Podcasts about Space Odyssey

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

It's the 250th episode of the Bro Force Squad Podcast, and the guys break down their favorite movie moments of all time using the Bro Force Squad movie review criteria. Stuff discussed in this episode includes The Thin Red Line, There Will Be Blood, The Sandlot, This is the End, The Dark Knight, E.T., Pulp Fiction, Saw, Batman ‘89, 2001: A Space Odyssey, The Avengers, Star Wars A New Hope, The Lord of the Rings, Teenage Mutant Ninja Turtles Secret of the Ooze, Unknown Number the High School Catfish, Solo: A Star Wars StoryKeep up with the Bros at: https://broforcesquad.com/https://www.youtube.com/channel/UCCJML5XTKJl2OzGW5HWrJhwhttps://itunes.apple.com/us/podcast/bro-force-squad/id1158546516?mt=2https://twitter.com/BroForceSquad

A live, dice-driven episode of Wise_N_Nerdy where fatherhood truly meets fandom. Charles, Joe, and special guest Josh Cooper (Uploads of Fun) kick off with bad dad jokes, rule on a contentious Parliament of Papas case (Disney vs. Comic-Con), and trade stories about rewatching childhood movies as parents—TV edits, innuendo, and all. Audience mic stories bring the heat, from TMNT's rooftop to Robocop's cartoon tie-ins. The crew closes with practical strategies for overcoming sheltered upbringings: context, conversation, and teaching courage instead of fear.Bad Dad Jokes (rolled a 6)Icebreakers from stage and audience (dragons + fast food; “Poof! You're a drink.”).Ongoing bit: “There is no such thing as a good dad joke.”Parliament of Papas (rolled a 4)Reddit case: “Am I the buttface for going to Comic-Con after my wife took our kid (and her ex) to Disney without me—using our miles?”Panel reaction: finances + co-parenting ≠ unilateral decisions; ex attending without current spouse is a relational red flag.Consensus: wife = primary buttface; husband needs boundaries; bigger issue is relationship health.Daddy, Tell Me a Story (rolled a 2) — Rewatching childhood movies as parentsExamples: Caddyshack, Revenge of the Nerds, Three Fugitives, Firestarter, TMNT (1990 rooftop scene), Blankman, Transformers: The Movie ('86 toy-reset trauma), Robocop (how was this a cartoon?), The Ringer, Monty Python: Meaning of Life.Themes: TV edits vs. theatrical cuts; using IMDb Parents Guide; explaining dated humor; navigating innuendo in “family” animation; when to pause/skip with kids.How do I overcome my sheltered upbringing? (segued after gift moment)Hosts/guest share growing up Pentecostal/Southern Baptist/Mormon variations: satanic panic era (D&D, Magic cards), filtered DVD players, language rules.Parenting approaches now: teach context and timing for language; “if you don't know what it means, don't say it”; consent to discuss anything; “If it's on TV, it's not real.”Tools for fear/nightmares: teach lucid-dream control (look at your hand; give yourself a bazooka), anchor objects (a huggable TARDIS), model calm vs. catastrophizing.Live mic stories: rewatch shocks (Harry Potter attitudes, Severance tension without nudity, Blue Eye Samurai content surprise, 2001: A Space Odyssey at age six, Jaws jump scare), “that channel” confessions, schoolyard language, and representing disability positively in The Ringer.Parenting wisdom from audience: treat kids as autonomous humans; teach agency, not fear.Family-friendly doesn't mean sterile—context, conversation, and consent beat blanket bans.Rewatches are opportunities: talk era, edits, and what's changed culturally.Co-parenting logistics require transparency, not unilateral “surprises.”Teach courage over fear; give kids cognitive tools to manage scary media and language.“Everything I do is family-friendly—as long as you're my family.” —Charles“Teach time and place. Context turns ‘forbidden' into teachable.” —Josh“The second you posted to Reddit, you knew the answer—this is a relationship problem.” —Panel“If it's on TV, it's not real. And we can talk about anything.” —Charles

AUGGIE SMITH AKA THE T-1000 IN STUDIO!! With Peacemaker Season 2 Episode 3 now out, James Gunn Man Of Tomorrow Announced, Greg Alba sits down with legendary actor Robert Patrick (James Cameron's Terminator 2: Judgment Day) for a candid, career-spanning conversation. Visit https://huel.com/rejects to get 15% off your order We get into the many T2 restorations (theatrical vs 4K/3D re-release, what version he recommends, screening it at Cameron's studio during Avatar work), theatrical culture today, and how Patrick's craft evolved from the Roger Corman days through The Sopranos (David Chase), The X-Files (Agent John Doggett), Cop Land, Walk the Line (James Mangold), and beyond. He opens up about fatherhood, faith, and building flawed men with humanity (from Peacemaker's Auggie Smith in S1 to the very different Auggie of Peacemaker Season 2), plus on-set stories of John Cena's insane work ethic, ad-lib prep, and learning instruments. We also touch on early movie memories with his dad (2001: A Space Odyssey, Sean Connery's James Bond), acting process (prep vs spontaneity, Benedict Cumberbatch's Hamlet), working alongside Sylvester Stallone (Tulsa King), Harrison Ford, and Joaquin Phoenix, and why storytelling is the ultimate empathy machine. If you love Terminator 2, DC's Peacemaker, prestige TV, and acting deep dives, this one's for you. Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

ON THIS EPISODE: (TIME STAMPS BELOW) A review of The Conjuring: Last Rites and a look in 1 Timothy at the qualifications for our church leaders that WE should be aiming for, too! AND MUCH MORE! 00:00:30 Intro 00:05:54 The Conjuring: Last Rites Review 00:19:42 CGC & Christian Geek News(Gate Zero Gameplay Demo, The Things We Can Change: A Time Travel Thriller by Karyne Norton) 00:28:24 Qualifications For Church Leaders & Influential Geeks! (1 Timothy Geek Bible Study) 01:02:22 Listener Questions & Feedback (Is It Spiritually Harmful To Enjoy The Hellboy Movies? What Should We Do About Legalistic Christians Who Condemn Our Hobbies?) GEEK WEEK 01:22:19 TV & MOVIES- Total Recall(2012), 2001: A Space Odyssey, Highlander, 01:50:02 VIDEO GAMES- No Man's Sky “Voyagers” Update 02:17:28 On The Next Episode… 02:21:05 Essential Issues Weekly: DC Comics Reactions (DC is cooking up a massive event, dropping the ball with Bane, and using Batgirl to spread Hollywood's worst message to humanity! Green Lantern 25, Green Arrow 26, Superman 28, Batman 161 (Botching Bane & Batgirl's Bad Advice), Justice League: Dark Tomorrow 1!) Support this podcast and enjoy exclusive rewards at https://www.patreon.com/spiritbladeproductions Join Our Free Public Discord Channels! Invite HERE: https://discord.gg/5CRfFy2GG5 SUBSCRIBE TO PAETER'S SUBSTACK, @PAETERFRANDSEN: https://paeterfrandsen.substack.com/ Subscribe in a reader Open In i-tunes- itms://itunes.apple.com/us/podcast/the-christian-geek-central-podcast/id258963175?mt=2 i-tunes Page Link- https://itunes.apple.com/us/podcast/the-christian-geek-central-podcast/id258963175?mt=2 Get fun, exclusive rewards for your support! Visit: https://www.patreon.com/spiritbladeproductions Or Become a Patron! All episodes are archived and available for download at www.spiritblade.com , Resources used to prepare CGC Bible Study/Devotional content include:"Expositor's Bible Commentary", Frank E. Gaebelein General Editor (Zondervan Publishing House),"The IVP Bible Background Commentary: Old Testament", by Dr. John H. Walton, Dr. Victor H. Matthews & Dr. Mark W. Chavalas (InterVarsity Press), "The IVP Bible Background Commentary: New Testament", by Dr. Craig S. Keener (InterVarsity Press),Thayer's Greek Lexicon, Strong's Exhaustive Concordance Blueletterbible.org, The Christian Geek Central Statement Of Faith can be found at: http://christiangeekcentral.blogspot.com/p/about.html The Christian Geek Central Podcast is written, recorded and produced by Paeter Frandsen. Additional segments produced by their credited authors. Logo created by Matthew Silber. Copyright 2007-2025, Spirit Blade Productions. Music by Wesley Devine, Bjorn A. Lynne, Pierre Langer, Jon Adamich, audionautix.com and Sound Ideas. Spazzmatica Polka by Kevin MacLeod (incompetech.com) Freesound.org effects provided by: FreqMan

On today's new episode we talk The Toxic Avenger (Vol. 1) by Matt Bors and Fred Harper published by Ahoy ComicsBut first, is Jake the toxic glue that holds this podcast together? Has Cody ever seen 2001: A Space Odyssey in its entirety? What's our favorite Kubrick movie? What's the conspiracy behind Eyes Wide Shut? Is David Fincher an intense director? Why is Anthony shocked to be called a conspiracy theorist? Who's behind the Betty Yayo 2069 Twitter account? Did the Palestine, Ohio train incident inspire this comic? Are there insect aliens amongst us? Was this adaptation what we were expecting with this character? Did we like the changes from the Troma movies it's based on? Have we had a lot of Ahoy creators on the pod? Would Cody be our very own Toxic Avenger? Is ICE coming for Cody? What happens when you goof to close to the sun? Do dudes rock? Does Peter Dinklage take jobs away from little person actors? Are we excited for the new Toxic Avenger movie based on the trailer? Have we seen any of the original Toxic Avenger movies? Is this comic able to do things a low-budget Troma movie could never do? Is there a lot of body horror in this series? Were we big fans of Fred Harper's art? Is The Meg just dumb? How is this comic smart, dumb, and fun at the same time? Is Tromaville in New Jersey? Are The Toxic Crusaders on the way? What is Toxie Team-Up about? Would this version of Toxie translate well into a half-hour TV series? Does The Mothman belong to West Virginia? Is Mothman ACAB? Has the Joe Pesci scale gotten more serious over time? Does Peter Dinklage hate tangerine-sized Pescis?New episodes every THURSDAYFollow us on social media! Bluesky // Instagram // Twitter // TikTok :⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@comicsnchronic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/channel/UC45vP6pBHZk9rZi_2X3VkzQ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠E-mail: comicsnchronicpodcast@gmail.comCodyInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@codycannoncomedy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: @Cody_CannonTikTok: @codywalakacannonJakeInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@jakefhaha⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AnthonyBluesky // Instagram // Threads // Twitter // TikTok:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mrtonynacho⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

(Tech note: Apologies for buzz and mic issues up front... they get ironed out few minutes in.)Big show tonight… packed!

Bob and his guests Jim Berrier and Steve Hesselback (media expert) discuss the advantages and also grave concerns about recent breakthroughs with artificial intelligence. In addition to the science, several classic science fiction pieces offering warnings years ago of what we are now seeing before our eyes are mentioned. Included: 2001: A Space Odyssey , The […]

Bob and his guests Jim Berrier and Steve Hesselback (media expert) discuss the advantages and also grave concerns about recent breakthroughs with artificial intelligence. In addition to the science, several classic science fiction pieces offering warnings years ago of what we are now seeing before our eyes are mentioned. Included: 2001: A Space Odyssey , The […]

Foundation, S3E07, "Foundation's End" is another episode that demands analysis! And has big revelations! Don't tell anyone, but I may have squeed. We have another special guest to help us wrap our heads around this one!Spoiler alerts, as usual. And don't let the title frighten you; we're not going anywhere!In this one, she names the robot that dare not speak its name. Plus, brother dude goes on a trip that makes 2001: A Space Odyssey seem tame in comparison! And a surreal fairy tale that probably has something to do with "the Mule's" backstory! A bit, a bit. To quote the great Hari Seldon, "Tragic story, I wonder how much of it is true."We're joined, once again, by Renaissance Man Extraordinaire, Paul Levinson! Since he was last on the show, Paul has published a short story, "In the Dybbuk's Pocket," and expanded the short story we discussed last time into a novel, It's Real Life: A Natural History of The Beatles. Paul and some friends did a reading from the novel at Big Red Books. You can check that out here!But first, join us for our deconstruction of what Paul calls 'by far the best of all the episodes (of Foundation) so far!" Once again, you don't want to miss this one! Let's GO!!

Hello HYSTO-philes! We hope you'll all join us for our discussion on the 1968 classic science fiction film 2001: A Space Odyssey, directed by Stanley Kubrick. Joining us is our good friend Erin Casteneda! We all hope you can get in on this conversation about a film that some feel changed the industry forever! 

