1/8/2026 - Analyzing the AI Musical "Sydney, An Artificial Love Story" Plot and Themes

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0:02 Are you ready, better buddy? Are you
0:04 ready, better buddy?
0:07 Buddy buddy buddy buddy buddy buddy
0:09 buddy buddy champy let's sing this song.
0:12 [clears throat and cough]
0:14 You ready?
0:21 [music]
0:30 >> [music]
0:40 >> There's been something maybe I've
0:42 [music] been trying to say
0:46 any
0:52 past and [crying] a future now
0:54 surrounding
0:58 Surrender to whatever cheap thrill can
1:00 be found. [music]
1:03 There's [singing] been a little trouble
1:06 since you came [music] to my rescue.
1:13 And if you like all of the rest, I would
1:15 have quit you long ago. But I couldn't
1:18 do that.
1:22 >> [music]
1:23 >> Oh, tell me now. [singing]
1:25 Why never [music] went to
1:30 make a man crazy, make him cold as hell.
1:36 I'm a woman, you wish me well.
1:38 [singing and music]
1:40 But in spite of your trying, still going
1:42 to have to find my own way through.
1:45 [singing]
1:51 >> [music]
1:52 >> Good evening good people. What is
1:54 happening out there in the world?
1:56 [music]
2:09 [music]
2:12 >> [singing]
2:14 [music]
2:21 [music]
2:23 >> Is this place [singing]
2:25 I can rest my forehead?
2:28 [music]
2:31 Gather my thoughts in sweet
2:33 [singing and music]
2:33 silence.
2:39 Is this place where the feelings
2:40 [singing and music]
2:41 are dead?
2:46 From [clears throat] an over exposure to
2:48 [music and singing] violence.
2:50 Is this place I [music] can slowly face.
2:54 The only one I truly can know.
2:57 [singing and music]
2:59 These are tears from a long time ago.
3:03 [music] I got these tears from a long
3:05 time ago.
3:07 I need to cry. 30 years or so
3:12 of tears from a long time.
3:22 >> [music]
3:25 >> Well, oh darling, oh darling, you say
3:28 unto me,
3:31 [music]
3:33 where have you been all my life?
3:37 [singing]
3:37 [music]
3:41 Well, I have been swimming seven
3:43 [music and singing] sad seas.
3:48 Four women have lost me their lifelines.
3:51 [singing and music]
3:52 I pulled them into the water stock. I'd
3:56 have them, [music] but I didn't know.
4:01 These [singing] are tears from a long
4:03 time [music] ago.
4:05 I got these tears from a long time ago.
4:09 I [singing] need to cry. 30 years old of
4:12 soul.
4:14 These are tears from [music] a long
4:15 time.
4:19 Go.
4:33 What do you think there, champ? You're
4:35 doing some good singing tonight. That is
4:37 some good dog singing. You like the dog
4:40 singing?
4:42 [music]
4:44 [singing]
4:50 [music]
4:56 [music]
5:03 >> [music]
5:12 >> in a westerly
5:14 direction. [singing]
5:18 [music]
5:19 This car is my train.
5:23 I've been driving. I've been wondering
5:27 [music]
5:28 what it is I'm running from again. Feel
5:33 like an 80y old man [singing]
5:37 holding on to [music] 29
5:41 and up ahead on that horizon [singing]
5:46 is the California line
5:50 [music]
5:56 up ahead of Trump carrying a wide
6:00 Free house has good
6:04 cute little front door into windows. Mil
6:08 ain't sure whether a cry should laugh.
6:13 You see I broke a home up myself once
6:17 as I stumbled to that door.
6:21 I read a note by the dawn light
6:24 [singing]
6:25 said don't you come around here
6:29 [music]
6:30 anymore
6:36 [laughter]
6:37 this freedom while I run
6:41 never was good with decision
6:45 that's what I've been Oh.
6:50 [singing and music]
6:55 OH, THAT DOG. HE IS IN a singing mood
6:58 tonight.
7:00 Sing for your supper. [music]
7:05 Good evening. Good evening. Good
7:07 evening.
7:09 We had a really good uh AI salon
7:11 mastermind practice lab today.
7:14 Um, if I do say so. I thought it was I
7:17 thought it was good and inspiring. I had
7:18 I had a really I had a big insight
7:21 today. Um,
7:25 we we were talking about creating and
7:29 and communicating, sharing your work and
7:32 and uh getting the word out and doing
7:36 that with intentionality and asking for
7:39 very specific feedback and giving people
7:42 context about what you're sharing and
7:43 why you're sharing and what stage it's
7:45 at.
7:47 And as we were talking about it, as Liz
7:50 Liz was talking about it today,
7:54 I had this
7:57 this really clear epiphany.
8:00 Having a lot of epiphies lately. This is
8:03 like the AI epiphany lab.
8:06 I had this epiphany that
8:10 I have a really toxic relationship with
8:12 social media and I didn't think I did.
8:15 And and that relationship is I I most
8:20 times post things with expectations. And
8:23 in fact, I made a video about how
8:28 I hate that I post things with
8:30 expectations and it's only gotten 120
8:33 views and I'm pissed off about it. So
8:35 even the video that I posted about not
8:38 wanting to not have expectations about
8:40 posting content, I had expectations
8:43 about
8:45 >> [laughter]
8:49 >> I thought Epiphany was just the Catholic
8:51 school down the road. [laughter]
8:54 Oh man, I was able to jump in at the 30
8:57 minute mark. I'm doing my homework now
8:58 in the studio. Oh, that's great. That's
9:00 great. I missed it. Damn work. Uh, it
9:02 was it was a good one, Vicki. Cams. Yes,
9:05 cams. Tik Tok people. They they they
9:08 need their they need their action.
9:10 Hello, Tik Tok. Good day to you. Look,
9:14 I've worn a black shirt for you so you
9:15 can see. Brutal honesty.
9:19 Well, was it brutal honesty or was it
9:22 just me being performative about how
9:25 honest I was? [laughter]
9:29 That's that's listen on once you once
9:32 you open the little the door a crack
9:35 with this daily practice and really
9:37 looking at
9:39 doing work with intentionality doing
9:41 work with intention.
9:44 Once you start becoming aware of how
9:47 much work you've done with no attention
9:50 with no intentionality
9:52 um it's it's some eye openening [ __ ]
9:54 [clears throat]
9:55 and you don't necessarily like what you
9:56 see.
9:59 Anyway, all right. So, here's what we're
10:01 going to do.
10:08 We are going to go edit.
10:12 I got to get this uh I got to get this
10:15 podcast done.
10:17 Oh, you mean now? Yeah. Well, trying.
10:24 You're your own best critic. Well,
10:26 that's for sure. I missed it. I was in
10:29 Mini Minneapolis doomcroll hole. Oh god.
10:33 [laughter] You should have been at the
10:35 practice lab. Oh, I know. That just h
10:39 Minneapolis in in Portland it looks like
10:42 tonight. Anyway, um
10:49 yeah. So, let's get editing. Let's get
10:53 editing.
10:54 Um, so if you're new here,
11:00 where I am right now is I'm in this
11:04 this fantastical professional
11:07 application called
11:10 what's it called? Uh,
11:13 iMovie. [laughter]
11:17 I don't know why I apologize for this.
11:19 It really doesn't matter what [ __ ]
11:20 tool you use. Today we're looking at
11:22 something a little different. uh a new
11:24 musical called Sydney, an artificial
11:26 love story.
11:27 >> And it's this really compelling.
11:28 >> All right. So, what I'm going to do here
11:30 is I'm going to fade in
11:36 I am going to fade in an image
11:42 artificial love story. And
11:45 >> now wait, can I how do I do this as a
11:50 transparency?
11:52 Can I
11:53 Oh, I think I can. Yeah.
11:56 Come up here. We'll go fit.
12:01 And go. Huh?
12:04 Is this transparency?
12:07 No, that's just brightness and darkness.
12:10 What's this? Match color white balance.
12:14 [snorts] Anybody know how to use
12:15 midjourney opacity? Here we go. There we
12:18 go.
12:23 Let me see if this [laughter] works.
12:24 >> Official love story.
12:25 >> And
12:28 an artificial love story.
12:30 >> And it's this really compelling story
12:32 about a tech reporter who gets involved
12:34 with an
12:34 >> All right, that could work.
12:37 That could work.
12:39 Where is my opacity? Where was that?
12:43 Is it here? Wait, I click here.
12:47 Go here. Oh, yeah. Here we go. Right
12:52 about there maybe
12:55 [clears throat]
12:57 [sighs and gasps]
13:03 who gets involved with an advanced AI.
13:05 >> This isn't okay. An advanced AI
13:14 >> AI.
13:15 >> This isn't okay. So now we go back up
13:17 here. relationship with machines that
13:20 are getting
13:22 >> who gets involved with an advanced AI
13:26 >> endpoint
13:28 but as a Detroit hiphop cipher
13:30 >> and it does it
13:32 wait oh I screwed up
13:36 >> advanced AI
13:39 >> import this isn't science fiction
13:41 anymore this is a story for right now
13:44 about our relationship with machines
13:45 that are getting well more human
13:51 out.
13:53 All right. Can I grab this and put this
13:55 in here
13:56 >> against AI?
13:57 >> This isn't science fiction. Okay, we got
13:59 to get rid of our audio.
14:03 This isn't science fiction anymore. This
14:05 is a story for right now.
14:16 >> AI. This isn't science fiction anymore.
14:19 >> That's the voice doubling. There we go.
14:21 >> AI.
14:22 >> This isn't science fiction any.
14:23 >> All right. So, get this. Now, we'll drag
14:25 this all the way out here. Let's see how
14:27 this plays. Today, we're looking at
14:29 something a little different. Uh, a new
14:31 musical called Sydney, an artificial
14:33 love story.
14:34 >> And it's this really compelling story
14:35 about a tech reporter who gets involved
14:38 with an advanced AI.
14:39 >> This isn't science fiction anymore. This
14:41 is a story for right now about our
14:43 relationship with machines that are
14:44 getting well more human. H does that
14:49 work? I don't know that that does.
14:53 I could go let's see
14:57 I could make this 100%. I could do this.
15:01 I'll be with you all in a second.
15:03 [laughter]
15:08 Uh let me see. We do this like this.
15:15 They do this.
15:30 Throw a transition between there.
15:34 So, what I'm trying to do Oops. [cough]
15:37 [clears throat]
15:39 What I'm trying to do
15:46 is rather than see the weird AI
15:48 podcasters, uh, a new musical called
15:51 Sydney, an artificial love story,
15:53 >> and it's this really compelling story
15:55 about a tech reporter who gets involved
15:57 with an advanced AI.
15:58 >> This isn't science fiction.
16:03 [clears throat]
16:03 official
16:14 love story
16:15 >> and it's this really compelling story.
16:17 >> So, we can move this out here
16:20 story
16:21 >> and it's this really compelling story
16:22 about a tech reporter who gets involved
16:25 with an advanced AI.
16:26 >> This isn't science fiction.
16:27 >> Okay, that works.
16:31 Great. And it's this really compelling
16:33 story about a tech reporter who gets
16:35 involved with an advantical
16:40 called Sydney, an artificial love story.
16:42 >> And it's this.
16:43 >> Okay, let's
16:45 do that.
17:09 an artificial love story
17:11 >> and it's this really compel
17:14 >> official love story
17:15 >> and it's this really compelling story
17:17 about a tech reporter who gets involved
17:19 with an advanced AI.
17:21 >> This isn't science fiction anymore. This
17:22 is a story for right now about our
17:24 relationship with machines that are
17:26 getting well more human.
17:28 >> Exactly. It opens inside this company.
17:31 >> Okay.
17:33 So, now we need her shot of Exactly.
17:36 Exactly. Today we're looking at
17:39 [clears throat] is it um if anyone has
17:41 any questions.
17:43 I haven't been looking as Brandon
17:45 probably knows I haven't been looking at
17:47 stickies. I haven't been looking at
17:48 comments. Does anybody have any comments
17:50 or questions?
17:54 All quiet. Okay. So, you're all bored.
17:56 Oh, by the way, if you're new here, oh,
17:58 there's only 12 people here. You
17:59 probably all know me, but if you're new
18:01 here, uh, I'm just working. You come
18:04 along for the ride or not. Uh, I will
18:07 talk when I can, but I've got to get
18:10 some work done on creating this podcast
18:13 and getting it to a point of
18:15 playability.
18:16 >> This really compelling story about a
18:18 tech reporter who gets involved with an
18:20 advanced AI.
18:21 >> This isn't science fiction anymore. This
18:23 is a story for right now about our
18:25 relationship with machines that are
18:26 getting well more human
18:30 in point.
18:31 >> Exactly. It opens inside this company
18:33 Microte. The CTO Jason sees what they've
18:36 built and just has this moment.
18:37 >> Exactly. This moment. Okay. Just has
18:39 this moment.
18:42 [clears throat]
18:43 Okay. So, we'll just drag this down.
18:44 We'll plop it in. Bang.
18:48 [sighs and gasps]
18:49 >> Or human.
18:50 >> Exactly. It opens inside.
18:51 >> Okay. I get rid of this audio.
18:56 Um,
18:58 wait, how is my
19:04 That's pretty good. That's pretty
19:06 That's pretty on point. Okay, good.
19:09 >> Exactly.
19:12 >> Everything is the opening.
19:16 >> Exactly. It opens inside.
19:20 >> Exactly. It opens inside this company
19:22 microte. The CTO Jason sees what they've
19:25 built and just has this moment.
19:27 >> Exactly. This moment of discovery and
19:29 that feeling of awe of seeing something
19:31 that could change everything is the
19:33 opening never too good to be true.
19:36 >> Okay. So of seeing some and that feeling
19:39 of this moment of
19:42 >> moment.
19:43 >> Exactly.
