• MrBeast a encore trouvé un moyen de rendre les vignettes YouTube encore plus obnoxieuses. Cette fois, il suffit d'ajouter de l'IA. Franchement, on dirait qu'on a déjà tout vu. Les mêmes couleurs criardes, les mêmes polices qui piquent les yeux. Ça devient un peu lassant, non ? Mais bon, qui suis-je pour juger. C'est comme ça que ça fonctionne sur YouTube.

    #MrBeast #VignettesYouTube #IA #Obnoxieux #Tendance
    MrBeast a encore trouvé un moyen de rendre les vignettes YouTube encore plus obnoxieuses. Cette fois, il suffit d'ajouter de l'IA. Franchement, on dirait qu'on a déjà tout vu. Les mêmes couleurs criardes, les mêmes polices qui piquent les yeux. Ça devient un peu lassant, non ? Mais bon, qui suis-je pour juger. C'est comme ça que ça fonctionne sur YouTube. #MrBeast #VignettesYouTube #IA #Obnoxieux #Tendance
    Like
    Wow
    Love
    19
    1 Comments 0 Shares
  • The Best Hidden-Gem Etsy Shops for Fans of Farmhouse Style

    Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound, as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow coverssits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose, but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glassand finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraitswould look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodiesis chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butterbut you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecorebut the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling.For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option. And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects, these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplierare the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog.
    #best #hiddengem #etsy #shops #fans
    The Best Hidden-Gem Etsy Shops for Fans of Farmhouse Style
    Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound, as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow coverssits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose, but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glassand finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraitswould look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodiesis chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butterbut you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecorebut the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling.For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option. And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects, these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplierare the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog. #best #hiddengem #etsy #shops #fans
    WWW.COUNTRYLIVING.COM
    The Best Hidden-Gem Etsy Shops for Fans of Farmhouse Style
    Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound (think vintage milk crates, orchard fruit baskets, and berry boxes), as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow covers (patterned with everything from block-printed blossoms to provincial pinstripes) sits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose (envision white ironstone pitchers piled high with fresh-picked hyacinths, or glass canning jars holding your harvest grains), but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glass (crafted using cast-iron molds from over 80 years ago) and finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraits (regal roosters! ruff collared geese!) would look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodies (think animal wine stoppers, keychains, fridge magnets, and cake toppers) is chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butter (just look at this two-piece pine hutch!) but you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecore (the pink Baccarat perfume bottles! the hobnail milk glass vases! the huge primitive bread boards!) but the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling. (We have to admit, the folk art-inspired cow and chicken is our favorite.)For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option (don’t ask how many times we’ve been outbid at an estate auction). And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects (think magnifying glasses, compasses, paperweights, and letter openers), these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplier (who grew up in an 1850s farmhouse himself) are the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog.
    Like
    Love
    Wow
    Sad
    Angry
    603
    0 Comments 0 Shares
  • Exploring creativity and flow states through music

    For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds.
    And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio.
    Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance.

    "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating."
    The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand.
    It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths.

    Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over.
    "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone."
    That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency.
    As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity."

    HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement.
    "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo."
    While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced.
    "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline."

    Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives.
    "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant."
    At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack.
    #exploring #creativity #flow #states #through
    Exploring creativity and flow states through music
    For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds. And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio. Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance. "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating." The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand. It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths. Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over. "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone." That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency. As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity." HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement. "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo." While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced. "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline." Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives. "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant." At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack. #exploring #creativity #flow #states #through
    WWW.CREATIVEBOOM.COM
    Exploring creativity and flow states through music
    For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds. And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio. Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance. "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating." The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand. It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths. Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over. "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone." That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency. As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity." HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement. "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo." While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced. "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline." Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives. "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant." At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack.
    Like
    Love
    Wow
    Sad
    Angry
    683
    4 Comments 0 Shares
  • 15 Inspiring Designers From Shelter’s Showcase by Afternoon Light

    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants.
    More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way.
    “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.”
    Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event.

    Matter.Made
    Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier.

    N. Shook
    Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery.

    Avram Rusu Studio
    Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow.

    Riffmade
    Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time.

    Jackrabbit Studio for Roll & Hill
    The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets.

    Ford Bostwick
    Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs.

    Yamazaki Home
    Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home.

    Fort Standard Hardware
    Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications.

    M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection.

    A Space Studio
    Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture.

    Michiko Sakano Studio
    Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses.

    John Wells Heavy Metal & FDK Junior
    In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves.

    Heako Studio
    A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial.

    Garnier Pingree
    Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.
    #inspiring #designers #shelters #showcase #afternoon
    15 Inspiring Designers From Shelter’s Showcase by Afternoon Light
    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax. #inspiring #designers #shelters #showcase #afternoon
    DESIGN-MILK.COM
    15 Inspiring Designers From Shelter’s Showcase by Afternoon Light
    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.
    Like
    Love
    Wow
    Sad
    Angry
    148
    0 Comments 0 Shares
  • Love, Death & Robots Is A Love Letter To Sci-Fi, Animation, and Adaptation

    Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve.
    Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Millerand Jennifer Yuh Nelsonstrive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time.

    Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.”
    There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape. 

    “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.”
    Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series
    “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table.
    “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.”
    Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers. 
    “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades.

    Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller. 

    Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!

    Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils.
    “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.”
    Four volumes of Love, Death & Robots are available to stream on Netflix now.
    #love #death #ampamp #robots #letter
    Love, Death & Robots Is A Love Letter To Sci-Fi, Animation, and Adaptation
    Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Millerand Jennifer Yuh Nelsonstrive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now. #love #death #ampamp #robots #letter
    WWW.DENOFGEEK.COM
    Love, Death & Robots Is A Love Letter To Sci-Fi, Animation, and Adaptation
    Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.
    0 Comments 0 Shares
  • What AI’s impact on individuals means for the health workforce and industry

