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An LLM in 2018 would not have trivialized a complex project, although it could have enhanced the final solution The post What If I had AI in 2018: Rent the Runway Fulfillment Center Optimization appeared first on Towards Data Science.

By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when those [alien] characters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Sanii [Visual Effects Supervisor] gave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Hom [Production Manager] and I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowds [department] is dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessup [Production Designer] because sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Muren [VES] was keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter (CCO, Pixar). “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.”

May 29, 20255 min readSpaceX’s Starbase Is Officially a City. Some Neighbors Aren’t ThrilledStarbase, SpaceX’s launch site turned company town in South Texas, faces local opposition from residents outside the city limitsBy Paola Rosa-Aquino edited by Lee BillingsSpaceX rockets stand near the end of a neighborhood street in the company’s Starbase launch complex in this photograph from October 2021. Starbase was officially incorporated as a city of Cameron County, Texas in May 2025. Mark Felix/Bloomberg via Getty ImagesBefore SpaceX’s Starship lost control and exploded over the Indian Ocean during its ninth test flight, the 400-foot-tall megarocket blasted off from Texas’s newest city.Starbase, situated on 1.5 square miles of the Lone Star State’s southernmost tip in the Rio Grande Valley, is mostly made up of SpaceX employees living on company-owned property and abuts a habitat for endangered wildlife, as well as a public beach.Starbase serves as the main testing and launch location for Starship, SpaceX’s planned fully reusable spacecraft, which is meant to revolutionize human and uncrewed space travel with its gargantuan payload capacity and rapid-fire flight cadence. If Starship’s development proceeds as planned, the megarocket could soon be ferrying crew and cargo alike to multiple otherworldly destinations—such as the lunar surface, for NASA’s Artemis program, and Mars, in fulfillment of SpaceX founder Elon Musk’s long-stated dream. But nearby residents worry about less glamorous local effects, fearing that a town built around the space company could continue SpaceX’s alleged pattern of polluting the area and blocking access to the nearby beach and other open public spaces.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.“SpaceX has already proven itself to be an extremely bad neighbor,” says Christopher Basaldú, an anthropologist and environmentalist and co-founder of the South Texas Environmental Justice Network, who lives in nearby Brownsville, Tex. SpaceX did not immediately respond to a request for comment.Long before it was Starbase, the area’s beaches, tidal flats and wetlands were of great significance to the Indigenous Carrizo/Comecrudo people (or Esto’k Gna in their own language). Many of them still live nearby as members of the modern-day Carrizo/Comecrudo Tribe of Texas. Today the area is largely Latino and among the poorest in the country. Musk’s space company began buying up property there in 2012; ever since company housing and rocket-related infrastructure have steadily sprouted.“We’ve grown quite a bit just in the last couple of years. It’s a couple hundred employees [and] their families, living amongst actual rockets,” said Daniel Huot, a SpaceX communications manager, during a company livestream before Tuesday’s Starship test flight.Huot added that the move to incorporate what was formerly Boca Chica Village as Starbase will help the company “scale more quickly [to] try to build out the best community possible for all the people that are building the future of humanity’s place in space.”Even before SpaceX began launching rockets at the site, neighbors complained about potential environmental woes stemming from the company’s operations. In a 2018 press conference, Musk dismissed such concerns, saying “We’ve got a lot of land with no one around, and so if [a rocket] blows up, it’s cool.”The first launch of the 40-story-tall Starship vehicle in April 2023 didn’t entirely proceed as planned—it blew up the concrete launch pad and left a literal crater behind. Particulate debris, as well as concrete and steel shrapnel from the botched launch, scattered far and wide across the surrounding landscape, igniting fires and slamming into protected habitats and public beaches. Ash, dust and sand grains hurled aloft by this first Starship flight test rained down as far out as Port Isabel, Tex., about five miles from the launch site.Local environmentalists have also sounded the alarm on how the company’s activities at Starbase could increase chemical and sonic pollution that puts migratory birds and other vulnerable endangered species in the area at greater risk.Despite these brewing tensions, Starbase was incorporated in early May, making it the first new city in Cameron County, Texas, in 30 years.Only people who live in the immediate area—almost all of them SpaceX employees—were eligible to vote for the new city. Residents voted 212 for and six against. The city’s mayor and commissioners—all current or former SpaceX employees—ran unopposed. “Now [SpaceX has] stolen away not only a neighborhood but the land around it, which had been basically environmentally untouched areas,” says Basaldú, who is a member of the Carrizo/Comecrudo Tribe.Starbase’s boundaries snake along State Highway 4, which provides the only access to both Starbase and the open-to-the-public Boca Chica Beach. A bill pending in the Texas Legislature would shift control over weekday closures of the beach and nearby roadways from the county commissioners to Starbase city leaders now that Starbase is a municipality under law.