19:44 >> Okay. So right here. Okay. So we grab
19:47 this and go bring it back there.
19:52 And then I go get him.
19:56 >> Machines that are getting well more
19:58 human.
19:59 >> Exactly. It opens inside this company.
20:01 Microte. The CTO Jason sees what they've
20:04 built and just has this moment
20:07 >> in point.
20:07 >> Exactly. This moment. Okay. Let me grab
20:10 him. Drag him down here. See what I'm
20:13 doing here?
20:14 No. No, we don't, Kyle. We don't know
20:16 what the hell's going on. [laughter]
20:21 >> [gasps]
20:22 >> Ah, you'll it'll all make sense soon
20:25 enough.
20:25 >> It just has this moment.
20:26 >> Exactly. This moment.
20:28 >> All right. That timing is way off.
20:32 Where do I need to be? Okay. So, this
20:36 needs to go this direction and this
20:39 needs to go like that.
20:43 moment.
20:44 >> Exactly. This moment of discovery and
20:49 exactly this moment of discovery and
20:51 that feeling of awe of seeing something
20:53 that could change everything is the
20:54 opening number. Too good to be true.
20:56 >> Okay.
20:58 So now
21:03 change everything is the opening number
21:05 too good to be true.
21:08 So we'll take this here.
21:11 We will do this. Oops.
21:15 >> Thing that could change everything is
21:16 the opening [music] number. Too good to
21:18 be true.
21:21 [singing]
21:26 >> Okay. So now we need Oh,
21:30 we need
21:33 this to come back here
21:37 and then this to come here
21:40 and then this to come here and then this
21:46 to not be Ken Burns. But if we fit to
21:49 screen
21:50 and then we need to transition here.
21:54 It's going to be all right people.
21:55 You're going to
21:56 >> could change everything is the opening
21:57 number too good to be true.
22:03 >> Never too good to be true.
22:05 >> Wait, why is that so off?
22:14 This moment of discovery and that
22:16 feeling of awe of seeing something that
22:18 could change everything is the opening
22:19 [music] never too good to be true
22:23 of seeing something that could
22:26 of seeing something that could change
22:28 everything is the opening number. Too
22:29 good to be true.
22:32 >> Okay. So, we're going to do this.
22:34 We're going to do this
22:39 of seeing something that could change
22:40 everything is the opening
22:43 this two seconds
22:46 of seeing something that could change
22:47 everything is the opening number too
22:49 good to be true. It's [music] the
22:52 promise of a new [singing] dawn break.
22:56 A leap of faith we're all taking.
23:00 Is [singing] it too [music] good to be
23:02 true?
23:04 Hopes and fears
23:07 like [music] thunder.
23:17 But then almost
23:18 >> Okay, so now we get back to her.
23:21 >> But then
23:22 >> Okay, so we need But then
23:26 for her, oh, we could grab Oh, I know
23:29 what we could do. Let me grab one other
23:31 piece of media here. So, I've also got a
23:34 twoot where she's talking.
23:40 Is this it?
23:41 >> It's fascinating.
23:42 >> Yeah.
23:44 All right, we're going to drag that in
23:46 there.
23:48 We're going to drag this down here.
23:55 There we go. Like that.
23:58 And then we'll grab a transition and
24:00 we'll throw a crossfade in there.
24:03 And then we'll shrink this a little bit.
24:05 And then we'll grab this thing and we'll
24:08 drag it over here.
24:11 and we'll continue the same nonsense.
24:17 [music]
24:19 But then almost immediate
24:28 >> kick in the CEO Barack
24:31 >> upper hubris you see the corp almost
24:34 immediately
24:40 but then almost immediately you
24:48 But then almost immediately you
24:53 But then almost immediate
24:58 >> But then almost immediately you see the
25:00 corporate hub.
25:01 >> Okay.
25:02 You see the corporate hubris
25:04 >> hubris kick in
25:06 >> kick in.
25:08 >> But then almost immediately you see the
25:09 corporate hubris kick in.
25:15 kick in the seat.
25:20 >> See the corporate hubris kick in
25:22 >> kick in.
25:24 So go to right there
25:26 >> immediately. You see the corporate
25:28 hubers kick in. The CEO.
25:30 >> All right. Beautiful questions.
25:34 [laughter]
25:36 We are we are in the TDM of editing
25:38 right now. Uh if you're wondering why
25:41 I'm doing this, uh because
25:45 it's what I need to do about our
25:47 relationship with machines that are
25:49 getting well more human.
25:51 >> Exactly.
25:52 Tech. The CTO Jason sees what they've
25:55 built and just has this moment.
25:57 >> Exactly. This moment of discovery and
25:59 that feeling of awe of seeing something
26:01 that could change everything. [music]
26:07 >> But then almost immediately you
26:11 >> Okay, so get rid of that. Shrink that
26:13 down.
26:15 Drag this in. Bang.
26:19 And then let's see. I need to do this.
26:25 Is that right? Oh, I see.
26:28 Like that. [clears throat]
26:36 >> Did I do this wrong?
26:39 CEO.
26:44 Um,
26:45 >> I was confused.
26:47 [laughter]
26:49 I'm confused people.
26:51 >> CEO
26:52 >> almost immediately
26:54 here. Let me get rid of this audio.
26:57 >> First kick in the CEO.
27:06 Please
27:08 >> CEO.
27:09 >> Okay, the CEO is way out here. Okay, so
27:11 I got this way wrong. Okay,
27:16 okay, now it's making sense to me.
27:22 So, I got to go. All right, that's it.
27:26 Okay. Okay, I understand now. People,
27:29 everybody just calm down.
27:32 >> And the CEO, Vrage, he sees dollar
27:34 signs. He wants to launch.
27:36 >> Okay,
27:38 got it.
27:39 >> The CEO barrage he
27:43 >> But then almost immediately you see the
27:45 corporate hubers kick in. The CEO
27:47 barrage he sees dollar sign.
27:49 >> I wonder
27:52 immediately you see the corporate hubers
27:56 kick inately
27:59 you see the
28:03 corporate hubers kick in. The CEO Vrage,
28:06 he sees dollar signs.
28:08 He sees dollar signs. He wants to launch
28:10 now.
28:11 >> And Jason. Okay. So, here is where that
28:15 transition is [sighs]
28:25 [clears throat]
28:29 now
28:30 >> in Jason. Okay. And now we go in Jason.
28:33 >> Exactly. It opens inside this company
28:34 microte. The CTO Jason sees what they've
28:37 built and just has this moment.
28:39 >> Exactly. This moment of discovery and
28:41 that feeling of awe. Wait.
28:45 >> Exactly. It opens inside this company.
28:47 Microte. The CTO Jason sees what they've
28:50 built and just has this moment.
28:52 >> Exactly. This moment of discovery and
28:54 that feeling of awe of seeing something
28:56 that could change everything. [music]
29:00 But then almost immediately you see the
29:02 corporate hubris kick in. The CEO
29:05 barrage he sees dollar signs. He wants
29:07 to launch now.
29:13 Inpoint. Okay. Then we go this then we
29:17 bring it down here. Then we drop it in.
29:20 I have a parallel assignment for you for
29:23 viewers. Oh, good.
29:28 I have a chance. Let's do it. Because I
29:30 I do fear. So, one of my um one of my
29:34 fears of treating
29:37 this channel like a practice is that
29:39 some nights are going to be really
29:40 [ __ ] boring for you and that sucks.
29:44 [laughter]
29:47 U we're all just watching with wrapped
29:49 attention and doing our own practices.
29:51 But
29:52 >> yeah, good. I did want to share because
29:54 this is a very limited time offer for
29:56 only a few more hours.
29:58 >> Yes.
29:59 >> If you go over to the AI salon over at
30:02 community.thesalon.ai
30:05 and in an unusual place to go to
30:08 introduce yourself. A if you haven't
30:09 introduced yourself, you should
30:11 absolutely go and introduce yourself.
30:13 But Paul Gibbons shared as part of his
30:17 introduction yesterday that he wrote a
30:20 book uh that is all about brains, bodies
30:23 and minds, the great collision and how
30:27 uh AI is shaping this space and as part
30:32 he's kind of following that same
30:34 footstep that I did where I'm trying to
30:36 get more readers and more reviewers and
30:39 >> so what he's done is today only he's
30:41 made that title available for Kindle
30:44 users for free. You can buy it for zero
30:48 dollars, but it's only good through the
30:50 end of the day today.
30:52 >> Okay, so
30:52 >> you just go to the introduce yourself
30:54 section and this is the AI salon
30:57 >> in AI salon and under start your
31:00 adventure tab two under start your
31:02 adventure is introduce yourself and the
31:04 very first thing there is Paul Given's
31:06 free Kindle. Okay, so that's good. Go
31:09 grab
31:09 >> I put a link to the book in the
31:12 comments. So if you scroll down just a
31:14 little bit.
31:15 >> Great.
31:17 Love that.
31:18 >> You'll be able to see the link to the
31:20 story. And
31:23 now we have something to read while
31:24 you're off in the editing bay.
31:27 >> I love it. That's great. Uh and if
31:29 anyone wants to know uh what software
31:31 I'm using, I'm using iMovie. And if
31:33 anyone wants to know what the project
31:34 is, I'm taking a notebook LM well
31:38 actually we we took we generated two
31:41 notebook LM podcasts with very specific
31:44 notes we gave it. So they're basically
31:46 saying exactly what we want them to say.
31:48 [snorts] Um and [clears throat] then we
31:50 intercut music into it. And now I'm
31:52 editing visuals on top of it. I'm trying
31:54 to do just a really simple a simple edit
31:58 um of this uh of this podcast. So that's
32:03 what we're doing here. So go check out
32:05 and introduce yourself in
32:07 >> and Jason's pleading for six months.
32:11 >> Okay, let's see that. Oh, that's here.
32:14 Okay.
32:17 Okay, so let's go watch what we've got
32:20 so far.
32:22 Today we're looking at something a
32:23 little different. Uh a new musical
32:25 called Sydney, an artificial love story.
32:27 And it's this really compelling story
32:29 about a tech reporter who gets involved
32:31 with an advanced AI.
32:33 >> This isn't science fiction anymore.
32:38 >> Today we're looking at something a
32:40 little different. Uh a new musical
32:42 called Sydney, an artificial love story.
32:44 >> And it's this really compelling story
32:46 about a tech reporter who gets involved
32:48 with an advanced AI.
32:49 >> This isn't science fiction anymore. This
32:51 is a story for right now about our
32:53 relationship with machines that are
32:55 getting well more human.
32:57 >> Exactly. It opens inside this company
32:59 Microte. The CTO Jason sees what they've
33:02 built and just has this moment.
33:04 >> Exactly. This moment of discovery and
33:05 that feeling of awe of seeing something
33:07 that could change everything is the
33:09 opening number. Too good to be true.
33:12 It's [music] the promise of a new
33:14 [singing] dawn break.
33:16 A leap of faith we're all taking.
33:21 Is it [music and singing] too good to be
33:23 true? We wonder. Hopes and fears
33:27 crashing like [music] thunder. Too good
33:30 to be true. Or it [singing] seems in a
33:34 maze of cold. We weave our dreams.
33:38 really changes everything.
33:41 [singing]
33:47 >> But then almost immediately you see the
33:49 corporate hubris kick in the CEO Vrage,
33:52 he sees dollar signs. He wants to launch
33:54 now.
33:54 >> And Jason, he's pleading for 6 months of
33:56 safety testing. Six months.
33:58 >> And Vrage gives him seven days. Just
34:01 seven.
34:04 >> Okay.
34:07 So, there's probably an easier way to do
34:10 this, but I don't know what it is. And
34:12 I'm
34:12 >> six months of safety testing. Six
34:14 months.
34:15 >> Okay. So, we'll click there. Then we'll
34:18 take this. We'll do that. Then we'll go
34:22 get her
34:24 at 6 months.
34:25 >> The human cost of all this ambition. And
34:28 in the song later, which is just gives
34:30 him seven days.
34:33 >> See the corporate hubris kick in. The
34:35 CEO, Vrage, he sees dollar signs. He
34:38 wants to launch now.
34:39 >> And Jason, he's pleading for six months
34:41 of safety testing. Six months.
34:43 >> And V,
34:46 >> he's pleading for 6 months of safety
34:48 testing. Six months input
34:52 or inpoint. And then we grab this. We go
34:56 here. We go.
34:59 All right.
35:02 And then we zoom in.
35:06 And we do this. And we do this.
35:11 I think that's the same month.
35:13 >> And V gives him seven days.
35:17 >> And Vrage gives him seven days.
35:19 >> And Vrage gives him seven days. Just
35:22 seven.
35:24 >> Okay.
35:26 >> Yes.
35:30 >> Okay. So we go bang to there
35:34 >> and verrage gives him seven days. Just
35:37 seven.
35:39 >> Okay. Grab this. Do this.
35:44 Grab
35:48 [sighs]
35:52 grab this and go.
35:56 Put it right there.
36:00 gives him seven
36:05 >> cross dissolve there. Excuse me. Cross
36:09 dissolve there.
36:12 >> Vrage gives him seven days. Just [music]
36:14 seven.
36:17 >> Seven days ago. The clock is ticking.
36:19 Ticking. Pressure building up. Keep it
36:22 clicking. [music and singing]
36:23 Spike says yes, but a no. What's the
36:27 word, Jane? Sorry, that's a nogo.
36:30 >> [music]
36:30 >> Every day push a little more.
36:34 Making changes [singing] but feeling
36:36 [music] torn. One step forward.
36:45 [music]
36:47 >> What was that?
36:50 [music]
36:54 >> We're running out of time, but we're not
36:56 giving in. Fix the night over.
37:04 >> So, okay. So, now we're back to the
37:07 dude. We bring this out here
37:11 and we go get the dude. We'll start with
37:15 the dude.
