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Clawdbot creator Peter Steinberger offers a sobering reframe: Programming isn't dying, it's just becoming a hobby. He's being honest about where it's headed. He recently came across an article making the case that it's okay to mourn programming as a craft, and it struck a chord: "A part of... me very strongly resonates with that because in my past, I spent a lot of time tinkering, just being really deep in the flow and just like cranking out code and like finding really beautiful solutions." But mourning, he says, is not the same as resisting. "It's okay to mourn it, but that's not something we can fight." His reasoning cuts to the core of why developer salaries ballooned in the first place: "The world for a long time had a lack of intelligence — if you see it like that — of people building things, and that's why salaries of software developers reached stupidly high amounts. And that will go away." The scarcity that made programming so financially rewarding was never really about the beauty of the craft. It was about supply and demand. AI is eroding that scarcity fast. And Peter Steinberger 🦞 isn't just theorising. He has shipped over 6,600 commits in a single month, much of it AI-assisted, sometimes without reading every line of code. That's what adaptation looks like in practice. The programmers who thrive won't be the ones who insist on writing every line themselves. They'll be the ones who understand systems deeply enough to direct, review, and build with AI as a collaborator. As Steinberger puts it: "The actual art of programming, it will stay there, but it's going to be like knitting — people do that because they like it, not because it makes any sense." The passion for code will always exist, but the era of it being a scarce and highly paid profession is coming to an end.show more

Big Brain AI

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15,023 views • 4 months ago •via X (Twitter)

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Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”

David Senra

12,759 views • 2 months ago

Linus Torvalds, creator of Linux, on why AI is both a bubble and a revolution at the same time: His answer refuses the binary, laying out why both things can be true at once: "I mean, clearly, it's clearly both, right? It's clearly a bubble and at the same time, it's very interesting and I think it will change society and I think it will change how most skilled jobs get done." But he pushes back on the maximalist framing: "At the same time, I don't think it's as revolutionary as people make it out to be." When asked about artists being angry that AI models were trained on their work without consent, Linus is blunt: "That's reality. Deal with it. That genie is out of the bottle. You're not getting it back. And you're not getting it back whether you are a photographer who's out of work… or you're a programmer that has to learn to deal with a new reality." On programming specifically, he's more optimistic, though he has a sharp caveat about vibe coding: "I really think that AI will be a tool and it will make people more productive. I think that vibe coding is great for getting into programming. I think it's going to be a horrible thing to maintain." His conclusion is that programmers aren't going anywhere: "You still want to have the people who know how to maintain the end result." Linus separates the technology from the noise around it: "I'm a huge believer in AI. I'm not a huge believer in the whole things going on around AI. I find the marketing and the market to be sick and twisted and there is going to be a crash and it's not… it's going to be ugly."

Linus Torvalds, creator of Linux, on why AI is both a bubble and a revolution at the same time: His answer refuses the binary, laying out why both things can be true at once: "I mean, clearly, it's clearly both, right? It's clearly a bubble and at the same time, it's very interesting and I think it will change society and I think it will change how most skilled jobs get done." But he pushes back on the maximalist framing: "At the same time, I don't think it's as revolutionary as people make it out to be." When asked about artists being angry that AI models were trained on their work without consent, Linus is blunt: "That's reality. Deal with it. That genie is out of the bottle. You're not getting it back. And you're not getting it back whether you are a photographer who's out of work… or you're a programmer that has to learn to deal with a new reality." On programming specifically, he's more optimistic, though he has a sharp caveat about vibe coding: "I really think that AI will be a tool and it will make people more productive. I think that vibe coding is great for getting into programming. I think it's going to be a horrible thing to maintain." His conclusion is that programmers aren't going anywhere: "You still want to have the people who know how to maintain the end result." Linus separates the technology from the noise around it: "I'm a huge believer in AI. I'm not a huge believer in the whole things going on around AI. I find the marketing and the market to be sick and twisted and there is going to be a crash and it's not… it's going to be ugly."

