Uh, Steven Spielberg is all over E.T. For one thing, he storyboarded the big special effects sequences. He collaborated closely on the screenplay because it was drawn from his own childhood experiences. He was the final say in casting. His relationship with editor Michael Kahn is famously collaborative.
I think comparing your telling an LLM what to do and Steven Spielberg directing a movie just shows a total lack of understanding of how movies are made, and also inflates your own sense of your self.
> Uh, Steven Spielberg is all over E.T. For one thing, he storyboarded the big special effects sequences. He collaborated closely on the screenplay because it was drawn from his own childhood experiences. He was the final say in casting. His relationship with editor Michael Kahn is famously collaborative.
That's all meta. Trivia. Decisions he made or feedback he gave, that while influencing the final product cannot be observed in the final product (e.g. show me the actual Spielberg-drawn storyboard in the film; It doesn't exist, because the storyboard turned into a sequence of shots made by the cinematographer, instructing the camerawoman to point the camera at the actors lit by the gaffers, or into a work breakdown strucutre then followed by the SFX team painstakingly drawing it frame by frame). No one but Spielberg could say "That part was me, this part was Kahn's." I can't find any of that out just by watching the movie. When I engage with a piece of media, I presume the author is dead. What is in the media is canon, and what's not in it isn't. The behind the scenes, or the director's biography, or the interviews aren't part of the art. Art shouldn't rely on "Oh it's good, or even better than you thought it was once you know this cool fact or that wild story from production."
Star Wars isn't good only because George Lucas was a genius, or because they spent a lot of time on the models and tried a cool new text intro sequence, or because of any of the other novel effects. Lots of movies spend a lot of time in production, with a lot of experts and a lot of novel ideas, and still fail. Star Wars is good because the finished movie is good. We credit Star Wars generally as being George Lucas' brainchild, but if you know the backstory, it's only good because he had good editors to reign him in. But that's meta. Nobody knew that in 1977. They just knew they enjoyed the movie and it said "written and directed by George Lucas."
When I watch the movie I don't see the storyboard, or the redlines in the screenplay, or the casting notes, or the conversations and discussions with Kahn. All I know from the movie is the credits, and the credits don't say "Written by Melissa Mathison (with close collaboration by Spielberg based on his childhood experience)". Those are, from a lay viewer's POV, 'facts not in evidence.'
E.T. was a single example. I'm comfortable claiming my argument applies to all directors of all films, and all forms of art that are created by more than one person. Another example: "Over The Edge" and "Off The Wall", two books about deaths in US national parks. They each have two authors. Only one author co-wrote both of them. To whom do I credit my love for those books? Only to Ghiglieri, since I can see the consistent tone between them? That would be unfair to Myers and Farabee. Only to Myers and Farabee, because they're the park rangers that witnessed a number of the emergencies and deaths? That would be unfair to Ghiglieri. What about the editors, who surely worked hard to make books that are basically a list of stories about death interesting as a cohesive narrative. My only option is to credit all the authors, and everyone else involved, equally, and not try to break down paragraphs between "this author wrote this one, and that author wrote that one." They didn't distinguish, so I can't either. [1]
I'm all over my essay. I drafted and organized the original outline. I've made substantial changes to the order of paragraphs and what and how the arguments are built and developed based on my personal experiences. I am the final say for whose quotes are included and which ones are cut. My relationship with myself is famously collaborative (famous among my family and friends).
None of that matters to the reader. Whether I wrote it myself or with a friend, or used a ghostwriter, or used an LLM, the audience is going to credit or blame it on the name at the top. My papers in college weren't graded based on whether I spent 300 hours on them and revised them 20 times, or whether it was I or my classmate who coined that pithy line I then used throughout, or because I used niche knowledge about the subject I knew before taking the class. That's trivia. They were graded on the final single copy I submitted. I got once chance.
The only difference between an essay of mine being written by a ghostwriter I hired and an LLM is that the LLM output is always going to sound like an LLM. They are identical in that neither of them are "me". The ghostwriter will sound either like the ghostwriter or like the ghostwriter trying to write like me. But whether I hired a ghostwriter and published their work under my name, or if I used an LLM and the audience didn't notice, at the end of the day they'll credit or blame me entirely, because my name is at the top, no different as if I'd written the entire thing from scratch. I have no excuses except for the final product.
