Podcasts about IP

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kurt Farquhar. Television & Film Composer, Founder of Fall Crop Productions and True Music ProNotable Credits: The King of Queens, Girlfriends, The Parkers, Being Mary Jane, The Proud Family, The Neighborhood, Black LightningAwards: 10 BMI AwardsTenure: 38+ years in television Purpose of the Interview The purpose of this interview is to educate and inspire creatives, entrepreneurs, and professionals about longevity, adaptability, and wealth-building behind the scenes. Kurt Farquhar’s journey highlights how sustainable success comes from mastery of craft, relationship-building, and treating creativity as a business—not chasing visibility or fame. Rushion McDonald uses Kurt’s career as a blueprint for: Building mailbox money through residuals Staying relevant across decades of industry change Monetizing intellectual property Leveraging relationships to sustain opportunity Core Themes Discussed Longevity vs. “getting on” Behind-the-scenes success Residual income (“mailbox money”) Adaptability in changing industries Creative originality Relationship capital Diversifying income through ownership Treating art like a business Key Takeaways 1. Staying In Is Harder Than Getting In While many focus on breaking into the industry, Kurt emphasizes that lasting success requires constant reinvention. “The continuing it for the 30-plus years has been way harder than the getting in in the first.” Insight: Longevity requires discipline, humility, and evolution. 2. Behind-the-Scenes Roles Can Be More Sustainable Kurt chose composing over performing, allowing him to age into his career rather than age out of it. “In television and film… all I’ve got to say is John Williams is in his 90s and still composing.” Insight: Choose lanes that allow long-term relevance and recurring income. 3. Residual Income Is Real Wealth Rushion and Kurt discuss “mailbox money”—recurring payments from past work. “If you just had the mailbox money for King of Queens, you’d be fine.” Insight: True financial freedom comes from owning work that keeps paying. 4. Adaptability Is Non‑Negotiable Kurt has survived massive industry shifts—from analog tape to digital production—by embracing change. “Sustain that good idea, change it, polish it up, and mold it for the changing times.” Insight: Talent without adaptability becomes obsolete. 5. Originality Comes From Listening, Not Forcing a Style Kurt avoids creative stagnation by serving the story, not his ego. “I don’t come in every day trying to force the singular style I’ve done for 38 years.” Insight: Longevity depends on collaboration and humility. 6. Relationships Are Career Currency Kurt credits long-term success to consistently showing up for people—before they’re powerful. “If you only call someone once you read they’ve got something coming up, it’s already too late.” Insight: Relationships built without agenda produce lasting opportunity. 7. Saying “Yes” Creates Opportunity Kurt embraces what he calls the power of yes. “I figure I can say yes more than you and end up making more and doing better.” Insight: Opportunity favors those who remain open, prepared, and professional. 8. Ownership Multiplies Creativity Into Business Kurt built True Music Pro, a licensing library used across major networks and streaming platforms. “I realized companies were licensing more of my music than I was… so I built my own library.” Insight: Ownership turns talent into scalable income. Notable Quotes “The journey to stay in is harder than the journey to get in.” “Treat it like a business and it might treat you in kind.” “I do my job, I do it the best I can, and I move on to the next one.” “Character is character. Relationships matter.” “That success doesn’t happen by accident. It happens with care.” Overall Impact of the Interview This interview serves as a masterclass on creative longevity and wealth-building without celebrity dependency. Kurt Farquhar’s story reframes success as: Consistent excellence Relationship stewardship Business ownership Adaptability across generations It is especially powerful for: Creatives seeking sustainable careers Entrepreneurs building IP-based businesses Professionals navigating long-term relevance Anyone pursuing “quiet wealth” over public fame #SHMS #STRAW #BESTSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kurt Farquhar. Television & Film Composer, Founder of Fall Crop Productions and True Music ProNotable Credits: The King of Queens, Girlfriends, The Parkers, Being Mary Jane, The Proud Family, The Neighborhood, Black LightningAwards: 10 BMI AwardsTenure: 38+ years in television Purpose of the Interview The purpose of this interview is to educate and inspire creatives, entrepreneurs, and professionals about longevity, adaptability, and wealth-building behind the scenes. Kurt Farquhar’s journey highlights how sustainable success comes from mastery of craft, relationship-building, and treating creativity as a business—not chasing visibility or fame. Rushion McDonald uses Kurt’s career as a blueprint for: Building mailbox money through residuals Staying relevant across decades of industry change Monetizing intellectual property Leveraging relationships to sustain opportunity Core Themes Discussed Longevity vs. “getting on” Behind-the-scenes success Residual income (“mailbox money”) Adaptability in changing industries Creative originality Relationship capital Diversifying income through ownership Treating art like a business Key Takeaways 1. Staying In Is Harder Than Getting In While many focus on breaking into the industry, Kurt emphasizes that lasting success requires constant reinvention. “The continuing it for the 30-plus years has been way harder than the getting in in the first.” Insight: Longevity requires discipline, humility, and evolution. 2. Behind-the-Scenes Roles Can Be More Sustainable Kurt chose composing over performing, allowing him to age into his career rather than age out of it. “In television and film… all I’ve got to say is John Williams is in his 90s and still composing.” Insight: Choose lanes that allow long-term relevance and recurring income. 3. Residual Income Is Real Wealth Rushion and Kurt discuss “mailbox money”—recurring payments from past work. “If you just had the mailbox money for King of Queens, you’d be fine.” Insight: True financial freedom comes from owning work that keeps paying. 4. Adaptability Is Non‑Negotiable Kurt has survived massive industry shifts—from analog tape to digital production—by embracing change. “Sustain that good idea, change it, polish it up, and mold it for the changing times.” Insight: Talent without adaptability becomes obsolete. 5. Originality Comes From Listening, Not Forcing a Style Kurt avoids creative stagnation by serving the story, not his ego. “I don’t come in every day trying to force the singular style I’ve done for 38 years.” Insight: Longevity depends on collaboration and humility. 6. Relationships Are Career Currency Kurt credits long-term success to consistently showing up for people—before they’re powerful. “If you only call someone once you read they’ve got something coming up, it’s already too late.” Insight: Relationships built without agenda produce lasting opportunity. 7. Saying “Yes” Creates Opportunity Kurt embraces what he calls the power of yes. “I figure I can say yes more than you and end up making more and doing better.” Insight: Opportunity favors those who remain open, prepared, and professional. 8. Ownership Multiplies Creativity Into Business Kurt built True Music Pro, a licensing library used across major networks and streaming platforms. “I realized companies were licensing more of my music than I was… so I built my own library.” Insight: Ownership turns talent into scalable income. Notable Quotes “The journey to stay in is harder than the journey to get in.” “Treat it like a business and it might treat you in kind.” “I do my job, I do it the best I can, and I move on to the next one.” “Character is character. Relationships matter.” “That success doesn’t happen by accident. It happens with care.” Overall Impact of the Interview This interview serves as a masterclass on creative longevity and wealth-building without celebrity dependency. Kurt Farquhar’s story reframes success as: Consistent excellence Relationship stewardship Business ownership Adaptability across generations It is especially powerful for: Creatives seeking sustainable careers Entrepreneurs building IP-based businesses Professionals navigating long-term relevance Anyone pursuing “quiet wealth” over public fame #SHMS #STRAW #BESTSee omnystudio.com/listener for privacy information.

With Grand Theft Auto VI finally launching this November, we've been left without a key piece of information: Its price. Conjecture and prognostication has run rampant, but now we have confirmation that GTA6's base cost is $80 in the United States, with a $100 version offering players some perks and unlocks. With our long-awaited trip down to Leonida drawing closer on the horizon, we've much to discuss, including our hype level, whether we'll buy the base or special edition, the lack of a real physical version, and -- perhaps most intriguingly -- no new trailer or gameplay videos to help sell a product that (let's be honest) probably doesn't need much help to begin with. Other news this week includes significant layoffs at Sony-owned Bungie, indications that God of War: Laufey may launch as early as Q1 2027, more delisted shovelware tripe removed from PlayStation Store, executive-level issues at FromSoft, and more. Then: Listener inquiries! What's with Steam Machine's absurd price? Should Sony look to invest in any of Xbox's distressed assets? Why did PlayStation even bother publishing Midnight Murder Club if they were only going to ignore it? Will Chris and Colin one day have their shared ex-psychiatrist on the show to discuss our many mental ailments? Timestamps: Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement. 0:00 - Intro22:50 - Happy Birthday nerd35:46 - Trophy hunting37:10 - Chris has a new voice47:15 - Release the files55:38 - The Green Reaper57:31 - GTA VI "plays best" on PlayStation 51:46:15 - Bungie lays of hundreds2:11:09 - Bungie pitched a Destiny dating game2:15:35 - God of War: Laufey might launch in Q1 20272:17:02 - Deborah Ann Woll claims Laufey was pitched in 20182:25:06 - PlayStation Store shovelware developer bites the dust2:30:53 - Kadokawa says Fromsoft is being mismanaged2:39:21 - Tencent exits from several game studio investments2:43:47 - What We're Playing (Pragmata, LEGO Batman, Luna Abyss, GTA: San Andreas)3:05:33 - Steam Machine pricing3:26:19 - Could Sony invest in XBOX?3:31:15 - What's next for Sony?3:40:03 - Midnight Murder Club received its final update3:46:05 - Is gambling software okay?3:54:55 - Should Sony stick to its existing IP catalog? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Google's DeepMind division is putting about 75 million dollars into indie studio A24, the company behind recent hits like “Backrooms” and “Marty Supreme,” in what both sides describe as an AI research partnership to build new tools for film production and distribution, not a traditional content or IP deal.

Tom and Tony interview Co-Creative director and Founder, Nic Cabana about his companies fast rise to profitability with their IP "Claynosaurz". Without a storyline, they were able to innovatively get their IP out into the world through social media clips and build their characters into revenue generating digital collectibles before launching into an animated series.

Take 10 with Tim – June 26, 2026 @ 9:15 am.1.We had a trade on Wednesday night with the Cubs acquiring David Peterson from the Mets for minor leaguer Cole Mathis – Cole Mathis profile is at the end of the notes.a.Is this the first sign of the Mets throwing in the towel?b.If so, give me the top 3 players the Mets will trade before the deadline?c.Will Lindor or Soto be one of those players?d.Good move for the Cubs?e.Who gets Peterson's starts in New York? Tong?f.Kodai Senga – Yuk – moved to the bullpen.2.It's been a month since Dylan Crews returned. He's hitting .212 with five home runs and two stolen bases. Remarkably, he's walked twice in 124 plate appearances and is sporting a .250 OBP. a.We will look at his baseballsavant data as well.b.What do Dynasty League managers do and are you still all-in or starting to lose confidence in him?3.Related. I started with my Draft Preview yesterday and wrote up the first 15 players I would take in a FYPD. Roch Cholowsky, the long-time favorite of everyone to go #1 in FYPD (and by MLB teams as well) reminds me a bit of Crews. Can't miss college hitter with power – but unlike Crews, he doesn't have much speed. When I was writing up my notes, I kept thinking of Crews, and maybe a little of Corey Seager. If you're picking #1 in a FYPD, do you pick the safe guy in Cholowsky, or do you go with somebody with more explosive tools but with more risk?4.The discussion of Shane Bieber was on our list last week but we talked to much and never got to him. I asked, would you start Shane Bieber given the drop in velo he was showing in his rehab. Now, we have a game under his belt and it wasn't great = 3.2 IP, 9 hits, 4 ER, 3 HR, 2K/0BB. His fastball wasn't any better at 91.9 mph and he's throwing his cutter more to try and compensate.a.How are you treating him for the next few starts? Starting him because he's Shane Bieber, looking at matchups, or on the bench? He has Texas at home on Sunday.5.One of our Pateron members reach out about Jakob Marsee and whether he should be a keeper for next season. I did a full breakdown on him and will share, but wanted to get your take on what has to be a disappointing season for where you had to take him in fantasy leagues.6.A few Rookies starting to show their stuff – Fact of Fictiona.Jac Caglianone – 14 home runs, but striking out a lot and a .352 BABIP is propping up his .275 BAb.TJ Rumfield – 12 HR, .275 BA, and a 47K/28BB, 15% K-Rate c.Bryce Eldridge – 130 AB, 6 HR, .285 BA, 34K/21BB – 22% K-Rated.Foster Griffin – 91.1 IP, 3.15 ER, 4.09 xERAe.Gage Jump – 35.1 IP, 2.04 ERA, 35K/10BB. 3.71 ERA at home, 0.49 away. Overall, 2.94 xERA7.What hitter are you targeting for this weekend's FAAB?8.What pitcher are you targeting for this weekend's FAAB?Cole Mathis (3B/1B)Highest Level: High-A ETA: 2028 Fantasy Ceiling: Corner InfielderLast Updated: 06/25/2026Tools Summary: Polished power bat whose real test begins at Double A.Cole Mathis, the Cubs' second round pick in 2024, lost most of his first professional season to Tommy John surgery and was limited to just 25 games in 2025. Chicago sent him back to Low A to open 2026, and while he's older than the competition, he's performed exactly as a polished college bat should. The approach is mature, the power is real, and he's made a clear effort to elevate — sometimes a bit too intentionally — but the results speak for themselves as fly balls continue turning into home runs. After 14 games, he earned a promotion to High A, where the home run output dipped but the underlying metrics remained strong.The Mets saw enough and acquired him in late June in exchange for David Peterson. From a development standpoint, it's essentially a wash — both organizations do a solid job with hitters.The pedigree and strength have always been part of the projection, but fantasy managers should stay measured. Given his age and the level, he should be producing. The real test comes once he reaches Double A, where we'll learn whether the contact skills and swing decisions hold up against better sequencing and velocity. If they do, the power will play.

The guys are on vacation, but the show must go on! We recorded this listener question episode just before heading out, covering everything from the best back-to-back coaster combinations to which IP should come to the parks next, whether Disney would ever tear down the Matterhorn, and which rides sound way better than they actually are. Plus, EB shares two fun stories from a recent Kentucky Kingdom visit — including a station crew member who had absolutely had enough, and a Flying Fox scavenger hunt with a surprisingly solid prize.

This is part two of a ten-part podcast series documenting the European Industrial Hemp Association's 23rd Annual Conference in Poznan, Poland, at the Institute of Fiber Plants and Medicinal Medicine, June 10-12. Witold Czeszak, co-founder and head of the Polish Hemp Program at the Institute of Natural Fibers and Medical Plants, talks about Polish hemp genetics, the importance of IP protection and why he fought hard to bring the European Industrial Hemp Conference to the Institute. "I brought to the table new blood. I brought here representatives of huge companies because in general my idea is to professionalize the sector so to scale it up, keeping of course quality on the highest level," he said. Poland has been at the epicenter of hemp in Europe for decades, and with genetics like Hanola and Białobrzeskie coming out of Czesak's breeding program, Polish varieties have become standard fiber genetics around the world. Learn More Institute of Natural Fibers and Medicinal Plants (IWNIRZ) iwnirz.pl European Industrial Hemp Association (EIHA) eiha.org/ EIHA Conference eiha-conference.org/ Thanks to Our Sponsors HEMI — The Hemp Education and Marketing Initiative thegoodnessofhemp.org Bish Enterprises — FiberCut Hemp Harvesting bishenterprise.com/fibercut 1937 International 1937international.com Condor Seed condorseed.com

