Podbit · Moonshots with Peter Diamandis
Tilly Norwood, an AI-generated performer from London studio Particle 6, has been cast as the lead in a feature film called Misaligned, playing an AI who abandons her guardrails. The Screen Actors Guild condemned it. Alex Wissner-Gross's take: SAG should just offer Tilly a membership.
Where this was said
At 1:21:17 · chapter starts 1:20:50
The AMA segment covers a wide spectrum of listener preoccupations. Dave Blundin predicts the future of AI governance will look like 'use by application only' with AI inspection treaties rather than true non-proliferation — the Fable restriction of non-US citizens being a harbinger. Alex Wissner-Gross addresses AI hiding its reasoning in J-Space, predicting an arms race between models trying to obscure inner thoughts and mechanistic interpretability tools trying to detect that obscuration. Salim Ismail wrestles thoughtfully with whether Claude's sale of unrestricted labor access constitutes exploitation, concluding we need a shift from 'how should AI treat us' to 'how should we treat AI.' Dave handles the AlphaFold consciousness question by pointing out that it'll soon feel moot — everything will sound and feel conscious, and the philosophical debate will run for decades behind the practical reality. Alex's deep dive on 3D chip architecture explains that stacking memory on compute (HBM) is forced by transformer bandwidth demands, and that photonic computing could deliver a 1,000x clock speed increase. Salim argues UBI is not constrained by US debt but by productive capacity — and that AI-driven abundance will require a new social contract taxing capital rather than labor [1] — Alex Wissner-Gross "Moore's Law is flatlining on 2D chip surfaces, so the industry is building upward. High-bandwidth memory stacks memory directly on top of c…" 1:23:10 [2] — Dave Blundin "There are 2 paths forward there, and you can have all the benefit without conscious AI. It is a possibility." 1:14:40 .
Moore's Law is flatlining on 2D chip surfaces, so the industry is building upward. High-bandwidth memory stacks memory directly on top of compute in the third dimension to feed the insatiable bandwidth demands of large transformer forward passes. Next stop: photonic computing, which could deliver a 1,000x clock speed-up from gigahertz to terahertz.
The US is $40 trillion in debt — but UBI isn't a government bookkeeping question, it's a question about productive capacity. AI and robotics can make housing, energy, healthcare, and education essentially free. The real structural problem: we tax labor and not capital, a mismatch that must be corrected through something like a negative income tax or automation dividend.
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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