Podcast appearances and mentions of Darren Aronofsky

The reception to our recent post on Code Reviews has been strong. Catch up!Amid a maelstrom of discussion on whether or not AI is killing SaaS, one of the top publicly listed SaaS companies in the world has just reported record revenues, clearing well over $1.1B in ARR for the first time with a 28% margin. As we comment on the pod, Aaron Levie is the rare public company CEO equally at home in both worlds of Silicon Valley and Wall Street/Main Street, by day helping 70% of the Fortune 500 with their Enterprise Advanced Suite, and yet by night is often found in the basements of early startups and tweeting viral insights about the future of agents.Now that both Cursor, Cloudflare, Perplexity, Anthropic and more have made Filesystems and Sandboxes and various forms of “Just Give the Agent a Box” cool (not just cool; it is now one of the single hottest areas in AI infrastructure growing 100% MoM), we find it a delightfully appropriate time to do the episode with the OG CEO who has been giving humans and computers Boxes since he was a college dropout pitching VCs at a Michael Arrington house party.Enjoy our special pod, with fan favorite returning guest/guest cohost Jeff Huber!Note: We didn't directly discuss the AI vs SaaS debate - Aaron has done many, many, many other podcasts on that, and you should read his definitive essay on it. Most commentators do not understand SaaS businesses because they have never scaled one themselves, and deeply reflected on what the true value proposition of SaaS is.We also discuss Your Company is a Filesystem:We also shoutout CTO Ben Kus' and the AI team, who talked about the technical architecture and will return for AIE WF 2026.Full Video EpisodeTimestamps* 00:00 Adapting Work for Agents* 01:29 Why Every Agent Needs a Box* 04:38 Agent Governance and Identity* 11:28 Why Coding Agents Took Off First* 21:42 Context Engineering and Search Limits* 31:29 Inside Agent Evals* 33:23 Industries and Datasets* 35:22 Building the Agent Team* 38:50 Read Write Agent Workflows* 41:54 Docs Graphs and Founder Mode* 55:38 Token FOMO Culture* 56:31 Production Function Secrets* 01:01:08 Film Roots to Box* 01:03:38 AI Future of Movies* 01:06:47 Media DevRel and EngineeringTranscriptAdapting Work for AgentsAaron Levie: Like you don't write code, you talk to an agent and it goes and does it for you, and you may be at best review it. That's even probably like, like largely not even what you're doing. What's happening is we are changing our work to make the agents effective. In that model, the agent didn't really adapt to how we work.We basically adapted to how the agent works. All of the economy has to go through that exact same evolution. Right now, it's a huge asset and an advantage for the teams that do it early and that are kinda wired into doing this ‘cause you'll see compounding returns. But that's just gonna take a while for most companies to actually go and get this deployed.swyx: Welcome to the Lane Space Pod. We're back in the chroma studio with uh, chroma, CEO, Jeff Hoover. Welcome returning guest now guest host.Aaron Levie: It's a pleasure. Wow. How'd you get upgraded to, uh, to that?swyx: Because he's like the perfect guy to be guest those for you.Aaron Levie: That makes sense actually, for We love context. We, we both really love context le we really do.We really do.swyx: Uh, and we're here with, uh, Aaron Levy. Welcome.Aaron Levie: Thank you. Good to, uh, good to be [00:01:00] here.swyx: Uh, yeah. So we've all met offline and like chatted a little bit, but like, it's always nice to get these things in person and conversation. Yeah. You just started off with so much energy. You're, you're super excited about agents.I loveAaron Levie: agents.swyx: Yeah. Open claw. Just got by, got bought by OpenAI. No, not bought, but you know, you know what I mean?Aaron Levie: Some, some, you know, acquihire. Executiveswyx: hire.Aaron Levie: Executive hire. Okay. Executive hire. Say,swyx: hey, that's my term. Okay. Um, what are you pounding the table on on agents? You have so many insightful tweets.Why Every Agent Needs a BoxAaron Levie: Well, the thing that, that we get super excited by that I think is probably, you know, should be relatively obvious is we've, we've built a platform to help enterprises manage their files and their, their corporate files and the permissions of who has access to those files and the sharing collaboration of those files.All of those files contain really, really important information for the enterprise. It might have your contracts, it might have your research materials, it might have marketing information, it might have your memos. All that data obviously has, you know, predominantly been used by humans. [00:02:00] But there's been one really interesting problem, which is that, you know, humans only really work with their files during an active engagement with them, and they kind of go away and you don't really see them for a long time.And all of a sudden, uh, with the power of AI and AI agents, all of that data becomes extremely relevant as this ongoing source of, of answers to new questions of data that will transform into, into something else that, that produces value in your organization. It, it contains the answer to the new employee that's onboarding, that needs to ramp up on a project.Um, it contains the answer to the right thing to sell a customer when you're having a conversation to them, with them contains the roadmap information that's gonna produce the next feature. So all that data. That previously we've been just sort of storing and, and you know, occasionally forgetting about, ‘cause we're only working on the new active stuff.All of that information becomes valuable to the enterprise and it's gonna become extremely valuable to end users because now they can have agents go find what they're looking for and produce new, new [00:03:00] value and new data on that information. And it's gonna become incredibly valuable to agents because agents can roam around and do a bunch of work and they're gonna need access to that data as well.And um, and you know, sometimes that will be an agent that is sort of working on behalf of, of, of you and, and effectively as you as and, and they are kind of accessing all of the same information that you have access to and, and operating as you in the system. And then sometimes there's gonna be agents that are just.Effectively autonomous and kind of run on their own and, and you're gonna collaborate and work with them kind of like you did another person. Open Claw being the most recent and maybe first real sort of, you know, kind of, you know, up updating everybody's, you know, views of this landscape version of, of what that could look like, which is, okay, I have an agent.It's on its own system, it's on its own computer, it has access to its own tools. I probably don't give it access to my entire life. I probably communicate with it like I would an assistant or a colleague and then it, it sort of has this sandbox environment. So all of that has massive implications for a platform that manage that [00:04:00] enterprise data.We think it's gonna just transform how we work with all of the enterprise content that we work with, and we just have to make sure we're building the right platform to support that.swyx: The sort of shorthand I put it is as people build agents, everybody's just realizing that every agent needs a box. Yes.And it's nice to be called box and just give everyone a box.Aaron Levie: Hey, I if I, you know, if we can make that go viral, uh, like I, I think that that terminology, I, that's theswyx: tagline. Every agentAaron Levie: needs a box. Every agent needs a box. If we can make that the headline of this, I'm fine with this. And that's the billboard I wanna like Yeah, exactly.Every agent needs a box. Um, I like it. Can we ship this? Like,swyx: okay, let's do it. Yeah.Aaron Levie: Uh, my work here is done and I got the value I needed outta this podcast Drinks.swyx: Yeah.Agent Governance and IdentityAaron Levie: But, but, um, but, but, you know, so the thing that we, we kind of think about is, um, is, you know, whether you think the number 10 x or a hundred x or whatever the number is, we're gonna have some order of magnitude more agents than people.That's inevitable. It has to happen. So then the question is, what is the infrastructure that's needed to make all those agents effective in the enterprise? Make sure that they are well governed. Make sure they're only doing [00:05:00] safe things on your information. Make sure that they're not getting exposed. The data that they shouldn't have access to.There's gonna be just incredibly spectacularly crazy security incidents that will happen with agents because you'll prompt, inject an agent and sort of find your way through the CRM system and pull out data that you shouldn't have access to. Oh, weJeff Huber: have God,Aaron Levie: right? I mean, that's just gonna happen all over the place, right?So, so then the thing is, is how do you make sure you have the right security, the permissions, the access controls, the data governance. Um, we actually don't yet exactly know in many cases how we're gonna regulate some of these agents, right? If you think about an agent in financial services, does it have the exact same financial sort of, uh, requirements that a human did?Or is it, is the risk fully on the human that was interacting or created the agent? All open questions, but no matter what, there's gonna need to be a layer that manages the, the data they have access to, the workflows that they're involved in, pulling up data from multiple systems. This is the new infrastructure opportunity in the era of agents.swyx: You have a piece on agent identities, [00:06:00] which I think was today, um, which I think a lot of breaking news, the security, security people are talking about, right? Like you basically, I, I always think of this as like, well you need the human you and then there you need the agent. YouAaron Levie: Yes.swyx: And uh, well, I don't know if it's that simple, but is box going to have an opinion on that or you're just gonna be like, well we're just the sort of the, the source layer.Yeah. Let's Okta of zero handle that.Aaron Levie: I think we're gonna have an opinion and we will work with generally wherever the contours of the market end up. Um, and the reason that we're gonna have an opinion more than other topics probably is because one of the biggest use cases for why your agent might need it, an identity is for file system access.So thus we have to kind of think about this pretty deeply. And I think, uh, unless you're like in our world thinking about this particular problem all day long, it might be, you know, like, why is this such a big deal? And the reason why it's a really big deal is because sometimes sort of say, well just give the agent an, an account on the system and it just treats, treat it like every other type of user on the system.The [00:07:00] problem is, is that I as Aaron don't really have any responsibility over anybody else's box account in our organization. I can't see the box account of any other employee that I work with. I am not liable for anything that they do. And they have, I have, I have, you know, strict privacy requirements on everything that they're able to, you know, that, that, that they work on.Agents don't have that, you know, don't have those properties. The person who creates the agent probably is gonna, for the foreseeable future, take on a lot of the liability of what that agent does. That agent doesn't deserve any privacy because, because it's, you know, it can't fully be autonomously operated and it doesn't have any legal, you know, kind of, you know, responsibility.So thus you can't just be like, oh, well I'll just create a bunch of accounts and then I'll, I'll kind of work with that agent and I'll talk to it occasionally. Like you need oversight of that. And so then the question is, how do you have a world where the agent, sometimes you have oversight of, but what if that agent goes and works with other people?That person over there is collaborating with the agent on something you shouldn't have [00:08:00] access to what they're doing. So we have all of these new boundaries that we're gonna have to figure out of, of, you know, it's really, really easy. So far we've been in, in easy mode. We've hit the easy button with ai, which is the agent just is you.And when you're in quad code and you're in cursor, and you're in Codex, you're just, the agent is you. You're offing into your services. It can do everything you can do. That's the easy mode. The hard mode is agents are kind of running on their own. People check in with them occasionally, they're doing things autonomously.How do you give them access to resources in the enterprise and not dramatically increased the security risk and the risk that you might expose the wrong thing to somebody. These are all the new problems that we have to get solved. I like the identity layer and, and identity vendors as being a solution to that, but we'll, we'll need some opinions as well because so many of the use cases are these collaborative file system use cases, which is how do I give it an agent, a subset of my data?Give it its own workspace as well. ‘cause it's gonna need to store off its own information that would be relevant for it. And how do I have the right oversight into that? [00:09:00]Jeff Huber: One thing, which, um, I think is kind interesting, think about is that you know, how humans work, right? Like I may not also just like give you access to the whole file.I might like sit next to you and like scroll to this like one part of the file and just show you that like one part and like, you know,swyx: partial file access.Jeff Huber: I'm just saying I think like our, like RA does seem to be dead, right? Like you wanna say something is dead uhhuh probably RA is dead. And uh, like the auth story to me seems like incredibly unsolved and unaddressed by like the existing state of like AI vendors.ButAaron Levie: yeah, I think, um, we're, I mean you're taking obviously really to level limit that we probably need to solve for. Yeah. And we built an access control system that was, was kind of like, you know, its own little world for, for a long time. And um, and the idea was this, it's a many to many collaboration system where I can give you any part of the file system.And it's a waterfall model. So if I give you higher up in the, in the, in the system, you get everything below. And that, that kind of created immense flexibility because I can kind of point you to any layer in the, in the tree, but then you're gonna get access to everything kind of below it. And that [00:10:00] mostly is, is working in this, in this world.But you do have to manage this issue, which is how do I create an agent that has access to some of my stuff and somebody else's stuff as well. Mm-hmm. And which parts do I get to look at as the creator of the agent? And, and these are just brand new problems? Yeah. Crazy. And humans, when there was a human there that was really easy to do.Like, like if the three of us were all sharing, there'd be a Venn diagram where we'd have an overlapping set of things we've shared, but then we'd have our own ways that we shared with each other. In an agent world, somebody needs to take responsibility for what that agent has access to and what they're working on.These are like the, some of the most probably, you know, boring problems for 98% of people on, on the internet, but they will be the problems that are the difference between can you actually have autonomous agents in an enterprise contextswyx: Yeah.Aaron Levie: That are not leaking your data constantly.swyx: No. Like, I mean, you know, I run a very, very small company for my conference and like we already have data sensitivity issues.Yes. And some of my team members cannot see Yes. Uh, the others and like, I can't imagine what it's like to run a Fortune 500 and like, you have to [00:11:00] worry about this. I'm just kinda curious, like you, you talked to a lot like, like 70, 80% of your cus uh, of the Fortune 500, your customers.Aaron Levie: Yep. 67%. Just so we're being verySEswyx: precise.So Yeah. I'm notAaron Levie: Okay. Okay.swyx: Something I'm rounding up. Yes. Round up. I'm projecting to, forAaron Levie: the government.swyx: I'm projecting to the end of the year.Aaron Levie: Okay.swyx: There you go.Aaron Levie: You do make it sound like, like we, we, well we've gotta be on this. Like we're, we're taking way too long to get to 80%. Well,swyx: no, I mean, so like. How are they approaching it?Right? Because you're, you don't have a, you don't have a final answer yet.Why Coding Agents Took Off FirstAaron Levie: Well, okay, so, so this is actually, this is the stark reality that like, unfortunately is the kinda like pouring the water on the party a little bit.swyx: Yes.Aaron Levie: We all in Silicon Valley are like, have the absolute best conditions possible for AI ever.And I think we all saw the dke, you know, kind of Dario podcast and this idea of AI coding. Why is that taken off? And, and we're not yet fully seeing it everywhere else. Well, look, if you just like enumerated the list of properties that AI coding has and then compared it to other [00:12:00] knowledge work, let's just, let's just go through a few of them.Generally speaking, you bring on a new engineer, they have access to a large swath of the code base. Like, there's like very, like you, just, like new engineer comes on, they can just go and find the, the, the stuff that they, they need to work with. It's a fully text in text out. Medium. It's only, it's just gonna be text at the end of the day.So it's like really great from a, from just a, uh, you know, kinda what the agent can work with. Obviously the models are super trained on that dataset. The labs themselves have a really strong, kind of self-reinforcing positive flywheel of why they need to do, you know, agent coding deeply. So then you get just better tooling, better services.The actual developers of the AI are daily users of the, of the thing that they're we're working on versus like the, you know, probably there's only like seven Claude Cowork legal plugin users at Anthropic any given day, but there's like a couple thousand Claude code and you know, users every single day.So just like, think about which one are they getting more feedback on. All day long. So you just go through this list. You have a, you know, everybody who's a [00:13:00] developer by definition is technical so they can go install the latest thing. We're all generally online, or at least, you know, kinda the weird ones are, and we're all talking to each other, sharing best practices, like that's like already eight differences.Versus the rest of the economy. Every other part of the economy has like, like six to seven headwinds relative to that list. You go into a company, you're a banker in financial services, you have access to like a, a tiny little subset of the total data that's gonna be relevant to do your job. And you're have to start to go and talk to a bunch of people to get the right data to do your job because Sally didn't add you to that deal room, you know, folder.And that that, you know, the information is actually in a completely different organization that you now have to go in and, and sort of run into. And it's like you have this endless list of access controls and security. As, as you talked about, you have a medium, which is not, it's not just text, right? You have, you have a zoom call that, that you're getting all of the requirements from the customer.You have a lot of in-person conversations and you're doing in-person sales and like how do you ever [00:14:00] digitize all of that information? Um, you know, I think a lot of people got upset with this idea that the code base has all the context, um, that I don't know if you follow, you know, did you follow some of that conversation that that went viral?Is like, you know, it's not that simple that, that the code base doesn't have all the knowledge, but like it's a lot, you're a lot better off than you are with other areas of knowledge work. Like you, we like, we like have documentation practices, you write specifications. Those things don't exist for like 80% of work that happens in the enterprise.That's the divide that we have, which is, which is AI coding has, has just fully, you know, where we've reached escape velocity of how powerful this stuff is, and then we're gonna have to find a way to bring that same energy and momentum, but to all these other areas of knowledge work. Where the tools aren't there, the data's not set up to be there.The access controls don't make it that easy. The context engineering is an incredibly hard problem because again, you have access control challenges, you have different data formats. You have end users that are gonna need to kind of be kind of trained through this as opposed to their adopting [00:15:00] these tools in their free time.That's where the Fortune 500 is. And so we, I think, you know, have to be prepared as an industry where we are gonna be on a multi-year march to, to be able to bring agents to the enterprise for these workflows. And I think probably the, the thing that we've learned most in coding that, that the rest of the world is not yet, I think ready for, I mean, we're, they'll, they'll have to be ready for it because it's just gonna inevitably happen is I think in coding.What, what's interesting is if you think about the practice of coding today versus two years ago. It's probably the most changed workflow in maybe the history of time from the amount of time it's changed, right? Yeah. Like, like has any, has any workflow in the entire economy changed that quickly in terms of the amount of change?I just, you know, at least in any knowledge worker workflow, there's like very rarely been an event where one piece of technology and work practice has so fundamentally, you know, changed, changed what you do. Like you don't write code, you talk to an agent and it goes and [00:16:00] does it for you, and you may be at best review it.And even that's even probably like, like largely not even what you're doing. What's happening is we are changing our work to make the agents effective. In that model, the agent didn't really adapt to how we work. We basically adapted to how the agent works. Mm-hmm. All of the economy has to go through that exact same evolution.The rest of the economy is gonna have to update its workflows to make agents effective. And to give agents the context that they need and to actually figure out what kind of prompting works and to figure out how do you ensure that the agent has the right access to information to be able to execute on its work.I, you know, this is not the panacea that people were hoping for, of the agent drops in, just automates your life. Like you have to basically re-engineer your workflow to get the most out of agents and, uh, and that, that's just gonna take, you know, multiple years across the economy. Right now it's a huge asset and an advantage for the teams that do it early and that are kinda wired into doing this.‘cause [00:17:00] you'll see compounding returns, but that's just gonna take a while for most companies to actually go and get this deployed.swyx: I love, I love pushing back. I think that. That is what a lot of technology consultants love to hear this sort of thing, right? Yeah, yeah, yeah. First to, to embrace the ai. Yes. To get to the promised land, you must pay me so much money to a hundred percent to adopt the prescribed way of, uh, conforming to the agents.Yes. And I worry that you will be eclipsed by someone else who says, no, come as you are.Aaron Levie: Yeah.swyx: And we'll meet you where you are.Aaron Levie: And, and, and and what was the thing that went viral a week ago? OpenAI probably, uh, is hiring F Dees. Yeah. Uh, to go into the enterprise. Yeah. Yeah. And then philanthropic is embedded at Goldman Sachs.Yeah. So if the labs are having to do this, if, if the labs have decided that they need to hire FDE and professional services, then I think that's a pretty clear indication that this, there's no easy mode of workflow transformation. Yeah. Yeah. So, so to your point, I think actually this is a market opportunity for, you know, new professional services and consulting [00:18:00] firms that are like Agent Build and they, and they kind of, you know, go into organizations and they figure out how to re-engineer your workflows to make them more agent ready and get your data into the right format and, you know, reconstruct your business process.So you're, you're not doing most of the work. You're telling agents how to do the work and then you're reviewing it. But I haven't seen the thing that can just drop in and, and kinda let you not go through those changes.swyx: I don't know how that kind of sales pitch goes over. Yeah. You know, you're, you're saying things like, well, in my sort of nice beautiful walled garden, here's, there's, uh, because here's this, here's this beautiful box account that has everything.Yes. And I'm like, well, most, most real life is extremely messy. Sure. And like, poorly named and there duplicate this outdated s**tAaron Levie: a hundred percent. And so No, no, a hundred percent. And so this is actually No. So, so this is, I mean, we agree that, that getting to the beautiful garden is gonna be tough.swyx: Yeah.Aaron Levie: There's also the other end of the spectrum where I, I just like, it's a technical impossibility to solve. The agent is, is truly cannot get enough context to make the right decision in, in the, in the incredibly messy land. Like there's [00:19:00] no a GI that will solve that. So, so we're gonna have to kind of land in somewhere in between, which is like we all collectively get better at.Documentation practices and, and having authoritative relatively up-to-date information and putting it in the right place like agents will, will certainly cause us to be much better organized around how we work with our information, simply because the severity of the agent pulling the wrong data will be too high and the productivity gain of that you'll miss out on by not doing this will be too high as well, that you, that your competition will just do it and they'll just have higher velocity.So, uh, and, and we, we see this a lot firsthand. So we, we build a series of agents internally that they can kind of have access to your full box account and go off and you give it a task and it can go find whatever information you're looking for and work with. And, you know, thank God for the model progress, but like, if, if you gave that task to an agent.Nine months ago, you're just gonna get lots of bogus answers because it's gonna, it's gonna say, Hey, here's, here are fi [00:20:00] five, you know, documents that all kind of smell like the right thing. And I'm gonna, but I, but you're, you're putting me on the clock. ‘cause my assistant prompt says like, you know, be pretty smart, but also try and respond to the user and it's gonna respond.And it's like, ah, it got the wrong document. And then you do that once or twice as a knowledge worker and you're just neverswyx: again,Aaron Levie: never again. You're just like done with the system.swyx: Yeah. It doesn't work.Aaron Levie: It doesn't work. And so, you know, Opus four six and Gemini three one Pro and you know, whatever the latest five 3G BT will be, like, those things are getting better and better and it's using better judgment.And this sort of like the, all of these updates to the agentic tool and search systems are, are, we're seeing, we're seeing very real progress where the agent. Kind of can, can almost smell some things a little bit fishy when it's getting, you know, we, we have this process where we, we have it go fan out, do a bunch of searches, pull up a bunch of data, and then it has to sort of do its own ranking of, you know, what are the right documents that, that it should be working with.And again, like, you know, the intelligence level of a model six months ago, [00:21:00] it'd be just throwing a dart at like, I'm just, I'm gonna grab these seven files and I, I pray, I hope that that's the right answer. And something like an opus first four five, and now four six is like, oh, it's like, no, that one doesn't seem right relative to this question because I'm seeing some signal that is making that, you know, that's contradicting the document where it would normally be in the tree and who should have access.Like it's doing all of that kind of work for you. But like, it still doesn't work if you just have a total wasteland of data. Like, it's just not, it's just not possible. Partly ‘cause a human wouldn't even be able to do it. So basically if a, if a really, really smart human. Could not do that task in five or 10 minutes for a search retrieval type task.Look, you know, your agent's not gonna be able to do it any better. You see this all day long. SoContext Engineering and Search Limitsswyx: this touches on a thing that just passionate about it was just context engineering. I, I'm just gonna let you ramble or riff on, on context engineering. If, if, if there's anything like he, he did really good work on context fraud, which has really taken over as like the term that people use and the referenceAaron Levie: a hundred percent.We, we all we think about is, is the context rob problem. [00:22:00]Jeff Huber: Yeah, there's certainly a lot of like ranking considerations. Gentech surgery think is incredibly promising. Um, yeah, I was trying to generate a question though. I think I have a question right now. Swyx.Aaron Levie: Yeah, no, but like, like I think there was this moment, um, you know, like, I don't know, two years ago before, before we knew like where the, the gotchas were gonna be in ai and I think someone was like, was like, well, infinite context windows will just solve all of these problems and ‘cause you'll just, you'll just give the context window like all the data and.It's just like, okay, I mean, maybe in 2035, like this is a viable solution. First of all, it, it would just, it would just simply cost too much. Like we just can't give the model like the 5,000 documents that might be relevant and it's gonna read them all. And I've seen enough to, to start believing in crazy stuff.So like, I'm willing to just say, sure. Like in, in 10 years from now,swyx: never say, never, never.Aaron Levie: In, in 10 years from now, we'll have infinite context windows at, at a thousandth of the price of today. Like, let's just like believe that that's possible, but Right. We're in reality today. So today we have a context engineering [00:23:00] problem, which is, I got, I got, you know, 200,000 tokens that I can work with, or prob, I don't even know what the latest graph is before, like massive degradation.16. Okay. I have 60,000 tokens that I get to work with where I'm gonna get accurate information. That's not a lot of tokens for a corpus of 10 million documents that a knowledge worker might have across all of the teams and all the projects and all the people they work with. I have, I have 10 million documents.Which, you know, maybe is times five pages per document or something like that. I'm at 50 million pages of information and I have 60,000 tokens. Like, holy s**t. Yeah. This is like, how do I bridge the 50 million pages of information with, you know, the couple hundred that I get to work with in that, in that token window.Yeah. This is like, this is like such an interesting problem and that's why actually so much work is actually like, just like search systems and the databases and that layer has to just get so locked in, but models getting better and importantly [00:24:00] knowing when they've done a search, they found the wrong thing, they go back, they check their work, they, they find a way to balance sort of appeasing the user versus double checking.We have this one, we have this one test case where we ask the agent to go find. 10 pieces of information.swyx: Is this the complex work eval?Aaron Levie: Uh, this is actually not in the eval. This is, this is sort of just like we have a bunch of different, we have a bunch of internal benchmark kind of scenarios. Every time we, we update our agent, we have one, which is, I ask it to find all of our office addresses, and I give it the list of 10 offices that we have.And there's not one document that has this, maybe there should be, that would be a great example of the kind of thing that like maybe over time companies