My co-host Ken Suzan and I are welcoming you the episode 176 of the IP Fridays Podcast. Today's interview guest is returning guest Franklin Graves, who is a senior counsel at Linkedin and teaching IP law at Emerson College. With my co-host Ken Suzan he is discussing how the law for creators has dramatically changed in the past years. Franklin Graves is expressing his personal views and not the views of Linkedin or Microsoft. He is talking about the paper “Upload Complete” before he joined Linkedin. Bio: https://www.linkedin.com/in/franklingraves/ Paper: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=5271442 Website: https://creatoreconomylaw.com/ But before we jump into this interview, I have news for you! Richard Meade, a judge on the UK High Court and one of the most prominent figures in European patent law, was appointed Lord Justice of Appeal at the British Court of Appeal on June 12, 2026. Meade played a key role in numerous landmark British patent decisions, particularly in the area of standard-essential patents (SEPs) and FRAND licenses. In Insulet Corp. v. EOFlow Co., No. 2025-1807, the U.S. Court of Appeals for the Federal Circuit completely overturned the original $452 million judgment (which had already been reduced by the District Court to $59.4 million) in favor of Insulet. In its decision of June 2, 2026, in the case of Fujifilm v. Kodak, the UPC Board of Appeal provided comprehensive clarifications regarding so-called “long-arm jurisdiction”—that is, the question of whether the UPC can also rule on national patent claims outside the UPC territory (such as in the United Kingdom). In 14 guiding principles, the judges established specific procedural rules for various categories of cases. There is no automatic UPC jurisdiction over national patent claims outside the UPC territory. The Munich Regional Court has issued an arrest warrant against the managing director of Polytech Health & Aesthetics GmbH because he is alleged to have continued to exploit the Brazilian company Silimed's patent for breast implants despite a preliminary injunction. A number of IT and automotive industry associations—which are among the most frequent users of Inter Partes Reviews (IPR) at the U.S. Patent and Trademark Office—have filed an amicus brief with the Supreme Court, urging the Court to grant Google's certiorari petition. An attorney for a Las Vegas performer has asked a California federal judge to temporarily prohibit Taylor Swift from using “The Life of a Showgirl” as a trademark while the trademark lawsuit is pending. Swift's attorney called the lawsuit baseless. And now let's hear Ken discuss creator law with Franklin! AI, Platform Law, and the Creator Economy: What Businesses Need to Know Now Franklin Graves has spent his entire career watching digital content move through systems that most people never see. He started in marketing at a major music label right out of law school, then represented individual creators on YouTube in a pro bono capacity, then moved to the platform side at Eventbrite, and today works as Senior Product Counsel at LinkedIn, where he focuses on AI, data, and the regulatory questions that come with both. His recently published law review article, Upload Complete: An Introduction to Creator Economy Law, is the first academic paper to address the creator economy as a distinct legal field. In a recent episode of the IP Fridays podcast, he spoke with host Kenneth Suzan about responsible AI development, platform regulation, and what it actually means to own your audience in a world where the rules keep changing overnight. From Content Creator to Platform Lawyer The through-line in Graves’ career is a genuine understanding of how content moves from an idea in someone’s head to an audience on a screen. That experience, he argues, is precisely what in-house counsel needs right now. Lawyers working on AI and product development cannot afford to sit at a distance from the technology they are advising on. They need to use the tools, experience them as a creator or end user would, and understand the nuances of how a product actually operates before it reaches the public. Understanding the product first is the precondition for everything else. That philosophy translates directly into how he approaches responsible AI implementation. The landscape of AI standards is crowded: NIST frameworks, the EU AI Act, sector-specific guidance, and a growing body of industry-adopted best practices. The challenge for in-house counsel is not knowing that these standards exist. It is making them actionable for the engineering and product teams they support. Abstract principles need to become concrete controls and workflows. Graves offers one practical shortcut: most companies already have open source software review processes that involve the right stakeholders, the right sign-off levels, and the right security checks. Layering the specifics of generative AI or large language models onto those existing processes is far more efficient than building something new from scratch. A Fragmented Regulatory World The geopolitical dimension of AI regulation is something Graves thinks about constantly in his role at LinkedIn. The EU AI Act, shifting US executive orders, and country-specific approaches to data privacy have created a regulatory environment that can change the rules of the game without warning. His analogy is instructive: creators have long understood what it means to build a community on a platform they do not own. An algorithm change, a policy update, or a government ban can wipe out years of audience-building overnight. Businesses deploying AI tools globally now face a structurally similar problem. The response, for creators and for platforms alike, is to build resilience rather than rely on stability that may not last. TikTok is the clearest recent example. When the platform faced the prospect of being shut down in the United States on national security grounds, it triggered a broader conversation about platform dependence that had been building for years. Creators who had invested their entire business in one platform suddenly confronted the possibility that their audience could simply disappear. The lesson is not that platforms are bad. It is that concentration of any kind, whether it is your audience, your data pipeline, or your regulatory compliance strategy, creates fragility. What Is a Creator, Legally Speaking? One of the central contributions of Graves’ law review article is definitional. The terminology matters more than it might seem. When courts and regulators talk about creators without a shared understanding of what that word means, the resulting legal analysis tends to miss the mark. Graves draws a distinction between users who post content, creators who post with the intent to build an audience and eventually monetize it, and influencers, a subset of creators who are actively running a small business through their content. The difference is intent. A parent posting family photos on Facebook is a user. Someone building a subscription community around their professional expertise is running a business, and the legal framework that applies to them should reflect that. That distinction matters practically when it comes to liability. As more creators build their own platforms, whether through custom membership sites, open source tools like Ghost, or federated social networks, they take on obligations that previously fell to large platforms: content moderation policies, privacy notices, terms of service, and compliance with data regulations across multiple jurisdictions. A creator in Tennessee running a membership platform with subscribers in Germany is operating a global business, whether they think of themselves that way or not. Protecting Children Online: A Question Without a Clean Answer The tension between age verification and privacy is one of the more difficult problems in platform law right now. Australia, several European countries, and a growing number of US states have introduced or passed minimum age requirements for social media accounts. The technical challenge is real: verifying age online requires collecting identifying information, and collecting identifying information creates privacy risk, particularly for the young people the laws are designed to protect. Who should bear the responsibility for that verification is also unresolved. Is it the platform? The app store? The mobile operating system? Graves does not pretend there is a clean answer, but he points to the mobile layer as an underexplored option. The Apple App Store and Google Play Store already have significant leverage over which apps reach users on their devices. Whether that leverage should extend to age verification is a question that deserves more attention than it currently receives. The Right of Publicity in the Age of AI Voice cloning, digital replicas, and AI-generated synthetic media have pushed the right of publicity into territory that traditional IP law was not designed to cover. Trademark law, copyright law, and existing publicity rights each capture part of the problem but none of them covers it completely. The result, as Graves describes it, is a period of experimentation: lawyers filing trademarks on vocal sounds and phrases, states updating their publicity statutes to explicitly mention artificial intelligence, and entertainment unions negotiating over who controls a performance and any AI-generated iterations of it. Tennessee’s Elvis Act is a concrete example of the legislative response: the state updated its right of publicity law to include voice and to reference AI directly. Similar efforts are underway elsewhere. The underlying challenge is calibrating protection so that it gives creators and performers meaningful control over their likeness and voice without foreclosing the development of generative AI systems that depend on broad rights to process and learn from content. Somewhere between those two interests, a workable legal framework needs to emerge. The brand deal context may be where the issue becomes most immediately practical. When a brand partners with an influencer and the campaign involves generative AI in any form, the contract needs to address control explicitly. Who has final approval over how the influencer’s likeness or voice is used in AI-generated deliverables? What happens to those assets after the campaign ends? These are not hypothetical questions. They are contract drafting problems that any brand counsel or creator attorney should be addressing today. What Comes Next Graves is cautious about predictions, but his sense of direction is clear. The regulatory environment will continue to fragment before it converges. The right of publicity will be updated, imperfectly, in more jurisdictions. Creators will continue to move toward owning more of their infrastructure. And the lawyers who do this work best will be the ones who understand the technology well enough to translate it into practical, defensible decisions for the people they advise. Full Transcript: Ken Suzan: Thank you, Rolf. Our returning guest today is Franklin Graves. Franklin is the founder and editor of Creator Economy Law, a website and newsletter that educates creator economy professionals on the intersection of law and policy with the world of creators, brands, and platforms. Franklin also published the first law review article focused on the creator economy, Upload Complete, an introduction to creator economy law. He regularly appears across news and media outlets as a commentator and contributor with a focus on educating creators and raising awareness of all legal aspects of the creator economy. Franklin is based in Nashville, Tennessee. Ken Suzan: Franklin was invited to participate as one of the creators and creator economy professionals in the first ever White House creator economy conference. Franklin works full time as a product counsel at LinkedIn Corporation. As a member of the product and data team, he focuses on emerging issues in AI and data. Franklin previously held roles on the technology law group at HCA Healthcare, the commercial legal team at Eventbrite, and the business and legal affairs team at Naxos Music Group. Welcome back Franklin to the IP Fridays podcast. Franklin Graves: Thank you so much for having me. It is exciting to be back and reflecting over the last decade since I last joined and also the paper that I wrote that dives into this in more detail. So I really appreciate it. And yes, full disclosure, I currently work for LinkedIn, which is a subsidiary of Microsoft. I’m here in my personal capacity to talk about this, the paper I wrote before joining LinkedIn and all of that. So thank you so much for having me back. Ken Suzan: Excellent. So Franklin, since your last appearance on IP Fridays in 2017, your career has evolved significantly. You are now senior product counsel at LinkedIn focusing on AI and data. How has working inside a major tech platform changed your perspective on the legal frameworks governing digital content compared to when you were viewing it purely from the creator side? Franklin Graves: I appreciate that question because when I wrote the article, I did not work for LinkedIn. And I had been coming from a history in my career where I, right out of law school, worked for a record label like we talked about almost 10 years ago. And I was on the content creation side. I’ve represented a major distributor of classical music digitally at the time. And that was my first exposure to understanding how content was taken from the initial inception stage from creators and routed through all the various digital platforms that were at the time still evolving and even arguably still today continue to evolve. The early days of YouTube Music launching and then Apple Music launching, and then going through all the phases of high-res audio and everything that came after that. So that was an interesting perspective to start my career with. And then I went to Eventbrite, which is a ticketing platform, but was also focused on elevating event creators. They kind of took on that moniker of “Hey, we are event creators that we support.” And that was arguably my first exposure to the platform side, the tech platform side of it, because Eventbrite is a platform. And so then I evolved from there in my personal capacity, in a pro bono capacity representing individual creators across the YouTube space. And that’s what we talked about a little bit back when I first came on the podcast. Franklin Graves: Over the last decade, it’s been a chance to grow my own understanding of the creator economy. The terminology “creator economy” came around. And then now on the other side of it, having written the article and all that, and now being fully in-house at LinkedIn, I truly am experiencing a social media platform. LinkedIn is of course arguably way more than just the platform itself. There are so many different avenues to it, but it is a chance for me to understand what it is like working for a company that is operating the platform that people are distributing content on. There’s a user journey to content and all of that. So it’s definitely enhanced and given me a different perspective from a major tech platform side. And part of my role at LinkedIn is really heavily focused on understanding regulation and how that from an AI and data perspective impacts the company. And so I’ve been really leveling up my game over the last year and a half that I’ve been here, understanding mostly EU regulations, but also US regulations that are still in their infancy when it comes to AI. But really when it comes to privacy and data, those are pretty well established across the board. It’s been kind of a combination of what I learned at Eventbrite, because I went to Eventbrite when GDPR was going into effect. And so that was an eyes-wide-open moment of getting in the weeds with negotiating data processing agreements, understanding data transfers and cross-border data transfers and the like. So it’s been kind of an evolution as the laws and regulations have evolved. So has my career, so has my own understanding, so have the platforms’ responses to those laws and regulations. And I’m sure that probably resonates with a lot of your listeners who have also been growing their practice and their understanding as the laws and regulations in this realm have been evolving too. Ken Suzan: Yes, indeed. Now let’s switch gears and talk about AI. You advise on AI and data daily. As platforms integrate generative AI tools into their tech stacks, what are the most critical best practices in-house counsel should be adopting right now to embed responsible AI principles into product development? Franklin Graves: So as an attorney, one of my key roles is to understand the technology. Even representing creators and working for creator platforms, that’s something I’m constantly trying to do: put myself in the shoes of being a creator. And I think I talked about this last time I was on, but I come from a background where I was working for a major label doing marketing, video editing, social media work. And I was creating content. I understood the whole life cycle from the inception point of an idea to execution and then to the final delivery and distribution of that content to an audience within a major music label. And so part of that is the same thing that I think attorneys, especially in-house, should be doing: using the tools that the product and engineering teams are either developing in-house or partnering with third parties to develop, or a combination of the two. Using them, understanding them, using them as a creator would, using them as an end user or a client or customer would. And making sure that if you understand the product and understand the nuances of how it operates, and being a part of the iterations of that internally before it fully ramps, that really gives you a chance to understand: okay, we have a lot of responsible AI principles and standards and protocols that are in existence right now, whether it’s NIST, whether it’s based on the EU AI Act or anything and everything in between. It’s understanding how to apply those and bring those into a product and an engineering environment in a way that is practical and actionable for the people that you’re supporting, the stakeholders you’re supporting. So I think one of the critical best practices is, number one, understand the product or features that you’re supporting. Franklin Graves: And then understand how you as an attorney can use your expertise and understanding of responsible AI practices, whether it’s a regulatory standard or an industry-adopted standard or a hybrid of the two, to leverage those and implement those, break those down and make them into actionable controls and processes and flows that work within your existing infrastructure. That’s a lot of high-level talk, but that’s the general idea. One concrete example we talk about frequently is with open source AI. If you’re working with a product team or an engineering team that is taking an off-the-shelf open source model and bringing that in-house, a lot of times companies have pre-existing open source processes that cover the use of open source software or code. Piggyback on that. That’s the easiest quick win for attorneys: leveraging your existing open source processes to just build on top of that the AI flavor and layering. It’s not very much that you have to do, but the underlying process of the key stakeholders that need to be involved in the review, whether it’s security, whether it’s executive sign-off if it gets to that point, even export control considerations should already be part of your existing open source software process. So layering in on those existing processes the specifics of generative AI or large language models that you’re trying to bring in is a great way to put this into practice. Ken Suzan: Now looking at the geopolitical landscape that we currently have, we have the EU AI Act setting strict standards and shifting US executive orders. How should platforms and brands prepare for this fragmented regulatory environment when deploying AI tools to a global user base? Franklin Graves: It’s a great question. It’s something that is still evolving, I think is fair to say. I would equate it, as I do in the paper that I wrote, to how creators and arguably brands don’t own the platforms that they’re building their communities on. That spawned this concept of de-platforming or going into building your own platform, a decentralized platform of sorts, and owning your community. That gives you that control and takes away the level of instability that can come for creators trying to build a business on a platform they don’t own, they don’t control when certain updates happen, when algorithms change, when tools and functionalities either become available or go away completely. So it’s very similar to what we’ve been experiencing in a regulatory environment where we have geopolitical complexities, for lack of a better term, that can overnight seemingly disrupt the way in which a platform or even a multinational brand is able to connect and reach an audience or continue to leverage the user base that they’ve built. I think TikTok is a great example of that, where it became a national security concern and suddenly it was facing an executive order that required it to be effectively disabled in the US or completely owned and operated by a US entity. All the mechanics and technicalities of whether it’s actually possible and still have a global platform with a global user base is a whole different discussion. But that’s an example of very similar considerations that are now not just a discussion point at the creator level or the individual brand level, but also in a much broader context at a platform level as well. Ken Suzan: Franklin, let’s now shift gears and talk about your article. In your recently published journal article, Upload Complete, which we will have linked in our show notes, you advocate for a shift in terminology from internet creator law, a term used during our first podcast almost a decade ago, to creator economy law. Why is this distinction important and how does it change the way legal practitioners should view the ecosystem of creators, brands, and platforms? Franklin Graves: Oh yes, this is part of the reason why I wanted to write the article: to lay this foundation of understanding. Because at the time I’d written the article, the term creator economy and creator had really not appeared but for maybe once in an actual court decision. And it was kind of focused on influencers and this concept, and it was just not getting it right. And so it was also, as you mentioned, when we first spoke I was even using the term internet creators. And I think that was something that was common at the time. The “internet” portion as a qualifier has since dropped off. And now for purposes of the creator economy, the term creators refers to individuals, it can be small businesses, which is what we’ve seen from a regulatory standpoint, how these small businesses are being impacted by regulations. But essentially creators in the article I pin in the context of intent. What is the intent behind the person or the small business that is posting content, trying to build a community and form a community in a virtual environment? And then that can even spill over into real physical world environments. And so the intent is kind of what I look at. Franklin Graves: And I have a chart in the article that has a diagram showcasing the overlap of what I refer to as “users generating content.” It’s a play on the concept of user-generated content, UGC. Users generating content is that large bucket of anyone posting on a platform of some kind. And within that large bucket, that large circle, are smaller subsets. You have creators, you have brands. Those are really the two buckets you can put people into. Otherwise it’s like your grandmother or your parents posting content on Facebook or Instagram, and those are everyday users of a platform. The distinction to get into that subcategory of being a creator more so has been analyzing the intent behind the posting. Are you posting content to build an audience, to build a community, to eventually have a chance to monetize the following that you’re bringing in or sell services or something like that? Brands are posting for that reason. Creators are maybe posting for that same reason. But even within the creator category, there’s a subcategory of influencers that are trying to sell something, that are trying to build more than just an awareness of who they are, their influence. They are trying to do brand deals, partnership deals, upsells and all that, and start an actual small business aside from just the content itself that they’re creating. So that’s kind of the distinctions that I make in the paper. And that’s why it’s important to understand and lay that foundation, that anyone can post content online, but the intent, the why behind their posting that content, really does ultimately matter, especially when you’re looking at it from a court case or from a regulatory standpoint. Ken Suzan: Now, Franklin, we’re seeing unprecedented geopolitical activity around platform ownership. For example, the US legislation targeting TikTok and Brazil’s recent temporary ban of X. How do these macro-level battles impact the day-to-day livelihood of creators? And how can they legally and operationally protect themselves? Franklin Graves: So the shift that we’re seeing, and I alluded to this earlier in our conversation, is this concept of Web 3. And that term may or may not be really popular anymore, but that’s essentially what we’re looking at: a shift into a federated, decentralized operation of a platform. So instead of one owner, one company, one entity owning and operating the platform, it’s decentralized. Anyone can start up a server, and it’s interoperable, meaning anyone can plug and play and connect to that larger network. And it creates this unified social network experience. Within each operating node of that network, there can be your own decisions around content moderation, your own decisions around the hosting providers you use, where you’re operating out of, the terms and conditions that apply to that. But the flip side is that instead of creators posting and sharing in a closed environment run and controlled by a singular entity, you’re now experiencing a peer-to-peer type operation where your experience can change based on which server, which node, which user you’re engaging with. You might have content that’s acceptable in one area but not acceptable in another, and maybe it just doesn’t even show up in that other area. Franklin Graves: But from a liability standpoint, as creators start to build their own networks and communities, even outside of a concept like the fediverse, it’s even down to creators building their own communities through online courses, subscription membership-based platforms that they run on their own website. There’s open source software out there, even something called Ghost, where you have memberships. And that is a creator or a small business in the creator economy that is now taking on the obligations that would typically fall upon a platform. They need to take into consideration terms and conditions, privacy policies, legal aspects, and regulatory considerations for running a platform, especially in a global world. So it’s a lot of liability that then shifts over to those small businesses and even brands sometimes that are doing the same thing. Whether it is something as simple or complex as content moderation or all the way up to monetizing an audience, this new world where creators can spin up and run a platform all dovetails back to the concept of creators not feeling like they have control in reaching the audience and the community that they’re building on an individual platform. And so this really became more mainstream conversation with TikTok and the issues around it potentially being shut down in the US. That was kind of the mindset shift and eyes opening for many creators, especially within the influencer subset, of realizing: we need to make sure that we have a way to reach the audience we’ve built if the individual platform that we’ve committed to over the last year or three years or so is no longer available. We need a way to continue that relationship outside of that one platform controlling it. Ken Suzan: Franklin, we have a few minutes left and a number of topics. So I’m going to switch gears and talk about a few issues. First, a major emerging topic in your paper is the evolution of protecting kids online. With state-level age-gating laws like the CAADCA and the recent FTC updates to COPPA, how should platforms navigate the significant tension between strict age verification mandates and the privacy and First Amendment rights of their users? Franklin Graves: Man, that is a whole discussion to unravel. It is a consideration that we’re seeing happen again, going back to the geopolitical nature of everything. Countries like Australia and certain countries in Europe and now even individual states in the US are trying to look at ways, and some of them have already put into place minimum age requirements before you can even sign up for an account with a social media platform. One of the things I’d just highlight quickly here is that one of the tensions is around how you verify someone’s age online and still maintain the ability to be at least pseudonymous. How do you still have a level of privacy, autonomy, and protection when it comes to having to provide something like a driver’s license or have parental consent tied and connected to an account managed by a parent in a situation where maybe it’s not appropriate or not beneficial to the child in that manner? But then maybe there are counterbalancing factors that outweigh that. All of that comes down to the technicalities of how it’s actually implemented and maintaining the sense of openness and freedom that we’ve had on the internet to date. And then the other element there is, since a lot of the internet that we think of today is more so through mobile applications, is it something that the mobile operating system providers and app store providers should be thinking about? So whether that’s the Google Play Store or the Apple App Store, where does that initial age verification need to fall? Is it at the platform level? Is it the app store or mobile device management level or something else? Yeah, there’s a lot to discuss there. And a lot of the issues we’re seeing with how the internet is changing in terms of being able to browse a website without disclosing personal information that might not have been required before is largely stemming from a focus on protecting children online. Ken Suzan: It sounds like, Franklin, we could have another episode covering lots of issues connected with that one topic alone. Franklin Graves: I would absolutely agree with that. There’s a lot going on there. And again, it’s different across the world. And so I know you all have a global listener base. And so there’s a lot of nuances to that whole discussion too, that are worth exploring. Ken Suzan: Last question for today’s episode is regarding the right of publicity. With the explosion of AI-generated synthetic media, digital replicas, and voice cloning, the right of publicity is taking center stage. What are the biggest legal risks for brands partnering with influencers right now? And how can creators protect their most valuable asset, their likeness? Franklin Graves: That’s a great question. I think we’re seeing kind of a throwing-spaghetti-against-the-wall-to-see-what-sticks approach right now by a lot of different parties, whether it’s trademark attorneys, whether it’s general entertainment attorneys or whoever. For example, we’ve seen Taylor Swift filing trademarks to protect certain sounds of her voice and phrasing that she uses. It’s a difficult area because in the realm of generative AI with deep fakes and virtual avatars, that is where it gets tricky, because traditional IP laws are just not able to fully cover that spectrum. It’s a piecemeal approach, but even then it doesn’t fully cover it. So for example, I’m based in Tennessee and a couple of years ago we had the Elvis Act that updated our right of publicity law to add voice and to explicitly reference artificial intelligence. And so that’s the kind of effort we’re probably going to continue to see: efforts to develop some framework around protecting what is essentially a privacy right, in a manner that doesn’t restrict generative AI systems from continuing to develop and operate the way they’re operating now, while layering in those protections so that in the US at least a First Amendment right doesn’t necessarily get squashed, and those traditional well-recognized efforts to not overregulate a technology in its early stages are respected. Franklin Graves: And so I think a lot of what we’re seeing is just a need to update laws. The SAG-AFTRA debate and the strikes that happened around maintaining control of your performance and any iterations of that, or building upon that by a media company that might come later, it’s all on the table right now and still being discussed, still being worked out. I think in the short run, a lot of times if it’s in a brand deal, the key question is: if you are using generative AI to enhance in some way the final deliverable for the campaign, who has control over that? Who has final say and sign-off on how that likeness or that digital replica or that person’s voice is represented? And even outside of the brand space, we’ve seen actors like James Earl Jones signing over certain aspects like their voice and allowing it to continue to be used in these manners powered by generative AI as Darth Vader. And I think I saw something that Boy George was even starting up an AI company that allows musicians, the original recording artist, to rerecord new versions of their masters so that they don’t miss out on that revenue. It’s powered by generative AI, by taking their voice now, which is significantly different than it was back in the 80s, and using generative AI to make it sound closer to the original, but all based on their current performance. So I think it’s still an evolving area. And what’s interesting too is on the platform side, we’re seeing the early stages of platforms like Google starting to acknowledge and rely on the license grant contained in their terms of service for YouTube, which grants them broad rights to use the content to run their platform. So all that to be said, it’s still early stages. I’m very interested to see where we go from here in the future, especially from a global perspective as well. Ken Suzan: Franklin, I could spend hours talking to you about this. You’re such a knowledgeable person on these topics. Maybe in a few years, will we connect again and talk further on AI and all the things that are yet to be developed? Franklin Graves: Thank you. Yeah, it doesn’t have to be another decade. Maybe we can cut it to half a decade, given the pace at which technology is going now. Ken Suzan: Sounds good, Franklin. Thanks again for being on the IP Fridays podcast.

