makes things go faster because you can leverage the economy of scale.The fact that you have KV cash, which we can define a little bit later, uh, in all these machines that is like unique and you wanna figure out like the ways to maximize your cash hits or you want to employ new techniques in inference like disaggregation, which Dynamo had introduced to the world in, in, in March, not introduced, it was a academic talk, but beforehand.But we are, you know, one of the first frameworks to start, supporting it. And we wanna like, sort of combine all these techniques into sort of a modular framework that allows you to. Accelerate your inference at scale.Nader: By the way, Kyle and I became friends on my first date, Nvidia, and I always loved, ‘cause like he always teaches meswyx: new things.Yeah. By the way, this is why I wanted to put two of you together. I was like, yeah, this is, this is gonna beKyle: good. It's very, it's very different, you know, like we've, we, we've, we've talked to each other a bunch [00:29:00] actually, you asked like, why, why can't we scale up?Nader: Yeah.Scale Up Limits ExplainedNader: model, you said model replicas.Kyle: Yeah. So you, so scale up means assigning moreswyx: heavier?Kyle: Yeah, heavier. Like making things heavier. Yeah, adding more GPUs. Adding more CPUs. Scale out is just like having a barrier saying, I'm gonna duplicate my representation of the model or a representation of this microservice or something, and I'm gonna like, replicate it Many times.Handle, load. And the reason that you can't scale, scale up, uh, past some points is like, you know, there, there, there are sort of hardware bounds and algorithmic bounds on, on that type of scaling. So I'll give you a good example that's like very trivial. Let's say you're on an H 100. The Maxim ENV link domain for H 100, for most Ds H one hundreds is heus, right?So if you scaled up past that, you're gonna have to figure out ways to handle the fact that now for the GPUs to communicate, you have to do it over Infin band, which is still very fast, but is not as fast as ENV link.swyx: Is it like one order of magnitude, like hundreds or,Kyle: it's about an order of magnitude?Yeah. Okay. Um, soswyx: not terrible.Kyle: [00:30:00] Yeah. I, I need to, I need to remember the, the data sheet here, like, I think it's like about 500 gigabytes. Uh, a second unidirectional for ENV link, and about 50 gigabytes a second unidirectional for Infin Band. I, it, it depends on the, the generation.swyx: I just wanna set this up for people who are not familiar with these kinds of like layers and the trash speedVibhu: and all that.Of course.From Laptop to Multi NodeVibhu: Also, maybe even just going like a few steps back before that, like most people are very familiar with. You see a, you know, you can use on your laptop, whatever these steel viol, lm you can just run inference there. All, there's all, you can, youcan run it on thatVibhu: laptop. You can run on laptop.Then you get to, okay, uh, models got pretty big, right? JLM five, they doubled the size, so mm-hmm. Uh, what do you do when you have to go from, okay, I can get 128 gigs of memory. I can run it on a spark. Then you have to go multi GPU. Yeah. Okay. Multi GPU, there's some support there. Now, if I'm a company and I don't have like.I'm not hiring the best researchers for this. Right. But I need to go [00:31:00] multi-node, right? I have a lot of servers. Okay, now there's efficiency problems, right? You can have multiple eight H 100 nodes, but, you know, is that as a, like, how do you do that efficiently?Kyle: Yeah. How do you like represent them? How do you choose how to represent the model?Yeah, exactly right. That's a, that's like a hard question. Everyone asks, how do you size oh, I wanna run GLM five, which just came out new model. There have been like four of them in the past week, by the way, like a bunch of new models.swyx: You know why? Right? Deep seek.Kyle: No comment. Oh. Yeah, but Ggl, LM five, right?We, we have this, new model. It's, it's like a large size, and you have to figure out how to both scale up and scale out, right? Because you have to find the right representation that you care about. Everyone does this differently. Let's be very clear. Everyone figures this out in their own path.Nader: I feel like a lot of AI or ML even is like, is like this. I think people think, you know, I, I was, there was some tweet a few months ago that was like, why hasn't fine tuning as a service taken off? You know, that might be me. It might have been you. Yeah. But people want it to be such an easy recipe to follow.But even like if you look at an ML model and specificKyle: to you Yeah,Nader: yeah.Kyle: And the [00:32:00] model,Nader: the situation, and there's just so much tinkering, right? Like when you see a model that has however many experts in the ME model, it's like, why that many experts? I don't, they, you know, they tried a bunch of things and that one seemed to do better.I think when it comes to how you're serving inference, you know, you have a bunch of decisions to make and there you can always argue that you can take something and make it more optimal. But I think it's this internal calibration and appetite for continued calibration.Vibhu: Yeah. And that doesn't mean like, you know, people aren't taking a shot at this, like tinker from thinking machines, you know?Yeah. RL as a service. Yeah, totally. It's, it also gets even harder when you try to do big model training, right? We're not the best at training Moes, uh, when they're pre-trained. Like we saw this with LAMA three, right? They're trained in such a sparse way that meta knows there's gonna be a bunch of inference done on these, right?They'll open source it, but it's very trained for what meta infrastructure wants, right? They wanna, they wanna inference it a lot. Now the question to basically think about is, okay, say you wanna serve a chat application, a coding copilot, right? You're doing a layer of rl, you're serving a model for X amount of people.Is it a chat model, a coding model? Dynamo, you know, back to that,Kyle: it's [00:33:00] like, yeah, sorry. So you we, we sort of like jumped off of, you know, jumped, uh, on that topic. Everyone has like, their own, own journey.Cost Quality Latency TradeoffsKyle: And I, I like to think of it as defined by like, what is the model you need? What is the accuracy you need?Actually I talked to NA about this earlier. There's three axes