There’s no reason to believe that this type of caution will pay off. The supposed sure shot of IP is currently misfiring: in 2023, Disney’s The Marvels fell more than $64 million short of breaking even, and its Indiana Jones sequel drastically underperformed. The Flash, for Warner Bros. Discovery, lost millions, and the company’s Shazam! Fury of... See more
There is a clear pattern for all four companies [Facebook, Amazon, Netflix, Google]: each controls, to varying degrees, the entry point for customers to the category in which they compete. This control of the customer entry point, by extension, gives each company power over the companies actually supplying what each company “sells”, whether that be... See more
The past hundred years a canon that defined modernity, post-modernity, and our world was established, celebrated, illuminated, and constantly revised by critics and appreciators who used the pen to make their case. They’re the ones who helped establish cultural significance. They’re the ones who remind us to marvel not at demographics, but at... See more
O’Rourke is among a growing group of literary writers who have tried to answer the question in the first person, scoping out artificial intelligence’s encroachments from within the domains it most imperils. Their writing asks what AI-generated writing can or (much less often) can’t do, and how human writers can or (much more often) can’t respond.... See more
But I’m into the new kids who are trying to make the internet how they want it, like Zane with Silk. The future has to look like something, after all...
Flatness, like scalability, is efficient. The same culture flows through the same pipes to the same net-average consumer. But since when did efficiency become the sole metric by which we judge art? Filterworld represents the idea that the messiness of culture can be optimized and that only what is optimized for shareability is worthwhile. I... See more