WEBVTT - TechStuff Grab Bag: The Update Edition

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<v Speaker 1>Welcome to Tech Stuff, a production from I Heart Radio.

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<v Speaker 1>Hey there, and welcome to tech Stuff. I'm your host,

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<v Speaker 1>Jonathan Strickland. I'm an executive producer with I Heart Radio

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<v Speaker 1>and I love all things tech. And you know, guys,

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<v Speaker 1>technology changes pretty darn quickly, and that's just in a

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<v Speaker 1>normal time. During the pandemic, you've got a lot of

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<v Speaker 1>other factors that are weighing in that can make things

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<v Speaker 1>change even faster. And some of the episodes that I

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<v Speaker 1>have recorded in the last few months have already needed

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<v Speaker 1>some updates. None of them really need a full episode

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<v Speaker 1>as an update, however, So today's episode is going to

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<v Speaker 1>be about a collection of updates on things that I

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<v Speaker 1>have covered in the past few months since the outbreak

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<v Speaker 1>of the pandemic. The first episode that I recorded at

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<v Speaker 1>home was in the series that I did about the

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<v Speaker 1>history of PlayStation uh. The first one was actually PlayStation

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<v Speaker 1>Part three and the second one was PlayStation Part four.

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<v Speaker 1>And now since then we've had a brand new console,

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<v Speaker 1>the PS five debut. It came out on Thursday, November twelve,

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<v Speaker 1>and I am recording this on Friday. Also, for some reason,

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<v Speaker 1>there is a guy in a hockey mask totally getting

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<v Speaker 1>in my personal space, but we'll just ignore him for now.

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<v Speaker 1>When I recorded those episodes, we had an announcement about

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<v Speaker 1>the PS five and a few details about the console,

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<v Speaker 1>but that was about it. However, now it's out, it's

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<v Speaker 1>actually available for people to purchase, well kind of. We'll

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<v Speaker 1>get to that, and we can talk about some of

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<v Speaker 1>the specs of the PS five and how it contrasts

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<v Speaker 1>with its chief rival, the Xbox Series consoles A, particularly

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<v Speaker 1>the the Series X, although the Series S is also

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<v Speaker 1>in play, and I'll be sure to talk about those

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<v Speaker 1>a little bit as well, to give you some updates

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<v Speaker 1>on on those. Now, first things first, we got to

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<v Speaker 1>talk about how big this ding dang darn thing is. Now.

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<v Speaker 1>I do not own a p S five yet. I

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<v Speaker 1>do plan on getting one eventually, and I also plan

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<v Speaker 1>on getting a Series X console eventually, but I'm not

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<v Speaker 1>in a rush to grab them right now, which is

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<v Speaker 1>probably a good thing. I've seen photos of the PS

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<v Speaker 1>five and I thought, wow, that's really big once I

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<v Speaker 1>had something to compare it to, particularly a photo that

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<v Speaker 1>had Trish Hershberger in it. Now, she's a tech journalist,

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<v Speaker 1>She's an awesome person. I've met her a couple of

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<v Speaker 1>times great person, and she shared a photo of herself

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<v Speaker 1>standing next to a PS five and said it's big

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<v Speaker 1>enough to be considered about half of a Trish. Now.

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<v Speaker 1>To be fair, Trish is a total Hermia from Midsummer

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<v Speaker 1>Night's Dream. Though she be but little, she is fierce.

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<v Speaker 1>And what I mean to say is that Trish is um.