Big Brain AI

52,726 views • 3 months ago

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 views • 7 months ago

“What did you think of Lando being booed at race because people and I've seen it online as well say he doesn't deserve the title because McLaren favored him over his teammate. Do you think that's total nonsense?” Jacques Villeneuve: “That's a little bit ridiculous. When there was some booing in some races, that was embarrassing. You should never boo a driver that's clean, doesn't do anything dirty, on track is respectful, and on top of it is super fast. What's wrong with people? That was embarrassing. And, had it been that Piastri was a second a lap faster than him and somehow Lando was winning because a lot of things were happening, his car breaking down every time, then you could start thinking, okay, that's really not cool. That's not fair. But that wasn't the case. And in the second half, Norris has been faster right at the beginning as well, last year as well. So there's this whole middle of the season where Piastri was driving a lot better than Norris and was getting the points. Norris had an engine blowing up, not Piastri. And so those fans, they don't look at that either. You have to look at the whole picture, at the whole season. And suddenly if your favorite is starting to go backwards, you just got to bite the bullet and accept it. Your favorite is just going backwards. That doesn't mean that the other one is treated better or the other one is undeserving just because the one you're a fan of is not winning right now. That’s really wrong. If you're a fan of the sport, then you have to be a fan of the sport and understand when your driver is maybe not cutting it at this point in time, even though he was before and he will in the future again. It's all a question of timing. But that's the price we have to pay now with social media and how big F1 has become. It's very passionate. The people are passionate and once, you know, fans come from fanatism, you stop thinking, when you get in that mindset and it happens to all of us. You want something so much that you get attached and you cannot - it's hard to start seeing reality. So you will try to mold the reality to your thought process and if your champion is not winning then it cannot be his fault. It has to be something from the outside. It has to be the team destroying his chance or not favoring and so on and so on and so on. But there's nothing concrete behind those comments. It's pure fandom and it'll always be like this. And ultimately it's not a bad thing. You know drivers at that - sportsman at that level have to grow a thick skin. If not, you don't deserve to be there. You just have to have a thick skin because they're all very happy to get the compliments. They love it when it's just positive, but it gets balanced out with negatives and you need to be able to take and accept the negatives as well. It goes both ways. You cannot have the good. You just have to be a thick skin and know that it's part and parcels of what's going on. And in one month, it will be forgotten and maybe everything will change and it be the other driver that suddenly will be criticized and so on. So, it's just that's just the way it is.”

“What did you think of Lando being booed at race because people and I've seen it online as well say he doesn't deserve the title because McLaren favored him over his teammate. Do you think that's total nonsense?” Jacques Villeneuve: “That's a little bit ridiculous. When there was some booing in some races, that was embarrassing. You should never boo a driver that's clean, doesn't do anything dirty, on track is respectful, and on top of it is super fast. What's wrong with people? That was embarrassing. And, had it been that Piastri was a second a lap faster than him and somehow Lando was winning because a lot of things were happening, his car breaking down every time, then you could start thinking, okay, that's really not cool. That's not fair. But that wasn't the case. And in the second half, Norris has been faster right at the beginning as well, last year as well. So there's this whole middle of the season where Piastri was driving a lot better than Norris and was getting the points. Norris had an engine blowing up, not Piastri. And so those fans, they don't look at that either. You have to look at the whole picture, at the whole season. And suddenly if your favorite is starting to go backwards, you just got to bite the bullet and accept it. Your favorite is just going backwards. That doesn't mean that the other one is treated better or the other one is undeserving just because the one you're a fan of is not winning right now. That’s really wrong. If you're a fan of the sport, then you have to be a fan of the sport and understand when your driver is maybe not cutting it at this point in time, even though he was before and he will in the future again. It's all a question of timing. But that's the price we have to pay now with social media and how big F1 has become. It's very passionate. The people are passionate and once, you know, fans come from fanatism, you stop thinking, when you get in that mindset and it happens to all of us. You want something so much that you get attached and you cannot - it's hard to start seeing reality. So you will try to mold the reality to your thought process and if your champion is not winning then it cannot be his fault. It has to be something from the outside. It has to be the team destroying his chance or not favoring and so on and so on and so on. But there's nothing concrete behind those comments. It's pure fandom and it'll always be like this. And ultimately it's not a bad thing. You know drivers at that - sportsman at that level have to grow a thick skin. If not, you don't deserve to be there. You just have to have a thick skin because they're all very happy to get the compliments. They love it when it's just positive, but it gets balanced out with negatives and you need to be able to take and accept the negatives as well. It goes both ways. You cannot have the good. You just have to be a thick skin and know that it's part and parcels of what's going on. And in one month, it will be forgotten and maybe everything will change and it be the other driver that suddenly will be criticized and so on. So, it's just that's just the way it is.”

naenia ¹ ⁶³

29,833 views • 8 months ago

Robert Pattinson making a drink inspired by THE BATMAN. "So this is an Old Fashioned, the granddaddy of drinks, for The Batman, the granddaddy of superheroes and the most relevant and important. [...] Well since I started doing the part, you look into the kind of legacy of it. So many people have seen it, there's characters that look like the Batman in like ancient civilizations. I mean there's something about that face that's a very deep and primal thing. It connects to people, it connects to children, it connects to adults, and then the legacy of the movies as well. [...] It seemed like one of those parts that was, it's like climbing Everest or something. Like you kind of, you don't really feel like it's a possibility but I felt something in my heart but I really, really wanted to do it."

Robert Pattinson making a drink inspired by THE BATMAN. "So this is an Old Fashioned, the granddaddy of drinks, for The Batman, the granddaddy of superheroes and the most relevant and important. [...] Well since I started doing the part, you look into the kind of legacy of it. So many people have seen it, there's characters that look like the Batman in like ancient civilizations. I mean there's something about that face that's a very deep and primal thing. It connects to people, it connects to children, it connects to adults, and then the legacy of the movies as well. [...] It seemed like one of those parts that was, it's like climbing Everest or something. Like you kind of, you don't really feel like it's a possibility but I felt something in my heart but I really, really wanted to do it."