you care about. What is the quality that you're able to produce? So like, are you accurate enough or can you complete the task with enough, performance, high enough performance. Yeah, yeah. Uh, there's cost. Can you serve the model or serve your workflow?Because it's not just the model anymore, it's the workflow. It's the multi turn with an agent cheaply enough. And then can you serve it fast enough? And we're seeing all three of these, like, play out, like we saw, we saw new models from OpenAI that you know, are faster. You have like these new fast versions of models.You can change the amount of thinking to change the amount of quality, right? Produce more tokens, but at a higher cost in a, in a higher latency. And really like when you start this journey of like trying to figure out how you wanna host a model, you, you, you think about three things. What is the model I need to serve?How many times do I need to call it? What is the input sequence link was [00:34:00] the, what does the workflow look like on top of it? What is the SLA, what is the latency SLA that I need to achieve? Because there's usually some, this is usually like a constant, you, you know, the SLA that you need to hit and then like you try and find the lowest cost version that hits all of these constraints.Usually, you know, you, you start with those things and you say you, you kind of do like a bit of experimentation across some common configurations. You change the tensor parallel size, which is a form of parallelismVibhu: I take, it goes even deeper first. Gotta think what model.Kyle: Yes, course,ofKyle: course. It's like, it's like a multi-step design process because as you said, you can, you can choose a smaller model and then do more test time scaling and it'll equate the quality of a larger model because you're doing the test time scaling or you're adding a harness or something.So yes, it, it goes way deeper than that. But from the performance perspective, like once you get to the model you need, you need to host, you look at that and you say, Hey. I have this model, I need to serve it at the speed. What is the right configuration for that?Nader: You guys see the recent, uh, there was a paper I just saw like a few days ago that, uh, if you run [00:35:00] the same prompt twice, you're getting like double Just try itagain.Nader: Yeah, exactly.Vibhu: And you get a lot. Yeah. But the, the key thing there is you give the context of the failed try, right? Yeah. So it takes a shot. And this has been like, you know, basic guidance for quite a while. Just try again. ‘cause you know, trying, just try again. Did you try again? All adviceNader: in life.Vibhu: Just, it's a paper from Google, if I'm not mistaken, right?Yeah,Vibhu: yeah. I think it, it's like a seven bas little short paper. Yeah. Yeah. The title's very cute. And it's just like, yeah, just try again. Give it ask context,Kyle: multi-shot. You just like, say like, hey, like, you know, like take, take a little bit more, take a little bit more information, try and fail. Fail.Vibhu: And that basic concept has gone pretty deep.There's like, um, self distillation, rl where you, you do self distillation, you do rl and you have past failure and you know, that gives some signal so people take, try it again. Not strong enough.swyx: Uh, for, for listeners, uh, who listen to here, uh, vivo actually, and I, and we run a second YouTube channel for our paper club where, oh, that's awesome.Vivo just covered this. Yeah. Awesome. Self desolation and all that's, that's why he, to speed [00:36:00] on it.Nader: I'll to check it out.swyx: Yeah. It, it's just a good practice, like everyone needs, like a paper club where like you just read papers together and the social pressure just kind of forces you to just,Nader: we, we,there'sNader: like a big inference.Kyle: ReadingNader: group at a video. I feel so bad every time. I I, he put it on like, on our, he shared it.swyx: One, one ofNader: your guys,swyx: uh, is, is big in that, I forget es han Yeah, yeah,Kyle: es Han's on my team. Actually. Funny. There's a, there's a, there's a employee transfer between us. Han worked for Nater at Brev, and now he, he's on my team.He wasNader: our head of ai. And then, yeah, once we got in, andswyx: because I'm always looking for like, okay, can, can I start at another podcast that only does that thing? Yeah. And, uh, Esan was like, I was trying to like nudge Esan into like, is there something here? I mean, I don't think there's, there's new infant techniques every day.So it's like, it's likeKyle: you would, you would actually be surprised, um, the amount of blog posts you see. And ifswyx: there's a period where it was like, Medusa hydra, what Eagle, like, youKyle: know, now we have new forms of decode, uh, we have new forms of specula, of decoding or new,swyx: what,Kyle: what are youVibhu: excited? And it's exciting when you guys put out something like Tron.‘cause I remember the paper on this Tron three, [00:37:00] uh, the amount of like post train, the on tokens that the GPU rich can just train on. And it, it was a hybrid state space model, right? Yeah.Kyle: It's co-designed for the hardware.Vibhu: Yeah, go design for the hardware. And one of the things was always, you know, the state space models don't scale as well when you do a conversion or whatever the performance.And you guys are like, no, just keep draining. And Nitron shows a lot of that. Yeah.Nader: Also, something cool about Nitron it was released in layers, if you will, very similar to Dynamo. It's, it's, it's essentially it was released as you can, the pre-training, post-training data sets are released. Yeah. The recipes on how to do it are released.The model itself is released. It's full model. You just benefit from us turning on the GPUs. But there are companies like, uh, ServiceNow took the dataset and they trained their own model and we were super excited and like, you know, celebrated that work.ZoomVibhu: different. Zoom is, zoom is CGI, I think, uh, you know, also just to add like a lot of models don't put out based models and if there's that, why is fine tuning not taken off?You know, you can do your own training. Yeah,Kyle: sure.Vibhu: You guys put out based model, I think you put out everything.Nader: I believe I know [00:38:00]swyx: about base. BasicallyVibhu: without baseswyx: basic can be cancelable.Vibhu: Yeah. Base can be cancelable.swyx: Yeah.Vibhu: Safety training.swyx: Did we get a full picture of dymo? I, I