When it comes to marketing, the boldest ideas often come from imagining a future no one else can see, then making it real.That's exactly what Stanley Kubrick achieved with 2001: A Space Odyssey, a film that married meticulous research with visionary storytelling to create the most realistic depiction of space the world had ever seen. In this episode, we explore the marketing lessons behind it with special guest Josh Golden, CMO at Quad.Together, we dive into how marketers can embrace risk, iterate through failure, compete on imagination rather than resources, and create experiences—both digital and physical—that deliver the elusive “wow” factor. All while staying relevant, resonant, and ready to invent the future.About our guest, Josh GoldenAs Chief Marketing Officer at Quad, Josh Golden is architecting the evolution of Quad as a marketing experience company. He leads a highly collaborative team that works with marketers around the world to clear the path for a frictionless solution to easily communicate with their optimal audience.Quad's clients are the lifeblood of its operations, driving the company's evolution and influencing its every action. Josh is helping the company combine Quad's history as a manufacturer and commercial printer with this marketer-obsessed philosophy to best support client growth and eliminate the interference that otherwise causes them to lose time, money, and customers.Since assuming his role, Josh has defined the Quad brand narrative, developed the company's “marketing experience” framing, implemented a new Quad design system and initiated brand and product marketing campaigns for key verticals.With more than three decades of experience in marketing, branding, media, and content, Josh is one of the most prolific connectors in the marketing industry. Prior to joining Quad in 2021, Josh was President and Publisher of Ad Age where he spurred transformative growth for the venerable, 90-year trade publication and media brand. His passion for driving evolution was also on display as Vice President, Global Digital Marketing, at Xerox; Group Director of Digital Marketing at NBC Universal; Chief Digital Officer at Grey Group; Managing Director, Digital at Havas; and head of the first digital division at Young & Rubicam.A self-proclaimed “professional groupie,” Josh avidly follows and cheers people who pursue their passions. He likes playing a little semi-aggressive tennis and makes a killer “cheater” banana bread. He lives in Westchester, NY with his wife and two teenage children.Josh received his MBA from New York University and his B.S. in communications from Ithaca College.What B2B Companies Can Learn From 2001: A Space Odyssey:Embrace the process, not just the end product. Kubrick went through a massive number of iterations before landing on the film we know and love today. Josh says, “There is not one singular moment; it's a series of failures.” In marketing, abandoned ideas aren't wasted. They're the iterations that lead to something great. Like Kubrick, be willing to test, discard, and refine until you find the version that truly resonates. The process is the work.AI can execute, but humans inspire. Hal, the AI in 2001, could run the ship, but couldn't imagine a better way forward. Josh says, “ Humans have the capacity to do the wow factor.” AI can give you the exact steps to execute a campaign, but it can't create the unexpected spark that makes it unforgettable. Your job as a marketer is to deliver that human insight and surprise that AI can't replicate.Inspiration doesn't have to start from scratch.2001 began as a loose adaptation of Arthur C. Clarke's short story The Sentinel, but evolved far beyond it. Josh reflects, “You're ultimately gonna go rewrite it in your own way.” In marketing, you can take inspiration from existing ideas, but the magic comes from reshaping them into something uniquely yours.Quote“There's moments that we all have as marketers where real ideas happen, and I celebrate those…but in truth…There is not one singular moment. It's a series of failures…That inspiration is evident in the film, and it's evident that in the actual process of trying and failing and trying and failing and trying and failing, and then getting to a point where you're like, wow, this is actually kind of okay.'”Time Stamps[00:55] Meet Josh Golden, CMO at Quad[01:27] The Role of CMO at Quad[02:54] Overview of 2001: A Space Odyssey[21:45] B2B Marketing Lessons from 2001: A Space Odyssey[25:28] The AI Character and Its Implications[26:42] AI vs. Human Creativity[43:21] Final Thoughts & TakeawaysLinksConnect with Josh on LinkedInLearn more about QuadAbout Remarkable!Remarkable! is created by the team at Caspian Studios, the premier B2B Podcast-as-a-Service company. Caspian creates both nonfiction and fiction series for B2B companies. If you want a fiction series check out our new offering - The Business Thriller - Hollywood style storytelling for B2B. Learn more at CaspianStudios.com. In today's episode, you heard from Ian Faison (CEO of Caspian Studios) and Meredith Gooderham (Head of Production). Remarkable was produced this week by Jess Avellino, mixed by Scott Goodrich, and our theme song is “Solomon” by FALAK. Create something remarkable. Rise above the noise.

Go to http://factormeals.com/nostalgia50off and use code nostalgia50off to get 50% off your first box, plus Free Breakfast for 1 Year. Joe Ramoni joins Nostalgia Critic with looking over one of the great space comedies, but is it the best Star Wars parody? Let's take a look at Spaceballs. Check out his channel on youtube.com/@UCCay-jgoQFnEFsJ8GD6fjzQ Also check out Renegades React at youtube.com/@UCN98z0HLI504R0jGqfEC9Zw Join our YouTube Members - https://www.youtube.com/channel/UCiH828EtgQjTyNIMH6YiOSw/join Last weeks Nostalgia Critic - https://youtu.be/TNF8XtfUqvI Check out our store - https://channelawesome.myshopify.com/ Support this month's charity - https://solvecfs.org/ Spaceballs is a 1987 American space opera parody film co-written, produced and directed by Mel Brooks. It primarily parodies the original Star Wars trilogy, but also other popular franchises such as Star Trek, Alien, The Wizard of Oz, 2001: A Space Odyssey, Planet of the Apes, and Transformers. The film stars Bill Pullman, John Candy, Rick Moranis and Daphne Zuniga, with the supporting cast including Dick Van Patten, George Wyner, Lorene Yarnell, and the voice of Joan Rivers. In addition to Brooks playing a dual role, the film features Brooks regulars Dom DeLuise and Rudy De Luca in cameo appearances. Learn more about your ad choices. Visit megaphone.fm/adchoices

The consensus among AI savants is that 2027 will be a key year -- a year in which AI achieves some degree of "sentience": It won't want to be shut down, for example. The HAL scenario, in the film "2001: A Space Odyssey" is coming. But Jeffrey Cole, director of the USC Annenberg Center for the Digital Future, is mostly "positive," about the fast march of AI. He speaks with Host Llewellyn King and Co-host Adam Clayton Powell III.

Pete and Hannah review the sci classic from Kubrick 2001: A Space Odyssey

In this episode of Left of the Projector, we explore the iconic film 2001: A Space Odyssey, directed by Stanley Kubrick, and its profound themes regarding AI and humanity. Joined by Levi and Joey, we discuss the contrasting representations of artificial intelligence, specifically HAL 9000 and Harlan Ellison's AM, prompting reflections on consciousness and survival. We analyze Kubrick's artistic choices, including minimal dialogue and groundbreaking visual effects, and consider the monoliths as symbols of external influence in human evolution. Left of the Projector Linkshttps://www.patreon.com/LeftoftheProjectorPodhttps://boxd.it/5T9O1https://leftoftheprojectorpod.threadless.com/https://leftoftheprojector.comhttps://instagram.com/leftoftheprojectorhttp://tiktok.com/@leftoftheprojectorpodhttps://www.threads.net/@leftoftheprojector