Shohei Ohtani and rookie catcher Dalton Rushing couldn't seem to get on the same page early in Wednesday's start... and it led to one of the most frustrating innings of Shohei's season. Then everything changed. In this week's 'This Week in Shohei Ohtani News', we break down the miscommunication between Ohtani and Rushing, Shohei's postgame comments explaining exactly what happened, and how he responded by striking out the side and dominating the rest of the game. We also discuss: ⚾ Shohei averaging 100 MPH for the first time in his MLB career ⚾ The fastest pitch of his career (101.7 MPH) ⚾ Another dominant start (6 IP, 2 ER, 8 K) ⚾ Six home runs in his last 12 games ⚾ Becoming a father of two and his first comments after welcoming his son ⚾ Why Shohei continues to prove he's the most incredible player baseball has ever seen. If you enjoyed the episode, don't forget to like, subscribe, and leave a comment! Did the Shohei Ohtani frustration with Dalton Rushing surprise you? #ShoheiOhtani #Dodgers #MLB #Baseball #ThisWeekInShoheiOhtaniNews #DaltonRushing #大谷翔平 Timestamps: 0:00 Intro 0:16 Ohtani vs Rushing Frustration 3:15 Performance vs Twins 5:20 Rushing Struggles 7:42 Shohei Pushing Through Pain 9:35 Postgame Comments 10:54 Shohei Offense 13:38 New Dad x2 15:08 Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelly Meehan grew up as a highly sensitive child in a household shaped by caregiving and uncertainty. After surviving one traumatic birth, she found healing through a second birth and now works to help people connect deeply with their babies on an intuitional and spiritual level. Connect with the guest: @spiritbabymedium YouTube newearthchildren.com The Spirit Baby Collective Grow with us on ⁠IP+⁠! Informed Pregnancy Media presents two all new intimate short-form video series following Garrett and HeHe's real-time pregnancy journeys as they prepare for an empowered birth and postpartum experience. Each episode features weekly updates with personal photos and videos to help bring these raw stories to life, a visually dynamic guide through each mother's emotional and physical experiences. ⁠Watch Growing with Garrett⁠ ⁠Watch Growing with HeHe⁠ Keep up with Dr. Berlin and Informed Pregnancy Media online! ⁠⁠⁠informedpregnancy.com⁠⁠⁠ ⁠⁠⁠@doctorberlin⁠⁠⁠ ⁠⁠⁠Youtube⁠⁠⁠ ⁠⁠⁠LinkedIn⁠⁠⁠ ⁠⁠⁠Facebook⁠⁠⁠ ⁠⁠⁠X⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

ZocDoc - Find and book a doctor you actually love, in-network, near you. Visit https://www.zocdoc.com/gjCure Hydration - Get 20% off electrolyte packets at https://www.curehydration.com with code GJBask and Lather - Black-owned hair care for all textures. Get 20% off at https://www.basqandlatherco.com with code GJEarnin - Access up to $150 a day of money you have already earned before payday. Download on the App Store or Google Play at https://www.earnin.com and type Gin and Juice under podcast when signing upMelissa and Mel are back with a packed episode. They kick things off recapping their Juneteenth Family Fun Day in North Carolina, complete with a bullhorn, a rhinestone visor, an inflatable bounce house for the little ones, and a cotton candy machine cleaning debacle that ended with a $5 fee after Melissa scrubbed down a military base bathroom for nothing. Melissa then delivers a live courtroom report from the T.I., Tiny, and OMG Girlz punitive damages trial in Orange County, breaking down jury selection, the absence of Black jurors, how punitive damages trials differ from liability trials, and why IP theft cases like this one matter for small creators and business owners everywhere. From there the sisters break down the Real Housewives of Rhode Island reunion, including the slam pig definition argument, the most savage read of the season in the first two minutes, and Joellen delivering a boomerang comeback that the hosts cannot stop replaying. Then it is on to Love Island USA and the Casa Amor disappointment, specifically Aniya spending 40 minutes hyping up her big one and then keeping zero Black men. The episode closes with Real Housewives of Atlanta, covering Kelly's $8,500 monthly clothing budget, the sock-and-heel basketball game situation, and Angela's layered falling out with her daughter and wife.0:00 - Intro and welcome0:54 - Long Story Short segment1:50 - Juneteenth Family Fun Day in North Carolina14:28 - T.I., Tiny, and OMG Girlz trial courtroom report37:31 - Real Housewives of Rhode Island reunion breakdown55:30 - Love Island USA Casa Amor and Aniya fallout1:12:27 - Real Housewives of Atlanta: Kelly's budget, Angela and her daughter, Scotland tripSend Your Pop The Trunk Story: https://www.speakpipe.com/gjLet's Connect on Socials:- Instagram:  https://www.instagram.com/mrskevonstage/- TikTok:  https://www.tiktok.com/@mrskevonstage-Facebook: https://www.facebook.com/MrsKevOnStage-Patreon: https://www.patreon.com/c/kevonstagestudios-Business Inquires: hello@mrskevonstage.comShop My Outfits: https://www.liketoknow.it/mrskevonstage

How can architects protect and monetize their creative work with the help of intellectual property (IP) laws?On this episode of Practice Disrupted, we're joined by Ana Juneja, an award-winning intellectual property (IP) attorney and founder of Ana Law® – the first law firm offering flat-fee, 100% guaranteed services for patents, trademarks, and copyrights. In our conversation, Ana explores the essential role of IP in the architecture field.First, Ana breaks down the four main types of intellectual property: copyrights, trademarks, patents, and trade secrets. She explains how each type applies to architecture and protecting creative works within client relationships and employee contracts.Then, we dive into the intersection of AI and IP rights. Ana shares advice on protecting your designs, tools, and software created with AI and outlines the steps to securing patents and trademarks for your work.You're investing in your trademark in order to protect your name, your marketing, and your branding. If you're building up this brand, you're putting in so much time, money, energy, and effort into doing so – you wouldn't really want to lose it…Whereas copyrights and patents are things that, for architects in particular, are incredibly valuable avenues to monetize your brand. It is really protection for your own investments that you're making into your business. - Ana JunejaTo wrap up the conversation, Ana highlights common IP mistakes architects make and offers practical tips to avoid them. She emphasizes the importance of understanding IP laws, using strong contracts and NDAs, and taking proactive steps to safeguard your work.Tune in next week for an episode aboutGuests:Ana JunejaAs an award-winning intellectual property attorney and the founder of Ana Law®, Ana Juneja helps celebrities, athletes, influencers, start-ups, entrepreneurs, and corporations secure + monetize their brands and ideas in the US and abroad. Ana Law® is the first and only law firm that offers flat-fee, 100% guaranteed patent, trademark, and copyright services. Ana has a 100% success rate and often speaks on important topics such as emerging legal issues surrounding security, AI, and social media.Additionally, Ana has extensive experience with social media intellectual property infringement issues. Ana's insider connections with premier media agencies allow her to have direct access to key social media platforms, such as Meta (Facebook/Instagram), TikTok, and Twitter. These essential services are an important component of brand protection strategy for Ana's celebrity, athlete, & influencer clients.

This Week In Startups is made possible by:Deel - deel.com/twistNorthwest Registered Agent - northwestregisteredagent.com/twistLinkedIn - linkedIn.com/twistToday's show:Jason sits down with Brynn Putnam, CEO and founder of Board, to learn more about her company's tabletop gaming console. The pair talks about how to raise capital for yet-to-launch hardware projects, the screen-time debate, and how Board is approaching building or buying IP for its family-friendly games. Next, Alex got Heremus's AJ Piplica on the horn to chat hypersonic, autonomous jets. The startup's technology bridges the gap between rockets and airplanes, and may represent the future of warfare, yes, but also fast freight!Guest Links:Brynn Putnam https://x.com/BrynnPutnamBoard https://board.fun/Board Series A announcement https://techcrunch.com/2026/06/02/board-the-new-game-startup-from-mirror-founder-brynn-putnam-raises-20m-has-already-sold-thousands/Mirror https://www.lululemonstudio.com/AJ Piplica https://x.com/AJ_PiplicaHeremus https://www.hermeus.com/Heremus Series C announcement https://www.prnewswire.com/news-releases/hermeus-reaches-1-billion-valuation-with-350-million-raise-to-build-todays-fastest-aircraft-for-the-american-warfighter-302735273.htmlTimestamps:0:00 Board's Brynn Putnam joins the show2:54 Board's proprietary AI software stack6:43 Why Board manufactures in Mexico (not China)9:21 LinkedIn: Thanks to our partners at LinkedIn! Post your job for free at https://linkedIn.com/twist then promote it to get access to LinkedIn Jobs' new AI assistant.9:42 How to raise a Seed round for hardware without a finished product15:26 Brynn's daughter and the mermaid example17:09 Can Board limit screen time fears?18:47 Northwest Registered Agent: Get more when you start your business with Northwest. In 10 clicks and 10 minutes, you can form your company and walk away with a real business identity — Learn more at https://northwestregisteredagent.com/twist22:54 Selling the first 10,000 units28:38 Deel - Founders scale faster on Deel. Set up payroll for any country in minutes, hire anyone anywhere, get visas handled fast, and get back to building. Visit https://deel.com/twist to learn more.29:42 Why Board is steering away from simple ports toward native IP experiences35:32 Hermeus's AJ Piplica joins the show35:32 What is Dark Horse?43:48 Commercial applications: Cargo, organs, flowers, and trans-Atlantic in 90 minutes47:47 Commercial applications: Cargo, organs, flowers, and trans-Atlantic in 90 minutes57:00 Dark Horse range and the "reusable first stage" analogy58:42 Dark Horse range and the "reusable first stage" analogy1:02:42 $350M Series C led by Khosla; total funding now exceeds $500M1:03:39 The SpaceX model: get customers to fund your R&D1:07:47 Closing: the American Dynamism pitchSubscribe to the TWiST500 newsletter: https://ticker.thisweekinstartups.comCheck out the TWIST500: https://www.twist500.comSubscribe to This Week in Startups on Apple: https://rb.gy/v19fcpFollow Lon:X: https://x.com/lonsFollow Alex:X: https://x.com/alexLinkedIn: ⁠https://www.linkedin.com/in/alexwilhelmFollow Jason:X: https://twitter.com/JasonLinkedIn: https://www.linkedin.com/in/jasoncalacanisCheck out all our partner offers: https://partners.launch.co/Great TWIST interviews: Will Guidara, Eoghan McCabe, Steve Huffman, Brian Chesky, Bob Moesta, Aaron Levie, Sophia Amoruso, Reid Hoffman, Frank Slootman, Billy McFarlandCheck out Jason's suite of newsletters: https://substack.com/@calacanisFollow TWiST:Twitter: https://twitter.com/TWiStartupsYouTube: https://www.youtube.com/thisweekinInstagram: https://www.instagram.com/thisweekinstartupsTikTok: https://www.tiktok.com/@thisweekinstartupsSubstack: https://twistartups.substack.com

Windows 12 is stalled and the real reasons go far beyond software. The conversation unpacks how soaring hardware prices, AI chaos, and market confusion have Microsoft in a holding pattern. Also, Paul finally took a sledgehammer to the subscription services he pays for, and more is on the way. Plus, one of Paul's favorite Markdown editors supports authorship on Windows now and an integrated Search/Outline view on Mac, iPad, and iPad.Windows Week D is here with a preview of July's Patch Tuesday Point-in-time restore is now generally available in Windows 11, sort of Quieter widgets, which is nice! Plus, Screen tint, Windows Update improvements, more Tied to this, sort of, something wonderful is happening to the Windows 11 Field Guide Five new builds, plus some 26H2 news (and still no news about what 26H1 becomes, see below...) Mostly minor fit-and-finish improvements So... what about Windows 12? The history is interesting, and Copilot+ PC was what Paul originally thought Windows 12 would be. But now we're talking agentic capabilities that will handle local/cloud/hybrid orchestration per last week's discussion, and maybe that will be it. We knew that Surface Laptop and Surface Pro would come in 8 GB configurations. But they're available now with just 256 GB of storage and the prices are $950 and $850 and up, respectively. Plus all the usual Surface limitations, like one color choice. (16 GB is $1150 and $1050, respectively, so $300 more.) Once again, it's time to just get a Lenovo IdeaPad Slim 5x for $850. It has 16 GB of RAM and 512 GB of storage and is awesome. Tim Cook just admitted that Apple will raise hardware prices because of the component crisis. If this is hitting Apple hard, the rest of the industry is screwed. AI Cory Doctorow's new book is out and let's just say his new neologism isn't as catchy as enshittification Reverse centaur (groan) Surprisingly centrist view on the pros and cons of AI Highlights the Microsoft financial shenanigans I point out every quarter: Microsoft "invests" $10 billion of "tokens" in OpenAI, but there's no volume discount and Microsoft books the transaction as $10 billion in AI revenues as OpenAI simply uses its infrastructure. It gave $10 billion to OpenAI so that it could spend $10 billion on Azure. Google Home Speaker is the Gemini speaker and it's now shipping to first customers as Google discontinues Nest Audio and Nest Mini speakers. Can we trust this company with hardware? And why are there no Apple or Google home theater setups? Adobe brings its creative agent to Firefly and the biggest apps in Creative Cloud XBOX & gaming No movement yet on the massive changes we expect in XBOX soon Microsoft has "dozens" of gaming IP-based movies and TV shows in the works XBOX Insiders can now test updates to Gamertags, Game Hub, and Wish List Call of Duty: Black Ops 1 and 2 are being ported to modern PS consoles. Sadly, not remakes or remasters. GTA VI will cost $79.99 and up - Arrives in November, can preorder on June 25 Steam Machine to cost $1049 and up, and that's with no controller Tips & picks Tip of the week: How to save $100 a month App pick of the week: iA Writer RunAs Radio this week: Securing Developers with Tanya Janca Brown liquor pick of the week: Glen Breton Rare 10 These show notes have been truncated due to length. For the full show notes, visit https://twit.tv/shows/windows-weekly/episodes/989 Hosts: Leo Laporte, Paul Thurrott, and Richard Campbell Sponsor: webroot.com/twit

“The Souls Upward Yearning: : Clues to Our Transcendent Nature from Experience and Reason (Happiness, Suffering, and Transcendence)” has become one of my favorite books of all-time!  Fr. Robert Spitzer S.J. once again offers an incredible work that “feeds” not only the mind but also the heart.  As a matter of fact, the beauty of ... Read more The post IP#290 Fr. Robert Spitzer S.J. – The Souls Upward Yearning on Inside the Pages with Kris McGregor pt 2 appeared first on Discerning Hearts Catholic Podcasts.