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<v Speaker 1>She's not very tall. The PS five, however, is tall,

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<v Speaker 1>at least as far as consoles go. It's fifteen point

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<v Speaker 1>four inches tall to be precise, that's just shy of

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<v Speaker 1>thirty centimeters. It's also ten point two four inches deep

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<v Speaker 1>or twenty six centimeters, and it's four point zero nine

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<v Speaker 1>inches wide or approximately ten point four centimeters. Now, that's

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<v Speaker 1>if you have it standing upright and not down on

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<v Speaker 1>its side. You can have it either way, uh, depending

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<v Speaker 1>on your setup. But no matter how you position it

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<v Speaker 1>that right there is a chalker. It weighs in at

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<v Speaker 1>fourteen pounds that's about six point four kgrams. So part

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<v Speaker 1>of the early discussion about the PS five is really

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<v Speaker 1>just that it's so large that it can actually be

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<v Speaker 1>a challenge to fit into an entertainment set up, depending

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<v Speaker 1>upon the size you're working with. It also has the

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<v Speaker 1>white wing like sides and a black center of the console.

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<v Speaker 1>That's led some people to call it a reverse ice

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<v Speaker 1>cream sandwich, where you would have the ice cream on

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<v Speaker 1>the outside and the cookie bread in the middle. There

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<v Speaker 1>are actually two different models of the PS five. One

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<v Speaker 1>of them has a four K Blu Ray optical drive

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<v Speaker 1>and the other one does not. And the one that

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<v Speaker 1>does have the drive is the one that's a touch chunkier.

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<v Speaker 1>That's the one that's the four point nine inches wide.

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<v Speaker 1>The digital only version is slightly more svelt. The Blu

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<v Speaker 1>Ray drive version costs four dollars at least as the

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<v Speaker 1>suggested retail price, and the digital only PS five is

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<v Speaker 1>at three um digital only, being digital only delivery, the

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<v Speaker 1>console is physical, but apart from the optical drive, those

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<v Speaker 1>two systems are the same internally. They have the same processors,

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<v Speaker 1>same memory, same same storage, same performance. This is one

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<v Speaker 1>of the things that sets the two PS five consoles

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<v Speaker 1>apart from the two new Xbox consoles. One of the

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<v Speaker 1>features that got hyped in the lead up to the

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<v Speaker 1>PS five debut was that the system would load games

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<v Speaker 1>much more quickly than the PS four, and we didn't

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<v Speaker 1>have very many details about what this would actually mean,

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<v Speaker 1>I mean, what does more quickly mean? And fortunately the Verge,

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<v Speaker 1>whom I referenced a lot for this particular part of

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<v Speaker 1>the episode, they have a helpful table that breaks down

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<v Speaker 1>how long it took the PS five versus PS four

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<v Speaker 1>to load certain titles that are available for both platforms.

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<v Speaker 1>And that's also a good reminder that early in the

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<v Speaker 1>lifespan of these next generation consoles, we're going to see

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<v Speaker 1>a lot of cross platform titles that are available either

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<v Speaker 1>for the previous generation or the more fancy schmancy new

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<v Speaker 1>generation of consoles. There will be and there are games

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<v Speaker 1>that are made specifically for the new generation, but a

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<v Speaker 1>lot of those titles are going to be available both

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<v Speaker 1>for PS four and PS five, which makes sense if

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<v Speaker 1>you're a developer, because you want to sell as many

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<v Speaker 1>copies as you possibly can, and maybe not everybody's going

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<v Speaker 1>after a brand new console just now. Anyway, onto the

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<v Speaker 1>load times. To fire up the new game Spider Man

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<v Speaker 1>Miles Morales and I can't wait to play that one.

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<v Speaker 1>But to fire that up on the PS four takes

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<v Speaker 1>about a minute and twenty seven seconds, but on the

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<v Speaker 1>PS five it was just seventeen seconds. Owls Now that's

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<v Speaker 1>not to say all loading times will have that dramatic

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<v Speaker 1>a difference or will be that fast. Death Stranding, which

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<v Speaker 1>is a game that's been out for a while now,

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<v Speaker 1>will load up in a minute fifty seconds on the

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<v Speaker 1>PS four, and the PS five does it in fifty

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<v Speaker 1>four seconds. So the PS five is faster, definitely, but