Summer rewind: Greg Lindsay is an urban tech expert and a Senior Fellow at MIT. He's also a two-time Jeopardy champion and the only human to go undefeated against IBM's Watson. Greg joins thinkenergy to talk about how artificial intelligence (AI) is reshaping how we manage, consume, and produce energy—from personal devices to provincial grids, its rapid growth to the rising energy demand from AI itself. Listen in to learn how AI impacts our energy systems and what it means individually and industry-wide. Related links: ●       Greg Lindsay website: https://greglindsay.org/ ●       Greg Lindsay on LinkedIn: https://www.linkedin.com/in/greg-lindsay-8b16952/ ●       International Energy Agency (IEA): https://www.iea.org/ ●       Trevor Freeman on LinkedIn: https://www.linkedin.com/in/trevor-freeman-p-eng-cem-leed-ap-8b612114/ ●       Hydro Ottawa: https://hydroottawa.com/en    To subscribe using Apple Podcasts: https://podcasts.apple.com/us/podcast/thinkenergy/id1465129405   To subscribe using Spotify: https://open.spotify.com/show/7wFz7rdR8Gq3f2WOafjxpl   To subscribe on Libsyn: http://thinkenergy.libsyn.com/ --- Subscribe so you don't miss a video: https://www.youtube.com/user/hydroottawalimited   Follow along on Instagram: https://www.instagram.com/hydroottawa   Stay in the know on Facebook: https://www.facebook.com/HydroOttawa   Keep up with the posts on X: https://twitter.com/thinkenergypod --- Transcript: Trevor Freeman  00:00 Hi everyone. Well, summer is here, and the think energy team is stepping back a bit to recharge and plan out some content for the next season. We hope all of you get some much needed downtime as well, but we aren't planning on leaving you hanging over the next few months, we will be re releasing some of our favorite episodes from the past year that we think really highlight innovation, sustainability and community. These episodes highlight the changing nature of how we use and manage energy, and the investments needed to expand, modernize and strengthen our grid in response to that. All of this driven by people and our changing needs and relationship to energy as we move forward into a cleaner, more electrified future, the energy transition, as we talk about many times on this show. Thanks so much for listening, and we'll be back with all new content in September. Until then, happy listening.   Trevor Freeman  00:55 Welcome to think energy, a podcast that dives into the fast changing world of energy through conversations with industry leaders, innovators and people on the front lines of the energy transition. Join me, Trevor Freeman, as I explore the traditional, unconventional and up and coming facets of the energy industry. If you have any thoughts feedback or ideas for topics we should cover, please reach out to us at think energy at hydro ottawa.com, Hi everyone. Welcome back. Artificial intelligence, or AI, is a term that you're likely seeing and hearing everywhere today, and with good reason, the effectiveness and efficiency of today's AI, along with the ever increasing applications and use cases mean that in just the past few years, AI went from being a little bit fringe, maybe a little bit theoretical to very real and likely touching everyone's day to day lives in ways that we don't even notice, and we're just at the beginning of what looks to be a wave of many different ways that AI will shape and influence our society and our lives in the years to come. And the world of energy is no different. AI has the potential to change how we manage energy at all levels, from our individual devices and homes and businesses all the way up to our grids at the local, provincial and even national and international levels. At the same time, AI is also a massive consumer of energy, and the proliferation of AI data centers is putting pressure on utilities for more and more power at an unprecedented pace. But before we dive into all that, I also think it will be helpful to define what AI is. After all, the term isn't new. Like me, many of our listeners may have grown up hearing about Skynet from Terminator, or how from 2001 A Space Odyssey, but those malignant, almost sentient versions of AI aren't really what we're talking about here today. And to help shed some light on both what AI is as well as what it can do and how it might influence the world of energy, my guest today is Greg Lindsay, to put it in technical jargon, Greg's bio is super neat, so I do want to take time to run through it properly. Greg is a non resident Senior Fellow of MIT's future urban collectives lab Arizona State University's threat casting lab and the Atlantic Council's Scowcroft center for strategy and security. Most recently, he was a 2022-2023 urban tech Fellow at Cornell Tech's Jacobs Institute, where he explored the implications of AI and augmented reality at an urban scale. Previously, he was an urbanist in resident, which is a pretty cool title, at BMW minis urban tech accelerator, urban X, as well as the director of Applied Research at Montreal's new cities and Founding Director of Strategy at its mobility focused offshoot, co motion. He's advised such firms as Intel, Samsung, Audi, Hyundai, IKEA and Starbucks, along with numerous government entities such as 10 Downing Street, us, Department of Energy and NATO. And finally, and maybe coolest of all, Greg is also a two time Jeopardy champion and the only human to go undefeated against IBM's Watson. So on that note, Greg Lindsey, welcome to the show.   Greg Lindsay  04:14 Great to be here. Thanks for having me. Trevor,   Trevor Freeman  04:16 So Greg, we're here to talk about AI and the impacts that AI is going to have on energy, but AI is a bit of one of those buzzwords that we hear out there in a number of different spheres today. So let's start by setting the stage of what exactly we're talking about. So what do we mean when we say AI or artificial intelligence?   Speaker 1  04:37 Well, I'd say the first thing to keep in mind is that it is neither artificial nor intelligence. It's actually composites of many human hands making it. And of course, it's not truly intelligent either. I think there's at least two definitions for the layman's purposes. One is statistical machine learning. You know that is the previous generation of AI, we could say, doing deep, deep statistical analysis, looking for patterns fitting to. Patterns doing prediction. There's a great book, actually, by some ut professors at monk called prediction machines, which that was a great way of thinking about machine learning and sense of being able to do large scale prediction at scale. And that's how I imagine hydro, Ottawa and others are using this to model out network efficiencies and predictive maintenance and all these great uses. And then the newer, trendier version, of course, is large language models, your quads, your chat gpts, your others, which are based on transformer models, which is a whole series of work that many Canadians worked on, including Geoffrey Hinton and others. And this is what has produced the seemingly magical abilities to produce text and images on demand and large scale analysis. And that is the real power hungry beast that we think of as AI today.   Trevor Freeman  05:42 Right! So different types of AI. I just want to pick those apart a little bit. When you say machine learning, it's kind of being able to repetitively look at something or a set of data over and over and over again. And because it's a computer, it can do it, you know, 1000s or millions of times a second, and learn what, learn how to make decisions based on that. Is that fair to say?   Greg Lindsay  06:06 That's fair to say. And the thing about that is, is like you can train it on an output that you already know, large language models are just vomiting up large parts of pattern recognition, which, again, can feel like magic because of our own human brains doing it. But yeah, machine learning, you can, you know, you can train it to achieve outcomes. You can overfit the models where it like it's trained too much in the past, but, yeah, it's a large scale probabilistic prediction of things, which makes it so powerful for certain uses.   Trevor Freeman  06:26 Yeah, one of the neatest explanations or examples I've seen is, you know, you've got these language models where it seems like this AI, whether it's chat, DBT or whatever, is writing really well, like, you know, it's improving our writing. It's making things sound better. And it seems like it's got a brain behind it, but really, what it's doing is it's going out there saying, What have millions or billions of other people written like this? And how can I take the best things of that? And it can just do that really quickly, and it's learned that that model, so that's super helpful to understand what we're talking about here. So obviously, in your work, you look at the impact of AI on a number of different aspects of our world, our society. What we're talking about here today is particularly the impact of AI when it comes to energy. And I'd like to kind of bucketize our conversation a little bit today, and the first area I want to look at is, what will ai do when it comes to energy for the average Canadian? Let's say so in my home, in my business, how I move around? So I'll start with that. It's kind of a high level conversation. Let's start talking about the different ways that AI will impact you know that our average listener here?   Speaker 1  07:41 Um, yeah, I mean, we can get into a discussion about what it means for the average Canadian, and then also, of course, what it means for Canada in the world as well, because I just got back from South by Southwest in Austin, and, you know, for the second, third year in row, AI was on everyone's lips. But really it's the energy. Is the is the bottleneck. It's the forcing factor. Everyone talked about it, the fact that all the data centers we can get into that are going to be built in the direction of energy. So, so, yeah, energy holds the key to the puzzle there. But, um, you know, from the average gain standpoint, I mean, it's a question of, like, how will these tools actually play out, you know, inside of the companies that are using this, right? And that was a whole other discussion too. It's like, okay, we've been playing around with these tools for two, three years now, what do they actually use to deliver value of your large language model? So I've been saying this for 10 years. If you look at the older stuff you could start with, like smart thermostats, even look at the potential savings of this, of basically using machine learning to optimize, you know, grid optimize patterns of usage, understanding, you know, the ebbs and flows of the grid, and being able to, you know, basically send instructions back and forth. So you know there's stats. You know that, basically you know that you know you could save 10 to 25% of electricity bills. You know, based on this, you could reduce your heating bills by 10 to 15% again, it's basically using this at very large scales of the scale of hydro Ottawa, bigger, to understand this sort of pattern usage. But even then, like understanding like how weather forecasts change, and pulling that data back in to basically make fine tuning adjustments to the thermostats and things like that. So that's one stands out. And then, you know, we can think about longer term. I mean, yeah, lots have been lots has been done on imagining, like electric mobility, of course, huge in Canada, and what that's done to sort of change the overall energy mix virtual power plants. This is something that I've studied, and we've been writing about at Fast Company. At Fast Company beyond for 20 years, imagining not just, you know, the ability to basically, you know, feed renewable electricity back into the grid from people's solar or from whatever sources they have there, but the ability of utilities to basically go in and fine tune, to have that sort of demand shaping as well. And then I think the most interesting stuff, at least in demos, and also blockchain, which has had many theoretical uses, and I've got to see a real one. But one of the best theoretical ones was being able to create neighborhood scale utilities. Basically my cul de sac could have one, and we could trade clean electrons off of our solar panels through our batteries and home scale batteries, using Blockchain to basically balance this out. Yeah, so there's lots of potential, but yeah, it comes back to the notion of people want cheaper utility bills. I did this piece 10 years ago for the Atlantic Council on this we looked at a multi country survey, and the only reason anybody wanted a smart home, which they just were completely skeptical about, was to get those cheaper utility bills. So people pay for that.   Trevor Freeman  10:19 I think it's an important thing to remember, obviously, especially for like the nerds like me, who part of my driver is, I like that cool new tech. I like that thing that I can play with and see my data. But for most people, no matter what we're talking about here, when it comes to that next technology, the goal is make my life a little bit easier, give me more time or whatever, and make things cheaper. And I think especially in the energy space, people aren't putting solar panels on their roof because it looks great. And, yeah, maybe people do think it looks great, but they're putting it up there because they want cheaper electricity. And it's going to be the same when it comes to batteries. You know, there's that add on of resiliency and reliability, but at the end of the day, yeah, I want my bill to be cheaper. And what I'm hearing from you is some of the things we've already seen, like smart thermostats get better as AI gets better. Is that fair to say?   Greg Lindsay  11:12 Well, yeah, on the machine learning side, that you know, you get ever larger data points. This is why data is the coin of the realm. This is why there's a race to collect data on everything. Is why every business model is data collection and everything. Because, yes, not only can they get better, but of course, you know, you compile enough and eventually start finding statistical inferences you never meant to look for. And this is why I've been involved. Just as a side note, for example, of cities that have tried to implement their own data collection of electric scooters and eventually electric vehicles so they could understand these kinds of patterns, it's really the key to anything. And so it's that efficiency throughput which raises some really interesting philosophical questions, particularly about AI like, this is the whole discussion on deep seek. Like, if you make the models more efficient, do you have a Jevons paradox, which is the paradox of, like, the more energy you save through efficiency, the more you consume because you've made it cheaper. So what does this mean that you know that Canadian energy consumption is likely to go up the cleaner and cheaper the electrons get. It's one of those bedeviling sort of functions.   Trevor Freeman  12:06 Yeah interesting. That's definitely an interesting way of looking at it. And you referenced this earlier, and I will talk about this. But at the macro level, the amount of energy needed for these, you know, AI data centers in order to do all this stuff is, you know, we're seeing that explode.   Greg Lindsay  12:22 Yeah, I don't know that. Canadian statistics my fingertips, but I brought this up at Fast Company, like, you know, the IEA, I think International Energy Agency, you know, reported a 4.3% growth in the global electricity grid last year, and it's gonna be 4% this year. That does not sound like much. That is the equivalent of Japan. We're adding in Japan every year to the grid for at least the next two to three years. Wow. And that, you know, that's global South, air conditioning and other needs here too, but that the data centers on top is like the tip of the spear. It's changed all this consumption behavior, where now we're seeing mothballed coal plants and new plants and Three Mile Island come back online, as this race for locking up electrons, for, you know, the race to build God basically, the number of people in AI who think they're literally going to build weekly godlike intelligences, they'll, they won't stop at any expense. And so they will buy as much energy as they can get.   Trevor Freeman  13:09 Yeah, well, we'll get to that kind of grid side of things in a minute. Let's stay at the home first. So when I look at my house, we talked about smart thermostats. We're seeing more and more automation when it comes to our homes. You know, we can program our lights and our door locks and all this kind of stuff. What does ai do in order to make sure that stuff is contributing to efficiency? So I want to do all those fun things, but use the least amount of energy possible.   Greg Lindsay  13:38 Well, you know, I mean, there's, again, there's various metrics there to basically, sort of, you know, program your lights. And, you know, Nest is, you know, Google. Nest is an example of this one, too, in terms of basically learning your ebb and flow and then figuring out how to optimize it over the course of the day. So you can do that, you know, we've seen, again, like the home level. We've seen not only the growth in solar panels, but also in those sort of home battery integration. I was looking up that Tesla Powerwall was doing just great in Canada, until the last couple of months. I assume so, but I it's been, it's been heartening to see that, yeah, this sort of embrace of home energy integration, and so being able to level out, like, peak flow off the grid, so Right? Like being able to basically, at moments of peak demand, to basically draw on your own local resources and reduce that overall strain. So there's been interesting stuff there. But I want to focus for a moment on, like, terms of thinking about new uses. Because, you know, again, going back to how AI will influence the home and automation. You know, Jensen Wong of Nvidia has talked about how this will be the year of robotics. Google, Gemini just applied their models to robotics. There's startups like figure there's, again, Tesla with their optimists, and, yeah, there's a whole strain of thought that we're about to see, like home robotics, perhaps a dream from like, the 50s. I think this is a very Disney World esque Epcot Center, yeah, with this idea of jetsy, yeah, of having home robots doing work. You can see concept videos a figure like doing the actual vacuuming. I mean, we invented Roombas to this, but, but it also, I, you know, I've done a lot of work. Our own thinking around electric delivery vehicles. We could talk a lot about drones. We could talk a lot about the little robots that deliver meals on the sidewalk. There's a lot of money in business models about increasing access and people needing to maybe move less, to drive and do all these trips to bring it to them. And that's a form of home automation, and that's all batteries. That is all stuff off the grid too. So AI is that enable those things, these things that can think and move and fly and do stuff and do services on your behalf, and so people might find this huge new source of demand from that as well.   Trevor Freeman  15:29 Yeah, that's I hadn't really thought about the idea that all the all these sort of conveniences and being able to summon them to our homes cause us to move around less, which also impacts transportation, which is another area I kind of want to get to. And I know you've, you've talked a little bit about E mobility, so where do you see that going? And then, how does AI accelerate that transition, or accelerate things happening in that space?   Greg Lindsay  15:56 Yeah, I mean, I again, obviously the EV revolutions here Canada like, one of the epicenters Canada, Norway there, you know, that still has the vehicle rebates and things. So, yeah. I mean, we've seen, I'm here in Montreal, I think we've got, like, you know, 30 to 13% of sales is there, and we've got our 2035, mandate. So, yeah. I mean, you see this push, obviously, to harness all of Canada's clean, mostly hydro electricity, to do this, and, you know, reduce its dependence on fossil fuels for either, you know, Climate Change Politics reasons, but also just, you know, variable energy prices. So all of that matters. But, you know, I think the key to, like the electric mobility revolution, again, is, is how it's going to merge with AI and it's, you know, it's not going to just be the autonomous, self driving car, which is sort of like the horseless carriage of autonomy. It's gonna be all this other stuff, you know. My friend Dan Hill was in China, and he was thinking about like, electric scooters, you know. And I mentioned this to hydro Ottawa, like, the electric scooter is one of the leading causes of how we've taken internal combustion engine vehicles offline across the world, mostly in China, and put people on clean electric motors. What happens when you take those and you make those autonomous, and you do it with, like, deep seek and some cameras, and you sort of weld it all together so you could have a world of a lot more stuff in motion, and not just this world where we have to drive as much. And that, to me, is really exciting, because that changes, like urban patterns, development patterns, changes how you move around life, those kinds of things as well. That's that might be a little farther out, but, but, yeah, this sort of like this big push to build out domestic battery industries, to build charging points and the sort of infrastructure there, I think it's going to go in direction, but it doesn't look anything like, you know, a sedan or an SUV that just happens to be electric.   Trevor Freeman  17:33 I think that's a the step change is change the drive train of the existing vehicles we have, you know, an internal combustion to a battery. The exponential change is exactly what you're saying. It's rethinking this.   Greg Lindsay  17:47 Yeah, Ramesam and others have pointed out, I mean, again, like this, you know, it's, it's really funny to see this pushback on EVs, you know. I mean, I love a good, good roar of an internal combustion engine myself, but, but like, you know, Ramesam was an energy analyst, has pointed out that, like, you know, EVS were more cost competitive with ice cars in 2018 that's like, nearly a decade ago. And yeah, the efficiency of electric motors, particularly regenerative braking and everything, it just blows the cost curves away of ice though they will become the equivalent of keeping a thorough brat around your house kind of thing. Yeah, so, so yeah, it's just, it's that overall efficiency of the drive train. And that's the to me, the interesting thing about both electric motors, again, of autonomy is like, those are general purpose technologies. They get cheaper and smaller as they evolve under Moore's Law and other various laws, and so they get to apply to more and more stuff.   Trevor Freeman  18:32 Yeah. And then when you think about once, we kind of figure that out, and we're kind of already there, or close to it, if not already there, then it's opening the door to those other things you're talking about. Of, well, do we, does everybody need to have that car in their driveway? Are we rethinking how we're actually just doing transportation in general? And do we need a delivery truck? Or can it be delivery scooter? Or what does that look like?   Greg Lindsay  18:54 Well, we had a lot of those discussions for a long time, particularly in the mobility space, right? Like, and like ride hailing, you know, like, oh, you know, that was always the big pitch of an Uber is, you know, your car's parked in your driveway, like 94% of the time. You know, what happens if you're able to have no mobility? Well, we've had 15 years of Uber and these kinds of services, and we still have as many cars. But people are also taking this for mobility. It's additive. And I raised this question, this notion of like, it's just sort of more and more, more options, more availability, more access. Because the same thing seems to be going on with energy now too. You know, listeners been following along, like the conversation in Houston, you know, a week or two ago at Sarah week, like it's the whole notion of energy realism. And, you know, there's the new book out, more is more is more, which is all about the fact that we've never had an energy transition. We just kept piling up. Like the world burned more biomass last year than it did in 1900 it burned more coal last year than it did at the peak of coal. Like these ages don't really end. They just become this sort of strata as we keep piling energy up on top of it. And you know, I'm trying to sound the alarm that we won't have an energy transition. What that means for climate change? But similar thing, it's. This rebound effect, the Jevons paradox, named after Robert Stanley Jevons in his book The question of coal, where he noted the fact that, like, England was going to need more and more coal. So it's a sobering thought. But, like, I mean, you know, it's a glass half full, half empty in many ways, because the half full is like increasing technological options, increasing changes in lifestyle. You can live various ways you want, but, but, yeah, it's like, I don't know if any of it ever really goes away. We just get more and more stuff,   Trevor Freeman  20:22 Exactly, well. And, you know, to hear you talk about the robotics side of things, you know, looking at the home, yeah, more, definitely more. Okay, so we talked about kind of home automation. We've talked about transportation, how we get around. What about energy management? And I think about this at the we'll talk about the utility side again in a little bit. But, you know, at my house, or for my own personal use in my life, what is the role of, like, sort of machine learning and AI, when it comes to just helping me manage my own energy better and make better decisions when it comes to energy? ,   Greg Lindsay  20:57 Yeah, I mean, this is where it like comes in again. And you know, I'm less and less of an expert here, but I've been following this sort of discourse evolve. And right? It's the idea of, you know, yeah, create, create. This the set of tools in your home, whether it's solar panels or batteries or, you know, or Two Way Direct, bi directional to the grid, however it works. And, yeah, and people, you know, given this option of savings, and perhaps, you know, other marketing messages there to curtail behavior. You know? I mean, I think the short answer the question is, like, it's an app people want, an app that tell them basically how to increase the efficiency of their house or how to do this. And I should note that like, this has like been the this is the long term insight when it comes to like energy and the clean tech revolution. Like my Emery Levin says this great line, which I've always loved, which is, people don't want energy. They want hot showers and cold beer. And, you know, how do you, how do you deliver those things through any combination of sticks and carrots, basically like that. So, So, hence, why? Like, again, like, you know, you know, power walls, you know, and, and, and, you know, other sort of AI controlled batteries here that basically just sort of smooth out to create the sort of optimal flow of electrons into your house, whether that's coming drive directly off the grid or whether it's coming out of your backup and then recharging that the time, you know, I mean, the surveys show, like, more than half of Canadians are interested in this stuff, you know, they don't really know. I've got one set here, like, yeah, 61% are interested in home energy tech, but only 27 understand, 27% understand how to optimize them. So, yeah. So people need, I think, perhaps, more help in handing that over. And obviously, what's exciting for the, you know, the utility level is, like, you know, again, aggregate all that individual behavior together and you get more models that, hope you sort of model this out, you know, at both greater scale and ever more fine grained granularity there. So, yeah, exactly. So I think it's really interesting, you know, I don't know, like, you know, people have gamified it. What was it? I think I saw, like, what is it? The affordability fund trust tried to basically gamify AI energy apps, and it created various savings there. But a lot of this is gonna be like, as a combination like UX design and incentives design and offering this to people too, about, like, why you should want this and money's one reason, but maybe there's others.   Trevor Freeman  22:56 Yeah, and we talk about in kind of the utility sphere, we talk about how customers, they don't want all the data, and then have to go make their own decisions. They want those decisions to be made for them, and they want to say, look, I want to have you tell me the best rate plan to be on. I want to have you automatically switch me to the best rate plan when my consumption patterns change and my behavior chat patterns change. That doesn't exist today, but sort of that fast decision making that AI brings will let that become a reality sometime in the future,   Greg Lindsay  23:29 And also in theory, this is where LLMs come into play. Is like, you know, to me, what excites me the most about that is the first time, like having a true natural language interface, like having being able to converse with an, you know, an AI, let's hopefully not chat bot. I think we're moving out on chat bots, but some sort of sort of instantiation of an AI to be like, what plan should I be on? Can you tell me what my behavior is here and actually having some sort of real language conversation with it? Not decision trees, not event statements, not chat bots.   Trevor Freeman  23:54 Yeah, absolutely. Okay, so we've kind of teased around this idea of looking at the utility levels, obviously, at hydro Ottawa, you referenced this just a minute ago. We look at all these individual cases, every home that has home automation or solar storage, and we want to aggregate that and understand what, what can we do to help manage the grid, help manage all these new energy needs, shift things around. So let's talk a little bit about the role that AI can play at the utility scale in helping us manage the grid.   Greg Lindsay  24:28 All right? Well, yeah, there's couple ways to approach it. So one, of course, is like, let's go back to, like, smart meters, right? Like, and this is where I don't know how many hydro Ottawa has, but I think, like, BC Hydro has like, 2 million of them, sometimes they get politicized, because, again, this gets back to this question of, like, just, just how much nanny state you want. But, you know, you know, when you reach the millions, like, yeah, you're able to get that sort of, you know, obviously real time, real time usage, real time understanding. And again, if you can do that sort of grid management piece where you can then push back, it's visual game changer. But, but yeah. I mean, you know, yeah, be. See hydro is pulling in. I think I read like, like, basically 200 million data points a day. So that's a lot to train various models on. And, you know, I don't know exactly the kind of savings they have, but you can imagine there, whether it's, you know, them, or Toronto Hydro, or hydro Ottawa and others creating all these monitoring points. And again, this is the thing that bedells me, by the way, just philosophically about modern life, the notion of like, but I don't want you to be collecting data off me at all times, but look at what you can do if you do It's that constant push pull of some sort of combination of privacy and agency, and then just the notion of like statistics, but, but there you are, but, but, yeah, but at the grid level, then I mean, like, yeah. I mean, you can sort of do the same thing where, like, you know, I mean, predictive maintenance is the obvious one, right? I have been writing about this for large enterprise software companies for 20 years, about building these data points, modeling out the lifetime of various important pieces equipment, making sure you replace them before you have downtime and terrible things happen. I mean, as we're as we're discussing this, look at poor Heathrow Airport. I am so glad I'm not flying today, electrical substation blowing out two days of the world's most important hub offline. So that's where predictive maintenance comes in from there. And, yeah, I mean, I, you know, I again, you know, modeling out, you know, energy flow to prevent grid outages, whether that's, you know, the ice storm here in Quebec a couple years ago. What was that? April 23 I think it was, yeah, coming up in two years. Or our last ice storm, we're not the big one, but that one, you know, where we had big downtime across the grid, like basically monitoring that and then I think the other big one for AI is like, Yeah, is this, this notion of having some sort of decision support as well, too, and sense of, you know, providing scenarios and modeling out at scale the potential of it? And I don't think, I don't know about this in a grid case, but the most interesting piece I wrote for Fast Company 20 years ago was an example, ago was an example of this, which was a fledgling air taxi startup, but they were combining an agent based model, so using primitive AI to create simple rules for individual agents and build a model of how they would behave, which you can create much more complex models. Now we could talk about agents and then marrying that to this kind of predictive maintenance and operations piece, and marrying the two together. And at that point, you could have a company that didn't exist, but that could basically model itself in real time every day in the life of what it is. You can create millions and millions and millions of Monte Carlo operations. And I think that's where perhaps both sides of AI come together truly like the large language models and agents, and then the predictive machine learning. And you could basically hydro or others, could build this sort of deep time machine where you can model out all of these scenarios, millions and millions of years worth, to understand how it flows and contingencies as well. And that's where it sort of comes up. So basically something happens. And like, not only do you have a set of plans, you have an AI that has done a million sets of these plans, and can imagine potential next steps of this, or where to deploy resources. And I think in general, that's like the most powerful use of this, going back to prediction machines and just being able to really model time in a way that we've never had that capability before. And so you probably imagine the use is better than I.   Trevor Freeman  27:58 Oh man, it's super fascinating, and it's timely. We've gone through the last little while at hydro Ottawa, an exercise of updating our playbook for emergencies. So when there are outages, what kind of outage? What's the sort of, what are the trigger points to go from, you know, what we call a level one to a level two to level three. But all of this is sort of like people hours that are going into that, and we're thinking through these scenarios, and we've got a handful of them, and you're just kind of making me think, well, yeah, what if we were able to model that out? And you bring up this concept of agents, let's tease into that a little bit explain what you mean when you're talking about agents.   Greg Lindsay  28:36 Yeah, so agentic systems, as the term of art is, AI instantiations that have some level of autonomy. And the archetypal example of this is the Stanford Smallville experiment, where they took basically a dozen large language models and they gave it an architecture where they could give it a little bit of backstory, ruminate on it, basically reflect, think, decide, and then act. And in this case, they used it to plan a Valentine's Day party. So they played out real time, and the LLM agents, like, even played matchmaker. They organized the party, they sent out invitations, they did these sorts of things. Was very cute. They put it out open source, and like, three weeks later, another team of researchers basically put them to work writing software programs. So you can see they organized their own workflow. They made their own decisions. There was a CTO. They fact check their own work. And this is evolving into this grand vision of, like, 1000s, millions of agents, just like, just like you spin up today an instance of Amazon Web Services to, like, host something in the cloud. You're going to spin up an agent Nvidia has talked about doing with healthcare and others. So again, coming back to like, the energy implications of that, because it changes the whole pattern. Instead of huge training runs requiring giant data centers. You know, it's these agents who are making all these calls and doing more stuff at the edge, but, um, but yeah, in this case, it's the notion of, you know, what can you put the agents to work doing? And I bring this up again, back to, like, predictive maintenance, or for hydro Ottawa, there's another amazing paper called virtual in real life. And I chatted with one of the principal authors. It created. A half dozen agents who could play tour guide, who could direct you to a coffee shop, who do these sorts of things, but they weren't doing it in a virtual world. They were doing it in the real one. And to do it in the real world, you took the agent, you gave them a machine vision capability, so added that model so they could recognize objects, and then you set them loose inside a digital twin of the world, in this case, something very simple, Google Street View. And so in the paper, they could go into like New York Central Park, and they could count every park bench and every waste bin and do it in seconds and be 99% accurate. And so agents were monitoring the landscape. Everything's up, because you can imagine this in the real world too, that we're going to have all the time. AIS roaming the world, roaming these virtual maps, these digital twins that we build for them and constantly refresh from them, from camera data, from sensor data, from other stuff, and tell us what this is. And again, to me, it's really exciting, because that's finally like an operating system for the internet of things that makes sense, that's not so hardwired that you can ask agents, can you go out and look for this for me? Can you report back on this vital system for me? And they will be able to hook into all of these kinds of representations of real time data where they're emerging from, and give you aggregated reports on this one. And so, you know, I think we have more visibility in real time into the real world than we've ever had before.   Trevor Freeman  31:13 Yeah, I want to, I want to connect a few dots here for our listeners. So bear with me for a second. Greg. So for our listeners, there was a podcast episode we did about a year ago on our grid modernization roadmap, and we talked about one of the things we're doing with grid modernization at hydro Ottawa and utilities everywhere doing this is increasing the sensor data from our grid. So we're, you know, right now, we've got visibility sort of to our station level, sometimes one level down to some switches. But in the future, we'll have sensors everywhere on our grid, every switch, every device on our grid, will have a sensor gathering data. Obviously, you know, like you said earlier, millions and hundreds of millions of data points every second coming in. No human can kind of make decisions on that, and what you're describing is, so now we've got all this data points, we've got a network of information out there, and you could create this agent to say, Okay, you are. You're my transformer agent. Go out there and have a look at the run temperature of every transformer on the network, and tell me where the anomalies are, which ones are running a half a degree or two degrees warmer than they should be, and report back. And now I know hydro Ottawa, that the controller, the person sitting in the room, knows, Hey, we should probably go roll a truck and check on that transformer, because maybe it's getting end of life. Maybe it's about to go and you can do that across the entire grid. That's really fascinating,   Greg Lindsay  32:41 And it's really powerful, because, I mean, again, these conversations 20 years ago at IoT, you know you're going to have statistical triggers, and you would aggregate these data coming off this, and there was a lot of discussion there, but it was still very, like hardwired, and still very Yeah, I mean, I mean very probabilistic, I guess, for a word that went with agents like, yeah, you've now created an actual thing that can watch those numbers and they can aggregate from other systems. I mean, lots, lots of potential there hasn't quite been realized, but it's really exciting stuff. And this is, of course, where that whole direction of the industry is flowing. It's on everyone's lips, agents.   Trevor Freeman  33:12 Yeah. Another term you mentioned just a little bit ago that I want you to explain is a digital twin. So tell us what a digital twin is.   Greg Lindsay  33:20 So a digital twin is, well, the matrix. Perhaps you could say something like this for listeners of a certain age, but the digital twin is the idea of creating a model of a piece of equipment, of a city, of the world, of a system. And it is, importantly, it's physics based. It's ideally meant to represent and capture the real time performance of the physical object it's based on, and in this digital representation, when something happens in the physical incarnation of it, it triggers a corresponding change in state in the digital twin, and then vice versa. In theory, you know, you could have feedback loops, again, a lot of IoT stuff here, if you make changes virtually, you know, perhaps it would cause a change in behavior of the system or equipment, and the scales can change from, you know, factory equipment. Siemens, for example, does a lot of digital twin work on this. You know, SAP, big, big software companies have thought about this. But the really crazy stuff is, like, what Nvidia is proposing. So first they started with a digital twin. They very modestly called earth two, where they were going to model all the weather and climate systems of the planet down to like the block level. There's a great demo of like Jensen Wong walking you through a hurricane, typhoons striking the Taipei, 101, and how, how the wind currents are affecting the various buildings there, and how they would change that more recently, what Nvidia is doing now is, but they just at their big tech investor day, they just partner with General Motors and others to basically do autonomous cars. And what's crucial about it, they're going to train all those autonomous vehicles in an NVIDIA built digital twin in a matrix that will act, that will be populated by agents that will act like people, people ish, and they will be able to run millions of years of autonomous vehicle training in this and this is how they plan to catch up to. Waymo or, you know, if Tesla's robotaxis are ever real kind of thing, you know, Waymo built hardwired like trained on real world streets, and that's why they can only operate in certain operating domain environments. Nvidia is gambling that with large language models and transformer models combined with digital twins, you can do these huge leapfrog effects where you can basically train all sorts of synthetic agents in real world behavior that you have modeled inside the machine. So again, that's the kind, that's exactly the kind of, you know, environment that you're going to train, you know, your your grid of the future on for modeling out all your contingency scenarios.   Trevor Freeman  35:31 Yeah, again, you know, for to bring this to the to our context, a couple of years ago, we had our the direcco. It's a big, massive windstorm that was one of the most damaging storms that we've had in Ottawa's history, and we've made some improvements since then, and we've actually had some great performance since then. Imagine if we could model that derecho hitting our grid from a couple different directions and figure out, well, which lines are more vulnerable to wind speeds, which lines are more vulnerable to flying debris and trees, and then go address that and do something with that, without having to wait for that storm to hit. You know, once in a decade or longer, the other use case that we've talked about on this one is just modeling what's happening underground. So, you know, in an urban environments like Ottawa, like Montreal, where you are, there's tons of infrastructure under the ground, sewer pipes, water pipes, gas lines, electrical lines, and every time the city wants to go and dig up a road and replace that road, replace that sewer, they have to know what's underground. We want to know what's underground there, because our infrastructure is under there. As the electric utility. Imagine if you had a model where you can it's not just a map. You can actually see what's happening underground and determine what makes sense to go where, and model out these different scenarios of if we underground this line or that line there. So lots of interesting things when it comes to a digital twin. The digital twin and Agent combination is really interesting as well, and setting those agents loose on a model that they can play with and understand and learn from. So talk a little bit about.   Greg Lindsay  37:11 that. Yeah. Well, there's a couple interesting implications just the underground, you know, equipment there. One is interesting because in addition to, like, you know, you know, having captured that data through mapping and other stuff there, and having agents that could talk about it. So, you know, next you can imagine, you know, I've done some work with augmented reality XR. This is sort of what we're seeing again, you know, meta Orion has shown off their concept. Google's brought back Android XR. Meta Ray Bans are kind of an example of this. But that's where this data will come from, right? It's gonna be people wearing these wearables in the world, capturing all this camera data and others that's gonna be fed into these digital twins to refresh them. Meta has a particularly scary demo where you know where you the user, the wearer leaves their keys on their coffee table and asks metas, AI, where their coffee where their keys are, and it knows where they are. It tells them and goes back and shows them some data about it. I'm like, well, to do that, meta has to have a complete have a complete real time map of your entire house. What could go wrong. And that's what all these companies aspire to of reality. So, but yeah, you can imagine, you know, you can imagine a worker. And I've worked with a startup out of urban X, a Canada startup, Canadian startup called context steer. And you know, is the idea of having real time instructions and knowledge manuals available to workers, particularly predictive maintenance workers and line workers. So you can imagine a technician dispatched to deal with this cut in the pavement and being able to see with XR and overlay of like, what's actually under there from the digital twin, having an AI basically interface with what's sort of the work order, and basically be your assistant that can help you walk you through it, in case, you know, you run into some sort of complication there, hopefully that won't be, you know, become like, turn, turn by turn, directions for life that gets into, like, some of the questions about what we wanted out of our workforce. But there's some really interesting combinations of those things, of like, you know, yeah, mapping a world for AIS, ais that can understand it, that could ask questions in it, that can go probe it, that can give you advice on what to do in it. All those things are very close for good and for bad.   Trevor Freeman  39:03 You kind of touched on my next question here is, how do we make sure this is all in the for good or mostly in the for good category, and not the for bad category you talk in one of the papers that you wrote about, you know, AI and augmented reality in particular, really expanding the attack surface for malicious actors. So we're creating more opportunities for whatever the case may be, if it's hacking or if it's malware, or if it's just, you know, people that are up to nefarious things. How do we protect against that? How do we make sure that our systems are safe that the users of our system. So in our case, our customers, their data is safe, their the grid is safe. How do we make sure that?   Greg Lindsay  39:49 Well, the very short version is, whatever we're spending on cybersecurity, we're not spending enough. And honestly, like everybody who is no longer learning to code, because we can be a quad or ChatGPT to do it, I. Is probably there should be a whole campaign to repurpose a big chunk of tech workers into cybersecurity, into locking down these systems, into training ethical systems. There's a lot of work to be done there. But yeah, that's been the theme for you know that I've seen for 10 years. So that paper I mentioned about sort of smart homes, the Internet of Things, and why people would want a smart home? Well, yeah, the reason people were skeptical is because they saw it as basically a giant attack vector. My favorite saying about this is, is, there's a famous Arthur C Clarke quote that you know, any sufficiently advanced technology is magic Tobias Ravel, who works at Arup now does their head of foresight has this great line, any sufficiently advanced hacking will feel like a haunting meaning. If you're in a smart home that's been hacked, it will feel like you're living in a haunted house. Lights will flicker on and off, and systems will turn and go haywire. It'll be like you're living with a possessed house. And that's true of cities or any other systems. So we need to do a lot of work on just sort of like locking that down and securing that data, and that is, you know, we identified, then it has to go all the way up and down the supply chain, like you have to make sure that there is, you know, a chain of custody going back to when components are made, because a lot of the attacks on nest, for example. I mean, you want to take over a Google nest, take it off the wall and screw the back out of it, which is a good thing. It's not that many people are prying open our thermostats, but yeah, if you can get your hands on it, you can do a lot of these systems, and you can do it earlier in the supply chain and sorts of infected pieces and things. So there's a lot to be done there. And then, yeah, and then, yeah, and then there's just a question of, you know, making sure that the AIs are ethically trained and reinforced. And, you know, a few people want to listeners, want to scare themselves. You can go out and read some of the stuff leaking out of anthropic and others and make clot of, you know, models that are trying to hide their own alignments and trying to, like, basically copy themselves. Again, I don't believe that anything things are alive or intelligent, but they exhibit these behaviors as part of the probabilistic that's kind of scary. So there's a lot to be done there. But yeah, we worked on this, the group that I do foresight with Arizona State University threat casting lab. We've done some work for the Secret Service and for NATO and, yeah, there'll be, you know, large scale hackings on infrastructure. Basically the equivalent can be the equivalent can be the equivalent to a weapons of mass destruction attack. We saw how Russia targeted in 2014 the Ukrainian grid and hacked their nuclear plans. This is essential infrastructure more important than ever, giving global geopolitics say the least, so that needs to be under consideration. And I don't know, did I scare you enough yet? What are the things we've talked through here that, say the least about, you know, people being, you know, tricked and incepted by their AI girlfriends, boyfriends. You know people who are trying to AI companions. I can't possibly imagine what could go wrong there.   Trevor Freeman  42:29 I mean, it's just like, you know, I don't know if this is 15 or 20, or maybe even 25 years ago now, like, it requires a whole new level of understanding when we went from a completely analog world to a digital world and living online, and people, I would hope, to some degree, learned to be skeptical of things on the internet and learned that this is that next level. We now need to learn the right way of interacting with this stuff. And as you mentioned, building the sort of ethical code and ethical guidelines into these language models into the AI. Learning is pretty critical for our listeners. We do have a podcast episode on cybersecurity. I encourage you to go listen to it and reassure yourself that, yes, we are thinking about this stuff. And thanks, Greg, you've given us lots more to think about in that area as well. When it comes to again, looking back at utilities and managing the grid, one thing we're going to see, and we've talked a lot about this on the show, is a lot more distributed generation. So we're, you know, the days of just the central, large scale generation, long transmission lines that being the only generation on the grid. Those days are ending. We're going to see more distributed generations, solar panels on roofs, batteries. How does AI help a utility manage those better, interact with those better get more value out of those things?   Greg Lindsay  43:51 I guess that's sort of like an extension of some of the trends I was talking about earlier, which is the notion of, like, being able to model complex systems. I mean, that's effectively it, right, like you've got an increasingly complex grid with complex interplays between it, you know, figuring out how to basically based on real world performance, based on what you're able to determine about where there are correlations and codependencies in the grid, where point where choke points could emerge, where overloading could happen, and then, yeah, basically, sort of building that predictive system to Basically, sort of look for what kind of complex emergent behavior comes out of as you keep adding to it and and, you know, not just, you know, based on, you know, real world behavior, but being able to dial that up to 11, so to speak, and sort of imagine sort of these scenarios, or imagine, you know, what, what sort of long term scenarios look like in terms of, like, what the mix, how the mix changes, how the geography changes, all those sorts of things. So, yeah, I don't know how that plays out in the short term there, but it's this combination, like I'm imagining, you know, all these different components playing SimCity for real, if one will.   Trevor Freeman  44:50 And being able to do it millions and millions and millions of times in a row, to learn every possible iteration and every possible thing that might happen. Very cool. Okay. So last kind of area I want to touch on you did mention this at the beginning is the the overall power implications of of AI, of these massive data centers, obviously, at the utility, that's something we are all too keenly aware of. You know, the stat that that I find really interesting is a normal Google Search compared to, let's call it a chat GPT search. That chat GPT search, or decision making, requires 10 times the amount of energy as that just normal, you know, Google Search looking out from a database. Do you see this trend? I don't know if it's a trend. Do you see this continuing like AI is just going to use more power to do its decision making, or will we start to see more efficiencies there? And the data centers will get better at doing what they do with less energy. What is the what does the future look like in that sector?   Greg Lindsay  45:55 All the above. It's more, is more, is more! Is the trend, as far as I can see, and every decision maker who's involved in it. And again, Jensen Wong brought this up at the big Nvidia Conference. That basically he sees the only constraint on this continuing is availability of energy supplies keep it going and South by Southwest. And in some other conversations I've had with bandwidth companies, telcos, like laying 20 lumen technologies, United States is laying 20,000 new miles of fiber optic cables. They've bought 10% of Corning's total fiber optic output for the next couple of years. And their customers are the hyperscalers. They're, they're and they're rewiring the grid. That's why, I think it's interesting. This has something, of course, for thinking about utilities, is, you know, the point to point Internet of packet switching and like laying down these big fiber routes, which is why all the big data centers United States, the majority of them, are in north of them are in Northern Virginia, is because it goes back to the network hub there. Well, lumen is now wiring this like basically this giant fabric, this patchwork, which can connect data center to data center, and AI to AI and cloud to cloud, and creating this entirely new environment of how they are all directly connected to each other through some of this dedicated fiber. And so you can see how this whole pattern is changing. And you know, the same people are telling me that, like, yeah, the where they're going to build this fiber, which they wouldn't tell me exactly where, because it's very tradable, proprietary information, but, um, but it's following the energy supplies. It's following the energy corridors to the American Southwest, where there's solar and wind in Texas, where you can get natural gas, where you can get all these things. It will follow there. And I of course, assume the same is true in Canada as we build out our own sovereign data center capacity for this. So even, like deep seek, for example, you know, which is, of course, the hyper efficient Chinese model that spooked the markets back in January. Like, what do you mean? We don't need a trillion dollars in capex? Well, everyone's quite confident, including again, Jensen Wong and everybody else that, yeah, the more efficient models will increase this usage. That Jevons paradox will play out once again, and we'll see ever more of it. To me, the question is, is like as how it changes? And of course, you know, you know, this is a bubble. Let's, let's, let's be clear, data centers are a bubble, just like railroads in 1840 were a bubble. And there will be a bust, like not everyone's investments will pencil out that infrastructure will remain maybe it'll get cheaper. We find new uses for it, but it will, it will eventually bust at some point and that's what, to me, is interesting about like deep seeking, more efficient models. Is who's going to make the wrong investments in the wrong places at the wrong time? But you know, we will see as it gathers force and agents, as I mentioned. You know, they don't require, as much, you know, these monstrous training runs at City sized data centers. You know, meta wanted to spend $200 billion on a single complex, the open AI, Microsoft, Stargate, $500 billion Oracle's. Larry Ellison said that $100 billion is table stakes, which is just crazy to think about. And, you know, he's permitting three nukes on site. So there you go. I mean, it'll be fascinating to see if we have a new generation of private, private generation, right, like, which is like harkening all the way back to, you know, the early electrical grid and companies creating their own power plants on site, kind of stuff. Nicholas Carr wrote a good book about that one, about how we could see from the early electrical grid how the cloud played out. They played out very similarly. The AI cloud seems to be playing out a bit differently. So, so, yeah, I imagine that as well, but, but, yeah, well, inference happen at the edge. We need to have more distributed generation, because you're gonna have AI agents that are going to be spending more time at the point of request, whether that's a laptop or your phone or a light post or your autonomous vehicle, and it's going to need more of that generation and charging at the edge. That, to me, is the really interesting question. Like, you know, when these current generation models hit their limits, and just like with Moore's law, like, you know, you have to figure out other efficiencies in designing chips or designing AIS, how will that change the relationship to the grid? And I don't think anyone knows quite for sure yet, which is why they're just racing to lock up as many long term contracts as they possibly can just get it all, core to the market.   Trevor Freeman  49:39 Yeah, it's just another example, something that comes up in a lot of different topics that we cover on this show. Everything, obviously, is always related to the energy transition. But the idea that the energy transition is really it's not just changing fuel sources, like we talked about earlier. It's not just going from internal combustion to a battery. It's rethinking the. Relationship with energy, and it's rethinking how we do things. And, yeah, you bring up, like, more private, massive generation to deal with these things. So really, that whole relationship with energy is on scale to change. Greg, this has been a really interesting conversation. I really appreciate it. Lots to pack into this short bit of time here. We always kind of wrap up our conversations with a series of questions to our guests. So I'm going to fire those at you here. And this first one, I'm sure you've got lots of different examples here, so feel free to give more than one. What is a book that you've read that you think everybody should read?   Greg Lindsay  50:35 The first one that comes to mind is actually William Gibson's Neuromancer, which is which gave the world the notion of cyberspace and so many concepts. But I think about it a lot today. William Gibson, Vancouver based author, about how much in that book is something really think about. There is a digital twin in it, an agent called the Dixie flatline. It's like a former program where they cloned a digital twin of him. I've actually met an engineering company, Thornton Thomas Eddie that built a digital twin of one of their former top experts. So like that became real. Of course, the matrix is becoming real the Turing police. Yeah, there's a whole thing in there where there's cops to make sure that AIS don't get smarter. I've been thinking a lot about, do we need Turing police? The EU will probably create them. And so that's something where you know the proof, again, of like science fiction, its ability in world building to really make you think about these implications and help for contingency planning. A lot of foresight experts I work with think about sci fi, and we use sci fi for exactly that reason. So go read some classic cyberpunk, everybody.   Trevor Freeman  51:32 Awesome. So same question. But what's a movie or a show that you think everybody should take a look at?   Greg Lindsay  51:38 I recently watched the watch the matrix with ideas, which is fun to think about, where the villains are, agents that villains are agents. That's funny how that terms come back around. But the other one was thinking about the New Yorker recently read a piece on global demographics and the fact that, you know, globally, less and less children. And it made several references to Alfonso Quons, Children of Men from 2006 which is, sadly, probably the most prescient film of the 21st Century. Again, a classic to watch, about imagining in a world where we don't where you where you lose faith in the future, what happens, and a world that is not having children as a world that's losing faith in its own future. So that's always haunted me.   Trevor Freeman  52:12 It's funny both of those movies. So I've got kids as they get, you know, a little bit older, a little bit older, we start introducing more and more movies. And I've got this list of movies that are just, you know, impactful for my own adolescent years and growing up. And both matrix and Children of Men are on that list of really good movies that I just need my kids to get a little bit older, and then I'm excited to watch with them. If someone offered you a free round trip flight anywhere in the world, where would you go?   Greg Lindsay  52:40 I would go to Venice, Italy for the Architecture Biennale, which I will be on a plane in May, going to anyway. And the theme this year is intelligence, artificial, natural and collective. So it should be interesting to see the world's brightest architects. Let's see what we got. But yeah, Venice, every time, my favorite city in the world.   Trevor Freeman  52:58 Yeah, it's pretty wonderful. Who is someone that you admire?   Greg Lindsay  53:01 Great question.