start to, you know, have these sort of like, what are the canonical, you know, kind of key areas of knowledge that we need to have. We don't seem to have this one document that says, here are all of our offices.We have a bunch of documents that have like, here's the New York office and whatever. So you task this agent and you, you get, you say, I need the addresses for these 10 offices. Okay. And by the way, if you do this on any, you know, [00:25:00] public chat model, the same outcome is gonna happen. But for a different kind of query, you give it, you say, I need these 10 addresses.How many times should the agent go and do its search before it decides whether or not, there's just no answer to this question. Often, and especially the, the, let's say lower tier models, it'll come back and it'll give you six of the 10 addresses. And it'll, and I'll just say I couldn't find the otherswyx: four.It, it doesn't know what It doesn't know. ItAaron Levie: doesn't know what It doesn't know. Yeah. So the model is just like, like when should it stop? When should it stop doing? Like should it, should it do that task for literally an hour and just keep cranking through? Maybe I actually made up an office location and it doesn't know that I made it up and I didn't even know that I made it up.Like, should it just keep, re should it read every single file in your entire box account until it, until it should exhaust every single piece of information.swyx: Expensive.Aaron Levie: These are the new problems that we have. So, you know, something like, let's say a new opus model is sort of like, okay, I'm gonna try these types of queries.I didn't get exactly what I wanted. I'm gonna try again. I'm gonna, at [00:26:00] some point I'm gonna stop searching. ‘cause I've determined that that no amount of searching is gonna solve this problem. I'm just not able to do it. And that judgment is like a really new thing that the model needs to be able to have.It's like, when should it give up on a task? ‘cause, ‘cause you just don't, it's a can't find the thing. That's the real world of knowledge, work problems. And this is the stuff that the coding agents don't have to deal with. Because they, it just doesn't like, like you're not usually asking it about, you're, you're always creating net new information coming right outta the model for the most part.Obviously it has to know about your code base and your specs and your documentation, but, but when you deploy an agent on all of your data that now you have all of these new problems that you're dealing withJeff Huber: our, uh, follow follow-up research to context ride is actually on a genetic search. Ah. Um, and we've like right, sort of stress tested like frontier models and their ability to search.Um, and they're not actually that good at searching. Right. Uh, so you're sort of highlighting this like explore, exploit.swyx: You're just say, Debbie, Donna say everything doesn't work. Like,Aaron Levie: well,Jeff Huber: somebody has to be,Aaron Levie: um, can I just throw out one more thing? Yeah. That is different from coding and, and the rest [00:27:00] of the knowledge work that I, I failed to mention.So one other kind of key point is, is that, you know, at the end of the day. Whether you believe we're in a slop apocalypse or, or whatever. At the end of the day, if you, if you build a working product at the end of, if you, if you've built a working solution that is ultimately what the customer is paying for, like whether I have a lot of slop, a little slop or whatever, I'm sure there's lots of code bases we could go into in enterprise software companies where it's like just crazy slop that humans did over a 20 year period, but the end customer just gets this little interface.They can, they can type into it, it does its thing. Knowledge work, uh, doesn't have that property. If I have an AI model, go generate a contract and I generate a contract 20 times and, you know, all 20 times it's just 3% different and like that I, that, that kind of lop introduces all new kinds of risk for my organization that the code version of that LOP didn't, didn't introduce.These are, and so like, so how do you constrain these models to just the part that you want [00:28:00] them to work on and just do the thing that you want them to do? And, and, you know, in engineering, we don't, you can't be disbarred as an engineer, but you could be disbarred as a lawyer. Like you can do the wrong medical thing In healthcare, you, there's no, there's no equivalent to that of engineering.Like, doswyx: you want there to be, because I've considered softwareJeff Huber: engineer. What's that? Civil engineering there is, right? NotAaron Levie: software civil engineer. Sure. Oh yeah, for sure. But like in any of our companies, you like, you know, you'll be forgiven if you took down the site and, and we, we will do a rollback and you'll, you'll be in a meeting, but you have not been disbarred as an engineer.We don't, we don't change your, you know, your computer science, uh, blameJeff Huber: degree, this postmortem.Aaron Levie: Yeah, exactly. Exactly. So, so, uh, now maybe we collectively as an industry need to figure out like, what are you liable for? Not legally, but like in a, in a management sense, uh, of these agents. All sorts of interesting problems that, that, that, uh, that have to come out.But in knowledge work, that's the real hostile environments that we're operating in. Hmm.swyx: I do think like, uh, a lot of the last year's, 2025 story was the rise of coding agents and I think [00:29:00] 2026 story is definitely knowledge work agents. Yes. A hundredAaron Levie: percent.swyx: Right. Like that would, and I think open claw core work are just the beginning.Yes. Like it's, the next one's gonna just gonna be absolute craziness.Aaron Levie: It it is. And, and, uh, and it's gonna be, I mean, again, like this is gonna be this, this wave where we, we are gonna try and bring as many of the practices from coding because that, that will clearly be the forefront, which is tell an agent to go do something and has an access to a set of resources.You need to be responsible for reviewing it at the end of the process. That to me is the, is the kind of template that I just think goes across knowledge, work and odd. Cowork is a great example. Open Closet's a great example. You can kind of, sort of see what Codex could become over time. These are some, some really interesting kind of platforms that are emerging.swyx: Okay. Um, I wanted to, we touched on evals a little bit. You had, you had the report that you're gonna go bring up and then I was gonna go into like, uh, boxes, evals, but uh, go ahead. Talk about your genetic search thing.Jeff Huber: Yeah. Mostly I think kinda a few of the insights. It's like number one frontier model is not good at search.Humans have this [00:30:00] natural explore, exploit trade off where we kinda understand like when to stop doing something. Also, humans are pretty good at like forgetting actually, and like pruning their own context, whereas agents are not, and actually an agent in their kind of context history, if they knew something was bad and they even, you could see in the trace the reason you trace, Hey, that probably wasn't a good idea.If it's still in the trace, still in the context, they'll still do it again. Uhhuh. Uh, and so like, I think pruning is also gonna be like, really, it's already becoming a thing, right? But like, letting self prune the con windowsswyx: be a big deal. Yeah. So, so don't leave the mistake. Don't leave the mistake in there.Cut out the mistake but tell it that you made a mistake in the past and so it doesn't repeat it.Jeff Huber: Yeah. But like cut it out so it doesn't get like distracted by it again. ‘cause really, you know, what is so, so it will repeat its mistake just because it's been, it's inswyx: theJeff Huber: context. It'sAaron Levie: in the context so much.That's a few shot example. Even if it, yeah.Jeff Huber: It's like oh thisAaron Levie: is a great thing to go try even ifJeff Huber: it didn't work.Aaron Levie: Yeah,Jeff Huber: exactly.Aaron Levie: SoJeff Huber: there's like a bunch of stuff there. JustAaron Levie: Groundhogs Day inside these models. Yeah. I'm gonna go keep doing the same wrongJeff Huber: thing. Covering sense. I feel like, you know, some creator analogy you're trying like fit a manifold in latent space, which kind is doing break program synthesis, which is kinda one we think about we're doing right.Like, you know, certain [00:31:00] facts might be like sort of overly pitting it. There are certain, you know, sec sectors of latent space and so like plug clean space. Yeah. And, uh, andswyx: so we have a bell, our editor as a bell every time you say that. SoJeff Huber: you have, you have to like remove those, likeswyx: you shoulda a gong like TPN or something.IfJeff Huber: we gong, you either remove those links to like kinda give it the freedom, kind of do what you need to do. So, but yeah. We'll, we'll release more soon. That'sAaron Levie: awesome.Jeff Huber: That'll, that'll be cool.swyx: We're a cerebral podcast that people listen to us and, and sort of think really deep. So yeah, we try to keep it subtle.Okay. We try to keep it.Aaron Levie: Okay, fine.Inside Agent Evalsswyx: Um, you, you guys do, you guys do have EVs, you talked about your, your office thing, but, uh, you've been also promoting APEX agents and complex work. Uh, yeah, whatever you, wherever you wanna take this just Yeah. How youAaron Levie: Apex is, is obviously me, core's, uh, uh, kind of, um, agent eval.We, we supported that by sort of. Opening up some data for them around how we kind of see these, um, data workspaces in, in the, you know, kind of regular economy. So how do lawyers have a workspace? How do investment bankers have a workspace? What kind of data goes into those? And so we, [00:32:00] we partner with them on their, their apex eval.Our own, um, eval is, it's actually relatively straightforward. We have a, a set of, of documents in a, in a range of industries. We give the agent previously did this as a one shot test of just purely the model. And then we just realized we, we need to, based on where everything's going, it's just gotta be more agentic.So now it's a bit more of a test of both our harness and the model. And we have a rubric of a set of things that has to get right and we score it. Um, and you're just seeing, you know, these incredible jumps in almost every single model in its own family of, you know, opus four, um, you know, sonnet four six versus sonnet four five.swyx: Yeah. We have this up on screen.Aaron Levie: Okay, cool. So some, you're seeing it somewhere like. I, I forget the to, it was like 15 point jump, I think on the main, on the overall,swyx: yes.Aaron Levie: And it's just like, you know, these incredible leaps that, that are starting to happen. Um,swyx: and OP doesn't know any, like any, it's completely held out from op.Aaron Levie: This is not in any, there's no public data which has, you know, Ben benefits and this is just a private eval that we [00:33:00] do, and then we just happen to show it to, to the world. Hmm. So you can't, you can't train against it. And I think it's just as representative of. It's obviously reasoning capabilities, what it's doing at, at, you know, kind of test time, compute capabilities, thinking levels, all like the context rot issues.So many interesting, you know, kind of, uh, uh, capabilities that are, that are now improvingswyx: one sector that you have. That's interesting.Industries and Datasetsswyx: Uh, people are roughly familiar with healthcare and legal, but you have public sector in there.Aaron Levie: Yeah.swyx: Uh, what's that? Like, what, what, what is that?Aaron Levie: Yeah, and, and we actually test against, I dunno, maybe 10 industries.We, we end up usually just cutting a few that we think have interesting gains. All extras, won a lot of like government type documents. Um,swyx: what is that? What is it? Government type documents?Aaron Levie: Government filings. Like a taxswyx: return, likeAaron Levie: a probably not tax returns. It would be more of what would go the government be using, uh, as data.So, okay. Um, so think about research that, that type of, of, of data sets. And then we have financial services for things like data rooms and what would be in an investment prospectus. Uhhuh,swyx: that one you can dog food.Aaron Levie: Yeah, exactly. Exactly. Yes. Yes. [00:34:00] So, uh, so we, we run the models, um, in now, you know, more of an agent mode, but, but still with, with kinda limited capacity and just try and see like on a, like, for like basis, what are the improvements?And, and again, we just continue to be blown away by. How, how good these models are getting.swyx: Yeah, I mean, I think every serious AI company needs something like that where like, well, this is the work we do. Here's our company eval. Yeah. And if you don't have it, well, you're not a serious AI company.Aaron Levie: There's two dimensions, right?So there's, there's like, how are the models improving? And so which models should you either recommend a customer use, which one should you adopt? But then every single day, we're making changes to our agents. And you need to knowswyx: if you regressed,Aaron Levie: if you know. Yeah. You know, I've been fully convinced that the whole agent observability and eval space is gonna be a massive space.Um, super excited for what Braintrust is doing, excited for, you know, Lang Smith, all the things. And I think what you're going to, I mean, this is like every enter like literally every enterprise right now. It's like the AI companies are the customers of these tools. Every enterprise will have this. Yeah, you'll just [00:35:00] have to have an eval.Of all of your work and like, we'll, you'll have an eval of your RFP generation, you'll have an eval of your sales material creation. You'll have an eval of your, uh, invoice processing. And, and as you, you know, buy or use new agentic systems, you are gonna need to know like, what's the quality of your, of your pipeline.swyx: Yeah.Aaron Levie: Um, so huge, huge market with agent evals.swyx: Yeah.Building the Agent Teamswyx: And, and you know, I'm gonna shout out your, your team a bit, uh, your CTO, Ben, uh, did a great talk with us last year. Awesome. And he's gonna come back again. Oh, cool. For World's Fair.Aaron Levie: Yep.swyx: Just talk about your team, like brag a little bit. I think I, I think people take these eval numbers in pretty charts for granted, but No, there, I mean, there's, there's lots of really smart people at work during all this.Aaron Levie: Biggest shout out, uh, is we have a, we have a couple folks at Dya, uh, Sidarth, uh, that, that kind of run this. They're like a, you know, kind of tag tag team duo on our evals, Ben, our CTO, heavily involved Yasha, head of ai, uh, you know, a bunch of folks. And, um, evals is one part of the story. And then just like the full, you know, kind of AI.An agent team [00:36:00] is, uh, is a, is a pretty, you know, is core to this whole effort. So there's probably, I don't know, like maybe a few dozen people that are like the epicenter. And then you just have like layers and layers of, of kind of concentric circles of okay, then there's a search team that supports them and an infrastructure team that supports them.And it's starting to ripple through the entire company. But there's that kind of core agent team, um, that's a pretty, pretty close, uh, close knit group.swyx: The search team is separate from the infra team.Aaron Levie: I mean, we have like every, every layer of the stack we have to kind of do, except for just pure public cloud.Um, but um, you know, we, we store, I don't even know what our public numbers are in, you know, but like, you can just think about it as like a lot of data is, is stored in box. And so we have, and you have every layer of the, of the stack of, you know, how do you manage the data, the file system, the metadata system, the search system, just all of those components.And then they all are having to understand that now you've got this new customer. Which is the agent, and they've been building for two types of customers in the past. They've been building for users and they've been building for like applications. [00:37:00] And now you've got this new agent user, and it comes in with a difference of it, of property sometimes, like, hey, maybe sometimes we should do embeddings, an embedding based, you know, kind of search versus, you know, your, your typical semantic search.Like, it's just like you have to build the, the capabilities to support all of this. And we're testing stuff, throwing things away, something doesn't work and, and not relevant. It's like just, you know, total chaos. But all of those teams are supporting the agent team that is kind of coming up with its requirements of what, what do we need?swyx: Yeah. No, uh, we just came from, uh, fireside chat where you did, and you, you talked about how you're doing this. It's, it's kind of like an internal startup. Yeah. Within the broader company. The broader company's like 3000 people. Yeah. But you know, there's, there's a, this is a core team of like, well, here's the innovation center.Aaron Levie: Yeah.swyx: And like that every company kind of is run this way.Aaron Levie: Yeah. I wanna be sensitive. I don't call it the innovation center. Yeah. Only because I think everybody has to do innovation. Um, there, there's a part of the, the, the company that is, is sort of do or die for the agent wave.swyx: Yeah.Aaron Levie: And it only happens to be more of my focus simply because it's existential that [00:38:00] we get it right.swyx: Yeah.Aaron Levie: All of the supporting systems are necessary. All of the surrounding adjacent capabilities are necessary. Like the only reason we get to be a platform where you'd run an agent is because we have a security feature or a compliance feature, or a governance feature that, that some team is working on.But that's not gonna be the make or break of, of whether we get agents right. Like that already exists and we need to keep innovating there. I don't know what the right, exact precise number is, but it's not a thousand people and it's not 10 people. There's a number of people that are like the, the kind of like, you know, startup within the company that are the make or break on everything related to AI agents, you know, leveraging our platform and letting you work with your data.And that's where I spend a lot of my time, and Ben and Yosh and Diego and Teri, you know, these are just, you know, people that, that, you know, kind of across the team. Are working.swyx: Yeah. Amazing.Read Write Agent WorkflowsJeff Huber: How do you, how do you think about, I mean, you talked a lot about like kinda read workflows over your box data. Yep.Right. You know, gen search questions, queries, et cetera. But like, what about like, write or like authoring workflows?Aaron Levie: Yes. I've [00:39:00] already probably revealed too much actually now that I think about it. So, um, I've talked about whatever,Jeff Huber: whatever you can.Aaron Levie: Okay. It's just us. It's just us. Yeah. Okay. Of course, of course.So I, I guess I would just, uh, I'll make it a little bit conceptual, uh, because again, I've already, I've already said things that are not even ga but, but we've, we've kinda like danced around it publicly, so I, yeah, yeah. Okay. Just like, hopefully nobody watches this, um, episode. No.swyx: It's tidbits for the Heidi engaged to go figure out like what exactly, um, you know, is, is your sort of line of thinking.Sure. They can connect the dots.Aaron Levie: Yeah. So, so I would say that, that, uh, we, you know, as a, as a place where you have your enterprise content, there's a use case where I want to, you know, have an agent read that data and answer questions for me. And then there's a use case where I want the agent to create something.And use the file system to create something or store off data that it's working on, or be able to have, you know, various files that it's writing to about the work it's doing. So we do see it as a total read write. The harder problem has so far been the read only because, because again, you have that kind of like 10 [00:40:00] million to one ratio problem, whereas rights are a lot of, that's just gonna come from the model and, and we just like, we'll just put it in the file system and kinda use it.So it's a little bit of a technically easier problem, but the only part that's like, not necessarily technically hard, it is just like it's not yet perfected in the state of the ecosystem is, you know, building a beautiful PowerPoint presentation. It's still a hard problem for these models. Like, like we still, you know, like, like these formats are just, we're not built for.They'reswyx: working on it.Aaron Levie: They're, they're working on it. Everybody's working on it.swyx: Every launch is like, well, we do PowerPoint now.Aaron Levie: We're getting, yeah, getting a lot, getting a lot of better each time. But then you'll do this thing where you'll ask the update one slide and all of a sudden, like the fonts will be just like a little bit different, you know, on two of the slides, or it moved, you know, some shape over to the left a little bit.And again, these are the kind of things that, like in code, obviously you could really care about if you really care about, you know, how beautiful is the code, but at the end, user doesn't notice all those problems and file creation, the end user instantly sees it. You're [00:41:00] like, ah, like paragraph three, like, you literally just changed the font on me.Like it's a totally different font and like midway through the document. Mm-hmm. Those are the kind of things that you run into a lot of in the, in the content creation side. So, mm-hmm. We are gonna have native agents. That do all of those things, they'll be powered by the leading kind of models and labs.But the thing that I think is, is probably gonna be a much bigger idea over time is any agent on any system, again, using Box as a file system for its work, and in that kind of scenario, we don't necessarily care what it's putting in the file system. It could put its memory files, it could put its, you know, specification, you know, documents.It could put, you know, whatever its markdown files are, or it could, you know, generate PDFs. It's just like, it's a workspace that is, is sort of sandboxed off for its work. People can collaborate into it, it can share with other people. And, and so we, we were thinking a lot about what's the right, you know, kind of way to, to deliver that at scale.Docs Graphs and Founder Modeswyx: I wanted to come into sort of the sort of AI transformation or AI sort of, uh, operations things. [00:42:00] Um, one of the tweets that you, that you wanted to talk about, this is just me going through your tweets, by the way. Oh, okay. I mean, like, this is, you readAaron Levie: one by one,swyx: you're the, you're the easiest guest to prep for because you, you already have like, this is the, this is what I'm interested in.I'm like, okay, well, areAaron Levie: we gonna get to like, like February, January or something? Where are we in the, in the timelines? How far back are we going?swyx: Can you, can you describe boxes? A set of skills? Right? Like that, that's like, that's like one of the extremes of like, well if you, you just turn everything into a markdown file.Yeah. Then your agent can run your company. Uh, like you just have to write, find the right sequence of words toAaron Levie: Yes.swyx: To do it.Aaron Levie: Sorry, isthatswyx: the question? So I think the question is like, what if we documented everything? Yes. The way that you exactly said like,Aaron Levie: yes.swyx: Um, let's get all the Fortune five hundreds, uh, prepared for agents.Yes. And like, you know, everything's in golden and, and nicely filed away and everything. Yes. What's missing? Like, what's left, right? LikeAaron Levie: Yeah.swyx: You've, you've run your company for a decade. LikeAaron Levie: Yeah. I think the challenge is that, that that information changes a week later. And because something happened in the market for that [00:43:00] customer, or us as a company that now has to go get updated, and so these systems are living and breathing and they have to experience reality and updates to reality, which right now is probably gonna be humans, you know, kinda giving those, giving them the updates.And, you know, there is this piece about context graphs as as, uh, that kinda went very viral. Yeah. And I, I, I was like a, i, I, I thought it was super provocative. I agreed with many parts of it. I disagree with a few parts around. You know, it's not gonna be as easy as as just if we just had the agent traces, then we can finally do that work because there's just like, there's so much more other stuff that that's happening that, that we haven't been able to capture and digitize.And I think they actually represented that in the piece to be clear. But like there's just a lot of work, you know, that that has to, you just can't have only skills files, you know, for your company because it's just gonna be like, there's gonna be a lot of other stuff that happens. Yeah. Change over time.Yeah. Most companies are practically apprenticeships.swyx: Most companies are practically apprenticeships. LikeJeff Huber: every new employee who joins the team, [00:44:00] like you span one to three months. Like ramping them up.Aaron Levie: Yes. AllJeff Huber: that tat knowledgeAaron Levie: isJeff Huber: not written down.Aaron Levie: Yes.Jeff Huber: But like, it would have to be if you wanted to like give it to an Asian.Right. And so like that seems to me like to beAaron Levie: one is I think you're gonna see again a premium on companies that can document this. Mm-hmm. Much. There'll be a huge premium on that because, because you know, can you shorten that three month ramp cycle to a two week ramp cycle? That's an instant productivity gain.Can you re dramatically reduce rework in the organization because you've documented where all the stuff is and where the answers are. Can you make your average employee as good as your 90th percentile employee because you've captured the knowledge that's sort of in the heads of, of those top employees and make that available.So like you can see some very clear productivity benefits. Mm-hmm. If you had a company culture of making sure you know your information was captured, digitized, put in a format that was agent ready and then made available to agents to work with, and then you just, again, have this reality of like add a 10,000 person [00:45:00] company.Mapping that to the, you know, access structure of the company is just a hard problem. Is like, is like, yeah, well, you just, not every piece of information that's digitized can be shared to everybody. And so now you have to organize that in a way that actually works. There was a pretty good piece, um, this, this, uh, this piece called your company as a file is a file system.I, did you see that one?swyx: Nope.Aaron Levie: Uh, yes. You saw it. Yeah. And, and, uh, I actually be curious your thoughts on it. Um, like, like an interesting kind of like, we, we agree with it because, because that's how we see the world and, uh,swyx: okay. We, we have it up on screen. Oh,Aaron Levie: okay. Yeah. But, but it's all about basically like, you know, we've already, we, we, we already organized in this kind of like, you know, permission structure way.Uh, and, and these are the kind of, you know, natural ways that, that agents can now work with data. So it's kind of like this, this, you know, kind of interesting metaphor, but I do think companies will have to start to think about how they start to digitize more, more of that data. What was your take?Jeff Huber: Yeah, I mean, like the company's probably like an acid compliant file system.Aaron Levie: Uh,Jeff Huber: yeah. Which I'm guessing boxes, right? So, yeah. Yes.swyx: Yeah. [00:46:00]Jeff Huber: Which you have a great piece on, but,swyx: uh, yeah. Well, uh, I, I, my, my, my direction is a little bit like, I wanna rewind a little bit to the graph word you said that there, that's a magic trigger word for us. I always ask what's your take on knowledge graphs?Yeah. Uh, ‘cause every, especially at every data database person, I just wanna see what they think. There's been knowledge graphs, hype cycles, and you've seen it all. So.Aaron Levie: Hmm. I actually am not the expert in knowledge graphs, so, so that you might need toswyx: research, you don't need to be an expert. Yeah. I think it's just like, well, how, how seriously do people take it?Yeah. Like, is is, is there a lot of potential in the, in the HOVI?Aaron Levie: Uh, well, can I, can I, uh, understand first if it's, um, is this a loaded question in the sense of are you super pro, super con, super anti medium? Iswyx: see pro, I see pros and cons. Okay. Uh, but I, I think your opinion should be independent of mine.Aaron Levie: Yeah. No, no, totally. Yeah. I just want to see what I'm stepping into.swyx: No, I know. It's a, and it's a huge trigger word for a lot of people out Yeah. In our audience. And they're, they're trying to figure out why is that? Because whyAaron Levie: is this such aswyx: hot item for them? Because a lot of people get graph religion.And they're like, everything's a graph. Of course you have to represent it as a graph. Well, [00:47:00] how do you solve your knowledge? Um, changing over time? Well, it's a graph.Aaron Levie: Yeah.swyx: And, and I think there, there's that line of work and then there's, there's a lot of people who are like, well, you don't need it. And both are right.Aaron Levie: Yeah. And what do the people who say you don't need it, what are theyswyx: arguing for Mark down files. Oh, sure, sure. Simplicity.Aaron Levie: Yeah.swyx: Versus it's, it's structure versus less structure. Right. That's, that's all what it is. I do.Aaron Levie: I think the tricky thing is, um, is, is again, when this gets met with real humans, they're just going to their computer.They're just working with some people on Slack or teams. They're just sharing some data through a collaborative file system and Google Docs or Box or whatever. I certainly like the vision of most, most knowledge graph, you know, kind of futuristic kind of ways of thinking about it. Uh, it's just like, you know, it's 2026.We haven't seen it yet. Kind of play out as as, I mean, I remember. Do you remember the, um, in like, actually I don't, I don't even know how old you guys are, but I'll for, for to show my age. I remember 17 years ago, everybody thought enterprises would just run on [00:48:00] Wikis. Yeah. And, uh, confluence and, and not even, I mean, confluence actually took off for engineering for sure.Like unquestionably. But like, this was like everything would be in the w. And I think based on our, uh, our, uh, general style of, of, of what we were building, like we were just like, I don't know, people just like wanna workspace. They're gonna collaborate with other people.swyx: Exactly. Yeah. So you were, you were anti-knowledge graph.Aaron Levie: Not anti, not anti. Soswyx: not nonAaron Levie: I'm not, I'm not anti. ‘cause I think, I think your search system, I just think these are two systems that probably, but like, I'm, I'm not in any religious war. I don't want to be in anybody's YouTube comments on this. There's not a fight for me.swyx: We, we love YouTube comments. We're, we're, we're get into comments.Aaron Levie: Okay. Uh, but like, but I, I, it's mostly just a virtue of what we built. Yeah. And we just continued down that path. Yeah.swyx: Yeah.Aaron Levie: And, um, and that, that was what we pursued. But I'm not, this is not a, you know, kind of, this is not a, uh, it'sswyx: not existential for you. Great.Aaron Levie: We're happy to plug into somebody else's graph.We're happy to feed data into it. We're happy for [00:49:00] agents to, to talk to multiple systems. Not, not our fight.swyx: Yeah.Aaron Levie: But I need your answer. Yeah. Graphs or nerd Snipes is very effective nerd.swyx: See this is, this is one, one opinion and then I've,Jeff Huber: and I think that the actual graph structure is emergent in the mind of the agent.Ah, in the same way it is in the mind of the human. And that's a more powerful graph ‘cause it actually involved over time.swyx: So don't tell me how to graph. I'll, I'll figure it out myself. Exactly. Okay. All right. AndJeff Huber: what's yours?swyx: I like the, the Wiki approach. Uh, my, I'm actually