don't know if we, what,Nader: what I'd love is you, you mentioned the three axes like break it down of like, you know, what's prefilled decode and like what are the optimizations that we can get with Dynamo?Kyle: Yeah. That, that's, that's, that's a great point. So to summarize on that three axis problem, right, there are three things that determine whether or not something can be done with inference, cost, quality, latency, right? Dynamo is supposed to be there to provide you like the runtime that allows you to pull levers to, you know, mix it up and move around the parade of frontier or the preto surface that determines is this actually possible with inference And AI todayNader: gives you the knobs.Kyle: Yeah, exactly. It gives you the knobs.Disaggregation Prefill vs DecodeKyle: Uh, and one thing that like we, we use a lot in contemporary inference and is, you know, starting to like pick up from, you know, in, in general knowledge is this co concept of disaggregation. So historically. Models would be hosted with a single inference engine. And that inference engine [00:39:00] would ping pong between two phases.There's prefill where you're reading the sequence generating KV cache, which is basically just a set of vectors that represent the sequence. And then using that KV cache to generate new tokens, which is called Decode. And some brilliant researchers across multiple different papers essentially made the realization that if you separate these two phases, you actually gain some benefits.Those benefits are basically a you don't have to worry about step synchronous scheduling. So the way that an inference engine works is you do one step and then you finish it, and then you schedule, you start scheduling the next step there. It's not like fully asynchronous. And the problem with that is you would have, uh, essentially pre-fill and decode are, are actually very different in terms of both their resource requirements and their sometimes their runtime.So you would have like prefill that would like block decode steps because you, you'd still be pre-filing and you couldn't schedule because you know the step has to end. So you remove that scheduling issue and then you also allow you, or you yourself, to like [00:40:00] split the work into two different ki types of pools.So pre-fill typically, and, and this changes as, as model architecture changes. Pre-fill is, right now, compute bound most of the time with the sequence is sufficiently long. It's compute bound. On the decode side because you're doing a full Passover, all the weights and the entire sequence, every time you do a decode step and you're, you don't have the quadratic computation of KV cache, it's usually memory bound because you're retrieving a linear amount of memory and you're doing a linear amount of compute as opposed to prefill where you retrieve a linear amount of memory and then use a quadratic.You know,Nader: it's funny, someone exo Labs did a really cool demo where for the DGX Spark, which has a lot more compute, you can do the pre the compute hungry prefill on a DG X spark and then do the decode on a, on a Mac. Yeah. And soVibhu: that's faster.Nader: Yeah. Yeah.Kyle: So you could, you can do that. You can do machine strat stratification.Nader: Yeah.Kyle: And like with our future generation generations of hardware, we actually announced, like with Reuben, this [00:41:00] new accelerator that is prefilled specific. It's called Reuben, CPX. SoKubernetes Scaling with GroveNader: I have a question when you do the scale out. Yeah. Is scaling out easier with Dynamo? Because when you need a new node, you can dedicate it to either the Prefill or, uh, decode.Kyle: Yeah. So Dynamo actually has like a, a Kubernetes component in it called Grove that allows you to, to do this like crazy scaling specialization. It has like this hot, it's a representation that, I don't wanna go too deep into Kubernetes here, but there was a previous way that you would like launch multi-node work.Uh, it's called Leader Worker Set. It's in the Kubernetes standard, and Leader worker set is great. It served a lot of people super well for a long period of time. But one of the things that it's struggles with is representing a set of cases where you have a multi-node replica that has a pair, right?You know, prefill and decode, or it's not paired, but it has like a second stage that has a ratio that changes over time. And prefill and decode are like two different things as your workload changes, right? The amount of prefill you'll need to do may change. [00:42:00] The amount of decode that you, you'll need to do might change, right?Like, let's say you start getting like insanely long queries, right? That probably means that your prefill scales like harder because you're hitting these, this quadratic scaling growth.swyx: Yeah.And then for listeners, like prefill will be long input. Decode would be long output, for example, right?Kyle: Yeah. So like decode, decode scale. I mean, decode is funny because the amount of tokens that you produce scales with the output length, but the amount of work that you do per step scales with the amount of tokens in the context.swyx: Yes.Kyle: So both scales with the input and the output.swyx: That's true.Kyle: But on the pre-fold view code side, like if.Suddenly, like the amount of work you're doing on the decode side stays about the same or like scales a little bit, and then the prefilled side like jumps up a lot. You actually don't want that ratio to be the same. You want it to change over time. So Dynamo has a set of components that A, tell you how to scale.It tells you how many prefilled workers and decoded workers you, it thinks you should have, and also provides a scheduling API for Kubernetes that allows you to actually represent and affect this scheduling on, on, on your actual [00:43:00] hardware, on your compute infrastructure.Nader: Not gonna lie. I feel a little embarrassed for being proud of my SVG function earlier.swyx: No, itNader: wasreallyKyle: cute. I, Iswyx: likeNader: it's all,swyx: it's all engineering. It's all engineering. Um, that's where I'mKyle: technical.swyx: One thing I'm, I'm kind of just curious about with all with you see at a systems level, everything going on here. Mm-hmm. And we, you know, we're scaling it up in, in multi, in distributed systems.Context Length and Co Designswyx: Um, I think one thing that's like kind of, of the moment right now is people are asking, is there any SOL