“As a community, we were there first,” says Suquiery Santillana, a resident of nearby Brownsville, Tex., who has visited Boca Chica Beach since childhood. “I’m almost 50, and now my grandkids are going.” Her family’s trips to the isolated shoreline now include wide-eyed roadside spectators from all across the country who want to catch a glimpse of the SpaceX launch site. While Santillana is happy that SpaceX has brought jobs to the area, she would like the company to communicate more about upcoming closures and launch plans with locals.Members of the Carrizo/Comecrudo Tribe also trace their creation story to this once-pristine beach. The intermittent access restrictions imposed by SpaceX’s launches, some tribe members say, limit them from freely participating in traditions such as fishing and tribal ceremonies that have been taking place on their ancestral land for thousands of years.Activity at the site could soon ramp up even more. On May 22 the Federal Aviation Administration (FAA) announced it had granted approval for SpaceX to increase the annual number of Starbase launches from five to 25. Eventually, Starship flights from the site could far exceed that because the vehicle is designed for very fast turnaround times and an unprecedentedly high launch cadence. Starship’s sheer size, coupled with more frequent launches, could balloon Starbase’s overall environmental footprint while also essentially shutting down Highway 4 for much of the year. The FAA did not immediately respond to a request for comment.For now, Starbase is poised to continue its rapid development and expansion, with plans in the works for more housing, offices and rocket launch facilities. Jim Chapman of the local environmental justice nonprofit Save RGV (Rio Grande Valley) worries that Starbase’s incorporation could allow SpaceX to skirt important regulatory hurdles. “[SpaceX has] fewer layers of bureaucracy that [it has] to go through and get approval from,” he says. “But on the other hand, I haven’t really seen the county denying [it] anything.”As SpaceX vies to fly ever more powerful rockets in pursuit of Musk’s interplanetary aspirations, local residents also fear that the company’s launch activity and its proximity to new natural gas projects could pose grave threats to Rio Grande Valley communities. One such project currently under construction is less than six miles from the launch site—too close for comfort, some critics say, given the possibility of volatile explosions sparked by showers of fiery rocket debris.If Musk’s latest projections are to be trusted (he often overpromises and underdelivers on meeting ambitious rocketry deadlines), additional Starship test flights will blast off from Starbase every few weeks for the rest of the summer. Time will tell if the company will be mindful of those who live next door.

Care management platform DexCare is applying artificial intelligence (AI) in an innovative way to fix health care access issues. Its AI-driven platform helps health systems overcome rising costs, limited capacity, and fragmented digital infrastructure. As Americans face worsening health outcomes and soaring costs, DexCare Co-founder Derek Streat sees opportunity in the crisis and is leading a push to apply AI and machine learning (ML) to health care’s toughest operational challenges — from overcrowded emergency rooms to disconnected digital systems. No stranger to using AI to solve health care issues, Streat is guiding DexCare as it leverages AI and ML to confront the industry’s most persistent pain points: spiraling costs, resource constraints, and the impossible task of doing more with less. Its platform helps liberate data silos to orchestrate care better and deliver a “shoppable” experience. The combination unlocks patient access to care and optimizes health care resources. DexCare enables health systems to see 40% more patients with existing clinical resources. Streat readily admits that some advanced companies use AI to enhance clinical and medical research. However, advanced AI tools such as conversational generative AI are less common in the health care access space. DexCare addresses that service gap. “Access is broken, and our fundamental belief is that there haven’t been enough solutions to balance patient, provider, and health system needs and objectives,” he told TechNewsWorld. Improving Patient Access With Predictive AI Achieving that balance depends on the underlying information drawn from health care providers’ neural networks, ML models, classification systems, and advancements in generative AI. These elements build on one another. Derek Streat, Co-founder of DexCare With the goal of a better customer experience (CX), DexCare’s platform helps care providers optimize the algorithm so everyone benefits. The focus is on ensuring patients get what matches their intent and motivations while respecting the providers’ capacity and needs, explained Streat. He describes the platform’s technology as a foundational pyramid based on data that AI optimizes and manages. Those components ensure high-fidelity outcome predictions for recommended care options. “It could be a doctor in a clinic or a nurse in a virtual care system,” he suggested. “I’m not talking about clinical outcomes. I’m talking about what you’re looking for.” Ultimately, that managed balance will not burn out all your providers. It will make this a sustainable business line for the health system. From Providence Prototype to Scalable Solution Streat defined DexCare as an access optimization company. He shared that the platform originated from a ground-floor build within the Providence Health System. After four years of development and validation, he launched the technology for broader use across the health care industry. “It’s well tested and very effective in what it does. That allowed us to have something scalable across organizations as well. Our expansion makes health care more discoverable to consumers and patients and more sustainable for medical providers and the health