1. HEART OF THE MATTER 1A. Record-Breaking Missionary Numbers — Pres. Oaks at New Mission Leader Seminar At the 2026 Seminar for New Mission Leaders (June 18–21, Provo MTC), President Dallin H. Oaks announced that the Church will soon have the largest number of full-time missionaries in its history, surpassing the current 87,000+ serving worldwide. The surge is driven by the first wave of 18-year-old sister missionaries (following the November policy change lowering the minimum age from 19) and the addition of 55 new missions in July, bringing the global total to 506. President Oaks outlined three characteristics defining the restored Church: (1) the fulness of doctrine (including eternal marriage between a man and a woman); (2) priesthood authority and keys; and (3) a unique testimony of Christ grounded in modern revelation and the First Vision. Sister Kristin Oaks also spoke, sharing six core truths missionaries teach. Source: Church Newsroom, June 20, 2026 Note: Strong potential for discussion on what ‘only true and living church’ means in a pluralistic world — Richie angle? 1B. New Hymn ‘Welcome Home’ — The Story Behind It Composer Andrea Brett explains how a 2017 encounter with Demetrius O’Neal — a recent convert serving as a greeter at a Spokane ward on a snowy Sunday morning — inspired her hymn ‘Welcome Home,’ now published in the new Hymns for Home and Church. Brett submitted 10 pieces when the global hymnbook was announced in 2018; this was the only one she’d written before the call. She received confirmation of its selection in February 2025, then had a full-circle moment when she and O’Neal sat near each other at the April 2025 General Conference as the Tabernacle Choir performed it. O’Neal’s name appears in the hymn’s tune name as a tribute. The hymn is now translated and sung globally. Source: Church Newsroom / Richie’s document 1C. Family History Records Are a ‘Sacred Thread’ — Elder Bragg at International Archivists Congress Elder Mark A. Bragg, General Authority Seventy and executive director of the Church’s Family History Department and FamilySearch International, was a keynote speaker at the III Congress of Archivists: Digital Archive Expo (DA-EXPO), held June 8–12 in Astana, Kazakhstan. He called family history records ‘the thin but sacred thread’ tying people together across generations, and argued that records are ‘in a very real sense, witnesses.’ Elder Bragg framed the digital revolution in genealogy in moral terms: for most of history, access to records was shaped by ‘proximity, resources and specialized knowledge,’ but today a record created in one place can be preserved in another, indexed in a third, and discovered by someone on the other side of the world. ‘The reach is astonishing. The speed is breathtaking. The possibilities are almost beyond measure.’ He also said that ‘access is an act of kindness’ — records only fulfill their divine purpose when they are found, understood, and used. His core message: preserving memory is an act of hope. ‘It says that the past is not dead to us and that the future deserves more than fragments.’ Source: Church News, June 17, 2026 Angle: Great ‘quiet but meaningful’ story — LDS family history going global and leveling the playing field for genealogy worldwide. 1D. America Gives — All 50 States Receive Food Donations The Church completed a milestone in its ‘America Gives’ initiative by delivering a shipping container of food to Hilo, Hawaii — marking all 50 states reached. The initiative aims to deliver 250 truckloads of food nationwide in 2026 to celebrate the U.S. 250th anniversary. In Hawaii, the food went to The Food Basket, distributed to 10 local nonprofits. Notably, 42% of residents on the island of Hawaii face food insecurity — the state’s highest rate. Rosie Rios, chair of America 250 and former U.S. Treasurer, praised the milestone. Local Methodist pastor Ted Lesnett said recipients will know ‘when they were hungry, someone cared.’ Source: Church Newsroom / Richie’s document 1E. Church Donates $250,000 NZD to Christchurch Anglican Cathedral Rebuild The Church announced a NZ$250,000 donation (June 19, 2026) toward the restoration of Christchurch’s iconic Anglican Cathedral — damaged in the February 2011 earthquake. Elder Peter F. Meurs (Pacific Area President) and Anglican Bishop Peter Carrell presided at the announcement. The donation comes as the project faces a $45M funding shortfall and an overall $219M budget. The Christchurch City Council has offered $15M contingent on government and Anglican Church matches. Notably, a New Zealand Buddhist community made a similar gift in 2023 — the LDS donation continues a cross-faith pattern of support for the heritage project. Source: Richie’s document Angle: Rare and heartwarming — LDS funds an Anglican cathedral. Good interfaith story. 1F. Central America Humanitarian Blitz — 5 Projects, 500,000+ People In late May and early June 2026, the Church announced five humanitarian projects across Central America (with Sister J. Anette Dennis, First Counselor in the Relief Society General Presidency, representing the Church). Projects include: the ‘Windows of Light’ eyecare program in El Salvador (350,000+ screenings to date); safe water access for 250,000+ in Belize, Guatemala, Honduras, and Nicaragua (with UNICEF); nearly 750 computers/tablets donated to 66 educational institutions in Guatemala; and medical equipment for the ‘La Mascota’ children’s hospital in Nicaragua. Source: Church Newsroom, June 2026 2. FAITH & DOCTRINE 2A. President Christofferson in Philadelphia & Toronto A busy week of ministry for President D. Todd Christofferson: He offered the invocation at Becket’s Canterbury Medal Gala in Philadelphia (multifaith event celebrating religious liberty), alongside Elder Gary E. Stevenson and others. The group also visited the Liberty Bell and Independence Hall — fitting, ahead of America’s 250th. Christofferson reflected on D&C 101 and the Constitution’s purpose to protect ‘all flesh.’ From Philadelphia, he and Sister Christofferson traveled to Toronto, meeting 250+ missionaries in the Canada Toronto Mission weeks before it divides into three missions (Toronto West, Toronto East, and Montreal). He also spoke to hundreds of LDS youth, with one — Amelia Fischer — saying ‘no amount of words can describe how I felt tonight.’ Source: Richie’s document / Church Newsroom 2B. BYU Scholar Study: Religion Adds 7.6 Years to Life The BYU Wheatley Institute is releasing three reports analyzing 3,000 of the most scientifically rigorous studies (culled from 60,000+ papers by Duke University) on religion and health. Key findings: 33/34 studies show improved social health; 10/11 show improved mental health; 7/8 show improved physical health. Regular worshippers live an average of 7.6 years longer (up to 13.7 years longer for African Americans). A ‘landmark finding’: 256 studies show religion prevents/aids recovery from substance abuse (vs. 6 showing negative impact). Author Loren Marks recommends public health frameworks treat religious involvement like exercise recommendations. Source: Richie’s document 2C. Elder Soares Testifies in the Philippines Elder Ulisses Soares completed a two-week ministry in the Philippines (mid-May 2026), meeting with 600+ young single adults in Cebu, 450+ in Quezon City, and 340+ missionaries at the Philippines MTC. His recurring message: ‘His arms are extended to all of us.’ The Philippines has more than 905,000 Latter-day Saints — the Church’s fourth-largest national membership. Two new temples were also dedicated in the Philippines this month: the Davao Philippines Temple (Elder Renlund, May 3) and the Bacolod Philippines Temple (Elder Andersen, May 31). Source: Church Newsroom, June 17, 2026 3. CULTURE & CURIOSITIES 3A. LDS Author in Everyman’s Library — A First BYU biology and bioethics professor Steven L. Peck has reportedly become the first Latter-day Saint author included in the prestigious Everyman’s Library series (publishing canonical English fiction since 1906). His 2012 novella A Short Stay in Hell — a philosophical horror story about a Mormon man condemned to an afterlife library containing every possible book — went viral on BookTok and found a new audience. A literature historian noted: ‘No Mormon or Mormon-adjacent writer that I know of has ever been featured in this prestigious series.’ The Salt Lake Tribune covered the story, noting the irony that a theological horror story marks one of the most significant moments in LDS literary history. Source: Salt Lake Tribune / Richie’s document 3B. The Sasine Family — 40 Countries Before Age 1 Keith and Chelsea Sasine, an LDS couple stationed in Germany (Keith is an Army oral surgeon), made history in November 2025 by taking their youngest daughter Mia to 40 countries before her first birthday (March–November 2025), using a Honda Odyssey for European road trips. The family of six (including Izzy, 10; Abby, 9; and John, 4) attends local wards wherever they travel — a faith anchor the couple says strengthened their testimony and taught their kids the importance of the Sabbath globally. They’re planning a move to Colorado Springs in 2026. Source: Richie’s document 3C. Jen Affleck (Secret Lives of Mormon Wives) Expecting Baby #4 Jen Affleck, 27-year-old star of The Secret Lives of Mormon Wives and Dancing with the Stars alum, announced June 18 that she and husband Zac Affleck are expecting their fourth child. She shared the news on Instagram captioned ‘Chapter Four.

Welcome to Dev Game Club, where this week we start a new series on 2005's Psychonauts. We stay in the same year as our last game, and dive into a little of the prehistory of the game before diving into the game proper. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Coach Oleander's Brain Issues covered: making something for someone else to own, spinning off from LucasArts, staying true to their persona, being a more open studio, documentaries about the studio, the possibility of the studio closing, how the game starts, a super stylistic game, clear identity, bringing individuality to each character, asymmetry, offending the efficient developer, hand-crafting everything, impeccable writing and voice acting, themes coming through later, trailblazing, an indie scene in San Francisco, changing guards at publishers, drawing on psychology for its setting, a cohesive and pure game, exploring two tutorial areas, customizing buckets of figments of imagination, building engine game and studio together, crunch-tastic development, a variety of action and platforming primitives, an underimplemented feel and polish, fighting the camera, systemic cameras that have trouble covering everything, a big swing, asymmetric multiplayer modes, mutators, an internal mail alias, voice over IP, what do you need to support an MP game post-launch, inventory tetris, risk to return to get a loot item, a vestigial element of games, forcing hard choices or loops, re-examining genre "defaults," informing our own work, Octavia's gadget system, giving more agency to the player, a shifting meta, a wide tunnel of known options.  Games, people, and influences mentioned or discussed: Splinter Cell: Chaos Theory, Tim Schafer, Grim Fandango, Full Throttle, LucasArts, Microsoft, Ed Fries, Majesco, 2015, Metal of Honor: Allied Assault, Infinity Ward, Call of Duty, Jason West, Vince Zapella, Nihilistic, Infinite Machine, Zombies Ate My Neighbors, Phantom Menace, Dean Sharpe, Kalani Streicher, Broken Age, Unreal Engine, Kiln, Two Player Productions, Scott Campbell, Disney, Warner Bros, Studio Ghibli, Peter Chan, Day of the Tentacle, SW: Republic Commando, Beyond Good & Evil, Monkey Island (series), Spyro, Super Mario (series), Illumination, Braid, Celeste, Choice Provisions/Gaijin Games, Super Meat Boy, Team Meat, World of Goo, Crystal Dynamics, Prince of Persia: Sands of Time, Ocarina of Time, Ashton Herrmann, Unreal Tournament, Quake, Duke Nuke'em, Hunt: Showdown, Repo, Peak, Matthew, Outlaws, Aliens vs Predator, Starcraft, Matthew, Diablo, Animal Crossing, Resident Evil (series), Harley Baldwin, Halo, DOOM (1993), Maas, Project: Octavia, Troy Mashburn, Thief (series), Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: more Psychonauts! Twitch: timlongojr and twinsunscorp YouTube Discord DevGameClub@gmail.com 

Windows 12 is stalled and the real reasons go far beyond software. The conversation unpacks how soaring hardware prices, AI chaos, and market confusion have Microsoft in a holding pattern. Also, Paul finally took a sledgehammer to the subscription services he pays for, and more is on the way. Plus, one of Paul's favorite Markdown editors supports authorship on Windows now and an integrated Search/Outline view on Mac, iPad, and iPad.Windows Week D is here with a preview of July's Patch Tuesday Point-in-time restore is now generally available in Windows 11, sort of Quieter widgets, which is nice! Plus, Screen tint, Windows Update improvements, more Tied to this, sort of, something wonderful is happening to the Windows 11 Field Guide Five new builds, plus some 26H2 news (and still no news about what 26H1 becomes, see below...) Mostly minor fit-and-finish improvements So... what about Windows 12? The history is interesting, and Copilot+ PC was what Paul originally thought Windows 12 would be. But now we're talking agentic capabilities that will handle local/cloud/hybrid orchestration per last week's discussion, and maybe that will be it. We knew that Surface Laptop and Surface Pro would come in 8 GB configurations. But they're available now with just 256 GB of storage and the prices are $950 and $850 and up, respectively. Plus all the usual Surface limitations, like one color choice. (16 GB is $1150 and $1050, respectively, so $300 more.) Once again, it's time to just get a Lenovo IdeaPad Slim 5x for $850. It has 16 GB of RAM and 512 GB of storage and is awesome. Tim Cook just admitted that Apple will raise hardware prices because of the component crisis. If this is hitting Apple hard, the rest of the industry is screwed. AI Cory Doctorow's new book is out and let's just say his new neologism isn't as catchy as enshittification Reverse centaur (groan) Surprisingly centrist view on the pros and cons of AI Highlights the Microsoft financial shenanigans I point out every quarter: Microsoft "invests" $10 billion of "tokens" in OpenAI, but there's no volume discount and Microsoft books the transaction as $10 billion in AI revenues as OpenAI simply uses its infrastructure. It gave $10 billion to OpenAI so that it could spend $10 billion on Azure. Google Home Speaker is the Gemini speaker and it's now shipping to first customers as Google discontinues Nest Audio and Nest Mini speakers. Can we trust this company with hardware? And why are there no Apple or Google home theater setups? Adobe brings its creative agent to Firefly and the biggest apps in Creative Cloud XBOX & gaming No movement yet on the massive changes we expect in XBOX soon Microsoft has "dozens" of gaming IP-based movies and TV shows in the works XBOX Insiders can now test updates to Gamertags, Game Hub, and Wish List Call of Duty: Black Ops 1 and 2 are being ported to modern PS consoles. Sadly, not remakes or remasters. GTA VI will cost $79.99 and up - Arrives in November, can preorder on June 25 Steam Machine to cost $1049 and up, and that's with no controller Tips & picks Tip of the week: How to save $100 a month App pick of the week: iA Writer RunAs Radio this week: Securing Developers with Tanya Janca Brown liquor pick of the week: Glen Breton Rare 10 These show notes have been truncated due to length. For the full show notes, visit https://twit.tv/shows/windows-weekly/episodes/989 Hosts: Leo Laporte, Paul Thurrott, and Richard Campbell Sponsor: webroot.com/twit

Something I have been thinking about a lot lately — and talking about with my clients constantly — is this fascinating and costly phenomenon of making “hard” mean “bad”. You are working on something, creating something, trying to find the right words for something that really matters to you, and it feels hard. And the next thing you know you are questioning everything. Whether you are good at this. Whether it is meant for you. Whether everyone else finds this easier than you do. In this episode I am going deep on that — and using the very real, very behind-the-scenes experience of the last few weeks of my own business to do it.I have been deep in the work of creating the theme and sales page for this year's Passionate & Prosperous Live!, my two-day in-person event in New York City — and it was hard, it took longer than I wanted and I went through it the way I always do when I am creating something big, something important and something that I am putting my whole heart into.But after decades of being a teacher, a student, a creator and almost 58 years of being human, I have learned a lot about the meaning we make when things are hard - and what we need to do about it.In this episode I am getting into the many different reasons something can feel hard, and why it is totally not helpful when people try to sell you the idea that if you were in alignment, flow or whatever, your business would feel easy! As always, I'm here to tell you what it really takes to put yourself and your work out into the world - and to let you know that it's totally okay for it to feel hard sometimes as long as you don't make it mean all kinds of stuff about yourself.And in an exciting turn of events, I'm revealing the theme for this year's Passionate & Prosperous Live! — trust me, you are going to want to hear this one — and why every single thing I talk about in this episode is exactly why I landed on it (and why you need to join us this October in NYC!)Here's what you'll hear in this episode:Why hard automatically gets labeled as bad — and why that pattern is costing coaches and business owners more than they realizeThe misinformation the coaching industry keeps selling about ease and alignment — and why it creates false expectations that set you up to struggleThe two very different reasons something can feel hard — and why knowing the difference changes everything about how you respondThe real behind-the-scenes of creating Passionate & Prosperous Live 2026 — what the process looked like and what it brought up along the wayWhy you can hold two things at once: knowing your work is extraordinary AND being terrified no one will show up for itWhat real messaging actually is — and why finding the words for your work takes as long as it takesWhy your voice, your message, your story, and your IP are the one thing you cannot outsource — and what to do when that feels hardWhy everything takes time — and why how long something takes is never an indictment of you or your abilitiesSomething being hard does not mean it is bad. It does not mean you are bad at it. It does not mean it is not for you. This episode is going to help you actually believe that.