For this essay specifically, If I ever did release it or publish it, it would be under my real name. Firstly because I've never liked being "anonymous" online (I feel I never act or write like myself unless I'm speaking under my own name; opposite of most in my experience), and second because I would want the reader to know that there's a human they can credit or blame for it. I guess for me that's the tradeoff. When anonymous I won't use LLMs, because my ethos comes from being (and sounding) like a human being who merely doesn't want to share their name. Under my real name, however, I feel more comfortable saying "directed and edited by [real name], drafted by [llm]," because then the reader can decide if the ethos associated with my real name and affilations is strong enough to justify reading a logos and pathos that the human freely admits is not entirely from their own fleshy brain.
[1] They do, actually, at times. When one of the authors was directly involved in one of the stories and is recounting their personal experience, they will write "I (Myers)..." or "I (Farabee).." Aside from that they do not say who wrote what, or who influenced who.
Actually, unless they are self-published, most "new-age self-help" books are pretty thoughtfully edited. They are persuasive writing, whose goal is to convince you to believe in a framework that is not supported by evidence. Dismissing them for being incoherent is actually a mistake, in that it shows a lack of understanding of their appeal.
Though, I must admit, I'm not sure exactly what you meant by "new-age self-help" books, so I took a guess.
I'm starting to fear that LLMs are especially popular with people who can't call a doctor's office to make an appointment or tell a waiter they brought the wrong food. I struggle with those things, but I know that it's better to push myself outside of my comfort zone.
Are LLMs mainly a tool for people with atrophying social skills who want all interaction to happen via a text prompt that always responds in the most soothing way? I can't think of another reason to replace human therapy with an LLM.
I highly recommend Simon Reynold's history of post-punk, Rip It Up and Start Again. An oversimplified version of his argument is that punk as a movement barely existed. It was an extremely brief cultural moment, represented by a small number of bands, the most influential of which (The Sex Pistols) was basically manufactured.
There wasn't enough to that initial punk sound other than energy and posturing. What punk really did was act as a catalyst for an explosion of musical creativity that followed.
I thought about it a lot growing up, as I loved both the ethos, sound and culture of punk. Radical acceptance, the grotesque denial of the aesthetism that is used to sell products etc was all appealing back then.
The "betrayal" of finding how much of the sound was manufactured happened roughly at the same time as I figrued out how everyone at punk concerts could afford 200£ new doc martens when my shoes were falling apart.
But the reality is I think there was a real underlying "want" for that sound,ethos etc but societally there are no publically owned means of distribution. So if the only way to reach people is through private channels, like radio. Then the only people with reach will be those that benefit Capital.
I think society wanted, needed, cared about the punk ethos against the buy/sell your soul hamster wheel the corporate lifestyle promised. The white picket fence was dead as a dream, but the alternative dreams had no way to reach people without passing through the hands/eyes of someone who could make moeny of the new dream. And thats why it only happened briefly and with bands like Sex Pistols that beneffited someone selling Clothes. There was someone who could make money so the sound was given a stage.
But you can see the seeds planted then to show up regularly. Gyarus in japan rejecting traditional beauty standards, grunge as a response to manicured glam rock, the blog era of rap, the acceptance of non traditional genders like non binary/ neo pronouns etc.
Even acts that probably would not describe themselves as Punk like Sofia Isella, who opened for Taylor Swift, use a lot of the codes of punk with her overt embrace of dirty grungyness as opposed to perfectly presentable femininity.
I wasn't even alive at the time, so I've only experienced the whole punk and post-punk scene after the fact. I always found myself way more drawn to post-punk music, and it's nice to know that you really did have to be there to experience how radical punk felt, regardless of its origins. The waves of musical scenes that spread out from that initial punk moment took that energy and ran with it in some radically different directions.
For example, I love the B52s, and it's easy to forget that they were responding to punk. This video of a show from 1980 is one of my favorite concert videos ever, as it captures that energy that is missing from the studio albums: https://www.youtube.com/watch?v=bVXfkG7q_0s
Software engineers idolize Tesla because they see themselves as the Tesla (a selfless devotee of the abstract idea of technology) against evil Edisons (businessmen who only care about money and steal other people's ideas). They've basically projected the Jobs/Woz divide back onto two historical figures who, in reality, barely interacted.
The funniest part is that The Oatmeal comic didn't invent this concept, but drew on pre-Internet narratives put forward by The Tesla Society, who were mailing busts of Tesla to universities around the country since the 70s at least. And that organization is explicitly nationalistic and religious, tied to other Serbian-American heritage organizations, and doing events with the Orthodox church.
> And that organization is explicitly nationalistic and religious
So are many Serbs (more so if emigrants from atheist-socialist Yugoslavia, or descendants of folks who moved before WW2) as well as many other nations and organizations (America itself lol). So are many Something-Or-Other-American individuals and communities.
