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Strange beauty

Love strangleress

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18,543 views • 4 days ago •via X (Twitter)

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The beauty of Life is Strange 🦋

The beauty of Life is Strange 🦋

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In the quest for more beauty, this queen wash her body with milk everyday just to get more beauty, but when she couldn’t achieve this something strange happened

In the quest for more beauty, this queen wash her body with milk everyday just to get more beauty, but when she couldn’t achieve this something strange happened

Orji

20,554 views • 2 months ago

A Surreal Journey Through Strange Beauty. The song is called “Betrayal” made using Suno and animated using #Veo3. Images: #Midjourney. Some interesting fashion in these. #ai #aiart #aivideo #aimusic

A Surreal Journey Through Strange Beauty. The song is called “Betrayal” made using Suno and animated using #Veo3. Images: #Midjourney. Some interesting fashion in these. #ai #aiart #aivideo #aimusic

Kelly Boesch🏳️‍🌈

11,713 views • 8 months ago

⠀ There’s a strange duality when it comes to love, because how come you seem pretty sad for a girl so in love? We all want to find a modicum of happiness that lasts longer than one day or night. Yet there is a strange comfort within the state of sadness. Perhaps the beauty of a relationship lies in embracing both its highs and its lows. ‹𝟹 ⠀

⠀ There’s a strange duality when it comes to love, because how come you seem pretty sad for a girl so in love? We all want to find a modicum of happiness that lasts longer than one day or night. Yet there is a strange comfort within the state of sadness. Perhaps the beauty of a relationship lies in embracing both its highs and its lows. ‹𝟹 ⠀

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19,379 views • 1 month ago

"Strange One, Fabulous One. Fluid and ever becoming One...You are Mother, Father and Parent. You are Drag Queen and Trans Man and Genderfluid, incapable of limiting your vast expressions of beauty." 'Pastor' at Zion Lutheran Church (ELCA) gives the call to worship

"Strange One, Fabulous One. Fluid and ever becoming One...You are Mother, Father and Parent. You are Drag Queen and Trans Man and Genderfluid, incapable of limiting your vast expressions of beauty." 'Pastor' at Zion Lutheran Church (ELCA) gives the call to worship

Protestia

42,038 views • 2 months ago

1) Can modern women PLEASE find solidarity outside of bonnets in public? 🙄 The hills y'all choose to die on are strange as hell. 2) A self-professed reformed cheater has some insights. Points were made fa sho. Beauty for ashes, chile. 👇🏾

1) Can modern women PLEASE find solidarity outside of bonnets in public? 🙄 The hills y'all choose to die on are strange as hell. 2) A self-professed reformed cheater has some insights. Points were made fa sho. Beauty for ashes, chile. 👇🏾

BLACK TZEDEK

86,732 views • 2 years ago

three most popular actors who are most known for their “sexy decadent beauty”: kim jaeuck, ju jihoon, kim namgil jaeuck: but the 3 of us are in our 40s and i suppose that there are also ones in their 20s or 30s jungan: but the strange thing is, i only see "soft gentle" men...

three most popular actors who are most known for their “sexy decadent beauty”: kim jaeuck, ju jihoon, kim namgil jaeuck: but the 3 of us are in our 40s and i suppose that there are also ones in their 20s or 30s jungan: but the strange thing is, i only see "soft gentle" men...

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39,283 views • 3 months ago

🚨 SOMETHING IS OFF - BILLIONAIRE SELENA GOMEZ APPEARS UNRECOGNIZABLE, ASKS SHOPPERS FOR CASH AT CHECKOUT Selena Gomez posted a straight-to-camera donation plea, and viewers immediately noticed something strange. A billionaire, backed by her own massive cosmetics brand and Ulta Beauty, asking regular people at the register to donate with no mention of what she’s putting in herself. What do you notice that you can’t quite explain?

HustleBitch

648,655 views • 5 months ago

People love to debate quality over quantity, but a reminder: quality is subjective. we all like different things. Raw, authentic, high polished, high fidelity, humor, beauty, strange, weird … But quantity is not debatable, so either you're doing the reps or you're not. I could not recommend more for people to have more accounts, more opportunities to post, and try different things. One piece of content can change everything.