systems we serve,” he said. Digital Marquee for Consumers, Service Management for Providers DexCare’s AI works on multiple levels. It provides health care system or medical facility services as a contact center. That part attracts and curates audiences, consumers, and patients. Its digital assets could be websites, landing pages, or screening kiosks. Another part of the platform intelligently navigates patients to the safest and best care option. This process engages the accumulated data and automatically allocates the health system’s resources. “It manages schedules and available staff and facilities and automatically allocates them when and where they can be most productively employed,” explained Streat. The platform excels at load balancing. It uses AI to rationalize all those components. The decision engine uses AI to ensure that the selected resources and needed services match so the medical treatment can be done most efficiently and effectively to accommodate the patient and the organization. How DexCare Integrates With CRM Platforms According to Streat, DexCare is not customer relationship management software. Instead, the platform is a tie-in that infuses its AI tools and data services that blend with other platforms such as Salesforce and Oracle. “We make it as flexible as we can. It is pretty scalable to the point where now we can touch about 20% of the U.S. population through our health system partners,” he offered. Patients do not realize they are interacting with the DexCare-powered experience console under the brands Kaiser, Providence, and SSM Health, some of the DexCare platform’s health systems users. The platform is flexible and adapts to the needs of various health agencies. For instance, fulfillment technologies book appointments and supply synchronous virtual solutions. “Whatever the modality or setting is, we can either connect with whatever you’re using as a health system, or you can use your own underlying pieces as well,” said Streat. He noted that the intelligent data acquisition built into the DexCare platform accesses the electronic medical record (EMR), which includes patients’ demographics, medical history, diagnoses, medications, allergies, immunization records, lab results, and treatment plans. “The application programming interface [API] gives us real-time availability, allows us to predict a certain provider’s capacity, and maintains EMR as a source of truth,” said Streat. AI’s Long-Term Role in Health Care Access Health care management by conversational generative AI provides insights into where organizations struggle, need to adjust their operations, or reassign staff to manage patient flow. That all takes place on the platform’s back end. According to Streat, the front-end value proposition is pretty simple. It helps get 20% to 30% more patients into the health system. Organizations generate nine times the initial visit value in downstream revenue for additional services, Streat said. He assured that the other part of the value proposition is a lower marginal cost of delivering each visit. That results from matching resources with patients in a way that allows balancing the load across the organization’s network. “That depends on the specific use case, but we find up to a 40% additional capacity within the health system without hiring additional resources,” he said. How? That is where the underlying AI data comes into play. It helps practitioners make more informed decisions about which patients should be matched with which providers. “Not everybody needs to see an expensive doctor in a clinic,” Streat contended. “Sometimes, a nurse in a virtual visit or educational information will be just fine.” Despite all the financial metrics, patients want medical treatment and to move on, which is really what the game is here, he surmised. Why Generative AI Lags in Health Care Streat lamented the rapidly developing sophistication of generative AI, which includes conversational interfaces, analytical capability, and predictive mastery. These technologies are being applied throughout other industries and businesses, but are not yet widely adopted in health care systems. He indicated that part of that lag is that health care access needs are different and not as suited for conversational AI solutions hastily layered onto legacy systems. Ultimately, changing health care requires delivering things at scale. “Within a health system, its infrastructure, and the plumbing required to respect the systems of records, it’s just a different world,” he said. Streat sees AI making it possible for us to move away from searching through a long list of doctors online to booking through a robot operator with a pleasant accent. “We will focus on the back-end intelligence and continue to apply it to these lower-friction ways for people to interact with the health system. That’s incredibly exciting to me,” he concluded.

Start SlideshowStart SlideshowDisney has enchanted us for decades with its resplendent animation and fantastical stories of princesses, wicked witches, and fire-breathing dragons, but music has always been its most indelible sprinkle of pixie dust. There are songs that move us, make us dance, and help us understand the characters that have already been so lovingly drawn. With over 350 songs in the Disney canon, it’s nearly impossible to narrow them down, but we’ve chosen the 23 in honor of the year 1923, when Walt Disney founded the company. These songs are the most magical and remind us why Disney has endured for over a century.Previous SlideNext Slide2 / 25List slides23. “Whistle While You Work” from Snow White and the Seven DwarfsList slides23. “Whistle While You Work” from Snow White and the Seven DwarfsWhistle While You Work - Snow White and the Seven Dwarfs Larry Morey and Frank Churchill’s merry tune about finding the joy in the most mundane of chores is quite simple, with only nine lines, yet incredibly catchy. Adriana Caselotti’s warbling, baby voice is fitting for this