In this final installment of Febwhaleary, we take a look at one of the rarest whales on the planet: The Comeback Whale. A giant in Hollywood, he rose to the top of the food chain in the late nineties; soaring through jungles, and winning victories over Mummies in the desert. But the seas of Hollywood can be a treacherous wilderness filled with predators, and sadly...the Comeback Whale would be one of their many victims.But, like the best stories in cinema, this one has a happy ending. Years later, the Comeback Whale would return to dominance once again in 2023, earning the respect and highest accolades of its peers. Though researchers are divided if the Comeback Whale's latest venture is truly his crowning achievement, one thing is certain – the results are welcome, for everyone loves a good comeback tale, and this one is called: The Whale.I'm your host, Dave, and joining me as we try our best to write an honest fucking essay are fellow cinephiles and whale watchers Mike, Jackie, and Ryan.Topics of discussion in this episode include how The Whale may rank among Apocalypse Video's Mount Rushmore of Bad; Ryan does his best as the film's Public Defender; and finally, we do a dive into Darren Aronofsky's latest A.I. generated film and whether it will generate enough money to satiate his scarf buying addiction.Be sure to rate, review and subscribe wherever you get your podcasts. You can also Like Us on Facebook, Follow Us on Instagram, or shoot us an email at apocalypsevideopod@gmail.comAnd as Brendan Fraser returns to the world of cinema and rejoins the rest of his Hollywood pod, we too must say goodbye and bid farewell to the month of Febwhaleary. We'll see you next month as we leave the oceans behind and take to the skies as we witness the March of the Penguins (...and other Bird Related Films).