Have you ever wondered about the dark side of the American dream? In this episode, we delve into the complete Seabrook Farms history, a story of ambition, innovation, and betrayal that built—and ultimately destroyed—one of America's largest agricultural empires. Author John Seabrook, grandson of the company's visionary founder, joins us to discuss his book, The Spinach King, and unearth the secrets buried beneath a dynasty built on frozen vegetables. We explore the complex question of how a family can create a national brand from nothing, only to have it torn apart by the very man who built it.From its humble beginnings as a small truck farm in southern New Jersey, Seabrook Farms grew into a powerhouse that froze one-third of the nation's vegetables. John Seabrook recounts the story of his great-grandfather, a skilled farmer, and his grandfather, C.F. Seabrook, a Fordist industrialist who brought mass production to agriculture. C.F. Seabrook partnered with the legendary Clarence Birdseye to pioneer the flash-freezing process for vegetables, introducing staples like the lima bean to the East Coast. But this success came at a cost. We uncover the shocking story of CF Seabrook erasing his father from history, fabricating a more "illustrious" ancestry to bolster the family brand while cheating his own father out of the company he helped build.The episode examines the complex labor practices that defined the company. We discuss the controversial story of the Seabrook Farms Japanese-American workers, who were recruited from internment camps during World War II under Executive Order 9066, as well as Estonian workers from displaced persons camps after the war. While the company created a unique, multicultural community in Seabrook, New Jersey, this benevolent image is contrasted with a much darker chapter: the violent 1934 Seabrook Farms labor strike. John Seabrook reveals how this event, involving armed vigilantes and the KKK, was systematically erased from the official company narrative. The full Seabrook Farms history is a complex tale of both progress and oppression, culminating in a family war that led to the company's collapse in 1959. This interview, inspired by the book John Seabrook The Spinach King, exposes the human drama behind the iconic brand, from a cameo in Stanley Kubrick's 2001: A Space Odyssey to the family's strange friendship with a gangster bodyguard and the fairytale meeting of John's parents at Grace Kelly's royal wedding.About Our Guest:John Seabrook is the author of The Spinach King: The Rise and Fall of an American Dynasty and a long-time staff writer at The New Yorker. As the son and grandson of the men at the center of the Seabrook Farms empire, he provides a deeply personal and unflinchingly honest account of his family's incredible rise and devastating fall, piecing together a story of innovation, family conflict, and the hidden costs of success.Timestamps:(0:00) The Dark Secrets of an American Food Dynasty(2:05) The Rise of a Frozen Vegetable Empire and the History of Seabrook Farms(8:40) Erasing a Patriarch: How C.F. Seabrook Rewrote His Family's History(13:51) A Controversial Workforce: Japanese-American Labor During WWII(23:55) The 1934 Strike: Labor, Race, and the KKK in South Jersey(29:54) From the Farm to Outer Space: Seabrook's Cameo in 2001: A Space Odyssey(33:07) An Unlikely Friendship: John Seabrook's Father and Red Saunders the Gangster(37:23) A Royal Wedding: How Grace Kelly United John Seabrook's Parents(46:24) The Art of Four-in-Hand Coaching: A Father's Peculiar Passion(52:13) The Fall of a Dynasty: Who Owns Seabrook Farms Today?Learn More From Our Guest / Episode Resources:Read the book we discussed, The Spinach KingLearn more about John Seabrook

