Three men who lean on borrowed words. The same words pass from one person to the next, but what they do depends on the pain and wants underneath.
Choi Min-sik’s fallen novelist is easy to call pathetic. I read the series as an experiment: remove everything from a man, and see what still responds.
Sean Baker’s Palme d’Or winner is not about poverty. It is about the cost of staying fair with everything you have, in a world that never writes it down — and about the things that arrive from outside the ledger.
A thirteen-month field test of teaching an AI agent the receipt-collection work software never automated: which seams exported to prose, files, and code, what stayed human, and what that says about white-collar replacement.
Yann LeCun’s JEPA doesn’t reconstruct the world pixel by pixel — it predicts, in representation space, what a thing is. Why that shift matters for representation learning, compute, and world models.
A24’s Backrooms works best when you stop reading it as dimension-hopping horror — and that’s also exactly why it stops short of greatness. 6/10.
Writing skills while you work is compound interest on your labor. But what actually compounds isn’t the pile of skills — it’s the judgment of what’s worth encoding.
LLM CLI is the new REPL for agentic applications: explore interactively, export repeated and fragile behavior into skills, promote stable capabilities into MCP tools, and end with a small app runtime over reliable tools.
MSC Bellissima was not simply a bad cruise. The real difference was the stack: cruise-line philosophy, route design, and market maturity all pushed the experience in the wrong direction for me.
Sachi and Tamotsu are both lovable — and that is exactly what makes this film cruel. Fifteen years of a marriage undone by timing, capacity, and luck.