    Transcript    
    PETER LEE: “In American primary care, the missing workforce is stunning in magnitude, the shortfall estimated to reach up to 48,000 doctors within the next dozen years. China and other countries with aging populations can expect drastic shortfalls, as well. Just last month, I asked a respected colleague retiring from primary care who he would recommend as a replacement; he told me bluntly that, other than expensive concierge care practices, he could not think of anyone, even for himself. This mismatch between need and supply will only grow, and the US is far from alone among developed countries in facing it.”      
    This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.   
    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?    
    In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.     The book passage I read at the top is from “Chapter 4: Trust but Verify,” which was written by Zak.
    You know, it’s no secret that in the US and elsewhere shortages in medical staff and the rise of clinician burnout are affecting the quality of patient care for the worse. In our book, we predicted that generative AI would be something that might help address these issues.
    So in this episode, we’ll delve into how individual performance gains that our previous guests have described might affect the healthcare workforce as a whole, and on the patient side, we’ll look into the influence of generative AI on the consumerization of healthcare. Now, since all of this consumes such a huge fraction of the overall economy, we’ll also get into what a general-purpose technology as disruptive as generative AI might mean in the context of labor markets and beyond.  
    To help us do that, I’m pleased to welcome Ethan Mollick and Azeem Azhar.
    Ethan Mollick is the Ralph J. Roberts Distinguished Faculty Scholar, a Rowan Fellow, and an associate professor at the Wharton School of the University of Pennsylvania. His research into the effects of AI on work, entrepreneurship, and education is applied by organizations around the world, leading him to be named one of Time magazine’s most influential people in AI for 2024. He’s also the author of the New York Times best-selling book Co-Intelligence.
    Azeem Azhar is an author, founder, investor, and one of the most thoughtful and influential voices on the interplay between disruptive emerging technologies and business and society. In his best-selling book, The Exponential Age, and in his highly regarded newsletter and podcast, Exponential View, he explores how technologies like AI are reshaping everything from healthcare to geopolitics.
    Ethan and Azeem are two leading thinkers on the ways that disruptive technologies—and especially AI—affect our work, our jobs, our business enterprises, and whole industries. As economists, they are trying to work out whether we are in the midst of an economic revolution as profound as the shift from an agrarian to an industrial society.Here is my interview with Ethan Mollick:
    LEE: Ethan, welcome.
    ETHAN MOLLICK: So happy to be here, thank you.
    LEE: I described you as a professor at Wharton, which I think most of the people who listen to this podcast series know of as an elite business school. So it might surprise some people that you study AI. And beyond that, you know, that I would seek you out to talk about AI in medicine.So to get started, how and why did it happen that you’ve become one of the leading experts on AI?
    MOLLICK: It’s actually an interesting story. I’ve been AI-adjacent my whole career. When I wasmy PhD at MIT, I worked with Marvin Minskyand the MITMedia Labs AI group. But I was never the technical AI guy. I was the person who was trying to explain AI to everybody else who didn’t understand it.
    And then I became very interested in, how do you train and teach? And AI was always a part of that. I was building games for teaching, teaching tools that were used in hospitals and elsewhere, simulations. So when LLMs burst into the scene, I had already been using them and had a good sense of what they could do. And between that and, kind of, being practically oriented and getting some of the first research projects underway, especially under education and AI and performance, I became sort of a go-to person in the field.
    And once you’re in a field where nobody knows what’s going on and we’re all making it up as we go along—I thought it’s funny that you led with the idea that you have a couple of months head start for GPT-4, right. Like that’s all we have at this point, is a few months’ head start.So being a few months ahead is good enough to be an expert at this point. Whether it should be or not is a different question.
    LEE: Well, if I understand correctly, leading AI companies like OpenAI, Anthropic, and others have now sought you out as someone who should get early access to really start to do early assessments and gauge early reactions. How has that been?
    MOLLICK: So, I mean, I think the bigger picture is less about me than about two things that tells us about the state of AI right now.
    One, nobody really knows what’s going on, right. So in a lot of ways, if it wasn’t for your work, Peter, like, I don’t think people would be thinking about medicine as much because these systems weren’t built for medicine. They weren’t built to change education. They weren’t built to write memos. They, like, they weren’t built to do any of these things. They weren’t really built to do anything in particular. It turns out they’re just good at many things.
    And to the extent that the labs work on them, they care about their coding ability above everything else and maybe math and science secondarily. They don’t think about the fact that it expresses high empathy. They don’t think about its accuracy and diagnosis or where it’s inaccurate. They don’t think about how it’s changing education forever.
    So one part of this is the fact that they go to my Twitter feed or ask me for advice is an indicator of where they are, too, which is they’re not thinking about this. And the fact that a few months’ head start continues to give you a lead tells you that we are at the very cutting edge. These labs aren’t sitting on projects for two years and then releasing them. Months after a project is complete or sooner, it’s out the door. Like, there’s very little delay. So we’re kind of all in the same boat here, which is a very unusual space for a new technology.
    LEE: And I, you know, explained that you’re at Wharton. Are you an odd fit as a faculty member at Wharton, or is this a trend now even in business schools that AI experts are becoming key members of the faculty?
    MOLLICK: I mean, it’s a little of both, right. It’s faculty, so everybody does everything. I’m a professor of innovation-entrepreneurship. I’ve launched startups before and working on that and education means I think about, how do organizations redesign themselves? How do they take advantage of these kinds of problems? So medicine’s always been very central to that, right. A lot of people in my MBA class have been MDs either switching, you know, careers or else looking to advance from being sort of individual contributors to running teams. So I don’t think that’s that bad a fit. But I also think this is general-purpose technology; it’s going to touch everything. The focus on this is medicine, but Microsoft does far more than medicine, right. It’s … there’s transformation happening in literally every field, in every country. This is a widespread effect.
    So I don’t think we should be surprised that business schools matter on this because we care about management. There’s a long tradition of management and medicine going together. There’s actually a great academic paper that shows that teaching hospitals that also have MBA programs associated with them have higher management scores and perform better. So I think that these are not as foreign concepts, especially as medicine continues to get more complicated.
    LEE: Yeah. Well, in fact, I want to dive a little deeper on these issues of management, of entrepreneurship, um, education. But before doing that, if I could just stay focused on you. There is always something interesting to hear from people about their first encounters with AI. And throughout this entire series, I’ve been doing that both pre-generative AI and post-generative AI. So you, sort of, hinted at the pre-generative AI. You were in Minsky’s lab. Can you say a little bit more about that early encounter? And then tell us about your first encounters with generative AI.
    MOLLICK: Yeah. Those are great questions. So first of all, when I was at the media lab, that was pre-the current boom in sort of, you know, even in the old-school machine learning kind of space. So there was a lot of potential directions to head in. While I was there, there were projects underway, for example, to record every interaction small children had. One of the professors was recording everything their baby interacted with in the hope that maybe that would give them a hint about how to build an AI system.
    There was a bunch of projects underway that were about labeling every concept and how they relate to other concepts. So, like, it was very much Wild West of, like, how do we make an AI work—which has been this repeated problem in AI, which is, what is this thing?
    The fact that it was just like brute force over the corpus of all human knowledge turns out to be a little bit of like a, you know, it’s a miracle and a little bit of a disappointment in some wayscompared to how elaborate some of this was. So, you know, I think that, that was sort of my first encounters in sort of the intellectual way.
    The generative AI encounters actually started with the original, sort of, GPT-3, or, you know, earlier versions. And it was actually game-based. So I played games like AI Dungeon. And as an educator, I realized, oh my gosh, this stuff could write essays at a fourth-grade level. That’s really going to change the way, like, middle school works, was my thinking at the time. And I was posting about that back in, you know, 2021 that this is a big deal. But I think everybody was taken surprise, including the AI companies themselves, by, you know, ChatGPT, by GPT-3.5. The difference in degree turned out to be a difference in kind.
    LEE: Yeah, you know, if I think back, even with GPT-3, and certainly this was the case with GPT-2, it was, at least, you know, from where I was sitting, it was hard to get people to really take this seriously and pay attention.
    MOLLICK: Yes.
    LEE: You know, it’s remarkable. Within Microsoft, I think a turning point was the use of GPT-3 to do code completions. And that was actually productized as GitHub Copilot, the very first version. That, I think, is where there was widespread belief. But, you know, in a way, I think there is, even for me early on, a sense of denial and skepticism. Did you have those initially at any point?
    MOLLICK: Yeah, I mean, it still happens today, right. Like, this is a weird technology. You know, the original denial and skepticism was, I couldn’t see where this was going. It didn’t seem like a miracle because, you know, of course computers can complete code for you. Like, what else are they supposed to do? Of course, computers can give you answers to questions and write fun things. So there’s difference of moving into a world of generative AI. I think a lot of people just thought that’s what computers could do. So it made the conversations a little weird. But even today, faced with these, you know, with very strong reasoner models that operate at the level of PhD students, I think a lot of people have issues with it, right.
    I mean, first of all, they seem intuitive to use, but they’re not always intuitive to use because the first use case that everyone puts AI to, it fails at because they use it like Google or some other use case. And then it’s genuinely upsetting in a lot of ways. I think, you know, I write in my book about the idea of three sleepless nights. That hasn’t changed. Like, you have to have an intellectual crisis to some extent, you know, and I think people do a lot to avoid having that existential angst of like, “Oh my god, what does it mean that a machine could think—apparently think—like a person?”
    So, I mean, I see resistance now. I saw resistance then. And then on top of all of that, there’s the fact that the curve of the technology is quite great. I mean, the price of GPT-4 level intelligence from, you know, when it was released has dropped 99.97% at this point, right.
    LEE: Yes. Mm-hmm.
    MOLLICK: I mean, I could run a GPT-4 class system basically on my phone. Microsoft’s releasing things that can almost run on like, you know, like it fits in almost no space, that are almost as good as the original GPT-4 models. I mean, I don’t think people have a sense of how fast the trajectory is moving either.
    LEE: Yeah, you know, there’s something that I think about often. There is this existential dread, or will this technology replace me? But I think the first people to feel that are researchers—people encountering this for the first time. You know, if you were working, let’s say, in Bayesian reasoning or in traditional, let’s say, Gaussian mixture model based, you know, speech recognition, you do get this feeling, Oh, my god, this technology has just solved the problem that I’ve dedicated my life to. And there is this really difficult period where you have to cope with that. And I think this is going to be spreading, you know, in more and more walks of life. And so this … at what point does that sort of sense of dread hit you, if ever?
    MOLLICK: I mean, you know, it’s not even dread as much as like, you know, Tyler Cowen wrote that it’s impossible to not feel a little bit of sadness as you use these AI systems, too. Because, like, I was talking to a friend, just as the most minor example, and his talent that he was very proud of was he was very good at writing limericks for birthday cards. He’d write these limericks. Everyone was always amused by them.And now, you know, GPT-4 and GPT-4.5, they made limericks obsolete. Like, anyone can write a good limerick, right. So this was a talent, and it was a little sad. Like, this thing that you cared about mattered.
    You know, as academics, we’re a little used to dead ends, right, and like, you know, some getting the lap. But the idea that entire fields are hitting that way. Like in medicine, there’s a lot of support systems that are now obsolete. And the question is how quickly you change that. In education, a lot of our techniques are obsolete.
    What do you do to change that? You know, it’s like the fact that this brute force technology is good enough to solve so many problems is weird, right. And it’s not just the end of, you know, of our research angles that matter, too. Like, for example, I ran this, you know, 14-person-plus, multimillion-dollar effort at Wharton to build these teaching simulations, and we’re very proud of them. It took years of work to build one.
    Now we’ve built a system that can build teaching simulations on demand by you talking to it with one team member. And, you know, you literally can create any simulation by having a discussion with the AI. I mean, you know, there’s a switch to a new form of excitement, but there is a little bit of like, this mattered to me, and, you know, now I have to change how I do things. I mean, adjustment happens. But if you haven’t had that displacement, I think that’s a good indicator that you haven’t really faced AI yet.
    LEE: Yeah, what’s so interesting just listening to you is you use words like sadness, and yet I can see the—and hear the—excitement in your voice and your body language. So, you know, that’s also kind of an interesting aspect of all of this. 
    MOLLICK: Yeah, I mean, I think there’s something on the other side, right. But, like, I can’t say that I haven’t had moments where like, ughhhh, but then there’s joy and basically like also, you know, freeing stuff up. I mean, I think about doctors or professors, right. These are jobs that bundle together lots of different tasks that you would never have put together, right. If you’re a doctor, you would never have expected the same person to be good at keeping up with the research and being a good diagnostician and being a good manager and being good with people and being good with hand skills.
    Like, who would ever want that kind of bundle? That’s not something you’re all good at, right. And a lot of our stress of our job comes from the fact that we suck at some of it. And so to the extent that AI steps in for that, you kind of feel bad about some of the stuff that it’s doing that you wanted to do. But it’s much more uplifting to be like, I don’t have to do this stuff I’m bad anymore, or I get the support to make myself good at it. And the stuff that I really care about, I can focus on more. Well, because we are at kind of a unique moment where whatever you’re best at, you’re still better than AI. And I think it’s an ongoing question about how long that lasts. But for right now, like you’re not going to say, OK, AI replaces me entirely in my job in medicine. It’s very unlikely.
    But you will say it replaces these 17 things I’m bad at, but I never liked that anyway. So it’s a period of both excitement and a little anxiety.
    LEE: Yeah, I’m going to want to get back to this question about in what ways AI may or may not replace doctors or some of what doctors and nurses and other clinicians do. But before that, let’s get into, I think, the real meat of this conversation. In previous episodes of this podcast, we talked to clinicians and healthcare administrators and technology developers that are very rapidly injecting AI today to do various forms of workforce automation, you know, automatically writing a clinical encounter note, automatically filling out a referral letter or request for prior authorization for some reimbursement to an insurance company.
    And so these sorts of things are intended not only to make things more efficient and lower costs but also to reduce various forms of drudgery, cognitive burden on frontline health workers. So how do you think about the impact of AI on that aspect of workforce, and, you know, what would you expect will happen over the next few years in terms of impact on efficiency and costs?
    MOLLICK: So I mean, this is a case where I think we’re facing the big bright problem in AI in a lot of ways, which is that this is … at the individual level, there’s lots of performance gains to be gained, right. The problem, though, is that we as individuals fit into systems, in medicine as much as anywhere else or more so, right. Which is that you could individually boost your performance, but it’s also about systems that fit along with this, right.
    So, you know, if you could automatically, you know, record an encounter, if you could automatically make notes, does that change what you should be expecting for notes or the value of those notes or what they’re for? How do we take what one person does and validate it across the organization and roll it out for everybody without making it a 10-year process that it feels like IT in medicine often is? Like, so we’re in this really interesting period where there’s incredible amounts of individual innovation in productivity and performance improvements in this field, like very high levels of it, but not necessarily seeing that same thing translate to organizational efficiency or gains.
    And one of my big concerns is seeing that happen. We’re seeing that in nonmedical problems, the same kind of thing, which is, you know, we’ve got research showing 20 and 40% performance improvements, like not uncommon to see those things. But then the organization doesn’t capture it; the system doesn’t capture it. Because the individuals are doing their own work and the systems don’t have the ability to, kind of, learn or adapt as a result.
    LEE: You know, where are those productivity gains going, then, when you get to the organizational level?
    MOLLICK: Well, they’re dying for a few reasons. One is, there’s a tendency for individual contributors to underestimate the power of management, right.
    Practices associated with good management increase happiness, decrease, you know, issues, increase success rates. In the same way, about 40%, as far as we can tell, of the US advantage over other companies, of US firms, has to do with management ability. Like, management is a big deal. Organizing is a big deal. Thinking about how you coordinate is a big deal.
    At the individual level, when things get stuck there, right, you can’t start bringing them up to how systems work together. It becomes, How do I deal with a doctor that has a 60% performance improvement? We really only have one thing in our playbook for doing that right now, which is, OK, we could fire 40% of the other doctors and still have a performance gain, which is not the answer you want to see happen.
    So because of that, people are hiding their use. They’re actually hiding their use for lots of reasons.
    And it’s a weird case because the people who are able to figure out best how to use these systems, for a lot of use cases, they’re actually clinicians themselves because they’re experimenting all the time. Like, they have to take those encounter notes. And if they figure out a better way to do it, they figure that out. You don’t want to wait for, you know, a med tech company to figure that out and then sell that back to you when it can be done by the physicians themselves.
    So we’re just not used to a period where everybody’s innovating and where the management structure isn’t in place to take advantage of that. And so we’re seeing things stalled at the individual level, and people are often, especially in risk-averse organizations or organizations where there’s lots of regulatory hurdles, people are so afraid of the regulatory piece that they don’t even bother trying to make change.
    LEE: If you are, you know, the leader of a hospital or a clinic or a whole health system, how should you approach this? You know, how should you be trying to extract positive success out of AI?
    MOLLICK: So I think that you need to embrace the right kind of risk, right. We don’t want to put risk on our patients … like, we don’t want to put uninformed risk. But innovation involves risk to how organizations operate. They involve change. So I think part of this is embracing the idea that R&D has to happen in organizations again.
    What’s happened over the last 20 years or so has been organizations giving that up. Partially, that’s a trend to focus on what you’re good at and not try and do this other stuff. Partially, it’s because it’s outsourced now to software companies that, like, Salesforce tells you how to organize your sales team. Workforce tells you how to organize your organization. Consultants come in and will tell you how to make change based on the average of what other people are doing in your field.
    So companies and organizations and hospital systems have all started to give up their ability to create their own organizational change. And when I talk to organizations, I often say they have to have two approaches. They have to think about the crowd and the lab.
    So the crowd is the idea of how to empower clinicians and administrators and supporter networks to start using AI and experimenting in ethical, legal ways and then sharing that information with each other. And the lab is, how are we doing R&D about the approach of how toAI to work, not just in direct patient care, right. But also fundamentally, like, what paperwork can you cut out? How can we better explain procedures? Like, what management role can this fill?
    And we need to be doing active experimentation on that. We can’t just wait for, you know, Microsoft to solve the problems. It has to be at the level of the organizations themselves.
    LEE: So let’s shift a little bit to the patient. You know, one of the things that we see, and I think everyone is seeing, is that people are turning to chatbots, like ChatGPT, actually to seek healthcare information for, you know, their own health or the health of their loved ones.
    And there was already, prior to all of this, a trend towards, let’s call it, consumerization of healthcare. So just in the business of healthcare delivery, do you think AI is going to hasten these kinds of trends, or from the consumer’s perspective, what … ?
    MOLLICK: I mean, absolutely, right. Like, all the early data that we have suggests that for most common medical problems, you should just consult AI, too, right. In fact, there is a real question to ask: at what point does it become unethical for doctors themselves to not ask for a second opinion from the AI because it’s cheap, right? You could overrule it or whatever you want, but like not asking seems foolish.
    I think the two places where there’s a burning almost, you know, moral imperative is … let’s say, you know, I’m in Philadelphia, I’m a professor, I have access to really good healthcare through the Hospital University of Pennsylvania system. I know doctors. You know, I’m lucky. I’m well connected. If, you know, something goes wrong, I have friends who I can talk to. I have specialists. I’m, you know, pretty well educated in this space.
    But for most people on the planet, they don’t have access to good medical care, they don’t have good health. It feels like it’s absolutely imperative to say when should you use AI and when not. Are there blind spots? What are those things?
    And I worry that, like, to me, that would be the crash project I’d be invoking because I’m doing the same thing in education, which is this system is not as good as being in a room with a great teacher who also uses AI to help you, but it’s better than not getting an, you know, to the level of education people get in many cases. Where should we be using it? How do we guide usage in the right way? Because the AI labs aren’t thinking about this. We have to.
    So, to me, there is a burning need here to understand this. And I worry that people will say, you know, everything that’s true—AI can hallucinate, AI can be biased. All of these things are absolutely true, but people are going to use it. The early indications are that it is quite useful. And unless we take the active role of saying, here’s when to use it, here’s when not to use it, we don’t have a right to say, don’t use this system. And I think, you know, we have to be exploring that.
    LEE: What do people need to understand about AI? And what should schools, universities, and so on be teaching?
    MOLLICK: Those are, kind of, two separate questions in lot of ways. I think a lot of people want to teach AI skills, and I will tell you, as somebody who works in this space a lot, there isn’t like an easy, sort of, AI skill, right. I could teach you prompt engineering in two to three classes, but every indication we have is that for most people under most circumstances, the value of prompting, you know, any one case is probably not that useful.
    A lot of the tricks are disappearing because the AI systems are just starting to use them themselves. So asking good questions, being a good manager, being a good thinker tend to be important, but like magic tricks around making, you know, the AI do something because you use the right phrase used to be something that was real but is rapidly disappearing.
    So I worry when people say teach AI skills. No one’s been able to articulate to me as somebody who knows AI very well and teaches classes on AI, what those AI skills that everyone should learn are, right.
    I mean, there’s value in learning a little bit how the models work. There’s a value in working with these systems. A lot of it’s just hands on keyboard kind of work. But, like, we don’t have an easy slam dunk “this is what you learn in the world of AI” because the systems are getting better, and as they get better, they get less sensitive to these prompting techniques. They get better prompting themselves. They solve problems spontaneously and start being agentic. So it’s a hard problem to ask about, like, what do you train someone on? I think getting people experience in hands-on-keyboards, getting them to … there’s like four things I could teach you about AI, and two of them are already starting to disappear.
    But, like, one is be direct. Like, tell the AI exactly what you want. That’s very helpful. Second, provide as much context as possible. That can include things like acting as a doctor, but also all the information you have. The third is give it step-by-step directions—that’s becoming less important. And the fourth is good and bad examples of the kind of output you want. Those four, that’s like, that’s it as far as the research telling you what to do, and the rest is building intuition.
    LEE: I’m really impressed that you didn’t give the answer, “Well, everyone should be teaching my book, Co-Intelligence.”MOLLICK: Oh, no, sorry! Everybody should be teaching my book Co-Intelligence. I apologize.LEE: It’s good to chuckle about that, but actually, I can’t think of a better book, like, if you were to assign a textbook in any professional education space, I think Co-Intelligence would be number one on my list. Are there other things that you think are essential reading?
    MOLLICK: That’s a really good question. I think that a lot of things are evolving very quickly. I happen to, kind of, hit a sweet spot with Co-Intelligence to some degree because I talk about how I used it, and I was, sort of, an advanced user of these systems.
    So, like, it’s, sort of, like my Twitter feed, my online newsletter. I’m just trying to, kind of, in some ways, it’s about trying to make people aware of what these systems can do by just showing a lot, right. Rather than picking one thing, and, like, this is a general-purpose technology. Let’s use it for this. And, like, everybody gets a light bulb for a different reason. So more than reading, it is using, you know, and that can be Copilot or whatever your favorite tool is.
    But using it. Voice modes help a lot. In terms of readings, I mean, I think that there is a couple of good guides to understanding AI that were originally blog posts. I think Tim Lee has one called Understanding AI, and it had a good overview …
    LEE: Yeah, that’s a great one.
    MOLLICK: … of that topic that I think explains how transformers work, which can give you some mental sense. I thinkKarpathyhas some really nice videos of use that I would recommend.
    Like on the medical side, I think the book that you did, if you’re in medicine, you should read that. I think that that’s very valuable. But like all we can offer are hints in some ways. Like there isn’t … if you’re looking for the instruction manual, I think it can be very frustrating because it’s like you want the best practices and procedures laid out, and we cannot do that, right. That’s not how a system like this works.
    LEE: Yeah.
    MOLLICK: It’s not a person, but thinking about it like a person can be helpful, right.
    LEE: One of the things that has been sort of a fun project for me for the last few years is I have been a founding board member of a new medical school at Kaiser Permanente. And, you know, that medical school curriculum is being formed in this era. But it’s been perplexing to understand, you know, what this means for a medical school curriculum. And maybe even more perplexing for me, at least, is the accrediting bodies, which are extremely important in US medical schools; how accreditors should think about what’s necessary here.
    Besides the things that you’ve … the, kind of, four key ideas you mentioned, if you were talking to the board of directors of the LCMEaccrediting body, what’s the one thing you would want them to really internalize?
    MOLLICK: This is both a fast-moving and vital area. This can’t be viewed like a usual change, which, “Let’s see how this works.” Because it’s, like, the things that make medical technologies hard to do, which is like unclear results, limited, you know, expensive use cases where it rolls out slowly. So one or two, you know, advanced medical facilities get access to, you know, proton beams or something else at multi-billion dollars of cost, and that takes a while to diffuse out. That’s not happening here. This is all happening at the same time, all at once. This is now … AI is part of medicine.
    I mean, there’s a minor point that I’d make that actually is a really important one, which is large language models, generative AI overall, work incredibly differently than other forms of AI. So the other worry I have with some of these accreditors is they blend together algorithmic forms of AI, which medicine has been trying for long time—decision support, algorithmic methods, like, medicine more so than other places has been thinking about those issues. Generative AI, even though it uses the same underlying techniques, is a completely different beast.
    So, like, even just take the most simple thing of algorithmic aversion, which is a well-understood problem in medicine, right. Which is, so you have a tool that could tell you as a radiologist, you know, the chance of this being cancer; you don’t like it, you overrule it, right.
    We don’t find algorithmic aversion happening with LLMs in the same way. People actually enjoy using them because it’s more like working with a person. The flaws are different. The approach is different. So you need to both view this as universal applicable today, which makes it urgent, but also as something that is not the same as your other form of AI, and your AI working group that is thinking about how to solve this problem is not the right people here.
    LEE: You know, I think the world has been trained because of the magic of web search to view computers as question-answering machines. Ask a question, get an answer.
    MOLLICK: Yes. Yes.
    LEE: Write a query, get results. And as I have interacted with medical professionals, you can see that medical professionals have that model of a machine in mind. And I think that’s partly, I think psychologically, why hallucination is so alarming. Because you have a mental model of a computer as a machine that has absolutely rock-solid perfect memory recall.
    But the thing that was so powerful in Co-Intelligence, and we tried to get at this in our book also, is that’s not the sweet spot. It’s this sort of deeper interaction, more of a collaboration. And I thought your use of the term Co-Intelligence really just even in the title of the book tried to capture this. When I think about education, it seems like that’s the first step, to get past this concept of a machine being just a question-answering machine. Do you have a reaction to that idea?
    MOLLICK: I think that’s very powerful. You know, we’ve been trained over so many years at both using computers but also in science fiction, right. Computers are about cold logic, right. They will give you the right answer, but if you ask it what love is, they explode, right. Like that’s the classic way you defeat the evil robot in Star Trek, right. “Love does not compute.”Instead, we have a system that makes mistakes, is warm, beats doctors in empathy in almost every controlled study on the subject, right. Like, absolutely can outwrite you in a sonnet but will absolutely struggle with giving you the right answer every time. And I think our mental models are just broken for this. And I think you’re absolutely right. And that’s part of what I thought your book does get at really well is, like, this is a different thing. It’s also generally applicable. Again, the model in your head should be kind of like a person even though it isn’t, right.
    There’s a lot of warnings and caveats to it, but if you start from person, smart person you’re talking to, your mental model will be more accurate than smart machine, even though both are flawed examples, right. So it will make mistakes; it will make errors. The question is, what do you trust it on? What do you not trust it? As you get to know a model, you’ll get to understand, like, I totally don’t trust it for this, but I absolutely trust it for that, right.
    LEE: All right. So we’re getting to the end of the time we have together. And so I’d just like to get now into something a little bit more provocative. And I get the question all the time. You know, will AI replace doctors? In medicine and other advanced knowledge work, project out five to 10 years. What do think happens?
    MOLLICK: OK, so first of all, let’s acknowledge systems change much more slowly than individual use. You know, doctors are not individual actors; they’re part of systems, right. So not just the system of a patient who like may or may not want to talk to a machine instead of a person but also legal systems and administrative systems and systems that allocate labor and systems that train people.
    So, like, it’s hard to imagine that in five to 10 years medicine being so upended that even if AI was better than doctors at every single thing doctors do, that we’d actually see as radical a change in medicine as you might in other fields. I think you will see faster changes happen in consulting and law and, you know, coding, other spaces than medicine.
    But I do think that there is good reason to suspect that AI will outperform people while still having flaws, right. That’s the difference. We’re already seeing that for common medical questions in enough randomized controlled trials that, you know, best doctors beat AI, but the AI beats the mean doctor, right. Like, that’s just something we should acknowledge is happening at this point.
    Now, will that work in your specialty? No. Will that work with all the contingent social knowledge that you have in your space? Probably not.
    Like, these are vignettes, right. But, like, that’s kind of where things are. So let’s assume, right … you’re asking two questions. One is, how good will AI get?
    LEE: Yeah.
    MOLLICK: And we don’t know the answer to that question. I will tell you that your colleagues at Microsoft and increasingly the labs, the AI labs themselves, are all saying they think they’ll have a machine smarter than a human at every intellectual task in the next two to three years. If that doesn’t happen, that makes it easier to assume the future, but let’s just assume that that’s the case. I think medicine starts to change with the idea that people feel obligated to use this to help for everything.
    Your patients will be using it, and it will be your advisor and helper at the beginning phases, right. And I think that I expect people to be better at empathy. I expect better bedside manner. I expect management tasks to become easier. I think administrative burden might lighten if we handle this right way or much worse if we handle it badly. Diagnostic accuracy will increase, right.
    And then there’s a set of discovery pieces happening, too, right. One of the core goals of all the AI companies is to accelerate medical research. How does that happen and how does that affect us is a, kind of, unknown question. So I think clinicians are in both the eye of the storm and surrounded by it, right. Like, they can resist AI use for longer than most other fields, but everything around them is going to be affected by it.
    LEE: Well, Ethan, this has been really a fantastic conversation. And, you know, I think in contrast to all the other conversations we’ve had, this one gives especially the leaders in healthcare, you know, people actually trying to lead their organizations into the future, whether it’s in education or in delivery, a lot to think about. So I really appreciate you joining.
    MOLLICK: Thank you.  
    I’m a computing researcher who works with people who are right in the middle of today’s bleeding-edge developments in AI. And because of that, I often lose sight of how to talk to a broader audience about what it’s all about. And so I think one of Ethan’s superpowers is that he has this knack for explaining complex topics in AI in a really accessible way, getting right to the most important points without making it so simple as to be useless. That’s why I rarely miss an opportunity to read up on his latest work.
    One of the first things I learned from Ethan is the intuition that you can, sort of, think of AI as a very knowledgeable intern. In other words, think of it as a persona that you can interact with, but you also need to be a manager for it and to always assess the work that it does.
    In our discussion, Ethan went further to stress that there is, because of that, a serious education gap. You know, over the last decade or two, we’ve all been trained, mainly by search engines, to think of computers as question-answering machines. In medicine, in fact, there’s a question-answering application that is really popular called UpToDate. Doctors use it all the time. But generative AI systems like ChatGPT are different. There’s therefore a challenge in how to break out of the old-fashioned mindset of search to get the full value out of generative AI.
    The other big takeaway for me was that Ethan pointed out while it’s easy to see productivity gains from AI at the individual level, those same gains, at least today, don’t often translate automatically to organization-wide or system-wide gains. And one, of course, has to conclude that it takes more than just making individuals more productive; the whole system also has to adjust to the realities of AI.
    Here’s now my interview with Azeem Azhar:
    LEE: Azeem, welcome.
    AZEEM AZHAR: Peter, thank you so much for having me. 
    LEE: You know, I think you’re extremely well known in the world. But still, some of the listeners of this podcast series might not have encountered you before.
    And so one of the ways I like to ask people to introduce themselves is, how do you explain to your parents what you do every day?
    AZHAR: Well, I’m very lucky in that way because my mother was the person who got me into computers more than 40 years ago. And I still have that first computer, a ZX81 with a Z80 chip …
    LEE: Oh wow.
    AZHAR: … to this day. It sits in my study, all seven and a half thousand transistors and Bakelite plastic that it is. And my parents were both economists, and economics is deeply connected with technology in some sense. And I grew up in the late ’70s and the early ’80s. And that was a time of tremendous optimism around technology. It was space opera, science fiction, robots, and of course, the personal computer and, you know, Bill Gates and Steve Jobs. So that’s where I started.
    And so, in a way, my mother and my dad, who passed away a few years ago, had always known me as someone who was fiddling with computers but also thinking about economics and society. And so, in a way, it’s easier to explain to them because they’re the ones who nurtured the environment that allowed me to research technology and AI and think about what it means to firms and to the economy at large.
    LEE: I always like to understand the origin story. And what I mean by that is, you know, what was your first encounter with generative AI? And what was that like? What did you go through?
    AZHAR: The first real moment was when Midjourney and Stable Diffusion emerged in that summer of 2022. I’d been away on vacation, and I came back—and I’d been off grid, in fact—and the world had really changed.
    Now, I’d been aware of GPT-3 and GPT-2, which I played around with and with BERT, the original transformer paper about seven or eight years ago, but it was the moment where I could talk to my computer, and it could produce these images, and it could be refined in natural language that really made me think we’ve crossed into a new domain. We’ve gone from AI being highly discriminative to AI that’s able to explore the world in particular ways. And then it was a few months later that ChatGPT came out—November, the 30th.
    And I think it was the next day or the day after that I said to my team, everyone has to use this, and we have to meet every morning and discuss how we experimented the day before. And we did that for three or four months. And, you know, it was really clear to me in that interface at that point that, you know, we’d absolutely pass some kind of threshold.
    LEE: And who’s the we that you were experimenting with?
    AZHAR: So I have a team of four who support me. They’re mostly researchers of different types. I mean, it’s almost like one of those jokes. You know, I have a sociologist, an economist, and an astrophysicist. And, you know, they walk into the bar,or they walk into our virtual team room, and we try to solve problems.