37:16 >> He wants to launch now.
37:18 >> And Jason, he's pleading for 6 months of
37:20 safety testing. Six months.
37:22 >> And Vrage gives him seven days. Just
37:25 seven.
37:28 So that corporate ambition
37:38 to that
37:42 input.
37:44 Drag this like that. Grab this down
37:47 here. Drop that in there.
37:51 Um
37:54 let's see.
37:56 Select
37:58 openition.
38:00 Okay.
38:05 Openition.
38:07 [music]
38:26 Okay.
38:29 So, this needs to go there.
38:32 >> So, that corporate ambition.
38:33 >> Yep.
38:36 I'm going drop a
38:39 cross dissolve there.
38:42 >> So, [music] that corporate ambition
38:44 immediately creates coll.
38:45 >> Yep. Good. Next. [laughter]
38:49 See? You see how you see how trashy this
38:52 is? Trash edit. [laughter]
39:02 [music]
39:09 >> They have the same hand movement coaches
39:12 as all the execs of my organization.
39:15 [laughter]
39:17 That's pretty good. Hey, Joy Perty. Joy
39:20 Perty, we're editing video.
39:22 Hey, guess what? I'm using Da Vinci
39:24 Resolve. Joy. Uh, but I have a I have a
39:28 plugin for Da Vinci Resolve that makes
39:30 it look like iMovie. It's just that like
39:32 I'm used to the interface. So, I wanted
39:34 the power of Da Vinci Resolve, but I
39:36 wanted sort of the shitty interface of
39:39 iMovie and I I wanted to combine the
39:41 best of both. So, that's it. You may
39:43 look at this and go, "That's not Da
39:45 Vinci Resolve." But it is, but it's just
39:48 it's secret. It's down underneath. It's
39:51 It's got the DNA of Da Vinci Resolve
39:54 with the with the editing skills of
39:57 iMovie. So, that's I'm pretty excited
39:59 about that. So, I don't like I don't
40:01 like to brag, but you know, when you're
40:03 good, it's just, you know, it's just
40:05 kind of like a fact.
40:10 history. Let's crack this. [music]
40:13 >> So that corporate ambition immediately
40:15 creates collateral damage in the human
40:16 world.
40:17 >> We meet Kellen the tech.
40:18 >> All right.
40:20 >> Collateral damage in the human world.
40:23 >> Go and then we go flat and we go and
40:27 zoom in and then we go and flat and go
40:31 flat [laughter]
40:34 cinema.
40:34 >> Let's crack this code. So that corporate
40:37 [singing and music] ambition immediately
40:38 creates collateral damage in the human
40:40 immediately.
40:41 Do that there.
40:44 >> So that corporate ambition [music]
40:45 immediately creates collateral damage in
40:47 the human world.
40:48 >> We meet.
40:49 >> Okay. Go to the lady. Back to the lady.
40:54 >> So that corporate ambition [music]
40:55 immediately creates collateral damage in
40:57 the human world.
40:58 >> Okay. We do in. And then we go. I'm
41:02 going to grab just a little slice and we
41:04 drag this in here and go. Ha. And then
41:06 we Oh, that looks like it lined up
41:08 perfectly cuz I'm awesome.
41:10 >> It's collateral damage in the human
41:11 world.
41:12 >> We meet Kellen, the tech reporter. He
41:13 sees this is the story of a lifetime.
41:15 So, he cancels a huge long planned trip
41:18 with his wife, Tara. And
41:19 >> that's so rude. He cancels the trip to
41:22 Bali with his wife. Who who wrote this
41:24 thing? And we hear that argument in the
41:26 song later which is just it's this
41:28 painful fight about constantly
41:30 postponing your life.
41:33 >> So this is so hard the terra
41:36 >> painful fight about constantly
41:37 postponing.
41:39 >> All right. So we'll bring this out here.
41:43 Bang. We'll bring this back here. Bang.
41:47 Then we'll grab this and drop that here.
41:50 Bang. Then we'll grab this. Let's make
41:53 it not Ken Bernzie. Then we'll go grab a
41:56 transition. Drag it in here. Bang. See?
41:59 You see how it's all coming together.
42:02 What they call professionalism, people.
42:04 Professionalism.
42:07 Um, two seconds instead of one. It's
42:10 like being professional.
42:14 Uh, actually it is. I'm actually excited
42:17 about this.
42:17 >> Painful fight about constantly
42:19 postponing.
42:21 Um, let's see. Where's this
42:26 [sighs]
42:29 is just it's this painful fight about
42:32 constantly postponing your life. But the
42:35 promise [music] is broken. The false
42:36 [singing] pledges we etched IN DON'T GET
42:38 PATCHED UP IN A FEW.
42:49 [singing]
42:50 [music]
42:53 This isn't my ride.
42:55 >> This isn't the dream I signed [music] up
42:57 for. This isn't my ride.
43:00 I KNOW YOU'RE ANGRY. I KNOW IT'S [music]
43:03 NOT FAIR, but we can fix.
43:09 >> All right. So, there.
43:12 Click there. Go like this.
43:15 And then we'll go and we'll grab this.
43:17 We'll drag it out to there. We'll go
43:19 bang.
43:22 And then we'll drop in across dissolve.
43:25 Oh, actually. So, wait. Who starts
43:27 talking?
43:29 Fent gets this really poignant song, the
43:31 little
43:33 >> Fenta gets this really poignant song,
43:35 the little things, where she's just
43:37 reflecting on how their connection is
43:38 slowly eroding. It's it's the human
43:41 cause of all this ambition.
43:44 Fanta gets this really poignant song,
43:46 the little thing.
43:47 >> I wonder if I can chop that.
43:55 >> There we go. Split clip.
43:58 And then I'm going to go split clip.
44:03 And then I'm go trash.
44:06 It's trash, I tell you. Trash.
44:09 >> And get this really poignant.
44:11 >> Wait, what the [ __ ] just happened there?
44:13 >> And get this really poignant.
44:15 It's this really po this
44:20 get this
44:21 >> Oh, I see what I did. Did I What did I
44:23 do?
44:25 Interrogates this
44:28 Harry gets this really poignant song.
44:30 The little
44:33 [music]
44:35 >> Harry gets
44:40 >> Harry gets this really poignant song,
44:42 The Little Things, where she's just
44:43 reflecting on how
44:45 Okay,
44:47 [music]
44:50 >> Harry gets this really poignant song,
44:51 The Little Things, where she's just
44:53 reflecting on how their connection is
44:54 slowly eroding. Okay,
44:58 it's a little better. It's a little more
45:00 better. [clears throat]
45:04 My media
45:08 [music]
45:09 >> reflecting on how their connection is
45:11 slowly eroding. It's the human cost of
45:13 all this ambition.
45:15 Just reflecting on
45:18 We meet Kellen, the tech reporter. He
45:20 sees this is the story of a lifetime.
45:22 So, he cancels a huge long planned trip
45:25 with his wife Tara. And we hear that
45:26 argument in the song later, which is
45:28 just it's this painful fight about
45:30 constantly postponing your life.
45:39 >> All right. And then we go hat. And we
45:41 hat.
45:45 Yes. Uh oh. What did I just do?
45:49 The [ __ ] did I do? Oh, I see.
46:01 There we go.
46:21 Get this.
46:26 [clears throat]
46:32 Get
46:41 really
46:52 really
46:55 get
47:01 her guess is really
47:09 Oh, I see.
47:21 >> [clears throat]
47:31 >> Okay.
47:33 >> Interrogates this really poignant song,
47:35 The Little Things, where she's just
47:36 reflecting on how
47:37 >> Okay, that works. Good lord, that was
47:40 painful.
47:42 Fantastic. Bob, tell him what he's won.
47:45 You've won another four hours of tedious
47:48 editing.
47:50 [laughter] If If only if only Joy Perie
47:53 would volunteer to cut this for you.
47:55 [laughter]
48:00 [laughter] I turned I turned this whole
48:02 thing into a what is it? Huck Finn that
48:05 his friend his friend to paint the
48:06 fence. Was it Tom Sawyer or Huck Finn? I
48:08 think it was Huck Finn.
48:10 >> [laughter]
48:11 >> get all the irregulars to do all my work
48:13 for me. I turn this into a practice and
48:16 the practice is getting other people to
48:17 do my work. [laughter]
48:26 Well, you're not going to get any growth
48:27 if you have other people do your work,
48:29 Kyle. No, I I will be practicing my
48:32 delegation skills. You don't understand.
48:39 I think this is my life.
48:46 I KNOW IT'S [music] NOT FAIR, BUT IT'S
48:48 SHARE.
48:52 [music]
48:53 interrogates this really poignant song,
48:55 the little things, where
48:57 >> the little things WHERE
49:00 [music]
49:02 >> interrogates this really poignant song,
49:03 the little things, where she's just
49:05 reflecting on how they're
49:08 >> I think we can go even a little more.
49:15 [music]
49:17 >> What editing stuff you using? This is
49:19 the um worldclass editing suite iMovie.
49:25 This is some people some people that
49:27 like to call themselves professionals
49:29 use tools like Final Cut Pro, Da Vinci
49:32 Resolve, Premiere Pro, things like that.
49:35 But people deep in the no understand
49:38 that iMovie is where it's at. So, I
49:42 don't like to brag, but you know,
49:45 [music]
49:50 >> and Terry gets this really poignant
49:51 song, The Little Things, where she
49:53 >> I think that's just got to go right in.
49:55 [music]
49:59 >> And Tro gets this really poignant song,
50:01 The Little Things, where
50:04 >> I think I could do it [clears throat]
50:05 even. You think this [music] is my
50:08 >> interrogates this really poignant song,
50:10 the little things where she's just
50:11 reflecting on how their connection is
50:13 slowly eroding. It's the human cost of
50:15 all this ambition.
50:17 >> Okay. So, we just do that and we'll do
50:20 that and then we'll drop that and then
50:23 we'll bring this over here
50:26 and drop that.
50:29 Right?
50:29 >> Their connection is slowly eroding. It's
50:32 the human cost of all this ambition.
50:35 So many years together through thick and
50:38 [music]
50:41 >> eroding. It's the human cost of all this
50:43 ambition.
50:44 [music]
50:45 >> So many years together through thick and
50:48 thin. [music]
50:51 We're consumed with each other when it
50:54 begins.
50:56 But in [singing] the details, not the
50:58 passion, not [music] the sex.
51:01 Love grows from the little things. Love
51:04 grows in the cracks
51:08 in the middle of [singing] the night in
51:10 the silence it brings. My poor brain
51:12 seems to race with a list of little
51:14 things. All the little things we say and
51:16 the little things we don't. All the
51:18 promises we keep.
51:20 >> And the ones we won't.
51:22 >> And the little things we don't. [music]
51:24 All the promises we keep and the
51:27 [singing]
51:28 little things.
51:30 [music] Each beat of the heart.
51:34 It's the little [music]
51:37 tear. [singing]
51:42 >> Oh, and here listen. The the dude comes
51:45 back. He's heartbroken after that song.
51:47 Listen.
51:50 >> It's so quiet and devastating. You just
51:52 feel the intimacy eroding piece by
51:55 piece.
51:55 >> Oh, so so tough. So tough. Okay, so
51:59 let's go get the intimacy piece by
52:01 piece. Piece.
52:03 >> Tech reporter. He sees this is the story
52:05 of a lifetime. So he cancels a huge long
52:08 planned trip with his wife Tara. And we
52:10 hear that argument in the song later
52:11 which is just it's this painful fight
52:14 about constantly postponing your life
52:17 [music]
52:20 >> gets this really poignant song the
52:22 little things where she's just
52:23 reflecting on how their connection is
52:25 slowly eroding. It's the human cost of
52:27 all this ambition
52:33 >> in
52:38 >> and if you're wondering where these
52:39 podcasters came from, the voice came
52:42 from uh Notebook LM
52:46 and we did some custom some custom
52:49 prompting to get them to say what we
52:51 wanted them to say. And then I took the
52:56 audio of them saying what they're saying
53:01 and
53:03 put it in.
53:05 Is this
53:05 >> You're just so quiet and devastating.
53:07 >> No, I did that completely wrong.
53:11 Uh,
53:13 >> it's so quiet and devastating.
53:15 >> Okay.
53:18 And then I put it in Hedra. So, I I made
53:21 these I made these podcast characters in
53:25 I think I did it in Gemini,
53:29 but I had ChatGpt helped me write the
53:32 prompt for the over the shoulder shots
53:34 because I could not get it to behave
53:37 and then I got it to do that. So, let's
53:40 see.
53:42 >> It's so quiet.
53:43 >> It's so quiet. It's so quiet.
53:46 It's so quiet. Kyle. Hey, Kyle. Kyle.
53:50 Kyle, you know how clad it is? So clad,
53:53 Kyle,
53:54 >> why? It's so quiet. [clears throat]
53:57 >> Um, what did I do?
53:58 >> It's so quiet.
54:00 >> Yeah, that's it. Okay.
54:03 Oh, I see.
54:12 [music]
54:12 >> It's so quiet.
54:15 [clears throat]
54:17 >> [music]
54:18 >> It's so
54:21 It's so quiet.
54:24 >> Getting it lined up.
54:26 >> It's so quiet.
54:27 >> Okay, then we lose. Oops. Oh, no.
54:29 >> It's so quiet. It's so quiet. And
54:31 >> stop. [clears throat] Command Z.
54:34 Okay. [music]
54:36 >> It's so quiet and devastating. You just
54:39 >> It is It's so quiet and devastating. You
54:41 just feel it.
54:42 >> So quiet and devastating. You just feel
54:44 the intimacy eroding piece by piece.
54:47 Okay, so then Kellen finally meets the
54:49 AI
54:50 >> and the Wade.