old-fashioned, operetta-style number and the entire sequence that features the big-eyed, adorable forest creatures helping her out. The squirrels sweep the dust with their tails, and the raccoons wash dirty clothes in a nearby watering hole to every sprightly beat. It’s difficult not to be beguiled by this little ditty, and you’ll find yourself humming it the next time you do your spring cleaning. Previous SlideNext Slide3 / 25List slides22. “The Family Madrigal” from EncantoList slides22. “The Family Madrigal” from EncantoStephanie Beatriz, Olga Merediz, Encanto - Cast - The Family Madrigal (From “Encanto”) Lin-Manuel Miranda’s fingerprints are all over modern Disney soundtracks. He is a master at crafting clever, fast-paced, and genre-blending earworms. The biggest ones to emerge from Encanto are “We Don’t Talk About Bruno” and “Surface Pressure,” where he blends classic Broadway stylings with punchier salsa and reggaeton genres. “The Family Madrigal” may not have reached the same level of pop culture infamy as the other songs in this film, but it’s a clever and economical way to introduce the Madrigal family and their powers. Stephanie Beatriz’s bubbly voice as Mirabel suits the song’s bouncy rhythm perfectly, while the Colombian folk instruments such as an accordion, caja vallenata, and guacharaca match the colorful energy of the magical town the Madrigals call home. Previous SlideNext Slide4 / 25List slides21.“Dig a Little Deeper” from Princess and the FrogList slides21.“Dig a Little Deeper” from Princess and the FrogDig a Little Deeper (From “The Princess and the Frog”/Sing-Along) Randy Newman’s toe-tapping blend of big-band swing and gospel choir refrains perfectly captures the vibrant soul of the New Orleans setting. The feisty Jennifer Lewis leads “Dig a Little Deeper” as Mama Odie, backed by the rousing Pinnacle Gospel Choir. The song’s brassy rhythms help Tiana let loose and Naveen to realize that he’s in love with her. The lessons Mama Odie imparts through the lyrics are wise and grounded: it doesn’t matter what you have or where you come from—that doesn’t define who you are. True fulfillment doesn’t come from material wealth, status, or outward appearances—it comes from understanding what you really want on the inside. The song crescendos with Anika Noni Rose’s powerful belt and the soulful shouts of Mama Odie’s bright flamingo chorus. Previous SlideNext Slide5 / 25List slides20. “I See the Light” from TangledList slides20. “I See the Light” from Tangled“I SEE THE LIGHT” | Tangled | Disney Animated HD The dreamy melody of “I See the Light” begins with a soft guitar. Glenn Slater and Alan Menken’s composition is fairly simple, allowing the glittering visuals to take center stage. The song takes place during the lighting ceremony that Rapunzel has yearned to visit after observing it from her tower for 18 years. Flynn and Rapunzel float on a gondola, surrounded by over 45,000 glowing lanterns floating in the air, dotting the sky and reflecting off the water that surrounds them. The characters sing the verses separately in their heads before their emotions burst, then they harmonize the chorus loudly, compelled by their realization that they’re in love. It’s a unique and touching way of framing a Disney love song. Previous SlideNext Slide6 / 25List slides19. “Friend Like Me” from AladdinList slides19. “Friend Like Me” from AladdinAladdin - Friend Like Me (HD 1080p) Howard Ashman’s playful lyrics and Alan Menken’s up-tempo, syncopated, vaudevillian song was the perfect musical playground for Robin Williams to fill with the zany impressions and quirky voices he was renowned for. A trumpet warbles in between one of the clever lyrics, sights and sounds so jam-packed with hilarity that you can barely stop to catch your breath. Robin Williams was so adept at improvisation that he had nearly an entire day’s worth of material. The animation is just as bonkers as his vocal performance, where Genie morphs into countless creatures—from a train whistle to a maître d’, a boxing trainer, a bunny, and a dragon. The Broadway-style showstopper culminates with a kick line under bright spotlights with monkeys, elephants, and dancing girls in crop tops and harem pants. “Friend Like Me” is a shining showcase for one of our finest comedic talents, the great Robin Williams. Previous SlideNext Slide7 / 25List slides18. “Baby Mine” from DumboList slides18. “Baby Mine” from DumboDisney’s “Dumbo” - Baby MineSongwriters Frank Churchill and Ned Washington are responsible for childhood traumas everywhere with “Baby Mine,” which takes place when Dumbo’s mother has been jailed as a “mad elephant” for fiercely protecting her son against his bullies. She reaches her trunk through the bars to cradle Dumbo to the soft, slumbering melody accompanied by haunting strings. Betty Noyes’ has that rich, rounded tone found in vintage singing, and it conveys Mrs. Jumbo’s maternal strength. The images of all the animals—zebras, tigers, monkeys, and even the underwater hippos—nestled in the love of their mothers, except for poor Dumbo, set against the song’s soothing orchestra, is absolutely heart wrenching. “Baby Mine” is the kind of song that inspires dreams of being comforted and cared for by a loving parental figure.Previous SlideNext Slide8 / 25List slides17. ”Once Upon a Dream” from Sleeping BeautyList slides17. ”Once Upon a Dream” from Sleeping BeautyOnce Upon A Dream | Sleeping Beauty Lyric Video | DISNEY SING-ALONGS Jack Lawrence and Sammy Fain craft a solo-turned-duet with a woozy, mysterious quality that perfectly complements the story of Sleeping Beauty. Mary Costa has such an elegant and operatic voice, with rich tones that make her sound far more mature than a 16-year-old girl. She’s soon joined by the strong, handsome voice of Prince Phillip, who appears unexpectedly in the forest. Their romance unfolds quickly, twirling together in the woods, surrounded by beautiful medieval-inspired, Gothic-Renaissance style visuals. The lilting orchestration and