People love to debate quality over quantity, but a reminder: quality is subjective. we all like different things. Raw, authentic, high polished, high fidelity, humor, beauty, strange, weird … But quantity is not debatable, so either you're doing the reps or you're not. I could not recommend more for people to have more accounts, more opportunities to post, and try different things. One piece of content can change everything.

Gary Vaynerchuk

19,979 views • 5 months ago

You’ve heard of pretty privilege. But you’ve never seen it quite like this. Right now in Seoul, police are investigating a woman identified only by her last name Kim. Prosecutors say she allegedly drugged three men with sedatives mixed into alcohol. Two of them died. A third survived. The case itself is disturbing enough. What’s fascinating is the public reaction. As soon as her face was released, photos of her began circulating across Korean social media. Instead of universal outrage, a noticeable portion of the internet reacted with something closer to fascination and sympathy. Comment sections filled up with remarks about how beautiful she is, how young she looks, and speculation about what must have “happened to her” for things to end this way. If you’re not from Korea, this reaction might feel strange, but I t doesn’t surprise me. South Korea is one of the most appearance-focused societies in the world. Beauty isn’t just a personal trait. It functions like social capital. Resumes commonly include photos. Cosmetic surgery is normalized and extremely common. Entire industries exist around refining appearance, from dermatology clinics to aesthetic academies. In that environment, attractiveness carries real advantages. People who are considered beautiful are often assumed to be more trustworthy, kinder, or more sympathetic. Psychologists call this the “halo effect,” and Korea tends to amplify it more openly than many other places. So when a high-profile criminal case involves someone who fits the country’s beauty standards, the reaction can become… err… complicated. You still see outrage, of course. But you also see curiosity, fascination, and sometimes even sympathy that wouldn’t appear if the suspect looked different. It’s a strange reminder that human psychology doesn’t turn off just because the stakes are serious. Pretty privilege exists everywhere. And sometimes it shows up in places you really wish it wouldn’t.

Sovey

30,884 views • 4 months ago

Many people felt uncomfortable after learning the real life story of the actress behind Angela Hayes in American Beauty (1999). “I was not being loved. I was just a body.” — Mena Suvari on surviving s*xual abuse, acting, and American Beauty. Suvari was first r@ped at age 12 by a friend of her older brother. He then told other people at school that she was a “wh*re”. She was so ashamed, she denied that it had happened. “That sucked the life out of me. I think that was just excessive confirmation that no one was going to save me, no one was going to do anything for me.” As a teenager starting out in Hollywood, she was repeatedly taken advantage of by a predatory manager before entering the ab*sive three-year relationship with the technician. One of her business advisers, in his mid-30s, who started having se× with her when she was 16. “I didn’t have anyone telling me, ‘That’s not right, that person shouldn’t be doing that with you’.” At her first modelling shoot, she says, “everyone was raving about how I looked 18. But I was 12.” she said angrily “What was communicated to me was that I was an adult, therefore I can act like an adult.” While filming America Beauty (1999), Mena Suvari described an "unusual" and "eerie" experience with Kevin Spacey while filming the 1999 movie American Beauty. Between filming scenes, Spacey took Suvari into a side room on set that had a bed, where they lay very close to one another. Suvari stated that Spacey was "gently holding" her while they lay there. She described the interaction as "very peaceful but weird and unusual". However, Suvari mentioned that Spacey did not make s*xual advances in that room, and she trusted him on set at the time. Suvari noted that years of ab*se made her uniquely prepared to play the hyper-s*xualised Angela Hayes. She stated that film sets became a strange refuge because she already knew exactly how to perform and dissociate. She wrote, "Oh, you want me to be s*xually attractive? Done."