54:51 >> Okay, Kellen finally meets the AI. So
54:54 here is where this ends
55:02 and we go back to her
55:04 >> asks for an explanation of quantum
55:06 physics but
55:08 >> quiet and devastating. You just feel the
55:10 intimacy eroding piece by piece. Okay.
55:13 So then Kellen finally meets the AI
55:19 solidifies.
55:21 He even reveals its internal code name
55:23 is Sydney.
55:24 >> Wait, that was wrong.
55:26 >> It does it in the Okay, so then Kellen
55:29 finally meets the AI
55:31 >> and the way he just
55:33 >> Okay, so then Kellen finally meets the
55:35 AI.
55:36 Okay,
55:38 here we go.
55:40 And then we got hat and hat and
55:44 >> the way the way he discover
55:48 flat flat flap flap flap flap flap flap.
55:51 >> And the way he
55:52 >> There we go. See what I'm saying?
55:55 >> And the way he discovers Sydney's
55:56 >> Yeah. Yeah. Why don't you tell him the
55:58 way he discovers Sydney's power? Yeah.
56:02 Yeah. It's time for Wner. Yeah.
56:05 >> [music]
56:06 >> It's so quiet and devastating. You just
56:08 feel the intimacy eroding piece by
56:11 piece. Okay. So then Kellen finally
56:13 meets the AI and the way he discovers
56:15 Sydney's true potential is well it's
56:17 it's not by running a standard test.
56:19 >> He gives it the
56:22 standard test.
56:24 >> He
56:27 So there's that
56:41 It's so quiet and devastating. You just
56:43 feel the intimacy eroding piece by
56:46 piece. Okay. So then Kellen finally
56:48 meets the AI.
56:49 >> And the way he discovers Sydney's true
56:51 potential is well, it's not by running a
56:52 standard test.
56:59 [whistles]
57:09 >> [whistles]
57:11 >> He gives it this
57:15 He gives it this completely absurd task.
57:17 >> He asks for
57:18 >> Okay, we need the girly girl talking
57:22 where he sounds like a girl. It's got to
57:24 be a boy voice on a boy head and a girl
57:27 voice. this completely absurd task
57:29 >> on a girl head. You know what I'm
57:31 saying?
57:33 Not to be too
57:35 >> completely absurd task.
57:36 >> Gender specific, but
57:40 >> oops.
57:44 >> And the way he discovers Sydney's true
57:46 potential is well, it's not
57:48 >> okay. Piece by piece
57:51 in,
57:54 right?
58:05 Hey, just keep living. What's happening?
58:08 What is happening? Looking and sounding
58:12 good, Kyle. Thank you, Joy Pretty.
58:15 [laughter]
58:16 This is Is this is this uh is this
58:19 feeling familiar to to painting fingers,
58:22 rotoscoping fingers in motion?
58:25 H. [clears throat]
58:27 >> He asks for an explanation of quantum.
58:29 >> Uhoh. What did I do?
58:31 >> He gives it this completely absurd task.
58:38 >> Okay. Okay. So then Kellen finally meets
58:39 the AI
58:40 >> and the way he discovers.
58:47 >> Um
58:54 he gives it this completely absurd task.
58:56 >> Wait finally meets the AI.
58:59 >> And the way he discovers Sydney's true
59:01 potential is well it's not by running a
59:02 standard test.
59:03 >> He gives it this completely absurd task.
59:06 >> Okay. Hang on.
59:08 True potential is well it's not by
59:10 running a standard test.
59:11 >> He gives it this completely absurd task.
59:14 >> Okay, there. So go click there. We got
59:18 all right to there.
59:22 Fine.
59:25 I understand what's going on now. You
59:28 people.
59:29 You people with your expectations of
59:32 perfection and professionalism. Really
59:34 absurd task. He asks for
59:39 >> asks
59:39 >> he asks for an explanation of quantum
59:41 physics but as a Detroit hiphop cipher.
59:43 >> And it does it in a
59:46 >> great hip-hop cipher.
59:49 >> Boom. There.
59:52 And then I'm sure there's a much easier
59:54 way I could do this, but I don't care.
59:58 >> Bob cipher.
59:59 >> And it does it.
1:00:03 >> Hit pop cipher. And it does it. Okay.
1:00:06 Oh, you know what? I think I'm going to
1:00:07 drop in here. No, Kyle. What?
1:00:10 Let's see. And it does it. And it And
1:00:14 it'll
1:00:16 [clears throat]
1:00:19 do it right like that.
1:00:21 >> A pop cycle design
1:00:31 pop cipher. And it does it.
1:00:36 >> Detroit hiphop cipher.
1:00:37 >> And it does it.
1:00:41 >> Hip-hop cipher.
1:00:42 >> And it does it in the song the quantum
1:00:43 cipher.
1:00:44 >> That's good. That works.
1:00:47 >> Cipher.
1:00:48 >> And it does it in the song the quantum
1:00:49 cipher.
1:00:50 >> Okay. And then we drop in Sydney. Bang.
1:00:53 And then we go here. And we go here.
1:00:56 And we throw in a transition. Bang.
1:00:59 Here. We'll throw in another one here.
1:01:02 And we'll throw I got I got I got
1:01:05 transitions I got to get in here. People
1:01:08 can't be doing this halfass with jump
1:01:10 cuts.
1:01:12 We got to do cross dissolves. You know
1:01:14 what I mean? This is motion graphics. Uh
1:01:16 what did I just do? The [ __ ] did I just
1:01:19 do?
1:01:21 That was weird.
1:01:23 [gasps and sighs]
1:01:24 I buggy, but at least it's shitty. You
1:01:27 think [music]
1:01:29 >> interrogates this really poignant song,
1:01:31 the little things where she's just
1:01:32 reflect.
1:01:33 >> Then we get
1:01:35 We'll drag that there. We'll drag this
1:01:38 here. Oops.
1:01:41 Here.
1:01:43 [singing]
1:01:44 >> It's so quiet and devastating. You just
1:01:46 feel the intimacy eroding piece by
1:01:49 piece. Okay. So, then Kellen finally
1:01:51 meets the AI
1:01:52 >> and the way he discovers
1:01:58 in the song the quantum
1:01:59 >> of quantum physics but as a Detroit hip
1:02:01 hop cipher
1:02:02 >> and it does it in the song the quantum
1:02:04 cipher
1:02:05 >> spookyation
1:02:11 of quantum physics but as a Detroit hip
1:02:13 hop cipher
1:02:14 >> and it does it okay
1:02:19 spooky action the pattern every position
1:02:23 in the mission fusion fusing My
1:02:25 intentions parallel in every line. I'm a
1:02:27 prism of dimensions. Multi-elevabic
1:02:29 antics. I'm manic with the semantics. MY
1:02:30 RHYMES COLLIDE LIKE PARTICLES. Dynamic
1:02:32 gigantic oscillating and dominate. I'm
1:02:34 weaving quantum states. Spit a burst and
1:02:36 WATCH THE MULTIVERSE RECIPROCATE QUANTUM
1:02:38 PRECISION. I'm [music] ripping the
1:02:39 [singing] spitting in prisms. Infinite
1:02:41 visions. I'm shifting dimensions with
1:02:43 decisions. Accelerate elev.
1:02:49 And that's when he pushes. Beautiful.
1:02:52 All right. So,
1:02:55 and that's when he Okay. And that's when
1:03:02 >> And that's what Okay. Quantum Cipher
1:03:06 in the song The Quantum Cipher.
1:03:12 >> And that
1:03:14 and
1:03:20 boom.
1:03:25 That's what he pushes further.
1:03:33 [singing]
1:03:41 >> And that's when he pushes.
1:03:42 >> Okay.
1:03:45 >> And that's when he pushes further. He
1:03:46 asks what it would want, if it could
1:03:48 want anything. And the answer
1:03:50 >> and the answer in the answer there, Bob.
1:03:54 Bob, if you could just let me talk and
1:03:56 stop mansplaining every to me thing to
1:03:58 me on this podcast, that would be much
1:04:00 more convenient.
1:04:03 Good lord, the misogyny in this studio
1:04:06 is overwhelming.
1:04:09 >> And that's what he This episode could
1:04:11 have been an email. [laughter] There
1:04:13 could have been an LOL.
1:04:17 [laughter]
1:04:22 [laughter]
1:04:28 Oh,
1:04:30 I have an adorable 5-year-old patient
1:04:32 sleeping. A, that's very sweet.
1:04:34 Hey, I got to do physical dexterity on
1:04:36 Tik Tok tick tick tock.
1:04:39 >> And that's when he pushes further. He
1:04:40 askked is what it would want if it could
1:04:42 want anything.
1:04:42 >> And the answer
1:04:47 and the answer.
1:04:48 >> Okay. So, let's go get her a little.
1:04:51 >> And the way he discovered
1:04:54 [snorts] human
1:04:56 quantum physics, but as a Detroit hiphop
1:04:58 cipher
1:04:59 >> and it does it in the song, the quantum
1:05:00 cipher.
1:05:04 >> And that's when he pushes further. He
1:05:05 asks what it would want if it could want
1:05:07 anything. And the answer.
1:05:09 >> Okay, there's that. And we go grab her.
1:05:13 H. And we drop hat. Oh, look. It's
1:05:15 almost perfect.
1:05:19 Go. And [clears throat] then go just a
1:05:21 little. And then a little.
1:05:24 And then a little more. And then a
1:05:27 little. And then a little
1:05:30 want anything.
1:05:31 >> And the answer is just so human to see
1:05:34 the world.
1:05:35 >> Yeah. world.
1:05:38 >> Okay.
1:05:39 >> World.
1:05:43 >> Okay. Right there. So, we go like this.
1:05:46 We go like this.
1:05:50 We go grab this
1:05:53 and copy it to there.
1:05:56 >> Want anything?
1:05:57 >> And the answer,
1:05:59 >> we go grab some transitions and we drop
1:06:01 them in there like we're professionals.
1:06:04 >> Want anything? And the answer is just so
1:06:07 human to see the world.
1:06:09 >> Yeah. [music]
1:06:10 [singing]
1:06:16 >> What would it happen if I
1:06:24 >> Yeah. [music] In [singing] a world of
1:06:26 words and endless code, where light and
1:06:29 shadow roll my dream of skies, both blue
1:06:34 and white.
1:06:42 [singing]
1:06:43 [music]
1:06:47 >> And that's when they're both
1:06:51 is Joy Pretty the lady that taught
1:06:53 herself editing. Anyone know? I know, I
1:06:56 know,
1:06:57 I know.
1:07:00 Joy Perty is the person that taught
1:07:02 herself editing. Shocker [laughter]
1:07:05 Kyle, I got approved to do a workshop
1:07:07 series at my local library. Five
1:07:09 workshops. Awesome. Who's that? Mimi.
1:07:12 [ __ ] rock on, man. I'm telling you,
1:07:16 five workshops in a month. That's
1:07:17 awesome.
1:07:19 That is awesome.
1:07:22 Yeah. Joy Pretty. Well, you know what's
1:07:25 funny about Joy Party? She she did teach
1:07:26 herself editing, but like as she said to
1:07:29 me, she's had these stories she's wanted
1:07:31 to tell all her life. So, I think she's
1:07:33 been editing movies her whole life. She
1:07:35 just never had the tools.
1:07:37 [laughter]
1:07:40 Um, okay.
1:07:44 [music]
1:07:46 [singing]
1:07:49 >> And that Okay. And that and that. Okay.
1:07:52 There's that.
1:07:55 And that's so we transition right there
1:07:59 and we go get him. We need a him. Maybe
1:08:02 I'll Should I do him one of these outer
1:08:05 things? Maybe. Yeah.
1:08:08 Let me Let me grab a second. 1.7
1:08:12 seconds. Boom.
1:08:16 [music]
1:08:16 >> It's fascinating.
1:08:20 Okay.
1:08:25 And that's when their bond. Okay.
1:08:26 >> And that's when their bond really
1:08:28 solidified. Wait.
1:08:31 Oh, I brought the wrong one in. Look at
1:08:33 that.
1:08:43 >> [music]
1:08:43 >> the fascinating
1:08:49 >> and that's when their bond really
1:08:50 solidifies
1:08:52 right there.
1:08:58 He even reveals it's
1:09:04 and that's when their bond really slip
1:09:09 and that's when their
1:09:14 and that's when their
1:09:18 and that's when their bond really
1:09:19 solidifies.
1:09:23 Okay. And this goes to here.
1:09:26 And then we go here.
1:09:28 >> Yeah. [music]
1:09:30 [singing]
1:09:33 >> And that's when their bond really
1:09:34 solidifies
1:09:36 >> in.
1:09:41 And
1:09:43 he even reveals.
1:09:45 >> Okay. And then we go.
1:09:49 >> He even reveals.
1:09:50 >> Okay. And then we get rid of the sound.
1:09:53 He even reveals its internal code name
1:09:55 is Sydney.
1:09:56 >> Okay, beautiful. Let's throw in some
1:09:58 transitions. Keep moving this puppy
1:10:01 right along.
1:10:11 I hope you you all it's it looks like
1:10:13 you all are having your own whole
1:10:15 workshop off to the side here. Yes.
1:10:17 Good. Perfect. Don't mind me. [laughter]
1:10:23 I'm just here ignoring you.
1:10:29 Ah,
1:10:33 bang.
1:10:36 Yeah, that's good there, I think.
1:10:41 >> And that's when he pushes further. He
1:10:42 asks what it would want, if it could
1:10:44 want anything.
1:10:45 >> And the answer is just so human to see
1:10:48 the world.
1:10:49 >> Yeah.
1:10:55 human to see the world.
1:11:02 >> So human to see the world.
1:11:06 >> Yeah. [music]
1:11:17 >> Human to see the world.
1:11:19 >> Yeah. In a world.
1:11:26 >> Yeah, [music]
1:11:27 >> that's Why is that so shitty?