the grand choral ensemble add to the old-world mystique. The lyrics—of knowing someone before you truly know them, of seeing them in your dreams—add a tinge of mysterious excitement and mystical fate to their romance. Previous SlideNext Slide9 / 25List slides16. “Hellfire” from The Hunchback of Notre DameList slides16. “Hellfire” from The Hunchback of Notre DameHellfire - The Hunchback of Notre Dame (1996) Alan Menken and Stephen Schwartz crafted one of Disney’s darkest songs. It’s hard to imagine Disney taking this type of creative risk again. “Hellfire” is sung by a corrupt priest consumed by lust for the Romani woman Esmeralda. The deep-voiced Tony Jay plays the dishonorable Frollo, who paints himself as a virtuous man—even though he killed Quasimodo’s mother and nearly killed Quasimodo. A true Catholic would have helped them. Today, Disney would never dare to show that authority figures—especially religious ones—can often be wrong and hypocritical, if not outright evil. This is one of the most provocative villain songs, in which Frollo essentially confesses his horniness. He sings of being enraptured by Esmeralda’s smoldering eyes and raven hair—a desire that burns and threatens to turn him to sin. “Hellfire” also has a spooky quality in its use of Latin and the intense religious choir that looms over Frollo in judgment, cloaked in red with faces like empty black holes. It’s a haunting song of operatic grandeur, with notes that flare and fade like the flames dancing in front of him. Previous SlideNext Slide10 / 25List slides15. “A Dream is a Wish Your Heart Makes” from CinderellaList slides15. “A Dream is a Wish Your Heart Makes” from CinderellaA Dream Is a Wish Your Heart Makes (from Cinderella) Sung with silky warmth and a shimmering, ethereal vibrato by Ilene Woods as Cinderella, “A Dream is a Wish Your Heart Makes” is soft and soothing, yet carries an undercurrent of quiet determination. She sings to her loyal companions—adorable flocks of birds and mice—who wear the tiny outfits she’s lovingly made for them. They join in during a break of the song that is more playful and buoyant while she prepares for another grueling day of chores, yet she stays positive by believing her dreams will come true. “A Dream is a Wish Your Heart Makes” has become a marketing anthem for the studio—used in various ads to evoke nostalgia, magic, and the promise that dreams really do come true, with Disney theme parks as the place where that magic can happen. Previous SlideNext Slide11 / 25List slides14. Hawaiian Roller Coaster Ride from Lilo & StitchList slides14. Hawaiian Roller Coaster Ride from Lilo & StitchHawaiian Roller Coaster Ride (From “Lilo & Stitch”) The rich voice of Mark Kealiʻi Hoʻomalu and the cheerful Kamehameha Schools Children’s Chorus come together for a song that is as sweet and breezy as a summer’s day. “Hawaiian Roller Coaster Ride” takes place during a touching moment of family bonding as Lilo, Nani, and David go surfing, gliding through the waves with ease. Stitch has been naughty, so he feels a little shy about enjoying the day with them, but he slowly begins to warm up to what it feels like to have a family. We see the adorable progression as the little thrill-seeker ends up riding the waves too. The song’s instrumentation—featuring ukulele, traditional Hawaiian fingerstyle guitar, and steel guitar—evokes the ocean waves and open skies, giving it that relaxed, beachy vibe. Both the animation and the song itself honors the film’s beautiful Hawaiian setting. Previous SlideNext Slide12 / 25List slides13. “I’ll Make a Man Out of You” from MulanList slides13. “I’ll Make a Man Out of You” from MulanMulan | I’ll Make a Man Out of You | Disney Junior UK “Let’s get down to business, to defeat the Huns” Donny Osmond sings in his perfectly crisp voice. The rousing number “I’ll Make a Man Out of You” by Matthew Wilder and David Zippel is the pump-up song for a training montage. It starts out comical as we see Mulan and her clumsy friends attempt to become the ideal Chinese soldier. The catchy chorus uses evocative nature metaphors for the type of strength and calm that Mulan needs to find, and the deep-voiced punctuation “Be a man!” at the end of each line adds to the hype. When Donny Osmond belts “Time is racing towards us, ‘till the Huns arrive,” you feel a thrilling rush of urgency and swell with courage. The final chorus plays against no instrumentation, the manly voices of the soldiers booming, allowing you to focus on Mulan and her friends now kicking ass. Previous SlideNext Slide13 / 25List slides12. “A Whole New World” from AladdinList slides12. “A Whole New World” from AladdinAladdin - A Whole New World (HD 1080p) Brad Kane’s voice carries an excited, breathy quality that draws you in as he whisks Jasmine away on a magic carpet ride. He sounds bright and earnest as he describes the shining, shimmering, and splendid world that Jasmine has never seen and he’s eager to show her. Lea Salonga, who is a Broadway legend in her own right, has an angelic innocence as Jasmine. Their voices come together in perfect harmony for this sweeping duet. “A Whole New World” is one of Disney’s most romantic love songs, with a melody that flutters and glides like the magic carpet itself. Written by Alan Menken and Tim Rice, the orchestration has lush strings that propel the adventurous animated sequence where they soar through the clouds, pass the Sphinx, and touch down near a group of horses. Previous SlideNext Slide14 / 25List slides11. “Strangers Like Me” from TarzanList slides11. “Strangers Like Me” from TarzanStrangers Like Me (1080p Full HD) - Tarzan (1999)Opening with a pulsing drum track, Strangers Like Me evokes the spinning wheels in Tarzan’s mind as he learns more about what lies beyond the jungle. The montage is gorgeously animated, featuring old-fashioned ink illustrations that Tarzan looks at through a magic lantern. He sees the city of London, a giant castle, the Sphinx, and even outer space for the first time. This