Robert Pattinson Photos | Fansite

24,280 views • 4 months ago

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

HSNews

179,234 views • 5 months ago

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲

Tanz Cho 💹🧲

12,294 views • 1 month ago

Peter Jackson talks about AI in Hollywood. Calls it “a tool” like stop-motion or CGI before and what ultimately matters is “imagination, originality” of whoever uses the tool: “I think AI — used in the right way — is a tool like any other tool. [The original] King Kong…was stop-motion and done by a person moving a rubber creature. Why shouldn't somebody on a computer using AI software be able to create their own imagery? They should. It's a tool. It's no different from many other tools that have existed over the years. But the other side of it is that it's always going to come down to the imagination and originality of the person feeding the instructions into the AI program. It's not that you're going to type in an instruction and it's going to generate your shot, and that's that. The question is: is it actually interesting? Is it funny? Is it imaginative? And are you going to stitch it together to make a narrative, a story? Some people will make really great films that way. Some people will do exactly the same process and their film will be crap, just like in the normal film industry. Whether it's AI or anything else, it comes down to whether the person behind it — or the people behind it — have originality, imagination, and an ability to entertain people.”

Peter Jackson talks about AI in Hollywood. Calls it “a tool” like stop-motion or CGI before and what ultimately matters is “imagination, originality” of whoever uses the tool: “I think AI — used in the right way — is a tool like any other tool. [The original] King Kong…was stop-motion and done by a person moving a rubber creature. Why shouldn't somebody on a computer using AI software be able to create their own imagery? They should. It's a tool. It's no different from many other tools that have existed over the years. But the other side of it is that it's always going to come down to the imagination and originality of the person feeding the instructions into the AI program. It's not that you're going to type in an instruction and it's going to generate your shot, and that's that. The question is: is it actually interesting? Is it funny? Is it imaginative? And are you going to stitch it together to make a narrative, a story? Some people will make really great films that way. Some people will do exactly the same process and their film will be crap, just like in the normal film industry. Whether it's AI or anything else, it comes down to whether the person behind it — or the people behind it — have originality, imagination, and an ability to entertain people.”

Bearly AI

43,816 views • 3 months ago

I want to know what it's like to be the best in the world? Lewis Hamilton: "It feels pretty special for a short, but a really short space of time. Like, as soon as getting there, getting there, and then it's kind of. I think it's like being at the peak of a mountain. You can only be there for a short period of time, you've got to go down again. And so, it's like the climb down and then the build to trying to do it again.I think from the outside, it looks more than it is,It feels great that you've done it and you're proud of yourself, but then you're like, straight on to the next one"

I want to know what it's like to be the best in the world? Lewis Hamilton: "It feels pretty special for a short, but a really short space of time. Like, as soon as getting there, getting there, and then it's kind of. I think it's like being at the peak of a mountain. You can only be there for a short period of time, you've got to go down again. And so, it's like the climb down and then the build to trying to do it again.I think from the outside, it looks more than it is,It feels great that you've done it and you're proud of yourself, but then you're like, straight on to the next one"

LH44(A)

16,285 views • 1 month ago

AI is changing the software engineering craft. Anders Hejlsberg (Anders Hejlsberg) - creator of C#, TypeScript and industry legend - on why code review needs to get more enjoyable in response: #1 - AI is shifting the craft from writing code, to reviewing code: "In a sense, we're all turning into project managers. We can have an army of junior programmers, called agents, that will just spit out reams of code but someone's got to have the big picture and review all of that. And so, increasingly, our craft is going from one of writing the code, to one of reviewing the code and building the architecture of the code and overseeing the work. It's a different kind of craft. It's a different kind of enjoyment. I've always liked writing the code. To me that was the fulfilling part, seeing it work. In a way, AI robs a little bit of that, because I am less interested in reviewing code." #2 - The code review experience should be improved: "I think we could also make the process of reviewing code much more interesting than it is today. I mean, today, you see a list of diffs in alphabetical order and now it's up to you to make heads or tails of it. There are more pedagogical ways of presenting that. And you could have commentary generated by the AI that tells you what the changes are and whatever, and then tries to guide you along. So that symbiotic relationship, I think we need to work on that more and to keep the enjoyment in there."