sort of upper bounds. In terms of like, let's call, just call it context length for one for of a better word, but you can break it down however you like.Nader: Yeah.swyx: I just think like, well, yeah, I mean, like clearly you can engage in hybrid architectures and throw in some state space models in there.All, all you want, but it looks, still looks very attention heavy.Kyle: Yes. Uh, yeah. Long context is attention heavy. I mean, we have these hybrid models, um,swyx: to take and most, most models like cap out at a million contexts and that's it. Yeah. Like for the last two years has been it.Kyle: Yeah. The model hardware context co-design thing that we're seeing these days is actually super [00:44:00] interesting.It's like my, my passion, like my secret side passion. We see models like Kimmy or G-P-T-O-S-S. I'm use these because I, I know specific things about these models. So Kimmy two comes out, right? And it's an interesting model. It's like, like a deep seek style architecture is MLA. It's basically deep seek, scaled like a little bit differently, um, and obviously trained differently as well.But they, they talked about, why they made the design choices for context. Kimmy has more experts, but fewer attention heads, and I believe a slightly smaller attention, uh, like dimension. But I need to remember, I need to check that. Uh, it doesn't matter. But they discussed this actually at length in a blog post on ji, which is like our pu which is like credit puswyx: Yeah.Kyle: Um, in, in China. Chinese red.swyx: Yeah.Kyle: It's, yeah. So it, it's, it's actually an incredible blog post. Uh, like all the mls people in, in, in that, I've seen that on GPU are like very brilliant, but they, they talk about like the creators of Kimi K two [00:45:00] actually like, talked about it on, on, on there in the blog post.And they say, we, we actually did an experiment, right? Attention scales with the number of heads, obviously. Like if you have 64 heads versus 32 heads, you do half the work of attention. You still scale quadratic, but you do half the work. And they made a, a very specific like. Sort of barter in their system, in their architecture, they basically said, Hey, what if we gave it more experts, so we're gonna use more memory capacity.But we keep the amount of activated experts the same. We increase the expert sparsity, so we have fewer experts act. The ratio to of experts activated to number of experts is smaller, and we decrease the number of attention heads.Vibhu: And kind of for context, what the, what we had been seeing was you make models sparser instead.So no one was really touching heads. You're just having, uh,Kyle: well, they, they did, they implicitly made it sparser.Vibhu: Yeah, yeah. For, for Kimmy. They did,Kyle: yes.Vibhu: They also made it sparser. But basically what we were seeing was people were at the level of, okay, there's a sparsity ratio. You want more total parameters, less active, and that's sparsity.[00:46:00]But what you see from papers, like, the labs like moonshot deep seek, they go to the level of, okay, outside of just number of experts, you can also change how many attention heads and less attention layers. More attention. Layers. Layers, yeah. Yes, yes. So, and that's all basically coming back to, just tied together is like hardware model, co-design, which isKyle: hardware model, co model, context, co-design.Vibhu: Yeah.Kyle: Right. Like if you were training a, a model that was like. Really, really short context, uh, or like really is good at super short context tasks. You may like design it in a way such that like you don't care about attention scaling because it hasn't hit that, like the turning point where like the quadratic curve takes over.Nader: How do you consider attention or context as a separate part of the co-design? Like I would imagine hardware or just how I would've thought of it is like hardware model. Co-design would be hardware model context co-designKyle: because the harness and the context that is produced by the harness is a part of the model.Once it's trained in,Vibhu: like even though towards the end you'll do long context, you're not changing architecture through I see. Training. Yeah.Kyle: I mean you can try.swyx: You're saying [00:47:00] everyone's training the harness into the model.Kyle: I would say to some degree, orswyx: there's co-design for harness. I know there's a small amount, but I feel like not everyone has like gone full send on this.Kyle: I think, I think I think it's important to internalize the harness that you think the model will be running. Running into the model.swyx: Yeah. Interesting. Okay. Bash is like the universal harness,Kyle: right? Like I'll, I'll give. An example here, right? I mean, or just like a, like a, it's easy proof, right? If you can train against a harness and you're using that harness for everything, wouldn't you just train with the harness to ensure that you get the best possible quality out of,swyx: Well, the, uh, I, I can provide a counter argument.Yeah, sure. Which is what you wanna provide a generally useful model for other people to plug into their harnesses, right? So if youKyle: Yeah. Harnesses can be open, open source, right?swyx: Yeah. So I mean, that's, that's effectively what's happening with Codex.Kyle: Yeah.swyx: And, but like you may want like a different search tool and then you may have to name it differently or,Nader: I don't know how much people have pushed on this, but can you.Train a model, would it be, have you have people compared training a model for the for the harness versus [00:48:00] like post training forswyx: I think it's the same thing. It's the same thing. It's okay. Just extra post training. INader: see.swyx: And so, I mean, cognition does this course, it does this where you, you just have to like, if your tool is slightly different, um, either force your tool to be like the tool that they train for.Hmm. Or undo their training for their tool and then Oh, that's re retrain. Yeah. It's, it's really annoying and like,Kyle: I would hope that eventually we hit like a certain level of generality with respect to training newswyx: tools. This is not a GI like, it's, this is a really stupid like. Learn my tool b***h.Like, I don't know if, I don't know if I can say that, but like, you know, um, I think what my point kind of is, is that there's, like, I look at slopes of the scaling laws and like, this slope is not working, man. We, we are at a million token con