flood of information drives the song’s urgent pace.The filmmakers craft the entire animated sequence as a response to the lyrics, as Tarzan watches Jane (“Every gesture, every move that she makes / Makes me feel like never before”) or shows off a pocket of the rainforest filled with parrots (“Come with me now to see my world / Where there’s beauty beyond your dreams”). Phil Collins’ bright voice captures Tarzan’s wonderment, especially in the soaring chorus, where Tarzan expresses his desire to learn more about strangers like him. You feel his hunger for the great, wide world in the song’s pounding, tribal drumbeats. Previous SlideNext Slide15 / 25List slides10. “I Won’t Say I’m in Love” from HerculesList slides10. “I Won’t Say I’m in Love” from HerculesHercules (1997) │ I Won’t Say (I’m In Love) [DPU HD 4K] The story of the ancient Greek hero Hercules has such a unique musical style, with lyricist David Zippel and composer Alan Menken blending doo-wop, Motown, and gospel soul. The muses serve as a literal Greek chorus, commenting on the action with their sassy perspective. In “I Won’t Say I’m in Love,” Megara’s velvet-voiced, sarcastic Susan Egan stands apart from other Disney heroines, who often sing fluttering arias about dreaming of a prince. Instead, Megara resists her feelings because she’s been burned too many times before, creating a comical juxtaposition with the Muses, who cheekily insist that she’s in love. They tease her with “Check the grin, you’re in love.” It’s a playful and flirtatious song that celebrates an unconventional Disney princess and musical choices. Previous SlideNext Slide16 / 25List slides9. “How Far I’ll Go” from MoanaList slides9. “How Far I’ll Go” from MoanaAuli’i Cravalho - How Far I’ll Go (from Moana/Official Video) Ever since their introduction in The Little Mermaid, Broadway-style “I Want” songs have become a hallmark of Disney princess films. They are passionate solos that reveal what each heroine desires most in the world. Whatever her heart longs for becomes the emotional engine driving the story forward. In “How Far I’ll Go,” composed by Lin-Manuel Miranda, Moana is torn between her dream of exploring what’s beyond her remote island and her duty to her family. She’s genuinely torn, even wondering if she’s wrong to yearn for what lies beyond the horizon. Auli’i Cravalho’s pure, heartfelt voice captures all the wistfulness and uncertainty of growing up. The melody swells and crashes gently like ocean tides, mirroring the push and pull of Moana’s inner conflict. Previous SlideNext Slide17 / 25List slides8. “Be Our Guest” from Beauty and the BeastList slides8. “Be Our Guest” from Beauty and the BeastBeauty and the Beast - Be Our Guest (HD) Music Video Broadway royalty Jerry Orbach helms this showstopper with music by Alan Menken and lyrics by Howard Ashman. The suave candlestick Lumière uses the number to lure Belle out of her bedroom, and show that the enchanted castle is more friendly and exciting than spooky and depressing. “Be Our Guest” has clever, fast-paced lyrics sung in a classic “patter song” style which then explodes in a lively, French can-can finale. The living castle objects just want to serve and make someone happy again, offering Belle elaborate meals and dazzling entertainment. Everything is on the plate for Belle, from soup du jour, hot hors d’oeuvres, beef ragout, cheese soufflé, and of course, the grey stuff. What’s just as exciting about the number as its giddy music is the animation, with spoons swimming in punch bowls like a Busby Berkeley number, prismatic spotlights, sumptuous, brightly-colored cakes, a glowing chandelier, and dancing flatware. Previous SlideNext Slide18 / 25List slides7. “You’ll Be in My Heart” from TarzanList slides7. “You’ll Be in My Heart” from TarzanPhil Collins - You’ll Be in My Heart /Tarzan(ターザン)Phil Collins knocked it out of the park with the entire Tarzan soundtrack. Somehow his earthy voice, drum-infused instrumentals, and heartfelt lyrics were the perfect mix for this jungle story. Rather than a traditional Disney musical, Phil Collins acts as an omnipresent narrator, commenting on the action or voicing the character’s thoughts. “You’ll Be In My Heart” rightfully earned the Academy Award for Best Original Song. Originally written as a lullaby for his own daughter, the song starts off tender, with Phil Collins almost gently whispering against soft marimbas. Its lyrics of true love and devotion are moving, especially in the scene where Kala sings it to a baby Tarzan, who, despite being a different species, experiences a bond where love and care know no bounds. The song eventually crashes into driving drums, moving toward a bridge that sees the child fly free on their own: “When destiny calls you / You must be strong / I may not be with you / But you’ve got to hold on.” This song is touching for anyone who has ever loved someone and watched them grow, no matter what type of relationship. Previous SlideNext Slide19 / 25List slides6. “Under the Sea” from The Little MermaidList slides6. “Under the Sea” from The Little MermaidThe Little Mermaid - Under the Sea (from The Little Mermaid) (Official Video) Those solo calypso opening notes of “Under the Sea” immediately get you excited, and Samuel E. Wright delivers a rollicking underwater bash. His booming voice and vivacious energy are perfect for the overdramatic crustacean and his mission to convince Ariel that living under the sea “is the bubbles” with no troubles. “Under the Sea’ buoys the rainbow-colored montage of marine life that fills Ariel’s world—fish, dolphins, and coral reefs. The scene cleverly ties the instruments to various creatures and animation — harps echo the swirling school of fish, shells mimic steel pans, and a pair of octopuses intertwine their legs like bass lines. With its infectious Caribbean beat, Howard Ashman and Alan Menken’s song is a true banger and impossible not to love, which is why it won the 1990 Oscar for Best Original Song. Previous SlideNext