AI is changing the software engineering craft. Anders Hejlsberg (Anders Hejlsberg) - creator of C#, TypeScript and industry legend - on why code review needs to get more enjoyable in response: #1 - AI is shifting the craft from writing code, to reviewing code: "In a sense, we're all turning into project managers. We can have an army of junior programmers, called agents, that will just spit out reams of code but someone's got to have the big picture and review all of that. And so, increasingly, our craft is going from one of writing the code, to one of reviewing the code and building the architecture of the code and overseeing the work. It's a different kind of craft. It's a different kind of enjoyment. I've always liked writing the code. To me that was the fulfilling part, seeing it work. In a way, AI robs a little bit of that, because I am less interested in reviewing code." #2 - The code review experience should be improved: "I think we could also make the process of reviewing code much more interesting than it is today. I mean, today, you see a list of diffs in alphabetical order and now it's up to you to make heads or tails of it. There are more pedagogical ways of presenting that. And you could have commentary generated by the AI that tells you what the changes are and whatever, and then tries to guide you along. So that symbiotic relationship, I think we need to work on that more and to keep the enjoyment in there."

The Pragmatic Engineer

39,011 views • 2 months ago

This video is my experience of being transgender. 🏳️‍⚧️ Ive been seeing a lot of talk about trans peeps in the Vtuber sphere and just in general. How being trans can put you in hot water or something. And it's been on my mind a lot, considering the topic hits close to home and ive experienced it quite a bit. This is also for those who are willing to learn a little about what it's truly like being a trans person. Points like how it isn't a mental illness and that it's a process that takes time, effort, planning, and isn't a split-second decision. It's for the better. Not self-harm, but self-improvement. Hopefully, this voice will be loud as well in support of being aware of what it's like to be someone like me. It's hard and tough sometimes, but worth doing, so I can live my life at its happiest. Not just any of the negative ones who simply wish to just insult and use random BS as ammo instead of staying on the topic at hand, or just like to be a jackass. Rather than following the hateful, insulting, ignorant jerks who just wish to insult people like me. Research it for yourself, see the other side, and make your own decision, and properly make points instead of just insults. After this, I'll go back into my corner and continue to make funny doodles and entertain now that ive gotten it out of my system and hopefully helped inform some of you what it's like.

This video is my experience of being transgender. 🏳️‍⚧️ Ive been seeing a lot of talk about trans peeps in the Vtuber sphere and just in general. How being trans can put you in hot water or something. And it's been on my mind a lot, considering the topic hits close to home and ive experienced it quite a bit. This is also for those who are willing to learn a little about what it's truly like being a trans person. Points like how it isn't a mental illness and that it's a process that takes time, effort, planning, and isn't a split-second decision. It's for the better. Not self-harm, but self-improvement. Hopefully, this voice will be loud as well in support of being aware of what it's like to be someone like me. It's hard and tough sometimes, but worth doing, so I can live my life at its happiest. Not just any of the negative ones who simply wish to just insult and use random BS as ammo instead of staying on the topic at hand, or just like to be a jackass. Rather than following the hateful, insulting, ignorant jerks who just wish to insult people like me. Research it for yourself, see the other side, and make your own decision, and properly make points instead of just insults. After this, I'll go back into my corner and continue to make funny doodles and entertain now that ive gotten it out of my system and hopefully helped inform some of you what it's like.

Mella Tonynn 💤😈

10,827 views • 5 months ago

"That pussy Adam Cole broke his ankle like the complete dork that he is." MJF talks about the revisionist history of his story with Adam Cole "Here's what happened. At the time, and this is just a fact, we were the highest minute-for-minute drawing angle, not just in AEW, but in all of professional wrestling at that point. We were moving the most merch in the company. At that point, and was to no fault, Bloodline's going to go down as one of the greatest long-term thing, but at that point there was a bit of lull in their story at that point in 2023, and we had taken lead and Better Than You, Baby is what everybody was talking about and then that pussy Adam Cole broke his ankle like the complete dork that he is and then he decided to turn on me because he's a horrible human being. But I learned a lot in that in that year I learned a lot about myself you know when I when I was out—full disclosure I was in a very dark place." I also asked about the injuries he had suffered "It was my hip, my left shoulder; my last two pay-per-view matches—pretty much the left side of my body was useless. But I wasn't going to tell the doctors that because that's not how I was brought up. In not just in real life, but in this business. When I had that time off, I had a lot of time to reflect and it made me angry. Now I look back on it and I shouldn't have been angry at the fans. Who I should have been angry was that myself. Because I went from being, ‘MJF is the best thing since sliced bread,’ and within a flip of a switch, ‘It's MJF sucks. He's killing this company that we love.’ It took, if we're being honest, it took all the way into like the first month of this year of 2025 for everybody to be like, ‘Maybe we were harsh. Maybe he's actually still one of the best in the world. They can't help it. But I know why. It's because nobody likes a braggart. But the unfortunate thing is I can't help myself. I'm just really good at my job and I can't help but talk about it."

