2025-08-08 13:09:12
That is the topic of my latest Free Press column. Excerpt:
…in recent years they [Meta] have moved into AI in a big way. Over that same time period, the valuation of the company has risen from about $236 billion in November 2022 to almost $2 trillion at the end of this July.
The reasons for share price movements are not always transparent, but it is common consensus that AI investments are a significant reason why Meta is now worth much more. The original metaverse plans did not take off, and Facebook and Instagram are relatively mature products and they have not changed much as of late.
So the market, responding to Meta’s promises about AI, expects that it will deliver on that $2 trillion value. Yet their current Llama models are not state of the art. Meta needs something better and more competitive.
Meta thus has to justify an extra $1.8 trillion in its valuation, which of course they could lose if markets decide they are not up to the task. Spending some billions on top-quality AI personnel is easy to justify when viewed in terms of the value gain Meta already has been reaping.
And it is not just about justifying the current $2 trillion valuation. Meta possibly could be worth more yet. It probably has not escaped their attention that as of late, both Nvidia and Microsoft have had valuations of about $4 trillion. So the possibility of further upside enters the equation as well.
Keep in mind that better AI also will boost the profits Meta can receive from ads on Facebook and Instagram. Click-through rates on ads typically are small, so even a modest increase in targeting ability can mean a lot more profit. Meta does not have to achieve superintelligence to get its money back on these investments; they just need better AI. There is also a plan to put more ads on WhatsApp (currently the user experience is mostly ad-free), and that too can benefit from better AI and better ad targeting.
The general principle is that top talent is typically undervalued, if only because of egalitarian norms in pay structures.
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2025-08-08 02:11:52
What comes to mind when you think of a big fat Indian wedding?
Dazzling lights, glittering outfits, Bollywood hits, a lavish spread of food and an atmosphere soaked in celebration. Everything feels extravagant, emotional and larger than life.
Now imagine all of that without the bride and groom. No pheras (a Hindu marriage ritual where the couple takes seven rounds around a sacred fire), no relatives, no tearful farewells. Just the party.
Welcome to the world of fake weddings – a rising trend in Indian cities where people gather to enjoy the wedding party, minus the actual marriage.
These ticketed events, organised by hotels, clubs and companies, are designed purely for fun and promise to offer the full experience of a wedding party without any stress, rituals or responsibilities. Simply put, it’s a wedding-themed party night…
Ticket prices typically start at around 1,500 rupees ($17; £13) and can go up to 15,000 rupees or more, depending on the venue and facilities. Shivangi and her friends paid 10,000 rupees per couple to attend.
Here is more from the BBC, and thanks to Rich Dewey for the pointer.
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2025-08-08 01:26:46
I am a big fan, as on my topics of interest it does much better than o3, and that is saying something. It is also lightning fast, even for complex queries of economics, history, and ideas.
One of the most impressive features is its uncanny sense of what you might want to ask next. And it has a good sense for when to give you a (sometimes interactive!) chart or diagram. It is a much better writer than o3.
I have had early access, and love to just keep on asking it, asking it, asking it questions. Today I was asking about Irish coinage disputes from 1724 (Swift) and now about different kinds of Buddhism and their historical roots. It was very accurate on cuisine in northern Ghana.
It is the best learning tool I have. Furthermore, it feels fun.
Here is a review from Ethan Mollick.
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2025-08-08 00:21:17
1. On Raj Chetty.
5. Economists write on China and sparrow eradication.
6. When the private sector is better capitalized.
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2025-08-07 19:19:28
Ballard (Amazon Prime) — I liked Bosch, so I had high hopes for this spinoff. The core premise—a team of misfits solving cold cases—is solid enough but the writing is unimaginative and lazy. In one scene, Ballard is told she needs to get a confession. We expect clever interrogation tactics. Instead, she walks in and bluntly asks, “Did you shoot Yulia Kravetz?”
Maggie Q is charismatic but the writers don’t write for her. She’s exceptionally slim, for example, yet the show repeatedly asks us to believe she can physically overpower men twice her size. I have no problem with that in a superhero movie but it’s off putting in a show that pretends to be grounded and gritty. If you’re casting someone with that physique, write her as sharper, more cunning, more insightful—not as a female stand-in for macho Bosch.
Worst of all is the ending: a killer reveal that comes out of nowhere, with no foreshadowing or internal logic. The writers don’t understand the difference between a twist and a cheat. Disappointing.