What's the actual difference between sensation and perception? And why does the MCAT test it so heavily?In this Jack Westin MCAT Podcast episode, Mike and Molly break down one of the most commonly confused topics in psych/soc: sensation vs. perception. They walk through the key definitions, thresholds, theories, and perceptual principles you need to know, all with real-world examples, MCAT applications, and even a few optical illusions to prove how easily your brain can be tricked.In this episode, you'll learn:

Absolute chaos on WFAN as Craig Carton goes on an all-time rant about the New York Jets bringing back Geno Smith. Carton says the move gives Jets fans PTSD, listing every quarterback who's started for the team since Geno was drafted, from Ryan Fitzpatrick to Aaron Rodgers, Zach Wilson, and even Mike White. His conclusion? Somehow the Jets are going right back to the beginning.

By Wendy Xu Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Gray's Youtube: https://www.youtube.com/channel/UC2NfSPGZ5OFcek6Baw3iQQw Join us on Friday Nights @ 7:15 PM EST on our Youtube channel https://www.youtube.com/@WeirdScienceComics when we do the Absolute show LIVE! YouTube: https://www.youtube.com/@WeirdScienceComics This Week's Patreon-Exclusive Spotlight Show is DC K.O. #5 & Batman #7 Listen to the Spotlight Podcast by signing up to our Patreon - https://www.patreon.com/weirdscience   FOLLOW WEIRD SCIENCE COMICS Twitter:  https://twitter.com/WeirdScienceDC  Patreon: https://www.patreon.com/weirdscience DC Comics Review Site: https://bit.ly/WeirdScienceDC Marvel Review Site: https://bit.ly/WeirdScienceMarvel   SUBSCRIBE TO WEIRD SCIENCE COMIC PODCASTS:  DC Comics Podcast iTunes - https://apple.co/47jNeme Spotify - https://spoti.fi/2XzDALI Stitcher - https://bit.ly/45XPtKS