Slide20 / 25List slides5. “Colors of the Wind” from PocahontasList slides5. “Colors of the Wind” from PocahontasPocahontas - Colors of the Wind (Blu-ray 1080p HD) “You think the only people who are people / Are the people who look and think like you / But if you walk the footsteps of a stranger / You’ll learn things you never knew, you never knew.” In this increasingly polarized world, that message has never been more relevant. Pocahontas is not immediately smitten with John Smith; instead, she condemns his entire culture, which prioritizes gold and hatred over acceptance and the beauty of nature. Stephen Schwartz’s lyrics paint gorgeous pictures of the American wilderness, questioning why the white men who have invaded these lands cannot appreciate the world around them — from the grinning bobcats to the sweet berries to the trees that stretch toward the sky, if only we let them grow. Alan Menken’s surrounding score is rapturous, carried by Judy Kuhn’s passionate vocals. More than just the profound lyrics, it’s the visuals that make this musical number so unforgettable — particularly John Smith and Pocahontas dancing in a pastel-colored wind. It’s no surprise that “Colors of the Wind” won an Academy Award for Best Original Song. Previous SlideNext Slide21 / 25List slides4. “When You Wish Upon a Star” from PinnochioList slides4. “When You Wish Upon a Star” from PinnochioPocahontas - Colors of the Wind (Blu-ray 1080p HD)Written by Leigh Harline and Ned Washington, “When You Wish Upon a Star” has come to define Disney itself, typically playing over the castle logo that opens every movie. The ethereal ballad is sung by Cliff Edwards as Jiminy Cricket, whose resonant yet quirky voice feels like someone sharing a story by a crackling fire. “When you wish upon a star / Makes no difference who you are / Anything your heart desires / Will come to you,” he tenderly sings over the opening credits. The gentle melody wraps you in a warm embrace of possibility. People often make fun of Disney adults, but perhaps one reason we hold on to Disney films long after growing up is that they offer hope in an increasingly grim world. This aspirational song reminds us there is more to life than the ordinary—if we just dare to imagine.Previous SlideNext Slide22 / 25List slides3. “Beauty and the Beast” from Beauty and the BeastList slides3. “Beauty and the Beast” from Beauty and the BeastBeauty and the Beast Tale As Old As Time HD As Mrs. Potts, Angela Lansbury’s warm, cheery English voice adds a rosiness to this powerful love ballad, backed by an orchestra of sumptuous strings. The lyrics aren’t the pure romanticism of past Disney love stories; there is no love at first sight here. Instead, Mrs. Potts gently reflects on how true love can take time to blossom, and how relationships sometimes require change, admitting your faults and working hard to set aside your vices and worst qualities. It’s a surprisingly mature outlook for a Disney love song. The accompanying animation is one of the most exquisite sequences in Disney history: Belle’s golden dress glides delicately across the floor as she and the Beast dance in the grand ballroom, the camera swirling to reveal the sparkling chandelier and Michelangelo-esque ceiling of painted cherubs above them. That Howard Ashman wrote this song while dying from complications of AIDS makes it all the more poignant. Previous SlideNext Slide23 / 25List slides2. “Part of Your World” from The Little MermaidList slides2. “Part of Your World” from The Little MermaidJodi Benson - Part of Your World (From “The Little Mermaid”)Before The Little Mermaid kicked off the Disney Renaissance (a period of more sophisticated storytelling and box office success) princess songs were mostly focused on their prince charmings. They had very few aspirations outside of dreaming about their prince or wishing for their prince. But the introduction of the songwriting team Alan Menken and Howard Ashman, who had worked on the off-Broadway show Little Shop of Horrors, helped develop a Disney princess that had greater ambitions. Ariel wanted to see the human world, and she would express that within a Broadway-style solo called the “I Want” song, where the protagonist sings about, well, what they want. “Part of Your World” has a flowing melody and a sweet yearning in Jodi Benson’s voice (and given a more soulful power in the live-action version from Halle Bailey). We see her comical misunderstanding of what her treasures are, all whozits and whatzits galore. “Wouldn’t I love to explore that shore up above?” her voice soars while reaching out through the top of her grotto towards the sun. In that moment, with her big eyes and aching voice, you completely understand how much the human world means to her.Previous SlideNext Slide24 / 25List slides1. “Circle of Life” from The Lion KingList slides1. “Circle of Life” from The Lion KingCarmen Twillie, Lebo M. - Circle of Life (From “The Lion King”) No Disney song is quite as epic as Elton John’s “Circle of Life.” The image of the rising sun, paired with the opening lines sung passionately in Zulu by Lebo M., without any instrumentals, immediately hooks you into this sweeping story of the African savannah. The title, “Circle of Life,” is fitting for this tale of birth, death, and everything in between. The lyrics somehow encompass everything about our big, beautiful world — how finite life is, and the experiences, both good and bad, that give us balance. There’s despair and there’s hope. There’s faith and there’s love. The lyrics are poetic and make you think about the wonder and mystery of existence. The song reaches a powerful peak at the end when the chorus rises together. It’s impossible not to get full-body chills on that final soaring note, “It’s the circle, the circle of life,” punctuated by the thunderous drumbeat, where the sight of Rafiki lifting Simba on Pride Rock cuts to black. “Circle of Life” is a beautiful song with a grand vision, especially for a film geared towards children.