I presume that the organization(s) sending Tesla busts, being American-rooted, have had no illusions about which matters will forever remain impossible to communicate to Americans. (Such as anything not reducible to paperclip optimization.)
Instead, I consider it more likely that the point of promoting Tesla was not to impress anyone in America, but to uplift Serbia and generally the South Slavs of the Balkans who'd only gained national sovereignty in Tesla's day: "look, our heritage has already produced an honest-to-god American inventor half a jebani vek ago, so you guys have zero excuse to act as if you're stuck in the middle ages - do join the cargo cult of mordorn civilization instead, will ya - we got value to extract from ya!"
>They've basically projected the Jobs/Woz divide back onto two historical figures who, in reality, barely interacted.
I'd rather say this has been projected for them, but by whom is anyone's guess; not like there's a shadowy cabal operating. Besides said Serbian-American heritage promoters and whatever their game is, I guess - but here we're not talking mid-XX century Serbian diaspora any more, but a "culturally nonspecific" audience.
Much safer to call it "a hivemind situation" when nobody knows where some idea comes from, and nobody is accountable for rebroadcasting it either, since it comes pre-tagged as Good and True and Useful and it is wrongthink to doubt those. Especially when the idea is so obviously Useful for excusing nonaction. ("I can't be bothered to learn the first thing about electricity, even the history of why I have access to it in the first place - but now that Tesla guy I've vaguely heard of, he was the great genius of the people! What better reason to Experience a Positive Emotion!")
This is so whiggish that it made my whig fly off my head when I read it. I spend a lot of time on HN, so I'm gonna need to secure my whig somehow, because this happens a lot.
A source familiar with the matter tells The Hollywood Reporter that Disney is also exiting the deal it signed with OpenAI last year, in which it pledged to invest $1 billion in the company and agreed to license some of its characters for use in Sora.
“As the nascent AI field advances rapidly, we respect OpenAI’s decision to exit the video generation business and to shift its priorities elsewhere,” a Disney spokesperson said. “We appreciate the constructive collaboration between our teams and what we learned from it, and we will continue to engage with AI platforms to find new ways to meet fans where they are while responsibly embracing new technologies that respect IP and the rights of creators.”
Also "exit the video generation business" seems somewhat notable, suggesting they're not just planning to launch a different video gen product to replace Sora?
Wow. OpenAI is the weirdest company in the planet.
I used to think they were pretty clever but with this news and other recent ones (Jony Ive project cancelled, Stargate scaled down significantly, their models inflating token use on purpose) they just seem schizo.
This data is pretty questionable. OpenAI employees have said on Twitter that it does not account for ChatGPT Enterprise, where most of their growth is, which is quote-only and not paid by credit card.
I would point out Anthropic isn't profitable either (yet), it's just that enterprise is where the money is. Now that all the AI companies are narrowing in on that market, becoming profitable will be even more challenging.
You have more info about the inflated token use? I’m using codex cli a bunch now, but the reported token usage seems like an order of magnitude higher than, say Claude code with opus.
Idk if it’s because I set codex to xhigh reasoning, but even then it still seems way higher than Claude. The input/output ratio feels large too, eg I have codex session which says ~500M in / ~2M out.
I wish I had hard evidence but it is mostly an observation. I do use Codex a lot and I felt a drastic change from like one-two months ago to this day.
It used to give me precise answers, "surgical" is how I described it to my friends. Now it generates a lot of slop and plenty of "follow ups". It doesn't give me wrong answers, which is ok, but I've found that things that used to take 3-4 prompts now take 8-10. Obviously my prompting skills haven't changed much and, if anything, they've become better.
This is something that other colleagues have observed as well. Even the same GPT5.4 model feels different and more chatty recently. Btw, I think their version numbers mean nothing, no one can be certain about the model that is actually running on the backend and it is pretty evident that they're continuously "improving" it.
Back in business school they used to tell the story of how makers of razor blades would put a good blade as the first and the last blade in the pack. I suspect the LLM services of doing something like that.
I haven't had the time to fully hash this take out, but a big question in the back of my mind has been - is it possible that AI model improvements come partly from finding overhang in things that look hard and impressive to humans but are actually trivial consequences of the training data? If true, then the observable performance of any widely distributed model could get worse over time as it "mines out" the work that's easy for it to do.
Turns out just lying about what your tech will do and how much people want it doesn’t work forever to raise unlimited money to throw in the fire hoping you hit something that actually makes a profit.
reply