Many people felt uncomfortable after learning the real life story of the actress behind Angela Hayes in American Beauty (1999). “I was not being loved. I was just a body.” — Mena Suvari on surviving sxual abuse, acting, and American Beauty. Suvari was first r@ped at age 12 by a friend of her older brother. He then told other people at school that she was a “whre”. She was so ashamed, she denied that it had happened. “That sucked the life out of me. I think that was just excessive confirmation that no one was going to save me, no one was going to do anything for me.” As a teenager starting out in Hollywood, she was repeatedly taken advantage of by a predatory manager before entering the absive three-year relationship with the technician. One of her business advisers, in his mid-30s, who started having se× with her when she was 16. “I didn’t have anyone telling me, ‘That’s not right, that person shouldn’t be doing that with you’.” At her first modelling shoot, she says, “everyone was raving about how I looked 18. But I was 12.” she said angrily “What was communicated to me was that I was an adult, therefore I can act like an adult.” While filming America Beauty (1999), Mena Suvari described an "unusual" and "eerie" experience with Kevin Spacey while filming the 1999 movie American Beauty. Between filming scenes, Spacey took Suvari into a side room on set that had a bed, where they lay very close to one another. Suvari stated that Spacey was "gently holding" her while they lay there. She described the interaction as "very peaceful but weird and unusual". However, Suvari mentioned that Spacey did not make sxual advances in that room, and she trusted him on set at the time. Suvari noted that years of abse made her uniquely prepared to play the hyper-sxualised Angela Hayes. She stated that film sets became a strange refuge because she already knew exactly how to perform and dissociate. She wrote, "Oh, you want me to be s*xually attractive? Done."

Movies Scenes 🎫

17,573 views • 2 months ago

Rory Sutherland thinks the way people buy houses in the UK is kind of ridiculous. You can earn good money in London and still pour £1.4–1.6 million (around $1.9–2.15 million) into a three-bed in Fulham that a postman would have lived in a hundred years ago. The house itself is usually ordinary. Almost all the value sits in the land and the planning permission. He compared it to owning a boring old car and then paying a fortune every year just for the parking space. Modern housing sold people a strange dream: spend a fortune, take on the pressure, and call it success — even when the thing itself is ordinary. The real price is not in the beauty, the comfort, or the craftsmanship. It is in the postcode, the land, and the permission attached to it. People are not always buying a better life. They are often just overpaying for location and mistaking scarcity for luxury.

Rory Sutherland thinks the way people buy houses in the UK is kind of ridiculous. You can earn good money in London and still pour £1.4–1.6 million (around $1.9–2.15 million) into a three-bed in Fulham that a postman would have lived in a hundred years ago. The house itself is usually ordinary. Almost all the value sits in the land and the planning permission. He compared it to owning a boring old car and then paying a fortune every year just for the parking space. Modern housing sold people a strange dream: spend a fortune, take on the pressure, and call it success — even when the thing itself is ordinary. The real price is not in the beauty, the comfort, or the craftsmanship. It is in the postcode, the land, and the permission attached to it. People are not always buying a better life. They are often just overpaying for location and mistaking scarcity for luxury.

Camus

424,086 views • 7 days ago

WUNDERKAMMER by Isakost 🪲💀🫀 108 pieces / 100% on-chain / 14 Jan A capsule for the presence of an artist who has planted seeds of magic since the foundational days of cryptoart, Isa Kost's WUNDERKAMMER emerges from the lineage of collecting as a creative practice. Building a Wunderkammer, a Cabinet of Curiosities, is a practice that began in the 16th century as a way to honor objects of strange value. Now, we place such objects on blockchain. Each of the 108 objects in this Cabinet of Curiosities is a dead memory, a dead experience that has called out to be found, and Isa Kost transforms them one by one. The permanence of death becomes timeless presence on-chain. We look at our curated serial collections as a way to make a vessel that can hold an artist's presence, a means of creating a 'place' that can serve as a home base and coherent core for their body of work. The beauty of this collection and the meaning-making that it does in relation to its medium on-chain make us proud to bring it into the world. Find the collection page and further details below.