On this third installment of Febwhaleary we take a look at perhaps the largest acrobats in the sea: the humpback whale. Known for their extraordinary feats of agility, as well as a complex series of songs that they sing to one another, the humpbacks were truly one of the most graceful creatures ever to inhabit the oceans. Unfortunately, the humpbacks would be hunted to extinction in the early 21st century…or so we thought. To understand the fate of the humpbacks, one must look not into the future…but into the past. The year 1986; using a stolen Klingon bird of prey, a group of disgraced Starfleet officers from the 23rd century would travel backwards through time to save, not only the humpbacks, but indeed all of humanity from extinction. The following is a dramatization of those events that we like to call Star Trek IV: The Voyage Home.I'm your host, Dave, and joining me as we lay down a series of colorful metaphors are fellow cinephiles and life long members of the Cetacean Institute in Sausalito, Mike, Ryan, and Jackie.Topics of discussion in this episode include the Enterprise crew's laissez faire attitude towards time travel; we analyze where the alien space probe falls on the Bristol Stool Scale; and finally, we break down the age old fallacy of the odd numbered Trek's being shit.Be sure to rate, review and subscribe wherever you get your podcasts. You can also Like Us on Facebook, Follow Us on Instagram, or shoot us an email at apocalypsevideopod@gmail.comAnd with the whales safely transported to the 23rd century, this leg of our voyage is now over. When Febwhaleary concludes, we'll be taking a look at one of the rarest whale species on the planet…the Comeback Whale, as we watch Darren Aronofsky's 2022 Oscar Winner, The Whale.