"That pussy Adam Cole broke his ankle like the complete dork that he is." MJF talks about the revisionist history of his story with Adam Cole "Here's what happened. At the time, and this is just a fact, we were the highest minute-for-minute drawing angle, not just in AEW, but in all of professional wrestling at that point. We were moving the most merch in the company. At that point, and was to no fault, Bloodline's going to go down as one of the greatest long-term thing, but at that point there was a bit of lull in their story at that point in 2023, and we had taken lead and Better Than You, Baby is what everybody was talking about and then that pussy Adam Cole broke his ankle like the complete dork that he is and then he decided to turn on me because he's a horrible human being. But I learned a lot in that in that year I learned a lot about myself you know when I when I was out—full disclosure I was in a very dark place." I also asked about the injuries he had suffered "It was my hip, my left shoulder; my last two pay-per-view matches—pretty much the left side of my body was useless. But I wasn't going to tell the doctors that because that's not how I was brought up. In not just in real life, but in this business. When I had that time off, I had a lot of time to reflect and it made me angry. Now I look back on it and I shouldn't have been angry at the fans. Who I should have been angry was that myself. Because I went from being, ‘MJF is the best thing since sliced bread,’ and within a flip of a switch, ‘It's MJF sucks. He's killing this company that we love.’ It took, if we're being honest, it took all the way into like the first month of this year of 2025 for everybody to be like, ‘Maybe we were harsh. Maybe he's actually still one of the best in the world. They can't help it. But I know why. It's because nobody likes a braggart. But the unfortunate thing is I can't help myself. I'm just really good at my job and I can't help but talk about it."

Sean Ross Sapp of Fightful.com

36,450 views • 8 months ago

Yunjin talked about the significance of slowness in a world that moves so fast & virtue of patience ❤️‍🩹 “What I've been thinking about lately is the importance of being deliberately slow about things and allowing yourself a pocket of time in your day to not be rushed by anyone or anything, not even yourself. When we had our show in Shizuoka, we got on, we took the train there, the Shinkansen, instead of taking a flight like we would normally and it was really really nice because we were allotted an amount of time in our day to basically just sit with ourselves. You know, that's what I love about being on a plane or just in any vehicle, because you are not driving it or you could be driving it, but you can’t travel in a split second. There's time. There's a time of arrival that you can't control and you just kind of have to wait and sit with yourself. But I feel this need to be on airplane mode when I do have those opportunities to be off my phone and just, like, disconnected from the world, but also not disconnected from the world. You know what I mean? Like, when you're on a plane, you're still part of the world. You're just, like, not on the stratosphere, like, physically. And it kind of like, forces you to be, like. To, like, separate yourself for a second, like a couple hours or a couple days, if you're like a layover or something. I found myself looking out the window of the train and just, like, enjoying myself. Because everything is so fast, and I think everything. Ever since then, I've been deliberately, like, making an effort to do one thing very slowly, and it's very nice. It’s good. It's a good way to kind of put your feet back on the ground and remind yourself that not everything has to be you know, it's okay to take a breather and just wait. It's a virtue. Patience is a virtue, you know, but it's also virtue to enjoy it and gift yourself that time. It's kind of rebellious in a way, because no one can take that right from you. To do something with less urgency when everybody around you is like, of course, if it's an urgent manner, you should or urgent matter, you should do things accordingly but, you know, if it's like you don't need to wash your hair, like, in three minutes. Like, you can take your time to really think about. You know, sometimes we just live on. Autopilot so much, I think it's important to remind ourselves we're not AI.”

Yunjin talked about the significance of slowness in a world that moves so fast & virtue of patience ❤️‍🩹 “What I've been thinking about lately is the importance of being deliberately slow about things and allowing yourself a pocket of time in your day to not be rushed by anyone or anything, not even yourself. When we had our show in Shizuoka, we got on, we took the train there, the Shinkansen, instead of taking a flight like we would normally and it was really really nice because we were allotted an amount of time in our day to basically just sit with ourselves. You know, that's what I love about being on a plane or just in any vehicle, because you are not driving it or you could be driving it, but you can’t travel in a split second. There's time. There's a time of arrival that you can't control and you just kind of have to wait and sit with yourself. But I feel this need to be on airplane mode when I do have those opportunities to be off my phone and just, like, disconnected from the world, but also not disconnected from the world. You know what I mean? Like, when you're on a plane, you're still part of the world. You're just, like, not on the stratosphere, like, physically. And it kind of like, forces you to be, like. To, like, separate yourself for a second, like a couple hours or a couple days, if you're like a layover or something. I found myself looking out the window of the train and just, like, enjoying myself. Because everything is so fast, and I think everything. Ever since then, I've been deliberately, like, making an effort to do one thing very slowly, and it's very nice. It’s good. It's a good way to kind of put your feet back on the ground and remind yourself that not everything has to be you know, it's okay to take a breather and just wait. It's a virtue. Patience is a virtue, you know, but it's also virtue to enjoy it and gift yourself that time. It's kind of rebellious in a way, because no one can take that right from you. To do something with less urgency when everybody around you is like, of course, if it's an urgent manner, you should or urgent matter, you should do things accordingly but, you know, if it's like you don't need to wash your hair, like, in three minutes. Like, you can take your time to really think about. You know, sometimes we just live on. Autopilot so much, I think it's important to remind ourselves we're not AI.”