WUNDERKAMMER by Isakost 🪲💀🫀 108 pieces / 100% on-chain / 14 Jan A capsule for the presence of an artist who has planted seeds of magic since the foundational days of cryptoart, Isa Kost's WUNDERKAMMER emerges from the lineage of collecting as a creative practice. Building a Wunderkammer, a Cabinet of Curiosities, is a practice that began in the 16th century as a way to honor objects of strange value. Now, we place such objects on blockchain. Each of the 108 objects in this Cabinet of Curiosities is a dead memory, a dead experience that has called out to be found, and Isa Kost transforms them one by one. The permanence of death becomes timeless presence on-chain. We look at our curated serial collections as a way to make a vessel that can hold an artist's presence, a means of creating a 'place' that can serve as a home base and coherent core for their body of work. The beauty of this collection and the meaning-making that it does in relation to its medium on-chain make us proud to bring it into the world. Find the collection page and further details below.

sovrn.art

34,075 views • 1 year ago

“If love is forgotten, do you still remember?”🥺 Ziyu posted this on the very day Txn shared a photo of his girlfriend on WeChat. The words come from the song 如果爱忘了 by Wang Sulong & Shan Yichun — and this is the very song that accompanied his post. Yes, this moment is in the past, and it’s a sad one. But if you look at the lyrics, they will literally turn your heart inside out😖 Every line speaks so plainly, so directly. The lyrics say: “Show me that you’re happy with her, and I’ll let you go. Let what you couldn’t give me be hers.”😭 I can’t even describe how much it hurts. And yet… there is a strange beauty and courage in such a gesture, isn’t there? To tell someone: if you’re happy, then even though it’s painful and hard for me, I’m willing to let you go — it may tear me apart, but I will do it. And yet, at the very end, there’s a faint, fragile hope: “If love is forgotten, but you… you still remember, don’t you?”🤲🏻 Until this moment, I thought such pure love only existed in novels🧎‍♀️

“If love is forgotten, do you still remember?”🥺 Ziyu posted this on the very day Txn shared a photo of his girlfriend on WeChat. The words come from the song 如果爱忘了 by Wang Sulong & Shan Yichun — and this is the very song that accompanied his post. Yes, this moment is in the past, and it’s a sad one. But if you look at the lyrics, they will literally turn your heart inside out😖 Every line speaks so plainly, so directly. The lyrics say: “Show me that you’re happy with her, and I’ll let you go. Let what you couldn’t give me be hers.”😭 I can’t even describe how much it hurts. And yet… there is a strange beauty and courage in such a gesture, isn’t there? To tell someone: if you’re happy, then even though it’s painful and hard for me, I’m willing to let you go — it may tear me apart, but I will do it. And yet, at the very end, there’s a faint, fragile hope: “If love is forgotten, but you… you still remember, don’t you?”🤲🏻 Until this moment, I thought such pure love only existed in novels🧎‍♀️

Littlecorn

184,787 views • 9 months ago

Once upon a time, in the shadowed halls of Topkapi Palace, there ruled a sultan whose name was Ibrahim the First. He had inherited an empire of gold and silk, yet his heart burned with a single, insatiable craving. From the moment he took the throne, Ibrahim the First desired only women of magnificent size, round, soft, and heavy beyond measure. No slender beauty could stir him; only those whose bodies overflowed with abundance held his gaze. His mother, the cunning Kösem, understood her son’s strange hunger. She scoured the slave markets of Constantinople herself, selecting the plumpest virgins and delivering them to the harem like precious gifts, hoping their curves would keep him content and her power secure. But Ibrahim the First was not satisfied with what she brought. One day he summoned his viziers and cried out, “Search every corner of my realm! Bring me the fattest women alive, women so vast they can scarcely pass through the palace gates!” His agents obeyed. They combed the streets, the villages, the distant provinces, measuring and weighing every woman who caught their eye. Those chosen were carried to the palace in litters, fed the richest foods, bathed in rosewater, and draped in the finest silks until their bodies grew even more splendidly heavy. Night after night, the sultan walked among them, his eyes shining with delight at the sight of so much royal abundance. In his court, beauty was no longer measured by delicate waists but by generous hips and arms that could cradle an empire’s worth of dreams. And so it was that Sultan Ibrahim the First, the one they later called the Mad, transformed his harem into a living legend, a place where women were not merely kept, but gloriously, deliberately fattened up for the pleasure of their sultan alone. That is the tale of Ibrahim the First, the Ottoman who made the women of his court the heaviest wonders the world had ever seen.