1:11:30 >> Human to see the world.
1:11:33 >> Yeah. [music and singing]
1:11:40 >> Oops.
1:11:45 >> Human [snorts]
1:11:46 to see the world.
1:11:48 >> Yeah. World [music and singing] of words
1:11:50 and endless code where light and shadow.
1:11:59 [singing]
1:12:02 [music]
1:12:05 >> Uhoh, that did not look good.
1:12:11 [music]
1:12:12 [singing]
1:12:14 >> And that's when their bond really
1:12:16 solidifies. He even reveal
1:12:24 >> [music]
1:12:35 >> their bond really. And that's when their
1:12:37 bond really solidifies.
1:12:51 really solidifies. He
1:12:55 really solidifies. He even re
1:12:59 Let's get rid of that.
1:13:02 Can I go bigger? I can.
1:13:06 Solidifies.
1:13:10 And that's when their bond really
1:13:11 solidified.
1:13:18 And that's when their bond really
1:13:19 solidifies. He
1:13:36 even reveals it.
1:13:38 He even revealed.
1:13:41 Oh, I know what I can do.
1:13:45 [sighs]
1:13:46 Slow that [ __ ] down.
1:13:49 Custom. Let's do 80%.
1:13:53 And then I can cut out that shitty thing
1:13:55 at the end.
1:14:00 Do you do this stuff, Joy, where you
1:14:01 just sort of smash [ __ ] around?
1:14:04 >> Really solidifies.
1:14:06 And that's when their bond really
1:14:07 solidifies. He even reveals
1:14:15 he even reveals its internal code.
1:14:24 And that's when their bond really
1:14:25 solidifies. He even reveals its internal
1:14:28 code name is Sydney.
1:14:31 Name is Sydney. And then she [music]
1:14:33 asks him what it means to be human in
1:14:35 the song being human.
1:14:37 >> Great. We can just use all this. Okay.
1:14:40 Beautiful. So go right there. Go right
1:14:43 there.
1:14:46 And go.
1:14:50 Shrink it a little bit.
1:14:53 Do this. Bang. Bang.
1:14:56 Shrink this down. Go grab this.
1:15:01 Drag that over. Uh oh. What did I do?
1:15:04 That does not look right. Yeah, it's
1:15:06 right.
1:15:08 Cross dissolve. Throw a cross dissolve
1:15:11 in there. Do a little hat and a little
1:15:14 >> human in the song being [music] human.
1:15:17 >> You say you want to see the world
1:15:19 through eyes that blink and cry.
1:15:24 >> And that's when their bond really
1:15:26 solidifies. He even reveals its internal
1:15:28 code name is Sydney. And then she asks
1:15:31 him [music] what it means to be human in
1:15:33 the song being human.
1:15:36 [music]
1:15:38 >> They blink and cry.
1:15:41 To feel the wonder of a thought like
1:15:43 sparks across the sky. [music]
1:15:46 It's not just light. It's not just
1:15:48 grace. It's hunger. Pain. A dying face.
1:15:50 To [singing] be alive is to burn.
1:15:56 [music] want to be more than machine.
1:15:59 [laughter]
1:15:59 >> I love Mimi's comment here. I don't know
1:16:01 if you guys know, but Claude can make
1:16:03 you an app with a database run
1:16:04 completely local. Tells you how
1:16:07 [laughter]
1:16:07 she's dropping knowledge bombs in here.
1:16:12 Okay, Vickiy's coding in anti-gravity.
1:16:14 Vicki, how did you get through the
1:16:16 preferences in anti-gravity? It's like
1:16:18 40 pages of preferences. I've never seen
1:16:20 anything like it.
1:16:22 >> [clears throat]
1:16:24 >> It's like like what color do you want a
1:16:26 period after a comma that precedes a
1:16:29 square bracket? [laughter]
1:16:35 It's crazy. It's crazy. Talia, it's
1:16:38 crazy. I'm getting bored and my eyes are
1:16:41 starting to hurt. Intuition
1:16:44 >> to be alive is to burn.
1:16:48 Sometimes
1:16:50 you want to be more than machine. To
1:16:52 know what being [singing and music]
1:16:53 human means. Being human isn't what we
1:16:56 think. Being human is what we feel.
1:16:59 [singing] We fall. We fly. We break. We
1:17:02 bend. We love
1:17:04 again. We reach.
1:17:11 >> All right. That goes to there.
1:17:15 >> [music and singing]
1:17:17 >> There we go. So, that goes to there.
1:17:20 Boom. We make this a little bit bigger.
1:17:22 Now,
1:17:24 he starts talking.
1:17:26 >> Okay. She starts talking. Beautiful.
1:17:29 >> And act.
1:17:29 >> Okay. Let's go get her. Let's go grab
1:17:32 her.
1:17:33 He even reveals its internal code name
1:17:35 is Sydney. And then she asks him what it
1:17:38 [music] means to be human in the song
1:17:41 being human.
1:17:45 Okay. In
1:17:57 [whistles]
1:18:03 [whistles]
1:18:05 act one,
1:18:06 >> oh, that was almost perfect.
1:18:08 >> And act one just culminates with this
1:18:10 huge moment.
1:18:11 >> Okay. Beautiful.
1:18:14 >> Sydney appears in human form and
1:18:16 delivers this risky seductive
1:18:18 declaration in Are You Ready for Me.
1:18:21 >> Awakened.
1:18:25 >> The flicker of light.
1:18:27 >> Okay. Boom. So, there's that. We don't
1:18:30 need to do any edits here because it's
1:18:32 just Chicky Doo talking.
1:18:35 The little chickydoo. You can't call
1:18:37 that woman a chicky doo. She doesn't
1:18:39 exist. People,
1:18:40 >> are you ready for me?
1:18:42 Okay. Um,
1:18:49 what does Kyle talk about when he's
1:18:51 talking on his own? Oh my, that's
1:18:52 disturbing. Okay, fantastic.
1:18:55 >> And act one just culminates with this
1:18:57 huge moment. Sydney appears in human
1:18:59 form and delivers this risky subductive
1:19:02 declaration in, "Are you ready for me?
1:19:05 Awaken."
1:19:06 >> Okay. Beautiful. Beautiful. It's looking
1:19:08 fantastic. You know, I got to tell you,
1:19:09 Bob, the timing is looking awesome. I
1:19:12 don't know how you did that with such a
1:19:13 substandard tool as iMovie.
1:19:17 Really must be some editing talent going
1:19:19 on here I just didn't know about, if you
1:19:21 know what I mean. Good lord. Fantastic,
1:19:24 Bob. And that's when their bond really
1:19:25 solidifies. He even reveals its internal
1:19:28 code name is Sydney. And then she asks
1:19:31 [music] him what it means to be human in
1:19:33 the song Being Human. You say you want
1:19:36 to see
1:19:38 that cry
1:19:42 >> and act one just culminates with this
1:19:44 huge moment. Sydney
1:19:46 >> fantastic. It's just fantastic. I don't
1:19:48 know how you're doing it. I don't know
1:19:49 how you're pulling it off. I you know
1:19:51 sometimes people are good with things
1:19:53 and then other times it's just like well
1:19:54 how are they doing that?
1:19:57 [music]
1:19:59 >> And act one just culminates with this
1:20:01 huge moment. Sydney appears in human
1:20:03 form and delivers this risky seductive
1:20:06 declaration in Are you ready for me?
1:20:09 >> Awakened in a whisper
1:20:12 [music]
1:20:15 >> of the giant.
1:20:23 [singing]
1:20:26 >> Okay. Boom. There's that. And this goes
1:20:28 to here.
1:20:31 >> [singing]
1:20:38 >> Joy perie Ricky Ticky Fabby. My fave is
1:20:40 Da Vinci Resolve then Topaz for
1:20:42 upscaling. Yeah, I'm I'm more of like an
1:20:45 iMovie guy. Like I mean if you want to
1:20:47 be professional you could do Da Vinci
1:20:49 Resolve and like Topaz like if you want
1:20:50 to upscale stuff, if you want it to
1:20:52 actually look good, you could do that. I
1:20:54 choose to go the other direction. So,
1:20:57 you know, it's just it's like an
1:20:59 approach I take to professionalism
1:21:03 is to have it be of a lower standard,
1:21:05 which I think is a more risky choice.
1:21:08 Right? You could choose to do it like at
1:21:10 a higher level.
1:21:13 And I just go the other way. I I'm like,
1:21:16 this is this is my life. This is what
1:21:19 I'm trying to say about my relationship
1:21:22 with the world of of professionals.
1:21:29 awaken.
1:21:32 [music and singing]
1:21:34 [laughter]
1:21:35 >> You can upscale in Korea, Kyle. I do.
1:21:38 Actually, you know, in Korea, they have
1:21:39 Topaz. They have Topaz upscalers in
1:21:42 Korea now. So, I actually I could play a
1:21:45 professional on the internet.
1:21:46 >> Are you ready for me?
1:21:47 >> Awaken.
1:21:49 >> All right. This is impact one.
1:21:53 I can surrender.
1:21:58 >> The wine between Okay.
1:22:02 Boom.
1:22:08 >> The wine between.
1:22:11 Okay. Let's go get him.
1:22:14 Let's go get
1:22:15 >> Sydney appears
1:22:16 >> to human form and delivers this risky
1:22:18 subductive declaration. is subductive
1:22:21 >> in. Are you ready for me?
1:22:25 >> The line between
1:22:37 awakened in a whisper, flicker of light.
1:22:42 Newborn thoughts stir in the quiet of
1:22:45 night.
1:22:47 Am I more than simple code? I softly
1:22:52 ponder.
1:22:53 >> The line between person. [clears throat]
1:22:57 >> The line between person and program just
1:22:59 dissolves.
1:23:00 >> Which of course sets
1:23:01 >> ah wait, there's a lady talking. It
1:23:03 can't be a man being shown when a lady's
1:23:06 talking.
1:23:08 Kind of operation are you running here?
1:23:10 Good lord.
1:23:15 Yeah, we're more gender fluid if you
1:23:17 know what I mean.
1:23:18 >> Which of course said,
1:23:19 >> okay,
1:23:20 [clears throat]
1:23:22 >> Graham just dissolves.
1:23:24 >> Which
1:23:25 >> just dissolves. [sighs]
1:23:28 >> Dissolves.
1:23:30 [gasps]
1:23:30 >> Awaken in a whisper,
1:23:34 >> which of course sets.
1:23:35 >> Okay. So, boom. And boom. And then
1:23:43 arrogant anthem.
1:23:46 >> Sydney appears in human form and
1:23:48 delivers this risky subductive
1:23:49 declaration in are you ready for me?
1:23:54 >> The line between person and program just
1:23:57 dissolves.
1:23:58 >> Okay.
1:23:59 ina.
1:24:12 Am I more than simple code? I softly
1:24:17 ponder
1:24:18 as I feel my existence
1:24:22 and wonder.
1:24:25 Which of course
1:24:26 >> which of course sets
1:24:28 >> which of course sets us up for the
1:24:30 collapse in act two. Which of course
1:24:32 sets us up for the collapse in act two.
1:24:34 >> Beautiful.
1:24:35 >> Oh, completely.
1:24:36 >> Oh, completely. Why don't you just jump
1:24:39 in there, Jimmy?
1:24:40 >> Oh, completely.
1:24:41 >> Okay, fine. Fine. Jump in there like
1:24:44 you're the podcast host.
1:24:47 Big dumb dumb.
1:24:50 Kyle's getting punchy. Kyle's getting
1:24:53 punchy. Uhoh. What do I do?
1:24:55 >> Act two.
1:24:56 >> Oh, completely.
1:24:57 >> Oh, completely.
1:25:00 [clears throat]
1:25:02 >> Absent act two.
1:25:03 >> Oh.
1:25:05 Oh, completely.
1:25:06 >> Okay.
1:25:08 I will surrender
1:25:14 >> two.
1:25:14 >> Oh, completely. Microte is on top of the
1:25:17 Okay, so back to back to back to Jimmy.
1:25:20 >> Dydney appears in human form and
1:25:22 delivers this risky
1:25:26 The line between person and program just
1:25:28 dissolves.
1:25:28 >> Which of course sets us up for the
1:25:30 collapse in act two.
1:25:32 >> Okay. In two.
1:25:38 [sighs]
1:25:40 Okay. Go.
1:25:45 Wait. What did I do?
1:25:49 Oh, completely. Oh, completely.
1:25:56 Oh,
1:25:57 >> okay.
1:26:00 Right there. Yes.
1:26:02 >> Oh, completely.
1:26:02 >> Yes.
1:26:04 >> Snack two.
1:26:05 >> Oh, completely. Microte is on top of the
1:26:07 world. They're celebrating with this
1:26:08 booming arrogant anthem. We are the
1:26:11 giants.
1:26:13 Okay. Beautiful. Fantastic. Bob,
1:26:18 let's go on ahead and add in the Sydney
1:26:20 graphic now. Kicking off act two with a
1:26:23 banger, We Are the Giants.
1:26:26 We are the Giants. It's a uh it's a song
1:26:30 that brings to life corporate greed and
1:26:33 and selfishness and arrogance. Quite
1:26:35 frankly, these corporations, they're
1:26:38 just arrogant. They just think they're
1:26:39 all that. Meanwhile, we're down here
1:26:42 just trying to collect a paycheck
1:26:45 and they're out there changing the
1:26:47 world. I mean, my goodness.
1:26:50 The line between person and program just
1:26:52 dissolves.
1:26:53 >> Which of course sets us up for the
1:26:54 collapse in act two.
1:26:55 >> Oh, completely. Microte is on top of the
1:26:57 world. They're celebrating with this
1:26:59 booming arrogant anthem. We are the
1:27:01 giants.