We're remembering the late great director (and Trailers From Hell Guru) Jonathan Kaplan (1947–2025) and re-running our chat with the director of Over The Edge, The Accused, and many more. Jonathan took us on a journey through some of his favorite movies. Movies Referenced In This Episode The Student Teachers (1973)Night Call Nurses (1972)White Line Fever (1975)Truck Turner (1974)Heart Like A Wheel (1983)The Accused (1988)Over The Edge (1979)Modern Times (1936)City Lights (1931)Manhattan (1979) Some Like It Hot (1959)The Apartment (1960)North By Northwest (1959) Moon Pilot (1962) Mr. Billion (1977)White Heat (1949)The Wizard of Oz (1939)The Three Musketeers (1973)The Four Musketeers (1974)Superman (1978)Superman II (1980)The Three Musketeers (1948)Shane (1953) The 400 Blows (1959)8 ½ (1963)Fellini Satyricon (1969)Richard (1972)Millhouse (1971)The Projectionist (1970)El Dorado (1966)The Shootist (1976)Woodstock (1970) Payback (1999)A Hard Day's Night (1964) The Loneliness of the Long Distance Runner (1962)Billy Liar (1963)Ford Vs Ferrari (2019)The Wild Bunch (1969)The Ballad of Cable Hogue (1970)Bad Girls (1994)Masters of the Universe (1987)Giant (1956)The More The Merrier (1943) The Graduate (1967) The Victors (1963)…And Justice For All (1979)Citizen Kane (1941)An Alan Smithee Film: Burn Hollywood Burn (1997)The Day of the Dolphin (1973)The Call of the Wild (2020) The Lion King (1994)The Lion King (2019) The Revenant (2015)Lawrence of Arabia (1962)Dr. Strangelove (1964)Hollywood Boulevard (1976) Day For Night (1973)Being There (1979)Bound For Glory (1976)Second-Hand Hearts (1981)Requiem For A Heavyweight (1962)The Night of the Hunter (1955) The Godfather (1972)The Godfather Part II (1974)The Student Nurses (1970) Valley of the Dolls (1967) Charlie's Angels (2019)2001: A Space Odyssey (1968)Psycho (1960) The Oscar (1966) Barry Lyndon (1976) Once Upon A Time In The West (1968) Bird (1988)The Outlaw Josey Wales (1976)American Sniper (2014) The Beguiled (1971)The Grapes of Wrath (1940) Fort Apache (1948)The Searchers (1956) Straight Time (1978)Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971)True Confessions (1981)Monster (2003)Beyond The Valley Of The Dolls (1970) This list is also available on Letterboxd. Learn more about your ad choices. Visit megaphone.fm/adchoices