    LEE: Well, so let’s get now into brass tacks here. And I think I want to start maybe just with an exploration of the economics of all this and economic realities. Because I think in a lot of your work—for example, in your book—you look pretty deeply at how automation generally and AI specifically are transforming certain sectors like finance, manufacturing, and you have a really, kind of, insightful focus on what this means for productivity and which ways, you know, efficiencies are found.  
    And then you, sort of, balance that with risks, things that can and do go wrong. And so as you take that background and looking at all those other sectors, in what ways are the same patterns playing out or likely to play out in healthcare and medicine?
    AZHAR: I’m sure we will see really remarkable parallels but also new things going on. I mean, medicine has a particular quality compared to other sectors in the sense that it’s highly regulated, market structure is very different country to country, and it’s an incredibly broad field. I mean, just think about taking a Tylenol and going through laparoscopic surgery. Having an MRI and seeing a physio. I mean, this is all medicine. I mean, it’s hard to imagine a sector that ismore broad than that.
    So I think we can start to break it down, and, you know, where we’re seeing things with generative AI will be that the, sort of, softest entry point, which is the medical scribing. And I’m sure many of us have been with clinicians who have a medical scribe running alongside—they’re all on Surface Pros I noticed, right?They’re on the tablet computers, and they’re scribing away.
    And what that’s doing is, in the words of my friend Eric Topol, it’s giving the clinician time back, right. They have time back from days that are extremely busy and, you know, full of administrative overload. So I think you can obviously do a great deal with reducing that overload.
    And within my team, we have a view, which is if you do something five times in a week, you should be writing an automation for it. And if you’re a doctor, you’re probably reviewing your notes, writing the prescriptions, and so on several times a day. So those are things that can clearly be automated, and the human can be in the loop. But I think there are so many other ways just within the clinic that things can help.
    So, one of my friends, my friend from my junior school—I’ve known him since I was 9—is an oncologist who’s also deeply into machine learning, and he’s in Cambridge in the UK. And he built with Microsoft Research a suite of imaging AI tools from his own discipline, which they then open sourced.
    So that’s another way that you have an impact, which is that you actually enable the, you know, generalist, specialist, polymath, whatever they are in health systems to be able to get this technology, to tune it to their requirements, to use it, to encourage some grassroots adoption in a system that’s often been very, very heavily centralized.
    LEE: Yeah.
    AZHAR: And then I think there are some other things that are going on that I find really, really exciting. So one is the consumerization of healthcare. So I have one of those sleep tracking rings, the Oura.
    LEE: Yup.
    AZHAR: That is building a data stream that we’ll be able to apply more and more AI to. I mean, right now, it’s applying traditional, I suspect, machine learning, but you can imagine that as we start to get more data, we start to get more used to measuring ourselves, we create this sort of pot, a personal asset that we can turn AI to.
    And there’s still another category. And that other category is one of the completely novel ways in which we can enable patient care and patient pathway. And there’s a fantastic startup in the UK called Neko Health, which, I mean, does physicals, MRI scans, and blood tests, and so on.
    It’s hard to imagine Neko existing without the sort of advanced data, machine learning, AI that we’ve seen emerge over the last decade. So, I mean, I think that there are so many ways in which the temperature is slowly being turned up to encourage a phase change within the healthcare sector.
    And last but not least, I do think that these tools can also be very, very supportive of a clinician’s life cycle. I think we, as patients, we’re a bit …  I don’t know if we’re as grateful as we should be for our clinicians who are putting in 90-hour weeks.But you can imagine a world where AI is able to support not just the clinicians’ workload but also their sense of stress, their sense of burnout.
    So just in those five areas, Peter, I sort of imagine we could start to fundamentally transform over the course of many years, of course, the way in which people think about their health and their interactions with healthcare systems
    LEE: I love how you break that down. And I want to press on a couple of things.
    You also touched on the fact that medicine is, at least in most of the world, is a highly regulated industry. I guess finance is the same way, but they also feel different because the, like, finance sector has to be very responsive to consumers, and consumers are sensitive to, you know, an abundance of choice; they are sensitive to price. Is there something unique about medicine besides being regulated?
    AZHAR: I mean, there absolutely is. And in finance, as well, you have much clearer end states. So if you’re not in the consumer space, but you’re in the, you know, asset management space, you have to essentially deliver returns against the volatility or risk boundary, right. That’s what you have to go out and do. And I think if you’re in the consumer industry, you can come back to very, very clear measures, net promoter score being a very good example.
    In the case of medicine and healthcare, it is much more complicated because as far as the clinician is concerned, people are individuals, and we have our own parts and our own responses. If we didn’t, there would never be a need for a differential diagnosis. There’d never be a need for, you know, Let’s try azithromycin first, and then if that doesn’t work, we’ll go to vancomycin, or, you know, whatever it happens to be. You would just know. But ultimately, you know, people are quite different. The symptoms that they’re showing are quite different, and also their compliance is really, really different.
    I had a back problem that had to be dealt with by, you know, a physio and extremely boring exercises four times a week, but I was ruthless in complying, and my physio was incredibly surprised. He’d say well no one ever does this, and I said, well you know the thing is that I kind of just want to get this thing to go away.
    LEE: Yeah.
    AZHAR: And I think that that’s why medicine is and healthcare is so different and more complex. But I also think that’s why AI can be really, really helpful. I mean, we didn’t talk about, you know, AI in its ability to potentially do this, which is to extend the clinician’s presence throughout the week.
    LEE: Right. Yeah.
    AZHAR: The idea that maybe some part of what the clinician would do if you could talk to them on Wednesday, Thursday, and Friday could be delivered through an app or a chatbot just as a way of encouraging the compliance, which is often, especially with older patients, one reason why conditions, you know, linger on for longer.
    LEE: You know, just staying on the regulatory thing, as I’ve thought about this, the one regulated sector that I think seems to have some parallels to healthcare is energy delivery, energy distribution.
    Because like healthcare, as a consumer, I don’t have choice in who delivers electricity to my house. And even though I care about it being cheap or at least not being overcharged, I don’t have an abundance of choice. I can’t do price comparisons.
    And there’s something about that, just speaking as a consumer of both energy and a consumer of healthcare, that feels similar. Whereas other regulated industries, you know, somehow, as a consumer, I feel like I have a lot more direct influence and power. Does that make any sense to someone, you know, like you, who’s really much more expert in how economic systems work?
    AZHAR: I mean, in a sense, one part of that is very, very true. You have a limited panel of energy providers you can go to, and in the US, there may be places where you have no choice.
    I think the area where it’s slightly different is that as a consumer or a patient, you can actually make meaningful choices and changes yourself using these technologies, and people used to joke about you know asking Dr. Google. But Dr. Google is not terrible, particularly if you go to WebMD. And, you know, when I look at long-range change, many of the regulations that exist around healthcare delivery were formed at a point before people had access to good quality information at the touch of their fingertips or when educational levels in general were much, much lower. And many regulations existed because of the incumbent power of particular professional sectors.
    I’ll give you an example from the United Kingdom. So I have had asthma all of my life. That means I’ve been taking my inhaler, Ventolin, and maybe a steroid inhaler for nearly 50 years. That means that I know … actually, I’ve got more experience, and I—in some sense—know more about it than a general practitioner.
    LEE: Yeah.
    AZHAR: And until a few years ago, I would have to go to a general practitioner to get this drug that I’ve been taking for five decades, and there they are, age 30 or whatever it is. And a few years ago, the regulations changed. And now pharmacies can … or pharmacists can prescribe those types of drugs under certain conditions directly.
    LEE: Right.
    AZHAR: That was not to do with technology. That was to do with incumbent lock-in. So when we look at the medical industry, the healthcare space, there are some parallels with energy, but there are a few little things that the ability that the consumer has to put in some effort to learn about their condition, but also the fact that some of the regulations that exist just exist because certain professions are powerful.
    LEE: Yeah, one last question while we’re still on economics. There seems to be a conundrum about productivity and efficiency in healthcare delivery because I’ve never encountered a doctor or a nurse that wants to be able to handle even more patients than they’re doing on a daily basis.
    And so, you know, if productivity means simply, well, your rounds can now handle 16 patients instead of eight patients, that doesn’t seem necessarily to be a desirable thing. So how can we or should we be thinking about efficiency and productivity since obviously costs are, in most of the developed world, are a huge, huge problem?
    AZHAR: Yes, and when you described doubling the number of patients on the round, I imagined you buying them all roller skates so they could just whizz aroundthe hospital faster and faster than ever before.
    We can learn from what happened with the introduction of electricity. Electricity emerged at the end of the 19th century, around the same time that cars were emerging as a product, and car makers were very small and very artisanal. And in the early 1900s, some really smart car makers figured out that electricity was going to be important. And they bought into this technology by putting pendant lights in their workshops so they could “visit more patients.” Right?
    LEE: Yeah, yeah.
    AZHAR: They could effectively spend more hours working, and that was a productivity enhancement, and it was noticeable. But, of course, electricity fundamentally changed the productivity by orders of magnitude of people who made cars starting with Henry Ford because he was able to reorganize his factories around the electrical delivery of power and to therefore have the moving assembly line, which 10xed the productivity of that system.
    So when we think about how AI will affect the clinician, the nurse, the doctor, it’s much easier for us to imagine it as the pendant light that just has them working later …
    LEE: Right.
    AZHAR: … than it is to imagine a reconceptualization of the relationship between the clinician and the people they care for.
    And I’m not sure. I don’t think anybody knows what that looks like. But, you know, I do think that there will be a way that this changes, and you can see that scale out factor. And it may be, Peter, that what we end up doing is we end up saying, OK, because we have these brilliant AIs, there’s a lower level of training and cost and expense that’s required for a broader range of conditions that need treating. And that expands the market, right. That expands the market hugely. It’s what has happened in the market for taxis or ride sharing. The introduction of Uber and the GPS system …
    LEE: Yup.
    AZHAR: … has meant many more people now earn their living driving people around in their cars. And at least in London, you had to be reasonably highly trained to do that.
    So I can see a reorganization is possible. Of course, entrenched interests, the economic flow … and there are many entrenched interests, particularly in the US between the health systems and the, you know, professional bodies that might slow things down. But I think a reimagining is possible.
    And if I may, I’ll give you one example of that, which is, if you go to countries outside of the US where there are many more sick people per doctor, they have incentives to change the way they deliver their healthcare. And well before there was AI of this quality around, there was a few cases of health systems in India—Aravind Eye Carewas one, and Narayana Hrudayalayawas another. And in the latter, they were a cardiac care unit where you couldn’t get enough heart surgeons.
    LEE: Yeah, yep.
    AZHAR: So specially trained nurses would operate under the supervision of a single surgeon who would supervise many in parallel. So there are ways of increasing the quality of care, reducing the cost, but it does require a systems change. And we can’t expect a single bright algorithm to do it on its own.
    LEE: Yeah, really, really interesting. So now let’s get into regulation. And let me start with this question. You know, there are several startup companies I’m aware of that are pushing on, I think, a near-term future possibility that a medical AI for consumer might be allowed, say, to prescribe a medication for you, something that would normally require a doctor or a pharmacist, you know, that is certified in some way, licensed to do. Do you think we’ll get to a point where for certain regulated activities, humans are more or less cut out of the loop?
    AZHAR: Well, humans would have been in the loop because they would have provided the training data, they would have done the oversight, the quality control. But to your question in general, would we delegate an important decision entirely to a tested set of algorithms? I’m sure we will. We already do that. I delegate less important decisions like, What time should I leave for the airport to Waze. I delegate more important decisions to the automated braking in my car. We will do this at certain levels of risk and threshold.
    If I come back to my example of prescribing Ventolin. It’s really unclear to me that the prescription of Ventolin, this incredibly benign bronchodilator that is only used by people who’ve been through the asthma process, needs to be prescribed by someone who’s gone through 10 years or 12 years of medical training. And why that couldn’t be prescribed by an algorithm or an AI system.
    LEE: Right. Yep. Yep.
    AZHAR: So, you know, I absolutely think that that will be the case and could be the case. I can’t really see what the objections are. And the real issue is where do you draw the line of where you say, “Listen, this is too important,” or “The cost is too great,” or “The side effects are too high,” and therefore this is a point at which we want to have some, you know, human taking personal responsibility, having a liability framework in place, having a sense that there is a person with legal agency who signed off on this decision. And that line I suspect will start fairly low, and what we’d expect to see would be that that would rise progressively over time.
    LEE: What you just said, that scenario of your personal asthma medication, is really interesting because your personal AI might have the benefit of 50 years of your own experience with that medication. So, in a way, there is at least the data potential for, let’s say, the next prescription to be more personalized and more tailored specifically for you.
    AZHAR: Yes. Well, let’s dig into this because I think this is super interesting, and we can look at how things have changed. So 15 years ago, if I had a bad asthma attack, which I might have once a year, I would have needed to go and see my general physician.
    In the UK, it’s very difficult to get an appointment. I would have had to see someone privately who didn’t know me at all because I’ve just walked in off the street, and I would explain my situation. It would take me half a day. Productivity lost. I’ve been miserable for a couple of days with severe wheezing. Then a few years ago the system changed, a protocol changed, and now I have a thing called a rescue pack, which includes prednisolone steroids. It includes something else I’ve just forgotten, and an antibiotic in case I get an upper respiratory tract infection, and I have an “algorithm.” It’s called a protocol. It’s printed out. It’s a flowchart
    I answer various questions, and then I say, “I’m going to prescribe this to myself.” You know, UK doctors don’t prescribe prednisolone, or prednisone as you may call it in the US, at the drop of a hat, right. It’s a powerful steroid. I can self-administer, and I can now get that repeat prescription without seeing a physician a couple of times a year. And the algorithm, the “AI” is, it’s obviously been done in PowerPoint naturally, and it’s a bunch of arrows.Surely, surely, an AI system is going to be more sophisticated, more nuanced, and give me more assurance that I’m making the right decision around something like that.
    LEE: Yeah. Well, at a minimum, the AI should be able to make that PowerPoint the next time.AZHAR: Yeah, yeah. Thank god for Clippy. Yes.
    LEE: So, you know, I think in our book, we had a lot of certainty about most of the things we’ve discussed here, but one chapter where I felt we really sort of ran out of ideas, frankly, was on regulation. And, you know, what we ended up doing for that chapter is … I can’t remember if it was Carey’s or Zak’s idea, but we asked GPT-4 to have a conversation, a debate with itself, about regulation. And we made some minor commentary on that.
    And really, I think we took that approach because we just didn’t have much to offer. By the way, in our defense, I don’t think anyone else had any better ideas anyway.
    AZHAR: Right.
    LEE: And so now two years later, do we have better ideas about the need for regulation, the frameworks around which those regulations should be developed, and, you know, what should this look like?
    AZHAR: So regulation is going to be in some cases very helpful because it provides certainty for the clinician that they’re doing the right thing, that they are still insured for what they’re doing, and it provides some degree of confidence for the patient. And we need to make sure that the claims that are made stand up to quite rigorous levels, where ideally there are RCTs, and there are the classic set of processes you go through.
    You do also want to be able to experiment, and so the question is: as a regulator, how can you enable conditions for there to be experimentation? And what is experimentation? Experimentation is learning so that every element of the system can learn from this experience.
    So finding that space where there can be bit of experimentation, I think, becomes very, very important. And a lot of this is about experience, so I think the first digital therapeutics have received FDA approval, which means there are now people within the FDA who understand how you go about running an approvals process for that, and what that ends up looking like—and of course what we’re very good at doing in this sort of modern hyper-connected world—is we can share that expertise, that knowledge, that experience very, very quickly.
    So you go from one approval a year to a hundred approvals a year to a thousand approvals a year. So we will then actually, I suspect, need to think about what is it to approve digital therapeutics because, unlike big biological molecules, we can generate these digital therapeutics at the rate of knots.
    LEE: Yes.
    AZHAR: Every road in Hayes Valley in San Francisco, right, is churning out new startups who will want to do things like this. So then, I think about, what does it mean to get approved if indeed it gets approved? But we can also go really far with things that don’t require approval.
    I come back to my sleep tracking ring. So I’ve been wearing this for a few years, and when I go and see my doctor or I have my annual checkup, one of the first things that he asks is how have I been sleeping. And in fact, I even sync my sleep tracking data to their medical record system, so he’s saying … hearing what I’m saying, but he’s actually pulling up the real data going, This patient’s lying to me again. Of course, I’m very truthful with my doctor, as we should all be.LEE: You know, actually, that brings up a point that consumer-facing health AI has to deal with pop science, bad science, you know, weird stuff that you hear on Reddit. And because one of the things that consumers want to know always is, you know, what’s the truth?
    AZHAR: Right.
    LEE: What can I rely on? And I think that somehow feels different than an AI that you actually put in the hands of, let’s say, a licensed practitioner. And so the regulatory issues seem very, very different for these two cases somehow.
    AZHAR: I agree, they’re very different. And I think for a lot of areas, you will want to build AI systems that are first and foremost for the clinician, even if they have patient extensions, that idea that the clinician can still be with a patient during the week.
    And you’ll do that anyway because you need the data, and you also need a little bit of a liability shield to have like a sensible person who’s been trained around that. And I think that’s going to be a very important pathway for many AI medical crossovers. We’re going to go through the clinician.
    LEE: Yeah.
    AZHAR: But I also do recognize what you say about the, kind of, kooky quackery that exists on Reddit. Although on Creatine, Reddit may yet prove to have been right.LEE: Yeah, that’s right. Yes, yeah, absolutely. Yeah.
    AZHAR: Sometimes it’s right. And I think that it serves a really good role as a field of extreme experimentation. So if you’re somebody who makes a continuous glucose monitor traditionally given to diabetics but now lots of people will wear them—and sports people will wear them—you probably gathered a lot of extreme tail distribution data by reading the Reddit/biohackers …
    LEE: Yes.
    AZHAR: … for the last few years, where people were doing things that you would never want them to really do with the CGM. And so I think we shouldn’t understate how important that petri dish can be for helping us learn what could happen next.
    LEE: Oh, I think it’s absolutely going to be essential and a bigger thing in the future. So I think I just want to close here then with one last question. And I always try to be a little bit provocative with this.
    And so as you look ahead to what doctors and nurses and patients might be doing two years from now, five years from now, 10 years from now, do you have any kind of firm predictions?
    AZHAR: I’m going to push the boat out, and I’m going to go further out than closer in.
    LEE: OK.AZHAR: As patients, we will have many, many more touch points and interaction with our biomarkers and our health. We’ll be reading how well we feel through an array of things. And some of them we’ll be wearing directly, like sleep trackers and watches.
    And so we’ll have a better sense of what’s happening in our lives. It’s like the moment you go from paper bank statements that arrive every month to being able to see your account in real time.
    LEE: Yes.
    AZHAR: And I suspect we’ll have … we’ll still have interactions with clinicians because societies that get richer see doctors more, societies that get older see doctors more, and we’re going to be doing both of those over the coming 10 years. But there will be a sense, I think, of continuous health engagement, not in an overbearing way, but just in a sense that we know it’s there, we can check in with it, it’s likely to be data that is compiled on our behalf somewhere centrally and delivered through a user experience that reinforces agency rather than anxiety.
    And we’re learning how to do that slowly. I don’t think the health apps on our phones and devices have yet quite got that right. And that could help us personalize problems before they arise, and again, I use my experience for things that I’ve tracked really, really well. And I know from my data and from how I’m feeling when I’m on the verge of one of those severe asthma attacks that hits me once a year, and I can take a little bit of preemptive measure, so I think that that will become progressively more common and that sense that we will know our baselines.
    I mean, when you think about being an athlete, which is something I think about, but I could never ever do,but what happens is you start with your detailed baselines, and that’s what your health coach looks at every three or four months. For most of us, we have no idea of our baselines. You we get our blood pressure measured once a year. We will have baselines, and that will help us on an ongoing basis to better understand and be in control of our health. And then if the product designers get it right, it will be done in a way that doesn’t feel invasive, but it’ll be done in a way that feels enabling. We’ll still be engaging with clinicians augmented by AI systems more and more because they will also have gone up the stack. They won’t be spending their time on just “take two Tylenol and have a lie down” type of engagements because that will be dealt with earlier on in the system. And so we will be there in a very, very different set of relationships. And they will feel that they have different ways of looking after our health.
    LEE: Azeem, it’s so comforting to hear such a wonderfully optimistic picture of the future of healthcare. And I actually agree with everything you’ve said.
    Let me just thank you again for joining this conversation. I think it’s been really fascinating. And I think somehow the systemic issues, the systemic issues that you tend to just see with such clarity, I think are going to be the most, kind of, profound drivers of change in the future. So thank you so much.
    AZHAR: Well, thank you, it’s been my pleasure, Peter, thank you.  
    I always think of Azeem as a systems thinker. He’s always able to take the experiences of new technologies at an individual level and then project out to what this could mean for whole organizations and whole societies.
    In our conversation, I felt that Azeem really connected some of what we learned in a previous episode—for example, from Chrissy Farr—on the evolving consumerization of healthcare to the broader workforce and economic impacts that we’ve heard about from Ethan Mollick.  
    Azeem’s personal story about managing his asthma was also a great example. You know, he imagines a future, as do I, where personal AI might assist and remember decades of personal experience with a condition like asthma and thereby know more than any human being could possibly know in a deeply personalized and effective way, leading to better care. Azeem’s relentless optimism about our AI future was also so heartening to hear.
    Both of these conversations leave me really optimistic about the future of AI in medicine. At the same time, it is pretty sobering to realize just how much we’ll all need to change in pretty fundamental and maybe even in radical ways. I think a big insight I got from these conversations is how we interact with machines is going to have to be altered not only at the individual level, but at the company level and maybe even at the societal level.
    Since my conversation with Ethan and Azeem, there have been some pretty important developments that speak directly to this. Just last week at Build, which is Microsoft’s yearly developer conference, we announced a slew of AI agent technologies. Our CEO, Satya Nadella, in fact, started his keynote by going online in a GitHub developer environment and then assigning a coding task to an AI agent, basically treating that AI as a full-fledged member of a development team. Other agents, for example, a meeting facilitator, a data analyst, a business researcher, travel agent, and more were also shown during the conference.
    But pertinent to healthcare specifically, what really blew me away was the demonstration of a healthcare orchestrator agent. And the specific thing here was in Stanford’s cancer treatment center, when they are trying to decide on potentially experimental treatments for cancer patients, they convene a meeting of experts. That is typically called a tumor board. And so this AI healthcare orchestrator agent actually participated as a full-fledged member of a tumor board meeting to help bring data together, make sure that the latest medical knowledge was brought to bear, and to assist in the decision-making around a patient’s cancer treatment. It was pretty amazing.A big thank-you again to Ethan and Azeem for sharing their knowledge and understanding of the dynamics between AI and society more broadly. And to our listeners, thank you for joining us. I’m really excited for the upcoming episodes, including discussions on medical students’ experiences with AI and AI’s influence on the operation of health systems and public health departments. We hope you’ll continue to tune in.
    Until next time.
    #what #ais #impact #individuals #means
    What AI’s impact on individuals means for the health workforce and industry
    Transcript     PETER LEE: “In American primary care, the missing workforce is stunning in magnitude, the shortfall estimated to reach up to 48,000 doctors within the next dozen years. China and other countries with aging populations can expect drastic shortfalls, as well. Just last month, I asked a respected colleague retiring from primary care who he would recommend as a replacement; he told me bluntly that, other than expensive concierge care practices, he could not think of anyone, even for himself. This mismatch between need and supply will only grow, and the US is far from alone among developed countries in facing it.”       This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?     In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.     The book passage I read at the top is from “Chapter 4: Trust but Verify,” which was written by Zak. You know, it’s no secret that in the US and elsewhere shortages in medical staff and the rise of clinician burnout are affecting the quality of patient care for the worse. In our book, we predicted that generative AI would be something that might help address these issues. So in this episode, we’ll delve into how individual performance gains that our previous guests have described might affect the healthcare workforce as a whole, and on the patient side, we’ll look into the influence of generative AI on the consumerization of healthcare. Now, since all of this consumes such a huge fraction of the overall economy, we’ll also get into what a general-purpose technology as disruptive as generative AI might mean in the context of labor markets and beyond.   To help us do that, I’m pleased to welcome Ethan Mollick and Azeem Azhar. Ethan Mollick is the Ralph J. Roberts Distinguished Faculty Scholar, a Rowan Fellow, and an associate professor at the Wharton School of the University of Pennsylvania. His research into the effects of AI on work, entrepreneurship, and education is applied by organizations around the world, leading him to be named one of Time magazine’s most influential people in AI for 2024. He’s also the author of the New York Times best-selling book Co-Intelligence. Azeem Azhar is an author, founder, investor, and one of the most thoughtful and influential voices on the interplay between disruptive emerging technologies and business and society. In his best-selling book, The Exponential Age, and in his highly regarded newsletter and podcast, Exponential View, he explores how technologies like AI are reshaping everything from healthcare to geopolitics. Ethan and Azeem are two leading thinkers on the ways that disruptive technologies—and especially AI—affect our work, our jobs, our business enterprises, and whole industries. As economists, they are trying to work out whether we are in the midst of an economic revolution as profound as the shift from an agrarian to an industrial society.Here is my interview with Ethan Mollick: LEE: Ethan, welcome. ETHAN MOLLICK: So happy to be here, thank you. LEE: I described you as a professor at Wharton, which I think most of the people who listen to this podcast series know of as an elite business school. So it might surprise some people that you study AI. And beyond that, you know, that I would seek you out to talk about AI in medicine.So to get started, how and why did it happen that you’ve become one of the leading experts on AI? MOLLICK: It’s actually an interesting story. I’ve been AI-adjacent my whole career. When I wasmy PhD at MIT, I worked with Marvin Minskyand the MITMedia Labs AI group. But I was never the technical AI guy. I was the person who was trying to explain AI to everybody else who didn’t understand it. And then I became very interested in, how do you train and teach? And AI was always a part of that. I was building games for teaching, teaching tools that were used in hospitals and elsewhere, simulations. So when LLMs burst into the scene, I had already been using them and had a good sense of what they could do. And between that and, kind of, being practically oriented and getting some of the first research projects underway, especially under education and AI and performance, I became sort of a go-to person in the field. And once you’re in a field where nobody knows what’s going on and we’re all making it up as we go along—I thought it’s funny that you led with the idea that you have a couple of months head start for GPT-4, right. Like that’s all we have at this point, is a few months’ head start.So being a few months ahead is good enough to be an expert at this point. Whether it should be or not is a different question. LEE: Well, if I understand correctly, leading AI companies like OpenAI, Anthropic, and others have now sought you out as someone who should get early access to really start to do early assessments and gauge early reactions. How has that been? MOLLICK: So, I mean, I think the bigger picture is less about me than about two things that tells us about the state of AI right now. One, nobody really knows what’s going on, right. So in a lot of ways, if it wasn’t for your work, Peter, like, I don’t think people would be thinking about medicine as much because these systems weren’t built for medicine. They weren’t built to change education. They weren’t built to write memos. They, like, they weren’t built to do any of these things. They weren’t really built to do anything in particular. It turns out they’re just good at many things. And to the extent that the labs work on them, they care about their coding ability above everything else and maybe math and science secondarily. They don’t think about the fact that it expresses high empathy. They don’t think about its accuracy and diagnosis or where it’s inaccurate. They don’t think about how it’s changing education forever. So one part of this is the fact that they go to my Twitter feed or ask me for advice is an indicator of where they are, too, which is they’re not thinking about this. And the fact that a few months’ head start continues to give you a lead tells you that we are at the very cutting edge. These labs aren’t sitting on projects for two years and then releasing them. Months after a project is complete or sooner, it’s out the door. Like, there’s very little delay. So we’re kind of all in the same boat here, which is a very unusual space for a new technology. LEE: And I, you know, explained that you’re at Wharton. Are you an odd fit as a faculty member at Wharton, or is this a trend now even in business schools that AI experts are becoming key members of the faculty? MOLLICK: I mean, it’s a little of both, right. It’s faculty, so everybody does everything. I’m a professor of innovation-entrepreneurship. I’ve launched startups before and working on that and education means I think about, how do organizations redesign themselves? How do they take advantage of these kinds of problems? So medicine’s always been very central to that, right. A lot of people in my MBA class have been MDs either switching, you know, careers or else looking to advance from being sort of individual contributors to running teams. So I don’t think that’s that bad a fit. But I also think this is general-purpose technology; it’s going to touch everything. The focus on this is medicine, but Microsoft does far more than medicine, right. It’s … there’s transformation happening in literally every field, in every country. This is a widespread effect. So I don’t think we should be surprised that business schools matter on this because we care about management. There’s a long tradition of management and medicine going together. There’s actually a great academic paper that shows that teaching hospitals that also have MBA programs associated with them have higher management scores and perform better. So I think that these are not as foreign concepts, especially as medicine continues to get more complicated. LEE: Yeah. Well, in fact, I want to dive a little deeper on these issues of management, of entrepreneurship, um, education. But before doing that, if I could just stay focused on you. There is always something interesting to hear from people about their first encounters with AI. And throughout this entire series, I’ve been doing that both pre-generative AI and post-generative AI. So you, sort of, hinted at the pre-generative AI. You were in Minsky’s lab. Can you say a little bit more about that early encounter? And then tell us about your first encounters with generative AI. MOLLICK: Yeah. Those are great questions. So first of all, when I was at the media lab, that was pre-the current boom in sort of, you know, even in the old-school machine learning kind of space. So there was a lot of potential directions to head in. While I was there, there were projects underway, for example, to record every interaction small children had. One of the professors was recording everything their baby interacted with in the hope that maybe that would give them a hint about how to build an AI system. There was a bunch of projects underway that were about labeling every concept and how they relate to other concepts. So, like, it was very much Wild West of, like, how do we make an AI work—which has been this repeated problem in AI, which is, what is this thing? The fact that it was just like brute force over the corpus of all human knowledge turns out to be a little bit of like a, you know, it’s a miracle and a little bit of a disappointment in some wayscompared to how elaborate some of this was. So, you know, I think that, that was sort of my first encounters in sort of the intellectual way. The generative AI encounters actually started with the original, sort of, GPT-3, or, you know, earlier versions. And it was actually game-based. So I played games like AI Dungeon. And as an educator, I realized, oh my gosh, this stuff could write essays at a fourth-grade level. That’s really going to change the way, like, middle school works, was my thinking at the time. And I was posting about that back in, you know, 2021 that this is a big deal. But I think everybody was taken surprise, including the AI companies themselves, by, you know, ChatGPT, by GPT-3.5. The difference in degree turned out to be a difference in kind. LEE: Yeah, you know, if I think back, even with GPT-3, and certainly this was the case with GPT-2, it was, at least, you know, from where I was sitting, it was hard to get people to really take this seriously and pay attention. MOLLICK: Yes. LEE: You know, it’s remarkable. Within Microsoft, I think a turning point was the use of GPT-3 to do code completions. And that was actually productized as GitHub Copilot, the very first version. That, I think, is where there was widespread belief. But, you know, in a way, I think there is, even for me early on, a sense of denial and skepticism. Did you have those initially at any point? MOLLICK: Yeah, I mean, it still happens today, right. Like, this is a weird technology. You know, the original denial and skepticism was, I couldn’t see where this was going. It didn’t seem like a miracle because, you know, of course computers can complete code for you. Like, what else are they supposed to do? Of course, computers can give you answers to questions and write fun things. So there’s difference of moving into a world of generative AI. I think a lot of people just thought that’s what computers could do. So it made the conversations a little weird. But even today, faced with these, you know, with very strong reasoner models that operate at the level of PhD students, I think a lot of people have issues with it, right. I mean, first of all, they seem intuitive to use, but they’re not always intuitive to use because the first use case that everyone puts AI to, it fails at because they use it like Google or some other use case. And then it’s genuinely upsetting in a lot of ways. I think, you know, I write in my book about the idea of three sleepless nights. That hasn’t changed. Like, you have to have an intellectual crisis to some extent, you know, and I think people do a lot to avoid having that existential angst of like, “Oh my god, what does it mean that a machine could think—apparently think—like a person?” So, I mean, I see resistance now. I saw resistance then. And then on top of all of that, there’s the fact that the curve of the technology is quite great. I mean, the price of GPT-4 level intelligence from, you know, when it was released has dropped 99.97% at this point, right. LEE: Yes. Mm-hmm. MOLLICK: I mean, I could run a GPT-4 class system basically on my phone. Microsoft’s releasing things that can almost run on like, you know, like it fits in almost no space, that are almost as good as the original GPT-4 models. I mean, I don’t think people have a sense of how fast the trajectory is moving either. LEE: Yeah, you know, there’s something that I think about often. There is this existential dread, or will this technology replace me? But I think the first people to feel that are researchers—people encountering this for the first time. You know, if you were working, let’s say, in Bayesian reasoning or in traditional, let’s say, Gaussian mixture model based, you know, speech recognition, you do get this feeling, Oh, my god, this technology has just solved the problem that I’ve dedicated my life to. And there is this really difficult period where you have to cope with that. And I think this is going to be spreading, you know, in more and more walks of life. And so this … at what point does that sort of sense of dread hit you, if ever? MOLLICK: I mean, you know, it’s not even dread as much as like, you know, Tyler Cowen wrote that it’s impossible to not feel a little bit of sadness as you use these AI systems, too. Because, like, I was talking to a friend, just as the most minor example, and his talent that he was very proud of was he was very good at writing limericks for birthday cards. He’d write these limericks. Everyone was always amused by them.And now, you know, GPT-4 and GPT-4.5, they made limericks obsolete. Like, anyone can write a good limerick, right. So this was a talent, and it was a little sad. Like, this thing that you cared about mattered. You know, as academics, we’re a little used to dead ends, right, and like, you know, some getting the lap. But the idea that entire fields are hitting that way. Like in medicine, there’s a lot of support systems that are now obsolete. And the question is how quickly you change that. In education, a lot of our techniques are obsolete. What do you do to change that? You know, it’s like the fact that this brute force technology is good enough to solve so many problems is weird, right. And it’s not just the end of, you know, of our research angles that matter, too. Like, for example, I ran this, you know, 14-person-plus, multimillion-dollar effort at Wharton to build these teaching simulations, and we’re very proud of them. It took years of work to build one. Now we’ve built a system that can build teaching simulations on demand by you talking to it with one team member. And, you know, you literally can create any simulation by having a discussion with the AI. I mean, you know, there’s a switch to a new form of excitement, but there is a little bit of like, this mattered to me, and, you know, now I have to change how I do things. I mean, adjustment happens. But if you haven’t had that displacement, I think that’s a good indicator that you haven’t really faced AI yet. LEE: Yeah, what’s so interesting just listening to you is you use words like sadness, and yet I can see the—and hear the—excitement in your voice and your body language. So, you know, that’s also kind of an interesting aspect of all of this.  