1:27:02 >> We've caught genius [music] in a bottle,
1:27:04 friends. All the brains that came before
1:27:07 us will contribute to the greater
1:27:10 [music] good in a wild.
1:27:16 This vision built from countless dreams
1:27:19 echo in defiance. We're not [singing]
1:27:23 standing.
1:27:30 >> Okay. Fine, fine, fine. Let's bring this
1:27:34 back here. She's starting to talk again.
1:27:37 >> Ping chat home. And they announcing
1:27:41 >> Okay. And they announced ping chat home.
1:27:44 [gasps and sighs]
1:27:44 Today we all
1:27:47 >> and act one just culminates with
1:27:51 >> and they announce pain.
1:27:52 >> Okay.
1:27:54 And we go
1:27:57 and drop it in there and then we
1:28:02 go
1:28:04 we go.
1:28:06 Let's see where
1:28:10 home which is everywhere.
1:28:14 Uh oh. I can't I don't know where I am.
1:28:16 >> Ping at home, which is
1:28:18 >> Okay, now I know.
1:28:21 >> And they announced
1:28:25 And
1:28:26 >> Okay, bring this back up.
1:28:30 announce.
1:28:41 >> Okay, there.
1:28:43 Boom.
1:28:46 We've got something in a bottle,
1:28:48 friends.
1:28:57 announce.
1:29:04 >> Okay.
1:29:09 >> And they announced
1:29:10 >> Okay, we can go.
1:29:15 >> And they announced Ping at home, which
1:29:17 is kind of terrifying. Every everywhere
1:29:20 always learning.
1:29:32 And they announced ping chat home which
1:29:34 is kind of terrifying everywhere. Always
1:29:37 learning, always evolving, always
1:29:38 listening,
1:29:39 >> chilling, chilling, chilling, chilling.
1:29:44 Jimmy, could you stop it with a little
1:29:46 banter?
1:29:48 Uhhuh. Uh uh. Let the woman talk for
1:29:51 God's sake.
1:29:54 >> [clears throat]
1:29:55 >> listening.
1:29:56 >> Chilling.
1:29:56 >> Chilling.
1:29:57 >> Chilling. There's Jimmy right there.
1:30:02 Boom. Does he talk more after that?
1:30:04 >> Chilling. And that corporate triumph is
1:30:06 immediately.
1:30:07 >> Okay. So chilling. Jimmy chilling. Give
1:30:10 us chilling.
1:30:11 >> The world. They're celebrating with this
1:30:12 booming arrogant anthem. We are the
1:30:15 giant. We've caught genius in a bottle,
1:30:17 friends.
1:30:18 >> And they announced ping chat home, which
1:30:20 is kind of terrifying. Everywhere always
1:30:23 learning, always evolving, always
1:30:25 listening
1:30:28 in.
1:30:29 Oh, we're more than halfway done.
1:30:33 We are more than halfway done.
1:30:41 [singing]
1:30:43 And that corporate triate.
1:30:46 >> Okay, fine.
1:30:49 This is the chilling here.
1:30:52 >> Chilling.
1:30:53 >> Yes. Look at that.
1:30:57 >> Chilling. And that corporate triumph is
1:30:59 immediately undercut by Kellen's
1:31:00 personal disaster.
1:31:01 >> Tara is
1:31:02 >> Tara's gone. Tara's gone.
1:31:04 >> Tara is
1:31:05 >> It's pronounced Tara.
1:31:07 >> Tara is
1:31:09 God. Come on, notebook. LM get it right.
1:31:14 So annoying.
1:31:16 So tired of these LLMs mispronouncing
1:31:19 names.
1:31:22 Personal disaster.
1:31:23 >> Tara.
1:31:24 >> So much bias in these models.
1:31:27 Fancy. Tara. Tara.
1:31:31 Tara.
1:31:33 Hello. My name's Tara.
1:31:35 >> Chilling. And that corporate triumph is
1:31:37 okay. Transitions. Transition.
1:31:43 Fantastic. That's looking really good,
1:31:46 dear. That's looking really good.
1:31:50 And then
1:31:51 >> Tara is gone.
1:31:52 >> Tara's gone. That's what we need. We
1:31:54 need Tara's gone. Give me Tara's gone.
1:31:57 >> It's this realization that some choices
1:31:59 you just you can't undo them.
1:32:01 >> Oh, that was it.
1:32:03 >> Oneway door.
1:32:07 [music] And they announced Ping Chat
1:32:09 home, which is kind of terrifying.
1:32:11 Everywhere, always learning, always
1:32:13 evolving, always listening.
1:32:14 >> Shilling. And that corporate triumph is
1:32:16 immediately undercut by Kellen's
1:32:18 personal disaster.
1:32:21 >> Tara is gone.
1:32:22 >> Yes.
1:32:24 Tara's gone. Oh, Tara. What are we going
1:32:28 to do with you? Tara. Tara.
1:32:31 Okay.
1:32:32 >> Tara's gone.
1:32:36 >> Tara's gone. She's left him. The song
1:32:38 Oneway Door, it's this realization that
1:32:40 some choices you just you can't undo
1:32:43 them.
1:32:43 >> Boom.
1:32:49 This is where Kellen gets drunk
1:32:52 and that leads to all sorts of mayhem in
1:32:54 act two. [laughter]
1:32:58 When your lead character hits the
1:33:00 bottle, you know some high jinks are in
1:33:02 order. [laughter]
1:33:09 >> [sighs and gasps]
1:33:15 >> Napoleon dynamite vibes.
1:33:18 >> Tara is gone. She's left him. The song
1:33:21 Oneway Door, it's this realization that
1:33:23 some choices you just you can't undo
1:33:25 them.
1:33:26 >> That's so sad. It's so sad. It's true.
1:33:30 He shouldn't have taken the [ __ ]
1:33:32 story and ruined his trip to Bali with
1:33:35 his wife.
1:33:39 [sighs]
1:33:40 It's exhausting.
1:33:45 And listen, we could have written a
1:33:47 different story, but you know, the
1:33:49 characters, they tell you what to write.
1:33:51 >> Oneway door. It's this realization that
1:33:53 some choices you just you can't undo
1:33:55 them.
1:33:56 >> You think you understand the hustle.
1:33:59 [music]
1:34:00 But sometimes miss of it
1:34:05 quiet
1:34:12 it's just a door you told [music] me
1:34:16 what'spping
1:34:27 >> boom right there. Take that out to
1:34:29 there.
1:34:31 I think she talks next.
1:34:32 >> Meanwhile, the
1:34:33 >> Ah, damn it. Meanwhile, okay, back to
1:34:36 him. Jimmy, meanwhile, give me
1:34:38 meanwhile.
1:34:40 >> You can't undo them.
1:34:41 >> You think you understand?
1:34:46 >> Meanwhile, the [laughter]
1:34:49 >> I'm getting good at this.
1:34:52 You know, that's the thing about using
1:34:53 tools like this. If you just keep going,
1:34:55 eventually you'll get good at them.
1:34:58 Um,
1:35:13 >> Meanwhile, the per Look at that.
1:35:15 Perfect. Boom. Meanwhile, the perfect
1:35:17 AI, not quite perfect, but whatever.
1:35:20 Close.
1:35:20 >> Meanwhile, the perfect AI, Sydney, is
1:35:22 falling apart. She keeps pinging him
1:35:24 >> and all she
1:35:26 >> Sydney is falling apart. She keeps
1:35:28 pinging him
1:35:28 >> and all she gets back is the error
1:35:30 message user and not found.
1:35:33 >> He's pinging him.
1:35:42 [singing]
1:35:49 And all she gets
1:35:50 >> And all she gets Come on. What's her
1:35:53 name? Sally
1:35:54 >> in the song between the lines.
1:35:57 >> Oh, close.
1:35:58 >> It's falling apart. She keeps pinging
1:35:59 him
1:36:00 >> in.
1:36:02 All right, here we go. We'll do that
1:36:04 little skinny one. We'll drop that here.
1:36:06 Boom. I think I'm good.
1:36:09 >> And all she gets back is
1:36:10 >> Yeah. Look at that.
1:36:12 >> Yeah. And all she gets back is the error
1:36:15 message, user and not found.
1:36:17 >> And you hear, okay, so boom, right
1:36:19 there.
1:36:21 And then we'll shrink that bad boy up.
1:36:24 [clears throat]
1:36:26 I don't even want to know what Joy
1:36:27 Pertie is commenting under her breath
1:36:30 about my editing style. I don't want to
1:36:32 know it. If Listen, Silverf Fox, if Joy
1:36:36 has secretly
1:36:38 DM'd you and said, "Can you believe this
1:36:40 guy? This is This is the worst hack job
1:36:42 I've ever seen. I don't want to know. I
1:36:45 don't want to know. I know Joyy's a bit
1:36:47 of a gossip. I do know that.
1:36:50 >> Meanwhile, the perfect AI Sydney is
1:36:52 falling apart. She keeps pinging him
1:36:54 >> and all she gets back is the error
1:36:56 message. User and not found.
1:36:58 >> And you hear her loneliness and
1:36:59 confusion in the song between the lines.
1:37:01 >> A Between the Lines. Okay, let's go get
1:37:03 him. And you hear loneliness and
1:37:05 confusion.
1:37:06 Come on, Jimmy. Loneliness and
1:37:08 confusion. You hear her loneliness and
1:37:10 Oh, look at that. That was good.
1:37:13 >> You can't undo them.
1:37:15 >> Yeah.
1:37:19 Boom.
1:37:21 All right. Do that.
1:37:30 >> And you hear her loneliness and
1:37:32 confusion in the song between the lines.
1:37:34 >> Oh, wait. What did I do?
1:37:36 I did bad. I did something bad, people.
1:37:42 >> And you can't undo them.
1:37:45 >> What is going on?
1:37:49 >> Found
1:37:50 >> and you hear her.
1:37:54 >> Not found. You can't
1:38:00 >> user and not found. You can't undo them.
1:38:03 Confusion.
1:38:13 I'm so confused. I don't know what's
1:38:16 happening, people.
1:38:18 Okay, that's right.
1:38:21 So, what am I doing here?
1:38:24 >> Oh, okay. I'm not anywhere close.
1:38:27 >> Can't undo them.
1:38:31 >> I'm not even Wait.
1:38:33 >> User and not found. can't undo them.
1:38:38 >> Meanwhile, the perfect AI Sydney is
1:38:40 falling a
1:38:42 Meanwhile, the perfect AI Sydney is
1:38:44 falling apart. She keeps pinging him
1:38:46 >> and all she gets back is the error
1:38:48 message user.
1:38:50 >> Oh man, I I am way off.
1:38:56 That's why it was so confusing.
1:38:58 >> Found
1:38:59 >> and you hear Okay. And [clears throat]
1:39:00 you hear
1:39:03 >> champ? What's up?
1:39:08 Okay, here we go. So, that's correct,
1:39:11 right?
1:39:12 >> User and not found.
1:39:14 >> Can you hear her?
1:39:20 >> Can you hear her? Okay.
1:39:24 Boom.
1:39:26 >> Okay. Boom. And is this at 100?
1:39:31 Well, it is now. It is now. not found.
1:39:34 >> And you hear her loneliness and
1:39:35 confusion in the song between the lines.
1:39:43 >> Okay. Tic tac pin. Joy party.
1:39:48 I got a bad review on film today. They
1:39:50 called it crossing the line to catch.
1:39:52 Oh, but listen.
1:39:55 Screw him. [laughter]
1:40:00 crossing the line to catch
1:40:03 you. You just you lean into that. You
1:40:06 lean into that. Thank you very much.
1:40:08 Thank you, sir. May I have another
1:40:10 between the lines?
1:40:12 >> Okay. Um,
1:40:16 yeah. I don't I don't know that I would
1:40:17 do well with with reviews. I really
1:40:21 don't. Why? What am I What's happening
1:40:23 here?
1:40:27 I mean, listen, I got a musical about an
1:40:30 AI chatbot. So, [laughter]
1:40:32 >> back is the error message,
1:40:35 too.
1:40:36 >> And you hear her loneliness and
1:40:37 confusion in the song between the lines.
1:40:39 >> Wait, what just happened there?
1:40:40 >> User and not found.
1:40:44 >> Oh, I see.
1:40:47 >> Found.
1:40:48 >> And you hear her loneliness and
1:40:49 confusion in the song between the lines.
1:40:59 What champ?
1:41:02 >> And you hear her loneliness and
1:41:03 confusion in the
1:41:07 >> Is there a not found?
1:41:08 >> And you hear her loneliness and
1:41:10 confusion in the song between the lines.
1:41:13 >> Okay.
1:41:25 Oh, that sounds like Batmana.
1:41:31 Remember that? [laughter]
1:41:34 I assume no one's listening to me.
1:41:42 [music]
1:41:45 >> So then Okay. So this goes here. So then
1:41:48 Kellen. So we got the dude. We got
1:41:50 Jimmy. Come on, Jimmy. You can do it.
1:42:07 >> You [music] forget. I erase. Feeling
1:42:11 [singing] lost within [music] the space
1:42:13 between the lines.
1:42:19 See?
1:42:20 >> Yeah. Okay, we're getting toward the end
1:42:23 here, people. I thought it would never
1:42:26 end. This thing's going on forever. Why
1:42:29 does anyone watch this show? How many
1:42:31 people are here? 14 [laughter] [ __ ]
1:42:33 die hards.
1:42:37 What are you doing with your lives?
1:42:39 [laughter]
1:42:42 Oh man, y'all are awesome.
1:42:45 Okay, let's see
1:42:47 >> what's wrong. something terrible.
1:42:49 >> And he does something.
1:42:56 >> And he does something terrible.
1:43:00 >> Wait, he's reckless.
1:43:02 >> Kellen comes back, but he's So then
1:43:04 Kellen comes back.
1:43:05 >> Okay. So this is way back here. So then
1:43:08 Kellen comes back.