Windows 12 is stalled and the real reasons go far beyond software. The conversation unpacks how soaring hardware prices, AI chaos, and market confusion have Microsoft in a holding pattern. Also, Paul finally took a sledgehammer to the subscription services he pays for, and more is on the way. Plus, one of Paul's favorite Markdown editors supports authorship on Windows now and an integrated Search/Outline view on Mac, iPad, and iPad.Windows Week D is here with a preview of July's Patch Tuesday Point-in-time restore is now generally available in Windows 11, sort of Quieter widgets, which is nice! Plus, Screen tint, Windows Update improvements, more Tied to this, sort of, something wonderful is happening to the Windows 11 Field Guide Five new builds, plus some 26H2 news (and still no news about what 26H1 becomes, see below...) Mostly minor fit-and-finish improvements So... what about Windows 12? The history is interesting, and Copilot+ PC was what Paul originally thought Windows 12 would be. But now we're talking agentic capabilities that will handle local/cloud/hybrid orchestration per last week's discussion, and maybe that will be it. We knew that Surface Laptop and Surface Pro would come in 8 GB configurations. But they're available now with just 256 GB of storage and the prices are $950 and $850 and up, respectively. Plus all the usual Surface limitations, like one color choice. (16 GB is $1150 and $1050, respectively, so $300 more.) Once again, it's time to just get a Lenovo IdeaPad Slim 5x for $850. It has 16 GB of RAM and 512 GB of storage and is awesome. Tim Cook just admitted that Apple will raise hardware prices because of the component crisis. If this is hitting Apple hard, the rest of the industry is screwed. AI Cory Doctorow's new book is out and let's just say his new neologism isn't as catchy as enshittification Reverse centaur (groan) Surprisingly centrist view on the pros and cons of AI Highlights the Microsoft financial shenanigans I point out every quarter: Microsoft "invests" $10 billion of "tokens" in OpenAI, but there's no volume discount and Microsoft books the transaction as $10 billion in AI revenues as OpenAI simply uses its infrastructure. It gave $10 billion to OpenAI so that it could spend $10 billion on Azure. Google Home Speaker is the Gemini speaker and it's now shipping to first customers as Google discontinues Nest Audio and Nest Mini speakers. Can we trust this company with hardware? And why are there no Apple or Google home theater setups? Adobe brings its creative agent to Firefly and the biggest apps in Creative Cloud XBOX & gaming No movement yet on the massive changes we expect in XBOX soon Microsoft has "dozens" of gaming IP-based movies and TV shows in the works XBOX Insiders can now test updates to Gamertags, Game Hub, and Wish List Call of Duty: Black Ops 1 and 2 are being ported to modern PS consoles. Sadly, not remakes or remasters. GTA VI will cost $79.99 and up - Arrives in November, can preorder on June 25 Steam Machine to cost $1049 and up, and that's with no controller Tips & picks Tip of the week: How to save $100 a month App pick of the week: iA Writer RunAs Radio this week: Securing Developers with Tanya Janca Brown liquor pick of the week: Glen Breton Rare 10 These show notes have been truncated due to length. For the full show notes, visit https://twit.tv/shows/windows-weekly/episodes/989 Hosts: Leo Laporte, Paul Thurrott, and Richard Campbell Sponsor: webroot.com/twit

Windows 12 is stalled and the real reasons go far beyond software. The conversation unpacks how soaring hardware prices, AI chaos, and market confusion have Microsoft in a holding pattern. Also, Paul finally took a sledgehammer to the subscription services he pays for, and more is on the way. Plus, one of Paul's favorite Markdown editors supports authorship on Windows now and an integrated Search/Outline view on Mac, iPad, and iPad.Windows Week D is here with a preview of July's Patch Tuesday Point-in-time restore is now generally available in Windows 11, sort of Quieter widgets, which is nice! Plus, Screen tint, Windows Update improvements, more Tied to this, sort of, something wonderful is happening to the Windows 11 Field Guide Five new builds, plus some 26H2 news (and still no news about what 26H1 becomes, see below...) Mostly minor fit-and-finish improvements So... what about Windows 12? The history is interesting, and Copilot+ PC was what Paul originally thought Windows 12 would be. But now we're talking agentic capabilities that will handle local/cloud/hybrid orchestration per last week's discussion, and maybe that will be it. We knew that Surface Laptop and Surface Pro would come in 8 GB configurations. But they're available now with just 256 GB of storage and the prices are $950 and $850 and up, respectively. Plus all the usual Surface limitations, like one color choice. (16 GB is $1150 and $1050, respectively, so $300 more.) Once again, it's time to just get a Lenovo IdeaPad Slim 5x for $850. It has 16 GB of RAM and 512 GB of storage and is awesome. Tim Cook just admitted that Apple will raise hardware prices because of the component crisis. If this is hitting Apple hard, the rest of the industry is screwed. AI Cory Doctorow's new book is out and let's just say his new neologism isn't as catchy as enshittification Reverse centaur (groan) Surprisingly centrist view on the pros and cons of AI Highlights the Microsoft financial shenanigans I point out every quarter: Microsoft "invests" $10 billion of "tokens" in OpenAI, but there's no volume discount and Microsoft books the transaction as $10 billion in AI revenues as OpenAI simply uses its infrastructure. It gave $10 billion to OpenAI so that it could spend $10 billion on Azure. Google Home Speaker is the Gemini speaker and it's now shipping to first customers as Google discontinues Nest Audio and Nest Mini speakers. Can we trust this company with hardware? And why are there no Apple or Google home theater setups? Adobe brings its creative agent to Firefly and the biggest apps in Creative Cloud XBOX & gaming No movement yet on the massive changes we expect in XBOX soon Microsoft has "dozens" of gaming IP-based movies and TV shows in the works XBOX Insiders can now test updates to Gamertags, Game Hub, and Wish List Call of Duty: Black Ops 1 and 2 are being ported to modern PS consoles. Sadly, not remakes or remasters. GTA VI will cost $79.99 and up - Arrives in November, can preorder on June 25 Steam Machine to cost $1049 and up, and that's with no controller Tips & picks Tip of the week: How to save $100 a month App pick of the week: iA Writer RunAs Radio this week: Securing Developers with Tanya Janca Brown liquor pick of the week: Glen Breton Rare 10 These show notes have been truncated due to length. For the full show notes, visit https://twit.tv/shows/windows-weekly/episodes/989 Hosts: Leo Laporte, Paul Thurrott, and Richard Campbell Sponsor: webroot.com/twit

Lytterne våre sitter inne med syke historier om gjerrige perosner. Har Petter blitt skuespiller? Hør alt i dagens pod. Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

The post IP#289 Fr. Robert Spitzer S.J. – The Souls Upward Yearning on Inside the Pages with Kris McGregor pt 1 appeared first on Discerning Hearts Catholic Podcasts.

Summer House Fandom Is Doing Too Much (Part 2) ft. Jazmine Henley BrownEmily Rose is joined by Jazmine Henley Brown to talk Summer House and why this season's fandom discourse got so intense. Jazmine shares she's a day-one viewer, but only recently started engaging heavily because of the current scandal, and both agree the show is basically an unserious weekend-party series that's being treated like team sports. They discuss whether West and Amanda “ruined their lives,” arguing everyone will be ultimately fine and audiences move on fast. They also discuss the leaked reunion audio, how editing and IP protection (like In the City) shape narratives, and how fan outrage affects cast behavior and content creators—especially around criticism of Ciara and the tendency to read nuance as taking sides.Follow Jazmine!!https://bio.site/jhenleybrown?fbclid=PAVERFWASmt-JleHRuA2FlbQIxMABzcnRjBmFwcF9pZA8xMjQwMjQ1NzQyODc0MTQAAacRgclWOPDfSEiiRMpFDoQ4ApzqD7wwEZfgeKEf-aWQWpSpgWxdjVQkKxHLhw_aem_Y212FvnTncAYTZhYT_kB7ASupport the showWHO TF KNOWS WITH EMILY ROSE NOW HAS A PATREON, SUBSCRIBE BELOW!https://www.patreon.com/WhoTFKnowswithEmilyRoseDon't want to sign up for something new? CashApp will *always* do: $EmilyAGoGo You can ALSO support by downloading, sharing and subscribing to the episode, as well as leaving a 5-Star review on Apple Podcasts if you're feeling the *vibe*. Intro/Outro Music by LD Green III: https://linktr.ee/LDGreenIIIIG: @whotfknowsemilyroseTwitter: @WTFKEmilyRose

In this episode of Fraudology, Karisse Hendrick sits down with Hailey Windham, Community Lead for Banking at Sardine and host of the Fraud Forward podcast. Hailey shares her journey transitioning from a practitioner at community financial institutions to the vendor side, focusing entirely on providing practical, operational insights for credit unions and community bank fraud teams.The conversation explores the highly anticipated June 2026 updated guidance from FinCEN regarding Section 314B of the USA Patriot Act. Hailey breaks down how this new fact sheet eliminates long-standing confusion and regulatory fears, giving financial institutions a robust legal framework to safely share information and collaborate under a liability safe harbor.We also explore the "hot topics" dominating the banking fraud landscape today:Fraud Explicitly in Scope: How the new guidance expands past narrow money laundering limits to formally include computer fraud and scams targeting individuals, organizations, or governments.Reasonable Suspicion vs. Certainty: Why teams no longer need a fully completed investigation or total certainty before sharing data, making early sharing on incomplete information permissible.Real-Time Data Transmission: The protocol shifts allowing financial institutions to share verbal alerts, video surveillance footage, IP addresses, and attempted transactions in real time.The Power of Associations: How non-bank compliance providers and industry trade groups can now legally organize 314B associations so smaller institutions don't have to fight fraud alone.Additionally, Hailey dives into the preliminary insights from the industry's first practitioner-built benchmarking survey for community banks and credit unions under $10 billion. We examine the systemic issues keeping banking fraud fighters up at night, from rigid legacy core system limitations to the immense pressures of tackling an exponential surge in social engineering scams with limited resources.Connect with Hailey Windham

Climate philanthropy does far more than fund advocacy and conservation—it bridges critical funding gaps for breakthrough technologies that traditional, financially driven investors often overlook. In this special episode, we continue our ongoing Climate Philanthropy series in partnership with the Skyline Foundation to explore how non-profit support accelerates the climate tech pipeline.Shereen D'Souza (Climate Solutions Portfolio Lead at Skyline Foundation) sits down with two powerhouse CEOs from her grantee portfolio, Deepa Lounsbury of LabStart and Andrew Chang of New Energy Nexus, to discuss what it really takes to move climate innovation from a university lab to global deployment.Why This Episode MattersBringing a "hard tech" climate startup from initial lab concept to commercial scale takes an average of 10 years, and every single step of that journey faces a unique "valley of death." Because scaled deployment looks drastically different depending on the geography, supporting entrepreneurs requires a highly specialized ecosystem.This conversation highlights how philanthropy strategically funds distinct, critical phases of the lab-to-market pipeline to scale viable climate solutions faster.On today's episode, we cover:0:58 – Why climate philanthropy & Skyline partnership3:35 – LabStart vs. New Energy Nexus focus4:09 – Guest intros: Deepa (LabStart) & Andrew (New Energy Nexus)4:46 – Deepa's background in climate, VC, and CalSEED6:20 – What LabStart does & “deep climate tech” focus8:02 – Andrew's overview of New Energy Nexus global model9:43 – Programs: bootcamps, grants, CalSEED, and global south focus11:16 – What it looks like to be a New Energy Nexus entrepreneur11:54 – Philippines rooftop solar opportunity: Solar Innovation Program12:48 – Pakistan rooftop solar boom and Climate Innovation Pakistan13:40 – CalSEED structure and impact in California13:58 – What it looks like to be a LabStart entrepreneur14:55 – LabStart Discover and Launch phases15:54 – Why philanthropy is needed in climate tech innovation18:36 – Philanthropy in the global south and hyperlocal impact22:10 – LabStart success story: architect-turned-3D housing founder24:32 – Additional LabStart founders and outcomes25:25 – How much philanthropic capital is needed27:17 – IEA investment gap and catalytic examples from Indonesia29:43 – Why fund new technologies vs. only deployment32:06 – How country pathways shape New Energy Nexus engagement33:02 – California deployment example: ThermoShade33:58 – Indonesia fishermen & electric motorboats case: Volto Sea34:51 – Pakistan PakPlug EV charging app35:22 – What else the ecosystem needs: Andrew on subnational governments37:34 – What else the ecosystem needs: Deepa on IP & ecosystem gaps41:02 – Five-year vision & asks: Deepa and LabStart43:49 – Five-year vision & asks: Andrew and New Energy Nexus47:26 – Closing thanks from ShereenResources MentionedInvested in Climate: Climate Philanthropy seriesSkyline FoundationLabStartNew Energy NexusProject DrawdownJamil WyneCalSEED Solar Innovation ProgramClimate Innovation Pakistan CalTestBedAusTestbedThermoShade Swap Energy Xuraya Volto SeaPakPlug Schmidt Family Foundation Boundless EarthAtlassian Foundation California Energy Commission (CEC) New York State Energy Research and Development Authority (NYSERDA)Mubadala Investment Company (Abu Dhabi) Australian Renewable Energy Agency (ARENA)International Energy Agency (IEA)Elemental ImpactActivate Renewables FirstConnect with usShereen D'SouzaDeepa LounsburyAndrew ChangJason RissmanKeep up with Invested In ClimateSign up for our NewsletterSubscribe for our Other Future NewsletterLinkedInInstagramIf you like what you hear, subscribe and rate to support the show! Have feedback or ideas for future episodes, events, or partnerships? Get in touch!

Send us Fan MailWe sit down with A320 captain and developer Katie Pilot to unpack EFBX, a new electronic flight bag platform designed to turn flight simulation into a clean, unified workflow. Along the way, we get the origin story, the frustrations that sparked the build, and the feature ideas that could make MSFS flying feel truly plug and play. • Katie's unexpected path into aviation and what hooked her on flying • Why airline flying is structured and why coding scratches the creative itch • Running the EFB on phones and tablets over a local network without IP hunting • Integrations discussed: GSX, vPilot VATSIM tuning, message relay, ATC replay • Quality-of-life apps like remote screenshots, scratch pad, and customizable backgrounds • App store concept, code review, and security concerns around local networking …….and much more!Website: www.closedtrafficpodcast.comFacebook: @ClosedtrafficpodcastFollow us on Patreon: https://patreon.com/closedtraffic

Jeff Blair and Sho Alli break down the Blue Jays' 4-2 win vs. the Astros to open the three-game series in Toronto! They take your texts, and discuss Kazuma Okamoto blasting his 17th home run of the season - where would the team be without him, and is he deserving of an All-Star spot? They also discuss the team managing to find a way to win despite going 1/9 with runners in scoring position and leaving 13 men on base - how do they translate that into runs more consistently moving forward? Plus, they discuss Dylan Cease allowing two runs in 5.2 IP - can he find a way to be more efficient, and is he still in the mix for the AL Cy Young at this point of the season?   The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.

This episode was recorded live at Consensus Miami 2026.Jonathan Schmalfeld — known as 'Birdnals' across Crypto Twitter — is Policy Director at The Digital Chamber. He came up doing soft IP litigation, got into crypto around 2015, and eventually turned what he was doing for fun into his full-time work.We cover the NFT IP moment, what it takes to be a real Web3 lawyer, the knowledge-sharing culture that makes this community unique, and how he went from associate at a major law firm to advocating for the industry in front of Congress and regulators.---This episode is sponsored by FirstRead (use BYNDTHECODE10 for 10% off).This show is hosted by Yitzy Hammer. Make sure to 'follow' us and click the "alert" button so you don't miss any future episodes. Check out our new website: www.beyondthecode.fm

Hvem vinner i Østerrike, har Red Bull den beste motoren, er Max Verstappen på vei til Mercedes og hva var det egentlig i Pandoras eske - og hvorfor ville FIA åpne den? Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

Gjengen spiser Mc DOnalds til frokost og følger rekasjonene etter nattens VM-kamp mot Senegal. Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