nat ☆彡

15,642 views • 3 days ago

Tim Burton on the similarities between Abraham Lincoln & Batman: "I first heard the idea of even before Seth Grahame-Smith had written the book. It was just when he was thinking about writing the book, I heard the title "Abraham Lincoln vampire Hunter". It just all of a sudden took me [my mind] back to kind of the era of films that I grew up in; like the 60s & early 70s where it was like a weird mashup of movie. I remember things like "Dr. Jekyll and Sister Hyde" (1971) and you know you get these weird kind of mixups of horror films and it just sounded to me like the kind of a movie that I wanted to see. It just reminded me of movie of that era and it had that kind of crazy energy to it and weird juxtapositions of things. So I knew even before reading he book that it was a great idea. It basically takes the the story of Lincoln which Seth really kind of went through the history of the life of Lincoln and linked it up to sort of vampire mythology. The idea that his mother was ki!!ed by a vampire and how that shaped the rest of his life. And again the interesting thing about it is that it's not as farfetched as it sounds. I mean the events and the idea of him becoming a vampire hunter and like all the deaths that he had in his family and people close to him, it makes a lot of sense and it's actually more believable than the premise makes it. So that's what was interesting because we never wanted to make fun of anything. We wanted to treat it seriously like a human story and a real story. We talked about the idea and the fact is that it very much sort of Mirrors the kind of the classic comic book superhero mythology. In some cases he's not dissimilar from Batman in the sense that he's got a dual life; he's got a day job as President and a night job as a vampire Hunter; The kind of duality of those characters and that's is something that was important - to keep the human quality of him but then kind of explore the mythological or sort of superhero nature of how we perceive Lincoln and mix those two together and that's what we have in the movie." (Tim Burton's interview to Rotten Tomatoes, 2012) Clip From: Abraham Lincoln: Vampire Hunter (2012) Director: Timur Bekmambetov

Tim Burton on the similarities between Abraham Lincoln & Batman: "I first heard the idea of even before Seth Grahame-Smith had written the book. It was just when he was thinking about writing the book, I heard the title "Abraham Lincoln vampire Hunter". It just all of a sudden took me [my mind] back to kind of the era of films that I grew up in; like the 60s & early 70s where it was like a weird mashup of movie. I remember things like "Dr. Jekyll and Sister Hyde" (1971) and you know you get these weird kind of mixups of horror films and it just sounded to me like the kind of a movie that I wanted to see. It just reminded me of movie of that era and it had that kind of crazy energy to it and weird juxtapositions of things. So I knew even before reading he book that it was a great idea. It basically takes the the story of Lincoln which Seth really kind of went through the history of the life of Lincoln and linked it up to sort of vampire mythology. The idea that his mother was ki!!ed by a vampire and how that shaped the rest of his life. And again the interesting thing about it is that it's not as farfetched as it sounds. I mean the events and the idea of him becoming a vampire hunter and like all the deaths that he had in his family and people close to him, it makes a lot of sense and it's actually more believable than the premise makes it. So that's what was interesting because we never wanted to make fun of anything. We wanted to treat it seriously like a human story and a real story. We talked about the idea and the fact is that it very much sort of Mirrors the kind of the classic comic book superhero mythology. In some cases he's not dissimilar from Batman in the sense that he's got a dual life; he's got a day job as President and a night job as a vampire Hunter; The kind of duality of those characters and that's is something that was important - to keep the human quality of him but then kind of explore the mythological or sort of superhero nature of how we perceive Lincoln and mix those two together and that's what we have in the movie." (Tim Burton's interview to Rotten Tomatoes, 2012) Clip From: Abraham Lincoln: Vampire Hunter (2012) Director: Timur Bekmambetov

DepressedBergman

24,310 views • 1 month ago

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”

Gangster Cinema Central

427,628 views • 2 months ago

Max Homa says he doesn’t agree with the ruling on Bryson DeChambeau yesterday and says he knows Bryson would “never cheat the game of golf”: “I'm not really, I guess, wanting to be able to decide on fair, because they're the rules officials. I only saw one angle, and in my opinion I didn't agree with the ruling. I know there's another angle that -- side on, it's always hard to tell if it improves anything. “All I know is I've known Bryson for a very long time, and he's an interesting human at times, but I know he would never cheat the game of golf. I don't really love how it happened. It's not that the R&A said that he did it intentionally, but that rule as a professional golfer feels like it's written inherently to protect against people trying to improve their lie. So I just hope that people don't have that -- that doesn't create a narrative because I don't believe that of him. “But again, I'm not going to sit here -- it's really hard to tell anything. So yeah, that one is not up for me to judge. But it's a shame how that ruling feels because it seems like -- we were talking about it this morning. It's like you would try to call somebody out in junior golf because you could tell they were stomping around the ball. It didn't look like that to me. But that's not up to me. I just don't think that's in his character, so it's a shame I think that's kind of how it's being portrayed to some.” The Open