How can trauma become a catalyst for creative transformation? What lessons can indie authors learn from the music industry's turbulent journey through technological disruption? With Jack Williamson. In the intro, Why recipes for publishing success don't work and what to do instead [Self-Publishing with ALLi Podcast]; Why your book isn't selling: metadata [Novel Marketing Podcast]; Creating a successful author business [Fantasy Writers Toolshed Podcast]; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Finding post-traumatic growth and meaning after bereavement, and using tragedy as a catalyst for creative transformation Why your superpower can also be your Achilles heel, and how indie authors can overcome shiny object syndrome Three key lessons from the music industry: embracing change, thinking creatively about marketing, and managing pressure for better creativity The A, B, C technique for PR interviews and why marketing is storytelling through different mediums How to deal with judgment and shame around AI in the author community by understanding where people sit on the opinion-belief-conviction continuum Three AI developments coming from music to publishing: training clauses in contracts, one-click genre adaptation, and licensed AI-generated video adaptations You can find Jack at JackWilliamson.co.uk and his fiction work at ABJackson.com. Transcript of the interview with Jack Williamson Jo: Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. Welcome to the show. Jack: Thank you so much for having me, Jo. It's a real honour to be on your podcast after listening all of these years. Jo: I'm excited to talk to you. We have a lot to get into, but first up— Tell us a bit more about you and why get into writing books after years of working in music. Jack: I began my career at the turn of the millennium, basically, and I worked for George Michael and Mariah Carey's publicist, which I'm sure you can imagine was quite the introduction to the corporate world. From there I went on to do domestic and international marketing for a load of massive artists at Universal, so the equivalent of the top five publishers in the publishing world that we all work in. Then from there I had a bit of a challenge. In December 2015, I lost my brother, unfortunately to suicide. For any listener or any person that's gone through a traumatic event, it can really make you reassess everything, make you question life, make you question your purpose. When I went through that, I was thinking, well, what do I want to do? What do I want out of life? So I went on this journey for practically the next ten years. I retrained to be a psychotherapist. I created a bucket list—a list of all the things that I thought maybe my brother would've wanted to do but didn't do. One of the things was scatter his ashes at the Seven Wonders of the world. Then one of the items on my bucket list was to write a book. The pandemic hit. It was a challenge for all of us, as you've spoken about so much on this wonderful podcast. I thought, well, why not? Why not write this book that I've wanted to write? I didn't know when I was going to do it because I was always so busy, and then the pandemic happened and so I wrote a book. From there, listening to your wonderful podcast, I've learned so much and been to so many conferences and learned along the way. So now I've written five books and released three. Jo: That's fantastic. I mean, regular listeners to the show know that I talk about death and grief and all of this kind of thing, and it's interesting that you took your brother's ashes to the Seven Wonders of the world. Death can obviously be a very bad, negative thing for those left behind, but it seems like you were able to reframe your brother's experience and turn that into something more positive for your life rather than spiralling into something bad. So if people listening are feeling like something happens, whether it's that or other things— How can we reframe these seemingly life-ending situations in a more positive way? Jack: It is very hard and there's no one way to do it. I think as you always say, I never want to tell people what to do or what to think. I want to show them how to think and how they can approach things differently or from a different perspective. I can only speak from my journey, but we call it in therapeutic language, post-traumatic growth. It is, how do you define it so it doesn't define you? Because often when you have a bereavement of a loved one, a family member, it can be very traumatic, but how can you take meaning and find meaning in it? There's a beautiful book called Man's Search for Meaning, and the name of the author escapes me right now, but he says— Jo: Viktor Frankl. Jack: Yes. Everyone quotes it as one of their favourite books, and one of my favourite lines is, “Man can take everything away from you, apart from the ability to choose one thought over the other.” I think it's so true because we can make that choice to choose what to think. So in those moments when we are feeling bad, when we're feeling down, we want to honour our feelings, but we don't necessarily want to become them. We want to process that, work through, get the support system that we need. But again, try to find meaning, try to find purpose, try to understand what is going on, and then pay it forward. Irrespective of your belief system, we all yearn for purpose. We all yearn for being connected to something bigger than ourselves. If we can find that through bereavement maybe, or through a traumatic incident, then hopefully we can come through the other side and have that post-traumatic growth. Jo: I love that phrase, post-traumatic growth. That's so good. Obviously people think about post-traumatic anything as like PTSD—people immediately think a sort of stress disorder, like it's something that makes things even worse. I like that you reframed it in that way. Obviously I think the other thing is you took specific action. You didn't just think about it. You travelled, you retrained, you wrote books. So I think also it's not just thinking. In fact, thinking about things can sometimes make it worse if you think for too long, whereas taking an action I think can be very strong as well. Jack: Ultimately we are human beings as opposed to human doings, but actually being a human doing from time to time can be really helpful. Actually taking steps forward, doing things differently, using it as a platform to move forward and to do things that maybe you didn't before. When you are confronted with death, it can actually make you question your own mortality and actually question, am I just coasting along? Am I stuck in a rut? Could I be doing something differently? One of the things that bereavement, does is it holds a mirror up to ourselves and it makes us question, well, what do we want from our life? Are we here to procreate? Are we here to make a difference? Some of us can't procreate, or some of us choose not to procreate, but we can all make a difference. And it's, how do we do that? Where do we do that? When do we do that? Jo: That's interesting. I was thinking today about service and gratitude. I'm doing this Master's and I was reading some theology stuff today, and service and gratitude, I think if you are within a religious tradition, are a normal part of that kind of religious life. Whether it's service to God and gratitude to God, or service and gratitude to others. I was thinking that these two things, service and gratitude, can actually really help reframe things as well. Who can we serve? As authors, we're serving our readers and our community. What can we be grateful about? That's often our readers and our community as well. So I don't know, that helped me today—thinking about how we can reframe things, especially in the world we're in now where there's a lot of anger and grief and all kinds of things. Jack: That's what we've got to look at. We are here to serve. Again, that can take different shapes, different forms. Some of us work in the service industry. I provide a service as a psychotherapist, you serve your listeners with knowledge and information that you gather and dispense through the research you do or the guests you have on. We serve readers of the different genres that we write in. It's what ways can we serve, how can we serve? Again, I think we all, if we can and when we can, should pay it forward. Someone said this to me once in the music industry: be careful who you meet on the way up and how you treat them on the way up, because invariably you'll meet them on the way down. So if you can pay forward that kindness, if you can be kind, considerate, and treat people how you want to be treated, that is going to pay dividends in the long run. It may not come off straight away, but invariably it will come back to you in some way, shape, or form in a different way. Jo: I've often talked about social karma and karma in the Hindu sense—the things that you do come back to you in some other form. Possibly in another life, which I don't believe. In terms of, I guess, you didn't know what was going to happen to your brother, and so you make the most of the life that we have at the moment because things change and you just don't know how things are going to change. You talk about this in your book, Maybe You're The Problem, which is quite a confronting title. So just talk about your book, Maybe You're The Problem, and why you wrote that. Put it into context with the author community and why that might be useful. Jack: Thank you for flagging my book. I intentionally crossed out “maybe” on the merchandise I did as well, because in essence, we are our own problem. We can get in the way, and it's what happened to us when we grew up wasn't our fault, but what we do with it is our responsibility. We may have grown up in a certain period or a climate. We didn't necessarily choose to do that, but what we do with that as a result is up to us. So we can stay in our victimhood and we can blame our parents, or we can blame the generation we are in, or we can blame the city, the location—however, that is relinquishing your power. That is staying in a victim mindset rather than a survivor or a thriver mindset. So it's about how can we look at the different areas in our life. Whether that is conflict, whether that is imposter syndrome, whether that is the generation we're born into. We try to understand how that has shaped us and how we may be getting in our own way to stop us from growing, to stop us from expanding, and to see where our blind spots are, our limitations are, and how that may impact us. There's so much going on in the moment in the world, whether that is in the digital realm, whether that is in the geo-climate that we're in at the moment. Again, that's going to bring up a lot for us. How can we find solutions to those problems for us so that we continue to move forward rather than be restricted and hindered by them? Jo: Alright. Well let's get into some more specifics. You have been in the author community now for a while. You go to conferences and you are in the podcast community and all this kind of thing. What specific issues have you seen in the author community? Maybe around some of the things you've mentioned, or other things? How might we be able to deal with those? Jack: With authors, I think it is such a wonderful and unique industry that I have an honour and privilege of being a part of now. One of the main things I've learned is just how creative people are. Coming from a creative industry like the music industry, there is a lot of neurodivergence in the creative industries and in the author community. Whether that is autism, whether that is ADHD—that is a real asset to have as a superpower, but it can be an Achilles heel. So it's understanding—and I know that there is an overexposure of people labelling themselves as ADHD—but on the flip side to that, it's how can we look at what's going on for us? For ADHD, for example, there's a thing called shiny object syndrome. You've talked about this in the past, Joanna, where it's like a new thing comes along, be it TikTok, be it Substack, be it bespoke books, be it Shopify, et cetera. We can rush and quickly be like, “oh, let me do this, let me do that,” before we actually take the time to realise, is this right for me? Does this fit my author business? Does this fit where I'm at in my author journey? I think sometimes as authors, we need to not cave in to that shiny object syndrome and take a step back and think to ourselves, how does this serve me? How does this serve my career? How does this work for me if I'm looking at this as a career? If you're looking at it as a hobby, obviously it's a different lens to look through, but that's something that I would often make sure that we look at. One of the other things that really comes up is that in order for any of us to address our fears and anxieties, we need to make sure that we feel psychologically safe and to put ourselves in spaces and places where we feel seen, heard, and understood, which can help address some of the issues that I've just mentioned. Being in that emotionally regulated state when we are with someone we know and trust—so taking someone to a conference, taking someone to a space or a place where you feel that you can be seen, heard, and understood—can help us and allow us to embrace things that we perceive to be scary. That may be finding an author group, finding an online space where you can actually air and share your thoughts, your feelings, where you don't feel that you are being judged. Often it can be quite a judgmental space and place in the online world. So it's just finding your tribe and finding places where you can actually lean into that. So there'd be two things. Jo: I like the idea of the superpower and the Achilles heel because I also feel this when we are writing fiction. Our characters have strengths, but your fatal flaw is often related to your strength. Jack: Yes. Jo: For example, I know I am independent. One of the reasons I'm an independent author is because I'm super independent. But one of my greatest fears is being dependent. So I do lots of things to avoid being dependent on other people, which can lead me to almost damage myself by not asking for help or by trying to make sure that I control everything so I never have to ask anyone else to do something. I'm coming to terms with this as I get older. I feel like this is something we start to hit—I mean, as a woman after menopause—is this feeling of I might have to be dependent on people when I'm older. It's so interesting thinking about this and thinking— My independence is my strength. How can it also be my weakness? So what do you think about that? You're going to psychotherapist me now. Jack: I definitely won't, but it's interesting. Just talking about that, we all have wounds and we all have the shadow, as you've even written about in one of your books. And it's how that can come from a childhood wound where it's like we seek help and it's not given to us. So we create a belief system where I have to do everything myself because no one will help me. Or we may have rejection sensitivity, so we reject ourselves before others can reject us. So it's actually about trying, where we can, to honour our truths, honour that we may want to be independent, for example, but then realising that success leaves clues. I always say that if you are independent—and I definitely align a hundred percent with you, Joanna—I've had to work really hard myself in personal therapy and in business and life to realise that no human is an island and we can't all do this on our own. Yes, it's amazing with the AI agents now that can help us in a business capacity, but having those relationships that we can tap into—like you mentioned all of the people that you tap into—it's so important to have those. I always say that it's important to have three mentors: one person that's ahead of you (for me, that would be Katie Cross because she's someone that I find is an amazing author and we speak at least once a month); people that are at the same level as you that you can go on the journey together with (and I have an author group for that); and then someone that is perceived to be behind you or in a younger generation than you, because you can learn as much from them as they can learn from you. If you can actually tap into those people whilst honouring your independence, then it feels like you can still go on your own journey, but you can tap in and tap out as and when needed. Sacha Black will give you amazing insights, other people like Honor will give you amazing insights, but you can also provide that for them. So there's that safety of being able to do it on your own. But on the flip side, you still have those people that you can tap into as and when necessary as a sounding board, as information on how they were successful, and go from there. Jo: No, I like that. If you're new to the show, Sacha Black and Honor Raconteur have been on the show and they are indeed some of my best friends. So I appreciate that. I really like the idea of the three mentor idea. I just want to add to that because I do think people misunderstand the word mentor sometimes. You mentioned you speak to Katie Cross, but I've found that a lot of the mentors that I've had who are ahead of me have often been books. We mentioned the Viktor Frankl book, and if people don't know, he was Jewish and in the concentration camps and survived that. So it's a real survivor story. But to me, books have been mostly my mentors in terms of people who are ahead of me. We don't always need to speak to or be friends with our mentors. I think that's important too, right? Because I just get emails a lot that say, “Will you be my mentor?” And I don't think that's the point. Jack: Oh, I a hundred percent agree with you. If you don't have access to those mentors—like Oprah Winfrey is one of the people that I perceive as a mentor—I listen to podcasts, I read her books, I watch interviews. There is a way to absorb and acquire that information, and it doesn't have to be a direct relationship with them. It is someone that you can gain the knowledge and wisdom that they've imparted in whatever form you may consume it. Which is why I think it is important to have those three levels: that one that is above you that may be out of reach in terms of a human connection, but you can still access; then the people at the same level as you that you can have those relationships and grow with; and again, that one behind that you can help pave the way for them, but also learn from them as well. So a hundred percent agree that that mentor that you are looking for that may be ahead of you doesn't necessarily need to be someone that is in a real-world relationship. Jo: So let's just circle back to your music industry experience. You mentioned being on the sort of marketing team for some really big names in music, and I mean, it's kind of a sexy job really. It just sounds pretty cool, but of course the music industry has just as many challenges as publishing. What did you learn from working in the music industry that you think might be particularly useful for authors? Jack: The perception of reality was definitely a lot different. It does look sexy and glamorous, but the reality is similar to going to conferences. It's pretty much flight, hotel, and dark rooms with terrible air conditioning that you spend a lot of time in. So sorry to burst the illusion. But I mean, it does have its moments as well. There is so much I've learned over the years and there's probably three things that stand out the most. The first one was I entered the industry right at the height of the music industry. In 2000, 2001. That was when Napster really exploded and it decimated the music industry. It wiped half the value in the space of four years. Then the music industry was trying to shut it down, throwing legal, throwing everything at it, but it was like whack-a-mole. As soon as one went down such as Napster, ten others popped up like Kazaa. So you saw that the old guard wasn't willing to embrace change. They weren't willing to adapt. They assumed that people wanted the formats of CDs, vinyls, cassettes, and they were wrong. Yes, people wanted music, but they actually wanted the music. They didn't care about the format, they just wanted the access. So that was one of the really interesting things that I learned, because I was like, you have to embrace change. You can't ignore it. You can't push it away, push it aside, because it's coming whether you like it or not. I think thankfully the music industry has learned as AI's coming, because now you have to embrace it. There's a lot of legal issues that have been going on at the moment with rights, which you've covered about the Anthropic case and so on. It's such a challenge, and I just think that's the first one. The second one I learned was back in 2018. There was an artist I worked on called Freya Ridings. At that time I was working at an independent record label rather than one of the big three major record labels. She had great songs and we were up against one of the biggest periods of the year and trying to make noise. At the time, Love Island was the biggest TV show on, and everyone wanted to be on it in terms of getting their music synced in the scenes. We were just like, we are never going to compete. So we thought, we need to be clever here. We need to think differently. What we did is we found out what island the show was being recorded on, and we geo-targeted our ads just to that island because we knew the sync team were going to be on there. So we just went hard as nails, advertised relentlessly, and we knew that the sync people would then see the adverts. As a result of that, Freya got the sync. It became the biggest song that season on Love Island, back when it was popular. As a result of that, we built from there. We were like, right, we can't compete with the majors. We have to think differently. We need to do things differently. We need to be creative. It wasn't an easy pathway. That year there were only two other songs that were independent that reached the top 10. So we ended up becoming a third and the biggest song that year. The reason I'm saying that is we can't compete with the major publishers. But the beauty of the independent author community is because we have smaller budgets—most of us, not all of us, but most of us—we have to think differently. We have to make our bang for our buck go a lot further. So it's actually— How can we stay creative? How can we think differently? What can we do differently? So that would be the second thing. Then the third main lesson that I learned, and this is more on the creative side, is that pressure can often work against you, both in a business sense, but especially creativity. I've seen so many artists over the years have imposed deadlines on them to hand in their albums, and it's impacted the quality of their output. Once it's handed in, the stress and the pressure is off, and then you realise that actually those artists end up creating the best material that they have, and then they rush to put it on. Whether that's Mariah Carey's “We Belong Together,” Adele with her song “Hello,” Taylor Swift did the same with “Shake It Off”—they're just three examples. The reason is that pressure keeps us in our beta brainwave state, which is our rational, logical mind. For those of us that are authors that are writing fiction, or even if we are creating stories in our nonfiction work to deliver a point, we need to be in that creative mindset. So we need to be in the alpha and the gamma brain state. Because our body works on 90-minute cycles known as our ultradian rhythm, we need to make sure that we honour our cycle and work with that. If we go past that, our creativity and our productivity is going to go down between 60% and 40% respectively. So as authors, it's important—one, to apply the right amount of pressure; two, to work in breaks; and three, to know what kind of perspective we're looking at. Do we need to be rational and logical, or do we need to be creative? And then adjust the sails accordingly. Jo: That's all fantastic. I want to come back on the marketing thing first—around what you did with the strategic marketing there and the targeted ads to that island. That's just genius. I feel like a lot of us, myself included, we struggle to think creatively about marketing because it's not our natural state. Of course, you've done a lot of marketing, so maybe it comes more naturally to you. I think half the time we don't even use the word creative around marketing, when you're not a marketeer. What are some ways that we can break through our blocks around marketing and try to be more creative around that? Jack: I would challenge a lot of authors on that presumption, because as authors we're in essence storytellers, and to tell a story is creative. There's a great quote: “One death is a tragedy. A thousand deaths is a statistic.” If you can create a story, a compelling narrative about a death in the news, it's going to pull at the heartstrings of people. It's going to really resonate and get with them. Whereas if you are just quoting statistics, most people switch off because they become desensitised to it. So I think because we can tell stories, and that's the essence of what we do, it's how can we tell our story through the medium of social media? How can we tell a story through our creative ads that we then put out onto Facebook or TikTok or whatever platform that we're putting them out—BookBub, et cetera? How can we create a narrative that garners the attention? If we are looking at local media or traditional media, how can we do that? How can we get people to buy in to what we're selling? So it's about having different angles. For me with my new romance book, Stolen Moments, one of the stories I had that really has helped me get some coverage and PR is we recorded the songs next door to the Rolling Stones. Now that was very fortunate timing, very fortunate. But everyone's like, “Oh my God, you recorded next door to the Rolling Stones?” So it's like, well, how can you bring in these creative nuggets that help you to find a story? Again, marketing is in essence telling a story, albeit through different mediums and forms. So it's just how can you package that into a marketable product depending on the platform in which you're putting it out on. Jo: I think that's actually hilarious, by the way, because what you hit on there, as someone with a background in marketing, your story about “we recorded an album for the book next door to the Rolling Stones”—it's got nothing to do with the romance. Jack: Oh, the romance is that the pop star in the book writes and records songs. Jo: Yes, I realised that. But the fact is— For doing things like PR, it's the story behind the story. They don't care that you've written a romance. Jack: Yes. Jo: They're far more interested in you, the author, and other things. So I think what you just described there was a kind of PR hook that most of us don't even think about. Jack: I'm sure a lot of authors already know this, so it's a good reminder, and if you don't, it's great. It's called the A, B, C technique. When you get asked a question, you Answer the question. So that's A. You Build a bridge, and then you go to C, which is Covering one of your points. So whenever you get asked a question, have a list of things you want to get across in an interview. Then just make sure that you find that bridge between whatever the question is to cover off one of your points, and that's how you can do it. Because yes, you may be selling a story, like I said, about writing the songs, but then you can bridge it into actually covering and promoting whatever it is you're promoting. So I think that's always quite helpful to remember. Jo: Well, that's a good tip for things like coming on podcasts as well. I've had people on who don't do what you just mentioned and will just try and shoehorn things in in a more deliberate fashion, whereas other people, as you have just done with your romance there, bring it in while answering a question that actually helps other people. So I think that's the kind of thing we need to think about in marketing. Okay, so then let's come back to the embracing change, and as you mentioned, the AI stuff that's going on. I feel like there's so many “stories” around AI right now. There's a lot of stories being told on both sides—on the positive side, on the negative side—that people believe and buy into and may or may not be true. There's obviously a lot of anger. There's, I think, grief—a big thing that people might not even realise that they have. Can you talk about how authors might deal with what's coming up around the technological change around AI, and any of your personal thoughts as well? Jack: I was thinking about this a lot recently. I mean, I guess everyone is in their own ways and forms. One of the things that came up for me is we have genre expectations and we have generation expectations. When we look at genres, you will have different expectations from different genres. For romance, they want a happily ever after or a happy for now. For cosy mysteries, they expect the crime to be solved. So we as authors make sure we endeavour to meet those expectations. The challenge is that if we are looking at AI, we are all in our own generations. We might be in slightly different generations, but there are going to be different generation expectations from the Alpha generation that's coming up and the Beta generation that's just about to start this year or next year because they're going to come into the world where they don't know any different to AI. So they will have a different expectation than us. It will just be normal that there will be AI agents. It will just be normal that there are AI narrators. It will be normalised that AI will assist authors or assist everyone in doing their jobs. So again, it is a grieving period because we can long for what was, we can yearn for things that worked for us that no longer work for us—whether it's Facebook groups, whether it's the Kindle Rush. We can mourn the loss of that, but that's not coming back. I mean, sometimes there may be a resurgence, but essentially, we've got to embrace the change. We've got to understand that it's coming and it's going to bring up a lot of different emotions because you may have been beholden to one thing and you may be like, yes, I've now got my TikTok lives, and then all of a sudden TikTok goes away. I know Adam, when he was talking about it, he'll just find another platform. But there'll be a lot of people that are beholden to it and then they're like, what do I do now? So again, it's never survival of the fittest—it's survival of the most adaptable. I always use this metaphor where there are three people on three different boats. A storm comes. And the first, the optimist, is like, “Oh, it'll pass,” and does nothing. The pessimist complains about the storm and does nothing. But the realist will adjust the sails and use the storm to find its way to the other side, to get through. It's not going to be easy, but they're actually taking change and making change to get to where they need to go, rather than just expecting or complaining. I get it. We are not, and I hate the expression, “we're all in the same boat.” I call bleep on that. I'm not going to swear. We're not all in the same boat. We're all in the same storm, but different people are going through different things. For some, they can adjust and adapt really quickly like a speedboat. For others, they may be like Jack and Rose in the Titanic on that terrible prop where they're clinging to dear life and trying to get through the storm. So it's about how do I navigate this upcoming storm? What can I do within my control to get through the storm? For some it may be easier because they have the resources, or for some of us that love learning, it's easy to embrace change. For others that have a fear mindset and it's like, “Oh, something new, it's scary, I don't want to embrace it”—you are going to take longer. So you may not be the speedboat, but at some point we are going to have to embrace that change. Otherwise we're going to get left behind. So you need to look at that. Jo: The storm metaphor is interesting, and being in different boats. I feel I do struggle. I struggle with people who suddenly seem to be discovering the storm. I've been talking about AI now since 2016. That's a decade. Jack: Yes. Jo: Even ChatGPT has been around more than three years, and people come to me now and they're talking about stories that they've seen in the media that are just old now. Things have moved on so much. I feel like maybe I was on my boat and I looked through my telescope and I saw the storm. I've been talking about the storm and I've had my own moments of being in the middle of the storm. Now I definitely do struggle with people who just seem to have arrived without any knowledge of it before. I oscillate between being an optimist and a realist. I think I'm somewhere between the two, probably. But I think what is driving me a little crazy in the author community right now is judgment and shame. There are people who are judging other people, and there's shame felt by AI-curious or AI-positive people. So I want to help the people who feel shame in some way for trying new technology, but they still feel attacked. Then those people judge other authors for their choices to use technology. So how do you think we can deal with judgment and shame in the community? Which is a form of conflict, I guess. Jack: Of course. I think with that, there's another great PR quote: “If it bleeds, it leads.” Especially in this digital age, there's a lot of clickbait. So the more polarising, the more emotion-evoking the headline, the more likely you are to engage with that content—whether that is reading it or whether that's posting or retweeting, or whatever format you are consuming it on. So unfortunately, media has now become so much more polarising. It's dividing us rather than uniting us. So people are going to have stronger positions. There's so much even within this to look at. One is, you have to work out where people are on the continuum. Do they have an opinion on AI? Do they have a belief? Or do they have a conviction? Now you're not going to move someone that has a conviction about something, so it's not worth even engaging with them because they're immovable. Like they say, you shouldn't talk about sports, politics, and religion. There are certain subjects that may not be worth talking about, especially if they have a conviction. Because they may not even be able to agree to disagree. They may not be willing or able to hear you. So first and foremost, it's about understanding, well, where are those people sitting on the continuum of AI? Are they curious? Do they have an opinion, but they're open to hearing other opinions? Do they have a belief that could be changed or evolved if they find more information? That's where I think it is. It's not necessarily our jobs—even though you do an amazing job of it, Joanna—but a lot of people are undereducated on these issues or these new technologies. So in some cases it's just a case of a lack of education or them being undereducated. Hopefully in time they will become more and more educated. But again, it's how long is a piece of string? Will people catch up? Will they stay behind? Are they fearful? I guess because of social media, because of the media, as they say, if you can evoke fear in people, you can control them. You can control their perspectives. You can control their minds. So that's where we see it—a lot of people are operating from a fear mindset. So then that's when they project their vitriol in certain cases. If people want to believe a certain thing, that's their choice. I'm not here to tell people what to think. Like I said earlier, it's more about how to think. But I would just encourage people to find people that align with you. Do a sense test, like a litmus test, to find where they sit on the continuum and engage with those people that are open and have opinions or beliefs. But shy away or just avoid people that have convictions that maybe are the polar opposite of yours. Jo: It's funny, isn't it? We seem to be in a phase of history when I feel like you should be able to disagree with people and still be friends. Although, as you mentioned, there's certain members of my family where we just stay on topics of TV shows and movies or music, or what books are you reading? Like, we don't go anywhere near politics. So I do think that might be a rule also with the AI stuff. As you said, find a community, and there are plenty of AI-positive spaces now for people who do want to talk about this kind of stuff. I also think that, I don't know whether this is a tipping point this year, but certainly— I know people who are in bigger corporates where the message is now, “You need to embrace this stuff. It is now part of your job to learn how to use these AI tools.” So if that starts coming into people's day jobs, and also people who have, I don't know, kids at school or people at university who are embracing this more—I mean, maybe it is a generational thing. Jack: Yes. Look, there were so many people that were resistant to working from home, or corporations that were, and then the pandemic forced it. Now everyone's embraced it in some way, shape, or form. I mean, there are people that don't, but the majority of people—when something's forced on you, you have to adapt. So again, if those things are implemented in corporations, then you're going to see it. I'm seeing so many amazing new things in AI that have been implemented in the music industry that we'll see in the publishing industry coming down the road. That will scare a lot of people, but again, we have to embrace those things because they're coming and there's going to be an expectation—especially from the younger generations—that these things are available. So again, it's not first past the post, but if you can be ahead of the wave or at least on the wave, then you are going to reap the rewards. If you are behind the wave, you're going to get left behind. So that's my opinion. I'm not trying to encourage anyone to see from my lens, but at the same time, I do think that we need to be thinking differently. We need to always embrace change where we can, as we can, at the pace that we can. Jo: You mentioned there AI things coming down the road in the music industry. And now everyone's going, wait, what is coming? So tell us— What do you see ahead that you think might also shift into the author world? Jack: There are three things that I've seen. Two that have been implemented and one that's been talked about and worked on at the moment. The first, and this will be quite scary for people, is that major record labels—so think the major publishers on our side—they're all now putting clauses in their contracts that require the artists that sign with them to allow their works to be trained by their own AI models. So that is something that is now actually happening in record labels. I wouldn't be surprised, although I don't have insight into it, if Simon & Schuster, HarperCollins, et cetera, are potentially doing the same with authors that sign to them. So that's going to become more standardised. So that is on the major side. But then on the creative side, there are two things that really excite me. The music AI platforms that we're hearing about, the stories that we've seen in the press, and it's the fact that with a click of a button, you can recreate a song into a different genre. I find it so fascinating because if you think about that—turning a pop song into a country song or a rap song into a dance song—the possibilities that we have as authors with our books, if we wish to do so, are amazing. I just think, for example, with your ARKANE series, Joanna, imagine clicking a button and just with one click you can take Morgan Sierra and turn her into a romantic lead in a romance book. Jo: See, it's so funny because I personally just can't imagine that because it's not something I would write. But I guess one example in the romance genre itself is I know plenty of romance authors who write a clean and a spicy version of the same story, right? It is already happening in that way. It's just not a one-click. Jack: Well, I think you can also look at it another way. I think one of the most famous examples is Twilight. With Twilight and Stephenie Meyer, if she had the foresight—and I'm not saying she didn't, just to clarify—but fan fiction is such a massive sub-genre of works. And obviously from Twilight came 50 Shades of Gray. Imagine if she had the licensing rights like the NFTs, where she could have made money off of every sale. So that you could then, through works that you create and give licence, earn a percentage of every release, every sale, every consumption unit of your works. There are just so many possibilities where you can create, adapt, have spinoffs that can then build out your world. Obviously, there may need to be an approval process in there for continuity and quality control because you want to make sure you're doing that, but I think that has such massive potential in publishing if we wish to do so. Or like I said, change characters. Like Robert Langdon's character in Dan Brown's books—no longer being the kind of thriller, but maybe being a killer instead. There's so many possibilities. It's just, again, how to think, not what to think—how to think differently and how we can use that. So that's the second of three. Jo: Oh, before you move on, you did mention NFTs and I've actually been reading about this again. So I'm usually five years early. That's the general rule. I started talking about NFTs in mid-2021, and obviously there was a crypto crash, it goes up and down, blah, blah, blah. But forget the crypto side—on the blockchain side, digital originality, and exactly what you said about saying like, where did this originate? This is now coming back in the AI world. It could be that I really was five years early. So amusingly—and I'm going to link to it in the notes because I did a “Why NFTs Are Exciting for Authors” solo episode, I think in 2022—it may be that the resurgence will happen in the next year, and all those people who said I was completely wrong, that this may be coming back. Digital originality I think is what we're talking about there. But so, okay, so what was the other thing? Jack: So the third one is the one that I'm most excited about, but I think will be the most scary for people. Obviously consumption changes and formats change. Like I said, in music I've seen it all the time—whether it's vinyl to cassettes, to CDs, to downloads, to streaming. Again, there's different consumption of the same format, and we see that with books as well, obviously—hardbacks, paperbacks, eBooks, audiobooks. Now with the rise of AI, AI narration has made audiobooks so much more accessible for people. I know that there are issues with certain people not wanting to do it, or certain platforms not allowing AI narration to be uploaded unless it's their own. The next step is what I'm most excited about. What I'm seeing now in the music industry is people licensing their image to then recreate that as music videos because music videos are so expensive. One of my friends just shot a music video for two million pounds. I don't think many authors would ever wish to spend that. If you can license your image and use AI to create a three-minute music video that looks epic and just as real as humanly possible, imagine if those artists—or if we go a step further, those actors—license their image to then be used to adapt our books into a TV series or a film. So that then we are in a position where that is another format of consumption alongside an audiobook, a paperback, an eBook, hardcover, special edition, and so on and so forth. It potentially has the opportunity to open us up to a whole new world. Because yes, there are adaptations of books that we're seeing at the moment, but for those of us that are trying to get our content into different formats, this can be a new pathway. I'm going to make a prediction here myself, Joanna. Jo: Mm-hmm. Jack: I would say in the next five to ten years, there will be a platform akin to a Netflix, Amazon Prime, Disney Plus, Apple Plus, where you can license the rights to an image of an actor or an actress. Then with the technology—and you may need people to help you adapt your book into a TV series or a film—that can then be consumed. I just think the possibilities are endless. I mean, again, I think of your character and I'm like, oh, what would it be if Angelina Jolie licensed her image and you could have her play the lead character in your ARKANE series? I mean, again, the possibilities potentially are endless here. Jo: Well, and on that, if people think this won't happen—1776, I don't know if you've seen this, it's just being teased at the moment. Darren Aronofsky has made an American revolutionary story all with AI. So this is being talked about at the moment. It's on YouTube at the moment. The AI video is just extraordinary already, so I totally agree with you. I think things are going to be quite weird for a while, and it will take a while to get used to. You mentioned coming into the music industry in 2000, 2001—I started my work before the internet, and then the internet came along and lots of things changed. I mean, anyone who's older than 40, 45-ish can remember what work was like without the internet. Now we are moving into a time where it'll be like, what was it like before AI? And I think we'll look back and go like, why the hell did we do that kind of thing? So it is a changing world, but yes, exciting times, right? I think the other thing that's happening right now, even to me, is that things are moving so fast. You can almost feel like a kind of whiplash with how much is changing. How do we deal with the fast pace of change while still trying to anchor ourselves in our writing practice and not going crazy? Jack: Again, it's that everything everywhere all at once—you can get lost and discombobulated. I always say be the tortoise, not the hare—because you don't want to fly and die. You want pace and grace. Everyone will have a different pace. For some marathon runners, they can run a five-minute mile, some can run an eight-minute mile, some can run a twelve-minute mile. It's about finding the pace that works for you. Every one of us have different commitments. Every one of us have different ways we view the industry—some as a hobby, some as a business. So it's about honouring your needs, your commitment. Some of us, as you've had people on the podcast, some people are carers. They have to care. Some people are parents. Some people don't have those commitments and so can devote more time and then actually learn more, change more as a result. So again, it's about finding your groove, finding your rhythm, honouring that, and again, showing up consistently. Because motivation may get you started, but it's habit and discipline that sees you through. Keep that discipline, keep that pace and grace. Be consistent in what you can do. And know where you're at. Don't compare and despair, because again, if you look at someone else, they may be ahead of you, but the race is only with yourself in the end. So you've got to just focus on where you are at and am I in a better place than I was yesterday? Am I working on my business as well as in my business? How am I doing that? When am I doing that? And what am I doing that for? If you can be asking yourself those questions and making sure you're staying true to yourself and not burning out, making sure that you are honouring your other commitments, then I think you are going at the pace that feels right for you. Jo: Brilliant. Jo: Where can people find you and your books and everything you do online? Jack: Thank you so much for having me on, Joanna, today. You can find me on JackWilliamson.co.uk for all my nonfiction books and therapy work. Then for my fiction work, it is ABJackson.com, or ABJacksonAuthor on Instagram and TikTok. Jo: Well, thanks so much for your time, Jack. That was great. Jack: Thank you so much. The post Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson first appeared on The Creative Penn.