From office politics to salary negotiations, treating work like a strategy game can give you a ... More real-world edge. But should you?getty I recently had a revealing conversation with a friend — a game developer — who admitted, almost sheepishly, that while he was fluent in the mechanics of game theory, he rarely applied it outside of code. That got me thinking. For most people, game theory lives in two corners of life: economics classrooms and video games. It’s a phrase that evokes images of Cold War negotiations or player-versus-player showdowns. And to their credit, that’s grounded. At its core, game theory studies how people make decisions when outcomes hinge not just on their choices, but on others’ choices too. Originally a mathematical model developed to analyze strategic interactions, it’s now applied to everything from dating apps to corporate strategy. But in real life, nobody is perfectly rational. We don’t just calculate; we feel, too. That’s where the brain kicks in. According to the “Expected Value of Control” framework from cognitive neuroscience, we calibrate our effort by asking two questions: How big is the reward? How much control do I have in getting it? When both answers are high, motivation spikes. When either drops, we disengage. Research shows this pattern in real time — the brain works harder when success feels attainable. Play Puzzles & Games on Forbes This mirrors game theory’s central question: not just what the outcomes are, but whether it’s worth trying at all. Using a game theory lens in a professional setting, then, can be messy and sometimes bring unwanted emotional repercussions. The saving grace, however, is that it’s somewhat intuitively patterned and, arguably, predictable. So should you actually apply game theory to your professional life? Yes, but not as gospel, and not all the time. Being too focused on identifying, labeling and trying to “win” every interaction can backfire. It can make you seem cold and calculating, even when you’re not, and it can open the door to misunderstandings or quiet resentment. Put simply, it’s important to be aware of how your choices affect others and how theirs affect yours, but it’s also dangerously easy for that awareness to tip over into an unproductive state of hyperawareness. Game theory is a legitimately powerful lens — but like any lens, it should be used sparingly and with the right intentions. Pick your battles, and if you’re curious how to apply it in your own career, start with clarity, empathy and a telescope and compass. Use these not to dominate the game, but to understand it and play it to the best of your abilities, so everyone wins. 1. Establish Competence For Yourself And Assume It From Others There’s a popular saying in hustle culture: work smarter, not harder. At first glance, it makes sense — but in elite professional environments, it’s a rather reductive and presumptuous approach. The phrase can carry the implication that others aren’t working smart or that they aren’t capable of working smart. But in high-performing teams, where stakes are real and decisions have impact, most people are smart. Most are optimizers. And that means “working smart” will only take you so far before everyone’s doing the same. After that, the only edge left is consistent, high-quality production — what we generalize as hard work. From a game theory lens, this type of hard work essentially increases your odds. Overdelivering, consistently and visibly, skews the probability curve in your favor. You either become impossible to ignore, or highly valuable. Ideally, aim for both. And here’s where the real move comes in: assume the same of others. In most multiplayer games, especially online ones, expecting competence from your opponents forces you to play better. It raises the floor of your expectations, improves collaboration and protects you from the trap of underestimating the consequences of your actions. Take chess, for example. In a large study of tournament players, researchers found that serious solo study was the strongest predictor of performance, even more than formal coaching or tournament experience. Grandmasters, on average, had put in nearly 5,000 hours of deliberate study in their first decade of serious play. This is about five times more than intermediate players. This is why in a game of chess between one grandmaster and another, neither player underestimates the other. 2. Exploit The Parts Of Work That Don’t Feel Like Work To You My friend told me he rarely applies game theory outside of code. But the more he talked about his work, the more obvious it became that the man lives it. He’s been into video games since he was a child, and now, as an adult, he gets paid to build what he used to dream about. Sure, he has deadlines, targets and a minimum number of hours to log every week — but to him, those are just constraints on paper. What actually drives him is the intuitive thrill of creation. Everything else is background noise that requires calibration, not deference. This is where game theory can intersect with psychology in an actionable way. If you can identify aspects of your work that you uniquely enjoy — and that others may see as tedious, difficult or draining — you may have found an edge. Because in competitive environments, advantage is often about doing the same amount with less psychological cost. In game theory terms, you’re exploiting an asymmetric payoff structure, where your internal reward is higher than that of your peers for the same action. When others see effort, you feel flow. That makes you highly resilient and harder to outlast. It’s also how you avoid falling into the trap of accepting a Nash equilibrium. This is a state where each person settles on a strategy that feels rational given everyone else’s, even if the group as a whole is stuck in mediocrity. No one deviates, because no one has an incentive to, unless someone changes the underlying payoff structure. For example, imagine a team project where everyone quietly agrees to put in just enough effort to get by, no more, no less. It feels fair, and no one wants to overextend. But if even one person realizes they could stand to gain by going above that baseline, they have an incentive to break the agreement. The moment they do, the equilibrium collapses, because now others are pressured to step up or risk falling behind. In a true equilibrium, each person’s strategy is the best possible response to what everyone else is doing. No one gains by changing course. However, when your internal motivation shifts the reward equation, you may begin to question the basis of the equilibrium itself. Be aware, in any case, that this is a tricky situation to navigate, especially if we contextualize this from the point of view of the stereotypical kid in class who reminds their teacher about homework. Even if the child acts in earnest, they may unintentionally invite isolation both from their peers and, sometimes, from the teachers themselves. This is why the advice to “follow your passion” often misfires. Unless there’s a clear definition of what constitutes passion, the advice lands as too vague. A more precise version is this: find and hone a valuable skill that energizes you, but might drain most others. 3. Follow The Money Only Far Enough To Find The Game There’s a certain kind of professional who doesn’t chase money for money’s sake. Maybe he writes code for a game studio as a day job, writes blogs on the side and even mentors high school kids on their computer science projects. But this isn’t so much about padding his lifestyle or building a mountain of cash. What he’s really doing is looking for games: intellectually engaging challenges, satisfying loops and rewarding feedback. In a sense, he’s always gaming, not because he’s avoiding work, but because he’s designed his life around what feels like play. This mindset flips the usual money narrative on its head. And ironically, that’s often what leads to sustainable financial success: finding personal fulfillment that makes consistent effort easier for you and everyone around you. In game theory, this is a self-reinforcing loop: the more the game rewards you internally, the less you need external motivation to keep showing up. So instead of asking, “What’s the highest-paying path?” — ask, “Which games would I play even if I didn’t have to?” Then, work backward to find ways to monetize them. This does two incredibly valuable things in tandem: It respects the system you’re in, and it respects the goals you personally hold dear. While game theory maps workplace social behavior reasonably well, constantly remaining in a heightened state of awareness can backfire. Take the Self-Awareness Outcomes Questionnaire to better understand if yours is a blessing or a curse.