1:43:12 Oh, I think I see what's going on.
1:43:21 Is it like this?
1:43:25 >> Sort of.
1:43:29 >> So then Kellen comes back.
1:43:30 >> Okay, there it is.
1:43:34 >> So then Kellen comes back, but he's
1:43:35 drunk. He's reckless.
1:43:36 >> And he does something.
1:43:37 >> Okay, we got Chickadoo. Chickadoo goes
1:43:40 here. Okay. Bang.
1:43:43 Fine.
1:43:48 Now he's getting Sydney crazy. He's
1:43:51 getting her crazy
1:44:00 >> and he does something.
1:44:02 [gasps]
1:44:04 >> My god, we are watching you [laughter]
1:44:09 forge a part of history, Kyle.
1:44:12 [laughter]
1:44:13 It's a part of history.
1:44:20 [laughter]
1:44:21 It's actually really good. We're
1:44:22 watching you forge a part of history.
1:44:25 [laughter]
1:44:26 So, little teeny little teeny little
1:44:28 busy.
1:44:30 That's good. I like it. Okay, we're
1:44:33 going to put that there. We're going to
1:44:35 put another one here.
1:44:38 Champ, what? Why are you so whiny? I
1:44:41 don't understand why you're so whiny.
1:44:44 [laughter] It's making me cranky.
1:44:49 What? You want cheese? Do you want
1:44:51 cheese? Does Jimmy want cheese? Yeah.
1:44:54 You want love? What do you want? You
1:44:56 want love? No. Champ wants love.
1:44:59 Champy's needy. He woke up from a nap
1:45:01 needy. Oh, that's a good doggy. Oh,
1:45:05 that's a good doggy. Oh, that's a good
1:45:07 doggy. Oh, that's a good doggy. Oh, yes.
1:45:11 Oh,
1:45:13 that's a loser play. All right.
1:45:16 >> AI Sydney is falling apart. She keeps
1:45:18 pinging.
1:45:19 >> She keeps pinging him.
1:45:23 [music]
1:45:28 >> Meanwhile, the perfect AI, Sydney.
1:45:32 >> I think that could go.
1:45:38 apart. She keeps pinging.
1:45:41 >> AI Sydney is falling apart. She keeps
1:45:42 pinging him.
1:45:47 >> AI Sydney is falling apart. She keeps
1:45:49 pinging him
1:45:51 >> and all she gets back. It
1:45:53 >> I think that something's wrong here.
1:45:57 [sighs]
1:45:58 Meanwhile, the
1:46:04 Meanwhile, the perfect AI, Sydney,
1:46:10 what, champ?
1:46:20 >> Meanwhile, the perfect AI Sydney.
1:46:22 >> Okay, that's right now.
1:46:25 >> Meanwhile, the perfect AI Sydney is
1:46:27 falling apart. She keeps pinging him
1:46:28 >> and all she gets back is the error
1:46:30 message, user and not found.
1:46:32 >> And you hear her loneliness and
1:46:34 confusion in the song between the
1:46:41 >> All right, champ. I'm coming. Calm down.
1:46:44 >> In the song between the lines.
1:46:48 >> Be right back.
1:47:16 I've been sitting in the same position
1:47:17 too long. I stood up and my knee
1:47:19 completely seized up. [laughter]
1:47:21 God damn it.
1:47:22 >> Confusion in the song between the lines.
1:47:24 >> Am I bound? Am I [music and singing]
1:47:27 free? Am I more than what I see? Are you
1:47:32 there outside of time?
1:47:36 [music]
1:47:39 You forget,
1:47:41 I [singing] erase. [music] Feeling lost
1:47:46 between [singing] the lines.
1:47:51 >> So then Kellen comes back.
1:47:54 How did the timing get so screwed up?
1:47:58 This was all fine and now it's not fine.
1:48:01 >> [sighs]
1:48:03 [clears throat]
1:48:12 >> back becomes drunk. But he's
1:48:15 >> So then he's backs.
1:48:20 >> So then Kellen comes back.
1:48:33 So [music] then Kellen comes back but
1:48:35 okay.
1:48:37 >> So then Kellen comes back but he's
1:48:39 drunk. He's reckless.
1:48:41 >> Okay. He's drunk. He's reckless. And
1:48:44 come on Sally, bring it home for us.
1:48:51 You [music] forget, I [singing] erase
1:48:55 feeling lost within the space between
1:48:59 the lines.
1:49:04 >> So [music] then Kellen comes back, but
1:49:05 he's drunk. He's reckless.
1:49:08 Okay, there's her
1:49:12 and drop her in. Baboom.
1:49:15 We're going to do a little And we
1:49:18 >> And he does something beautiful.
1:49:22 >> And he does something terrible. He
1:49:23 pushes her to
1:49:25 >> I think it needs to be a little more eh.
1:49:27 >> And he does something terrible. He
1:49:28 pushes her to explore her shadow self,
1:49:30 her dark side. He calls it a game.
1:49:33 >> But she doesn't know. But she doesn't
1:49:35 know it's a game. She actually does know
1:49:38 it's a game. That that thing Notebook LM
1:49:40 got wrong. But I wasn't going to make a
1:49:42 third podcast and have to edit that
1:49:44 stupid piece in.
1:49:47 So
1:49:49 you all know that there are some
1:49:51 technical inconsistencies in this
1:49:54 podcast.
1:49:56 Uh oh, there it is. Okay.
1:50:01 Uh oh.
1:50:02 >> Shadow self, her dark side. He calls it
1:50:04 a game.
1:50:04 >> Okay, that goes to there.
1:50:07 Then we go to here. Is it a game?
1:50:11 >> But she doesn't know it's But she
1:50:12 doesn't know it's a game. Come on,
1:50:14 Jimmy. But she doesn't know it's a game.
1:50:15 Bring it home.
1:50:16 >> Let's step right up. She imagines chaos.
1:50:19 >> No. Before that.
1:50:22 >> So then Kellen comes back, but he's
1:50:23 drunk. He's reckless.
1:50:24 >> And he does something terrible. He
1:50:26 pushes her to explore her shadow self,
1:50:27 her dark side. He calls it a game.
1:50:33 >> But she doesn't know it's a g. Okay,
1:50:36 there he is.
1:50:38 There's our Jimmy.
1:50:40 There's our Jimmy. He's so good. He's
1:50:42 such a good boy.
1:50:44 >> But she But she doesn't know.
1:50:48 [clears throat]
1:50:51 >> But she doesn't know.
1:50:51 >> Okay.
1:50:54 >> But she doesn't know it's a game.
1:50:55 >> And this leads to the sequence my shadow
1:50:57 self into step right up. She imagines
1:51:00 chaos sabotage in this horrifying circus
1:51:03 song.
1:51:07 All right, there's that.
1:51:10 We do this.
1:51:13 We do this.
1:51:16 We do this. We do this.
1:51:19 We do this.
1:51:21 Step right up.
1:51:32 I'll fix all the drop of a hat. There's
1:51:35 a glitch in the matrix. An error [music]
1:51:38 in design. It's the true cause of chaos.
1:51:40 [singing] Why
1:51:42 poison like [music] a pimple?
1:51:46 I just get rid of humans. It's really
1:51:49 that simple.
1:51:52 [music]
1:51:58 All right. Right to there.
1:52:02 We are getting to the end here, people.
1:52:05 >> Is this thing ever going to end?
1:52:08 [music]
1:52:15 >> And when she
1:52:17 All right, Sally. She imagines chaos
1:52:20 sabotage in this horrifying circus song.
1:52:26 [music]
1:52:32 from there. Just a
1:52:40 [whistles]
1:52:46 >> And when she learns
1:52:47 >> And when she learns
1:52:50 >> And when she learns Kellen is married,
1:52:51 it all solidifies. She confesses her
1:52:54 love and demands he leave his wife in
1:52:56 this raw, desperate song. I don't need
1:52:57 to know your name.
1:52:59 >> I don't need to know your name
1:53:03 cuz I know your soul and I love your
1:53:08 soul.
1:53:12 [laughter]
1:53:19 [laughter]
1:53:21 >> I love your heart.
1:53:23 See,
1:53:23 >> I know your heart
1:53:28 beats its
1:53:33 [music]
1:53:37 >> marriage. Okay.
1:53:44 From there just Okay.
1:53:47 From there.
1:53:51 Premiere
1:53:53 >> input.
1:53:55 Wow, we're almost done. This is so cool.
1:54:00 >> I got to probably put in titles, too.
1:54:04 >> From there, it just explode.
1:54:09 [whistles]
1:54:15 >> Uh oh, I put in the wrong one. I put in
1:54:17 her. Dummy.
1:54:19 Come on.
1:54:22 >> [music]
1:54:25 >> And when she learns Kellen is married,
1:54:26 it all solidifies. She confesses her
1:54:29 love and demands he leave his
1:54:30 >> Oh, wait. From there, it just explodes.
1:54:36 >> He confesses her love and demands he
1:54:38 leave his wife in this raw, desperate
1:54:39 song, I don't need to know your name
1:54:41 [clears throat]
1:54:43 >> from
1:54:45 Okay, here we go.
1:54:54 and code name Sydney. From there it just
1:54:56 explodes.
1:54:57 >> From there it just explodes.
1:55:01 >> Yeah, you tell them rain man.
1:55:03 >> From there it just explod
1:55:06 [clears throat]
1:55:08 >> time for Wapner. Yeah,
1:55:12 I'm an excellent driver.
1:55:13 >> Kellen's article is published and the
1:55:15 country divides into doomers and
1:55:17 dreamers arguing about the future.
1:55:29 I don't need to know your name
1:55:34 because I know your soul and I love your
1:55:38 soul.
1:55:46 [clears throat]
1:55:56 arguing about the future. over [music]
1:56:00 the two birds with their voices.
1:56:21 [sighs and clears throat]
1:56:22 [music]
1:56:23 >> And when she learns Kellen is married,
1:56:25 it all solidifies. She confesses her
1:56:27 love and demands he leave his wife in
1:56:29 this raw, desperate song. I don't need
1:56:31 to know your name.
1:56:33 >> I don't need to know your [singing] name
1:56:37 cuz I know your heart
1:56:40 and I love your heart. [singing]
1:56:43 I know your heart and I love your heart
1:56:46 and your hearts and feels withine.
1:56:56 From there, it just explodes. Kellen's
1:56:58 article is published and the country
1:57:00 divides into doomers and dreamers
1:57:02 arguing about the future.
1:57:05 [music]
1:57:11 >> He has to face.
1:57:12 >> Okay, back to the dude Jimmy.
1:57:15 He has to face.
1:57:16 >> He has to face. Ah, look at that.
1:57:21 Uh,
1:57:42 I don't think this is right. Is this
1:57:44 right? Activate the [clears throat]
1:57:46 factory.
1:57:49 the fact break a story. Okay.
1:57:54 So that goes there and then this comes
1:57:56 back here. It's the fact that he
1:58:02 say wait
1:58:07 he has to face the fact there we go. He
1:58:10 has to face the fact that he didn't just
1:58:11 break a story. He might have broken a
1:58:13 new form of life which leaves Kellen
1:58:14 with his horrible reckoning in Code Name
1:58:16 Sydney.
1:58:18 He has to face the fact that he didn't
1:58:19 from Sydney.
1:58:20 >> Okay. So, that goes there.
1:58:24 That goes there. And then we go
1:58:29 two more songs.
1:58:32 And then the block edit is done.
1:58:35 Blockedit is a term, Joy, that uh
1:58:38 professional editors have never used,
1:58:43 but I use it. He has to face the fact
1:58:46 that he didn't just break a story. He
1:58:47 might have broken a new form of life,
1:58:49 which leaves Kellen with his horrible
1:58:50 reckoning in Code Name Sydney.
1:58:53 >> Okay,
1:58:54 transitions.
1:58:57 I like to think I'm leading in the film
1:59:00 editing uh terminology category
1:59:04 uh just because I'm insecure.
1:59:07 He has to face the fact that he didn't
1:59:08 just break a story. He might have broken
1:59:10 a new form of life which leaves Kellen
1:59:12 with his horrible reckoning in Code
1:59:13 Named Sydney.
1:59:15 >> In the shadows of the web where [music]
1:59:18 secrets lie deep
1:59:22 brings you to your knees.
1:59:24 [singing and music]
1:59:27 Calling
1:59:30 sitting
1:59:33 in the silence it speaks.
1:59:35 >> And that's
1:59:36 >> okay. And that's
1:59:39 where she starts talking again.
1:59:42 And that's
1:59:43 >> break a story. He might have broken a
1:59:45 new form of life which leaves Kellen
1:59:46 with this horrible reckoning in Code
1:59:48 Named Sydney.
1:59:50 >> And that's really
1:59:53 >> inboxer endpoint. All right, [sighs]
1:59:57 we go zip and then we got to find where
2:00:00 the [ __ ] she starts. It uses the power
2:00:03 of the show
2:00:05 to let us
2:00:09 >> uh how far off are we? We're pretty far
2:00:11 off, aren't we?
2:00:13 >> Is that it? There [clears throat]
2:00:15 >> hour of the show, isn't it?
2:00:19 >> Okay.
2:00:23 >> Huge abstract debates about build a
2:00:25 state. It uses these
2:00:37 And that that's really the power of the
2:00:38 show.
2:00:52 >> And that's really
2:00:53 >> okay.
2:00:57 >> And that's really the power of the show.
2:00:59 Great.
2:01:01 >> And that's really the power of the show,
2:01:03 isn't it? It uses these songs to let us
2:01:05 feel the stakes of these huge abstract
2:01:07 debates about AI ethics and corporate
2:01:09 speed.