The ghouls are back! After a long break, Josh and Drusilla are back to discuss Humanist Vampire Seeking Consulting Suicidal Person. From wiki: “Humanist Vampire Seeking Consenting Suicidal Person (French: Vampire humaniste cherche suicidaire consentant), also released as Humanist Vampire Too Sensitive to Kill, is a 2023 French-language Canadian vampire comedy drama film co-written and directed by Ariane Louis-Seize.[3] It stars Sara Montpetit as Sasha, a teenage vampire who befriends Paul (Félix-Antoine Bénard), a boy with suicidal tendencies.”Also discussed: Roller Coaster, 2001: A Space Odyssey, fantasy films, superhero films, 2010: The Year We Make Contact, Bedazzled (1967), vampire lore, teen films, and more! NEXT WEEK: Seconds (1966) Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/‪@sisterhyde.bsky.social Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

This one starts with a dodgy lane choice, a Starbucks coffee, and a misjudged underpass. As always. I'm back in the Land Rover — which might be its final podcast outing before it finds a new home — and today's episode is a rambling, reflective road trip through customer service, creative resilience, and the rapidly growing presence of AI in our industry. The day started badly. Cold shower (thanks British Gas), broken editing software, and a head full of terabytes. But it ended with a reminder of why kindness, craftsmanship, and conversation still matter. A haircut from someone I've known for 18 years. A deep chat with the owner of Michel Engineering while he lovingly took apart my ancient-but-beautiful record deck — the very same design featured in A Clockwork Orange and owned by Steve Jobs, no less. And then... a disappointing interaction with a distracted barista and a headset-wearing drive-thru operator. Same building, worlds apart. Customer service, it turns out, is alive and well — just not always where you'd expect it. But the main theme of this episode is AI. Not the doom-and-gloom kind, but the real stuff: the tools I'm already using, how they're reshaping our workflows, and how they might be reshaping entire economies. It's not AI that's coming for your job — it's the photographer who learns to harness it. We talk about: AI tools I already use (like EVOTO, Imagine AI, ChatGPT, and XCi) Using AI as a teaching assistant, sub-editor, and productivity coach The real-world implications of AI-generated ads, coding layoffs, and what it means for creatives Plans for a new AI section on masteringportraitphotography.com And if you hang in there until the end, I'll tell you about a girl named Dory, a gutsy 12-year-old contortionist, and the new edition of Mastering Portrait Photography — complete with fresh images, a decade of stories, and a very special launch offer. So pop on your headphones, admire the wheat fields if you've got them, and come along for the ride. Spoiler: there's C3PO's eye in here too. Yes, really.  

We discuss the Venice Lineup + our early guesses at who could win some awards. Then we dive into the most humongous What We're Watching segment in the history of MMO. 54 Separate Films or Television Series are review from Eddington & I Still Know What You Did Last Summer to a Stanley Kubrick double feature to an Arnold triple feature to Final Destination: Bloodlines & Bring Her Back to Elio & Superman rewatches to Bird, starring another dancing Barry Keoghan. THE 2025 VENICE FILM FESTIVAL LINEUP: The Alexander Payne Jury & what films they might select - 3:14 In Competition Headliners - 6:36 Jay Kelly, A House of Dynamite, Frankenstein, The Testament of Ann Lee, Bugonia, The Smashing Machine & La Grazia. Other Notables In Competition - 12:30 The latest from directors of Personal Shopper, Four Daughters, Son of Saul and Only Lovers Left Alive. No Other Choice than to review the teaser for this Park Chan-wook movie with a thoughtful discussion on werewolves - 17:32 Why After The Hunt is playing Out of Competition + its NYFF Opening slot - 21:05 Other Out of Competition Films from Dead Man's Wire to Late Fame - 25:04 What's NOT Going To Venice - 29:04 BOX OFFICE UPDATE AlsoMike's Superman rewatch & week 2 bobo - 33:15 I Know What You Did Last Summer reviewing grinds us to a halt - 38:19 Eddington makes us mad that it makes us mad - 41:16 M1's Elio review and the rest of the Top 10 - 45:06 What We're Watching Newish Horror Films - 47:34 Final Destination: Bloodlines, The Shrouds, Bring Her Back, The Ugly Stepsister, Opus. New Comedies, Docs & KPOP Demon Hunter Films - 55:19 Magic Farm, Friendship, Pavements, KPOP Demon Hunters, My Mom Jayne, The Luckiest Man in America, Jaws @ 50: The Definitive Inside Story, Apocalypse in the Tropics, Barbara Walters: Tell Me Everything, Restless, Sally, and Surviving Ohio State. AM's Blind Spots & M1 Goes Artsy Fartsy - 1:13:36 Black Coal Thin Ice, Sabrina, Hard Boiled, Invention & Bird. AM's Rewatches - 1:20:31 Emma, Bull Durham, The Birdcage, Closer, I Saw The Devil, The Chaser. M1's Quickies - 1:23:28 American Splendor, Smile 2, Heretic, Dream Scenario, A History of Violence, Prince of Darkness. The Start of AM's TV Watching + M1's Arnold-a-palooza + Tuesday - 1:26:12 Dept. Q, Fred & Rose: A British Horror Story, Trainwreck: Poop Cruise, True Lies, End of Days, Commando and Tuesday. M1's Kubrick Double Feature + Past Contendres & The Rest of AM's TV Watching - 1:31:48 Paths of Glory, 2001: A Space Odyssey, September 5, Close Encounters of the Third Kind, Bad Thoughts, Mike Birbiglia: The Good Life, Untamed, Aftersun, Dexter: Resurrection. OUTRO: We attempt to avoid jinxing anything in the future. But stay tuned to more episodes, eventually or immediately, whatever happens. Oh, and go and listen to the Poop Cruise Jen Baxter interview from our friends at Chaz & AJ in the Morning https://www.wplr.com/2025/07/14/pod-pick-poop-cruise-director-jen-baxter/

Our Cannon Films theme wraps up with listener Esther's pick, Firewalker. Then we yap about 2001: A Space Odyssey, Sinners (again), and Jurassic World: Rebirth. Enjoy! Support us on Patreon! Patrons have access to the NOTLP Discord Server, weekly virtual meetups with the hosts, ad free episodes and tons of other great content. This podcast is brought to you by the Legion of Demons at patreon.com/notlp. Our Beelzebub tier producers are: Ernest Perez Shayna Spalla Branan & Emily Intravia-Whitehead Bill Chandler Blayne Turner Monica Martinson Bill Fahrner Brian Krause Dave Siebert Joe Juvland Matt Funke Paul Gauthier “Monster Movies (with My Friends)” was written and performed by Kelley Kombrinck. It was recorded and mixed by Freddy Morris. Night of the Living Podcast Social Media:      facebook.com/notlp instagram.com/nightofthelivingpodcast youtube.com/notlpcrew https://www.tiktok.com/@nightofthelivingpodcast

2001: A Space Odyssey (1968) is a cerebral, atmospheric, slow-paced and largely non-verbal spaceflight film thematically narrated by the musical backdrop of classical waltzes, creating strange sensations and uplifting novel psychological questions about human evolution, artificial intelligence, and alien interventions.    To see the full REACT video version of this episode, you can visit our YouTube channel!

