2025-06-02 07:48:38
Jason Snell has been covering Apple since all the Macs it shipped were beige boxes. This week, he joins Stephen and David to discuss the company’s range of legal and technological issues that seem to be adding up rapidly.
2025-05-31 03:37:14
This week I got an advance peek at “Bono: Stories of Surrender,” which is out today (it’s a beautiful day) on Apple TV+. It’s a movie version of the U2 frontman’s one-man show based on his book of the same name1. It’s available in a standard TV format, but also as an immersive video on the Vision Pro, which is what I watched.
I’ve been a U2 fan since “The Joshua Tree,” which dropped at exactly the right moment in my high school days, so of course I loved the content. Bono tells a version of his life story, occasionally breaking into short versions of his songs, backed by a mostly-string trio. It’s shot in black and white, but embellished with bright white-and-yellow animated drawings. I thought the presentation was quite effective, enhancing already-excellent live-action stagecraft.
(Chairs on stage represent the members of U2; a pair of armchairs and a table represent a place at the pub favored by Bono’s father. But his father appears in the chair as an animated line drawing. It’s clever and affecting.)
At 85 minutes, “Stories of Surrender” is also the longest immersive video Apple has ever released. To be clear, though, this isn’t 85 minutes of immersive video; it’s 85 minutes of video, with maybe 15 or 20 minutes of it containing immersive stage or concert footage. Several musical numbers are shot in immersive, and they’re great. The switch between immersive footage and a standard widescreen flat image wasn’t too jarring, either—it reminded me of seeing a film with “selected scenes in IMAX”, where the frame size changes, then changes back. It’s noticeable, but didn’t break me out of the experience.
I also really admire the work the filmmakers did in creating immersive versions of a lot of the animated white-and-yellow annotations that are the hallmark of the film. At several points, the annotations spring out of the traditional movie frame, or appear in front of the frame, or even mingle with items in the frame. It felt like a creative solution to the issue of being unable to shoot the entire film in a fully immersive setting, while still offering Vision Pro viewers something more spectacular than the standard version.
I have to admit, I’m still a little frustrated by Apple’s pace here. The company’s mysterious ways make it feel like it’s running to stand still, having not presented an immersive video that offers sustained immersive content at greater length. Nine minutes into “Stories of Surrender,” the credits start rolling—the opening credits. But Apple’s immersive content has so trained me to expect only bite-sized chunks, I legitimately thought for a moment that they were the end credits.
Clearly, producing this stuff is technically difficult, but this film just makes me want to see more. More immersive video, a full immersive concert experience, a full immersive theatrical experience, an immersive sports experience—something that’s even better than the real thing. I have a burning desire for that ultimate, long-form immersive video, and while “Stories of Surrender” is excellent, I still haven’t found what I’m looking for. I hope I don’t have to wait until the end of the world.
2025-05-31 00:00:37
My thanks to Magic Lasso Adblock for sponsoring Six Colors this week.
With over 5,000 five star reviews; Magic Lasso Adblock is simply the best Safari ad blocker for your iPhone, iPad and Mac.
As an efficient, high performance and native Safari ad blocker, Magic Lasso blocks all intrusive ads, trackers and annoyances – delivering a faster, cleaner and more secure web browsing experience.
The app also includes best-in-class YouTube ad blocking to block all YouTube ads.
So, join the community of over 350,000 users and download Magic Lasso Adblock today from the App Store, Mac App Store or via the Magic Lasso website.
2025-05-30 23:30:34
About four weeks out from a manuscript deadline—already a month or two behind schedule—I broke my arm.
Well, technically, someone else broke it. A Muay Thai fighter, during a sparring session in a martial arts class I definitely should not have been in. The next morning, I had to call my editor and fess up: instead of hammering away at the keyboard, I’d been getting my forearm snapped like a dry twig. Now I wasn’t going to be hammering away at anything except painkillers and regret.
Did he have any suggestions?
After some colorful swearing—we’re both Australian—it turned out he did. Half an hour later, I’d bought a copy of Dragon Dictate, or whatever it was called back then. It’s gone through a few names and versions over the years. But back then, it was my only option.
I don’t think I would’ve stuck with it if I hadn’t had 120,000 words due and no other way to deliver them. The learning curve was steep. And the Mac-flavored software which I was using was legitimately regarded as inferior to the Windows version. But I was desperate. So I persisted.
And I finished the book.
Surprisingly, I even got a bit of a productivity bump out of it.1 Even with all the bugs and weirdness of early speech recognition software, it was still better than my typing, and I stuck with it.
I’ve been using dictation software in one form or another for well over a decade now. I’ve seen a lot of development, not all of it good. For a while there, I dreaded the release of new Dragon updates, because they always seemed to break more than they fixed.
I also found that while Dragon was great for fiction, where you can get into a storytelling flow, it was less helpful for writing magazine features (back when magazines were a thing that existed). Maybe magazine copy demands more precision. My agent tells a great story about Robert E. Howard, Conan the Barbarian’s creator, standing at a mantlepiece over the fireplace in his home, where he’d rigged up an early standing desk arrangement, roaring and gesticulating as he told himself the story while she typed it up.
That’s how I dictate novels. It’s fun, and good cardio, but it doesn’t work so well when you’re trying to finely craft a heartbreaking work of narrative genius for the super-picky subeditors at The New Yorker.
Anyway, long story short, I’ve always been a dictation nerd. Constantly hunting down new software. Always hoping that the next version will shave a few more seconds off the process or give me a bit more accuracy.