Max Homa says he doesn’t agree with the ruling on Bryson DeChambeau yesterday and says he knows Bryson would “never cheat the game of golf”: “I'm not really, I guess, wanting to be able to decide on fair, because they're the rules officials. I only saw one angle, and in my opinion I didn't agree with the ruling. I know there's another angle that -- side on, it's always hard to tell if it improves anything. “All I know is I've known Bryson for a very long time, and he's an interesting human at times, but I know he would never cheat the game of golf. I don't really love how it happened. It's not that the R&A said that he did it intentionally, but that rule as a professional golfer feels like it's written inherently to protect against people trying to improve their lie. So I just hope that people don't have that -- that doesn't create a narrative because I don't believe that of him. “But again, I'm not going to sit here -- it's really hard to tell anything. So yeah, that one is not up for me to judge. But it's a shame how that ruling feels because it seems like -- we were talking about it this morning. It's like you would try to call somebody out in junior golf because you could tell they were stomping around the ball. It didn't look like that to me. But that's not up to me. I just don't think that's in his character, so it's a shame I think that's kind of how it's being portrayed to some.” The Open

Flushing It

2,328,890 views • 28 days ago

Jason Day was asked ahead of The Masters whether he has any empathy for what Tiger Woods is going through and he gave a brilliant answer that a lot of people can probably agree with: “So yeah, in regards to Tiger, it just shows the human element and the human side of someone that is struggling with some sort of an addiction. He's not immune to it just because he can hit a golf ball really well. He's had 25 to 30 something surgeries, and when you're going through that many procedures, it's painful coming out of those procedures. I've had procedures done and I typically try and stay away from all that stuff because I just know that -- painkillers, there can potentially be a downfall to it. “Granted, when I look at that, I look at it and go, he's just a human being like everyone else and we have struggles. It's unfortunate, the only thing that I don't understand is that it's a little bit selfish of him to drive and put other people in harm's way, as well. “But when you're the player that he was and how strong-willed he is, he thinks he can do almost anything, and that's probably why he's probably driving and a little bit under the influence. “He was my hero -- he's my hero. He was my hero growing up. The reason why I play golf is because of this tournament and Tiger. It's hard to see him go through what he's going through, and especially under the microscope that -- it must be hard to be who he is and have everything, everyone look on, kind of down on him. “Some people want him to fail. Some people obviously want him to succeed. It's really difficult for me to go through that and watch him, and I know that he's getting the help now, which is good. I'm just hoping he comes out on the other side and is better.” Well said. Jason Day The Masters

Jason Day was asked ahead of The Masters whether he has any empathy for what Tiger Woods is going through and he gave a brilliant answer that a lot of people can probably agree with: “So yeah, in regards to Tiger, it just shows the human element and the human side of someone that is struggling with some sort of an addiction. He's not immune to it just because he can hit a golf ball really well. He's had 25 to 30 something surgeries, and when you're going through that many procedures, it's painful coming out of those procedures. I've had procedures done and I typically try and stay away from all that stuff because I just know that -- painkillers, there can potentially be a downfall to it. “Granted, when I look at that, I look at it and go, he's just a human being like everyone else and we have struggles. It's unfortunate, the only thing that I don't understand is that it's a little bit selfish of him to drive and put other people in harm's way, as well. “But when you're the player that he was and how strong-willed he is, he thinks he can do almost anything, and that's probably why he's probably driving and a little bit under the influence. “He was my hero -- he's my hero. He was my hero growing up. The reason why I play golf is because of this tournament and Tiger. It's hard to see him go through what he's going through, and especially under the microscope that -- it must be hard to be who he is and have everything, everyone look on, kind of down on him. “Some people want him to fail. Some people obviously want him to succeed. It's really difficult for me to go through that and watch him, and I know that he's getting the help now, which is good. I'm just hoping he comes out on the other side and is better.” Well said. Jason Day The Masters

Flushing It

502,968 views • 4 months ago

Edward Norton on "American History X" (1999) and the challenges he faced while playing the neo-Nazi character of Derek: "We viewed it as a modern-day Shakespearian tragedy. We were approaching it from the point of view of like the skin of it is modern, but it's timeless. It's a classical approach to a tragedy, like Othello or Macbeth or anything like that. This is a guy with enormous potential, he's not a marginal figure, he's like a general. Let you see all the things, all the qualities he has that could've been applied in positive ways and show that rage, anger destroys him. Sure, it's about a skinhead, but in some ways, you want to say, it's a very heightened character. But ultimately, it is about the corrosive effect of anger. And the anger distorts, warps & destroys. That is something people can relate to. It is always better to be able to connect to the fact that a character in his own mind feels right. Like if you're Ralph Fiennes and you're playing Voldemort in Harry Potter, that's a villain. He's a supernatural version of evil. But if you're playing a human character, they have a point of view, and by making him intelligent, it was like an avenue for me to come at it in my own.. in a way that's unexpected. The trappings are what you want to be able to dismiss because they are so extreme, but if he is able to articulate himself; he has a forceful point of view, it becomes tricky because you are sort of going, "oh, I don't like this, but I hear where he is coming from." ("Role Recall: Edward Norton on landing 'Primal Fear' after Leo passed, making 'Fight Club' funny and who's his favorite Bruce Banner", Kevin Polowy, Yahoo! entertainment, 2019)