"Open the podCAST doors, HAL!"  Join the guys as they discuss Stanley Kubrick's sci fi opus '2001: A Space Odyssey'

Stanley Kubrick's 2001: A Space Odyssey is often called one of the greatest films ever made—but does it hold up for today's viewers? We break down what makes this sci-fi classic both groundbreaking and, at times, surprisingly goofy. From the epic classical music and long black screens to the infamous “Dawn of Man” sequence, we share our honest reactions and why we both landed on a 5 out of 10.You know the routine—drop your thoughts in the comments, let us know if you think 2001 is a masterpiece or just a relic, and don't forget to subscribe for more no-nonsense movie reviews!

Our guest today is Roger Mayer, one of the most influential scholars in the field of trust and co-creator of a widely cited model of organizational trust. After attending Roger's presentation at the FINT Conference in Genoa, Italy, podcast host Severin de Wit sat down with him for a conversation on the evolving nature of trust and the surprising role that suspicion plays within it. The conversation begins with two striking images from Mayer's FINT talk: HAL 9000, the eerily calm AI from the movie "2001: A Space Odyssey", and the Shoggoth, a chaotic, shapeshifting creature recently adopted as a meme in AI circles. Mayer uses these metaphors to illustrate a central dilemma: as AI systems become more powerful and autonomous, how do we trust something we don't fully understand? Mayer introduces the concept of state-level suspicion, based on research by Bobko, Barelka, and Hirshfield. He explains that suspicion isn't just a gut feeling; it's a cognitive state involving uncertainty, heightened awareness, and the perception of possible harm. Far from being purely negative, suspicion may serve as a protective and even constructive force in complex organizational settings. A major focus of the episode is what Mayer calls Organizational Dissociative Identity Disorder (ODID). In this phenomenon, organizations send conflicting signals to employees, behave inconsistently, or act as if they have “multiple personalities.” Whether caused by mergers, mission drift, or rogue internal actors, ODID can undermine trust and leave employees feeling destabilized. Roger discusses how AI can further complicate this dynamic when its decision-making processes are opaque or misaligned with human expectations. Roger Mayer previously appeared on TrustTalk in our March 13, 2024 episode, where we explored the foundations of his trust model. In this follow-up conversation, we focus on the emerging tensions between trust, technology, and organizational coherence.

Before they discuss next week's '2001: A Space Odyssey', the guys run down their top five iconic final shots in movies.  You know, because of space babies!

Elton's diving into Arthur C. Clarke's absolute acid trip of a book (okay, maybe just the ending), "2001: A Space Odyssey" – you know, the one with the soft spoken computer that murders it's crew to keep a secret? [SPOILERS] And those mysterious black rectangles that basically trolled humanity for millions of years.Here's what's happening this episode:Who was Arthur C. Clarke anyway? Turns out the guy invented the satellites that keep your phone connected to the world...in the 1940s. He even predicted we'd all be doom-scrolling on the internet way before anyone knew what WiFi was. Plus, he was part of sci-fi's holy trinity with Isaac Asimov and Robert Heinlein. So, a nerd circle jerk. Well, maybe not...THAT, but a pretty important guy. He did well for guy who started out fiddling with radar during WWII.Join Elton as he walks through this wild ride from cavemen discovering tools to humans becoming space gods. There's evolution, mystery, and murder A.I., and honestly? A lot of nerdly nerd stuff that'll make your brain EXPAND in the best way. Don't worry – Elton takes a brunt of the load.The Clarke-Kubrick team-up: Clarke and director Stanley Kubrick basically wrote the book and movie at the same time, which sounds like a nightmare but somehow worked. They turned a short story called "The Sentinel" (Arthur hates that) and turn it into the most mind-f*cking sci-fi movie ever made, though it wasn't all dry humping and champagne.Whether you're into classic sci-fi, love a good book-to-movie story, or just want to understand why HAL 9000 is everyone's least favorite AI, this episode's got you covered. Fair warning: you might have an existential crisis. So, go easy on the sci-fi.GET THE BOOK: ⁠From AmazonFrom an Indie Book SellerBECOME AN Elton Reads A Book A Week CONTRIBUTOR HERE:⁠⁠Elton Reads A Book A Week Patreon⁠⁠⁠⁠Tips!⁠⁠⁠⁠SOCIAL MEDIA!⁠⁠ ⁠This is the LINK TREE!⁠EMAIL: eltonreadsabookaweek@gmail.comThe following section is reserved for the people, places, things, and more that Elton probably offended in this episode--THE APOLOGIES SECTION: Sci-fi fans, nerds, Arthur C. Clarke, special effects teams, drug addicts, spoilers, and other nerds.A special thanks to Diedrich Bader and Jenna Fischer for all their inspiration.[MUSIC]Arabesken über 'An der schönen blauen Donau' von Johann Strauss (Schulz-Evler, Adolf)Charlie Albright (Piano)Publisher Info.Boston: Isabella Stewart Gardner MuseumCopyrightCreative Commons Attribution-NonCommercial-NoDerivs 4.0 Also sprach Zarathustra, Op.30 (Strauss, Richard)University of Chicago Orchestra (orchestra)Barbara Schubert (conductor)Publisher Info.Chicago: University of Chicago OrchestraCopyrightCreative Commons Attribution-NonCommercial-NoDerivs 3.0 Misc. NotesPerformed 27 May 2000, Mandel Hall. From archive.org.

This week we are bleeding from the ears from high-pitched screeching sounds while we discuss “Founder's Mutation”! We're talking the return of James Wong, our love for the strangely blase coworker, Gupta From My Phone, Mulder giving off the wrong signals, Scully back on her quaalude habit, and why wristwatch models shouldn't be evil scientists. We enjoy Skinner's office redesign, say hello to Abigail from Hannibal and goodbye just as quickly, smell the distinct whiff of Folger's coffee commercial energy, wonder why Scully's hospital is so evil, and how it's so real that Mulder would show 2001: A Space Odyssey to his 5-year-old. Real dad move.Send us an email at scullynationpod@gmail.com or follow us on Instagram!

Author D. Harlan Wilson joins Mike to discuss his latest book, Strangelove Country, a collection of critical fictions examining four of Stanley Kubrick's most influential science fiction films: Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, and A.I. Artificial Intelligence. Blurring the lines between criticism, fiction, and satire, Wilson explores how Kubrick's work continues to shape cultural narratives about technology, violence, human identity, and control.The conversation covers Wilson's experimental approach to writing, the enduring legacy of Kubrick's cinema, and how speculative fiction and critical theory intersect. Together, they examine how Kubrick's visions of the future—and their contradictions—remain as unsettling and relevant as ever.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Author D. Harlan Wilson joins Mike to discuss his latest book, Strangelove Country, a collection of critical fictions examining four of Stanley Kubrick's most influential science fiction films: Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, and A.I. Artificial Intelligence. Blurring the lines between criticism, fiction, and satire, Wilson explores how Kubrick's work continues to shape cultural narratives about technology, violence, human identity, and control.The conversation covers Wilson's experimental approach to writing, the enduring legacy of Kubrick's cinema, and how speculative fiction and critical theory intersect. Together, they examine how Kubrick's visions of the future—and their contradictions—remain as unsettling and relevant as ever.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

We've come to the end...or is it the beginning?  This is part 4 of my series of episodes about the emotional and intellectual contact Stanley Kubrick made between movie-goers and his epic science-fiction film of 1968. Here's the amazing mashup between Pink Floyd's 'Echoes' and the final sequence of 2001. Please sign up for my newsletter if you haven't; it's free and filled with random recommendations based on what I'm reading, watching and listening to on a given week. Some of it podcast-adjacent and some totally unrelated.

In Part 3, I geek out into how incredible and evocative the HAL sequences are in this film; what an amazing sense of character and personality Kubrick creates through the use of Doug Rain's iconic, best-in-class voiceover and the varying cutaways to HAL's electronic eye in scenes featuring the computer. Be sure to check out my other episodes covering the other sections of 2001. Next up: THE STAR GATE sequence in Jupiter And Beyond The Infinite.

SUPER SPECIAL AND VERY IMPORTANT EMERGENCY BROADCASTA NEW JOHN WICK MOVIE OR SPINOFF OR WHATEVER HAS BEEN RELEASEDBEN & ALEX, YOU SWORE A BLOOD OATH TO COVER ANY AND ALL NEWLY RELEASED FILMS FROM A FRANCHISE THE SHOW HAS PREVIOUSLY COVEREDFAILURE TO DO A BALLERINA (2025) EPISODE WILL RESULT IN AN IMMEDIATE $1000000000000 BOUNTY PLACED ON BOTH OF YOUR HEADSOk fine relax relax, we're covering Ballerina From the World of John Wick or whatever it's called, we're doing it, relax, get off our asses. We're really gonna phone this one in though, ok? We're ordering pizza, we're eating it on mic, and there's nothing you can do about it.In addition to BALLERINA we also talk about a few others films such as THE KILLER, YOU'RE A BIG BOY NOW, and 2001: A SPACE ODYSSEY.Follow us @thefranchisees on Instagram and Twitter and email us at thefranchiseespod@gmail.com

In part 2 of my four-part series on 2001, I am going through the TMA-1 (Tycho Magnetic Anomaly One) sequence in which Dr. Haywood Floyd of "The Council" visits the International Space Station, diverts some Russian scientist attentions, presents a specious, US Governmental coverup of the Clavius discovery to a group of cowed committee members, and then embarks to Clavius base on the Moon to visit the Monolith. This sequence famously uses Johann Strauss' 'The Blue Danube' as well as additional modern pieces by Ligeti. Here's the hilarious video making fun of the exposition scenes in the latest Mission Impossible movie. Tom, we kid because we love! Check out my totally free newsletter. It's full of recommendations and podcast-adjacent ephemera. Also it's a place to hear from you!

I want to podcast with you. Without speaking. On this episode of Deep Cut Upkeep we step into 1950s Mexico City and dive into the lush world of Luca Guadagnino's Queer. Wilson expands more on his love for the film and why it topped his 2024 film list. Eli talks about the narrative constraints of this (bio)pic about William S. Burroughs. Ben draws links between Queer and Stanley Kubrick's 2001: A Space Odyssey. Together, we talk about performance, Guadagnino's eye for style, debate that Ayahuasca sequence, and end the episode with a quick round of Luca Guadagnino power rankings. Links:Natalie's letterboxd review of QueerNYFF panel of Queer Take a TRIP to our free patreon, discord server, and our socials @ www.deepcutpod.comTimestamps:00:00 Intro02:50 General reactions08:26 Spoiler warning09:31 Production context12:50 Narrative structure16:30 Craig's performance as Lee19:12 Blocking and eyelines21:03 First meeting between Lee and Allerton25:09 Act 227:35 Yagé29:28 The relationship36:40 Comparison with In The Mood for Love40:32 The trip47:15 The ending50:55 Comparison to other Guadagnino58:33 Outro

D. Harlan Wilson's Strangelove Country is a deft, innovative study of Stanley Kubrick's relationship with science fiction that explores how the genre shaped his cinematic identity and how that identity reshaped the genre. Focusing on Kubrick's futurist trilogy—Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange—as well as his collaboration with Steven Spielberg on A.I. Artificial Intelligence, Wilson takes a unique approach that is at once scholarly and defiant of academic stodge. Specifically, he views the “Kubrickian consciousness” through the lens of schizoanalysis and filmosophy, methods of inquiry that he uses to probe how Kubrick's oeuvre forms a singular, autonomous, interstitial “filmind” distinct from the director, with its own way of thinking, seeing, and being. Synthesizing film theory, critical analysis, and novelistic technique, Wilson reaffirms Kubrick's status as one of the twentieth century's greatest auteurs while casting new light on the filmmaker's extraordinary contribution to the history of cinema. Buy the book here. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Scariest Movie EVER Made? Well upon its initial release forty-five years ago, not many critics saw it that way INCLUDING the author of the original novel which this film was based on, Stephen King.  But over time, this psychological thriller directed by the late, great Stanley Kubrick (2001: A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) has garnerned not only a devoted following but a never-ending stream of speculation about what it meant.  Many love it for the memorable main lead performance by Oscar-winner Jack Nicholson (Chinatown, One Flew Over the Cuckoos Nest, Batman)  as Jack Torrance, an aspiring writer whose family ends up situated at a VERY remote location known as the Overlook Hotel....he's an aspiring writer but as the winter progresses, he starts to lose his mind.  Also with him are his beleaguered wife Wendy played by the late, great Shelley Duvall (Popeye, 3 Women, Roxanne) and their young son Danny (Danny Lloyd) who has begun to experience a sort of psychic power known as.....THE SHINING. :o Also co-starring Scatman Crothers, Joe Turkel, and Barry Nelson, this horror classic has launched spin-off documentaries, weak imitations, and loads of memes - let's head to the Overlook Hotel! Host & Editor: Geoff GershonEditor: Ella GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

While drive-in theaters are few and far between these days, there are still ways to catch a movie in a unique venue. Such is the case with the famous Red Rocks Park and Amphitheatre, which has a "Film on the Rocks" series  each summer. Co-host Terry Lipshetz shares his thoughts on seeing "2001: A Space Odyssey" at Red Rocks during a recent trip to Denver. Co-host Bruce Miller also previews the Emmy Awards nominations, which are due out soon and some of the shows that might load up the nominations, such as "The Pitt," "The White Lotus," "Nobody Wants This" and "Andor." The hosts also talke the 50th anniversary of "Jaws" and the new trailers for "Wicked: For Good" and "Alien: Earth." About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. The show was named Best Podcast in the 2025 Iowa Better Newspaper Contest. Theme music Thunder City by Lunareh, used under license from Soundstripe. YouTube clearance: FV694ULMCJQDG0IY

The first of my four-part series on Stanley Kubrick's '2001: A Space Odyssey' covers some introductory approach notes and the first sequence in the film: 'The Dawn Of Man'. In these episodes I want to avoid a nerdy technical discussion about how the filmmakers did what they did in this extraordinary, still-vital film masterpiece and instead focus on the remarkable ability of the film to inspire thoughts and feelings in its viewers.   For a bibliography of resources consulted in the research of these episodes, check out my 6/13 newsletter for links to materials you might find of interest.