MOLLICK: Yeah, I mean, I think there’s something on the other side, right. But, like, I can’t say that I haven’t had moments where like, ughhhh, but then there’s joy and basically like also, you know, freeing stuff up. I mean, I think about doctors or professors, right. These are jobs that bundle together lots of different tasks that you would never have put together, right. If you’re a doctor, you would never have expected the same person to be good at keeping up with the research and being a good diagnostician and being a good manager and being good with people and being good with hand skills. Like, who would ever want that kind of bundle? That’s not something you’re all good at, right. And a lot of our stress of our job comes from the fact that we suck at some of it. And so to the extent that AI steps in for that, you kind of feel bad about some of the stuff that it’s doing that you wanted to do. But it’s much more uplifting to be like, I don’t have to do this stuff I’m bad anymore, or I get the support to make myself good at it. And the stuff that I really care about, I can focus on more. Well, because we are at kind of a unique moment where whatever you’re best at, you’re still better than AI. And I think it’s an ongoing question about how long that lasts. But for right now, like you’re not going to say, OK, AI replaces me entirely in my job in medicine. It’s very unlikely. But you will say it replaces these 17 things I’m bad at, but I never liked that anyway. So it’s a period of both excitement and a little anxiety. LEE: Yeah, I’m going to want to get back to this question about in what ways AI may or may not replace doctors or some of what doctors and nurses and other clinicians do. But before that, let’s get into, I think, the real meat of this conversation. In previous episodes of this podcast, we talked to clinicians and healthcare administrators and technology developers that are very rapidly injecting AI today to do various forms of workforce automation, you know, automatically writing a clinical encounter note, automatically filling out a referral letter or request for prior authorization for some reimbursement to an insurance company. And so these sorts of things are intended not only to make things more efficient and lower costs but also to reduce various forms of drudgery, cognitive burden on frontline health workers. So how do you think about the impact of AI on that aspect of workforce, and, you know, what would you expect will happen over the next few years in terms of impact on efficiency and costs? MOLLICK: So I mean, this is a case where I think we’re facing the big bright problem in AI in a lot of ways, which is that this is … at the individual level, there’s lots of performance gains to be gained, right. The problem, though, is that we as individuals fit into systems, in medicine as much as anywhere else or more so, right. Which is that you could individually boost your performance, but it’s also about systems that fit along with this, right. So, you know, if you could automatically, you know, record an encounter, if you could automatically make notes, does that change what you should be expecting for notes or the value of those notes or what they’re for? How do we take what one person does and validate it across the organization and roll it out for everybody without making it a 10-year process that it feels like IT in medicine often is? Like, so we’re in this really interesting period where there’s incredible amounts of individual innovation in productivity and performance improvements in this field, like very high levels of it, but not necessarily seeing that same thing translate to organizational efficiency or gains. And one of my big concerns is seeing that happen. We’re seeing that in nonmedical problems, the same kind of thing, which is, you know, we’ve got research showing 20 and 40% performance improvements, like not uncommon to see those things. But then the organization doesn’t capture it; the system doesn’t capture it. Because the individuals are doing their own work and the systems don’t have the ability to, kind of, learn or adapt as a result. LEE: You know, where are those productivity gains going, then, when you get to the organizational level? MOLLICK: Well, they’re dying for a few reasons. One is, there’s a tendency for individual contributors to underestimate the power of management, right. Practices associated with good management increase happiness, decrease, you know, issues, increase success rates. In the same way, about 40%, as far as we can tell, of the US advantage over other companies, of US firms, has to do with management ability. Like, management is a big deal. Organizing is a big deal. Thinking about how you coordinate is a big deal. At the individual level, when things get stuck there, right, you can’t start bringing them up to how systems work together. It becomes, How do I deal with a doctor that has a 60% performance improvement? We really only have one thing in our playbook for doing that right now, which is, OK, we could fire 40% of the other doctors and still have a performance gain, which is not the answer you want to see happen. So because of that, people are hiding their use. They’re actually hiding their use for lots of reasons. And it’s a weird case because the people who are able to figure out best how to use these systems, for a lot of use cases, they’re actually clinicians themselves because they’re experimenting all the time. Like, they have to take those encounter notes. And if they figure out a better way to do it, they figure that out. You don’t want to wait for, you know, a med tech company to figure that out and then sell that back to you when it can be done by the physicians themselves. So we’re just not used to a period where everybody’s innovating and where the management structure isn’t in place to take advantage of that. And so we’re seeing things stalled at the individual level, and people are often, especially in risk-averse organizations or organizations where there’s lots of regulatory hurdles, people are so afraid of the regulatory piece that they don’t even bother trying to make change. LEE: If you are, you know, the leader of a hospital or a clinic or a whole health system, how should you approach this? You know, how should you be trying to extract positive success out of AI? MOLLICK: So I think that you need to embrace the right kind of risk, right. We don’t want to put risk on our patients … like, we don’t want to put uninformed risk. But innovation involves risk to how organizations operate. They involve change. So I think part of this is embracing the idea that R&D has to happen in organizations again. What’s happened over the last 20 years or so has been organizations giving that up. Partially, that’s a trend to focus on what you’re good at and not try and do this other stuff. Partially, it’s because it’s outsourced now to software companies that, like, Salesforce tells you how to organize your sales team. Workforce tells you how to organize your organization. Consultants come in and will tell you how to make change based on the average of what other people are doing in your field. So companies and organizations and hospital systems have all started to give up their ability to create their own organizational change. And when I talk to organizations, I often say they have to have two approaches. They have to think about the crowd and the lab. So the crowd is the idea of how to empower clinicians and administrators and supporter networks to start using AI and experimenting in ethical, legal ways and then sharing that information with each other. And the lab is, how are we doing R&D about the approach of how toAI to work, not just in direct patient care, right. But also fundamentally, like, what paperwork can you cut out? How can we better explain procedures? Like, what management role can this fill? And we need to be doing active experimentation on that. We can’t just wait for, you know, Microsoft to solve the problems. It has to be at the level of the organizations themselves. LEE: So let’s shift a little bit to the patient. You know, one of the things that we see, and I think everyone is seeing, is that people are turning to chatbots, like ChatGPT, actually to seek healthcare information for, you know, their own health or the health of their loved ones. And there was already, prior to all of this, a trend towards, let’s call it, consumerization of healthcare. So just in the business of healthcare delivery, do you think AI is going to hasten these kinds of trends, or from the consumer’s perspective, what … ? MOLLICK: I mean, absolutely, right. Like, all the early data that we have suggests that for most common medical problems, you should just consult AI, too, right. In fact, there is a real question to ask: at what point does it become unethical for doctors themselves to not ask for a second opinion from the AI because it’s cheap, right? You could overrule it or whatever you want, but like not asking seems foolish. I think the two places where there’s a burning almost, you know, moral imperative is … let’s say, you know, I’m in Philadelphia, I’m a professor, I have access to really good healthcare through the Hospital University of Pennsylvania system. I know doctors. You know, I’m lucky. I’m well connected. If, you know, something goes wrong, I have friends who I can talk to. I have specialists. I’m, you know, pretty well educated in this space. But for most people on the planet, they don’t have access to good medical care, they don’t have good health. It feels like it’s absolutely imperative to say when should you use AI and when not. Are there blind spots? What are those things? And I worry that, like, to me, that would be the crash project I’d be invoking because I’m doing the same thing in education, which is this system is not as good as being in a room with a great teacher who also uses AI to help you, but it’s better than not getting an, you know, to the level of education people get in many cases. Where should we be using it? How do we guide usage in the right way? Because the AI labs aren’t thinking about this. We have to. So, to me, there is a burning need here to understand this. And I worry that people will say, you know, everything that’s true—AI can hallucinate, AI can be biased. All of these things are absolutely true, but people are going to use it. The early indications are that it is quite useful. And unless we take the active role of saying, here’s when to use it, here’s when not to use it, we don’t have a right to say, don’t use this system. And I think, you know, we have to be exploring that. LEE: What do people need to understand about AI? And what should schools, universities, and so on be teaching? MOLLICK: Those are, kind of, two separate questions in lot of ways. I think a lot of people want to teach AI skills, and I will tell you, as somebody who works in this space a lot, there isn’t like an easy, sort of, AI skill, right. I could teach you prompt engineering in two to three classes, but every indication we have is that for most people under most circumstances, the value of prompting, you know, any one case is probably not that useful. A lot of the tricks are disappearing because the AI systems are just starting to use them themselves. So asking good questions, being a good manager, being a good thinker tend to be important, but like magic tricks around making, you know, the AI do something because you use the right phrase used to be something that was real but is rapidly disappearing. So I worry when people say teach AI skills. No one’s been able to articulate to me as somebody who knows AI very well and teaches classes on AI, what those AI skills that everyone should learn are, right. I mean, there’s value in learning a little bit how the models work. There’s a value in working with these systems. A lot of it’s just hands on keyboard kind of work. But, like, we don’t have an easy slam dunk “this is what you learn in the world of AI” because the systems are getting better, and as they get better, they get less sensitive to these prompting techniques. They get better prompting themselves. They solve problems spontaneously and start being agentic. So it’s a hard problem to ask about, like, what do you train someone on? I think getting people experience in hands-on-keyboards, getting them to … there’s like four things I could teach you about AI, and two of them are already starting to disappear. But, like, one is be direct. Like, tell the AI exactly what you want. That’s very helpful. Second, provide as much context as possible. That can include things like acting as a doctor, but also all the information you have. The third is give it step-by-step directions—that’s becoming less important. And the fourth is good and bad examples of the kind of output you want. Those four, that’s like, that’s it as far as the research telling you what to do, and the rest is building intuition. LEE: I’m really impressed that you didn’t give the answer, “Well, everyone should be teaching my book, Co-Intelligence.”MOLLICK: Oh, no, sorry! Everybody should be teaching my book Co-Intelligence. I apologize.LEE: It’s good to chuckle about that, but actually, I can’t think of a better book, like, if you were to assign a textbook in any professional education space, I think Co-Intelligence would be number one on my list. Are there other things that you think are essential reading? MOLLICK: That’s a really good question. I think that a lot of things are evolving very quickly. I happen to, kind of, hit a sweet spot with Co-Intelligence to some degree because I talk about how I used it, and I was, sort of, an advanced user of these systems. So, like, it’s, sort of, like my Twitter feed, my online newsletter. I’m just trying to, kind of, in some ways, it’s about trying to make people aware of what these systems can do by just showing a lot, right. Rather than picking one thing, and, like, this is a general-purpose technology. Let’s use it for this. And, like, everybody gets a light bulb for a different reason. So more than reading, it is using, you know, and that can be Copilot or whatever your favorite tool is. But using it. Voice modes help a lot. In terms of readings, I mean, I think that there is a couple of good guides to understanding AI that were originally blog posts. I think Tim Lee has one called Understanding AI, and it had a good overview … LEE: Yeah, that’s a great one. MOLLICK: … of that topic that I think explains how transformers work, which can give you some mental sense. I thinkKarpathyhas some really nice videos of use that I would recommend. Like on the medical side, I think the book that you did, if you’re in medicine, you should read that. I think that that’s very valuable. But like all we can offer are hints in some ways. Like there isn’t … if you’re looking for the instruction manual, I think it can be very frustrating because it’s like you want the best practices and procedures laid out, and we cannot do that, right. That’s not how a system like this works. LEE: Yeah. MOLLICK: It’s not a person, but thinking about it like a person can be helpful, right. LEE: One of the things that has been sort of a fun project for me for the last few years is I have been a founding board member of a new medical school at Kaiser Permanente. And, you know, that medical school curriculum is being formed in this era. But it’s been perplexing to understand, you know, what this means for a medical school curriculum. And maybe even more perplexing for me, at least, is the accrediting bodies, which are extremely important in US medical schools; how accreditors should think about what’s necessary here. Besides the things that you’ve … the, kind of, four key ideas you mentioned, if you were talking to the board of directors of the LCMEaccrediting body, what’s the one thing you would want them to really internalize? MOLLICK: This is both a fast-moving and vital area. This can’t be viewed like a usual change, which, “Let’s see how this works.” Because it’s, like, the things that make medical technologies hard to do, which is like unclear results, limited, you know, expensive use cases where it rolls out slowly. So one or two, you know, advanced medical facilities get access to, you know, proton beams or something else at multi-billion dollars of cost, and that takes a while to diffuse out. That’s not happening here. This is all happening at the same time, all at once. This is now … AI is part of medicine. I mean, there’s a minor point that I’d make that actually is a really important one, which is large language models, generative AI overall, work incredibly differently than other forms of AI. So the other worry I have with some of these accreditors is they blend together algorithmic forms of AI, which medicine has been trying for long time—decision support, algorithmic methods, like, medicine more so than other places has been thinking about those issues. Generative AI, even though it uses the same underlying techniques, is a completely different beast. So, like, even just take the most simple thing of algorithmic aversion, which is a well-understood problem in medicine, right. Which is, so you have a tool that could tell you as a radiologist, you know, the chance of this being cancer; you don’t like it, you overrule it, right. We don’t find algorithmic aversion happening with LLMs in the same way. People actually enjoy using them because it’s more like working with a person. The flaws are different. The approach is different. So you need to both view this as universal applicable today, which makes it urgent, but also as something that is not the same as your other form of AI, and your AI working group that is thinking about how to solve this problem is not the right people here. LEE: You know, I think the world has been trained because of the magic of web search to view computers as question-answering machines. Ask a question, get an answer. MOLLICK: Yes. Yes. LEE: Write a query, get results. And as I have interacted with medical professionals, you can see that medical professionals have that model of a machine in mind. And I think that’s partly, I think psychologically, why hallucination is so alarming. Because you have a mental model of a computer as a machine that has absolutely rock-solid perfect memory recall. But the thing that was so powerful in Co-Intelligence, and we tried to get at this in our book also, is that’s not the sweet spot. It’s this sort of deeper interaction, more of a collaboration. And I thought your use of the term Co-Intelligence really just even in the title of the book tried to capture this. When I think about education, it seems like that’s the first step, to get past this concept of a machine being just a question-answering machine. Do you have a reaction to that idea? MOLLICK: I think that’s very powerful. You know, we’ve been trained over so many years at both using computers but also in science fiction, right. Computers are about cold logic, right. They will give you the right answer, but if you ask it what love is, they explode, right. Like that’s the classic way you defeat the evil robot in Star Trek, right. “Love does not compute.”Instead, we have a system that makes mistakes, is warm, beats doctors in empathy in almost every controlled study on the subject, right. Like, absolutely can outwrite you in a sonnet but will absolutely struggle with giving you the right answer every time. And I think our mental models are just broken for this. And I think you’re absolutely right. And that’s part of what I thought your book does get at really well is, like, this is a different thing. It’s also generally applicable. Again, the model in your head should be kind of like a person even though it isn’t, right. There’s a lot of warnings and caveats to it, but if you start from person, smart person you’re talking to, your mental model will be more accurate than smart machine, even though both are flawed examples, right. So it will make mistakes; it will make errors. The question is, what do you trust it on? What do you not trust it? As you get to know a model, you’ll get to understand, like, I totally don’t trust it for this, but I absolutely trust it for that, right. LEE: All right. So we’re getting to the end of the time we have together. And so I’d just like to get now into something a little bit more provocative. And I get the question all the time. You know, will AI replace doctors? In medicine and other advanced knowledge work, project out five to 10 years. What do think happens? MOLLICK: OK, so first of all, let’s acknowledge systems change much more slowly than individual use. You know, doctors are not individual actors; they’re part of systems, right. So not just the system of a patient who like may or may not want to talk to a machine instead of a person but also legal systems and administrative systems and systems that allocate labor and systems that train people. So, like, it’s hard to imagine that in five to 10 years medicine being so upended that even if AI was better than doctors at every single thing doctors do, that we’d actually see as radical a change in medicine as you might in other fields. I think you will see faster changes happen in consulting and law and, you know, coding, other spaces than medicine. But I do think that there is good reason to suspect that AI will outperform people while still having flaws, right. That’s the difference. We’re already seeing that for common medical questions in enough randomized controlled trials that, you know, best doctors beat AI, but the AI beats the mean doctor, right. Like, that’s just something we should acknowledge is happening at this point. Now, will that work in your specialty? No. Will that work with all the contingent social knowledge that you have in your space? Probably not. Like, these are vignettes, right. But, like, that’s kind of where things are. So let’s assume, right … you’re asking two questions. One is, how good will AI get? LEE: Yeah. MOLLICK: And we don’t know the answer to that question. I will tell you that your colleagues at Microsoft and increasingly the labs, the AI labs themselves, are all saying they think they’ll have a machine smarter than a human at every intellectual task in the next two to three years. If that doesn’t happen, that makes it easier to assume the future, but let’s just assume that that’s the case. I think medicine starts to change with the idea that people feel obligated to use this to help for everything. Your patients will be using it, and it will be your advisor and helper at the beginning phases, right. And I think that I expect people to be better at empathy. I expect better bedside manner. I expect management tasks to become easier. I think administrative burden might lighten if we handle this right way or much worse if we handle it badly. Diagnostic accuracy will increase, right. And then there’s a set of discovery pieces happening, too, right. One of the core goals of all the AI companies is to accelerate medical research. How does that happen and how does that affect us is a, kind of, unknown question. So I think clinicians are in both the eye of the storm and surrounded by it, right. Like, they can resist AI use for longer than most other fields, but everything around them is going to be affected by it. LEE: Well, Ethan, this has been really a fantastic conversation. And, you know, I think in contrast to all the other conversations we’ve had, this one gives especially the leaders in healthcare, you know, people actually trying to lead their organizations into the future, whether it’s in education or in delivery, a lot to think about. So I really appreciate you joining. MOLLICK: Thank you.   I’m a computing researcher who works with people who are right in the middle of today’s bleeding-edge developments in AI. And because of that, I often lose sight of how to talk to a broader audience about what it’s all about. And so I think one of Ethan’s superpowers is that he has this knack for explaining complex topics in AI in a really accessible way, getting right to the most important points without making it so simple as to be useless. That’s why I rarely miss an opportunity to read up on his latest work. One of the first things I learned from Ethan is the intuition that you can, sort of, think of AI as a very knowledgeable intern. In other words, think of it as a persona that you can interact with, but you also need to be a manager for it and to always assess the work that it does. In our discussion, Ethan went further to stress that there is, because of that, a serious education gap. You know, over the last decade or two, we’ve all been trained, mainly by search engines, to think of computers as question-answering machines. In medicine, in fact, there’s a question-answering application that is really popular called UpToDate. Doctors use it all the time. But generative AI systems like ChatGPT are different. There’s therefore a challenge in how to break out of the old-fashioned mindset of search to get the full value out of generative AI. The other big takeaway for me was that Ethan pointed out while it’s easy to see productivity gains from AI at the individual level, those same gains, at least today, don’t often translate automatically to organization-wide or system-wide gains. And one, of course, has to conclude that it takes more than just making individuals more productive; the whole system also has to adjust to the realities of AI. Here’s now my interview with Azeem Azhar: LEE: Azeem, welcome. AZEEM AZHAR: Peter, thank you so much for having me.  LEE: You know, I think you’re extremely well known in the world. But still, some of the listeners of this podcast series might not have encountered you before. And so one of the ways I like to ask people to introduce themselves is, how do you explain to your parents what you do every day? AZHAR: Well, I’m very lucky in that way because my mother was the person who got me into computers more than 40 years ago. And I still have that first computer, a ZX81 with a Z80 chip … LEE: Oh wow. AZHAR: … to this day. It sits in my study, all seven and a half thousand transistors and Bakelite plastic that it is. And my parents were both economists, and economics is deeply connected with technology in some sense. And I grew up in the late ’70s and the early ’80s. And that was a time of tremendous optimism around technology. It was space opera, science fiction, robots, and of course, the personal computer and, you know, Bill Gates and Steve Jobs. So that’s where I started. And so, in a way, my mother and my dad, who passed away a few years ago, had always known me as someone who was fiddling with computers but also thinking about economics and society. And so, in a way, it’s easier to explain to them because they’re the ones who nurtured the environment that allowed me to research technology and AI and think about what it means to firms and to the economy at large. LEE: I always like to understand the origin story. And what I mean by that is, you know, what was your first encounter with generative AI? And what was that like? What did you go through? AZHAR: The first real moment was when Midjourney and Stable Diffusion emerged in that summer of 2022. I’d been away on vacation, and I came back—and I’d been off grid, in fact—and the world had really changed. Now, I’d been aware of GPT-3 and GPT-2, which I played around with and with BERT, the original transformer paper about seven or eight years ago, but it was the moment where I could talk to my computer, and it could produce these images, and it could be refined in natural language that really made me think we’ve crossed into a new domain. We’ve gone from AI being highly discriminative to AI that’s able to explore the world in particular ways. And then it was a few months later that ChatGPT came out—November, the 30th. And I think it was the next day or the day after that I said to my team, everyone has to use this, and we have to meet every morning and discuss how we experimented the day before. And we did that for three or four months. And, you know, it was really clear to me in that interface at that point that, you know, we’d absolutely pass some kind of threshold. LEE: And who’s the we that you were experimenting with? AZHAR: So I have a team of four who support me. They’re mostly researchers of different types. I mean, it’s almost like one of those jokes. You know, I have a sociologist, an economist, and an astrophysicist. And, you know, they walk into the bar,or they walk into our virtual team room, and we try to solve problems. LEE: Well, so let’s get now into brass tacks here. And I think I want to start maybe just with an exploration of the economics of all this and economic realities. Because I think in a lot of your work—for example, in your book—you look pretty deeply at how automation generally and AI specifically are transforming certain sectors like finance, manufacturing, and you have a really, kind of, insightful focus on what this means for productivity and which ways, you know, efficiencies are found.   And then you, sort of, balance that with risks, things that can and do go wrong. And so as you take that background and looking at all those other sectors, in what ways are the same patterns playing out or likely to play out in healthcare and medicine? AZHAR: I’m sure we will see really remarkable parallels but also new things going on. I mean, medicine has a particular quality compared to other sectors in the sense that it’s highly regulated, market structure is very different country to country, and it’s an incredibly broad field. I mean, just think about taking a Tylenol and going through laparoscopic surgery. Having an MRI and seeing a physio. I mean, this is all medicine. I mean, it’s hard to imagine a sector that ismore broad than that. So I think we can start to break it down, and, you know, where we’re seeing things with generative AI will be that the, sort of, softest entry point, which is the medical scribing. And I’m sure many of us have been with clinicians who have a medical scribe running alongside—they’re all on Surface Pros I noticed, right?They’re on the tablet computers, and they’re scribing away. And what that’s doing is, in the words of my friend Eric Topol, it’s giving the clinician time back, right. They have time back from days that are extremely busy and, you know, full of administrative overload. So I think you can obviously do a great deal with reducing that overload. And within my team, we have a view, which is if you do something five times in a week, you should be writing an automation for it. And if you’re a doctor, you’re probably reviewing your notes, writing the prescriptions, and so on several times a day. So those are things that can clearly be automated, and the human can be in the loop. But I think there are so many other ways just within the clinic that things can help. So, one of my friends, my friend from my junior school—I’ve known him since I was 9—is an oncologist who’s also deeply into machine learning, and he’s in Cambridge in the UK. And he built with Microsoft Research a suite of imaging AI tools from his own discipline, which they then open sourced. So that’s another way that you have an impact, which is that you actually enable the, you know, generalist, specialist, polymath, whatever they are in health systems to be able to get this technology, to tune it to their requirements, to use it, to encourage some grassroots adoption in a system that’s often been very, very heavily centralized. LEE: Yeah. AZHAR: And then I think there are some other things that are going on that I find really, really exciting. So one is the consumerization of healthcare. So I have one of those sleep tracking rings, the Oura. LEE: Yup. AZHAR: That is building a data stream that we’ll be able to apply more and more AI to. I mean, right now, it’s applying traditional, I suspect, machine learning, but you can imagine that as we start to get more data, we start to get more used to measuring ourselves, we create this sort of pot, a personal asset that we can turn AI to. And there’s still another category. And that other category is one of the completely novel ways in which we can enable patient care and patient pathway. And there’s a fantastic startup in the UK called Neko Health, which, I mean, does physicals, MRI scans, and blood tests, and so on. It’s hard to imagine Neko existing without the sort of advanced data, machine learning, AI that we’ve seen emerge over the last decade. So, I mean, I think that there are so many ways in which the temperature is slowly being turned up to encourage a phase change within the healthcare sector. And last but not least, I do think that these tools can also be very, very supportive of a clinician’s life cycle. I think we, as patients, we’re a bit …  I don’t know if we’re as grateful as we should be for our clinicians who are putting in 90-hour weeks.But you can imagine a world where AI is able to support not just the clinicians’ workload but also their sense of stress, their sense of burnout. So just in those five areas, Peter, I sort of imagine we could start to fundamentally transform over the course of many years, of course, the way in which people think about their health and their interactions with healthcare systems LEE: I love how you break that down. And I want to press on a couple of things. You also touched on the fact that medicine is, at least in most of the world, is a highly regulated industry. I guess finance is the same way, but they also feel different because the, like, finance sector has to be very responsive to consumers, and consumers are sensitive to, you know, an abundance of choice; they are sensitive to price. Is there something unique about medicine besides being regulated? AZHAR: I mean, there absolutely is. And in finance, as well, you have much clearer end states. So if you’re not in the consumer space, but you’re in the, you know, asset management space, you have to essentially deliver returns against the volatility or risk boundary, right. That’s what you have to go out and do. And I think if you’re in the consumer industry, you can come back to very, very clear measures, net promoter score being a very good example. In the case of medicine and healthcare, it is much more complicated because as far as the clinician is concerned, people are individuals, and we have our own parts and our own responses. If we didn’t, there would never be a need for a differential diagnosis. There’d never be a need for, you know, Let’s try azithromycin first, and then if that doesn’t work, we’ll go to vancomycin, or, you know, whatever it happens to be. You would just know. But ultimately, you know, people are quite different. The symptoms that they’re showing are quite different, and also their compliance is really, really different. I had a back problem that had to be dealt with by, you know, a physio and extremely boring exercises four times a week, but I was ruthless in complying, and my physio was incredibly surprised. He’d say well no one ever does this, and I said, well you know the thing is that I kind of just want to get this thing to go away. LEE: Yeah. AZHAR: And I think that that’s why medicine is and healthcare is so different and more complex. But I also think that’s why AI can be really, really helpful. I mean, we didn’t talk about, you know, AI in its ability to potentially do this, which is to extend the clinician’s presence throughout the week. LEE: Right. Yeah. AZHAR: The idea that maybe some part of what the clinician would do if you could talk to them on Wednesday, Thursday, and Friday could be delivered through an app or a chatbot just as a way of encouraging the compliance, which is often, especially with older patients, one reason why conditions, you know, linger on for longer. LEE: You know, just staying on the regulatory thing, as I’ve thought about this, the one regulated sector that I think seems to have some parallels to healthcare is energy delivery, energy distribution. Because like healthcare, as a consumer, I don’t have choice in who delivers electricity to my house. And even though I care about it being cheap or at least not being overcharged, I don’t have an abundance of choice. I can’t do price comparisons. And there’s something about that, just speaking as a consumer of both energy and a consumer of healthcare, that feels similar. Whereas other regulated industries, you know, somehow, as a consumer, I feel like I have a lot more direct influence and power. Does that make any sense to someone, you know, like you, who’s really much more expert in how economic systems work? AZHAR: I mean, in a sense, one part of that is very, very true. You have a limited panel of energy providers you can go to, and in the US, there may be places where you have no choice. I think the area where it’s slightly different is that as a consumer or a patient, you can actually make meaningful choices and changes yourself using these technologies, and people used to joke about you know asking Dr. Google. But Dr. Google is not terrible, particularly if you go to WebMD. And, you know, when I look at long-range change, many of the regulations that exist around healthcare delivery were formed at a point before people had access to good quality information at the touch of their fingertips or when educational levels in general were much, much lower. And many regulations existed because of the incumbent power of particular professional sectors. I’ll give you an example from the United Kingdom. So I have had asthma all of my life. That means I’ve been taking my inhaler, Ventolin, and maybe a steroid inhaler for nearly 50 years. That means that I know … actually, I’ve got more experience, and I—in some sense—know more about it than a general practitioner. LEE: Yeah. AZHAR: And until a few years ago, I would have to go to a general practitioner to get this drug that I’ve been taking for five decades, and there they are, age 30 or whatever it is. And a few years ago, the regulations changed. And now pharmacies can … or pharmacists can prescribe those types of drugs under certain conditions directly. LEE: Right. AZHAR: That was not to do with technology. That was to do with incumbent lock-in. So when we look at the medical industry, the healthcare space, there are some parallels with energy, but there are a few little things that the ability that the consumer has to put in some effort to learn about their condition, but also the fact that some of the regulations that exist just exist because certain professions are powerful. LEE: Yeah, one last question while we’re still on economics. There seems to be a conundrum about productivity and efficiency in healthcare delivery because I’ve never encountered a doctor or a nurse that wants to be able to handle even more patients than they’re doing on a daily basis. And so, you know, if productivity means simply, well, your rounds can now handle 16 patients instead of eight patients, that doesn’t seem necessarily to be a desirable thing. So how can we or should we be thinking about efficiency and productivity since obviously costs are, in most of the developed world, are a huge, huge problem? AZHAR: Yes, and when you described doubling the number of patients on the round, I imagined you buying them all roller skates so they could just whizz aroundthe hospital faster and faster than ever before. We can learn from what happened with the introduction of electricity. Electricity emerged at the end of the 19th century, around the same time that cars were emerging as a product, and car makers were very small and very artisanal. And in the early 1900s, some really smart car makers figured out that electricity was going to be important. And they bought into this technology by putting pendant lights in their workshops so they could “visit more patients.” Right? LEE: Yeah, yeah. AZHAR: They could effectively spend more hours working, and that was a productivity enhancement, and it was noticeable. But, of course, electricity fundamentally changed the productivity by orders of magnitude of people who made cars starting with Henry Ford because he was able to reorganize his factories around the electrical delivery of power and to therefore have the moving assembly line, which 10xed the productivity of that system. So when we think about how AI will affect the clinician, the nurse, the doctor, it’s much easier for us to imagine it as the pendant light that just has them working later … LEE: Right. AZHAR: … than it is to imagine a reconceptualization of the relationship between the clinician and the people they care for. And I’m not sure. I don’t think anybody knows what that looks like. But, you know, I do think that there will be a way that this changes, and you can see that scale out factor. And it may be, Peter, that what we end up doing is we end up saying, OK, because we have these brilliant AIs, there’s a lower level of training and cost and expense that’s required for a broader range of conditions that need treating. And that expands the market, right. That expands the market hugely. It’s what has happened in the market for taxis or ride sharing. The introduction of Uber and the GPS system … LEE: Yup. AZHAR: … has meant many more people now earn their living driving people around in their cars. And at least in London, you had to be reasonably highly trained to do that. So I can see a reorganization is possible. Of course, entrenched interests, the economic flow … and there are many entrenched interests, particularly in the US between the health systems and the, you know, professional bodies that might slow things down. But I think a reimagining is possible. And if I may, I’ll give you one example of that, which is, if you go to countries outside of the US where there are many more sick people per doctor, they have incentives to change the way they deliver their healthcare. And well before there was AI of this quality around, there was a few cases of health systems in India—Aravind Eye Carewas one, and Narayana Hrudayalayawas another. And in the latter, they were a cardiac care unit where you couldn’t get enough heart surgeons. LEE: Yeah, yep. AZHAR: So specially trained nurses would operate under the supervision of a single surgeon who would supervise many in parallel. So there are ways of increasing the quality of care, reducing the cost, but it does require a systems change. And we can’t expect a single bright algorithm to do it on its own. LEE: Yeah, really, really interesting. So now let’s get into regulation. And let me start with this question. You know, there are several startup companies I’m aware of that are pushing on, I think, a near-term future possibility that a medical AI for consumer might be allowed, say, to prescribe a medication for you, something that would normally require a doctor or a pharmacist, you know, that is certified in some way, licensed to do. Do you think we’ll get to a point where for certain regulated activities, humans are more or less cut out of the loop? AZHAR: Well, humans would have been in the loop because they would have provided the training data, they would have done the oversight, the quality control. But to your question in general, would we delegate an important decision entirely to a tested set of algorithms? I’m sure we will. We already do that. I delegate less important decisions like, What time should I leave for the airport to Waze. I delegate more important decisions to the automated braking in my car. We will do this at certain levels of risk and threshold. If I come back to my example of prescribing Ventolin. It’s really unclear to me that the prescription of Ventolin, this incredibly benign bronchodilator that is only used by people who’ve been through the asthma process, needs to be prescribed by