Edward Norton on "American History X" (1999) and the challenges he faced while playing the neo-Nazi character of Derek: "We viewed it as a modern-day Shakespearian tragedy. We were approaching it from the point of view of like the skin of it is modern, but it's timeless. It's a classical approach to a tragedy, like Othello or Macbeth or anything like that. This is a guy with enormous potential, he's not a marginal figure, he's like a general. Let you see all the things, all the qualities he has that could've been applied in positive ways and show that rage, anger destroys him. Sure, it's about a skinhead, but in some ways, you want to say, it's a very heightened character. But ultimately, it is about the corrosive effect of anger. And the anger distorts, warps & destroys. That is something people can relate to. It is always better to be able to connect to the fact that a character in his own mind feels right. Like if you're Ralph Fiennes and you're playing Voldemort in Harry Potter, that's a villain. He's a supernatural version of evil. But if you're playing a human character, they have a point of view, and by making him intelligent, it was like an avenue for me to come at it in my own.. in a way that's unexpected. The trappings are what you want to be able to dismiss because they are so extreme, but if he is able to articulate himself; he has a forceful point of view, it becomes tricky because you are sort of going, "oh, I don't like this, but I hear where he is coming from." ("Role Recall: Edward Norton on landing 'Primal Fear' after Leo passed, making 'Fight Club' funny and who's his favorite Bruce Banner", Kevin Polowy, Yahoo! entertainment, 2019)

DepressedBergman

26,726 views • 5 months ago

John Ternus, Apple's incoming CEO, on the Steve Jobs story that shapes every product decision at Apple: Ternus recalls the moment in his own words: "I think you know one of my favorite stories... It was about Steve when he was moving a piece of furniture, a chest of drawers and pulled it away from the wall and looked at the back and was just reflecting on, you know, the carpenter had made it beautiful. It finished the back as beautifully as the rest of it, even though nobody was going to see it." For Ternus, the story is a working philosophy: "I think about that all the time because I think that perfectly exemplifies what we do here." He points to Apple's most affordable Mac as proof that this standard applies across the entire product line, not just the premium tier: "We've been talking about the MacBook Neo. I mean, here is our most affordable Mac we've ever made, and it's absolutely beautiful. And if you open it up and look inside, it's just as beautiful, right?" Ternus continues: "That's true on an iPhone Pro Max or a MacBook Pro or an iPad Pro, but it's also true on a MacBook Neo. That's what we do." The takeaway is a clear signal about the direction Apple is heading under his leadership: "It's just been really good to kind of think about that and reflect on that because that is probably the best kind of clue as to where we're going in the future is we're going to keep pushing in that same way." The lesson? Excellence isn't about what people see, it's about what you refuse to compromise on, even when no one's looking. That principle shaped Apple under Jobs and Cook, and it's the standard Ternus is committing to carry forward.

John Ternus, Apple's incoming CEO, on the Steve Jobs story that shapes every product decision at Apple: Ternus recalls the moment in his own words: "I think you know one of my favorite stories... It was about Steve when he was moving a piece of furniture, a chest of drawers and pulled it away from the wall and looked at the back and was just reflecting on, you know, the carpenter had made it beautiful. It finished the back as beautifully as the rest of it, even though nobody was going to see it." For Ternus, the story is a working philosophy: "I think about that all the time because I think that perfectly exemplifies what we do here." He points to Apple's most affordable Mac as proof that this standard applies across the entire product line, not just the premium tier: "We've been talking about the MacBook Neo. I mean, here is our most affordable Mac we've ever made, and it's absolutely beautiful. And if you open it up and look inside, it's just as beautiful, right?" Ternus continues: "That's true on an iPhone Pro Max or a MacBook Pro or an iPad Pro, but it's also true on a MacBook Neo. That's what we do." The takeaway is a clear signal about the direction Apple is heading under his leadership: "It's just been really good to kind of think about that and reflect on that because that is probably the best kind of clue as to where we're going in the future is we're going to keep pushing in that same way." The lesson? Excellence isn't about what people see, it's about what you refuse to compromise on, even when no one's looking. That principle shaped Apple under Jobs and Cook, and it's the standard Ternus is committing to carry forward.

Big Brain Business

164,871 views • 3 months ago