In this bonus episode of BEYOND the Bifrost, the guys dive deep into the high-stakes chaos of the DC K.O. tournament! We break down Scott Snyder's "All-In" era, the mystery of King Omega, and how the Absolute Universe is reshaping the DC landscape.From Batman's shocking elimination and the scavenger hunt for Thor's Hammer, to the emotional battle between Joker vs. Jason Todd, we analyze the hits and misses of this blockbuster bracket. Plus, we discuss why Superman's final message of hope is exactly what the world needs.Check out PATREON: https://www.patreon.com/u65477484?utm_campaign=creatorshare_creatorCheck out INSTAGRAM: https://www.instagram.com/marvelthorpodcast?igsh=Nm15MjQ2dW10cXZ3&utm_source=qrCheck out DISCORD:https://discord.gg/DsKTVAmwuY

This Episode I recap The Philly Show. Massive attendance, huge sales, & big pickups. SCL S8E14

Steiny and Guru speak with Tampa Bay sports writer, Rick Stroud, who covers the Buccaneers spoke with the guys and gets into how much of a monster Mike Evans can be on the field. He shares how dynamic he can make this Niners offense and much more!

In the mire of the Absolute Universe, one character shines as a ray of hope. This week Your Generals read ABSOLUTE WONDER WOMAN. Check out all General Nerdery Presents... podcasts at www.gnpresents.com Email us at generalnerderypod@gmail.com

Sources:https://www.returntotradition.orgorhttps://substack.com/@returntotradition1Contact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+#popeleoXIV #catholicism #catholicchurch #catholicprophecy#infiltration

Met vandaag: Kader Abdolah over de oorlog in zijn geboorteland Iran | Oud-Oog-presentator en talkshowhost Jan Lenferink overleden | Hoe is het om de absolute meerderheid in de gemeenteraad te hebben? | Yasmin van Dorp trekt internationaal de aandacht met The Spectacle, haar afstudeerfilm over toerisme en het perfecte plaatje | Presentatie: Elisabeth Steinz 