Once upon a time, in the shadowed halls of Topkapi Palace, there ruled a sultan whose name was Ibrahim the First. He had inherited an empire of gold and silk, yet his heart burned with a single, insatiable craving. From the moment he took the throne, Ibrahim the First desired only women of magnificent size, round, soft, and heavy beyond measure. No slender beauty could stir him; only those whose bodies overflowed with abundance held his gaze. His mother, the cunning Kösem, understood her son’s strange hunger. She scoured the slave markets of Constantinople herself, selecting the plumpest virgins and delivering them to the harem like precious gifts, hoping their curves would keep him content and her power secure. But Ibrahim the First was not satisfied with what she brought. One day he summoned his viziers and cried out, “Search every corner of my realm! Bring me the fattest women alive, women so vast they can scarcely pass through the palace gates!” His agents obeyed. They combed the streets, the villages, the distant provinces, measuring and weighing every woman who caught their eye. Those chosen were carried to the palace in litters, fed the richest foods, bathed in rosewater, and draped in the finest silks until their bodies grew even more splendidly heavy. Night after night, the sultan walked among them, his eyes shining with delight at the sight of so much royal abundance. In his court, beauty was no longer measured by delicate waists but by generous hips and arms that could cradle an empire’s worth of dreams. And so it was that Sultan Ibrahim the First, the one they later called the Mad, transformed his harem into a living legend, a place where women were not merely kept, but gloriously, deliberately fattened up for the pleasure of their sultan alone. That is the tale of Ibrahim the First, the Ottoman who made the women of his court the heaviest wonders the world had ever seen.

JIX5A

735,209 views • 4 months ago

Monica Bellucci on working with Terry Gilliam & her thoughts on eternal beauty: "Bellucci: Terry has such an imagination. He is like a baby full of fantasy and he knows what he wants. At the same time, he realizes what he wants from actors when he is directing them. He is challenged by the unexpected and so you have to be ready as an actress. He wants so much from you. He comes on set and will tell you how much he likes your work, now do the opposite. He is looking for ideas and so you have to be ready for improvisation. I love that and to work that way. Interviewer: What are your own thoughts about eternal beauty? Bellucci: It is impossible. I do think it is more a problem for American actresses. It is more Hollywood obsession than European obsession. In Europe, we have so many actresses like Charlotte Rampling and Catherine Denueve and Sophia Loren who still play sexy characters that are their own age. Here, it is so strange. After a while, even young and beautiful actresses don’t work anymore. Interviewer: Let’s look at the morals of Fairy Tales. Is it healthy to teach young girls that one day their Prince will come along? Bellucci: Yes. We need to dream. If we don’t dream, we cannot live. It is not just for children. It is for us as well. We need to believe in something. We need that. Interviewer: When you first looked in the mirror and saw yourself as the old Queen, what do you think? Did you see yourself in there? Bellucci: I am never going to be that way. I will never be 500 years old but at the same time, it was fun. I walked around but no one recognized me. It was relaxing." (Monica Bellucci's interview to Phase9, 2005) Clip from: The Brothers Grimm (2005) Director: Terry Gilliam

Monica Bellucci on working with Terry Gilliam & her thoughts on eternal beauty: "Bellucci: Terry has such an imagination. He is like a baby full of fantasy and he knows what he wants. At the same time, he realizes what he wants from actors when he is directing them. He is challenged by the unexpected and so you have to be ready as an actress. He wants so much from you. He comes on set and will tell you how much he likes your work, now do the opposite. He is looking for ideas and so you have to be ready for improvisation. I love that and to work that way. Interviewer: What are your own thoughts about eternal beauty? Bellucci: It is impossible. I do think it is more a problem for American actresses. It is more Hollywood obsession than European obsession. In Europe, we have so many actresses like Charlotte Rampling and Catherine Denueve and Sophia Loren who still play sexy characters that are their own age. Here, it is so strange. After a while, even young and beautiful actresses don’t work anymore. Interviewer: Let’s look at the morals of Fairy Tales. Is it healthy to teach young girls that one day their Prince will come along? Bellucci: Yes. We need to dream. If we don’t dream, we cannot live. It is not just for children. It is for us as well. We need to believe in something. We need that. Interviewer: When you first looked in the mirror and saw yourself as the old Queen, what do you think? Did you see yourself in there? Bellucci: I am never going to be that way. I will never be 500 years old but at the same time, it was fun. I walked around but no one recognized me. It was relaxing." (Monica Bellucci's interview to Phase9, 2005) Clip from: The Brothers Grimm (2005) Director: Terry Gilliam