someone who’s gone through 10 years or 12 years of medical training. And why that couldn’t be prescribed by an algorithm or an AI system. LEE: Right. Yep. Yep. AZHAR: So, you know, I absolutely think that that will be the case and could be the case. I can’t really see what the objections are. And the real issue is where do you draw the line of where you say, “Listen, this is too important,” or “The cost is too great,” or “The side effects are too high,” and therefore this is a point at which we want to have some, you know, human taking personal responsibility, having a liability framework in place, having a sense that there is a person with legal agency who signed off on this decision. And that line I suspect will start fairly low, and what we’d expect to see would be that that would rise progressively over time. LEE: What you just said, that scenario of your personal asthma medication, is really interesting because your personal AI might have the benefit of 50 years of your own experience with that medication. So, in a way, there is at least the data potential for, let’s say, the next prescription to be more personalized and more tailored specifically for you. AZHAR: Yes. Well, let’s dig into this because I think this is super interesting, and we can look at how things have changed. So 15 years ago, if I had a bad asthma attack, which I might have once a year, I would have needed to go and see my general physician. In the UK, it’s very difficult to get an appointment. I would have had to see someone privately who didn’t know me at all because I’ve just walked in off the street, and I would explain my situation. It would take me half a day. Productivity lost. I’ve been miserable for a couple of days with severe wheezing. Then a few years ago the system changed, a protocol changed, and now I have a thing called a rescue pack, which includes prednisolone steroids. It includes something else I’ve just forgotten, and an antibiotic in case I get an upper respiratory tract infection, and I have an “algorithm.” It’s called a protocol. It’s printed out. It’s a flowchart I answer various questions, and then I say, “I’m going to prescribe this to myself.” You know, UK doctors don’t prescribe prednisolone, or prednisone as you may call it in the US, at the drop of a hat, right. It’s a powerful steroid. I can self-administer, and I can now get that repeat prescription without seeing a physician a couple of times a year. And the algorithm, the “AI” is, it’s obviously been done in PowerPoint naturally, and it’s a bunch of arrows.Surely, surely, an AI system is going to be more sophisticated, more nuanced, and give me more assurance that I’m making the right decision around something like that. LEE: Yeah. Well, at a minimum, the AI should be able to make that PowerPoint the next time.AZHAR: Yeah, yeah. Thank god for Clippy. Yes. LEE: So, you know, I think in our book, we had a lot of certainty about most of the things we’ve discussed here, but one chapter where I felt we really sort of ran out of ideas, frankly, was on regulation. And, you know, what we ended up doing for that chapter is … I can’t remember if it was Carey’s or Zak’s idea, but we asked GPT-4 to have a conversation, a debate with itself, about regulation. And we made some minor commentary on that. And really, I think we took that approach because we just didn’t have much to offer. By the way, in our defense, I don’t think anyone else had any better ideas anyway. AZHAR: Right. LEE: And so now two years later, do we have better ideas about the need for regulation, the frameworks around which those regulations should be developed, and, you know, what should this look like? AZHAR: So regulation is going to be in some cases very helpful because it provides certainty for the clinician that they’re doing the right thing, that they are still insured for what they’re doing, and it provides some degree of confidence for the patient. And we need to make sure that the claims that are made stand up to quite rigorous levels, where ideally there are RCTs, and there are the classic set of processes you go through. You do also want to be able to experiment, and so the question is: as a regulator, how can you enable conditions for there to be experimentation? And what is experimentation? Experimentation is learning so that every element of the system can learn from this experience. So finding that space where there can be bit of experimentation, I think, becomes very, very important. And a lot of this is about experience, so I think the first digital therapeutics have received FDA approval, which means there are now people within the FDA who understand how you go about running an approvals process for that, and what that ends up looking like—and of course what we’re very good at doing in this sort of modern hyper-connected world—is we can share that expertise, that knowledge, that experience very, very quickly. So you go from one approval a year to a hundred approvals a year to a thousand approvals a year. So we will then actually, I suspect, need to think about what is it to approve digital therapeutics because, unlike big biological molecules, we can generate these digital therapeutics at the rate of knots. LEE: Yes. AZHAR: Every road in Hayes Valley in San Francisco, right, is churning out new startups who will want to do things like this. So then, I think about, what does it mean to get approved if indeed it gets approved? But we can also go really far with things that don’t require approval. I come back to my sleep tracking ring. So I’ve been wearing this for a few years, and when I go and see my doctor or I have my annual checkup, one of the first things that he asks is how have I been sleeping. And in fact, I even sync my sleep tracking data to their medical record system, so he’s saying … hearing what I’m saying, but he’s actually pulling up the real data going, This patient’s lying to me again. Of course, I’m very truthful with my doctor, as we should all be.LEE: You know, actually, that brings up a point that consumer-facing health AI has to deal with pop science, bad science, you know, weird stuff that you hear on Reddit. And because one of the things that consumers want to know always is, you know, what’s the truth? AZHAR: Right. LEE: What can I rely on? And I think that somehow feels different than an AI that you actually put in the hands of, let’s say, a licensed practitioner. And so the regulatory issues seem very, very different for these two cases somehow. AZHAR: I agree, they’re very different. And I think for a lot of areas, you will want to build AI systems that are first and foremost for the clinician, even if they have patient extensions, that idea that the clinician can still be with a patient during the week. And you’ll do that anyway because you need the data, and you also need a little bit of a liability shield to have like a sensible person who’s been trained around that. And I think that’s going to be a very important pathway for many AI medical crossovers. We’re going to go through the clinician. LEE: Yeah. AZHAR: But I also do recognize what you say about the, kind of, kooky quackery that exists on Reddit. Although on Creatine, Reddit may yet prove to have been right.LEE: Yeah, that’s right. Yes, yeah, absolutely. Yeah. AZHAR: Sometimes it’s right. And I think that it serves a really good role as a field of extreme experimentation. So if you’re somebody who makes a continuous glucose monitor traditionally given to diabetics but now lots of people will wear them—and sports people will wear them—you probably gathered a lot of extreme tail distribution data by reading the Reddit/biohackers … LEE: Yes. AZHAR: … for the last few years, where people were doing things that you would never want them to really do with the CGM. And so I think we shouldn’t understate how important that petri dish can be for helping us learn what could happen next. LEE: Oh, I think it’s absolutely going to be essential and a bigger thing in the future. So I think I just want to close here then with one last question. And I always try to be a little bit provocative with this. And so as you look ahead to what doctors and nurses and patients might be doing two years from now, five years from now, 10 years from now, do you have any kind of firm predictions? AZHAR: I’m going to push the boat out, and I’m going to go further out than closer in. LEE: OK.AZHAR: As patients, we will have many, many more touch points and interaction with our biomarkers and our health. We’ll be reading how well we feel through an array of things. And some of them we’ll be wearing directly, like sleep trackers and watches. And so we’ll have a better sense of what’s happening in our lives. It’s like the moment you go from paper bank statements that arrive every month to being able to see your account in real time. LEE: Yes. AZHAR: And I suspect we’ll have … we’ll still have interactions with clinicians because societies that get richer see doctors more, societies that get older see doctors more, and we’re going to be doing both of those over the coming 10 years. But there will be a sense, I think, of continuous health engagement, not in an overbearing way, but just in a sense that we know it’s there, we can check in with it, it’s likely to be data that is compiled on our behalf somewhere centrally and delivered through a user experience that reinforces agency rather than anxiety. And we’re learning how to do that slowly. I don’t think the health apps on our phones and devices have yet quite got that right. And that could help us personalize problems before they arise, and again, I use my experience for things that I’ve tracked really, really well. And I know from my data and from how I’m feeling when I’m on the verge of one of those severe asthma attacks that hits me once a year, and I can take a little bit of preemptive measure, so I think that that will become progressively more common and that sense that we will know our baselines. I mean, when you think about being an athlete, which is something I think about, but I could never ever do,but what happens is you start with your detailed baselines, and that’s what your health coach looks at every three or four months. For most of us, we have no idea of our baselines. You we get our blood pressure measured once a year. We will have baselines, and that will help us on an ongoing basis to better understand and be in control of our health. And then if the product designers get it right, it will be done in a way that doesn’t feel invasive, but it’ll be done in a way that feels enabling. We’ll still be engaging with clinicians augmented by AI systems more and more because they will also have gone up the stack. They won’t be spending their time on just “take two Tylenol and have a lie down” type of engagements because that will be dealt with earlier on in the system. And so we will be there in a very, very different set of relationships. And they will feel that they have different ways of looking after our health. LEE: Azeem, it’s so comforting to hear such a wonderfully optimistic picture of the future of healthcare. And I actually agree with everything you’ve said. Let me just thank you again for joining this conversation. I think it’s been really fascinating. And I think somehow the systemic issues, the systemic issues that you tend to just see with such clarity, I think are going to be the most, kind of, profound drivers of change in the future. So thank you so much. AZHAR: Well, thank you, it’s been my pleasure, Peter, thank you.   I always think of Azeem as a systems thinker. He’s always able to take the experiences of new technologies at an individual level and then project out to what this could mean for whole organizations and whole societies. In our conversation, I felt that Azeem really connected some of what we learned in a previous episode—for example, from Chrissy Farr—on the evolving consumerization of healthcare to the broader workforce and economic impacts that we’ve heard about from Ethan Mollick.   Azeem’s personal story about managing his asthma was also a great example. You know, he imagines a future, as do I, where personal AI might assist and remember decades of personal experience with a condition like asthma and thereby know more than any human being could possibly know in a deeply personalized and effective way, leading to better care. Azeem’s relentless optimism about our AI future was also so heartening to hear. Both of these conversations leave me really optimistic about the future of AI in medicine. At the same time, it is pretty sobering to realize just how much we’ll all need to change in pretty fundamental and maybe even in radical ways. I think a big insight I got from these conversations is how we interact with machines is going to have to be altered not only at the individual level, but at the company level and maybe even at the societal level. Since my conversation with Ethan and Azeem, there have been some pretty important developments that speak directly to this. Just last week at Build, which is Microsoft’s yearly developer conference, we announced a slew of AI agent technologies. Our CEO, Satya Nadella, in fact, started his keynote by going online in a GitHub developer environment and then assigning a coding task to an AI agent, basically treating that AI as a full-fledged member of a development team. Other agents, for example, a meeting facilitator, a data analyst, a business researcher, travel agent, and more were also shown during the conference. But pertinent to healthcare specifically, what really blew me away was the demonstration of a healthcare orchestrator agent. And the specific thing here was in Stanford’s cancer treatment center, when they are trying to decide on potentially experimental treatments for cancer patients, they convene a meeting of experts. That is typically called a tumor board. And so this AI healthcare orchestrator agent actually participated as a full-fledged member of a tumor board meeting to help bring data together, make sure that the latest medical knowledge was brought to bear, and to assist in the decision-making around a patient’s cancer treatment. It was pretty amazing.A big thank-you again to Ethan and Azeem for sharing their knowledge and understanding of the dynamics between AI and society more broadly. And to our listeners, thank you for joining us. I’m really excited for the upcoming episodes, including discussions on medical students’ experiences with AI and AI’s influence on the operation of health systems and public health departments. We hope you’ll continue to tune in. Until next time. #what #ais #impact #individuals #means
    WWW.MICROSOFT.COM
    What AI’s impact on individuals means for the health workforce and industry
    Transcript [MUSIC]    [BOOK PASSAGE]  PETER LEE: “In American primary care, the missing workforce is stunning in magnitude, the shortfall estimated to reach up to 48,000 doctors within the next dozen years. China and other countries with aging populations can expect drastic shortfalls, as well. Just last month, I asked a respected colleague retiring from primary care who he would recommend as a replacement; he told me bluntly that, other than expensive concierge care practices, he could not think of anyone, even for himself. This mismatch between need and supply will only grow, and the US is far from alone among developed countries in facing it.” [END OF BOOK PASSAGE]    [THEME MUSIC]    This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?     In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.      [THEME MUSIC FADES] The book passage I read at the top is from “Chapter 4: Trust but Verify,” which was written by Zak. You know, it’s no secret that in the US and elsewhere shortages in medical staff and the rise of clinician burnout are affecting the quality of patient care for the worse. In our book, we predicted that generative AI would be something that might help address these issues. So in this episode, we’ll delve into how individual performance gains that our previous guests have described might affect the healthcare workforce as a whole, and on the patient side, we’ll look into the influence of generative AI on the consumerization of healthcare. Now, since all of this consumes such a huge fraction of the overall economy, we’ll also get into what a general-purpose technology as disruptive as generative AI might mean in the context of labor markets and beyond.   To help us do that, I’m pleased to welcome Ethan Mollick and Azeem Azhar. Ethan Mollick is the Ralph J. Roberts Distinguished Faculty Scholar, a Rowan Fellow, and an associate professor at the Wharton School of the University of Pennsylvania. His research into the effects of AI on work, entrepreneurship, and education is applied by organizations around the world, leading him to be named one of Time magazine’s most influential people in AI for 2024. He’s also the author of the New York Times best-selling book Co-Intelligence. Azeem Azhar is an author, founder, investor, and one of the most thoughtful and influential voices on the interplay between disruptive emerging technologies and business and society. In his best-selling book, The Exponential Age, and in his highly regarded newsletter and podcast, Exponential View, he explores how technologies like AI are reshaping everything from healthcare to geopolitics. Ethan and Azeem are two leading thinkers on the ways that disruptive technologies—and especially AI—affect our work, our jobs, our business enterprises, and whole industries. As economists, they are trying to work out whether we are in the midst of an economic revolution as profound as the shift from an agrarian to an industrial society. [TRANSITION MUSIC] Here is my interview with Ethan Mollick: LEE: Ethan, welcome. ETHAN MOLLICK: So happy to be here, thank you. LEE: I described you as a professor at Wharton, which I think most of the people who listen to this podcast series know of as an elite business school. So it might surprise some people that you study AI. And beyond that, you know, that I would seek you out to talk about AI in medicine. [LAUGHTER] So to get started, how and why did it happen that you’ve become one of the leading experts on AI? MOLLICK: It’s actually an interesting story. I’ve been AI-adjacent my whole career. When I was [getting] my PhD at MIT, I worked with Marvin Minsky (opens in new tab) and the MIT [Massachusetts Institute of Technology] Media Labs AI group. But I was never the technical AI guy. I was the person who was trying to explain AI to everybody else who didn’t understand it. And then I became very interested in, how do you train and teach? And AI was always a part of that. I was building games for teaching, teaching tools that were used in hospitals and elsewhere, simulations. So when LLMs burst into the scene, I had already been using them and had a good sense of what they could do. And between that and, kind of, being practically oriented and getting some of the first research projects underway, especially under education and AI and performance, I became sort of a go-to person in the field. And once you’re in a field where nobody knows what’s going on and we’re all making it up as we go along—I thought it’s funny that you led with the idea that you have a couple of months head start for GPT-4, right. Like that’s all we have at this point, is a few months’ head start. [LAUGHTER] So being a few months ahead is good enough to be an expert at this point. Whether it should be or not is a different question. LEE: Well, if I understand correctly, leading AI companies like OpenAI, Anthropic, and others have now sought you out as someone who should get early access to really start to do early assessments and gauge early reactions. How has that been? MOLLICK: So, I mean, I think the bigger picture is less about me than about two things that tells us about the state of AI right now. One, nobody really knows what’s going on, right. So in a lot of ways, if it wasn’t for your work, Peter, like, I don’t think people would be thinking about medicine as much because these systems weren’t built for medicine. They weren’t built to change education. They weren’t built to write memos. They, like, they weren’t built to do any of these things. They weren’t really built to do anything in particular. It turns out they’re just good at many things. And to the extent that the labs work on them, they care about their coding ability above everything else and maybe math and science secondarily. They don’t think about the fact that it expresses high empathy. They don’t think about its accuracy and diagnosis or where it’s inaccurate. They don’t think about how it’s changing education forever. So one part of this is the fact that they go to my Twitter feed or ask me for advice is an indicator of where they are, too, which is they’re not thinking about this. And the fact that a few months’ head start continues to give you a lead tells you that we are at the very cutting edge. These labs aren’t sitting on projects for two years and then releasing them. Months after a project is complete or sooner, it’s out the door. Like, there’s very little delay. So we’re kind of all in the same boat here, which is a very unusual space for a new technology. LEE: And I, you know, explained that you’re at Wharton. Are you an odd fit as a faculty member at Wharton, or is this a trend now even in business schools that AI experts are becoming key members of the faculty? MOLLICK: I mean, it’s a little of both, right. It’s faculty, so everybody does everything. I’m a professor of innovation-entrepreneurship. I’ve launched startups before and working on that and education means I think about, how do organizations redesign themselves? How do they take advantage of these kinds of problems? So medicine’s always been very central to that, right. A lot of people in my MBA class have been MDs either switching, you know, careers or else looking to advance from being sort of individual contributors to running teams. So I don’t think that’s that bad a fit. But I also think this is general-purpose technology; it’s going to touch everything. The focus on this is medicine, but Microsoft does far more than medicine, right. It’s … there’s transformation happening in literally every field, in every country. This is a widespread effect. So I don’t think we should be surprised that business schools matter on this because we care about management. There’s a long tradition of management and medicine going together. There’s actually a great academic paper that shows that teaching hospitals that also have MBA programs associated with them have higher management scores and perform better (opens in new tab). So I think that these are not as foreign concepts, especially as medicine continues to get more complicated. LEE: Yeah. Well, in fact, I want to dive a little deeper on these issues of management, of entrepreneurship, um, education. But before doing that, if I could just stay focused on you. There is always something interesting to hear from people about their first encounters with AI. And throughout this entire series, I’ve been doing that both pre-generative AI and post-generative AI. So you, sort of, hinted at the pre-generative AI. You were in Minsky’s lab. Can you say a little bit more about that early encounter? And then tell us about your first encounters with generative AI. MOLLICK: Yeah. Those are great questions. So first of all, when I was at the media lab, that was pre-the current boom in sort of, you know, even in the old-school machine learning kind of space. So there was a lot of potential directions to head in. While I was there, there were projects underway, for example, to record every interaction small children had. One of the professors was recording everything their baby interacted with in the hope that maybe that would give them a hint about how to build an AI system. There was a bunch of projects underway that were about labeling every concept and how they relate to other concepts. So, like, it was very much Wild West of, like, how do we make an AI work—which has been this repeated problem in AI, which is, what is this thing? The fact that it was just like brute force over the corpus of all human knowledge turns out to be a little bit of like a, you know, it’s a miracle and a little bit of a disappointment in some ways [LAUGHTER] compared to how elaborate some of this was. So, you know, I think that, that was sort of my first encounters in sort of the intellectual way. The generative AI encounters actually started with the original, sort of, GPT-3, or, you know, earlier versions. And it was actually game-based. So I played games like AI Dungeon. And as an educator, I realized, oh my gosh, this stuff could write essays at a fourth-grade level. That’s really going to change the way, like, middle school works, was my thinking at the time. And I was posting about that back in, you know, 2021 that this is a big deal. But I think everybody was taken surprise, including the AI companies themselves, by, you know, ChatGPT, by GPT-3.5. The difference in degree turned out to be a difference in kind. LEE: Yeah, you know, if I think back, even with GPT-3, and certainly this was the case with GPT-2, it was, at least, you know, from where I was sitting, it was hard to get people to really take this seriously and pay attention. MOLLICK: Yes. LEE: You know, it’s remarkable. Within Microsoft, I think a turning point was the use of GPT-3 to do code completions. And that was actually productized as GitHub Copilot (opens in new tab), the very first version. That, I think, is where there was widespread belief. But, you know, in a way, I think there is, even for me early on, a sense of denial and skepticism. Did you have those initially at any point? MOLLICK: Yeah, I mean, it still happens today, right. Like, this is a weird technology. You know, the original denial and skepticism was, I couldn’t see where this was going. It didn’t seem like a miracle because, you know, of course computers can complete code for you. Like, what else are they supposed to do? Of course, computers can give you answers to questions and write fun things. So there’s difference of moving into a world of generative AI. I think a lot of people just thought that’s what computers could do. So it made the conversations a little weird. But even today, faced with these, you know, with very strong reasoner models that operate at the level of PhD students, I think a lot of people have issues with it, right. I mean, first of all, they seem intuitive to use, but they’re not always intuitive to use because the first use case that everyone puts AI to, it fails at because they use it like Google or some other use case. And then it’s genuinely upsetting in a lot of ways. I think, you know, I write in my book about the idea of three sleepless nights. That hasn’t changed. Like, you have to have an intellectual crisis to some extent, you know, and I think people do a lot to avoid having that existential angst of like, “Oh my god, what does it mean that a machine could think—apparently think—like a person?” So, I mean, I see resistance now. I saw resistance then. And then on top of all of that, there’s the fact that the curve of the technology is quite great. I mean, the price of GPT-4 level intelligence from, you know, when it was released has dropped 99.97% at this point, right. LEE: Yes. Mm-hmm. MOLLICK: I mean, I could run a GPT-4 class system basically on my phone. Microsoft’s releasing things that can almost run on like, you know, like it fits in almost no space, that are almost as good as the original GPT-4 models. I mean, I don’t think people have a sense of how fast the trajectory is moving either. LEE: Yeah, you know, there’s something that I think about often. There is this existential dread, or will this technology replace me? But I think the first people to feel that are researchers—people encountering this for the first time. You know, if you were working, let’s say, in Bayesian reasoning or in traditional, let’s say, Gaussian mixture model based, you know, speech recognition, you do get this feeling, Oh, my god, this technology has just solved the problem that I’ve dedicated my life to. And there is this really difficult period where you have to cope with that. And I think this is going to be spreading, you know, in more and more walks of life. And so this … at what point does that sort of sense of dread hit you, if ever? MOLLICK: I mean, you know, it’s not even dread as much as like, you know, Tyler Cowen wrote that it’s impossible to not feel a little bit of sadness as you use these AI systems, too. Because, like, I was talking to a friend, just as the most minor example, and his talent that he was very proud of was he was very good at writing limericks for birthday cards. He’d write these limericks. Everyone was always amused by them. [LAUGHTER] And now, you know, GPT-4 and GPT-4.5, they made limericks obsolete. Like, anyone can write a good limerick, right. So this was a talent, and it was a little sad. Like, this thing that you cared about mattered. You know, as academics, we’re a little used to dead ends, right, and like, you know, some getting the lap. But the idea that entire fields are hitting that way. Like in medicine, there’s a lot of support systems that are now obsolete. And the question is how quickly you change that. In education, a lot of our techniques are obsolete. What do you do to change that? You know, it’s like the fact that this brute force technology is good enough to solve so many problems is weird, right. And it’s not just the end of, you know, of our research angles that matter, too. Like, for example, I ran this, you know, 14-person-plus, multimillion-dollar effort at Wharton to build these teaching simulations, and we’re very proud of them. It took years of work to build one. Now we’ve built a system that can build teaching simulations on demand by you talking to it with one team member. And, you know, you literally can create any simulation by having a discussion with the AI. I mean, you know, there’s a switch to a new form of excitement, but there is a little bit of like, this mattered to me, and, you know, now I have to change how I do things. I mean, adjustment happens. But if you haven’t had that displacement, I think that’s a good indicator that you haven’t really faced AI yet. LEE: Yeah, what’s so interesting just listening to you is you use words like sadness, and yet I can see the—and hear the—excitement in your voice and your body language. So, you know, that’s also kind of an interesting aspect of all of this.  MOLLICK: Yeah, I mean, I think there’s something on the other side, right. But, like, I can’t say that I haven’t had moments where like, ughhhh, but then there’s joy and basically like also, you know, freeing stuff up. I mean, I think about doctors or professors, right. These are jobs that bundle together lots of different tasks that you would never have put together, right. If you’re a doctor, you would never have expected the same person to be good at keeping up with the research and being a good diagnostician and being a good manager and being good with people and being good with hand skills. Like, who would ever want that kind of bundle? That’s not something you’re all good at, right. And a lot of our stress of our job comes from the fact that we suck at some of it. And so to the extent that AI steps in for that, you kind of feel bad about some of the stuff that it’s doing that you wanted to do. But it’s much more uplifting to be like, I don’t have to do this stuff I’m bad anymore, or I get the support to make myself good at it. And the stuff that I really care about, I can focus on more. Well, because we are at kind of a unique moment where whatever you’re best at, you’re still better than AI. And I think it’s an ongoing question about how long that lasts. But for right now, like you’re not going to say, OK, AI replaces me entirely in my job in medicine. It’s very unlikely. But you will say it replaces these 17 things I’m bad at, but I never liked that anyway. So it’s a period of both excitement and a little anxiety. LEE: Yeah, I’m going to want to get back to this question about in what ways AI may or may not replace doctors or some of what doctors and nurses and other clinicians do. But before that, let’s get into, I think, the real meat of this conversation. In previous episodes of this podcast, we talked to clinicians and healthcare administrators and technology developers that are very rapidly injecting AI today to do various forms of workforce automation, you know, automatically writing a clinical encounter note, automatically filling out a referral letter or request for prior authorization for some reimbursement to an insurance company. And so these sorts of things are intended not only to make things more efficient and lower costs but also to reduce various forms of drudgery, cognitive burden on frontline health workers. So how do you think about the impact of AI on that aspect of workforce, and, you know, what would you expect will happen over the next few years in terms of impact on efficiency and costs? MOLLICK: So I mean, this is a case where I think we’re facing the big bright problem in AI in a lot of ways, which is that this is … at the individual level, there’s lots of performance gains to be gained, right. The problem, though, is that we as individuals fit into systems, in medicine as much as anywhere else or more so, right. Which is that you could individually boost your performance, but it’s also about systems that fit along with this, right. So, you know, if you could automatically, you know, record an encounter, if you could automatically make notes, does that change what you should be expecting for notes or the value of those notes or what they’re for? How do we take what one person does and validate it across the organization and roll it out for everybody without making it a 10-year process that it feels like IT in medicine often is? Like, so we’re in this really interesting period where there’s incredible amounts of individual innovation in productivity and performance improvements in this field, like very high levels of it, but not necessarily seeing that same thing translate to organizational efficiency or gains. And one of my big concerns is seeing that happen. We’re seeing that in nonmedical problems, the same kind of thing, which is, you know, we’ve got research showing 20 and 40% performance improvements, like not uncommon to see those things. But then the organization doesn’t capture it; the system doesn’t capture it. Because the individuals are doing their own work and the systems don’t have the ability to, kind of, learn or adapt as a result. LEE: You know, where are those productivity gains going, then, when you get to the organizational level? MOLLICK: Well, they’re dying for a few reasons. One is, there’s a tendency for individual contributors to underestimate the power of management, right. Practices associated with good management increase happiness, decrease, you know, issues, increase success rates. In the same way, about 40%, as far as we can tell, of the US advantage over other companies, of US firms, has to do with management ability. Like, management is a big deal. Organizing is a big deal. Thinking about how you coordinate is a big deal. At the individual level, when things get stuck there, right, you can’t start bringing them up to how systems work together. It becomes, How do I deal with a doctor that has a 60% performance improvement? We really only have one thing in our playbook for doing that right now, which is, OK, we could fire 40% of the other doctors and still have a performance gain, which is not the answer you want to see happen. So because of that, people are hiding their use. They’re actually hiding their use for lots of reasons. And it’s a weird case because the people who are able to figure out best how to use these systems, for a lot of use cases, they’re actually clinicians themselves because they’re experimenting all the time. Like, they have to take those encounter notes. And if they figure out a better way to do it, they figure that out. You don’t want to wait for, you know, a med tech company to figure that out and then sell that back to you when it can be done by the physicians themselves. So we’re just not used to a period where everybody’s innovating and where the management structure isn’t in place to take advantage of that. And so we’re seeing things stalled at the individual level, and people are often, especially in risk-averse organizations or organizations where there’s lots of regulatory hurdles, people are so afraid of the regulatory piece that they don’t even bother trying to make change. LEE: If you are, you know, the leader of a hospital or a clinic or a whole health system, how should you approach this? You know, how should you be trying to extract positive success out of AI? MOLLICK: So I think that you need to embrace the right kind of risk, right. We don’t want to put risk on our patients … like, we don’t want to put uninformed risk. But innovation involves risk to how organizations operate. They involve change. So I think part of this is embracing the idea that R&D has to happen in organizations again. What’s happened over the last 20 years or so has been organizations giving that up. Partially, that’s a trend to focus on what you’re good at and not try and do this other stuff. Partially, it’s because it’s outsourced now to software companies that, like, Salesforce tells you how to organize your sales team. Workforce tells you how to organize your organization. Consultants come in and will tell you how to make change based on the average of what other people are doing in your field. So companies and organizations and hospital systems have all started to give up their ability to create their own organizational change. And when I talk to organizations, I often say they have to have two approaches. They have to think about the crowd and the lab. So the crowd is the idea of how to empower clinicians and administrators and supporter networks to start using AI and experimenting in ethical, legal ways and then sharing that information with each other. And the lab is, how are we doing R&D about the approach of how to [get] AI to work, not just in direct patient care, right. But also fundamentally, like, what paperwork can you cut out? How can we better explain procedures? Like, what management role can this fill? And we need to be doing active experimentation on that. We can’t just wait for, you know, Microsoft to solve the problems. It has to be at the level of the organizations themselves. LEE: So let’s shift a little bit to the patient. You know, one of the things that we see, and I think everyone is seeing, is that people are turning to chatbots, like ChatGPT, actually to seek healthcare information for, you know, their own health or the health of their loved ones. And there was already, prior to all of this, a trend towards, let’s call it, consumerization of healthcare. So just in the business of healthcare delivery, do you think AI is going to hasten these kinds of trends, or from the consumer’s perspective, what … ? MOLLICK: I mean, absolutely, right. Like, all the early data that we have suggests that for most common medical problems, you should just consult AI, too, right. In fact, there is a real question to ask: at what point does it become unethical for doctors themselves to not ask for a second opinion from the AI because it’s cheap, right? You could overrule it or whatever you want, but like not asking seems foolish. I think the two places where there’s a burning almost, you know, moral imperative is … let’s say, you know, I’m in Philadelphia, I’m a professor, I have access to really good healthcare through the Hospital University of Pennsylvania system. I know doctors. You know, I’m lucky. I’m well connected. If, you know, something goes wrong, I have friends who I can talk to. I have specialists. I’m, you know, pretty well educated in this space. But for most people on the planet, they don’t have access to good medical care, they don’t have good health. It feels like it’s absolutely imperative to say when should you use AI and when not. Are there blind spots? What are those things? And I worry that, like, to me, that would be the crash project I’d be invoking because I’m doing the same thing in education, which is this system is not as good as being in a room with a great teacher who also uses AI to help you, but it’s better than not getting an, you know, to the level of education people get in many cases. Where should we be using it? How do we guide usage in the right way? Because the AI labs aren’t thinking about this. We have to. So, to me, there is a burning need here to understand this. And I worry that people will say, you know, everything that’s true—AI can hallucinate, AI can be biased. All of these things are absolutely true, but people are going to use it. The early indications are that it is quite useful. And unless we take the active role of saying, here’s when to use it, here’s when not to use it, we don’t have a right to say, don’t use this system. And I think, you know, we have to be exploring that. LEE: What do people need to understand about AI? And what should schools, universities, and so on be teaching? MOLLICK: Those are, kind of, two separate questions in lot of ways. I think a lot of people want to teach AI skills, and I will tell you, as somebody who works in this space a lot, there isn’t like an easy, sort of, AI skill, right. I could teach you prompt engineering in two to three classes, but every indication we have is that for most people under most circumstances, the value of prompting, you know, any one case is probably not that useful. A lot of the tricks are disappearing because the AI systems are just starting to use them themselves. So asking good questions, being a good manager, being a good thinker tend to be important, but like magic tricks around making, you know, the AI do something because you use the right phrase used to be something that was real but is rapidly disappearing. So I worry when people say teach AI skills. No one’s been able to articulate to me as somebody who knows AI very well and teaches classes on AI, what those AI skills that everyone should learn are, right. I mean, there’s value in learning a little bit how the models work. There’s a value in working with these systems. A lot of it’s just hands on keyboard kind of work. But, like, we don’t have an easy slam dunk “this is what you learn in the world of AI” because the systems are getting better, and as they get better, they get less sensitive to these prompting techniques. They get better prompting themselves. They solve problems spontaneously and start being agentic. So it’s a hard problem to ask about, like, what do you train someone on? I think getting people experience in hands-on-keyboards, getting them to … there’s like four things I could teach you about AI, and two of them are already starting to disappear. But, like, one is be direct. Like, tell the AI exactly what you want. That’s very helpful. Second, provide as much context as possible. That can include things like acting as a doctor, but also all the information you have. The third is give it step-by-step directions—that’s becoming less important. And the fourth is good and bad examples of the kind of output you want. Those four, that’s like, that’s it as far as the research telling you what to do, and the rest is building intuition. LEE: I’m really impressed that you didn’t give the answer, “Well, everyone should be teaching my book, Co-Intelligence.” [LAUGHS] MOLLICK: Oh, no, sorry! Everybody should be teaching my book Co-Intelligence. I apologize. [LAUGHTER] LEE: It’s good to chuckle about that, but actually, I can’t think of a better book, like, if you were to assign a textbook in any professional education space, I think Co-Intelligence would be number one on my list. Are there other things that you think are essential reading? MOLLICK: That’s a really good question. I think that a lot of things are evolving very quickly. I happen to, kind of, hit a sweet spot with Co-Intelligence to some degree because I talk about how I used it, and I was, sort of, an advanced user of these systems. So, like, it’s, sort of, like my Twitter feed, my online newsletter. I’m just trying to, kind of, in some ways, it’s about trying to make people aware of what these systems can do by just showing a lot, right. Rather than picking one thing, and, like, this is a general-purpose technology. Let’s use it for this. And, like, everybody gets a light bulb for a different reason. So more than reading, it is using, you know, and that can be Copilot or whatever your favorite tool is. But using it. Voice modes help a lot. In