 Join us as we explore the latest in sports card releases, personal updates, and upcoming plans, including a special focus on Topps 3 Basketball and Bowman's Best Baseball. This episode features lively banter, listener shout-outs, and insights into collecting and life transitions. Shout out to THE BREWER AND THE BAKER PODCAST for their AMAZING AD today!!  Check Out Our Other Content:  New Product Releases with Mrs. Doc - Every Wednesday

In this podcast, Bhante Sathi explores the Buddhist concept of truth, distinguishing between conventional truth, which depends on conditions and shared experiences, and absolute truth, which reflects the impermanent and non-self nature of reality. He explains how attachment to personal perspectives causes suffering and conflict, and how meditation helps us directly perceive the impermanent, conditioned nature of existence. Ultimately, understanding absolute truth allows one to live compassionately and peacefully within conventional life without being controlled by it.

Reflections from The Risale-Nur  a Qur'an commentary by Bediüzzaman Said NursiThe Words - The Tenth Word - First TruthDownload the Apps for the Collection hereYou can also read along on my YOUTUBE channelFor an excellent introduction read Exploring Islam: Theology and Spiritual Practice in America by Salih SayilganThe German version of this podcast is HEREMusic credits:  © "Uyan Ey Gözlerim" Duet Guitar And Ney, Vol.1 by Eyüp Hamiş

This week, we talk the excellent Martian Manhunter, Starfleet Academy gets an old character back, and break down Paramount winning the bid for Warner Bros. Discovery!https://www.editorsnotecomics.comhttps://www.patreon.com/editorsnotecomicsPop Culture News 5:20Weird Movie Facts 20:35Sports Report 24:50Star Trek: Starfleet Academy Season 1, Episode 8 31:25Absolute Martian Manhunter Vol. 1 38:25What Are Your Misheard Lyrics? 49:30

This week on the LU Moment, we with down with LU senior Adam Baeza to hear more about Red Beak Productions. For the full transcription of this episode, visit https://lamaru.us/lumomenttranscript.For updates on the latest news and events at Lamar University, visit lamar.edu/news.

One of the things we talk a lot about here at Family Teams is the idea of ASSETS over CAREERS. In other words, we've found it extremely beneficial in building family teams to find ways to build assets together - especially businesses. While it's not right for everyone, we think it's right for way more people than are currently doing it! Jeremy and Kristin Netting join us today to talk about how they've started building family assets, and it goes WAY beyond just "start a business". We're talking things like how to actually work with your family as a team, how to start training your kids young so they want to be involved, the power of local community and land, and how to navigate the cultural tension of "limiting" your kids' choices. Absolute must-listen if you're ready to break free from building another man's family assets and start building your own. On this episode, we talk about: 0:00 Intro 4:37 Rethinking assets and careers as a family team 14:06 Doing things together to get used to building as a team 21:06 Building legacy assets 25:56 Land and local community 29:38 Have a big family! -- Resources Mentioned: Free PDF on Building Family Assets: https://familyteams.com/assets/ Join The Family Teams Accelerator: https://familyteams.com/accelerator/ -- Follow Family Teams: Facebook: https://facebook.com/famteams Instagram: https://www.instagram.com/familyteams Website: https://www.familyteams.com -- Hi, welcome to the Family Teams podcast! Our goal here is to help your family become a multigenerational team on mission by providing you with Biblically rooted concepts, tools and rhythms! Your hosts are Jeremy Pryor and Jefferson Bethke. Make sure to subscribe on Apple, Spotify, or YouTube so you don't miss out on future episodes!

Welcome back comic fans! We have some HOT updates, theories, news, and rumors you need to know about this week...- Lanterns trailer is underwhelming...?- Absolute Scarecrow looks TERRIFYING because, of course lol!- Sony is rebooting their Spider-Man-less universe. WOW!- Flash gets a new suit that is simple and heroic!- Marvel relaunches What If? comic line!- Monarch: Legacy of Monsters reveals Titan X fighting Godzilla and Kong!- Sadie Sink HAS to be playing Jean Grey!- MUCH MORE!!

The Dadley Boyz review last night's episode of NXT and discuss...MAJOR NXT Vengeance Day developments!Joe Hendry CRASHES Ricky Saints' Absolute Experience!Sol Ruca gets PAYBACK!Myles Borne defends the North American Championship!Blake Monroe unleashes The Woman From Hell?!ENJOY!Follow us on Twitter:@AdamWilbourn@MichaelHamflett@MSidgwick@WhatCultureWWEFor more awesome content, check out: whatculture.com/wwe Hosted on Acast. See acast.com/privacy for more information.