Perfect Days (Hulu, Amazon) — a 2023 Wim Wenders film that won the award at Cannes for “works of artistic quality which witnesses to the power of film to reveal the mysterious depths of human beings through what concerns them, their hurts and failings as well as their hopes.” The film follows the life of Hirayama (Kōji Yakusho, who won at Cannes for best actor) as he cleans public toilets in Tokyo’s Shibuya district. You will not be surprised to learn that the movie proceeds slowly. The toilets and the cleaning are the most interesting part of the first hour! I say this not as critique–I liked Perfect Days and the toilets really are interesting–only to illustrate the kind of movie that it is.
It helps to know the following from a useful Sean Burns review:
Komorebi is a Japanese word for the dancing shadow patterns created by sunlight shining through the rustling leaves of trees. There’s no equivalent term in English, and it’s tough to imagine any American caring enough to come up with one. But every afternoon on his lunch break, Hirayama (Koji Yakusho) takes a picture of the komorebi from his favorite park bench using an old Olympus film camera. Back at his apartment, he’s got boxes and boxes of black-and-white photos of the same spot, every one of them unique. Subtle shifts of the light and swaying branches in the breeze make similar snapshots strikingly different every time. Indeed, the whole concept behind komorebi is that it can exist only in a moment, never to be repeated. “Next time is next time,” Hirayama’s fond of saying, “Now is now.”
Although I would disagree with Burns slightly because there is an English term for something related to komorebi and that is crown shyness, the phenomena where trees grow in such a way that their branches keep from touching one another creating a canopy of closeness yet also distance. Indeed, I would argue that crown shyness expresses more of what the movie is about than komorebi.
A key question that divides reviewers is whether Hirayama is happy or content. The standard interpretation is that he has found, as Davis puts it, “beauty in the routine,” stopping to smell the roses. Yes, that is one aspect, but the routine is also a narcotic for the lost. Hirayama is estranged from his family. Barkeeps like him but all his relationships are superficial. He plays a game with a “friend” he never meets—distance and disconnection are everywhere.. In two scenes he finds meaning and joy in looking after a child but in both these scenes the child’s mother quickly rips the child away. Hirayama’s work partner disappears in the second half of the film. He almost makes connections with three women but in each case, crown shyness intervenes. He takes pride in his work but is operating well below his ability. He is isolated, alone, and without someone else to share a life, he is incomplete.
There are great scenes and music in Perfect Days, including a beautiful scene in which a Japanese hostess (Sayuri Ishikawa) sings House of the Rising Sun.
Billy Joel: And So It Goes (HBO) — 52nd Street was one of my favorite albums as a youth and it was fun to revisit his career. Billy Joel’s first wife, Elizabeth Weber, was the muse for many of his early songs including Big Shot and Stiletto:
She cuts you hard, she cuts you deep She’s got so much skill She’s so fascinating That you’re still there waiting When she comes back for the kill You’ve been slashed in the face You’ve been left there to bleed You want to run away But you know you’re gonna stay ‘Cause she gives you what you need
She is indeed, fascinating! Wow. Even today, she comes across as formidable.
I thought a lot about genetics while watching And So It Goes. Joel’s father was a classical musician, though his only notable comment on Billy’s playing was to knock him unconscious for taking too much liberty with a piece. The father left when Billy was eight. Not much nurture. Years later, they reunite in Vienna—where Joel discovers he has a half-brother, Alexander Joel, a successful pianist and conductor.
Joel grew up poor, but his paternal grandfather had been a wealthy Jewish businessman in Germany until the Nazis forced him out. His mother, Rosalind, was also musical, but her primary inheritance may have been bipolar disorder. Joel’s mental health struggles are never explicitly named in the documentary, but the signs are everywhere: an early suicide attempt, alcoholism, repeated motorcycle and car crashes of a self-destructive nature. The emotional cycles also help explain the pattern of intense, short-lived marriages to beautiful and accomplished women—Weber, Christie Brinkley, Katie Lee, and Alexis Roderick. In his highs, he was irresistible. In his lows, unbearable. He goes to extremes.
Critics didn’t always love Joel’s music, but his catalog has become part of the American songbook. Proof of something Tyler and I often discuss, the power of simply keeping going.
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2025-08-07 16:42:16
Our research, with Felix Eggers, widens the lens and finds that Americans already enjoyed roughly $97 billion in “consumer surplus” from generative AI tools in 2024 alone. Consumer surplus—the difference between the maximum a consumer is willing to pay for a good or service and its actual price—is a more direct measure of economic well-being than GDP. Generative AI’s $97 billion in consumer surplus dwarfs the roughly $7 billion in U.S. revenue recorded by OpenAI, Microsoft, Anthropic and Google from their generative AI offerings last year. It doesn’t appear in GDP because most of the benefit accrues to users rather than the companies.
That is from Avinash Collis and Erik Brynjolfsson in the WSJ.
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