What if the real secret to a lasting writing career isn't talent or luck, but learning to thrive in the mess? Why are in-person events worthwhile even if the maths doesn't add up? How do you protect your creativity when the machines never sleep and the community is at one another's throats? With Mark Leslie Lefebvre In the intro, Has AI Already Killed Non-Fiction [Tim Ferriss]; 9 ways that AI would disrupt authors and the publishing industry over the next decade; Pivoting towards The Transformation Economy; and Who do you serve? This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. 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 Why print and in-person events are making a comeback for indie authors The case for (and against) licensing your voice clone through ElevenLabs Why we keep selling books in person when the numbers rarely add up Measuring success by creative satisfaction rather than money Being honest about author earnings and the fear of being truly seen Managing stress, divisiveness, and the noise around AI You can find Mark at MarkLeslie.ca. Transcript of the interview with Mark Leslie Lefebvre Jo: Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. Welcome back to the show, Mark. Mark: Oh, hey, Jo. It's always an awesome time chatting with you. Jo: You've been on the show lots of times over the years, but the last time was in September 2024, when we talked about selling books in person. So give us a bit of an update. What does your writing and publishing business look like at the moment? How do you manage it alongside the day job and everything else you do? Mark: Oh my God. Well, sleep is—no rest for the wicked, maybe. I'll sleep when I'm dead. It's so funny, it was just this last weekend in Waterloo. I was at Waterloo Book Fest, and somebody came up to my table—another author from one of the other tables—and said, “I heard you on the The Creative Penn Podcast. And then when you mentioned something about Waterloo, I said, ‘He can't be from Waterloo.' And then when you mentioned the skeleton, I said, ‘I know where he lives.'” Jo: That's scary. Mark: So I love the fact that there are so many of your listeners all over the world, and that's usually how people know me. No matter what else I've done, it's like, “Oh, you've been on Joanna Penn's podcast.” I'll say, “Yes, I have.” You know what's really funny? The last time I was on the podcast, we were talking about A Book in Hand, which I was supposed to release that year. Jo: Yes. Mark: I just added another 5,000 words to it this morning. Jo: Wait, it's still not published? Mark: No, and it's so funny. I actually have the first 60,000 words of it with an editor right now, and I told her I'd get her the rest of it, which I thought would be another 20,000 words, by the end of June. But I think it's going to hit 100,000. Here's the weird thing that happened with this. This is trying to accumulate my life of book selling, as well as doubling down on doing in-person events in the last several years. I thought I was going to have the book done in 2024. I ran into some issues where I didn't back it up properly. It was an old version, and I accidentally overwrote the only version I had. Jo: So, for everyone listening, Mark—how many decades have you been an author and a publisher? How come you're still missing deadlines and still not backing up your work properly? Mark: Yes, this is a lesson: no matter how long you've been doing something, you can still make boneheaded errors. So if you, dear listener, have made mistakes, just know that this old guy who's been doing this since the mid-'80s still makes mistakes like that. Don't beat yourself up. I probably did something worse. Anyway, that book I thought was going to be maybe 40, 45,000 words, it's going to be bigger than Wide for the Win—close to 100,000 words. Here's a really important lesson I learned in that, Jo. I thought the book would be something. It became something else. Through my own experiences of doing more in-person events, book signings, and library event. Also in talking to awesome folks like Johnny B. Truant, Katie Cross, Todd Fahnestock, and so many other authors I know, and seeing what Ben Wolf is up to, and a whole bunch of different people who are doing in-person events. In creating case studies for how they interact specifically with a bookstore or library, or how they do in-person selling—I really think the book wasn't ready then. It's like the recipe wasn't ready. I still needed to play with some things. I do sincerely have faith, since I got it into the editorial process, that this will be the year the book actually gets released. Jo: As you said, there are some really good lessons there around sometimes the book not being quite ready. I'd bought an early version from the StoryBundle, which is how I got this book as well, actually. Mark: Yes. Jo: That's another tip for people—storybundle.com. You can go and find some great bundles there. I was also thinking, as you were talking, that maybe one of the reasons this book about in-person events has got so big is because that's a real trend in the community. It feels like indies, we've moved… Back in the day, I said, “I'm not doing print. No way.” This was the early days of digital, because print was really hard back then. So I was like, “Oh, and we've got all the advantages doing digital, so I'm just going to focus on that.” It feels like the pendulum has swung, perhaps even more with the ease of mass production of digital with AI. The focus on print and in person is getting stronger and stronger. Do you think that's happening? Mark: Oh, yes, 100%. I did print in 2004. It was really hard back then, so that's gotten easier. I think there are a few reasons. One of the reasons is, yes, digital made it so much easier for indie authors to get out there and break into the community. But the reality is that print books still outsell e-books in general—overall—despite the fact that indie authors can make six and seven figures a year from selling e-books alone on a single platform. So print has never really gone away. It was just never something indie authors attended to. They were in a different business than traditional publishers were in. And second, obviously I've got these gorgeous books that you've created on Kickstarter, because I like the beautiful books. I've never stopped buying print books. I actually buy more print books. I read more because of audiobooks and e-books, but I buy more print books, especially when I can get a nice signed copy. Then the other reason comes back, again, to your advice—something I've been following for the longest time, and you've long been saying. I do repeat this, and I try my best to offer attribution to you every time I use it: to double down on your humanity, particularly in this age of digital generation and the ability for even non-writers to leverage tools to create content. I think it's so much more important for me, as a creative who will never be able to catch up with the machines, to exploit my humanity. I mean, we both have digital voices of ourselves, right? There's a digital Mark Leslie Lefebvre voice that people can use, and I'm making money off it because people are able to license it through ElevenLabs. But when I'm there in person, so far the holograms aren't good enough to fool people. I think I'm not just selling a book to somebody; I want to create an experience where, “Oh, I'm talking to the author, and we're signing a book together, and we're taking a selfie together.” For me, there's that tactile experience that's really enriching. And it may not be something that lines my pockets as easily, because the investment is more significant. For every $10 I make, it costs me six or seven dollars, as opposed to an e-book, where the cost is amortised in the most beautiful way over millions of copies. Jo: There are a few things there. First of all, let's talk about that ElevenLabs voice licensing, because, as you say, I also have a voice clone. Bones of the Deep, the latest book, that's my voice clone. I haven't gone with the licensing, partly because you don't have control over what someone can do with it. So, for example, someone could create Nazi content, or content that I might not agree with, in my voice. So how have you got over that? Because part of me really does want to license my voice, and the other part doesn't. Mark: This is a great question, Jo, and I'm glad you asked it. It's the same reason I don't worry about people stealing my books—adding DRM onto my e-books and things like that. I may as well make some money off it, because let's be honest: you and I, our voices are out there. Thousands of hours of our voices, right? In your podcast, my podcast, in various interviews we've done over the years. The technology exists for someone to make a copy of my voice themselves anyway. The tools exist. They can do it easily, so why not do it myself and at least make money? I'm actually getting money deposited into my account. Not a lot—maybe $30, $18, something like that every week. Again, I've taken a lot of my non-fiction books that I haven't had the time to record myself, as I like to do, and I can at least load those to ElevenLabs and make my voice the default voice. But wouldn't it be great to be able to listen to my book in your voice? It would sound so much better. Because you can do that. When you listen to a book on that platform, you can choose my voice if you'd rather hear it in my voice, or you can choose Burt Reynolds' voice, or some other folks who've licensed theirs. Again, for me, the whole concept of wide publishing has always been important. It's another small revenue stream that's adding to my numerous revenue streams. So I guess that's how I've justified just licensing the voice. If someone's going to do something with my voice that I can't control, they can do it regardless of whether or not I put it out there myself. Jo: I agree with you. That could happen, and neither of us is famous enough that it's likely to happen anyway. I do quite like the idea of people using our voices, say, for other books for authors, because that would make sense—that's where we fit in the niche. I will rethink that, because I think it's interesting. I wanted to come back to print books. You said sometimes there are easier ways to line your pockets, and I think that's funny. So, getting into the book, this leapt out at me quite near the beginning: Why do we keep doing this when the maths almost never adds up? Mark: Oh, I have a perfect example of that from an event I did a couple of weekends ago in Burlington, Ontario. I think it was a $60 table fee. It was a new event. I believe I made $90 or $95 in sales. So even after the costs of printing and all that stuff, I really didn't make money. I made my table back, which is always a good thing. There were a few encounters I had with people who were really excited to find my Canadian Werewolf series of books, and just so thrilled to get started. Among the four of them, they bought one copy, but they were going to pass it amongst each other. You know what? Okay, they bought a single copy, and I was like, “Well, the e-book is permanently free online. You don't even have to buy a copy”—which is anti-selling. I just want them to read the book and enjoy it. But if they read it and pass it along and start talking about it, they could become readers for a long time. It's an eight-book series, with the ninth book coming out later this year. There was another encounter I had that day. A woman and her teenage daughter came in, and they were looking at my traditionally published books that I buy at a reduced price from a local bookstore and resell. They were looking at these true ghost story books I had, and they were pointing: “Do you have that one?” “Yes, I have this one, I have that one.” And the mother's like, “Well, she collects all your books, and she wants to make sure she has them.” We had this conversation, and she was so excited to meet me in person and to get a signed copy of the book. That experience was such a vanity moment for me as an author. We're lonely. I'm a big loser. Nobody's buying my books. We're always down on ourselves. So that investment of time and energy, in order to get that little pat on the back or that feeling of, “Wow, I really connected with someone who likes my stuff”—those moments are really precious. They're difficult to explain if you only look at the world in a financial way. I guess I'm fortunate enough that I do have enough income from numerous streams, including the consulting I do part-time, that it's okay if not every bookish endeavour leads to more money in my pocket at the end of the day. I can still have these authentic connections with people, which I think is one of the reasons I'm a storyteller. Yes, it's the stories I have to tell, but it's also putting the story into somebody else's hands and eyes and heart and mind. Jo: You're very giving like that. You have that sense about you, whereas I'm just a curmudgeon in the corner. Mark: That is not true. Jo: It is, generally. I don't do events like you do for readers. Mark: But that's because it takes a lot out of you. Jo: Yes, but that doesn't matter. Why do I write? I write for me. Mark: Ah, very good. Jo: At the end of the day—just being entirely selfish about this—when people say, “Oh, if you won the lottery, what would you do?” I'm like, “Well, I'd do pretty much what I'm doing now.” Mark: Yes, I'd just do the same. Of course, I'd write more books. Jo: I'd write more books. So this is where I'm trying to get to for people as well: measuring success in a different way. You were talking about measuring success by how that girl loved your books, and how you feel when someone says they love your books. With Bones of the Deep, this thriller I've just done, I feel like I had the benefit of that book before anyone even read it. As soon as it was finished, I made a nice proof copy from BookVault, and I held it in my hand and said, “I made this. I'm proud of the story, I wrote the story, and it's outside my head now.” I feel like I'm creatively satisfied in that moment. Then, of course, the Kickstarter was great, and I love that the books are going out around the world, but— I think the happiest I felt was that moment of finishing—that creative satisfaction of holding the book in my hand. You know what I mean? Mark: 100%, Jo. I cannot agree with you enough. I love so many aspects of writing. Yes, the connection with people is amazing. But I often say this when I'm doing my one-on-one consulting with authors: focus on the projects that mean the most to you, those passion projects. The process of writing, and the painful rewriting and editing and all the things you go through—when you finish that book, like you said, you hold it in your hands and it is a thing of beauty. It's a huge achievement. You've won. Whether or not you sell a single copy, you've won by doing it. Everything else is gravy: the sales, the money in your pocket or not, the reviews, positive or not, the people who say, “Oh my God, Bones of the Deep, thank you for writing this book. I'm so glad you introduced this into the world and into my life.” Anything beyond the creation itself, which is a pure joy—I love it so much. It's just why I get up at 5:30 every morning and write for hours before the rest of my day begins. I try to get stuff done before the rest of the world wakes up. I want to get the writing done first, when I have the most energy to give myself to the page. Then the rest of the day is kind of gravy for me too. Jo: You talk there about giving yourself to the page, but in Stark Realities— You talk about the fear of truly being seen. What do you mean by that, and how do you manage that feeling? Mark: For anyone who has written anything—fiction, non-fiction, memoir in particular, since it's a bit more closely tied to reality—it's exposing yourself to the world. I'll never forget an interview I did with Canadian science fiction author Julie E. Czerneda, who, before being a fiction writer, was writing biology textbooks, but her real passion was science fiction and fiction. When her first novel came out, she said, “It's like standing naked on the front lawn.” When you release a book, even a novel, people look at it and they're going to judge you and rate you. I remember early on, Jo—we knew each other through Twitter, I think, where we initially met, and then interacted with and finally met in person at London Book Fair. I think you and I have a very similar reaction. When people know us as positive and upbeat and out there helping authors in the community, and then they read our fiction, they go, “Well, Jo, you burned a nun alive on page one.” Or, “Mark, what kind of… they're drinking from the skulls of dead people? What the heck is going on with you two?” We are exposing parts of ourselves in our fiction and non-fiction. That's a fear I embrace, but also never get over, if that makes any sense. I write scary stories because I'm a big chicken. So maybe the entire process is just cheap therapy for me. Or not cheap, because it's an expensive pastime, isn't it? Jo: It certainly can be, but I agree. I struggle with fear of judgment still. I think it's also because we do this in public, which comes back to the financial side of things. We do a lot of this in public, and then people judge us on our author businesses too. You could look at Bones of the Deep, which was just on Kickstarter, and compare my Kickstarter to another author's Kickstarter for a fiction book, and judge one or the other person based on numbers. I feel like this is because you and I have done so much in public—for me, almost 20 years, and for you, like 40 years or whatever. Maybe 30 years. You look that old. Mark: Listen there, dearie. Get off my lawn. Jo: Yes, get off my lawn—with those skeletons you have on your lawn. Mark: Yes. They're no longer in my closet. Jo: They're not in your closet. I wonder if that also plays a part of it—the pros and cons of doing this business in public. Mark: Yes, that is a part of it. One thing I try to be very clear about, because there's so much FOMO and so much out there about people thinking that everyone else is making a million dollars from their books and “I'm the only loser who's not”—I try to be clear that I have never made more than a mid-five figures as an author from my author earnings, ever. I haven't yet hit six figures. One of the reasons I try to be transparent in sharing that is I don't want people to think that everyone else is a six- and seven-figure success story, and they're the only one who's only made $100 last year on their books. The reality is, 90 to 99% of the people who are writing and publishing are not going to earn a significant amount of money. I realise I'm also very, very lucky that I've earned this much, and it's taken a long time. I just shared this in a Substack post I posted yesterday: it was 10 years of rejections before I got $5 for my first short story that was published in '92. It wasn't until 2001 that I finally made pro rate, six cents US a word, for a short story that, ironically, Julie Czerneda bought from me back in the day. For me, I've been lucky that it's always been a long, slow slog. It's been a marathon, and I've never instantly sprinted across any dramatic finish line. I've had some really phenomenal moments—doing a book signing in a Costco, walking into Walmart and seeing my books there. Even last night at the Burlington Public Library, going, “Wow, they have eight of my books here—four of my self-published books and four of my traditionally published books, in two different sections.” I was like, “That's kind of cool.” So I've had these amazing moments as a writer, but I've never had the blockbuster—the Brandon Sanderson, or even the Dungeon Crawler Carl, Matt Dinniman, kind of moments. I still think I've had a very fortunate and lucky journey. Even if I wasn't making the money I'm making, I'd still be writing, and I'm sure you would be too. Jo: Oh, yes, for sure. I actually think the thing most of us would probably let go is the marketing. If we won the lottery, we'd carry on with all the creative stuff, the writing, the community stuff, and we'd just literally do no marketing at all. Mark: Well, yes, of course. Or potentially say, “Oh, here, ad agency, here's some money. You just run it, whatever. Let me know if it works or not. I don't care.” Jo: That's a much better idea. Mark: At least I've got the extra disposable income, so I may as well, because I'm helping the world when my books are out there. I know my books will help people. I really honestly think that as storytellers—whether it's fiction or non-fiction, we're still storytellers—what we do in writing and podcasting and all the things we do, the re-sharing on social media, is really helping connect people. I think that is one of the most profound things we can do as writers. And I mean that the writing, in and of itself, is a reward. Jo: Like you said, we met on Twitter when Twitter was what it was back in the day. I do very, very little social media now. But you just mentioned your Substack, and you also have your podcast, Stark Reflections. So how are you balancing what you put on each? I only do this podcast now. I don't even blog. I write books, obviously, and then I do the podcast. So what are you doing differently on Substack to the podcast, and what part do they play in income and marketing? Mark: Great question. I realise most people have never heard of me, or read or listened to the things I put out into the world. And I've been a longtime fan of “reduce, reuse, recycle my IP.” My podcast is not as long-running as yours, but I'm in my ninth year, and I've not missed a single Friday in the full eight years, or eight and a half by now, that I've been doing this. Every week I reflect on what I learned from an interview, or I'll reflect on something you've posted and say, “This episode is not an interview, but Jo said this last week, and I'm going to talk about it.” The podcast itself takes a lot of work. I still do all of it myself, and I know I probably shouldn't, but I like doing it, so it's one of those tasks I enjoy. I also have reflections that aren't going to come out vocally but might come out in writing. Sometimes in the morning I'm not in the mood to write the novel or the non-fiction book I'm writing, but I'm writing some tangent. I just let the creative monster go. I find that re-sharing… I might have reflected on something for a couple of minutes at the end of an interview, but I really want to expand upon it, so I write the Substack article. I try to reuse some of that content. Someone's going to enjoy seeing it on a short video clip I share on YouTube, or whatever the platform is. Someone else is going to listen to it on a podcast, wherever they listen to podcasts, and someone else is going to want to read it. It could be the same information, just shared in a slightly different way, to potentially get it out to other people. So for me, it's part of that wide publishing mentality. I'm trying not to completely duplicate the work, although I am duplicating some of it. I'll give you an example. Hey, Canadian listeners—if you have not registered for Public Lending Right in Canada, please put something in your calendar for February 2027, because the deadline's over. It was May 1st of 2026. Put it in your calendar for next year. I even had somebody at this writers' event I was at this last weekend say, “You mentioned something in a presentation you did for the Canadian Authors Association about Public Lending Right, and thank you, because now I get thousands of dollars a year from this.” So just look up Public Lending Right. I've been saying stuff about Public Lending Right for at least 10 years now. Every time I get my beautiful multi-four-figure cheque from them in February every year, I post on social media and remind authors to check it out. I know it exists in the UK, and it exists in 36 countries in the world—just not the US. Jo: Not the US. Mark: They don't have a programme like this, probably because the big publishers—and probably one of the authors' associations—think that libraries are cannibalising book sales, which is not true. It's been proven time and time again, and that lobbying has prevented it from happening. Whereas here in Canada, the Canada Council for the Arts and the Writers' Union of Canada worked hard to make this happen. Anyway, I talk about something like Public Lending Right and I feel like I must have said this so much that people are sick of it, but every single time I mention it, someone goes, “Oh my God, thanks for saying that. I never heard it.” That's a good reminder, especially for folks like you and me. We know the basics. We know what an ISBN is. We know KDP Select means you can't put the e-book on any other retailer, or even sell it on your own website. We know all these things, but it's hard for us to remember that there are folks coming to this for the very first time who've never heard it, even though we feel like, “Oh my God, I've said this till I'm blue in the face.” I think I got that from retail. When I worked in retail, I recognised that somebody's going to come in and ask for “that blue book that Reese Witherspoon was talking about,” or Oprah was talking about, or whatever. And you do your darn best to help them figure it out rather than mock them. I try to take the same approach when people ask me those questions, because I'm trying to remember what it was like when I honestly did not know the answer, and having someone take the time to help me. I've been very, very lucky that I've had a lot of people take the time to help me. I'll never forget—God rest her soul—Nancy Kilpatrick, a horror writer here from Canada who passed away a few years ago. She gave me a blurb for my very first book in 2004 because she'd acquired one of my short stories for an anthology she'd edited. I was trying to call my short story collection an anthology, and she very kindly took me aside and said, “It's not an anthology if it's a single author. An anthology is a…” Jo: I didn't know that until, like, last year. I got that wrong as well. There are lots of words like that. I want to circle back, because you didn't really answer earlier about the time management. You just mentioned YouTube, on top of Substack and all the things you do. You also have a day job at Draft2Digital—it's part-time, right? You also do part-time at the university, teaching publishing, right? You do all kinds of things. How do you manage your time with all of that? Mark: Well, I mismanage my time more than I manage it, Jo. That's the God's honest truth. Fortunately, most of the things I have that aren't scheduled—like, scheduled to do this lecture at this time, or scheduled to have this meeting at this particular time with Draft2Digital—most of my work is very flexible. I do not work a regular 9:00 to 5:00, Monday to Friday. Well, I never did. I always worked way more. But I have a very flexible schedule. Every single day is a work day, and every single day is a play day for me. So I'm very, very lucky. I do schedule in the very important things, particularly where somebody else is reliant upon me—meetings and connections and stuff like that. Then I make the time first thing in the morning to get the writing done. Everything else is not as important, and it's part of… I guess it's part of playing. You know, like the social media sharing. I don't look at social media as marketing. I just look at it as another way to connect with people, with other creatives, and with readers potentially, all six people who read my stuff. I probably could do a better job of managing my time. I've tried several times over the years to adapt processes to make it better, but I consistently default back to what I do, and so far I guess I've been getting away with it. So I was like, “Do I want to waste more time trying to come up with a process, or do I just want to roll with it?” Because so far I haven't killed myself doing it, and I've been enjoying the journey. So, if it ain't broke… Jo: I think that's the point, if it doesn't feel like it's broken. Having known you for a long time now, and we work together—obviously we co-wrote The Relaxed Author—you do work very, very differently to me. You definitely are a little bit more chaotic. I'm chaotic in some ways too. Mark: Oh, you're very generous. “A little bit chaotic.” Thanks. That was generous, Jo. Jo: You're chaotic in your work practices and scheduling and all that, which I couldn't cope with very well. Even though I feel like a part of my brain is very chaotic—the creative side, I guess, can be quite chaotic—I think I'm actually quite controlling and very scheduled in my work practices. As you say, for someone else on the outside, it might feel to me like you have too many balls in the air. But if you don't feel that, then that's the way of working that works for you. So this is another important thing, isn't it? You can't adapt to what other people say your life should look like. It's what feels good to you. Mark: Oh, for sure. One thing I know about my procrastination tendency is that panic and fear motivate me. So, a deadline—”I have to get this into a publisher by this date, I have to get this manuscript to an editor by that date”—I'm motivated by fear. And I'm afraid of everything, so I guess I'm always motivated. Jo: But I also know that when you hear the word “deadline”—and I know a lot of people who do this—the deadline means you get it in on the deadline, or the day before the deadline. To me, a deadline means I have it ready a month earlier. Mark: I love that. I've done that a few times and shocked myself. I actually had a pre-order up—with the audiobook, the print, and the e-book—a month in advance, and I didn't know what to do with myself. I was like, “Well, what am I going to do now in the next month?” Jo: Work on the next thing. Mark: But I'm so used to working on it up to the last second that I was kind of like, “What do I do?” That actually caught me by surprise, and I honestly felt weird. I was like, “I've never felt this before.” I'm really lucky. I know you have a very supportive and amazing partner, and so do I. My partner, scarily enough, is maybe a bigger procrastinator than me, so she never gives me a hard time. She supports me, and I do the same thing with her own work. I'm up all night with her at the last minute so we can get something turned in. So, fortunately, we really understand one another, and we don't give each other a hard time. We just go, “Well, got away with it again. I guess I'm not going to change my ways.” Jo: We made it. And again, that's the point. You and I could stand up in front of people, both hold up the last book we wrote, and say, “We made this,” and our processes are completely different. Our brains are completely different. We come from different countries. There are lots of things that are different, and yet we both made a book. So hopefully that encourages people. You don't have to do anything that we're telling you, or anyone else tells you. But if you want to be an author, at some point you have to produce a book. Mark: Exactly. As Brian in the classic Monty Python film gets them to say: “Yes, we are all different.” Embrace that difference. I think that's such a powerful reminder that there is no one process for getting anything done. Jo: Given that we co-wrote The Relaxed Author back in 2021—and we did that because we had another show, and we were talking, and we said, “Oh, everyone's stressed and the anxiety levels are really high, and we think there's a better path”—we co-wrote that book, which I think is still a very good book. Definitely people should get it. Interestingly, I think the stress and anxiety might actually be higher now than it was. So what do you think the main stresses are in the community now? You also see a lot with Draft2Digital, I guess, as well. Mark: Oh, for sure. Honestly, Jo, I'm so glad we wrote that book, because I actually pick it up every once in a while to remind myself of the things we tried to help others with. Again, it's therapy for me as well, so I'm so glad we did it. I think we're 10, if not 100, times more stressed. The world events and things going on, the divisiveness—not just in the world in general, in politics and everything else, but the divisiveness in the author community. The witch-hunting that happens, people trying to tear down other authors either because they're successful, or because, “Oh my God, you dared use a new technology.” All of these things are happening, and everyone's at one another's throats. I need to pick that book up and reread it. I'm a lot more stressed than I was. I'm just getting over shingles, which is… Jo: Oh. Which is actually related to stress as well, isn't it? Mark: It is, yes. I was in LA for Writers of the Future—I'm a judge for that science fiction and fantasy conference. I went right from LA, like a week in LA, which was a phenomenal experience getting to mentor the winners. And I mean, come on, it's a free trip to Hollywood, hanging out with Kevin Anderson, having beers and stuff like that. Then I came back to the Toronto Indie Author Conference, run by Tao Wong, here in Toronto. I went right from the airport—didn't even go home—straight to the hotel, because I kicked into another conference. We did a display on how to set up an in-person booth, so I ended up having to hand-bomb boxes, blocks down the street from where I was parked. My chest was really sore when I got home on the Monday, and I thought it was because I hadn't used these muscles, because I'm not in the best shape. Then I took my shirt off and went, “Oh, there's a rash there.” Liz goes, “You have shingles.” Because the pain in my chest, which I thought was the muscle, was actually underneath. I'm one of those lucky people that it's taken the full five weeks, and I'm still in pain even afterwards. So, again, public notice: if you're an older person like me, and there's a vaccine available for shingles, you may want to consider it. Jo: Yep, get it. Mark: Oh my God, it hurts. But, yes, the stress, I think, is higher—even though I didn't know I was feeling it. It was happy stress, right? I was stressed out because I'm there in Hollywood, helping people and doing some good things, and then I'm doing the same thing, interacting with some amazing authors at the Toronto Indie Author Conference. I didn't feel anxious stress. I was happy stress. Is that a thing? Jo: I think possibly… your physical body masks stress, physical stress, because you enjoy all of that stuff. Whereas someone like me, I'll feel it quicker and withdraw. Although I say that, back probably a decade ago, Jonathan would say to me, “You're going too fast, and you're going to hit the wall. And when you hit the wall, it's not going to be fun.” And I did hit the wall. Then, probably in 2021—I mean, that was when I just started going into menopause, and obviously we had the pandemic, and I wrote Pilgrimage, and I was doing all those walks, which I think really helped me. I learned a lot about maybe stopping that before it happened. Becca Syme obviously talks a lot about this too. But I find it interesting with you, because I think you're so positively happy with these events you do that it might mask your physical symptoms in a different way. That's really hard to watch out for. I'll give a tip to you and everyone else listening: schedule the calendar, and look at your calendar and go, “I can't go back-to-back-to-back. I have to put in some rest days.” Mark: Well, thank you. You know, Jo, you and Becca Syme are two of my best unpaid therapists. I appreciate that. Jo: You just don't listen, Mark. Mark: Or sometimes I do. Jo: Just coming back to the community, and the divisiveness there is primarily over AI at the moment, I think that's one of the biggest things. And the arbitrary lines as to what you're allowed to use it for and what you're not allowed to use it for, which is just kind of crazy. Obviously, you know I've opted out of that whole discussion now. How do you think we can move through this [divisiveness over AI], move on? We remember when it was trad versus indie, and then it was wide versus KU. So this will pass—it's just hard, when you're in it, to know when it might pass. Mark: Yes. I think the more generic advice—for whatever may come, whatever has come—is: why are you doing this? Why are you a writer? Heads down, focus on what gives you pleasure, and do that, because everything else is noise. All the marketing tactics and strategies, and all the people yelling at one another. Write your books. Do the things that motivate you. Do the things that give you that intrinsic reward. It's hard to ignore. I get it, it is hard to ignore. I have difficulty ignoring the haters and the yelling and the screaming that happens, but I do my best. Like this morning, when I was in the throes of my manuscript and I looked up and went, “Oh my God, I've got to shower. I'm going to be talking to Jo soon, I should comb my hair”—which I have none of. Because I was so in my book that everything else melted away. That, for me as a storyteller, as a writer, is one of the most beautiful places to be. Jo: I think you're absolutely right. I have a little thing that pops up in my calendar sometimes which says, “If you're feeling all of these things, just go create something.” The moment you refocus on creation—whatever that means to you—things change. It changes the energy. That, or go for a walk. That's my other tip. Mark: Outside. And I have to say, Jo, Pilgrimage is still one of the most profound and powerful books you've written, and you've written a lot of amazing ones. Jo: Oh, you're very sweet. Mark: That one really resonates, not just for me, but with Liz. Because one of the things we often do when we get stressed is go for a walk, ideally in nature. The vitamin N. I think there's something really profound in that, and it really helps me a lot. And again, sometimes going for a walk listening to your podcast, or an audiobook, or sometimes just attending to the environment. A tip I picked up years ago from Brooklyn author Denis Hamill was: go for a walk with your character. Listen to what they see. What do they comment on? How do they approach this environment that you've seen a million times? How do they see it? What do they notice that you don't notice? That's such an incredible experience of creativity—when you're not writing, but writing. That really helps me a lot. Jo: Oh, nice one. Okay, so your latest book is Stark Realities, but you have so many more. Where can people find you and your books and your podcast online? Mark: Jo, you can find everything you want to know about me—and stuff you don't want to know about me—over at MarkLeslie.ca. It links to all the other places from there. Jo: Brilliant. Thanks again for your time, Mark. That was great. Mark: Thanks so much, Jo. Bye-bye. The post Creative Satisfaction, In Person Print Book Sales, And Author Mindset With Mark Leslie Lefebvre first appeared on The Creative Penn.