The Dadley Boyz preview tonight's NXT and discuss...NXT Vengeance Day go-home show!Will Sol Ruca cost Zaria the NXT Women's Title?The Vanity Project vs. Hank, Tank & Shiloh Hill!WWE Women's Speed Tournament!Ricky Saints' Absolute Experience?!ENJOY!Follow us on Twitter:@AdamWilbourn@MSidgwick@MichaelHamflett@WhatCultureWWEFor more awesome content, check out: whatculture.com/wwe Hosted on Acast. See acast.com/privacy for more information.

It's the penultimate chapter of DC K.O. and the final four champions are put to the Absolute test! Who will be crowned King Omega in issue 4 by Snyder, Williamson, Fernandez, Xermanico and company! Also, we examine in detail the backup story featuring Darkseid and the Omega Legion. What will be the outcome for the future of the DC and Absolute Universes?! (47:24)

This is a truly harrowing experience of ego death from 4-HO-MET...

There's a ton to talk about from the weekend at large with college baseball; UCLA and Mississippi State went to an absolutely cinematic conclusion in Arlington, Oregon pulls out the win in another, and somehow, we find ourselves with plenty of questions heading into conference play! PLUS! We are joined by special guest Brandon Payne (X @bmoney831) of the Prospects Live team to chop up the weekend and the week to come.College Baseball Now is Prospects Live's official home for NCAA Baseball coverage. Whether through audio or video, your hosts and a rotating cast of their PL Amateur Scout Teammates and familiar names and faces from around the game join for authentic and intelligent conversations about what makes NCAA Baseball special.Follow us!Jake Bargery (X @JakeBarg)Josh Catlett (X / @JoshCatlett3)JB Sebastiano (X @jb_sebastiano)Drew Wheeler (X / Instagram / Bluesky @drewisokay)Prospects Live (X / Instagram / TikTok / Bluesky @prospectslive)

Gray's Youtube: https://www.youtube.com/channel/UC2NfSPGZ5OFcek6Baw3iQQw Join us on Friday Nights @ 7:15 PM EST on our Youtube channel https://www.youtube.com/@WeirdScienceComics when we do the Absolute show LIVE! YouTube: https://www.youtube.com/@WeirdScienceComics This Week's Patreon-Exclusive Spotlight Show is Absolute Martian Manhunter #9 Listen to the Spotlight Podcast by signing up to our Patreon - https://www.patreon.com/weirdscience   FOLLOW WEIRD SCIENCE COMICS Twitter:  https://twitter.com/WeirdScienceDC  Patreon: https://www.patreon.com/weirdscience DC Comics Review Site: https://bit.ly/WeirdScienceDC Marvel Review Site: https://bit.ly/WeirdScienceMarvel   SUBSCRIBE TO WEIRD SCIENCE COMIC PODCASTS:  DC Comics Podcast iTunes - https://apple.co/47jNeme Spotify - https://spoti.fi/2XzDALI Stitcher - https://bit.ly/45XPtKS

(London Insight Meditation)

Imagine if Bruce Wayne had no money, if Superman grew up on Krypton and came to Earth with emotional scars, or if Wonder Woman had been raised in Hell. Welcome to the Absolute Universe – a dark parallel universe created by DC Comics in 2024. The idea of a parallel universe is not new to comic books, but what is surprising has been the success of the Absolute Universe. Some of the Absolute versions of superheroes have been outselling the comics that take place in DC's mainline universe. I talk with Executive Editor Chris Conroy and Group Editor Katie Kubert about how they've overseen the team of artists and writers at DC crafting this dark universe with thematic parallels to our own world. And I talk with writer Kelly Thompson about how she came up with Absolute Wonder Woman and why the comic is resonating with so many fans. This episode is sponsored by Surfshark. Go to https://surfshark.com/worlds or use the code WORLDS at checkout to get 4 extra months of Surfshark VPN! To support the show, you can donate on Patreon where you get access to the ad-free version and our companion show Between Imaginary Worlds. You can also buy Imaginary Worlds merchandise at our online store. Learn more about your ad choices. Visit podcastchoices.com/adchoices