Our Lynne Ramsay series comes to a close with last year's Die My Love, which brings us to the realization - damn, have we really never talked about Jennifer Lawrence before? Join us and Vulture's Alison Willmore as we do a full career deep-dive on J.Law, and grapple with this film and Mubi's decision to purchase it out of Cannes for a buttload of money. Read the NY Mag profile of Darren Aronofsky from 2017 Read Alison's work at Vulture Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Hat Darren Aronofsky einen Tarantino gedreht?Wir haben Darren Aronofsky nicht allzu viel zugetraut, vor allem weil uns zum Beispiel "The Fountain" überhaupt nicht gefallen hat – doch mit Caught Stealing liefert er einen 90er-Jahre-Gangster-Trip ab, der uns eiskalt erwischt hat. Während Quentin Tarantino sich mutmaßlich langsam zur Ruhe setzt, holt Aronofsky das „Dirty Cinema“ zurück: Verschrobene Killer, ein manischer Austin Butler und Gewalt, die wehtut.

Send us a Question!MOVIE DISCUSSION: Kathryn joins Melvin to discuss Bottle Rocket, Wes Anderson's first feature-length film! The vibes are cozy and the dramedy is light, and the two get into discussions about classism (go figure!), easy-to-watch films, and what it is about Wes Anderson that makes him so mainstream. Topics: (PATREON EXCLUSIVE) 23-minutes discussing Darren Aronofsky's AI-Slop studio "Primordial Soup" which specializes in producing "stories" and "art" through AI programs (LLMs and AGIs a la Chat-GPT and Midjourney) and how this endeavor is actually anti-art. (PATREON EXCLUSIVE) Kathryn has stated that Bottle Rocket is her favorite Wes Anderson movie. Is this still true?It's nice to watch a Wes Anderson movie where he isn't overly controlling everything.Talking classism, adulthood, maturity, & empathy.Melvin isn't so sure he likes Wes Anderson's movies as much as everyone else, and he spends some time thinking what it is others see in them.Talking about Dignan, Anthony, and the unique characters therein.The climax of the film feels like a great representation of what Wes Anderson does best.Recommendations:Brick (2006) (Movie)Amnesia: The Dark Descent (2010) (Video Game) Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review One-time reward of two Cinematic Doctrine Stickers & Pins Social Links: Threads Website Instagram Letterboxd Facebook Group

Max and Evan delve into the history and evolution of stunts in film, highlighting iconic stunts from classic movies and the significance of stunt design in cinema. It also explores the influence of stunts on film genres and franchises, shedding light on the underappreciated aspect of filmmaking.TakeawaysStunts in film have a rich historyIconic stunts from classic filmsThe evolution of stunts in cinemaThe art of stunts involves risk, dedication, and meticulous planningChapters00:00 Introduction and Winter Struggles02:22 Super Bowl Recap and Movie Trailers05:03 Baldur's Gate TV Show Announcement07:59 Upcoming 4K Movie Releases10:39 Stunts in Film: A Deep Dive13:20 Iconic Stunts and Their Impact15:59 The Evolution of Stunt Work18:33 Conclusion and Final Thoughts22:55 The Art of Stunts in Film25:44 Iconic Car Chases and Their Impact31:30 The Evolution of Action Sequences37:31 The Role of Stunt Performers42:10 Modern Stunts and Their Spectacle46:35 Exploring Streaming Platforms: The Tubi Experience47:32 Podcast Promotion and Engagement48:50 Max's Newsletter and Content Variety50:20 Upcoming Criterion Releases and Film Recommendations51:26 Movie Reviews: 'Send Help' and 'Good Luck, Have Fun, Don't Die'58:12 Darren Aronofsky's 'Caught Stealing' Review01:00:02 Discussion on 'Good Luck, Have Fun, Don't Die'

Beeble's SwitchX transforms video backgrounds and relighting without destroying faces—potentially the most practical AI filmmaking tool yet. Joey and Addy test it live, debate LED volumes versus AI workflows, and break down Seedance 2.0's official release amid deepfake controversy. The hosts also critique Darren Aronofsky's AI-generated '1776' series, comparing it to traditional filmmaking and questioning when AI should replace real production.--The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.

On this Triple Feature we're looking at three comic-adjacent films—projects either adapted from graphic novels or conceived in that visual language: Oblivion, Snowpiercer, and The Fountain—each exploring memory, identity, and survival inside closed systems.Oblivion, directed by Joseph Kosinski and based on his unpublished graphic novel, follows Jack Harper, a drone repair technician stationed on a post-apocalyptic Earth after a war with alien “Scavs.” As he services automated defense machines from a sleek sky tower, he begins recovering fragmented memories that contradict the official narrative. A crash survivor and a band of human rebels force him to confront the truth: he's a clone sustaining an AI-controlled occupation.Snowpiercer, directed by Bong Joon-ho and adapted from the French graphic novel Le Transperceneige, is set aboard a perpetually moving train carrying the last survivors of a climate catastrophe. The rigid class hierarchy places the poor in the tail and elites in the front. Curtis leads a violent revolt through each car, exposing the brutal mechanics of engineered inequality.The Fountain, directed by Darren Aronofsky, interweaves three timelines—16th-century conquistador, modern scientist, and far-future space traveler—linked by a man's obsession with conquering death and saving the woman he loves. The film blends mysticism and science fiction into a meditation on mortality and acceptance.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Send a textAfter a catastrophic military disaster, the dead don't just rise - they come back, sit on the couch and refuse to do any housework. A group search for their missing friend, but what they find is far more terrifyingly lazy. On Episode 707 of Trick or Treat Radio our feature film discussion is We Bury the Dead from director Zak Hilditch! We also talk about the best Dick (Grayson) we've ever seen, debate the weight that expectations can place on a film, and for our coming attraction reaction we check out the trailer for the film Obsession, and a preview of the German opera Monster's Paradise! So grab your Zombie Survival Guide, make sure you don't leave any unfinished business, and strap on for the world's most dangerous podcast!Stuff we talk about: Valentines Day, Slim Jims, love is in the air, Friday the 13th, Sean Cunningham, Jason Voorhees, Scream 7, Mummy 4, The Mist, In A Violent Nature 2, Evil Dead Wrath, Chromebook Troubles, lens caps, Frankenstein Must Be Destroyed, The Sentinel, My Bloody Valentine, My Demon Lover, To Catch A Vampire, Charlie Spradling, Sphinx, House of the Dead 2, Sherlock Holmes, The Creeping Flesh, The Stepford Wives, The Beast Within, Dead Alive, The Temp, My Favorite Martian, Teen Ape, Mulva, Messengers, The Wolfman, Christina Ricci, Sleepy Hollow, Cursed, Adams Family, Darren Aronofsky, Josh Brolin, Planet Terror, The Goonies, Christine Elise, Needful Things, Michael Ironside, Total Recall, David Seltzer, The Omen, Richard Lynch, Bad Dreams, Corpses are Forever, Hillbilly Vanilli, Bad Bunny, Punishment Martinez, The Mandalorian, Gorgonzilla, Turbo Kid, RKSS, Klanchella, Milk and Serial, Obsession, Send Help, Sam Raimi, Drag Me To Hell, Iron Lung, the Black Lung game, RIP Ollie and Rio, “the best Dick I've ever seen”, Titans, Archie Bunker, We Bury the Dead, Daisy Ridley, The Battery, Dawn of the Dead, Brenton Thwaite, “Star Wars”, Captain Ron, Kurt Russell, humanity in zombie films, Cold Storage, brush fires, Benny Hill, don't put off tomorrow what you can do today, Night Patrol, Ryan Prows, The Unknown Comic, Pat Morita, Luc Besson, Dracula, Cumberland Farms, Malfunction Junction, My Bloody Scott Valentine, Happy Palentines Day, Go Fund Yourself, Oberons and Deuterons, and Han Salo or the 120 Days of Sodom.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Deftones hit Dublin this coming Monday and Dave is hyped hyped hyped. No better time to welcome freelance music journalist Danny Kilmartin to the studio with a Chino Moreno-fronted career-spanning Top 5 of his choosing. Elsewhere, it's another stacked news section - the rain ain't stopping and nor are the events, dear boy.Do hit up our similarly bursting-at-the-seams NO ENCORE Patreon - https://www.patreon.com/noencore - for weekly bonus episodes - up next, a 'Dave vs Andy' special as the Film Club takes on Darren Aronofsky's exceptionally divisive mother!ACT ONE: Dave and Adam did karaoke. They think it went swimmingly. ACT TWO (12:20): Bad Bunny x Super Bowl fallout including an on-the-whistle from-the-stadium report from Irish Independent NFL obsessive Shane Brennan, Kid Rock's attempts to save face, Boyzlife hit up the press circuit, Jonny Greenwood issues a demand to Melania Trump, Mark Ruffalo comes to Billie Eilish's aid, Chappell Roan calls for a revolution, and the latest high-profile use of AI music pisses us off yet again - it's the news. ACT THREE (1:16:23): Top 5 Deftones!-Follow Danny on Instagram Hosted on Acast. See acast.com/privacy for more information.

Wollner, Anna www.deutschlandfunkkultur.de, Vollbild

This week's episode begins with an engaging discussion about Darren Aronofsky's innovative new AI television show titled "On This Day...1776". The conversation dives into the intriguing premise of the show, which explores historical events through the lens of artificial intelligence, raising questions about the implications of using AI in storytelling. This leads to a broader discussion around the use of Artificial Intelligence as a creative tool in the realms of art and entertainment. The hosts ponder the transformative potential of AI in generating narratives, visual art, and even music, examining both the advantages and ethical considerations that come with such technology. They reflect on how AI can enhance the creative process, allowing artists to push boundaries and explore new ideas, while also addressing concerns about originality and the role of the human artist in this evolving landscape.Shifting gears, the conversation transitions to a fresh adaptation of a different type of comic book that steps outside the conventional superhero genre. They delve into the details of "Sex Criminals," a unique series that has garnered a cult following for its bold themes and innovative storytelling. The hosts discuss how this adaptation over at Amazon MGM Studios seeks to capture the essence of the original comic while appealing to a broader audience. They analyze the narrative's exploration of sexuality, relationships, and the complexities of human connection, highlighting the potential for this show to challenge societal norms and spark important conversations among viewers. The discussion also touches on the creative team behind the adaptation and their vision for bringing the comic's distinctive style and humor to life on screen.To wrap up the episode, Cody shares exciting news with Joe about the newest adaptation on AppleTV, which is generating significant buzz in the literary and entertainment communities. They delve into the potentially groundbreaking deal struck with renowned author Brandon Sanderson for his expansive Cosmere Universe. The hosts discuss the intricacies of adapting such a vast and intricate world, filled with rich lore and complex characters, into a television format. They speculate on how the adaptation might unfold, considering the challenges of remaining faithful to the source material while also creating a captivating viewing experience for both fans of the books and newcomers to Sanderson's work. This segment concludes with a discussion on the impact of such adaptations on the fantasy genre as a whole, and what it could mean for future projects in the realm of speculative fiction.Official Website: https://www.comesnaturallypodcast.comOfficial Merchandise: https://shop.spreadshirt.com/comes-naturally-podcast/iTunes: http://tinyurl.com/kqkgackFacebook: http://tinyurl.com/myovgm8Tumblr: http://tinyurl.com/m7a6mg9Twitter: @ComesNaturalPodYouTube: http://tiny.cc/5snxpy

This week on Pixelsplitters, we pay tribute to the late, great, Catherine O'Hara, gone far too soon. Also, Markiplier's new film "Iron Lung" has caused quite a stir as the non-dependent film took number 2 at the boxoffice this past weekend, all without a major studio behind it. And finally, Darren Aronofsky has released a fully AI series called "On this Day 1776," which is more than a little horrifying, but also an interesting work to try to dissect. All this and more on this week's Pixelsplitters! Listen in today! Pixelsplitters is a conversation podcast that explores the film and tv news of the week, and examines where the film industry as a whole is headed. Sometimes we do Top 5 lists! Tune in weekly and nerd out with us.

Comentamos la noticia de la utilización por parte de Darren Aronofsky de la IA para generar la totalidad de imágenes de una serie de época para televisión. La revolución está aquí. También repasamos las últimas producciones estrenadas en cine y en plataforma de la mano de Abraham, Manuel, Miguel y Ricar. Repasamos los siguientes títulos: Marty Supreme Cine Enviad ayuda Cine Primate Cine Hamnet Cine Silent Hill Cine Idolos Cine Aida y vuelta Cine El vestido Cine Vestido de Blanco Cine La chica zurda Franz Kafka Cine Los hermanos demolición Amazon El botín Netflix El caballero de los siete reinos HBO Agatha Christie las siete esferas Netflix El robo Amazon Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Comentamos la noticia de la utilización por parte de Darren Aronofsky de la IA para generar la totalidad de imágenes de una serie de época para televisión. La revolución está aquí. También repasamos las últimas producciones estrenadas en cine y en plataforma de la mano de Abraham, Manuel, Miguel y Ricar. Repasamos los siguientes títulos: Marty Supreme Cine Enviad ayuda Cine Primate Cine Hamnet Cine Silent Hill Cine Idolos Cine Aida y vuelta Cine El vestido Cine Vestido de Blanco Cine La chica zurda Franz Kafka Cine Los hermanos demolición Amazon El botín Netflix El caballero de los siete reinos HBO Agatha Christie las siete esferas Netflix El robo Amazon

This week's episode.... A very non-Darren-Aronofsky-ish Darren Aronofsky movie about a baseball fan who's caught up in a sticky situation with some Orthodox Jewish hitmen, russian thugs and a corrupt cop. You know...the usual!  The Counting Crows ruled the 90s airwaves and now there's a documentary on HBO Max about the band it's frontman's mental health problems. We reminisce on their music and the period in our lives when they were huge. Game of Thrones has a new spinoff called 'A Knight of The Seven Kingdoms' and it's way different from what you'd expect. Is that a good thing? Mmmmmaybe. Give us a good review and please subscribe!   If you have any show or movie recommendations for us please get those to us via our Twitter at www.twitter.com/MarriedWChanns.

Edward Saatchi has been building at the frontier of AI storytelling for a decade—from Oculus Story Studios to Fable (where his AI character Lucy made her own films at Sundance) to his current venture, Amazon-backed Showrunner. His thesis is provocative: AI-generated content is stuck in a four-year rut of short-form experiments with no commercial marketplace, no monetization path, and no artistic value. Creators are working solo, making 10-second clips that can't compete with Rick and Morty or Netflix originals. The solution? Band together, make features and TV shows, and build platforms where creators get paid every time someone remixes their work.Edward's most audacious project proves the point: reconstructing Orson Welles' lost masterpiece, The Magnificent Ambersons (44 minutes destroyed by studio cuts in 1942), using motion-capture actors and AI to seamlessly restore what was erased. The irony is intentional—it's a film about technology destroying beauty, restored by technology. Edward's approach isn't text-to-video slop. It's human performance driving AI synthesis: hire stage actors, capture their performances, use the original cutting continuity as a blueprint, and let AI fill the gaps. The result is cinema-quality work that would cost $100 million traditionally but costs $10 million with AI assistance.In AI XR News This Week: Amazon announces 16,000 layoffs (mostly middle management) while ramping robotics—replacing humans with machines in warehouses. Amazon Go and Amazon Fresh stores close after years of investment; the self-checkout convenience experiment dies. Snap spins off Spectacles AR glasses into a separate business, signaling lack of cash or confidence. Apple and OpenAI both developing AI wearables to launch in 2027, powered by Gemini and Google AI. Google launches Project Genie, a generative AI model that creates fully interactive 3D game worlds you can navigate and remix in real time. Walkabout Mini Golf (one of the 10 most popular Quest apps) lays off half its staff. Atlas V, the acclaimed French VR studio behind Spheres and Battle Scar, pivots to location-based entertainment. Darren Aronofsky launches an AI animated series on YouTube called On This Day.Key Moments Timestamps:[00:05:00] Amazon's 16,000 layoffs paired with robotics expansion; the canary in the coal mine for white-collar work[00:06:00] Amazon Go/Fresh failure: humans reject automated futures when given the choice[00:07:14] Snap spinning off Spectacles; Ted's thesis on AR glasses remaining "exotic," not mainstream[00:10:00] Apple wearables running Gemini + Google AI; the winning formula for wearable AI domination[00:12:48] Walkabout Mini Golf layoffs and Atlas V's pivot; VR right-sizing continues[00:15:25] Google Genie: generative 3D worlds, playable and remixable in real time; Epic should be scared[00:19:11] Edward Saatchi joins: the state of AI video and why there's no marketplace after 4 years[00:22:00] Edward's concern: AI content is "derivative but worse" with no commercial value[00:28:00] The marketplace problem: no buyers, no revenue, no sustainability for creators[00:34:00] Ted's thesis: AI is quietly disrupting VFX and screenwriting behind the scenes[00:44:00] Critters: the proof-of-concept for AI-assisted theatrical animation ($10M vs. $100M traditionally)[00:49:00] Showrunner's business model: creators earn money every time someone remixes their show[00:52:00] The Magnificent Ambersons project: restoring Orson Welles' lost masterpiece with AIEdward makes a case that reads like a manifesto: AI's killer app isn't making derivative work faster or cheaper. It's remix, interactivity, and personalization at scale—letting audiences co-create with AI while creators get paid. His challenge to the industry: hold yourself to "derivative but better" (can you make a better Simpsons episode than the last 15 seasons?) or "original and good" (something from a non-human intelligence's perspective). Until creators band together to make features and TV shows with commercial value, AI video will remain stuck in the trough of disillusionment.This episode is brought to you by Zappar, creators of Mattercraft—the leading visual development environment for building immersive 3D web experiences for mobile headsets and desktop. Mattercraft combines the power of a game engine with the flexibility of the web, and now features an AI assistant that helps you design, code, and debug in real time, right in your browser. Build smarter at mattercraft.io.Listen to the full episode and subscribe to the AI XR Podcast for weekly conversations at the intersection of AI, entertainment, and the future of interactive media. Watch on YouTube.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of It's the Pictures, hosts Max Covill and Evan Crean discuss the life and legacy of Mel Brooks, touching on his impact on comedy and film. They also remember the late Catherine O'Hara, explore Brandon Sanderson's new deal with Apple TV+, and reflect on the significance of Brooks' work, including films like Blazing Saddles and Spaceballs. The conversation highlights the timelessness of Brooks' humor and the influence he has had on generations of comedians.Chapters00:00 Introduction and Snowmageddon02:58 Super Bowl Excitement and Grammy Thoughts05:45 Tribute to Catherine O'Hara08:51 Brandon Sanderson's New Deal with Apple TV+11:53 Franchise Challenges in Film and TV14:51 Michael J. Fox's Return to Acting18:09 Darren Aronofsky and AI Controversy20:58 Mel Brooks: A Comedy Legend24:26 Mel Brooks' Early Career and Influences29:48 The Impact of Mel Brooks' Early Works35:50 Humor as a Tool for Healing and Commentary41:08 Breaking Boundaries in Comedy52:43 Mel Brooks' Legacy and Later Works01:09:34 Thrillers and Hidden Gems in Film

En esta edición exploramos la tensión entre inteligencia humana e inteligencia artificial. Analizamos la decepción que dejó el proyecto Amazon Go, compartimos nuestra opinión sobre On This Day… 1776, la serie generada con IA de Darren Aronofsky para Time Studios.Finalmente, para nuestros Patreon, profundizamos en el concepto de "triaje" aplicado a la práctica creativa. ¡Dale play!