DepressedBergman

23,169 views • 12 days ago

Agnes Varda on 'Cléo from 5 to 7' (1962): "Interviewer: What’s strange is that you’ve chosen to express this through a character who seems to embody the absolute opposite of anguish: a beautiful, frivolous popular singer whose every moment might seem imbued with grace and joy, yet whose terrible vulnerability you’ve revealed so abruptly. Agnès Varda: I needed a somewhat frivolous character to highlight this sudden transition from coquettishness to anxiety. The film is principally the story of the growing awareness of an internal evolution and that’s why chronology is so important. I absolutely had to show the difference and contrasts between objective time and the subjective time experienced by the character. In the cinema we don’t believe in objective time; the time of the cinema is fictional, outside of real time. In any case there is no “reality” of time. So the film is divided into chapters, slices of time that mark contractions and distentions of time. Five minutes can seem to last an hour at a given moment of existence. For someone who knows she has only one or two months to live, the rhythm of life changes completely. There is in my film a “minute of truth”: it’s the scene in the song that suddenly crystallizes this fear and this sense of the fragility of things that Cléo has been bottling up inside of her and which suddenly and violently burst out of her. She tears off her wig as if it were a mask...From this moment on, her anguish leads her to discover others and the people she discovers mirror back the image of her anguish. Interviewer: The fear of death plays the role here of truth teller even though it’s difficult to admit at first that this stunning beauty is but a dead woman allowed but a brief stay of execution. Agnes Varda: But we’re all surrounded by the dead! There are people who live with the idea of death, who have in some way prepared for it. Cléo, on the other hand had never thought of it before, and her idea of death is of a strange and violent enemy. The contrast is all the more brutal since she’s so beautiful, so vigorous, and so apparently healthy. You can imagine her posing for Renoir. And suddenly her beauty and good health come face to face with a notion of Death who attacks her body and penetrates her entire being. She thought she was the center of the world and suddenly she’s lost her footing. It’s a well-known story: the discovery of solitude and of the need for others. This hidden malady makes her feel suddenly open, cut off from all her familiar ways of doing things and from then on, she becomes progressively naked, stripped of everything. She takes leave of herself, and gradually tears away her masks. So it’s this kind of detachment (literally!), this discovery of herself that seemed to me so exciting to portray. And also this new way of seeing the world." (Agnes Varda, in her interview with Michel Capdenac, 1962)

Agnes Varda on 'Cléo from 5 to 7' (1962): "Interviewer: What’s strange is that you’ve chosen to express this through a character who seems to embody the absolute opposite of anguish: a beautiful, frivolous popular singer whose every moment might seem imbued with grace and joy, yet whose terrible vulnerability you’ve revealed so abruptly. Agnès Varda: I needed a somewhat frivolous character to highlight this sudden transition from coquettishness to anxiety. The film is principally the story of the growing awareness of an internal evolution and that’s why chronology is so important. I absolutely had to show the difference and contrasts between objective time and the subjective time experienced by the character. In the cinema we don’t believe in objective time; the time of the cinema is fictional, outside of real time. In any case there is no “reality” of time. So the film is divided into chapters, slices of time that mark contractions and distentions of time. Five minutes can seem to last an hour at a given moment of existence. For someone who knows she has only one or two months to live, the rhythm of life changes completely. There is in my film a “minute of truth”: it’s the scene in the song that suddenly crystallizes this fear and this sense of the fragility of things that Cléo has been bottling up inside of her and which suddenly and violently burst out of her. She tears off her wig as if it were a mask...From this moment on, her anguish leads her to discover others and the people she discovers mirror back the image of her anguish. Interviewer: The fear of death plays the role here of truth teller even though it’s difficult to admit at first that this stunning beauty is but a dead woman allowed but a brief stay of execution. Agnes Varda: But we’re all surrounded by the dead! There are people who live with the idea of death, who have in some way prepared for it. Cléo, on the other hand had never thought of it before, and her idea of death is of a strange and violent enemy. The contrast is all the more brutal since she’s so beautiful, so vigorous, and so apparently healthy. You can imagine her posing for Renoir. And suddenly her beauty and good health come face to face with a notion of Death who attacks her body and penetrates her entire being. She thought she was the center of the world and suddenly she’s lost her footing. It’s a well-known story: the discovery of solitude and of the need for others. This hidden malady makes her feel suddenly open, cut off from all her familiar ways of doing things and from then on, she becomes progressively naked, stripped of everything. She takes leave of herself, and gradually tears away her masks. So it’s this kind of detachment (literally!), this discovery of herself that seemed to me so exciting to portray. And also this new way of seeing the world." (Agnes Varda, in her interview with Michel Capdenac, 1962)