terms of readings, I mean, I think that there is a couple of good guides to understanding AI that were originally blog posts. I think Tim Lee has one called Understanding AI (opens in new tab), and it had a good overview … LEE: Yeah, that’s a great one. MOLLICK: … of that topic that I think explains how transformers work, which can give you some mental sense. I think [Andrej] Karpathy (opens in new tab) has some really nice videos of use that I would recommend. Like on the medical side, I think the book that you did, if you’re in medicine, you should read that. I think that that’s very valuable. But like all we can offer are hints in some ways. Like there isn’t … if you’re looking for the instruction manual, I think it can be very frustrating because it’s like you want the best practices and procedures laid out, and we cannot do that, right. That’s not how a system like this works. LEE: Yeah. MOLLICK: It’s not a person, but thinking about it like a person can be helpful, right. LEE: One of the things that has been sort of a fun project for me for the last few years is I have been a founding board member of a new medical school at Kaiser Permanente. And, you know, that medical school curriculum is being formed in this era. But it’s been perplexing to understand, you know, what this means for a medical school curriculum. And maybe even more perplexing for me, at least, is the accrediting bodies, which are extremely important in US medical schools; how accreditors should think about what’s necessary here. Besides the things that you’ve … the, kind of, four key ideas you mentioned, if you were talking to the board of directors of the LCME [Liaison Committee on Medical Education] accrediting body, what’s the one thing you would want them to really internalize? MOLLICK: This is both a fast-moving and vital area. This can’t be viewed like a usual change, which [is], “Let’s see how this works.” Because it’s, like, the things that make medical technologies hard to do, which is like unclear results, limited, you know, expensive use cases where it rolls out slowly. So one or two, you know, advanced medical facilities get access to, you know, proton beams or something else at multi-billion dollars of cost, and that takes a while to diffuse out. That’s not happening here. This is all happening at the same time, all at once. This is now … AI is part of medicine. I mean, there’s a minor point that I’d make that actually is a really important one, which is large language models, generative AI overall, work incredibly differently than other forms of AI. So the other worry I have with some of these accreditors is they blend together algorithmic forms of AI, which medicine has been trying for long time—decision support, algorithmic methods, like, medicine more so than other places has been thinking about those issues. Generative AI, even though it uses the same underlying techniques, is a completely different beast. So, like, even just take the most simple thing of algorithmic aversion, which is a well-understood problem in medicine, right. Which is, so you have a tool that could tell you as a radiologist, you know, the chance of this being cancer; you don’t like it, you overrule it, right. We don’t find algorithmic aversion happening with LLMs in the same way. People actually enjoy using them because it’s more like working with a person. The flaws are different. The approach is different. So you need to both view this as universal applicable today, which makes it urgent, but also as something that is not the same as your other form of AI, and your AI working group that is thinking about how to solve this problem is not the right people here. LEE: You know, I think the world has been trained because of the magic of web search to view computers as question-answering machines. Ask a question, get an answer. MOLLICK: Yes. Yes. LEE: Write a query, get results. And as I have interacted with medical professionals, you can see that medical professionals have that model of a machine in mind. And I think that’s partly, I think psychologically, why hallucination is so alarming. Because you have a mental model of a computer as a machine that has absolutely rock-solid perfect memory recall. But the thing that was so powerful in Co-Intelligence, and we tried to get at this in our book also, is that’s not the sweet spot. It’s this sort of deeper interaction, more of a collaboration. And I thought your use of the term Co-Intelligence really just even in the title of the book tried to capture this. When I think about education, it seems like that’s the first step, to get past this concept of a machine being just a question-answering machine. Do you have a reaction to that idea? MOLLICK: I think that’s very powerful. You know, we’ve been trained over so many years at both using computers but also in science fiction, right. Computers are about cold logic, right. They will give you the right answer, but if you ask it what love is, they explode, right. Like that’s the classic way you defeat the evil robot in Star Trek, right. “Love does not compute.” [LAUGHTER] Instead, we have a system that makes mistakes, is warm, beats doctors in empathy in almost every controlled study on the subject, right. Like, absolutely can outwrite you in a sonnet but will absolutely struggle with giving you the right answer every time. And I think our mental models are just broken for this. And I think you’re absolutely right. And that’s part of what I thought your book does get at really well is, like, this is a different thing. It’s also generally applicable. Again, the model in your head should be kind of like a person even though it isn’t, right. There’s a lot of warnings and caveats to it, but if you start from person, smart person you’re talking to, your mental model will be more accurate than smart machine, even though both are flawed examples, right. So it will make mistakes; it will make errors. The question is, what do you trust it on? What do you not trust it? As you get to know a model, you’ll get to understand, like, I totally don’t trust it for this, but I absolutely trust it for that, right. LEE: All right. So we’re getting to the end of the time we have together. And so I’d just like to get now into something a little bit more provocative. And I get the question all the time. You know, will AI replace doctors? In medicine and other advanced knowledge work, project out five to 10 years. What do think happens? MOLLICK: OK, so first of all, let’s acknowledge systems change much more slowly than individual use. You know, doctors are not individual actors; they’re part of systems, right. So not just the system of a patient who like may or may not want to talk to a machine instead of a person but also legal systems and administrative systems and systems that allocate labor and systems that train people. So, like, it’s hard to imagine that in five to 10 years medicine being so upended that even if AI was better than doctors at every single thing doctors do, that we’d actually see as radical a change in medicine as you might in other fields. I think you will see faster changes happen in consulting and law and, you know, coding, other spaces than medicine. But I do think that there is good reason to suspect that AI will outperform people while still having flaws, right. That’s the difference. We’re already seeing that for common medical questions in enough randomized controlled trials that, you know, best doctors beat AI, but the AI beats the mean doctor, right. Like, that’s just something we should acknowledge is happening at this point. Now, will that work in your specialty? No. Will that work with all the contingent social knowledge that you have in your space? Probably not. Like, these are vignettes, right. But, like, that’s kind of where things are. So let’s assume, right … you’re asking two questions. One is, how good will AI get? LEE: Yeah. MOLLICK: And we don’t know the answer to that question. I will tell you that your colleagues at Microsoft and increasingly the labs, the AI labs themselves, are all saying they think they’ll have a machine smarter than a human at every intellectual task in the next two to three years. If that doesn’t happen, that makes it easier to assume the future, but let’s just assume that that’s the case. I think medicine starts to change with the idea that people feel obligated to use this to help for everything. Your patients will be using it, and it will be your advisor and helper at the beginning phases, right. And I think that I expect people to be better at empathy. I expect better bedside manner. I expect management tasks to become easier. I think administrative burden might lighten if we handle this right way or much worse if we handle it badly. Diagnostic accuracy will increase, right. And then there’s a set of discovery pieces happening, too, right. One of the core goals of all the AI companies is to accelerate medical research. How does that happen and how does that affect us is a, kind of, unknown question. So I think clinicians are in both the eye of the storm and surrounded by it, right. Like, they can resist AI use for longer than most other fields, but everything around them is going to be affected by it. LEE: Well, Ethan, this has been really a fantastic conversation. And, you know, I think in contrast to all the other conversations we’ve had, this one gives especially the leaders in healthcare, you know, people actually trying to lead their organizations into the future, whether it’s in education or in delivery, a lot to think about. So I really appreciate you joining. MOLLICK: Thank you. [TRANSITION MUSIC]   I’m a computing researcher who works with people who are right in the middle of today’s bleeding-edge developments in AI. And because of that, I often lose sight of how to talk to a broader audience about what it’s all about. And so I think one of Ethan’s superpowers is that he has this knack for explaining complex topics in AI in a really accessible way, getting right to the most important points without making it so simple as to be useless. That’s why I rarely miss an opportunity to read up on his latest work. One of the first things I learned from Ethan is the intuition that you can, sort of, think of AI as a very knowledgeable intern. In other words, think of it as a persona that you can interact with, but you also need to be a manager for it and to always assess the work that it does. In our discussion, Ethan went further to stress that there is, because of that, a serious education gap. You know, over the last decade or two, we’ve all been trained, mainly by search engines, to think of computers as question-answering machines. In medicine, in fact, there’s a question-answering application that is really popular called UpToDate (opens in new tab). Doctors use it all the time. But generative AI systems like ChatGPT are different. There’s therefore a challenge in how to break out of the old-fashioned mindset of search to get the full value out of generative AI. The other big takeaway for me was that Ethan pointed out while it’s easy to see productivity gains from AI at the individual level, those same gains, at least today, don’t often translate automatically to organization-wide or system-wide gains. And one, of course, has to conclude that it takes more than just making individuals more productive; the whole system also has to adjust to the realities of AI. Here’s now my interview with Azeem Azhar: LEE: Azeem, welcome. AZEEM AZHAR: Peter, thank you so much for having me.  LEE: You know, I think you’re extremely well known in the world. But still, some of the listeners of this podcast series might not have encountered you before. And so one of the ways I like to ask people to introduce themselves is, how do you explain to your parents what you do every day? AZHAR: Well, I’m very lucky in that way because my mother was the person who got me into computers more than 40 years ago. And I still have that first computer, a ZX81 with a Z80 chip … LEE: Oh wow. AZHAR: … to this day. It sits in my study, all seven and a half thousand transistors and Bakelite plastic that it is. And my parents were both economists, and economics is deeply connected with technology in some sense. And I grew up in the late ’70s and the early ’80s. And that was a time of tremendous optimism around technology. It was space opera, science fiction, robots, and of course, the personal computer and, you know, Bill Gates and Steve Jobs. So that’s where I started. And so, in a way, my mother and my dad, who passed away a few years ago, had always known me as someone who was fiddling with computers but also thinking about economics and society. And so, in a way, it’s easier to explain to them because they’re the ones who nurtured the environment that allowed me to research technology and AI and think about what it means to firms and to the economy at large. LEE: I always like to understand the origin story. And what I mean by that is, you know, what was your first encounter with generative AI? And what was that like? What did you go through? AZHAR: The first real moment was when Midjourney and Stable Diffusion emerged in that summer of 2022. I’d been away on vacation, and I came back—and I’d been off grid, in fact—and the world had really changed. Now, I’d been aware of GPT-3 and GPT-2, which I played around with and with BERT, the original transformer paper about seven or eight years ago, but it was the moment where I could talk to my computer, and it could produce these images, and it could be refined in natural language that really made me think we’ve crossed into a new domain. We’ve gone from AI being highly discriminative to AI that’s able to explore the world in particular ways. And then it was a few months later that ChatGPT came out—November, the 30th. And I think it was the next day or the day after that I said to my team, everyone has to use this, and we have to meet every morning and discuss how we experimented the day before. And we did that for three or four months. And, you know, it was really clear to me in that interface at that point that, you know, we’d absolutely pass some kind of threshold. LEE: And who’s the we that you were experimenting with? AZHAR: So I have a team of four who support me. They’re mostly researchers of different types. I mean, it’s almost like one of those jokes. You know, I have a sociologist, an economist, and an astrophysicist. And, you know, they walk into the bar, [LAUGHTER] or they walk into our virtual team room, and we try to solve problems. LEE: Well, so let’s get now into brass tacks here. And I think I want to start maybe just with an exploration of the economics of all this and economic realities. Because I think in a lot of your work—for example, in your book—you look pretty deeply at how automation generally and AI specifically are transforming certain sectors like finance, manufacturing, and you have a really, kind of, insightful focus on what this means for productivity and which ways, you know, efficiencies are found.   And then you, sort of, balance that with risks, things that can and do go wrong. And so as you take that background and looking at all those other sectors, in what ways are the same patterns playing out or likely to play out in healthcare and medicine? AZHAR: I’m sure we will see really remarkable parallels but also new things going on. I mean, medicine has a particular quality compared to other sectors in the sense that it’s highly regulated, market structure is very different country to country, and it’s an incredibly broad field. I mean, just think about taking a Tylenol and going through laparoscopic surgery. Having an MRI and seeing a physio. I mean, this is all medicine. I mean, it’s hard to imagine a sector that is [LAUGHS] more broad than that. So I think we can start to break it down, and, you know, where we’re seeing things with generative AI will be that the, sort of, softest entry point, which is the medical scribing. And I’m sure many of us have been with clinicians who have a medical scribe running alongside—they’re all on Surface Pros I noticed, right? [LAUGHTER] They’re on the tablet computers, and they’re scribing away. And what that’s doing is, in the words of my friend Eric Topol, it’s giving the clinician time back (opens in new tab), right. They have time back from days that are extremely busy and, you know, full of administrative overload. So I think you can obviously do a great deal with reducing that overload. And within my team, we have a view, which is if you do something five times in a week, you should be writing an automation for it. And if you’re a doctor, you’re probably reviewing your notes, writing the prescriptions, and so on several times a day. So those are things that can clearly be automated, and the human can be in the loop. But I think there are so many other ways just within the clinic that things can help. So, one of my friends, my friend from my junior school—I’ve known him since I was 9—is an oncologist who’s also deeply into machine learning, and he’s in Cambridge in the UK. And he built with Microsoft Research a suite of imaging AI tools from his own discipline, which they then open sourced. So that’s another way that you have an impact, which is that you actually enable the, you know, generalist, specialist, polymath, whatever they are in health systems to be able to get this technology, to tune it to their requirements, to use it, to encourage some grassroots adoption in a system that’s often been very, very heavily centralized. LEE: Yeah. AZHAR: And then I think there are some other things that are going on that I find really, really exciting. So one is the consumerization of healthcare. So I have one of those sleep tracking rings, the Oura (opens in new tab). LEE: Yup. AZHAR: That is building a data stream that we’ll be able to apply more and more AI to. I mean, right now, it’s applying traditional, I suspect, machine learning, but you can imagine that as we start to get more data, we start to get more used to measuring ourselves, we create this sort of pot, a personal asset that we can turn AI to. And there’s still another category. And that other category is one of the completely novel ways in which we can enable patient care and patient pathway. And there’s a fantastic startup in the UK called Neko Health (opens in new tab), which, I mean, does physicals, MRI scans, and blood tests, and so on. It’s hard to imagine Neko existing without the sort of advanced data, machine learning, AI that we’ve seen emerge over the last decade. So, I mean, I think that there are so many ways in which the temperature is slowly being turned up to encourage a phase change within the healthcare sector. And last but not least, I do think that these tools can also be very, very supportive of a clinician’s life cycle. I think we, as patients, we’re a bit …  I don’t know if we’re as grateful as we should be for our clinicians who are putting in 90-hour weeks. [LAUGHTER] But you can imagine a world where AI is able to support not just the clinicians’ workload but also their sense of stress, their sense of burnout. So just in those five areas, Peter, I sort of imagine we could start to fundamentally transform over the course of many years, of course, the way in which people think about their health and their interactions with healthcare systems LEE: I love how you break that down. And I want to press on a couple of things. You also touched on the fact that medicine is, at least in most of the world, is a highly regulated industry. I guess finance is the same way, but they also feel different because the, like, finance sector has to be very responsive to consumers, and consumers are sensitive to, you know, an abundance of choice; they are sensitive to price. Is there something unique about medicine besides being regulated? AZHAR: I mean, there absolutely is. And in finance, as well, you have much clearer end states. So if you’re not in the consumer space, but you’re in the, you know, asset management space, you have to essentially deliver returns against the volatility or risk boundary, right. That’s what you have to go out and do. And I think if you’re in the consumer industry, you can come back to very, very clear measures, net promoter score being a very good example. In the case of medicine and healthcare, it is much more complicated because as far as the clinician is concerned, people are individuals, and we have our own parts and our own responses. If we didn’t, there would never be a need for a differential diagnosis. There’d never be a need for, you know, Let’s try azithromycin first, and then if that doesn’t work, we’ll go to vancomycin, or, you know, whatever it happens to be. You would just know. But ultimately, you know, people are quite different. The symptoms that they’re showing are quite different, and also their compliance is really, really different. I had a back problem that had to be dealt with by, you know, a physio and extremely boring exercises four times a week, but I was ruthless in complying, and my physio was incredibly surprised. He’d say well no one ever does this, and I said, well you know the thing is that I kind of just want to get this thing to go away. LEE: Yeah. AZHAR: And I think that that’s why medicine is and healthcare is so different and more complex. But I also think that’s why AI can be really, really helpful. I mean, we didn’t talk about, you know, AI in its ability to potentially do this, which is to extend the clinician’s presence throughout the week. LEE: Right. Yeah. AZHAR: The idea that maybe some part of what the clinician would do if you could talk to them on Wednesday, Thursday, and Friday could be delivered through an app or a chatbot just as a way of encouraging the compliance, which is often, especially with older patients, one reason why conditions, you know, linger on for longer. LEE: You know, just staying on the regulatory thing, as I’ve thought about this, the one regulated sector that I think seems to have some parallels to healthcare is energy delivery, energy distribution. Because like healthcare, as a consumer, I don’t have choice in who delivers electricity to my house. And even though I care about it being cheap or at least not being overcharged, I don’t have an abundance of choice. I can’t do price comparisons. And there’s something about that, just speaking as a consumer of both energy and a consumer of healthcare, that feels similar. Whereas other regulated industries, you know, somehow, as a consumer, I feel like I have a lot more direct influence and power. Does that make any sense to someone, you know, like you, who’s really much more expert in how economic systems work? AZHAR: I mean, in a sense, one part of that is very, very true. You have a limited panel of energy providers you can go to, and in the US, there may be places where you have no choice. I think the area where it’s slightly different is that as a consumer or a patient, you can actually make meaningful choices and changes yourself using these technologies, and people used to joke about you know asking Dr. Google. But Dr. Google is not terrible, particularly if you go to WebMD. And, you know, when I look at long-range change, many of the regulations that exist around healthcare delivery were formed at a point before people had access to good quality information at the touch of their fingertips or when educational levels in general were much, much lower. And many regulations existed because of the incumbent power of particular professional sectors. I’ll give you an example from the United Kingdom. So I have had asthma all of my life. That means I’ve been taking my inhaler, Ventolin, and maybe a steroid inhaler for nearly 50 years. That means that I know … actually, I’ve got more experience, and I—in some sense—know more about it than a general practitioner. LEE: Yeah. AZHAR: And until a few years ago, I would have to go to a general practitioner to get this drug that I’ve been taking for five decades, and there they are, age 30 or whatever it is. And a few years ago, the regulations changed. And now pharmacies can … or pharmacists can prescribe those types of drugs under certain conditions directly. LEE: Right. AZHAR: That was not to do with technology. That was to do with incumbent lock-in. So when we look at the medical industry, the healthcare space, there are some parallels with energy, but there are a few little things that the ability that the consumer has to put in some effort to learn about their condition, but also the fact that some of the regulations that exist just exist because certain professions are powerful. LEE: Yeah, one last question while we’re still on economics. There seems to be a conundrum about productivity and efficiency in healthcare delivery because I’ve never encountered a doctor or a nurse that wants to be able to handle even more patients than they’re doing on a daily basis. And so, you know, if productivity means simply, well, your rounds can now handle 16 patients instead of eight patients, that doesn’t seem necessarily to be a desirable thing. So how can we or should we be thinking about efficiency and productivity since obviously costs are, in most of the developed world, are a huge, huge problem? AZHAR: Yes, and when you described doubling the number of patients on the round, I imagined you buying them all roller skates so they could just whizz around [LAUGHTER] the hospital faster and faster than ever before. We can learn from what happened with the introduction of electricity. Electricity emerged at the end of the 19th century, around the same time that cars were emerging as a product, and car makers were very small and very artisanal. And in the early 1900s, some really smart car makers figured out that electricity was going to be important. And they bought into this technology by putting pendant lights in their workshops so they could “visit more patients.” Right? LEE: Yeah, yeah. AZHAR: They could effectively spend more hours working, and that was a productivity enhancement, and it was noticeable. But, of course, electricity fundamentally changed the productivity by orders of magnitude of people who made cars starting with Henry Ford because he was able to reorganize his factories around the electrical delivery of power and to therefore have the moving assembly line, which 10xed the productivity of that system. So when we think about how AI will affect the clinician, the nurse, the doctor, it’s much easier for us to imagine it as the pendant light that just has them working later … LEE: Right. AZHAR: … than it is to imagine a reconceptualization of the relationship between the clinician and the people they care for. And I’m not sure. I don’t think anybody knows what that looks like. But, you know, I do think that there will be a way that this changes, and you can see that scale out factor. And it may be, Peter, that what we end up doing is we end up saying, OK, because we have these brilliant AIs, there’s a lower level of training and cost and expense that’s required for a broader range of conditions that need treating. And that expands the market, right. That expands the market hugely. It’s what has happened in the market for taxis or ride sharing. The introduction of Uber and the GPS system … LEE: Yup. AZHAR: … has meant many more people now earn their living driving people around in their cars. And at least in London, you had to be reasonably highly trained to do that. So I can see a reorganization is possible. Of course, entrenched interests, the economic flow … and there are many entrenched interests, particularly in the US between the health systems and the, you know, professional bodies that might slow things down. But I think a reimagining is possible. And if I may, I’ll give you one example of that, which is, if you go to countries outside of the US where there are many more sick people per doctor, they have incentives to change the way they deliver their healthcare. And well before there was AI of this quality around, there was a few cases of health systems in India—Aravind Eye Care (opens in new tab) was one, and Narayana Hrudayalaya [now known as Narayana Health (opens in new tab)] was another. And in the latter, they were a cardiac care unit where you couldn’t get enough heart surgeons. LEE: Yeah, yep. AZHAR: So specially trained nurses would operate under the supervision of a single surgeon who would supervise many in parallel. So there are ways of increasing the quality of care, reducing the cost, but it does require a systems change. And we can’t expect a single bright algorithm to do it on its own. LEE: Yeah, really, really interesting. So now let’s get into regulation. And let me start with this question. You know, there are several startup companies I’m aware of that are pushing on, I think, a near-term future possibility that a medical AI for consumer might be allowed, say, to prescribe a medication for you, something that would normally require a doctor or a pharmacist, you know, that is certified in some way, licensed to do. Do you think we’ll get to a point where for certain regulated activities, humans are more or less cut out of the loop? AZHAR: Well, humans would have been in the loop because they would have provided the training data, they would have done the oversight, the quality control. But to your question in general, would we delegate an important decision entirely to a tested set of algorithms? I’m sure we will. We already do that. I delegate less important decisions like, What time should I leave for the airport to Waze. I delegate more important decisions to the automated braking in my car. We will do this at certain levels of risk and threshold. If I come back to my example of prescribing Ventolin. It’s really unclear to me that the prescription of Ventolin, this incredibly benign bronchodilator that is only used by people who’ve been through the asthma process, needs to be prescribed by someone who’s gone through 10 years or 12 years of medical training. And why that couldn’t be prescribed by an algorithm or an AI system. LEE: Right. Yep. Yep. AZHAR: So, you know, I absolutely think that that will be the case and could be the case. I can’t really see what the objections are. And the real issue is where do you draw the line of where you say, “Listen, this is too important,” or “The cost is too great,” or “The side effects are too high,” and therefore this is a point at which we want to have some, you know, human taking personal responsibility, having a liability framework in place, having a sense that there is a person with legal agency who signed off on this decision. And that line I suspect will start fairly low, and what we’d expect to see would be that that would rise progressively over time. LEE: What you just said, that scenario of your personal asthma medication, is really interesting because your personal AI might have the benefit of 50 years of your own experience with that medication. So, in a way, there is at least the data potential for, let’s say, the next prescription to be more personalized and more tailored specifically for you. AZHAR: Yes. Well, let’s dig into this because I think this is super interesting, and we can look at how things have changed. So 15 years ago, if I had a bad asthma attack, which I might have once a year, I would have needed to go and see my general physician. In the UK, it’s very difficult to get an appointment. I would have had to see someone privately who didn’t know me at all because I’ve just walked in off the street, and I would explain my situation. It would take me half a day. Productivity lost. I’ve been miserable for a couple of days with severe wheezing. Then a few years ago the system changed, a protocol changed, and now I have a thing called a rescue pack, which includes prednisolone steroids. It includes something else I’ve just forgotten, and an antibiotic in case I get an upper respiratory tract infection, and I have an “algorithm.” It’s called a protocol. It’s printed out. It’s a flowchart I answer various questions, and then I say, “I’m going to prescribe this to myself.” You know, UK doctors don’t prescribe prednisolone, or prednisone as you may call it in the US, at the drop of a hat, right. It’s a powerful steroid. I can self-administer, and I can now get that repeat prescription without seeing a physician a couple of times a year. And the algorithm, the “AI” is, it’s obviously been done in PowerPoint naturally, and it’s a bunch of arrows. [LAUGHS] Surely, surely, an AI system is going to be more sophisticated, more nuanced, and give me more assurance that I’m making the right decision around something like that. LEE: Yeah. Well, at a minimum, the AI should be able to make that PowerPoint the next time. [LAUGHS] AZHAR: Yeah, yeah. Thank god for Clippy. Yes. LEE: So, you know, I think in our book, we had a lot of certainty about most of the things we’ve discussed here, but one chapter where I felt we really sort of ran out of ideas, frankly, was on regulation. And, you know, what we ended up doing for that chapter is … I can’t remember if it was Carey’s or Zak’s idea, but we asked GPT-4 to have a conversation, a debate with itself [LAUGHS], about regulation. And we made some minor commentary on that. And really, I think we took that approach because we just didn’t have much to offer. By the way, in our defense, I don’t think anyone else had any better ideas anyway. AZHAR: Right. LEE: And so now two years later, do we have better ideas about the need for regulation, the frameworks around which those regulations should be developed, and, you know, what should this look like? AZHAR: So regulation is going to be in some cases very helpful because it provides certainty for the clinician that they’re doing the right thing, that they are still insured for what they’re doing, and it provides some degree of confidence for the patient. And we need to make sure that the claims that are made stand up to quite rigorous levels, where ideally there are RCTs [randomized control trials], and there are the classic set of processes you go through. You do also want to be able to experiment, and so the question is: as a regulator, how can you enable conditions for there to be experimentation? And what is experimentation? Experimentation is learning so that every element of the system can learn from this experience. So finding that space where there can be bit of experimentation, I think, becomes very, very important. And a lot of this is about experience, so I think the first digital therapeutics have received FDA approval, which means there are now people within the FDA who understand how you go about running an approvals process for that, and what that ends up looking like—and of course what we’re very good at doing in this sort of modern hyper-connected world—is we can share that expertise, that knowledge, that experience very, very quickly. So you go from one approval a year to a hundred approvals a year to a thousand approvals a year. So we will then actually, I suspect, need to think about what is it to approve digital therapeutics because, unlike big biological molecules, we can generate these digital therapeutics at the rate of knots [very rapidly]. LEE: Yes. AZHAR: Every road in Hayes Valley in San Francisco, right, is churning out new startups who will want to do things like this. So then, I think about, what does it mean to get approved if indeed it gets approved? But we can also go really far with things that don’t require approval. I come back to my sleep tracking ring. So I’ve been wearing this for a few years, and when I go and see my doctor or I have my annual checkup, one of the first things that he asks is how have I been sleeping. And in fact, I even sync my sleep tracking data to their medical record system, so he’s saying … hearing what I’m saying, but he’s actually pulling up the real data going, This patient’s lying to me again. Of course, I’m very truthful with my doctor, as we should all be. [LAUGHTER] LEE: You know, actually, that brings up a point that consumer-facing health AI has to deal with pop science, bad science, you know, weird stuff that you hear on Reddit. And because one of the things that consumers want to know always is, you know, what’s the truth? AZHAR: Right. LEE: What can I rely on? And I think that somehow feels different than an AI that you actually put in the hands of, let’s say, a licensed practitioner. And so the regulatory issues seem very, very different for these two cases somehow. AZHAR: I agree, they’re very different. And I think for a lot of areas, you will want to build AI systems that are first and foremost for the clinician, even if they have patient extensions, that idea that the clinician can still be with a patient during the week. And you’ll do that anyway because you need the data, and you also need a little bit of a liability shield to have like a sensible person who’s been trained around that. And I think that’s going to be a very important pathway for many AI medical crossovers. We’re going to go through the clinician. LEE: Yeah. AZHAR: But I also do recognize what you say about the, kind of, kooky quackery that exists on Reddit. Although on Creatine, Reddit may yet prove to have been right. [LAUGHTER] LEE: Yeah, that’s right. Yes, yeah, absolutely. Yeah. AZHAR: Sometimes it’s right. And I think that it serves a really good role as a field of extreme experimentation. So if you’re somebody who makes a continuous glucose monitor traditionally given to diabetics but now lots of people will wear them—and sports people will wear them—you probably gathered a lot of extreme tail distribution data by reading the Reddit/biohackers … LEE: Yes. AZHAR: … for the last few years, where people were doing things that you would never want them to really do with the CGM [continuous glucose monitor]. And so I think we shouldn’t understate how important that petri dish can be for helping us learn what could happen next. LEE: Oh, I think it’s absolutely going to be essential and a bigger thing in the future. So I think I just want to close here then with one last question. And I always try to be a little bit provocative with this. And so as you look ahead to what doctors and nurses and patients might be doing two years from now, five years from now, 10 years from now, do you have any kind of firm predictions? AZHAR: I’m going to push the boat out, and I’m going to go further out than closer in. LEE: OK. [LAUGHS] AZHAR: As patients, we will have many, many more touch points and interaction with our biomarkers and our health. We’ll be reading how well we feel through an array of things. And some of them we’ll be wearing directly, like sleep trackers and watches. And so we’ll have a better sense of what’s happening in our lives. It’s like the moment you go from paper bank statements that arrive every month to being able to see your account in real time. LEE: Yes. AZHAR: And I suspect we’ll have … we’ll still have interactions with clinicians because societies that get richer see doctors more, societies that get older see doctors more, and we’re going to be doing both of those over the coming 10 years. But there will be a sense, I think, of continuous health engagement, not in an overbearing way, but just in a sense that we know it’s there, we can check in with it, it’s likely to be data that is compiled on our behalf somewhere centrally and delivered through a user experience that reinforces agency rather than anxiety. And we’re learning how to do that slowly. I don’t think the health apps on our phones and devices have yet quite got that right. And that could help us personalize problems before they arise, and again, I use my experience for things that I’ve tracked really, really well. And I know from my data and from how I’m feeling when I’m on the verge of one of those severe asthma attacks that hits me once a year, and I can take a little bit of preemptive measure, so I think that that will become progressively more common and that sense that we will know our baselines. I mean, when you think about being an athlete, which is something I think about, but I could never ever do, [LAUGHTER] but what happens is you start with your detailed baselines, and that’s what your health coach looks at every three or four months. For most of us, we have no idea of our baselines. You we get our blood pressure measured once a year. We will have baselines, and that will help us on an ongoing basis to better understand and be in control of our health. And then if the product designers get it right, it will be done in a way that doesn’t feel invasive, but it’ll be done in a way that feels enabling. We’ll still be engaging with clinicians augmented by AI systems more and more because they will also have gone up the stack. They won’t be spending their time on just “take two Tylenol and have a lie down” type of engagements because that will be dealt with earlier on in the system. And so we will be there in a very, very different set of relationships. And they will feel that they have different ways of looking after our health. LEE: Azeem, it’s so comforting to hear such a wonderfully optimistic picture of the future of healthcare. And I actually agree with everything you’ve said. Let me just thank you again for joining this conversation. I think it’s been really fascinating. And I think somehow the systemic issues, the systemic issues that you tend to just see with such clarity, I think are going to be the most, kind of, profound drivers of change in the future. So thank you so much. AZHAR: Well, thank you, it’s been my pleasure, Peter, thank you. [TRANSITION MUSIC]   I always think of Azeem as a systems thinker. He’s always able to take the experiences of new technologies at an individual level and then project out to what this could mean for whole organizations and whole societies. In our conversation, I felt that Azeem really connected some of what we learned in a previous episode—for example, from Chrissy Farr—on the evolving consumerization of healthcare to the broader workforce and economic impacts that we’ve heard about from Ethan Mollick.   Azeem’s personal story about managing his asthma was also a great example. You know, he imagines a future, as do I, where personal AI might assist and remember decades of personal experience with a condition like asthma and thereby know more than any human being could possibly know in a deeply personalized and effective way, leading to better care. Azeem’s relentless optimism about our AI future was also so heartening to hear. Both of these conversations leave me really optimistic about the future of AI in medicine. At the same time, it is pretty sobering to realize just how much we’ll all need to change in pretty fundamental and maybe even in radical ways. I think a big insight I got from these conversations is how we interact with machines is going to have to be altered not only at the individual level, but at the company level and maybe even at the societal level. Since my conversation with Ethan and Azeem, there have been some pretty important developments that speak directly to this. Just last week at Build (opens in new tab), which is Microsoft’s yearly developer conference, we announced a slew of AI agent technologies. Our CEO, Satya Nadella, in fact, started his keynote by going online in a GitHub developer environment and then assigning a coding task to an AI agent, basically treating that AI as a full-fledged member of a development team. Other agents, for example, a meeting facilitator, a data analyst, a business researcher, travel agent, and more were also shown during the conference. But pertinent to healthcare specifically, what really blew me away was the demonstration of a healthcare orchestrator agent. And the specific thing here was in Stanford’s cancer treatment center, when they are trying to decide on potentially experimental treatments for cancer patients, they convene a meeting of experts. That is typically called a tumor board. And so this AI healthcare orchestrator agent actually participated as a full-fledged member of a tumor board meeting to help bring data together, make sure that the latest medical knowledge was brought to bear, and to assist in the decision-making around a patient’s cancer treatment. It was pretty amazing. [THEME MUSIC] A big thank-you again to Ethan and Azeem for sharing their knowledge and understanding of the dynamics between AI and society more broadly. And to our listeners, thank you for joining us. I’m really excited for the upcoming episodes, including discussions on medical students’ experiences with AI and AI’s influence on the operation of health systems and public health departments. We hope you’ll continue to tune in. Until next time. [MUSIC FADES]
    11 Comments 0 Shares
  • The Phoenician Scheme Review: Wes Anderson’s Best Movie in Over a Decade

    Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Kordais unable to bridge the final inches with Leland and Reagan. It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern princecan sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE. 
    It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure.

    Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt.He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Lieslhas a tough time with forgiveness, especially when it comes to a would-be patriarch or patron.
    She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire. Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn. Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body.

    From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdadand That Hamilton Woman. Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob. And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well.
    But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was.
    The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient.
    Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjornand the would-be buy-offs of an absentee father.
    The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall.
    The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration. For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over.

    The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6.

    Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!
    #phoenician #scheme #review #wes #andersons
    The Phoenician Scheme Review: Wes Anderson’s Best Movie in Over a Decade
    Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Kordais unable to bridge the final inches with Leland and Reagan. It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern princecan sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE.  It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure. Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt.He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Lieslhas a tough time with forgiveness, especially when it comes to a would-be patriarch or patron. She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire. Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn. Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body. From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdadand That Hamilton Woman. Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob. And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well. But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was. The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient. Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjornand the would-be buy-offs of an absentee father. The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall. The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration. For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over. The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox! #phoenician #scheme #review #wes #andersons
    WWW.DENOFGEEK.COM
    The Phoenician Scheme Review: Wes Anderson’s Best Movie in Over a Decade
    Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Korda (Benicio del Toro, tyrannical, avuncular) is unable to bridge the final inches with Leland and Reagan (Tom Hanks and Bryan Cranston, stone-faced). It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern prince (Riz Ahmed) can sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE.  It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure. Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt. (The industrialist’s pilots fare less happily from his habit of falling out of the sky.) He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Liesl (Mia Threapleton) has a tough time with forgiveness, especially when it comes to a would-be patriarch or patron. She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire (hence the aforementioned HORSE of fate). Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn (a chipper Michael Cera doing an accent about three clicks south of the Muppets’ Chef). Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body. From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdad (1940) and That Hamilton Woman (1941). Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob (Mathieu Amalric). And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well. But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was. The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient. Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjorn (again, Cera is having too much fun) and the would-be buy-offs of an absentee father. The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall. The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration (just wait until you see who he cast as God). For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over. The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!
    0 Comments 0 Shares
  • CoComelon is headed to Disney Plus in 2027

    Disney Plus will become the new home of CoComelon outside of YouTube starting in 2027, according to Bloomberg. All eight seasons will move over from Netflix, which has hosted the absurdly popular kids show since 2020.

    CoComelon, essentially a series of mind-numbingly plotless, CG-animated vignettes set to karaoke-quality nursery rhymes, is a giant in the world of programming for children, having accounted for 601 million Netflix views in 2023. According to Bloomberg, it was the second most-streamed show on the platform last year.

    Despite its popularity, Bloomberg reports that CoComelon views fell by “almost 60% over the last couple of years,” and that compared to all of streaming, it went from the fifth most-watched show in 2023 to not even breaking the top 10 last year. Still, it’s probably going to be a good deal for Disney, which will reportedly pay “tens of millions” a year for it. After all, 2027 is also the year that the first CoComelon movie hits theaters.
    #cocomelon #headed #disney #plus
    CoComelon is headed to Disney Plus in 2027
    Disney Plus will become the new home of CoComelon outside of YouTube starting in 2027, according to Bloomberg. All eight seasons will move over from Netflix, which has hosted the absurdly popular kids show since 2020. CoComelon, essentially a series of mind-numbingly plotless, CG-animated vignettes set to karaoke-quality nursery rhymes, is a giant in the world of programming for children, having accounted for 601 million Netflix views in 2023. According to Bloomberg, it was the second most-streamed show on the platform last year. Despite its popularity, Bloomberg reports that CoComelon views fell by “almost 60% over the last couple of years,” and that compared to all of streaming, it went from the fifth most-watched show in 2023 to not even breaking the top 10 last year. Still, it’s probably going to be a good deal for Disney, which will reportedly pay “tens of millions” a year for it. After all, 2027 is also the year that the first CoComelon movie hits theaters. #cocomelon #headed #disney #plus
    WWW.THEVERGE.COM
    CoComelon is headed to Disney Plus in 2027
    Disney Plus will become the new home of CoComelon outside of YouTube starting in 2027, according to Bloomberg. All eight seasons will move over from Netflix, which has hosted the absurdly popular kids show since 2020. CoComelon, essentially a series of mind-numbingly plotless, CG-animated vignettes set to karaoke-quality nursery rhymes, is a giant in the world of programming for children, having accounted for 601 million Netflix views in 2023. According to Bloomberg, it was the second most-streamed show on the platform last year. Despite its popularity, Bloomberg reports that CoComelon views fell by “almost 60% over the last couple of years,” and that compared to all of streaming, it went from the fifth most-watched show in 2023 to not even breaking the top 10 last year. Still, it’s probably going to be a good deal for Disney, which will reportedly pay “tens of millions” a year for it. After all, 2027 is also the year that the first CoComelon movie hits theaters.
    0 Comments 0 Shares
  • Comment les « starter packs » nous ont transformés en produits

    L'époque Comment les « starter packs » nous ont transformés en produits « Sur le feed ». Chaque mois, Laure Coromines décrypte les tendances numériques. Ces mèmes représentant une figurine 3D à l’effigie d’une personne accompagnée d’objets censés la caractériser, ont envahi, durant quelques semaines, les réseaux sociaux. Article réservé aux abonnés Starter pack « Louis XIV », généré par ChatGPT, publié sur les comptes des réseaux sociaux du château de Versailles. CAPTURE D’ÉCRAN INSTAGRAM @CHATEAUVERSAILLES Une lampe torche, un badge de la police fédérale américaine, un bloc-notes de papier jaune où consigner des indices et un mignon alien aux grands yeux en amande accompagnent la version plastifiée de Fox Mulder, le héros de l’ancienne série X-Files. Les « starter packs », ces « kits de démarrage » générés par l’intelligence artificielle, Stylisés façon Wes Anderson et Studio Ghibli, les starter packs prennent la forme de vignettes représentant une figurine 3D à l’effigie de l’utilisateur ou d’une personnalité, façon jouet de collection. Proprement emballée dans du plastique, la poupée flanquée de breloques et d’accessoires se doit de capturer avec humour la quintessence de nos alter ego numériques et avatars miniatures. Pour les produire, rien de plus simple. L’affaire est entendue en quelques clics et coups de clavier par le biais de plateformes d’IA génératives telles que ChatGPT, Kapwing ou Imgflip, où il suffira de calquer la feuille de route, partagée en ligne par de généreux internautes soucieux de répandre la bonne parole. Il vous reste 82.1% de cet article à lire. La suite est réservée aux abonnés.
    #comment #les #starter #packs #nous
    Comment les « starter packs » nous ont transformés en produits
    L'époque Comment les « starter packs » nous ont transformés en produits « Sur le feed ». Chaque mois, Laure Coromines décrypte les tendances numériques. Ces mèmes représentant une figurine 3D à l’effigie d’une personne accompagnée d’objets censés la caractériser, ont envahi, durant quelques semaines, les réseaux sociaux. Article réservé aux abonnés Starter pack « Louis XIV », généré par ChatGPT, publié sur les comptes des réseaux sociaux du château de Versailles. CAPTURE D’ÉCRAN INSTAGRAM @CHATEAUVERSAILLES Une lampe torche, un badge de la police fédérale américaine, un bloc-notes de papier jaune où consigner des indices et un mignon alien aux grands yeux en amande accompagnent la version plastifiée de Fox Mulder, le héros de l’ancienne série X-Files. Les « starter packs », ces « kits de démarrage » générés par l’intelligence artificielle, Stylisés façon Wes Anderson et Studio Ghibli, les starter packs prennent la forme de vignettes représentant une figurine 3D à l’effigie de l’utilisateur ou d’une personnalité, façon jouet de collection. Proprement emballée dans du plastique, la poupée flanquée de breloques et d’accessoires se doit de capturer avec humour la quintessence de nos alter ego numériques et avatars miniatures. Pour les produire, rien de plus simple. L’affaire est entendue en quelques clics et coups de clavier par le biais de plateformes d’IA génératives telles que ChatGPT, Kapwing ou Imgflip, où il suffira de calquer la feuille de route, partagée en ligne par de généreux internautes soucieux de répandre la bonne parole. Il vous reste 82.1% de cet article à lire. La suite est réservée aux abonnés. #comment #les #starter #packs #nous
    WWW.LEMONDE.FR
    Comment les « starter packs » nous ont transformés en produits
    L'époque Comment les « starter packs » nous ont transformés en produits « Sur le feed ». Chaque mois, Laure Coromines décrypte les tendances numériques. Ces mèmes représentant une figurine 3D à l’effigie d’une personne accompagnée d’objets censés la caractériser, ont envahi, durant quelques semaines, les réseaux sociaux. Article réservé aux abonnés Starter pack « Louis XIV », généré par ChatGPT, publié sur les comptes des réseaux sociaux du château de Versailles. CAPTURE D’ÉCRAN INSTAGRAM @CHATEAUVERSAILLES Une lampe torche, un badge de la police fédérale américaine (FBI), un bloc-notes de papier jaune où consigner des indices et un mignon alien aux grands yeux en amande accompagnent la version plastifiée de Fox Mulder, le héros de l’ancienne série X-Files. Les « starter packs », ces « kits de démarrage » générés par l’intelligence artificielle (IA), Stylisés façon Wes Anderson et Studio Ghibli, les starter packs prennent la forme de vignettes représentant une figurine 3D à l’effigie de l’utilisateur ou d’une personnalité, façon jouet de collection. Proprement emballée dans du plastique, la poupée flanquée de breloques et d’accessoires se doit de capturer avec humour la quintessence de nos alter ego numériques et avatars miniatures. Pour les produire, rien de plus simple. L’affaire est entendue en quelques clics et coups de clavier par le biais de plateformes d’IA génératives telles que ChatGPT, Kapwing ou Imgflip, où il suffira de calquer la feuille de route (un simple prompt), partagée en ligne par de généreux internautes soucieux de répandre la bonne parole. Il vous reste 82.1% de cet article à lire. La suite est réservée aux abonnés.
    0 Comments 0 Shares
  • Be honest: Does anyone really like Motion Blur, Bloom and/or Film grain?

    Slayven
    Never read a comic in his life
    Moderator

    Oct 25, 2017

    102,377

    First things i turn off, even before i start playing. They are distracting at best, and a waste of GPU/CPU cycles at worst.
     

    Kyrios
    Member

    Oct 27, 2017

    19,085

    Film grain is one of the first things I look for in the Options to turn off, if available lol
     

    Bonefish
    Member

    Oct 28, 2017

    5,099

    all dogshit. also that dumb lens effect they did in star wars outlaws and MHworld. At least Outlaws patched a way to turn that off.
     

    ann3nova.
    Member

    Oct 27, 2017

    2,546

    I'm cool with motion blur.
     

    Shoichi
    Member

    Jan 10, 2018

    12,489

    I turn all those off the moment I have access to visual options in any game I play
     

    RoKKeR
    Member

    Oct 25, 2017

    17,115

    Motion blur when done right = 100% yes. The others= no.
     

    Grenlento
    Member

    Dec 6, 2023

    1,822

    They aren't that taxing on resources nowadays right?

    But yeah, I also turn all that stuff off if I can.

    I'm also a monster & turn off AA if I can lol 

    Lylo
    Member

    Oct 25, 2017

    3,582

    No, no and no.

    Edit: also, the biggest of "no's" for chromatic aberration. 

    Vincent Grayson
    Member

    Oct 27, 2017

    7,382

    Mount Airy, MD

    Motion blur seems like the odd one out here, IMO. Film grain just adds absolutely nothing. Bloom might be good in theory but it sure seems like we've improved on what "bloom" was doing at this point. But motion blur makes total sense to me.
     

