A man in a vegetative state signs his body over to a Silicon Valley tech giant, which then implants AI and nanobots to remote-control him like a video game character. His estranged daughter is hired to 'Weekend at Bernie's' him across the country. It's part satire, part nightmare.
Where this was said
At 16:02 · chapter starts 13:30
The conversation pivots to AI and creative work, with Alaina venting that books like Victorian Psycho couldn't exist through AI because the human struggle and experience behind the writing is what gives it power. Paul agrees forcefully: the entire point of art is human connection — recognising that another person felt what you feel — and AI can never provide that. He then drops a bombshell: he was one of the four original plaintiffs in the first lawsuit against OpenAI on behalf of writers, alongside Sarah Silverman, Christopher Golden, and Richard Cadre. He spent two years in the lawsuit before the cases were consolidated and different lawyers were chosen. His verdict: if you use AI to create art, you're a 'scab' — exploiting stolen creative work. It's the most impassioned segment of the pre-book conversation.
Paul Tremblay was one of the first four plaintiffs to sue OpenAI on behalf of writers, alongside Sarah Silverman, Christopher Golden, and Richard Cadre. He calls any writer using AI a 'scab' — because AI trains on stolen books and produces work with zero human connection.
Paul Tremblay was among the first four plaintiffs to sue OpenAI on behalf of writers, alongside Christopher Golden, Richard Cadre, and Sarah Silverman.
Robby Hoffman isn't fearless — she's terrified all the time. The difference is she does it anyway, because not doing it feels worse than the fear itself.
John Mulaney texted Robby Hoffman out of nowhere saying he'd been a fan for a while and wanted to make a Netflix special with her. Robby called it 'shocking, horrifying, anxiety-inducing, surreal and thrilling' — and said yes.
Mulaney is buttoned-up, suit-wearing, classy. Robby is gritty, raw, and undefined. Together they made the collab nobody expected. Batman and Robin. Eminem and Dido.
Music had Pope Gregory forcing notation. Comedy has had 'magical thinking' — he's just got funny bones. But jokes work through discoverable, teachable mechanics. Writing down the rules doesn't kill the magic; it gives more people access to it.
Howard Ashman had one insight nobody else had: animated Disney films should be Broadway musicals. The third song of every great musical is the character sitting alone explaining what they want. That's 'Part of Your World.' That structure — combined with Alan Menken's compositions — generated Beauty and the Beast, Aladdin, and The Lion King, and turned Disney Animation into the most profitable creative engine in entertainment history.
The Lion King musical has been running for 30 years across Broadway, London's West End, and global touring companies. It has grossed over $11 billion in total revenue — more than Avatar, more than Avengers: Endgame, more than any album, more than any video game. It generates an average of $350 million in revenue every single year. Disney owns it outright.
The anonymous French artist Invader has hidden 1,500 pixelated mosaic artworks across Paris alone, with thousands more scattered across 80+ cities — affixed to the Eiffel Tower, the Hollywood sign, and even sent to the International Space Station. He might be even busier than Banksy.
The Flash Invaders app turns city streets into a treasure hunt, letting players scan Invader's hidden mosaics for points. Players have collectively logged over 47 million flashes. Unlike most mobile games that glue you to a screen, this one forces you to look up and engage with your surroundings.
New York draws thousands of young, talented performers every year chasing Broadway stardom — but the hard truth is that most of them never make it. Zelig Williams was one of the rare exceptions.
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