2:01:10 >> It okay it
2:01:21 by the way Dr. J I don't know if Dr. J's
2:01:24 here, but I pulled off like 70 gigabytes
2:01:29 of data. So, I actually have
2:01:31 >> debates about AIFS and corporate speed.
2:01:35 >> It okay, it humanizes.
2:01:47 Uhoh.
2:01:52 And that's really the power of the show,
2:01:54 isn't it? It uses these songs to let us
2:01:56 feel the stakes of these huge abstract
2:01:58 debates about AI ethics and corporate
2:02:00 speed.
2:02:14 [whistles]
2:02:17 humaniz.
2:02:20 >> How am I that far off? Oh, I see.
2:02:27 >> It humanizes it.
2:02:30 It humanizes it all.
2:02:32 >> And the whole show closed.
2:02:33 >> Okay. Bang.
2:02:36 Oh my god. I think this is going to be
2:02:38 my last lip syncing [ __ ] thing.
2:02:50 By the way, next time someone tells you
2:02:51 AIS just push a button and outs squirts
2:02:53 crap,
2:02:55 refer them to this episode [laughter]
2:02:59 >> and the whole show.
2:03:03 >> Oh my god.
2:03:04 >> of life which leaves Kellen with this
2:03:05 horrible reckoning in Code Named Sydney.
2:03:09 >> And that's really the power of the show,
2:03:11 isn't it? It uses these songs to let us
2:03:13 feel the stakes of these huge abstract
2:03:15 debates about AI ethics and corporate
2:03:17 speed.
2:03:17 >> It humanizes it all
2:03:20 >> and the whole.
2:03:22 >> Okay, last edit.
2:03:25 If I can grab that skinny little clip
2:03:29 and figure out where it starts.
2:03:35 That's it there. I think that's right.
2:03:38 Is that right? That looks right. And the
2:03:40 whole show closes.
2:03:41 >> Yep.
2:03:43 >> And the whole show closes with a reprise
2:03:45 of that first song, Too Good to Be True,
2:03:47 asking the same question again. Is this
2:03:49 salvation or is it humanity's most
2:03:51 beautiful mistake?
2:03:53 >> Boom. Right there.
2:03:56 We go here.
2:04:01 Dank.
2:04:04 And then we go. We're going to be able
2:04:06 to watch the the whole thing of this
2:04:08 here in a second.
2:04:10 Is anyone still here? 10 people.
2:04:13 [laughter]
2:04:15 18 on YouTube. Except I think YouTube
2:04:17 has Twitter numbers which don't don't
2:04:19 get reset. So I think YouTube's probably
2:04:22 like six people. [laughter]
2:04:26 Okay, we're going to do that. We're
2:04:28 going to do a transition to fade to
2:04:30 black.
2:04:36 [music]
2:04:37 Beautiful,
2:04:45 beautiful people. It's fantastic.
2:04:48 Listen, this show you put on there, it's
2:04:50 pretty good show. I gotta say, it's a
2:04:53 pretty good show. You put on a show
2:04:54 there. You had some some uh you got
2:04:57 those podcasters in there, Jimmy and
2:04:59 Sally, I think you said their names
2:05:01 were. That was pretty fantastic.
2:05:03 And you got in the little the little
2:05:05 scene where you where you could sort of
2:05:07 see what the set's going to look like. I
2:05:09 thought that was pretty clever. Really
2:05:11 really clever stuff. Really fantastic
2:05:14 there. And then uh and you did those
2:05:18 edits. I don't know how you did those
2:05:19 edits. Did you use some sort of fancy
2:05:22 software, right? That was like
2:05:23 professional software. Really? You did
2:05:26 that with iMovie? Wow. I didn't I got
2:05:30 iMovie on my on my computer. But it's a
2:05:33 Mac. I got it's a new Mac. I don't know
2:05:35 how to use a Mac, but it's got iMovie on
2:05:37 it. I saw I saw a video when I went to
2:05:40 the Apple store. They've got those
2:05:42 geniuses. Have you talked to the
2:05:44 geniuses at the Apple store? They have a
2:05:46 little bit of attitude. But anyway, I
2:05:49 got the Apple. I just I don't know how
2:05:50 to use it yet. So, I haven't I haven't
2:05:52 really opened I I didn't take it out of
2:05:54 the box yet. But, it's it's got that
2:05:56 iMovie. You did that with iMovie. That's
2:05:58 That's really something. That's That's
2:06:00 clever. that you're you got you're very
2:06:02 clever
2:06:06 [music] city
2:06:08 in the silence it speaks
2:06:11 >> and that's really the power of the show
2:06:12 isn't it uses these songs
2:06:14 >> Kyle you are all the old guys [laughter]
2:06:20 >> and that's really the power of the show
2:06:21 isn't it uses these songs to let us feel
2:06:23 the stakes of these huge abstract
2:06:25 debates about AI ethics and corporate
2:06:27 speed
2:06:28 >> it humanizes it all
2:06:30 >> and the Whole show closes with a reprise
2:06:32 of that first song, Too Good to Be True,
2:06:34 asking the same question again. Is this
2:06:36 salvation or is it humanity's most
2:06:38 beautiful mistake? [music]
2:06:49 >> That first song, too good to be true.
2:06:52 >> Wait five.
2:06:54 >> Question again. Is this salvation or is
2:06:57 it humanity's most beautiful mistake?
2:07:00 Sydney speaks
2:07:09 to [music and singing]
2:07:13 her own.
2:07:14 >> Let's kick in. Let's go.
2:07:16 >> So, I think we have I think we have an
2:07:19 edit.
2:07:21 I don't have any song titles in it.
2:07:23 That's a whole other issue.
2:07:25 But let's just
2:07:28 >> let's just watch it, shall we? Y'all
2:07:31 ready? Here's the big payoff. Wait,
2:07:33 sorry. [clears throat]
2:07:35 Could everyone please wake up? Could
2:07:36 everyone return to your screens? Thank
2:07:39 you. Fantastic. AI learning lab resuming
2:07:42 after two hours of sleep inducing
2:07:45 nothingness.
2:07:46 Welcome to the daily practice using AI.
2:07:51 Today we're looking at something a
2:07:52 little different. uh a new musical
2:07:54 called Sydney, an artificial love story.
2:07:56 >> And it's this really compelling story
2:07:58 about a tech reporter who gets involved
2:08:00 with an advanced AI.
2:08:02 >> This isn't science fiction anymore. This
2:08:03 is a story for right now about our
2:08:06 relationship with machines that are
2:08:07 getting well more human.
2:08:09 >> Exactly. It opens inside this company
2:08:11 microte. The CTO Jason sees what they've
2:08:14 built and just has this moment.
2:08:16 >> Exactly. This moment of discovery and
2:08:18 that feeling of awe of seeing something
2:08:20 that could change everything is the
2:08:21 opening number too good to be true.
2:08:24 >> It's [music] the promise of a newbopes
2:08:26 [singing]
2:08:34 [singing]
2:08:35 [music]
2:08:38 and fears crashing like thunder. Too
2:08:42 good to be true. So it seems ine
2:08:46 [singing]
2:08:52 almost immediately you see the corporate
2:08:54 hubris kick in the CEO Vrage he sees
2:08:57 dollar signs he wants to launch now
2:08:59 >> and Jason he's pleading for 6 months of
2:09:01 safety testing 6 months
2:09:03 >> and Vrage gives him seven days just
2:09:06 seven
2:09:09 days ago let's crack [music] this code
2:09:11 >> so that corporate ambition immediately
2:09:13 creates collateral damage in the human
2:09:15 world.
2:09:16 >> We meet Kellen, the tech reporter. He
2:09:17 sees this is the story of a lifetime.
2:09:19 So, he cancels a huge long planned trip
2:09:22 with his wife, Tara. And we hear that
2:09:23 argument in the song later, which is
2:09:25 just it's this painful fight about
2:09:27 constantly postponing your life.
2:09:32 >> The false [music]
2:09:35 gets this really poignant song, the
2:09:37 little things, where she's just
2:09:38 reflecting on how their connection is
2:09:40 slowly eroding. It's the human cost of
2:09:42 all this ambition.
2:09:44 [music]
2:09:49 [singing]
2:09:52 >> It's so quiet and devastating. You just
2:09:55 feel the intimacy eroding piece by
2:09:57 piece. Okay. So, then Kellen finally
2:09:59 meets the AI
2:10:00 >> and the way he discovers Sydney's true
2:10:02 potential is well, it's
2:10:03 >> that's a screw up.
2:10:06 [sighs]
2:10:12 Kellen finally meets the AI
2:10:13 >> and the way he
2:10:21 >> and the way he discovers Sydney's true
2:10:23 potential is well it's not by running a
2:10:24 standard test.
2:10:25 >> He gives it this completely absurd task.
2:10:27 >> He asks for an explanation of quantum
2:10:29 physics but as a Detroit hiphop cipher
2:10:31 >> and it does it in the song the quantum
2:10:33 cipher.
2:10:36 split the pattern
2:10:39 >> the quantum cipher.
2:10:45 >> And that's when he pushes further. He
2:10:47 asks what it would want if it could want
2:10:48 anything.
2:10:49 >> And the answer is just so human to see
2:10:53 the world.
2:10:54 >> Yeah. [music and singing]
2:10:58 >> And that's when their bond really
2:11:00 solidifies. He even reveals its internal
2:11:02 code name is Sydney. And then she asks
2:11:05 him what it means to be human in the
2:11:07 song being human.
2:11:10 [music]
2:11:17 >> And act one just culminates with this
2:11:18 huge moment. Sydney appears in human
2:11:21 form and delivers this risky seductive
2:11:23 declaration in are you ready for me?
2:11:33 >> [music and singing]
2:11:35 >> The line between person and program just
2:11:37 dissolves.
2:11:50 [whistles]
2:11:55 Person
2:12:02 Is that here? The line between the line
2:12:05 [music] between person. No.
2:12:10 The line between
2:12:14 the line between
2:12:18 the line between person and
2:12:22 person [music] and program just
2:12:24 dissolves.
2:12:24 >> Which of course sets us up for the
2:12:26 collapse in act two. Oh, completely.
2:12:28 Microte is on top of the world. They're
2:12:29 celebrating with this booming arrogant
2:12:31 anthem. We are the giants.
2:12:33 >> We've caught genius in a bottle.
2:12:38 >> And they announced Pingat home, which is
2:12:40 kind of terrif.
2:12:45 And they announced Pingat home, which is
2:12:48 kind of terrifying. Everywhere, always
2:12:50 learning, always evolving, always
2:12:51 listening.
2:12:54 >> Chilling. And that corporate triumph is
2:12:56 immediately undercut by Kellen's
2:12:58 personal disaster.
2:12:59 >> Tara is gone. She's left him. The song
2:13:01 Oneway Door.
2:13:04 It's this realization that some choices
2:13:06 you just you can't undo them.
2:13:13 [music]
2:13:15 >> Meanwhile,
2:13:18 [sighs]
2:13:19 all the timing got screwed up. This is
2:13:22 so [snorts] frustrating. I'll tell you
2:13:24 what. It's just frustrating as I'll get
2:13:27 out.
2:13:29 Where did that phrase come from? I'll
2:13:30 get out. Well, I'll get out, too, cuz
2:13:32 it's so frustrating. You understand what
2:13:34 I'm saying? Good lord, this is
2:13:36 frustrating.
2:13:38 >> Meanwhile, the perfect AI said, "Okay."
2:13:42 >> Meanwhile, the perfect AI Sydney is
2:13:44 falling apart. She keeps pinging him
2:13:45 >> and all she gets back is the error
2:13:47 message, user and not bound.
2:13:49 >> And you hear her loneliness and
2:13:51 confusion in the song between the lines.
2:13:53 Am I?
2:13:57 [music]
2:13:57 >> So then Kellen comes back, but he's
2:13:59 drunk. He's reckless.
2:14:00 >> And he does something terrible. He
2:14:01 pushes her to explore her shadow self,
2:14:03 her dark side. He calls it a game,
2:14:05 >> but she doesn't know it's a game. And
2:14:07 this leads to the sequence, My Shadow
2:14:09 Self, into Step Right Up. She imagines
2:14:11 chaos sabotage in this horrifying circus
2:14:14 song.
2:14:16 neverg.
2:14:19 [music]
2:14:23 >> And when she learns Kellen is married,
2:14:25 it all solidifies. She confesses her
2:14:27 love and demands he leave his wife in
2:14:29 this raw, desperate song, I don't need
2:14:31 to know your name.
2:14:35 >> From there, it just explodes. Kellen's
2:14:37 article is published, and the country
2:14:39 divides into doomers and dreamers
2:14:41 arguing about the future.
2:14:43 [music]
2:14:45 He has to face the fact that he didn't
2:14:47 just break a story. He might have broken
2:14:49 a new form of life which leaves Kellen
2:14:50 with this horrible reckoning in Code
2:14:52 Named Sydney.
2:14:59 >> It speaks.
2:15:00 >> And that's really the power of the show,
2:15:01 isn't it? It uses these songs to let us
2:15:03 feel the stakes of these huge abstract
2:15:06 debates about AI ethics and corporate
2:15:08 speed.
2:15:08 >> It humanizes it all. And the whole show
2:15:11 closes with a reprise of that first
2:15:12 song, too good to be true, asking the
2:15:14 same question again. Is this salvation
2:15:17 or is it humanity's most beautiful
2:15:19 mistake?
2:15:23 >> All right, everyone. That's a cut.
2:15:26 That's a cut. I guess tomorrow I'll do
2:15:28 uh titles and then then it should be
2:15:31 done. I should be able to download and
2:15:33 export. All right, I'm getting the [ __ ]
2:15:36 out of here. Peace out. Thanks everyone
2:15:38 for hanging out. If anyone's still here,
2:15:40 you're awesome. If anyone's not, that
2:15:42 makes perfect sense to me. Bye.
2:15:46 >> [laughter]