Video Game playthrough updates, upcoming releases, PlayStation and Xbox news, Nintendo breach, Game Pass impact, and a retro review of Yu‑Gi‑Oh! Forbidden Memories. 00:00 Introduction 03:15 Game Pickups and Collectibles 06:22 Current Gaming Experiences 09:17 Investments in Gaming Stocks 12:15 Upcoming Game Releases 15:23 Remote Play and Gaming on the Go 18:13 Industry News: PlayStation Exclusives 21:11 Future of Gaming: Digital vs Physical 24:12 Nintendo Data Breach Discussion 33:18 The Future of Xbox Exclusives 39:15 The Impact of Game Pass on Console Sales 48:12 Studio Closures and IP Ownership 57:13 Yu-Gi-Oh! Forbidden Memories Review 01:09:05 Outro Video John and Ryan jump into another packed week of gaming talk, starting with what they're currently playing. Ryan shares his time with Mina the Hollower, while John continues working through Killzone Shadow Fall. The conversation then shifts to upcoming releases the duo is excited about before moving into a discussion on remote play and gaming on the go. Industry news takes center stage as they explore the latest updates around PlayStation exclusives and what those decisions mean for the platform. That leads into a broader conversation about the future of gaming, specifically the ongoing debate between digital and physical media. The episode also covers the recent Nintendo data breach and what's known so far, followed by a look at where Xbox exclusives may be heading. John and Ryan then break down the impact Game Pass is having on console sales and how subscription models continue to shape the market. They wrap up the news segment with a discussion on Xbox studio closures and IP ownership. To close out the show, the Inflation Deflation Game of the Week takes a nostalgic turn with a review of Yu‑Gi‑Oh! Forbidden Memories, as the guys revisit the PS1 classic and evaluate its place in today's retro market. Find us on TheGameDeflators.com   Twitter - www.twitter.com/GameDeflators Facebook - www.facebook.com/TheGameDeflators Instagram - www.instagram.com/thegamedeflators   The views and opinions expressed on this channel are solely those of the author. The content within these recordings are property of their respective Designers, Writers, Creators, Owners, Organizations, Companies and Producers. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted. Permission for intro and outro music provided by Matthew Huffaker http://www.youtube.com/user/teknoaxe 2_25_18

In this Federalist Society America 250 series, experts analyze modern legal and policy debates through the lens of the Founding generation. The Founders gave us the tools to answer many contemporary questions; join us as we explore those answers.Innovation is at the heart of the American economy, fueled by a patent system that represented a deliberate radical break from the British model. Under English practice, the Crown granted patents as royal favors, monopolies awarded at the sovereign's pleasure, with no requirement of genuine novelty or utility. The Framers rejected this. They believed that intellectual property rights should both reward ingenuity and advance society. By drawing Article I, Section 8, Clause 8 almost verbatim from the South Carolina Constitution, they tied the grant of patents to the mandate to "promote the progress of science and the useful arts."This system democratized invention, where anyone could apply for a patent, and set the stage for centuries of American innovative dominance. The U.S. model has largely been adopted globally.As we approach the Semiquincentennial, join our panel to explore the inventive spirit unleashed after the Founding. How did the Constitution break with British common law? Why did the Framers embed IP rights in the Constitution itself rather than the Bill of Rights? What does it mean that the provision passed without recorded controversy? And how healthy are those rights today?Featuring:Prof. Adam Mossoff, Professor of Law, Antonin Scalia Law School, George Mason UniversityProf. David S. Olson, Associate Professor, Boston College Law SchoolProf. Zvi Rosen, Associate Professor, UNH Franklin Pierce School of Law(Moderator) Hon. John D. Love, Magistrate Judge, U.S. District Court, Eastern District of Texas

In this Federalist Society America 250 series, experts analyze modern legal and policy debates through the lens of the Founding generation. The Founders gave us the tools to answer many contemporary questions; join us as we explore those answers.Innovation is at the heart of the American economy, fueled by a patent system that represented a deliberate radical break from the British model. Under English practice, the Crown granted patents as royal favors, monopolies awarded at the sovereign's pleasure, with no requirement of genuine novelty or utility. The Framers rejected this. They believed that intellectual property rights should both reward ingenuity and advance society. By drawing Article I, Section 8, Clause 8 almost verbatim from the South Carolina Constitution, they tied the grant of patents to the mandate to "promote the progress of science and the useful arts."This system democratized invention, where anyone could apply for a patent, and set the stage for centuries of American innovative dominance. The U.S. model has largely been adopted globally.As we approach the Semiquincentennial, join our panel to explore the inventive spirit unleashed after the Founding. How did the Constitution break with British common law? Why did the Framers embed IP rights in the Constitution itself rather than the Bill of Rights? What does it mean that the provision passed without recorded controversy? And how healthy are those rights today?Featuring:Prof. Adam Mossoff, Professor of Law, Antonin Scalia Law School, George Mason UniversityProf. David S. Olson, Associate Professor, Boston College Law SchoolProf. Zvi Rosen, Associate Professor, UNH Franklin Pierce School of Law(Moderator) Hon. John D. Love, Magistrate Judge, U.S. District Court, Eastern District of Texas

What happens when a corner of a theme park stops working as one idea and becomes a group of separate experiences that never fully connect?This week, Stephen breaks down one of the most overlooked areas of Disney's Hollywood Studios: Commissary Lane. While each part of the street still functions on its own, the overall space has slowly drifted into fragmentation, with two dining outlets and entertainment existing side by side without a shared purpose.Instead of replacing it with a single attraction or layering on another IP overlay, we explore a different approach, rebuilding the entire street as one unified experience.Introducing The Golden Mickey Awards District, a connected transformation where arrival, participation, and celebration all become part of a single Hollywood event. This is about restoring cohesion, intent, and narrative clarity to a space that lost its shared story, and making Hollywood Studios feel a little more like Hollywood again.Don't forget to check us out on Instagram!

We are wrapping up Paulsploitation Month with a familiar IP. Street Fighter 2: The Animated Movie was clearly here to promote the game because there isn't even a a first one.....unless you count that BADASS live action movie with JCVD! Did we have a good time with this one? Did we defeat that son of a bitch Bison? Find out in this weeks episode!

主播 老崔嘉宾 鼎然 小元小红书 老崔肉多多• 主持：老崔九紫离火运，是未来二十年的时代大势，不是玄学噱头。离火主情绪、表达、传播、精神与视觉，最大特点是：机会变多、变化变快、人心更躁、内耗更重。很多人迷茫、焦虑、频繁换赛道、越忙越空，本质都是跟不上火运的节奏。本期老崔主持，鼎然老师拆解离火运底层规律，嘉宾小元以真实个人经历分享当下体感，不讲虚运势，只讲普通人能用、能落地的避坑、修身、做事法则。本期重点• 读懂离火运：为什么这几年普遍焦虑、浮躁、坐不住？• 破除误区：火运不靠“等好运”，靠的是顺势调整状态• 真实体感：小元亲身经历，普通人最容易踩的时代坑• 极简干货：情绪、工作、人际、生活，普通人二十年生存指南时间轴精简版【00:00-06:00】开场｜火运和普通人到底有什么关系？（老崔）破除大家对大运的遥远化、神化误解：大运就是集体气场，直接影响每个人的心态、选择、财运、生活节奏。交代本期风格：务实、落地、不忽悠，理论+真实故事结合。【06:00-18:00】核心解读｜九紫离火运真正的规则（鼎然）• 离火运主打：表达、内容、情绪价值、个人IP、精神意识• 时代变化：不再拼蛮力、拼吃苦、拼存量，开始拼心力、稳定度、创造力、输出能力• 火运双刃剑：机遇爆发，但诱惑极多、摇摆成本极高• 关键认知：浮躁贪心的人会越跑越累，沉稳专一的人越走越顺【18:00-28:00】嘉宾故事｜普通人真实的火运体感（小元）小元分享近两年真实变化：节奏变快、诱惑变多、容易跟风、容易内耗；想法变多、定力变少，频繁焦虑、做事浅尝辄止。用亲身踩坑经历印证：火运最大敌人，不是没机会，是自己太躁动、太想快、太放不下。【28:00-42:00】核心干货｜普通人火运保命&进阶法则（鼎然+老崔对谈）1. 情绪养心（最重要）火运火旺易心火重、失眠、焦虑、思虑过度。� 稳住情绪、减少内耗、规律作息，就是火运最大的福气。2. 做事求财：戒贪、戒摇摆风口更新太快，频繁换赛道只会消耗自己。� 放弃短期暴富心态，深耕一技之长、稳定输出，比跟风更值钱。3. 人际处世：少口舌、守边界离火主口舌是非、舆论纷争。� 少评判、少掺和八卦、少争辩，低调做事、守住圈子。4. 生活状态：极简清场杂事、杂物、杂念越多，运势越乱。� 持续断舍离，环境清净、内心清净，才能接住好运。【42:00-50:00】结尾总结｜顺势，就是最好的改命• 鼎然：火运放大所有人的状态，心稳运稳，心乱运散。• 小元：时代很快，人要学会给自己慢下来、沉下来。• 老崔：大运从不淘汰普通人，只淘汰浮躁、不学习、不调整的人。本期金句（精简）1. 离火运不决定命运，只放大你原本的状态。2. 未来二十年，定力比能力更值钱。3. 火运不缺机会，缺的是沉得住气的人。4. 普通人最好的运势：情绪稳、做事专、做人稳。

The Geoff Solstice has hit us once more and it brought the heat this year. We have Sephiroths, clawed Canadians, and goddesses of war. Nostalgia wins again and we're getting Ocarina of Time... again! We have a gosh darned Code: Veronica remake! (Although, due to tariffs, we couldn't keep the "Code" in the title). Geoff has learned from his prior errors and gave us what we really want: corporate IP, baby. Join the fellas as we unpack this cooler of game announcements!