I overlooked getting this one posted here, so it's out of order. My apologies!Join Jim on a thrilling journey through the most iconic and influential science fiction and fantasy of the 1960s! From groundbreaking novels to works from established favorite authors, we'll explore the most beloved and enduring works of the decade that shaped the genre. From Heinlein to Clarke, LeGuin to Zelazny, we'll divine which novels rose to the top in each year of the decade through sales, awards, and reviews. So, buckle up and get ready to blast off into the fabulous world of 1960s science fiction and fantasy!#FantasyForTheAges #ReadingRecommendations #Classics #ClassicLiterature #HugoAwards #SciFi #ScienceFiction #Fantasy #FantasyFiction #SSF #BestBooks #Top3 #Top10 #booktube #booktuberWant to purchase books/media mentioned in this episode?2001: A Space Odyssey: https://t.ly/t3_m_Babel-17: https://t.ly/5Lu6xThe Ballad of Beta-2: https://t.ly/Fx0X6A Canticle for Leibowitz: https://t.ly/Nbd8gDo Androids Dream of Electric Sheep?: https://t.ly/KYKbnDorsai: https://t.ly/lqBeFDr. Bloodmoney, or How We Got Along After the Bomb: https://t.ly/t5opnThe Drowned World: https://t.ly/2QjIjDune: https://t.ly/4_w_kThe Einstein Intersection: https://t.ly/LNmEeA Fall of Moondust: https://t.ly/kro3SFarnham's Freehold: https://t.ly/PobXpFlowers for Algernon: https://t.ly/cOenOGlory Road: https://t.ly/jKIDrGraybeard: https://t.ly/PkFXQThe Left Hand of Darkness: https://t.ly/avJCxLord of Light: https://t.ly/ql0kmThe Man in the High Castle: https://t.ly/wVUUmThe Moon Is a Harsh Mistress: https://t.ly/621IcPlanet of the Apes: https://t.ly/aNdi3Slaughterhouse-Five: https://t.ly/7BINKSolaris: https://t.ly/Jth3pStranger in a Strange Land: https://t.ly/gXvOpStarship Troopers: https://t.ly/dsq75The Wanderer: https://t.ly/0v1eWWay Station: https://t.ly/Z5DumA Wizard of Earthsea: https://t.ly/KMQT4A Wrinkle in Time: https://t.ly/cAK14Ways to connect with us:Support us on Patreon: https://www.patreon.com/FantasyForTheAges Follow Jim/Father on Goodreads: https://www.goodreads.com/user/show/13848336-jim-scriven Join us on Discord: https://discord.gg/jMWyVJ6qKk Follow us on "X": @Fantasy4theAges Follow us on Blue Sky: @fantasy4theages.bsky.socialFollow us on Instagram: fantasy_for_the_ages Follow us on Mastodon: @FantasyForTheAges@nerdculture.de Email us: FantasyForTheAges@gmail.com Check out our merch: https://www.newcreationsbyjen.com/collections/fantasyfortheagesJim's Microphone: Blue Yeti https://tinyurl.com/3shpvhb4 ————————————————————————————Music and video elements licensed under Envato Elements:https://elements.envato.com/

Brian Michael Bendis gets very embarrassed whenever anyone goes on about his many, many accomplishments. So suffice it to say that he's written many of our favorite comics, and probably a whole bunch of yours too. Join him on jinxworld.com at the Powers Level for instant access to behind-the-scenes content, archived Masterclass sessions, and much more!For nearly THREE HOURS of bonus content — including 70 minutes more of our conversation with Brian and 31 more Marvel comics in the Mighty MBTM Checklist — support us at patreon.com/marvelbythemonth. $5 a month gets you instant access to our bonus feed of over 160 extended and exclusive episodes! Stories Covered in this Episode: Marvel Treasury Special Featuring 2001: A Space Odyssey, adapted by Jack Kirby, art by Jack Kirby and Frank Giacoia, letters by John Costanza, colors by Marie Severin and Jack Kirby, edited by Archie Goodwin and Marv Wolfman, ©1976 Marvel ComicsMarvel Treasury Special Featuring Captain America's Bicentennial Battles, written by Jack Kirby, art by Jack Kirby, Herb Trimpe, John Romita, and Barry Smith, letters by John Costanza, colors by Phil Rachelson, edited by Jack Kirby, ©1976 Marvel Comics "Marvel by the Month" theme v. 4 written and performed by Robb Milne. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Bluesky at @marvelbythemonth.com and Instagram (for now) at @marvelbythemonth, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we start a deep dive into Portals! In Part 1 we'll define the term from the idea of literal gateways to the metaphysical concept of thresholds and how they represent transitions between worlds or unlocking enlightenment through magick rituals using triangles of manifestation and magical circles. We'll talk about Carl Jung's symbolism of the portal as a gateway to the subconscious or shadow and we'll get into the tools used for portals like scrying stones or bathtubs. Finally we'll run through a ton of pop culture portals you've seen in your favorite films like Alice in Wonderland, 2001: A Space Odyssey or Twin Peaks!Stay subscribed to the show for Part 2 where we'll talk about literal portals- where are they, how are they constructed and who was messing around with these things. I'll provide examples from Jack Parsons to Britney Spears and Travis Scott before we get into the more modern concepts of portals when it comes to aliens and A.I. where we'll talk about the CCRU and AI entities crossing over into our world…Links:Stranger Things S1 and S4 analysis series: https://illuminatiwatcher.com/stranger-things-s1-occult-symbolism-of-eleven-mkultra-monolith-stargate-project-monarch/Kobe Bryant's Occult Kids Books: ILLUMINATI CONFIRMED! https://www.illuminatiwatcher.com/kobe-bryants-occult-kids-books-illuminati-confirmedWizard of Oz Esoteric Analysis: L. Frank Baum, Theosophy, Occultism & Cast Tragedies PART 1! https://illuminatiwatcher.com/wizard-of-oz-esoteric-analysis-l-frank-baum-theosophy-occultism-cast-tragedies-part-1/The Matrix Film Analysis Pt 1: Symbolism Oracles and Neo as the Christ Figure! https://www.illuminatiwatcher.com/the-matrix-film-analysis-pt-1-symbolism-oracles-and-neo-as-the-christ-figureDonnie Darko Film Analysis Pt 1: Gnostic Spirituality in New Age of the Great Reset! https://www.illuminatiwatcher.com/donnie-darko-film-analysis-pt-1-gnostic-spirituality-in-new-age-of-the-great-resetONE STOP SHOP- Rumble/YouTube, social media, signed books, audiobooks, shirts & more: AllMyLinks.com/IsaacWWANT MORE?... Check out my UNCENSORED show with my wife, Breaking Social Norms: https://breakingsocialnorms.com/GRIFTER ALLEY- get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links & more: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.

Marvel has published many licensed comic books over the years, many of which are obviously not intended to be part of their superhero universe. But in 1977, King of Comics Jack Kirby did an adaptation of Arthur C. Clark’s and Stanley Kubrick’s “2001: A Space Odyssey” which introduced a character named Machine Man that MarvelContinue reading "Ep. 128: Why is Jack Kirby’s Adaptation of “2001: A Space Odyssey” Marvel Canon?"

Paul Martz is an award-winning science fiction author, technology blogger, and former punk rock drummer. At age six, he saw 2001: A Space Odyssey on the big screen, which lead him to a collection of Arthur C. Clarke's short stories and a lifelong insatiable appetite for mind-bending science fiction. His short stories can be found at Amazing Stories, Uncharted Magazine, Creepy Podcast, and many others.  Paul is totally blind, but losing his eyesight hasn't slowed him down. He co-edited last year's RMFW anthology, Without Brakes, Fingers Crossed. And he competes in Rubik's Cube speedsolving competitions. His new non-fiction book, Solve It! The Only Speedsolving Guide for Blind Cubers, has just been released.  Paul lives in Erie, Colorado, where he sips lattes while the snow sublimates. Intro Music by Moby Gratis: https://mobygratis.com/ Outro Music by Dan-o-Songs: https://danosongs.com/   Host Mark Stevens www.writermarkstevens.com   Watch these interviews on YouTube (and subscribe)! https://youtube.com/playlist?list=PLBP81nfbKnDRjs-Nar9LNe20138AiPyP8&si=yl_seG5S4soyk216  

Welcome to Dev Game Club, where this week we complete our series on Fez. We talk about getting to New Game +, some favorite puzzles or mechanics, and then turn to our takeaways. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Finished the game! (once) Issues covered: Tim's audio quality, community event, mind blowing, needing a certain number of cubes, a discussion of QR codes, every QR code a Fez puzzle, not being sure you should follow a QR code, stepping through the 32-cube door, metaphysical reflections, stepping back through bit depth, meme sunglasses, seeing how the world is built, debug tools, keeping a secret, independence and control of marketing and secrets, time pivots and traversing quickly, glowing gates and time of day, the low gravity space, Fez notes, Brett tries to talk around figuring out how to translate the language, talking yourself into being on the right track but not being, the lore in the world, subverting expectations and norms, exploring consequences of innovation, inspiration and subversion of classic games, not overstaying the welcome of its mechanics, changing how you think of the game, always having something going on, the artifacts and treasure maps, a more approachable platformer, difficult twitch reflexes, so you're saying it's possible. Games, people, and influences mentioned or discussed: Keep Talking and No One Explodes, Kaeon, Calamity Nolan, Space Team, BioStats, Beyond Good & Evil, Alan Wake, 2001: A Space Odyssey, Super Hexagon, Atari 2600, NES, Adventure, Plato/The Republic, The Wizard of Oz, Assassin's Creed, Dark Souls, Mines of Moria, sixty second shooter prime, MYST, Minecraft, Tetris, Humongous, Freddi Fish, Pajama Sam, Father Beast, Vessel, Prince of Persia: The Lost Crown, Axiom Verge, Hollow Knight, Kirk Hamilton, Aaron Evers, Mark Garcia.  Next time: TBA! Twitch: timlongojr Discord DevGameClub@gmail.com

Stanley Kubrick's 2001: A Space Odyssey isn't just a sci-fi classic—it's a cinematic milestone that changed the language of film. In this video, we break down the film's mysterious symbolism, groundbreaking visuals, and philosophical questions about evolution, technology, and humanity's place in the universe. Whether you're a film buff, a philosophy nerd, or a JRPG fan who spotted the Xenogears influence a mile away, this deep dive is for you!

It landed safely... but did it land the PR? No. Forced girl boss branding, Oscar de la Renta suits, and a lot of unrelatability. PLUS: You are the company you keep.See omnystudio.com/listener for privacy information.

We want to give you all a heads up that Kelli's auto was messed up during the recording; it didn't pop up until post-production, and we are sorry for the inconvenience! 00:00 - Intro 04:34 - Coachella 19:27 - Lorde 22:38 - Alamo Drafthouse 23:28 - Carter Family Documentary 25:36 - Taylor Swift 32:08 - Mini Glee Reunion/Drama 35:08 - Mickey Rourke 40:11 - Ads 43:50 - Teen Mom Corner 49:05 - Keri Hilton 52:58 - Eric Dane 55:07 - SNL White Lotus Parody 58:29 - Dave Portnoy 01:02:59 - Keke Palmer 01:09:58 - Space Odyssey 01:15:50 - Luxury Takedown 01:18:56 - Outro Live show tickets here! - https://www.x1entertainment.com/beyondtheblinds Get more content over on Patreon! - patreon.com/Beyondtheblinds Now for our sponsors! Find the right pet insurance for your pet with ASPCA Pet Insurance! To explore coverage, visit ASPCApetinsurance.com/BLINDS. Soul! - Bring on the good vibes and treat yourself to Soul today! Right now, Soul is offering my audience 30% off your entire order! Go to GetSoul.com and use the code BLINDS. Learn more about your ad choices. Visit megaphone.fm/adchoices