    MR2
    Member

    Apr 14, 2022

    1,367

    I'm not bothered enough to turn them off.
     

    xir
    Member

    Oct 27, 2017

    15,383

    Los Angeles, CA

    Yes

    No
    Yes 

    texhnolyze
    Shinra Employee
    Member

    Oct 25, 2017

    26,488

    Indonesia

    No to motion blur and film grain, I always turn them off.

    Bloom, in the other hand, depends on the implementation and its intensity. Modern bloom is much better than what we saw in PS360 era. 

    OP

    OP

    Slayven
    Never read a comic in his life
    Moderator

    Oct 25, 2017

    102,377

    RoKKeR said:

    Motion blur when done right = 100% yes. The others= no.

    Click to expand...
    Click to shrink...

    i knew i was missing one
     

    Duxxy3
    Member

    Oct 27, 2017

    24,801

    USA

    I generally turn off motion blur as a start. Film grain and bloom I typically leave alone, unless it really looks wrong
     

    Hasney
    One Winged Slayer
    The Fallen

    Oct 25, 2017

    23,266

    Immediately turning them all off when I can, as well as Chromatic Abberation
     

    Wrexis
    Member

    Nov 4, 2017

    29,482

    The last time I left film grain on in a game was Mass Effect 2007.
     

    Outtrigger888
    Member

    Oct 27, 2017

    2,664

    I shut off chromatic aberration and film grain. I'm cool with motion blur though.
     

    platypotamus
    Member

    Oct 25, 2017

    10,052

    I just have my PC autodetect if I'm on there, and if I'm on a console I dont even look at visual settings unless I need some colorblind fix and didnt find it elsewhere. Tbh I dunno what bloom even is.
     

    RedSwirl
    Member

    Oct 25, 2017

    10,729

    I don't even mind chromatic aberration unless it's really egregious. And I actually prefer leaving motion blur on, especially if it's per-object motion blur.
     

    Sadnarav
    Member

    Nov 6, 2019

    994

    I usually turn them off when I have the option, specially after I bought Final Fantasy Type-0 HD on launch and it had such intense motion blur that moving the camera gave me headaches, so I've never played it past the very start
     

    Rizific
    Member

    Oct 27, 2017

    6,322

    All turned off before starting the game. Really not a fan of purposely shitting up my image quality.
     

    Reinhard
    Member

    Oct 27, 2017

    7,200

    Never with chromatic aberration and film grain. Motion blur is good when per object motion blur, but I don't like motion blur in general.
     

    Roubjon
    Member

    Oct 25, 2017

    3,089

    I like all of it, yeah.
     

    LossAversion
    The Merchant of ERA
    Member

    Oct 28, 2017

    11,696

    Motion blur can really help at 30fps if it's implemented well but even at 40fps it becomes way less appealing. At 60fps or higher it hurts more than it helps.

    Film grain... I don't know, I usually just turn it off because it's either not noticeable at all or too noticeable.

    I have a soft spot for bloom. It can be really effective at adding a bit of whimsy like with the original Oblivion.

    Chromatic aberration is usually not my cup of tea but there are some games where it worked for me. Sue me, I liked it in Bloodborne.

    I cannot fucking stand vignettes and it actually killed my desire to play The Witcher 3 because the PS4 version got patched at some point to make the vignetting super dark and distracting with no way to turn it off. 

    MinerArcaniner
    Uncle Works at Nintendo
    Member

    Oct 29, 2017

    7,451

    Motion blur is case-by-case.

    Bloom and film grain can fuck off into the sun. 

    blazinglazers
    Prophet of Truth
    Member

    Oct 27, 2017

    304

    Los Angeles

    As a console player, yeah I fucking love it.

    Well done motion blur helps the "feel" of 30fps dramatically. Subtle film grain and lens effects can add up to an immersive "cinematic" aesthetic.

    Of course, all of these things can be abused... but that goes for everything. 

    Rippa
    Member

    Feb 15, 2018

    1,343

    I'm all for artist vision.

    If it's on then I don't mind it.

    If it's off, I won't turn it on. 

    Uhyve
    Member

    Oct 25, 2017

    1,290

    I stream alot of games from my gaming PC to my bedroom media-ish PC, so I usually disable film grain because I assume it'd hurt compression. Not sure if that's a real thing though, wonder if they do the same by default on streaming services.

    Otherwise, assuming they aren't horrible implementations, I don't mind any of those effects. 

    nolifebr
    Member

    Sep 1, 2018

    12,633

    Curitiba/BR

    No problem with any of those.
     

    SoftTaur
    Member

    Oct 25, 2017

    688

    A very small amount of motion blur can be fine. Everything else is distracting at best.
     

    selfnoise
    Member

    Oct 25, 2017

    1,555

    I don't think I have ever actually seen film grain in a game, I can't tell the difference on or off. Motion blur CAN be good, but it seems like it's always implemented in a stupid way.

    Bloom feels like kind of a last-gen thing? I guess Veilguard had it. It's fine. 

    UraMallas
    Member

    Nov 1, 2017

    24,478

    United States

    Roubjon said:

    I like all of it, yeah.

    Click to expand...
    Click to shrink...

    At the very least I don't mind it.
     

    hydruxo
    ▲ Legend ▲
    Member

    Oct 25, 2017

    22,739

    Motion blur is alright sometimes, but I turn off bloom and film grain immediately
     

    RPGsandFGCs
    Member

    Jun 30, 2024

    1,095

    California

    I sometimes leave bloom on, but motion blur is off 100% of the time and film grain is off 95% of the time.

    I don't fuck with motion blur. 

    Bear
    Member

    Oct 25, 2017

    12,314

    They're all going off instantly.
     

    Spaggy
    Member

    Oct 26, 2017

    778

    I kinda like film grain, but I'll turn it down to 50% or so if possible. It depends on the game and the look they're going for, but usually I'll turn down those visual settings rather than completely off. Same with camera bob/sway - I'll turn that down to 20% if I can.
     

    secretanchitman
    One Winged Slayer
    Member

    Oct 25, 2017

    9,901

    Chicago, IL

    Hate all of those annoying post-processing effects and I turnthem off instantly.

    Give me a clean and native image every time! 

    J75
    Member

    Sep 29, 2018

    7,880

    Digital Foundry does lol
     

    Lant_War
    Classic Anus Game
    The Fallen

    Jul 14, 2018

    25,288

    I like motion blur if well implemented. If you're playing at 60fps or under it helps a fair bit to smooth out the image.

    CA and film grain depends on the implementation and what the game is going for. Generally I leave them on though unless it's absurdly intrusive 

    Boopers
    Member

    Nov 1, 2020

    4,354

    Vermont usa

    I think it's neat!
     

    AppleMIX
    Prophet of Truth
    Member

    Oct 27, 2017

    1,851

    Nope, auto turn off. Same with chromatic aberration.
     

    contextura
    Member

    May 27, 2023

    15

    Depends on the look the game is going for I guess. Like something like the last of us 2 just looks kind of plain without that added post-processing to give it that filmic look it's going for. But if I'm playing something more inherently gamey then I'll turn them off if they're too obtrusive.
     

    RaySpencer
    Member

    Oct 27, 2017

    5,795

    I love them all of they are used well for artistic style.

    What I hate is all the dithering I see from upscaling in all these games. 

    TeenageFBI
    One Winged Slayer
    Member

    Oct 25, 2017

    11,332

    RoKKeR said:

    Motion blur when done right = 100% yes. The others= no.

    Click to expand...
    Click to shrink...

    Chromatic aberration can absolutely be done right, but very few devs show that kind of restraint.

    It's a good effect to use when taking damage in certain games. Or it could show up when simulating a shitty security camera readout. Or maybe it could only appear as you approach a dangerous/lethal area.

    I always liked the effect in Teleglitch:

    View:  

    pioneer
    Member

    May 31, 2022

    7,297

    I love film grain when it's done well. Blue and bloom I don't feel strongly about, but generally some is nice but often I find them overdone.
     

    IceBear
    Member

    Nov 20, 2017

    1,297

    I tend to keep bloom and film grain on as I assumed those are part of the artists' intended vision on how a game should look like. As for motion blur, it depends. It stays on for console 30fps and off if I can hit 60fps on PC.
     

    Eidan
    AVALANCHE
    Avenger

    Oct 30, 2017

    9,860

    I have no problem with any of them.
     

    inkblot
    Member

    Mar 27, 2024

    1,091

    Motion Blur

    Film Grain 

    srtrestre
    One Winged Slayer
    Member

    Oct 25, 2017

    19,503

    I turn all these off. Also throw in chromatic aberration somewhere in there
     

    Dest
    Has seen more 10s than EA ever will
    Coward

    Jun 4, 2018

    16,048

    Work

    motion blur is the first thing i turn off in a game, if i can. the other stuff.... depends on the implementation. can be good.
     
    #honest #does #anyone #really #like
    Be honest: Does anyone really like Motion Blur, Bloom and/or Film grain?
    Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 First things i turn off, even before i start playing. They are distracting at best, and a waste of GPU/CPU cycles at worst.   Kyrios Member Oct 27, 2017 19,085 Film grain is one of the first things I look for in the Options to turn off, if available lol   Bonefish Member Oct 28, 2017 5,099 all dogshit. also that dumb lens effect they did in star wars outlaws and MHworld. At least Outlaws patched a way to turn that off.   ann3nova. Member Oct 27, 2017 2,546 I'm cool with motion blur.   Shoichi Member Jan 10, 2018 12,489 I turn all those off the moment I have access to visual options in any game I play   RoKKeR Member Oct 25, 2017 17,115 Motion blur when done right = 100% yes. The others= no.   Grenlento Member Dec 6, 2023 1,822 They aren't that taxing on resources nowadays right? But yeah, I also turn all that stuff off if I can. I'm also a monster & turn off AA if I can lol  Lylo Member Oct 25, 2017 3,582 No, no and no. Edit: also, the biggest of "no's" for chromatic aberration.  Vincent Grayson Member Oct 27, 2017 7,382 Mount Airy, MD Motion blur seems like the odd one out here, IMO. Film grain just adds absolutely nothing. Bloom might be good in theory but it sure seems like we've improved on what "bloom" was doing at this point. But motion blur makes total sense to me.   MR2 Member Apr 14, 2022 1,367 I'm not bothered enough to turn them off.   xir Member Oct 27, 2017 15,383 Los Angeles, CA Yes No Yes  texhnolyze Shinra Employee Member Oct 25, 2017 26,488 Indonesia No to motion blur and film grain, I always turn them off. Bloom, in the other hand, depends on the implementation and its intensity. Modern bloom is much better than what we saw in PS360 era.  OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 RoKKeR said: Motion blur when done right = 100% yes. The others= no. Click to expand... Click to shrink... i knew i was missing one   Duxxy3 Member Oct 27, 2017 24,801 USA I generally turn off motion blur as a start. Film grain and bloom I typically leave alone, unless it really looks wrong   Hasney One Winged Slayer The Fallen Oct 25, 2017 23,266 Immediately turning them all off when I can, as well as Chromatic Abberation   Wrexis Member Nov 4, 2017 29,482 The last time I left film grain on in a game was Mass Effect 2007.   Outtrigger888 Member Oct 27, 2017 2,664 I shut off chromatic aberration and film grain. I'm cool with motion blur though.   platypotamus Member Oct 25, 2017 10,052 I just have my PC autodetect if I'm on there, and if I'm on a console I dont even look at visual settings unless I need some colorblind fix and didnt find it elsewhere. Tbh I dunno what bloom even is.   RedSwirl Member Oct 25, 2017 10,729 I don't even mind chromatic aberration unless it's really egregious. And I actually prefer leaving motion blur on, especially if it's per-object motion blur.   Sadnarav Member Nov 6, 2019 994 I usually turn them off when I have the option, specially after I bought Final Fantasy Type-0 HD on launch and it had such intense motion blur that moving the camera gave me headaches, so I've never played it past the very start   Rizific Member Oct 27, 2017 6,322 All turned off before starting the game. Really not a fan of purposely shitting up my image quality.   Reinhard Member Oct 27, 2017 7,200 Never with chromatic aberration and film grain. Motion blur is good when per object motion blur, but I don't like motion blur in general.   Roubjon Member Oct 25, 2017 3,089 I like all of it, yeah.   LossAversion The Merchant of ERA Member Oct 28, 2017 11,696 Motion blur can really help at 30fps if it's implemented well but even at 40fps it becomes way less appealing. At 60fps or higher it hurts more than it helps. Film grain... I don't know, I usually just turn it off because it's either not noticeable at all or too noticeable. I have a soft spot for bloom. It can be really effective at adding a bit of whimsy like with the original Oblivion. Chromatic aberration is usually not my cup of tea but there are some games where it worked for me. Sue me, I liked it in Bloodborne. I cannot fucking stand vignettes and it actually killed my desire to play The Witcher 3 because the PS4 version got patched at some point to make the vignetting super dark and distracting with no way to turn it off.  MinerArcaniner Uncle Works at Nintendo Member Oct 29, 2017 7,451 Motion blur is case-by-case. Bloom and film grain can fuck off into the sun.  blazinglazers Prophet of Truth Member Oct 27, 2017 304 Los Angeles As a console player, yeah I fucking love it. Well done motion blur helps the "feel" of 30fps dramatically. Subtle film grain and lens effects can add up to an immersive "cinematic" aesthetic. Of course, all of these things can be abused... but that goes for everything.  Rippa Member Feb 15, 2018 1,343 I'm all for artist vision. If it's on then I don't mind it. If it's off, I won't turn it on.  Uhyve Member Oct 25, 2017 1,290 I stream alot of games from my gaming PC to my bedroom media-ish PC, so I usually disable film grain because I assume it'd hurt compression. Not sure if that's a real thing though, wonder if they do the same by default on streaming services. Otherwise, assuming they aren't horrible implementations, I don't mind any of those effects.  nolifebr Member Sep 1, 2018 12,633 Curitiba/BR No problem with any of those.   SoftTaur Member Oct 25, 2017 688 A very small amount of motion blur can be fine. Everything else is distracting at best.   selfnoise Member Oct 25, 2017 1,555 I don't think I have ever actually seen film grain in a game, I can't tell the difference on or off. Motion blur CAN be good, but it seems like it's always implemented in a stupid way. Bloom feels like kind of a last-gen thing? I guess Veilguard had it. It's fine.  UraMallas Member Nov 1, 2017 24,478 United States Roubjon said: I like all of it, yeah. Click to expand... Click to shrink... At the very least I don't mind it.   hydruxo ▲ Legend ▲ Member Oct 25, 2017 22,739 Motion blur is alright sometimes, but I turn off bloom and film grain immediately   RPGsandFGCs Member Jun 30, 2024 1,095 California I sometimes leave bloom on, but motion blur is off 100% of the time and film grain is off 95% of the time. I don't fuck with motion blur.  Bear Member Oct 25, 2017 12,314 They're all going off instantly.   Spaggy Member Oct 26, 2017 778 I kinda like film grain, but I'll turn it down to 50% or so if possible. It depends on the game and the look they're going for, but usually I'll turn down those visual settings rather than completely off. Same with camera bob/sway - I'll turn that down to 20% if I can.   secretanchitman One Winged Slayer Member Oct 25, 2017 9,901 Chicago, IL Hate all of those annoying post-processing effects and I turnthem off instantly. Give me a clean and native image every time!  J75 Member Sep 29, 2018 7,880 Digital Foundry does lol   Lant_War Classic Anus Game The Fallen Jul 14, 2018 25,288 I like motion blur if well implemented. If you're playing at 60fps or under it helps a fair bit to smooth out the image. CA and film grain depends on the implementation and what the game is going for. Generally I leave them on though unless it's absurdly intrusive  Boopers Member Nov 1, 2020 4,354 Vermont usa I think it's neat!   AppleMIX Prophet of Truth Member Oct 27, 2017 1,851 Nope, auto turn off. Same with chromatic aberration.   contextura Member May 27, 2023 15 Depends on the look the game is going for I guess. Like something like the last of us 2 just looks kind of plain without that added post-processing to give it that filmic look it's going for. But if I'm playing something more inherently gamey then I'll turn them off if they're too obtrusive.   RaySpencer Member Oct 27, 2017 5,795 I love them all of they are used well for artistic style. What I hate is all the dithering I see from upscaling in all these games.  TeenageFBI One Winged Slayer Member Oct 25, 2017 11,332 RoKKeR said: Motion blur when done right = 100% yes. The others= no. Click to expand... Click to shrink... Chromatic aberration can absolutely be done right, but very few devs show that kind of restraint. It's a good effect to use when taking damage in certain games. Or it could show up when simulating a shitty security camera readout. Or maybe it could only appear as you approach a dangerous/lethal area. I always liked the effect in Teleglitch: View:   pioneer Member May 31, 2022 7,297 I love film grain when it's done well. Blue and bloom I don't feel strongly about, but generally some is nice but often I find them overdone.   IceBear Member Nov 20, 2017 1,297 I tend to keep bloom and film grain on as I assumed those are part of the artists' intended vision on how a game should look like. As for motion blur, it depends. It stays on for console 30fps and off if I can hit 60fps on PC.   Eidan AVALANCHE Avenger Oct 30, 2017 9,860 I have no problem with any of them.   inkblot Member Mar 27, 2024 1,091 ✅ Motion Blur ❌ Film Grain  srtrestre One Winged Slayer Member Oct 25, 2017 19,503 I turn all these off. Also throw in chromatic aberration somewhere in there   Dest Has seen more 10s than EA ever will Coward Jun 4, 2018 16,048 Work motion blur is the first thing i turn off in a game, if i can. the other stuff.... depends on the implementation. can be good.   #honest #does #anyone #really #like
    WWW.RESETERA.COM
    Be honest: Does anyone really like Motion Blur, Bloom and/or Film grain?
    Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 First things i turn off, even before i start playing. They are distracting at best, and a waste of GPU/CPU cycles at worst.   Kyrios Member Oct 27, 2017 19,085 Film grain is one of the first things I look for in the Options to turn off, if available lol   Bonefish Member Oct 28, 2017 5,099 all dogshit. also that dumb lens effect they did in star wars outlaws and MHworld (im sure buncha others had it). At least Outlaws patched a way to turn that off.   ann3nova. Member Oct 27, 2017 2,546 I'm cool with motion blur.   Shoichi Member Jan 10, 2018 12,489 I turn all those off the moment I have access to visual options in any game I play   RoKKeR Member Oct 25, 2017 17,115 Motion blur when done right = 100% yes. The others (+chromatic aberration) = no.   Grenlento Member Dec 6, 2023 1,822 They aren't that taxing on resources nowadays right? But yeah, I also turn all that stuff off if I can. I'm also a monster & turn off AA if I can lol  Lylo Member Oct 25, 2017 3,582 No, no and no. Edit: also, the biggest of "no's" for chromatic aberration.  Vincent Grayson Member Oct 27, 2017 7,382 Mount Airy, MD Motion blur seems like the odd one out here, IMO. Film grain just adds absolutely nothing. Bloom might be good in theory but it sure seems like we've improved on what "bloom" was doing at this point. But motion blur makes total sense to me.   MR2 Member Apr 14, 2022 1,367 I'm not bothered enough to turn them off.   xir Member Oct 27, 2017 15,383 Los Angeles, CA Yes No Yes  texhnolyze Shinra Employee Member Oct 25, 2017 26,488 Indonesia No to motion blur and film grain, I always turn them off. Bloom, in the other hand, depends on the implementation and its intensity. Modern bloom is much better than what we saw in PS360 era.  OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,377 RoKKeR said: Motion blur when done right = 100% yes. The others (+chromatic aberration) = no. Click to expand... Click to shrink... i knew i was missing one   Duxxy3 Member Oct 27, 2017 24,801 USA I generally turn off motion blur as a start. Film grain and bloom I typically leave alone, unless it really looks wrong   Hasney One Winged Slayer The Fallen Oct 25, 2017 23,266 Immediately turning them all off when I can, as well as Chromatic Abberation   Wrexis Member Nov 4, 2017 29,482 The last time I left film grain on in a game was Mass Effect 2007.   Outtrigger888 Member Oct 27, 2017 2,664 I shut off chromatic aberration and film grain. I'm cool with motion blur though.   platypotamus Member Oct 25, 2017 10,052 I just have my PC autodetect if I'm on there, and if I'm on a console I dont even look at visual settings unless I need some colorblind fix and didnt find it elsewhere. Tbh I dunno what bloom even is.   RedSwirl Member Oct 25, 2017 10,729 I don't even mind chromatic aberration unless it's really egregious. And I actually prefer leaving motion blur on, especially if it's per-object motion blur.   Sadnarav Member Nov 6, 2019 994 I usually turn them off when I have the option, specially after I bought Final Fantasy Type-0 HD on launch and it had such intense motion blur that moving the camera gave me headaches, so I've never played it past the very start   Rizific Member Oct 27, 2017 6,322 All turned off before starting the game. Really not a fan of purposely shitting up my image quality.   Reinhard Member Oct 27, 2017 7,200 Never with chromatic aberration and film grain. Motion blur is good when per object motion blur, but I don't like motion blur in general.   Roubjon Member Oct 25, 2017 3,089 I like all of it, yeah.   LossAversion The Merchant of ERA Member Oct 28, 2017 11,696 Motion blur can really help at 30fps if it's implemented well but even at 40fps it becomes way less appealing. At 60fps or higher it hurts more than it helps. Film grain... I don't know, I usually just turn it off because it's either not noticeable at all or too noticeable. I have a soft spot for bloom. It can be really effective at adding a bit of whimsy like with the original Oblivion. Chromatic aberration is usually not my cup of tea but there are some games where it worked for me. Sue me, I liked it in Bloodborne. I cannot fucking stand vignettes and it actually killed my desire to play The Witcher 3 because the PS4 version got patched at some point to make the vignetting super dark and distracting with no way to turn it off.  MinerArcaniner Uncle Works at Nintendo Member Oct 29, 2017 7,451 Motion blur is case-by-case. Bloom and film grain can fuck off into the sun.  blazinglazers Prophet of Truth Member Oct 27, 2017 304 Los Angeles As a console player, yeah I fucking love it. Well done motion blur helps the "feel" of 30fps dramatically. Subtle film grain and lens effects can add up to an immersive "cinematic" aesthetic. Of course, all of these things can be abused... but that goes for everything.  Rippa Member Feb 15, 2018 1,343 I'm all for artist vision. If it's on then I don't mind it. If it's off, I won't turn it on.  Uhyve Member Oct 25, 2017 1,290 I stream alot of games from my gaming PC to my bedroom media-ish PC, so I usually disable film grain because I assume it'd hurt compression. Not sure if that's a real thing though, wonder if they do the same by default on streaming services. Otherwise, assuming they aren't horrible implementations, I don't mind any of those effects.  nolifebr Member Sep 1, 2018 12,633 Curitiba/BR No problem with any of those.   SoftTaur Member Oct 25, 2017 688 A very small amount of motion blur can be fine. Everything else is distracting at best.   selfnoise Member Oct 25, 2017 1,555 I don't think I have ever actually seen film grain in a game, I can't tell the difference on or off. Motion blur CAN be good, but it seems like it's always implemented in a stupid way. Bloom feels like kind of a last-gen thing? I guess Veilguard had it. It's fine.  UraMallas Member Nov 1, 2017 24,478 United States Roubjon said: I like all of it, yeah. Click to expand... Click to shrink... At the very least I don't mind it.   hydruxo ▲ Legend ▲ Member Oct 25, 2017 22,739 Motion blur is alright sometimes, but I turn off bloom and film grain immediately   RPGsandFGCs Member Jun 30, 2024 1,095 California I sometimes leave bloom on, but motion blur is off 100% of the time and film grain is off 95% of the time. I don't fuck with motion blur.  Bear Member Oct 25, 2017 12,314 They're all going off instantly.   Spaggy Member Oct 26, 2017 778 I kinda like film grain, but I'll turn it down to 50% or so if possible. It depends on the game and the look they're going for, but usually I'll turn down those visual settings rather than completely off. Same with camera bob/sway - I'll turn that down to 20% if I can.   secretanchitman One Winged Slayer Member Oct 25, 2017 9,901 Chicago, IL Hate all of those annoying post-processing effects and I turn (or mod) them off instantly. Give me a clean and native image every time!  J75 Member Sep 29, 2018 7,880 Digital Foundry does lol   Lant_War Classic Anus Game The Fallen Jul 14, 2018 25,288 I like motion blur if well implemented. If you're playing at 60fps or under it helps a fair bit to smooth out the image. CA and film grain depends on the implementation and what the game is going for. Generally I leave them on though unless it's absurdly intrusive  Boopers Member Nov 1, 2020 4,354 Vermont usa I think it's neat!   AppleMIX Prophet of Truth Member Oct 27, 2017 1,851 Nope, auto turn off. Same with chromatic aberration.   contextura Member May 27, 2023 15 Depends on the look the game is going for I guess. Like something like the last of us 2 just looks kind of plain without that added post-processing to give it that filmic look it's going for. But if I'm playing something more inherently gamey then I'll turn them off if they're too obtrusive (also motion blur has to be turned off if I'm using frame gen which creates a kind of motion blur of its own).   RaySpencer Member Oct 27, 2017 5,795 I love them all of they are used well for artistic style. What I hate is all the dithering I see from upscaling in all these games.  TeenageFBI One Winged Slayer Member Oct 25, 2017 11,332 RoKKeR said: Motion blur when done right = 100% yes. The others (+chromatic aberration) = no. Click to expand... Click to shrink... Chromatic aberration can absolutely be done right, but very few devs show that kind of restraint. It's a good effect to use when taking damage in certain games. Or it could show up when simulating a shitty security camera readout. Or maybe it could only appear as you approach a dangerous/lethal area. I always liked the effect in Teleglitch: View: https://www.youtube.com/watch?v=FLycSlqVQIU  pioneer Member May 31, 2022 7,297 I love film grain when it's done well. Blue and bloom I don't feel strongly about, but generally some is nice but often I find them overdone.   IceBear Member Nov 20, 2017 1,297 I tend to keep bloom and film grain on as I assumed those are part of the artists' intended vision on how a game should look like. As for motion blur, it depends. It stays on for console 30fps and off if I can hit 60fps on PC.   Eidan AVALANCHE Avenger Oct 30, 2017 9,860 I have no problem with any of them.   inkblot Member Mar 27, 2024 1,091 ✅ Motion Blur ❌ Film Grain  srtrestre One Winged Slayer Member Oct 25, 2017 19,503 I turn all these off. Also throw in chromatic aberration somewhere in there   Dest Has seen more 10s than EA ever will Coward Jun 4, 2018 16,048 Work motion blur is the first thing i turn off in a game, if i can. the other stuff.... depends on the implementation. can be good.  
    0 Comments 0 Shares
More Results