Recently, I switched from Dragon, which had been baked into Microsoft Word, to MacWhisper Pro, an LLM-based app for macOS. I was already trying out a writing experiment, switching from apocalyptic novels to, er, spy romances, so I figured it was a good time to try some experimental dictation, too.
I was stunned by the results.
AI-powered dictation—at least for me—has turned out to be significantly faster and more accurate than even the best, most expensive versions of the previous generation of software.
I think of it as taking a leap from a Mechanical Turk to a probability engine.
Older systems like early versions of Dragon Dictate relied on pattern matching and statistical models like Hidden Markov Models (HMMs). You had to train the software to your specific voice, accent, and vocabulary. Over time, it would “learn” your patterns and improve.
But the actual recognition process was pretty rigid: matching sound waves to a limited set of templates, then mapping those to words using your trained vocabulary. These systems did run some probability calculations, trying to work out the most likely sequence of words from the sounds you made, but their contextual awareness was limited. They focused on individual words or short phrases. Not the broader meaning of the sounds.
Modern AI-powered tools like Whisper (the engine behind MacWhisper Pro) are a different beast. They use large neural networks—often Transformer architectures—trained on hundreds of thousands of hours of diverse audio and text. (Some of it stolen from me. You’re welcome.) They don’t need training like Dragon did. They just work, straight out of the box, for a wide range of accents, languages, and speaking styles.
As best I understand it, these models predict the most likely sequence of words from the audio input, based on the sound, but also the context of the whole sentence or even the paragraph. That allows them to handle ambiguity, background noise, and weird phrasing far better than older systems ever could.
They’re not just listening—they’re calculating. Continuously.
Which is why I think of the old systems as Mechanical Turks. They were rule-bound, brittle, and prone to failure outside their narrow training. Today’s probability engines use immense context to serve up the next most likely word. And no, it’s still not “thinking,” but the change in how it feels to use is dramatic.
For me, there are two immediate and critical differences between the old and new systems.
First, when I was writing using Dragon, I had to dictate everything—including the punctuation. Over the course of a 100,000-word novel, that adds up to thousands, maybe tens of thousands, of spoken commands: quotation marks, question marks, line breaks, paragraph breaks, ellipses, em dashes, and so on.
Every one of those was an opportunity for the software to mishear what I said and transcribe something else. A lot of the time I saved not hunting and pecking at the keyboard, I lost fixing the errors the program introduced by misinterpreting spoken punctuation.
Second, and even more powerful, is the freedom to correct yourself as you speak and just let the AI clean it up. It’s not unusual for me to get halfway through a sentence, realize I’ve butchered it, and say something like: “Ugh, that’s terrible—delete that, let’s try again.” Then I start over just like I would if I were dictating to a human taking notes.
Between those two improvements—out of what are probably a dozen major UX differences between the old-school dictation models and these newer, Whisper-based tools—the boost to my daily productivity has been astounding. What Tim Cook would call ‘blowaway.’
I used to aim for 1,500 words a day (the Antony Johnston-approved benchmark for a solid writing day), and by the end of it, I’d be wiped out. With these new tools, I regularly hit between 4,000 and 5,000 words daily, and the cognitive load feels much lighter.
One obvious sign of this: I’m taking fewer naps in the afternoon. I’m just not as wrecked by the day as I used to be.
I’ve been using MacWhisper Pro for about six months now, so I feel confident saying the changes I’ve seen are deep and structural. This isn’t a novelty bump. It’s a genuine shift in how I work and how much I can produce without burning out.
It means I’m likely to be more productive in the next twelve months than I have been in the last four or five years.
I’m really looking forward to writing more books.
I’m not, however, looking forward to the holy war that feels like it’s coming.
Because there’s a second step to getting a good, clean copy out of a dictation rig like MacWhisper Pro: You have to feed the transcript to an AI like Claude or ChatGPT and ask it to clean it up for you.
The prompt I used for this piece, for instance, was: “I recorded this blog post using a speech recognition AI, so it rambles around a bit and is full of transcription errors and artifacts. Can you clean it up while keeping as close to my intended tone and content as possible?”
It’s not generative writing. It’s not even close. But for a lot of writers, it’s too much. The fear and loathing of AI is already so profound that any touch of the bots on your copy is anathema.
I wrote tech columns for ten years before I wrote novels, so I guess I’m less given to fear and loathing of our silicon friends. But I understand why my fellow writers feel that way. Part of the reason these models are so good at accurately interpreting not just what I said, but what I meant, is that they have consumed every word I ever published. They did it without my permission, and the billionaires who own and run these companies say they can’t possibly afford to pay for any of it.
So I understand the fear and loathing.
But to me, these things feel like jet engines. They’re incredibly fast and powerful, and they do amazing things. It’s just best not to think about where they came from.
2025-05-30 09:08:33
The dominance of YouTube, Disney grabs more kids content, TV’s mumbling problem, Amazon’s identity, the fate of SpinCos, and our TV picks.
2025-05-29 22:30:26
Thirty years ago, the first Mac clones rolled off an assembly line in Austin, Texas.
If you’re not of a certain age, you might not even believe that there were once Mac clones. For most of its existence, Apple has been a singular company, selling products that were a fusion of custom hardware and custom software.
But for about three wild years in the 1990s, Apple defied its own nature and allowed other companies to build computers that ran the Mac OS and compete directly with Apple. It was an era that made some long-standing contributions to the history of the Mac, but also one that Steve Jobs dramatically ended pretty much the moment he returned to power at Apple.