This week, the 2 Guys 5 Movies podcast continues the journey through the horror of the 2010s. Frank's 2010 list includes the psychological thriller/horror The Silent House/La Casa Muda, We Are What We Are, Darren Aronofsky's Black Swan, Matt Reeves's Let Me In, and James Wan's Insidious.  Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.

On this week's episode: James and Jamie remember the late and great Catherine O'Hara. Interview with Stowe Story Labs founder David Rocchio, movies that accurately and inaccurately conveyed careers, and "Wonder Man" first thoughts! The Hub on Hollywood, hosted by Jamie and James, delves into the thriving film industry in New England. The podcast explores the production of various projects, including commercials, television shows, and full-length feature films. The podcast offers insight into New England’s growing film industry, as well as entertainment news and reviews. Subscribers can access the podcast on the iHeartRadio app and follow the hosts on Instagram and TikTok for updates.See omnystudio.com/listener for privacy information.

IntroIntro, we're on schedule!Darren Aronofsky's AI slop 'muricaA social network for AI agents? WHAT COULD POSSIBLY GO WRONGCoping mechanism: My diabetic friendly zero-ish calorie hoisin sauce substitute. Glen and friends, 40:22The Puppet PitRecent builds: a French Hooman and a Legally Distinct Celebrity AmphibianBuild streams motor along! Kinda!New episode of The Oracle is out! Peertube link for the cool kidsAll links on https://www.operationpuppet.com. Join the Discord! https://discord.gg/3zPqDcGJAC54:47PixeltownDeck Nook-ish? Handheld maker GPD misrepresents working with Bazzite team, Bazzite issues statement -- follow up (scene drama) and follow up post by BazziteGood news everyone! Bazzite joins the Open Gaming CollectiveGOG coming to Linux!Highguard has crystallized what's wrong with gaming AND gaming coverageAll glory to gaming necromancers: Anthem private server proof of concept shown. Related: Should Kevin run his own Marvel Heroes Omega server?Warframe check-in: new 5 Minute Meditation in the worksMusic Credits:Opening Music/Stinger: Funk Babe by emiliomerone. Audiojungle Broadcast License.Pixeltown: kiddpark, Freesound.org (Creative Commons 0 License). Hosted on Acast. See acast.com/privacy for more information.

Il Time ha rilasciato "On This Day... 1776" una delle prime serie tv interamente realizzate tramite AI, dal regista Darren Aronofsky. Nel frattempo pare che SpaceX stia per comprare xAI, perché questo è rilevante per l'"Universo di Musk"? Infine, è cominciata l'"earning season" e per Apple e Meta le cose, negli ultimi 3 mesi, sono andate alla grande! Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textWhen a young woman faces a deadly diagnosis, she attends a yankee swap of maladies in hopes of swapping one deadly disease for another. She pawns her disease off on a chainsmoking podcaster hoping to win the death pool. On Episode 705 of Trick or Treat Radio our feature presentation is the folk horror flick Mother of Flies from the Adams Family! We also talk about the role belief plays in healing, how inept we feel compared to the creative output of the Adams Family, and we have our coming attraction reaction where we check out the trailers for the films Faces of Death (2026) and Dolly. So grab your sachet of herbs, don't forget to pack the snake eggs, and strap on for the world's most dangerous podcast!Stuff we talk about: Halloween, Robert Englund, Hollywood Walk of Fame, John Carpenter, Tom Savini, The Adams Family, Nipsy Russell, Children of the Damned, Venom, Necromantik, Sorority Babes in the Slimeball Bowl-A-Rama, Lobsterman from Mars, Children of the Corn, Nemesis, Matinee, American Nightmare, Chupacabra Terror, Deadline, Warm Bodies, Trashsploitation, Heather Graham, Suitable Flesh, The Outer Limits, Marc Singer, Beastmaster, Dark Shadows, Donnie Darko, Poltergeist III, House on Haunted Hill, Warriors, Amityville Groundhog's Day, Mike Vrabel, WCW, the AI dilemma, Darren Aronofsky, Faces of Death, renting rated R films while you're in 2nd grade, Traces of Death, Dead Alive Productions, banned in the UK, Dolly, Sean William Scott, old school trailer narrator, Chris Gore, Film Threat, Ethan Suplee, Max the Impaler, Betty Boop, Becky, Sal Buscema, The Incredible Hulk, Spectacular Spider-Man, John Adams, Zelda Adams, Toby Poser, The Fall of the House of Usher, H6LLB6ND6R, Dust Bunny, The Last Boyscout, tick wrangler, Yankee Swap, the phantom pain gimmick, unearthing cars out of snow, how do you ask for a testicular exam?, Silent Night Deadly Night, Rated R for Death Vaginas, Exam Seeking Behavior, and the Yankee Swap of Maladies.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

On this episode of THE HOT MIC, John Rocha and Jeff Sneider discuss The Beatles movies first looks, the new details over the Safdie brothers split, James Gunn calling out the Christina Hodson haters, Odessa A'zion dropping out of A24's 'Deep Cuts' after online backlash, the first poster for the new RAMBO movie,  Netflix distributing the Gundam movie with Sydney Sweeney, a new Dirty Dancing sequel to star Jennifer Grey, Send Help and Wonder Man reviews, Darren Aronofsky's AI 1776 project debuts, Joe Carnahan being sued for sexual and physical assault by ex girlfriend, and more!#DC #batman #jamesgunn #marvel #avengers #avengersdoomsday #WB #netflix #TheHotMic #JeffSneider #JohnRocha ____________________________________________________________________________________Chapters:0:00 Intro and Rundown4:23 Brady Corbet's New Film To Be a 4 Hour Western Shot in 70MM6:15 The Beatles Movies First Looks of John, Paul, George and Ringo11:33 New RAMBO Movie Drops First Poster, Director's Statement14:25 James Gunn Calls Out Christina Hodson Haters25:42 Odessa A'zion Leaves A24 Movie Over Mexican Heritage Backlash34:10 Darren Aronsofsky Debuts 1776 AI "Animated" Series for TIME Magazine37:53 Safdie Brothers Split Has New Details45:50 Is Safdie Brothers Story Meant to Undercut Marty Supreme Oscar Chances49:00 Jennifer Grey To Return for Dirty Dancing Sequel and EP55:49 Sydney Sweeney GUNDAM Live Action Movie To Be Distributed by Netflix59:23 Director Joe Carnahan Accused of Assault by Ex Girlfriend1:04:36 SEND HELP, Wonder Man, Good Luck, Have Fun, Don't Die and PONIES Reviews1:13:02 Streamlabs and Superchat Updates2:00:11 Avengers Doomsday Rumors Feature Doom, F4 and Steve Rogers Teaming UpFollow John Rocha: @therochasays Follow Jeff Sneider: @TheInSneider Become a supporter of this podcast: https://www.spreaker.com/podcast/the-hot-mic-with-jeff-sneider-and-john-rocha--5632767/support.

Carrie Wittmer (The Ringer, Vulture) returns for Darren Aronofsky's psychological thriller with Black Swan! Together we chat about how timely the movie felt in 2010, Natalie Portman's dark personal life and career, hang nail trauma, the movies legacy and the Aronofsky's cultural standing

In this episode of The Clean Slate Video Club, we break down Caught Stealing, Darren Aronofsky's latest crime thriller, digging into its grimy tone, morally messy characters, and the way it blends dark humor with sudden violence. We talk performances, Aronofsky's stylistic fingerprints, and whether the film feels like a return to his earlier, rougher work or something entirely new. Along the way, we unpack what the movie is really saying about desperation, survival, and the cost of trying to get ahead when the system is already rigged. Spoilers are discussed, so consider yourself warned.#TheCleanSlateVideoClub#CaughtStealing#DarrenAronofsky#MoviePodcast#FilmPodcast#MovieDiscussion#FilmAnalysis#CrimeThriller#NewMovies#PodcastEpisode#MovieReview#FilmTalk

Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz welcomes Gail Berman, one of Hollywood's most versatile executives. From producing Joseph and the Amazing Technicolor Dreamcoat on Broadway at 22 to becoming the first woman to lead both a major TV network (Fox Entertainment) and a film studio (Paramount Pictures), she has consistently rewritten what creative leadership looks like in Hollywood.From Brooklyn to Broadway: The Joseph Origin Story (04:03): At just 22 years old, Gail and her partner, Susan Rose, produced Joseph and the Amazing Technicolor Dreamcoat. They brought the show to Broadway, earning seven Tony nominations.The Red Dress and the Palisades Fires (15:52): Gail's Tony Awards dress remains in storage due to insurance settlements following the recent Palisades fires that damaged her home.Starting Over in Television (19:30): Gail shares how she received a message on her answering machine about a new venture at HBO. Despite knowing nothing about television, she took the job at the comedy channel that would become Comedy Central.The Buffy Breakthrough at Sandollar (23:56): After reading the Buffy the Vampire Slayer film script, Gail saw it as a perfect TV show. While serving as President of Sandollar, she partnered with Sandy Gallin and Dolly Parton to develop and executive produce the show—launching a cultural phenomenon.The Austin Butler Screen Test for Elvis (28:26): When Baz Luhrmann showed four screen tests, Austin Butler's was last. The film would earn Gail an Academy Award nomination for Best Picture.From Regency Television to Running Fox (33:49): After producing Malcolm in the Middle, Roswell, and The Bernie Mac Show at Regency Television, Gail received a call from Peter Chernin asking her to run Fox Entertainment.The Paramount Years (40:28): Hired to run Paramount Pictures, MTV Films, and Nickelodeon Films, Gail faced some resistance. She secured the Star Trek film rights back from CBS with just 18 months to put it into production, hiring J.J. Abrams and Damon Lindelof to work fast.Black Swan: The Musical (50:43): After leaving Paramount, Gail launched The Jackal Group. She's now producing the musical adaptation of Black Swan with Darren Aronofsky, Kevin McCollum, and Scott Franklin.Gail Berman's story shows how versatility and the willingness to start over can create a remarkable career. From Broadway to broadcast television to film, she's proven that embracing new challenges leads to extraordinary places.Host: Kevin GoetzGuests: Gail BermanProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Gail Berman:Wikipedia: https://en.wikipedia.org/wiki/Gail_BermanIMDB: https://www.imdb.com/name/nm0075762/LinkedIn: For more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Send us a textOn the podcast this time, Steven and Sean are desperately trying to do just one thing right with our lives. We watched the 2022 film from Darren Aronofsky, The Whale.Looking for a reason to get off the couch? What about a good reason to reconnect with the loved ones in your life? A reason to work through the tragedy you may have faced in your life?Have we got a powerful movie for you! We can just about guarantee that this week's movie will inspire you to work on changing your life for the better. It certainly did for us.(Recorded on October 13, 2025)Links to Stuff We Mentioned:The Whale - The Movie Database (TMDB)The Whale trailer - YouTubeBrendan Fraser — The Movie Database (TMDB)Sadie Sink — The Movie Database (TMDB)Ty Simpkins — The Movie Database (TMDB)Hong Chau — The Movie Database (TMDB)Millie Bobby Brown — The Movie Database (TMDB)Spider-Man: Brand New Day (2026) — The Movie Database (TMDB)Superman (2025) — The Movie Database (TMDB)The Unbearable Weight of Massive Talent (2022) — The Movie Database (TMDB)Paddington 2 (2017) — The Movie Database (TMDB)Requiem for a Dream (2000) — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show

Welcome to The Reel Schmooze with ToI film reviewer Jordan Hoffman and host Amanda Borschel-Dan, where we bring you all the entertainment news and film reviews a Jew can use. The "Schmoovie" of the week is "Holding Liat," a remarkable documentary that charts the struggle of one Israeli-American family to return its loved ones who were taken hostage to Gaza during the Hamas murderous onslaught on southern Israel on October 7, 2023. Short-listed for an Oscar for Best Documentary, "Holding Liat" is now playing at art theaters, including in New York and Los Angeles. Produced by Hollywood filmmaker Darren Aronofsky and created by brothers Brandon and Lance Kramer, we learn in the film that during the siege on Kibbutz Nir Oz, educator Liat Beinin Atzili and her husband, artist and mechanic Aviv Atzili, were separately captured by the Hamas gunmen. The film follows American-born couple Yehuda and Chaya Beinin, kibbutznikim who immigrated to Israel in the 1970s, their daughter Tal, who emigrated from Israel to Portland a decade ago, and their grandchildren, primarily Netta, who barely survived the rampage at Nir Oz. The filmmakers, cousins to the Beinin family, begin charting their relatives two weeks after the couple's capture. Through updates from the IDF, we understand that there are disturbing findings related to Aviv, but that Liat is thought to be relatively secure. Yehuda, Tal and Netta journey to Washington, DC, to attempt to sway US politicians' hearts and minds to fight for their cause, but quickly see how each generation frames the conflict and its potential resolution. Upon the joyous return of Liat during the 2023 temporary truce that saw 97 hostages freed, we learn that Aviv was slaughtered by the terrorists. However, Liat resumes her activism, pushing for a two-state solution to the ongoing conflict. Hear the conflicted reactions the intense, but nuanced film evokes in this week's The Reel Schmooze. The Reel Schmooze is produced by Ari Schlacht and can be found wherever you get your podcasts. Image: Still from 'Holding Liat' (courtesy)See omnystudio.com/listener for privacy information.

THE FOUNTAIN (2006) is one of the most ambitious, polarizing, and misunderstood films of the 21st century. Directed by Darren Aronofsky, the film weaves together three timelines: a conquistador's quest for eternal life, a modern scientist racing against death, and a cosmic traveler drifting toward transcendence, which all bound by love, grief, and humanity's refusal to accept mortality.  Visit https://prizepicks.onelink.me/LME0/FOURPLAY and use code FOURPLAY and get $50 in lineups when you play your first $5 lineup!  Raycon's Essential Open Earbuds are here to help you crush your new year goals! Go to https://buyraycon.com/FOURPLAYOPEN to get 20% off sitewide.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In 1991, Nelson founded Sound Dogs, a studio that has since grown into Canada's premier sound editing, recording, and design company with hundreds of film and television titles to their credit. Nelson has worked with renowned directors such as Darren Aronofsky on Requiem for a Dream and Guillermo del Toro on The Shape of Water, which earned Nelson both Oscar and BAFTA nominations. Nelson's other film work includes: The Breadwinner, Dual, Priscilla, Nutcrackers, Francis Ford Coppola's Megalopolis, and Guillermo del Toro's Frankenstein. 