Fargevalg på koffert - Slik overlever du en flyulykke - Johan på toan...i barnehagen Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

Podcasting 2.0 June 19th 2026 Episode 264 - "Podcast Plebicide" ShowNotes ------------------------------------------------------------------------------------------------------------------------------------- ------------------------------------------------------------------------------------------------------------------------------------- Justin Jackson's post: We Have A Communication Problem ------------------------------------------------------------------------------------------------------------------------------------- 00 - PODPING.ALPHA STABLE + INDEX / PV-ALPHA HYGIENE Milestone: Dave — "I think we can safely say that podping.alpha is stable now. It's been many weeks of 100% uptime." Lead the boardroom with the win. PV-alpha 500s: @mitch + Dave debugging the "get a list of feeds that have updates over the last X" endpoint throwing 500s; @mitch adding a delay between paginated requests in case it's a too-many-requests block. Feed de-listing puzzle: Dave to @ChadF — a feed marked dead with no spam flag; aggregators de-listing it for some other reason. Open question. Iroh 1.0 — Dave flagged it: "Dialing keys instead of IP addresses." p2p networking, boardroom catnip — worth a riff with Dave. Discussion: also surface your own snags — Sovereignfeeds webhook "Unknown Error sending to Server" and ladder.podcastindex.org appearing down (to @StevenB / Dave). Iroh 1.0 Release ------------------------------------------------------------------------------------------------------------------------------------- 01 - SPAM + AI-SLOP — TOWARD A "SPAM-COP SCORE" ------------------------------------------------------------------------------------------------------------------------------------- 02 - MEASUREMENT: AMP'S 30-SECOND "PLAY," ROUND TWO AMP defined a "play" as 30 seconds; Spotify immediately adopted it. You and Dave already called 30s "bullshit" last week — push total listen time + percent-completed as the real metrics. The walkback: AMP's original press release said "30 seconds of content played… once per user per session" — and quietly DELETED "once per user per session," leaving a woolier definition. James flagged it on-page with the HTML5 del tag. YouTube is in AMP: Google confirmed YouTube "has been participating in the AMP-led conversations" — implies YouTube uses a 30s play. Apple's stance still unknown. RSS.com test (Alberto): moving the DOWNLOAD threshold 60s to 30s changed totals by ~1% — negligible. So 30s for both plays and downloads is just simpler. The HLS gotcha: playing 10s of an HLS video podcast still downloads ~60-72s, so server logs can't tell real play — only player-side instrumentation (Spotify, future Apple) can. James: it's all too "cloak and dagger." Watch July: AMP's implementation doc is due July and the group is light on technical people — needs to be real technical work, "not a sales press release." Understanding podcast stats (PodNews) ------------------------------------------------------------------------------------------------------------------------------------- 03 - BEYOND CPM — INDIE + MISSION-DRIVEN ECONOMICS Losh Moodaley ("Beyond CPM"): the indie middle class (5k-25k downloads = only ~1-1.5% of all podcasts) can't survive on CPMs. Roadmap: audience-as-economy, sell exclusivity not inventory, scale outcomes not audiences, "owners of trust, not renters of attention." Pure V4V-adjacent framing — Sam Sethi tied it straight to TrueFans activity-based value (a share or comment is value, not just dollars) and "creator portals." Easy on-ramp to your worldview. Vox Topica (Richard Fall): full-stack agency for nonprofits/mission-driven orgs — speaks engagement/reach/"depth of message," not downloads. Nonprofits resist AI voices (authenticity) but use AI for scripts/cleanup/show notes; now recommends video to ALL clients. Beyond CPM: Surviving the New Measurement Era (PodNews Daily) Vox Topica ------------------------------------------------------------------------------------------------------------------------------------- 04 - NUMBERS + MONEY MOVES ------------------------------------------------------------------------------------------------------------------------------------- 05 - AI BUBBLE / EDGE COMPUTE — DATACENTER WATER ------------------------------------------------------------------------------------------------------------------------------------- 06 - CROSS-STORY: COMMODORE FLIP-PHONE ------------------------------------------------------------------------------------------------------------------------------------- 07 - QUIPS / TRANSITIONS ------------------------------------------------------------------------------------------------------------------------------------- Last Modified 06/19/2026 14:30:08 by Freedom Controller

...it needs an AI learning system. This episode argues that the Fable 5 disruption exposed a deeper enterprise problem: companies can't treat AI as a vendor strategy. The real advantage will come from building learning systems that capture institutional judgment, workflow traces, private evals, and model-portable IP. In the headlines: could Anthropic and the White House be headed for a resolution? Register for our new enterprise-grade AI training programs: http://training.besuper.ai/⁠Brought to you by:KPMG – Research from KPMG and the University of Texas at Austin shows the highest-impact AI users treat AI like a reasoning partner — and those skills can be taught at scale. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠kpmg.com/us/Sophisticated⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Section - Section turns AI investment into workforce transformation and ROI - ⁠⁠⁠https://www.sectionai.com/⁠⁠⁠Outsystems - Stop wondering how AI will change your business and start building the agents that will lead it - ⁠⁠http://outsystems.com/⁠⁠Scrunch - The AI customer experience platform - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://scrunch.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Zenflow Work - Agents for knowledge work - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://zenflow.free/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Blitzy - Want to accelerate enterprise software development velocity by 5x? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://blitzy.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MissionCloud - Eliminate AWS complexity with end-to-end cloud and AI services ⁠⁠https://www.missioncloud.com/⁠⁠AssemblyAI - The best way to build Voice AI apps - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.assemblyai.com/brief⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Robots & Pencils - Cloud-native AI solutions that power results ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://robotsandpencils.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The AI Daily Brief helps you understand the most important news and discussions in AI. Subscribe to the podcast version of The AI Daily Brief wherever you listen: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://pod.link/1680633614⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Newsletter is BACK: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://aidailybrief.beehiiv.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Interested in sponsoring the show? sponsors@aidailybrief.ai

What happens when you can transform yourself into any character, in any world, in real time, while streaming live? Dean Leitersdorf is the CEO and co-founder of Decart, an Israeli AI company that just cracked the code on real-time generative video. Within a week of launching at TwitchCon, Twitch streamers were making thousands of dollars per hour letting their audiences morph them into cartoon characters, fantasy worlds, and entirely new realities—live, on stream, for three dollars per hour of AI processing.Dean's insight: the next wave of AI doesn't just make video generation faster or cheaper. It makes it interactive. Creators can now edit themselves, their backgrounds, and entire environments on the fly during Zoom calls, live streams, or gaming sessions. Decart runs this at roughly 100x cheaper than competitors and is targeting another 100x cost reduction over the next year to reach YouTube-level pricing (cents per hour instead of dollars). That shift unlocks new markets—gaming mods, consumer filters, XR glasses, and eventually robotics training in photorealistic simulated worlds.News: Humans&, a 3-month-old AI lab founded by researchers from Anthropic, Google, and X AI, raises $480 million at a $4 billion valuation based almost entirely on founder pedigree. Xreal sues Viture for patent infringement in bird bath optics, echoing the very lawsuit Magic Leap filed against Xreal years ago—a cycle of irony layered with allegations of trade secret theft and China-based IP evasion. OpenAI discloses $20 billion in revenue but rumored $50–60 billion in annual operating expenses, raising questions about path to profitability. TikTok's US operations close under Oracle's stewardship, and a new vertical drama app called Pinedrama launches. ElevenLabs launches music generation, competing with Suno and Udio.Key Moments Timestamps:[00:20:30] Dean's background: Israeli tech ecosystem, the Technion, and building a team of 0.001 percenters[00:22:00] The real-time video demo: transforming Dean into a cartoon character, live, during the podcast[00:26:30] Decart's competitive advantage: 100x cheaper than competitors, targeting another 100x reduction[00:28:00] TwitchCon success: streamers making $2,000/hour letting audiences control real-time transformations[00:31:00] Exit strategy or go-it-alone: why Decart believes foundational model owners capture the market[00:40:00] XR and robotics use cases: world reshaping, robot training simulations, AR glasses at 6K/120fps[00:48:30] Culture and talent: renting 34 apartments next to the office so engineers live two minutes away[00:55:00] The secret sauce: synthetic data from game engines beats internet-scale scrapingDean explains why Snap Camera's 10-year-old integration into stadium kiss cams proves the market is ready for the next evolution, how world models will power the next generation of XR glasses, and why the bottleneck shifts from rendering to semantics—making sure a virtual car doesn't block a real-world foot. Decart is building the foundation. The ecosystem will sprout on top.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, XR, and the future of human-computer interaction. Hosted on Acast. See acast.com/privacy for more information.

What does a Lion King–level director really think about AI “slop,” streaming wars and whether machines can ever tell great stories? On this episode of the AI XR Podcast, Charlie Fink and Ted Schilowitz talk with Rob Minkoff, director of The Lion King, Stuart Little, The Haunted Mansion, Forbidden Kingdom and Paws of Fury, about the future of filmmaking as AI, streaming consolidation and new tools reshape the business.Rob shares how he watched Netflix “eat Hollywood” by doing streaming better than the legacy studios, why Netflix walking away from Warner Bros. and letting Paramount overpay is bad news for creators, and what fewer buyers means for directors and writers trying to sell original work. He explains why he sees AI tools like Seed Dance as potentially both iceberg and Noah's Ark, and why he believes the average will rise but the cream will still rise higher: tools may let anyone make competent images, but audiences will still chase the one-in-a-thousand voices that have something genuinely new and human to say.In XR News You Should Know, the host cover Anthropic's standoff with the Pentagon over using large, unstable models for high-stakes military decisions, Netflix walking away from a Warner Bros. deal and collecting a breakup fee while Paramount overpays, streaming brand confusion around HBO/Max and Paramount+, VITURE's new raise and its patent fight with XREAL over “birdbath” smart-glasses optics, and Google's Gemini gaining multi-step action capabilities on Samsung and Pixel phones before Apple's Siri catches up.The conversation digs into whether AI will really make feature films cheaper and more common, or just flood social feeds with short-form “AI slop.” Rob compares AI tools to word processors and home recording studios: they are powerful, but they don't turn you into Bruce Springsteen or Steven Spielberg. He argues that empathy, taste and genuinely fresh perspective will remain the differentiators, and that audiences will quickly tune out work that feels derivative, even if it looks slick. He also raises a bigger question: if AI drives productivity to the point where work is optional for many people, what happens to purpose, competition and the human psyche?Key Moments01:16 – Anthropic vs. the Pentagon and why unstable AI systems may never meet military safety standards02:42 – Netflix exits the Warner Bros. deal, collects a breakup fee and leaves Paramount holding the bag05:31 – HBO, Max, Paramount+ branding confusion and what happens to these streaming labels06:00 – VITURE's $100M raise, XREAL patent lawsuits and the simple science behind “birdbath” smart glasses07:31 – Why Miami is becoming a new tech and defense hub and what that signals about America's “neighborhood”10:00 – Seed Dance 2.0, Hollywood's deepfake panic and the “ship first, apologize later” strategy15:16 – Rob joins: 34 years in film, Netflix “eating Hollywood” and what consolidation means for creators19:18 – Seed Dance, stolen IP and whether AI tools are an iceberg or Noah's Ark for filmmakers24:39 – Can AI become a true “prophet,” or can it only emulate empathy and taste?30:57 – Will AI make many more animated movies or just flood the world with average content?37:32 – If AI does most of the work, what's left for humans—and can entertainment absorb all that free time?This episode is a grounded, filmmaker's view of where AI fits: powerful tools, real risks, but no substitute for a human vision that cuts through the noise. Rob's perspective is invaluable if you're trying to understand what will actually matter in a world where everyone can generate “good enough” images on demand.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. To explore what's possible with AI-powered XR on the web, start building smarter with Mattercraft from Zappar at Mattercraft.io. Hosted on Acast. See acast.com/privacy for more information.

Akash Nigam has been building Genies since 2017 with a conviction that avatars will be the visual layer of the internet. As CEO of Genies, he's assembled IP partners including the NBA, MLB, Sanrio, and Kakao, with more major studios and agencies set to announce before the end of May. The pitch: every app, game, website, and celebrity is going to have an AI personality. Genies wants to be the framework that gives all of those personalities a face.What separates Genies is portability and scale. A character that took eight weeks in 2021 now takes ten minutes. Staying stylized rather than photorealistic isn't just aesthetic — it's what got Hollywood to the table. Talent doesn't want deepfakes. They want a Genie: trained on private IP data, capable of one-on-one fan relationships that make Instagram feel thin.AI XR News: Tim Cook stepped aside as Apple CEO with hardware chief John Ternus taking over. Humanoid robots ran a half marathon in Beijing while a Sony robot defeated professional table tennis players, opening a conversation about Chinese robotics capabilities and AI data infiltration risks the US is still underestimating.Key Moments:[00:06:45] Tim Cook steps aside: what the Apple leadership transition signals about wearable AI[00:12:00] Humanoid robots and table tennis: China's robotics flex[00:13:00] The data infiltration argument: open-source risk and a warning for the US[00:24:00] The IP land grab: NBA, MLB, Sanrio, Kakao, Naver Webtoon[00:28:00] From photo to avatar in 10 minutes: how Genies' generation pipeline scaled[00:32:00] Why Instagram feels thin and how Genies enables one-on-one fan relationships[00:49:00] 80 people, $150M raised, and why Bob Iger sees Genies as the future of DisneyIf AI personalities are going to be everywhere, what do they look like? Akash has been building the answer for nearly a decade. Q3 is when it goes live.Brought to you by Zappar and Mattercraft — the leading visual development environment for immersive 3D web experiences. Mattercraft now includes an AI assistant for design, code, and debugging in real time. Start building at mattercraft.io.Subscribe to the AI XR Podcast wherever you listen to podcasts, or watch on YouTube - https://youtu.be/Fs8h2KcJclQ Hosted on Acast. See acast.com/privacy for more information.

Sagrada Família er ferdig! – Gratis sirkusbilletter-problemet – Kortreist buttplug – Hvordan skal håret lukte? Stjernetegnet gir svaret Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

In part two of her story, Parul Somani returns to discuss how her life changed dramatically after giving birth for the second time, after a seemingly perfect Cesarean birth. Connect with the guest: @pdsomani LinkedIn parulsomani.com Grow with us on ⁠IP+⁠! Informed Pregnancy Media presents two all new intimate short-form video series following Garrett and HeHe's real-time pregnancy journeys as they prepare for an empowered birth and postpartum experience. Each episode features weekly updates with personal photos and videos to help bring these raw stories to life, a visually dynamic guide through each mother's emotional and physical experiences. ⁠Watch Growing with Garrett⁠ ⁠Watch Growing with HeHe⁠ Keep up with Dr. Berlin and Informed Pregnancy Media online! ⁠⁠⁠informedpregnancy.com⁠⁠⁠ ⁠⁠⁠@doctorberlin⁠⁠⁠ ⁠⁠⁠Youtube⁠⁠⁠ ⁠⁠⁠LinkedIn⁠⁠⁠ ⁠⁠⁠Facebook⁠⁠⁠ ⁠⁠⁠X Learn more about your ad choices. Visit megaphone.fm/adchoices

Nathan Rust, Lutz Lehmann, Troy Pospisil, Jeremy Segal, Patrick Mumman, Tej Brahmbhatt, George Helock, and Angie Astle Eight deal professionals share the M&A moments that never make the CIM. A birthday cake in a management presentation that confirmed a culture fit and influenced a bid. A buyer who died before close, forcing a nine-month restart from scratch. Eight years of customer revenue data on a 1980s IBM that management claimed did not exist. A target quietly heading toward Chapter 11 while diligence was underway. Unexpected events mid-deal are not exceptions. They are the deal. How you read them is what separates experienced practitioners from everyone else. What You'll Learn: How cultural signals in a management presentation can influence a bid decision What to do when a buyer dies before close and the sell process has to restart How to find data that management says does not exist Why late-stage valuation surprises from founders are a signal you could have caught earlier How to take a bankrupt target through Chapter 11 and still close the deal Why experienced advisors document every surprise the moment a deal closes If you're running deals and want pattern recognition built from thousands of real M&A situations to back your judgment, DealPilot, powered by M&A Science, gives you the deal guidance and advisor access to know which surprises you push through and which ones mean walk away. ____________________ This episode of M&A Science is presented by DealRoom. DealRoom just automated Pipeline Management with AI so you can spend less time updating deals, and more time working them.  Automatically push deal context from Outlook to DealRoom Pipeline and use AI to keep deal target data and tasks updated, so follow-ups never slip through the cracks. No manual logging. No stale pipeline data. See for yourself: https://hubs.ly/Q045fXp50 ____________________ Episode Chapters [00:00] Intro [04:11] Birthday cake in the management presentation [07:10] Recruiting bankers from the sell side [09:04] Culture fit as a bid decision factor [10:03] When the buyer dies before close [11:46] Nine-month restart from scratch [17:04] Management says the data does not exist [18:39] Finding Susie and the 1980s IBM [22:25] IP ownership surprise at signing [24:43] Bootstrap founders and commitment signals [27:43] When bankers favor PE over strategics [30:40] 78-year-old seller, a fistfight, and an earn-out [32:25] The 12-year sales cycle [35:23] Teaching a CEO to speak like an investor [43:14] Aviation IPO pulled mid-road show [45:52] Background check kills the deal a week before close [50:03] Forever corporation: how Chugach approaches M&A [54:47] HVAC target heads toward bankruptcy mid-diligence [55:59] Becoming the secured creditor to save the deal

The ActBlue Scandal: What Are They Hiding?