DepressedBergman

20,843 views • 11 months ago

Dialectic ep. 50: Tyler Cowen & Nabeel Qureshi! You could talk to tylercowen and Nabeel S. Qureshi about anything and it would be interesting. Nabeel is a former guest and a true polymath who can go wide and deep. He'd long suggested I interview his friend and mentor Tyler: the epitome of that archetype. I wanted to do something special for 50, so I paired them together and hoped for some magic. I think we got some, and a few laughs, too. Despite their day jobs, Tyler and Nabeel are unlikely aesthetes who became friends in part through their shared love of film and art. So I spoke to them about how great art is often strange, aesthetic evolution, and a tour through some of their favorite artists (especially musicians). We also discussed sacred commitments, AI acceleration, good group chats, mentorship, whether Tyler will stop writing books, creating a bat signal for talent, becoming a great interviewer, Twitter's virtues, New York City, and more. Timestamps 0:00 - Opening highlights 1:18 - Intro to Tyler & Nabeel 4:38 - Sacred commitments, AI, markets & acceleration 20:36 - How art moves us 27:22 - Beauty, strangeness, great art & The Beatles 44:35 - Film, critics, learning to appreciate depth & "lowbrow" art 1:02:55 - New aesthetics, inspiration, optimism & pessimism 1:11:52 - The internet & Twitter's virtue, group chats, cities 1:22:06 - Mentors, (maybe quitting) writing books, friendship 1:35:27 - Interviewing, identifying talent & agency 1:47:21 - Closing questions Dialectic with Jackson Dahl 50: Tyler Cowen & Nabeel Qureshi - An Appetite for More - is available below and on all platforms. Links in reply.

Dialectic ep. 50: Tyler Cowen & Nabeel Qureshi! You could talk to tylercowen and Nabeel S. Qureshi about anything and it would be interesting. Nabeel is a former guest and a true polymath who can go wide and deep. He'd long suggested I interview his friend and mentor Tyler: the epitome of that archetype. I wanted to do something special for 50, so I paired them together and hoped for some magic. I think we got some, and a few laughs, too. Despite their day jobs, Tyler and Nabeel are unlikely aesthetes who became friends in part through their shared love of film and art. So I spoke to them about how great art is often strange, aesthetic evolution, and a tour through some of their favorite artists (especially musicians). We also discussed sacred commitments, AI acceleration, good group chats, mentorship, whether Tyler will stop writing books, creating a bat signal for talent, becoming a great interviewer, Twitter's virtues, New York City, and more. Timestamps 0:00 - Opening highlights 1:18 - Intro to Tyler & Nabeel 4:38 - Sacred commitments, AI, markets & acceleration 20:36 - How art moves us 27:22 - Beauty, strangeness, great art & The Beatles 44:35 - Film, critics, learning to appreciate depth & "lowbrow" art 1:02:55 - New aesthetics, inspiration, optimism & pessimism 1:11:52 - The internet & Twitter's virtue, group chats, cities 1:22:06 - Mentors, (maybe quitting) writing books, friendship 1:35:27 - Interviewing, identifying talent & agency 1:47:21 - Closing questions Dialectic with Jackson Dahl 50: Tyler Cowen & Nabeel Qureshi - An Appetite for More - is available below and on all platforms. Links in reply.

Jackson Dahl

95,391 views • 1 month ago