Greg McKeown is the author of two New York Times bestsellers, Essentialism: The Disciplined Pursuit of Less and Effortless: Make It Easier to Do What Matters Most. 200,000 people receive his weekly 1-Minute Wednesday newsletter, and he recently released The Essentialism Planner: A 90-Day Guide to Accomplishing More by Doing Less. Sponsors:Momentous high-quality creatine for cognitive and muscular support: https://livemomentous.com/Tim (Code TIM for 35% off your first subscription.)Shopify global commerce platform, providing tools to start, grow, market, and manage a retail businessHelix Sleep premium mattresses: https://helixsleep.com/timCoyote the card game​, which I co-created with Exploding Kittens: https://coyotegame.com*Show notes: https://tim.blog/2025/01/09/personal-reboot-greg-mckeown/*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome back to Not A Bomb! —the podcast where we resurrect cinema's most infamous box office disasters and ask the burning question: was it really that bad? We're celebrating five years of cinematic redemption.Not A Bomb! marches on with their discussion of some of the biggest bombs of 2025. Some movies stroll into the Not A Bomb clubhouse with a polite knock. Others kick the door down, track mud across the carpet, and immediately ask where you keep the bourbon. Caught Stealing (2025) is absolutely the second kind.This week, we dive into the pulpy, bruised‑knuckle world of Paul Tremblay's crime novel turned cinematic fever dream — a film that somehow blends noir grit, slapstick chaos, and the kind of escalating misfortune that makes you want to pat the protagonist on the shoulder and say, “Buddy… maybe just stay home next time.” The guys are so happy to have Jose from Watch Skip Plus to join in on the conversation. Caught Stealing is directed by Darren Aronofsky and stars Austin Butler, Regina King, Zoe Kravitz, Matt Smith, Liev Schreiber, Vincent D'Onofrio, Benito Martinez Ocasio, Griffin Daune, and Carol KaneWant to help support the show? Head over to the Not A Bomb Tee Public store and check our merchandise. Special thanks to Ted Blair for the amazing designs!We're committed to hearing your feedback and suggestions. If there's a cinematic flop you'd like us to delve into, please reach out to us at NotABombPod@gmail.com or through our contact page. Your reviews and feedback are what drive us. If you enjoy our content, consider leaving a review on Apple Podcast or Spotify.Cast: Brad, Troy, Jose

Just in time for Christmas, another Patreon episode is out of the vault! The boys discuss the 90's Christmas classic from Disney: The Santa Clause starring Tim Allen! But first, Cody reveals his antisemitism. This movie deserves A Requiem for a Dream treatment by Darren Aronofsky. This movie is vey Fat-phobic. Tim Allen crawled, walked, ran into a successful film career. Santa Claus & his elves are ACAB! If you assassinate a CEO, do you then become that CEO? Only select few on the pod care about the show Lost. Introduce more Santa lore into the darker retelling of this story. This episode's dark secret gives more insight to the Anthony lannaccio lore than ever before. Mushrooms over therapy. We rank some of the best Christmas movies. Jake has Christmas magic resistance. This a quick watch and definitely holds up!Check out the Kickstarter pre-launch page for Superguy issue #2 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.kickstarter.com/projects/mrtonynacho/superguy-2-my-date-with-the-presidents-daughter?ref=creator_tab⁠⁠⁠⁠⁠⁠⁠New episodes every THURSDAYFollow us on social media! Bluesky // Instagram // Twitter // TikTok :⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@comicsnchronic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/channel/UC45vP6pBHZk9rZi_2X3VkzQ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠E-mail: comicsnchronicpodcast@gmail.comCodyInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@codycannoncomedy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: @Cody_CannonTikTok: @codywalakacannonJakeInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@jakefhaha⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AnthonyBluesky // Instagram // Threads // Twitter // TikTok:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mrtonynacho⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Send us a textTwo conspiracy-obsessed middle-aged men kidnap the high-powered producer of a minor podcast, convinced that he is an alien intent on destroying planet Earth. On Episode 698 of Trick or Treat Radio we continue our annual December Double Feature Cram Jam tradition! We kick it off with the films from two of our favorite directors; Bugonia from Yorgos Lanthimos, and Caught Stealing from Darren Aronofsky! We also battle our old nemesis Tek Issues, react to trailers for the films Man Finds Tape and Supergirl, and find out what the most horrifying sight in a gym is. So grab your tin foil hat, don't forget to bring along your cat, and strap on for the world's most dangerous podcast!Stuff we talk about: Big Media Mergers, Netflix, WB, Gremlins, Mortal Kombat, The Conjuring, It, Final Destination, corporate takeovers, Michigan J Frog, Nightmare City, OBS vs. XSplit, Malignant, Nikki Sixx, Idle Hands, Pieces, Man Finds Tape, Found Footage, Supergirl, James Gunn, Blondie, Craig Gillespie, Fright Night, I Tonya, Green Room, Anton Yelchin, Lars and the Real Girl, Roman Chairs, Cum Town, working out, swinging and dinging in the gym, Stavros Halkias, Emma Stone, Full Throttle Cooking with Craig, Save the Green Planet, Jesse Plemons, Yorgos Lanthimos, VistaVision, One-Eyed Jacks, Aidan Delbis, Stanley Kubrick, Carol Kane, conspiracy theories, The Fountain, The Wrestler, Requiem for a Dream, Black Swan, Mother!, Regina King, Things to do in Denver When You're Dead, Quentin Tarantino, Matt Smith, Zoe Kravitz, Clerks, Austin Butler, Charlie Huston, Good Boy, Shelby Oaks, Emma Stone to the Bone, Massachusetts, Bee Gees, laying pipe and swinging dongs, Schneider-Man, and The Cum Town Rub.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Legendary filmmaker Darren Aronofsky and cinematographer Matthew Libatique, ASC, LPS, join us to reflect on their three decades of creative partnership: from “Pi,” “Requiem for a Dream,” “Black Swan,” and “The Whale,” to their newest collaboration, “Caught Stealing.” In this wide-ranging conversation, they discuss the evolution of their visual language, how technology continues to reshape the craft, and the inspirations behind the kinetic, East-Village-in-the-'90s aesthetic of “Caught Stealing.” And as the industry stands on the brink of profound transformation, Aronofsky shares why he believes the future is full of opportunities for new kinds of innovative storytelling. “I think how we make films is about to change more than any other time in history. And there's many ways that can go, many possibilities. So I think for storytellers, it's really exciting because there's a lot of discovery ahead of us. There's the potential for lots of very specific, individual types of films. But I think there's an absolute need for storytellers to be inventive and to be looking forward.” —Darren Aronofsky, Director and Producer, “Caught Stealing” Be sure to check out “Caught Stealing,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

“I just want to be perfect.” Join Ian & Megs for our 308th episode as we step into the mirror-lined, razor-edged, emotionally fraught world of Darren Aronofsky's Black Swan (2010). Lace up your shoes, crack your knuckles, and prepare to descend into obsession, duality, and tutu-level trauma. This week we discuss: Natalie Portman's extraordinary, Oscar-winning transformation — fragile ingénue, ruthless perfectionist, and fractured psyche in one. Mila Kunis as the effortless chaos to Nina's claustrophobic control — real threat or manifested paranoia? Aronofsky's visual language: reflections, doubles, textures, and body horror. How does he trap the audience inside Nina's deteriorating mind? The film's depiction of artistic pressure and perfectionism — when does ambition turn pathological? What other film could we not stop referencing whilst watching this film Megs questions the ballet accuracy (and the wildly inaccurate bits) — including the culture, the training, and the psychological toll Ian asks if the film does a good enough job educating the audience about ballet to make the film accessible We talk about how Black Swan functions as a companion piece to The Wrestler — obsession as both craft and self-destruction. The boundaries between reality and hallucination — when does the film stop being literal? Or was it metaphor all along? We examine the film's treatment of sexuality, identity, and agency through the lens of duality: White Swan vs. Black Swan, innocence vs. corruption, submission vs. liberation. The final performance — triumphant, tragic, transcendent? We unpack the film's unforgettable ending. And finally, whether Black Swan is the Best Film Ever — or simply one of the most hypnotic psychological thrillers of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Caught Stealing (2025, Dir. Darren Aronofsky, Starring: Austin Butler, Regina King, Zoe Kravitz, Matt Smith, Liev Schreiber, Vincent D'Onofrio) 107min Honey Don't (2025, Dir. Ethan Coen, Starring: Margaret Qualley, Aubrey Plaza, Chris Evans, Charlie Day)... The post Extra Features 351 appeared first on Extra Features.

Send us a textA group of middle-aged friends compete in an annual contest known as "The Long Talk," in which they must maintain a certain talking speed or get silenced forever. Strange things begin to happen when the friends start to become entangled in quantum mechanical machinations. On Episode 697 of Trick or Treat Radio we are joined by our old friend Double D for our December Patreon Takeover! He selected the films The Long Walk and Coherence for us to discuss. We also continue the age old debate of practical FX vs cgi, talk about the works of a little known author named Richard Bachman, and try to make sense of quantum mechanics. So grab your best talking shoes, pack plenty of extra glowsticks, and strap on for the world's most dangerous podcast!Stuff we talk about: Modern Horror franchises, Paranormal Activity, films that wear out their welcome, James Wan, Double D, Patreon Takeover, the Pale Paul Mooney of Podcasting, It: Welcome to Derry, Creepshow, practical fx vs. CGI, The Thing, The Shining, John Carpenter, Roblox gift cards, Minecraft, umbilical trauma, Fallout 76, Borderlands 2, Horizon, London After Midnight, Horror Express, Telly Savalas, All Hallow's Eve, 30 Ways to Die, Amanda Seyfried, American Horror Story, Dark Shadows, They, House of the Dead, Wolfcop, Dark Match, Dr. Giggles, Brendan Fraser, Carrie, Psycho, Jurassic Park, Darryl Hannah, Splash, Jason Goes to Hell, The Prince of Darkness, Trick or Treat, Body Bags, Don Calfa, A Haunted House, The Toolbox Murders, Spider Gates, Stranger Things 5 Vol. 1, Cobra Kai, WCUW, Ian Ziering, Sleepaway Camp, Wet Hot American Summer, Kimbo Slice, Wilfred Brimley, de-aging vs. recasting, Ready or Not: Here I Come, Samara Weaving, Lisa Frankenstein, Police Academy, Mad Max, The Thorn Trilogy, Teen Wolf, Thanksgiving, Dead Heat, Party Girl, City of Lost Children, Smallville, Frozen Caveman Lawyer, Stephen King, Frank Darabont, The Shawshank Redemption, The Green Mile, Richard Bachman, R.L. Stine, Ryoki Inoue, Battle Royale, The Running Man, The Long Walk, Rango Unchained, Coherence, James Ward Byrkit, Nicholas Brendon, Emily Baldoni, blue nostrils, Clue, Invasion of the Body Snatchers, quantum mechanics, Twilight Zone, Jordan Peele, Us, Animal Man, Grant Morrison, Caught Stealing, Darren Aronofsky, Austin Butler, Yorgos Lanthimos, Bugonia, The Last Gentrification of Gotham, and Coherence and Incoherence: A Memoir, and Ricky Schrodinger's Cat.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

In this episode, we do a rewatchable review of the 2000 psychological drama Requiem for a Dream, directed by Darren Aronofsky and starring Jared Leto and Marlon Wayans. We discuss whether the film still holds up in its brutal honesty about drug addiction, and we debate whether this is Marlon Wayans's best film performance. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

In this episode, we do a rewatchable review of the 2000 psychological drama Requiem for a Dream, directed by Darren Aronofsky and starring Jared Leto and Marlon Wayans. We discuss whether the film still holds up in its brutal honesty about drug addiction, and we debate whether this is Marlon Wayans's best film performance. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pablos Holman is a hacker and inventor and the author of Deep Future: Creating Technology that Matters, the indispensable guide to deep tech. Previously, Pablos worked on spaceships at Blue Origin and helped build The Intellectual Ventures Lab to invent a wide variety of breakthroughs. Pablos also hosts the Deep Future Podcast and is managing partner at Deep Future.This episode is brought to you by:Cresset prestigious family office for CEOs, founders, and entrepreneurs: https://cressetcapital.com/timMaui Nui Venison​, delicious, nutrient-dense, and responsible red meat: https://mauinuivenison.com/lp/timAG1 all-in-one nutritional supplement: https://drinkag1.com/timTimestamps:00:00 Intro02:12 The hacker mindset33:05 Nuclear52:35 Autonomous ships58:48 Pragmatic optimism01:00:29 Risk tolerance01:04:50 Blue Origin01:11:59 Zero Effect philosophy01:34:43 China01:43:07 Taiwan01:45:04 AI01:50:42 Salsa02:08:44 Deep tech investing*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This episode is a solo Q&A session where I answer a bunch of questions. We covered a ton of ground, from personal health protocols to professional frameworks and creative projects. This episode is brought to you by:Eight Sleep Pod Cover 5 sleeping solution for dynamic cooling and heating: EightSleep.com/Tim (use code TIM to get $350 off your very own Pod 5 Ultra.)Monarch Money track, budget, plan, and do more with your money: MonarchMoney.com/Tim (50% off your first year at monarchmoney.com with code TIM)Shopify global commerce platform, providing tools to start, grow, market, and manage a retail business: https://shopify.com/tim (one-dollar-per-month trial period)Timestamps: [00:00:00] Start[00:06:00] Coyote retail distribution challenges and data gathering.[00:09:12] Elbow surgery recovery: sequencing, decongestion, Marc Pro device, peptides, BFR training.[00:16:14] California vs. Austin for builders, mechanical engineers, and tech startups.[00:19:06] Using AI for medical advice workflow (and cross-referencing with professionals).[00:23:51] Current supplement regimen and PAGG/AGG status.[00:31:54] California vs. Texas considerations for aspiring parents.[00:32:48] Saying "No" to good things for "Hell, yes" moments.[00:34:34] Philanthropy lessons learned since starting Saisei Foundation.[00:37:45] Something I've changed my mind about recently: intermittent fasting.[00:42:44] Precious items from childhood I still keep: D&D relics and marine biology books.[00:43:03] Bucket list hike: Glacier National Park.[00:43:42] How the catalytic chaos of publishing The 4-Hour Chef led to launching this podcast.[00:45:52] Bringing delight vs. sixth-gear, high-performance focus.[00:49:05] Thoughts on extended human fasting research from the Soviet era.[00:52:58] Most magical New Mexico experience: Mountain Cloud Zen Center meditation retreat.[00:53:22] Meta skills for the AI era: Hyper-adaptability and world-class learning.[00:54:01] The (real and ideal) future of CØCKPUNCH/Legends of Varlata.[00:59:47] Competitive chess training enhancement: glucose management, intermittent fasting, MCT oil.[01:06:31] Behind-the-scenes projects: Fusion, algae feed additives, meat alternatives.[01:08:32] Countries I wish I had visited earlier, and places I'd still like to see.[01:11:06] "Not yet" vs. "No" in early growth phases.[01:14:14] Post Coyote, do I have any future games in the works?[01:14:46] Over-ear vs. in-ear headphones for podcasting.[01:15:16] What's the uncrowded channel right now?[01:16:17] Recommendations for Dr. Mindy Pelz.[01:16:58] Robert Rodriguez and project juggling.[01:17:24] Fast neutron reactors and the Bugatti of ketones.[01:19:05] Extended family outings and Mahonk Mountain House.[01:20:31] NO BOOK meetup plans?[01:20:54] Parting thoughts.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After 11 seasons on ER, Noah Wyle thought he was finished with medical dramas: "I spent 15 years avoiding — actively avoiding — walking down what I thought was either hallowed ground or traveled road." But then COVID happened, and he felt compelled to tell more of these stories. He spoke with Dave Davies about the making of HBO's hit show The Pitt, the medical jargon, and his mom's feedback on the show.Justin Chang reviews the new film Caught Stealing, from director Darren Aronofsky.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

You're not going to believe this but there might be a bigger movie in the world than Red Notice. We get into the success of Kpop Demon Hunters plus a look at Darren Aronofsky's Caught Stealing, our first look at Star Wars: Starfighter, a delay for Mortal Kombat II, ratings for Peacemaker Season 2, Disney trying to lure in Gen Z males, Alan Ritchson on joining the DCU and more! Thanks for listeningNew ep of We Got 'We Got This Covered' Covered out now with James & Maso! Plus entire back-catalogue of let's play videos, bonus podcasts, movie commentaries, early access and ad-free episodes all available on https://bigsandwich.coPLEASE be aware timecodes may shift up to a few minutes due to inserted ads.00:00 The Start04:37 D23 Movie Teasers06:28 Star Wars Starfigher First Look11:31 Mortal Kombat 2 Delays13:46 Peacemaker Season 2 Doing Well16:10 Kpop Demon Hunters Overtakes Red Notice as Netflix No.123:43 Disney Want More Gen Z Viewers31:56 Alan Ritchson on Batman & DCU Casting34:56 Caught Stealing Movie Review46:04 Caught Stealing Spoiler Segment54:15 What We Reading, What We Gonna Read01:00:16 Letters, It's Time For LettersSUBSCRIBE HERE ►► http://goo.gl/pQ39jNJames' Twitter ► http://twitter.com/mrsundaymoviesMaso's Twitter ► http://twitter.com/wikipediabrownPatreon ► https://patreon.com/mrsundaymoviesT-Shirts/Merch ► https://www.teepublic.com/stores/mr-sunday-moviesThe Weekly Planet iTunes ► https://itunes.apple.com/us/podcast/the-weekly-planet/id718158767?mt=2&ign-mpt=uo%3D4The Weekly Planet Direct Download ► https://play.acast.com/s/theweeklyplanetAmazon Affiliate Link ► https://amzn.to/2nc12P4 Hosted on Acast. See acast.com/privacy for more information.

Regina King's depth and range as an actor won her dozens of awards and allows her to choose projects best suited for her. Regina and Marc talk about her early sitcom days on 227, her breakthrough performances in films like Boyz n the Hood and Jerry Maguire, her acclaimed turns in If Beale Street Could Talk and Shirley, her work as a director, and her latest role in Darren Aronofsky's Caught Stealing. Regina also explains why she launched a brand of wine to honor her son. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast. Hosted on Acast. See acast.com/privacy for more information.

Kevin J. Tracey, MD is president and CEO of the Feinstein Institutes for Medical Research at Northwell Health, a pioneer of vagus nerve research and author of the recent book, The Great Nerve: The New Science of the Vagus Nerve and How to Harness Its Healing Reflexes. This episode is brought to you by:Eight Sleep Pod Cover 5 sleeping solution for dynamic cooling and heating: EightSleep.com/Tim (use code TIM to get $350 off your very own Pod 5 Ultra.)AG1 all-in-one nutritional supplement: https://DrinkAG1.com/Tim (1-year supply of Vitamin D plus 5 free AG1 travel packs with your first subscription purchase.)Wealthfront high-yield cash account: https://Wealthfront.com/Tim (Start earning 4.00% APY on your short-term cash until you're ready to invest. And when new clients open an account today, you can get an extra fifty-dollar bonus with a deposit of five hundred dollars or more.) Terms apply. Tim Ferriss receives cash compensation from Wealthfront Brokerage, LLC for advertising and holds a non-controlling equity interest in the corporate parent of Wealthfront Brokerage. See full disclosures here.Timestamps:00:00 Tim's intro: why he dismissed vagus-nerve hype06:34 What the vagus nerve actually is, plus common myths11:31 Breaking news: FDA approval for SetPoint's RA implant + Kelly Owens's turnaround21:11 Inflammation 101: when healing turns harmful31:37 Bioelectronic medicine: from lab insight to real devices55:26 TNF, IL-1, and IL-6: immune drivers and what VNS modulates56:06 Exercise & recovery: vagal signals, IL-6, and adaptation56:30 Cold exposure & breathwork: sympathetic spike, parasympathetic payoff59:04 Chronic inflammation today: prevalence, diagnostics, and uncertainty59:53 Autoimmunity: genes, environment, infections01:01:08 Stress hormones, personality traits, and metabolic fallout01:05:41 VNS tech landscape: implants, focused ultrasound, and what's just TENS01:11:14 Ear maps, revisited: the real science behind auricular stimulation01:27:52 Ulf Andersson: auricular TENS, famotidine, and a depression turnaround01:36:48 Depression & inflammation: where VNS helps (and where it doesn't)01:41:38 Body-brain loop: how inflammation signals ride the vagus nerve01:42:56 Why VNS can lift mood: a working theory01:43:22 Ulf's setup: electrode placement and twice-daily routine01:44:37 Acupuncture, fertility, and plausible vagal links01:47:23 Chronic pain through an inflammation lens01:48:34 Neural “engrams”: how the brain can store inflammatory memories02:02:35 Cervical TENS vs. true VNS: mechanisms and open questions02:12:15 On stage with the Dalai Lama: blue energy and two vagus nerves02:16:55 Closing thoughts: self-care vs. medical devices, and what's next*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.