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<v Speaker 1>not every game is going to load as quickly as

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<v Speaker 1>the New Spider Man game does. Moreover, if we see

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<v Speaker 1>the PS five follow the same path as most hardware,

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<v Speaker 1>it will only be a matter of time before game

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<v Speaker 1>developers release games that tax the loading speed of the

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<v Speaker 1>PS five, and we'll be back to waiting two minutes

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<v Speaker 1>or more for certain titles to load up. That's just

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<v Speaker 1>the nature of hardware and software, and it ties into

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<v Speaker 1>an observation called Worth's law. Worth's law states that software

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<v Speaker 1>is getting slower at a rate that's greater than hardware

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<v Speaker 1>is getting faster. So the hardware is getting faster, but

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<v Speaker 1>software is getting slower faster than the hardware is getting faster,

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<v Speaker 1>if you follow me. Essentially, it's an observation about software

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<v Speaker 1>bloat and how as software gets more sophisticated, it does

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<v Speaker 1>not necessarily become more efficient as well anyway. Another related

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<v Speaker 1>issue is in storage space. The PS five solid state

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<v Speaker 1>drive is eight five gigabytes, but again according to the

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<v Speaker 1>verge of that, only six hundred and sixty seven point

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<v Speaker 1>two gigabytes are actually available for storage for games and stuff.

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<v Speaker 1>The rest of that hard drive space is reserved for

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<v Speaker 1>system data, or I guess I should say the rest

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<v Speaker 1>of the solid state drive space as a reserved for

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<v Speaker 1>that system data. The six hundred sixty seven gigabytes is

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<v Speaker 1>a lot. That's a lot of storage, no doubt about it,

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<v Speaker 1>But some recent games that have just come out not

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<v Speaker 1>too long ago are truly enormous, topping in it more

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<v Speaker 1>than a hundred gigabytes for just one title, and some

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<v Speaker 1>of them are getting close to a hundred fifty gigabytes

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<v Speaker 1>or more. When you take that into a count, the

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<v Speaker 1>massive amount of storage really means you might only be

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<v Speaker 1>able to have four or five Triple A titles stored

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<v Speaker 1>on your PS five and ready to go at any

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<v Speaker 1>given time, and other times you may have to uninstalled

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<v Speaker 1>games in order to install a new one, so that

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<v Speaker 1>makes things a little tricky. Now. The PS five does

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<v Speaker 1>have a slot for additional Sony certified solid state drives,

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<v Speaker 1>to be added in so you can increase your storage,

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<v Speaker 1>but there's no word yet on when those will actually

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<v Speaker 1>be available. Reviews of other elements of PS five performance

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<v Speaker 1>are a little more modest. The console can put out

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<v Speaker 1>four K resolution graphics with hd R and ray tracing

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<v Speaker 1>and all that stuff, which is, you know, all about

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<v Speaker 1>the visual appeal of this device, but these things only

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<v Speaker 1>matter if one you happen to have a television that

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<v Speaker 1>supports four K and HDR. If you don't, all that's

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<v Speaker 1>going to be lost on you and to the people

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<v Speaker 1>who are making the games have to be able to

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<v Speaker 1>leverage those capabilities. They have to create assets in the

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<v Speaker 1>game that use these features so that you can, you know,

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<v Speaker 1>enjoy the benefits of them. So many of the reviews

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<v Speaker 1>that I have seen uh say that the games definitely

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<v Speaker 1>look better, but that the improvements and graphics are fairly subtle,

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<v Speaker 1>Like the jump in graphic quality isn't as great as

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<v Speaker 1>you have seen in previous generations, And that kind of

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<v Speaker 1>makes sense to me. We're at a point of diminishing

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<v Speaker 1>returns when it comes to stuff like graphics and video.

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<v Speaker 1>There will always be room for improvement, but the jump

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<v Speaker 1>from one generation to the next is going to be

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<v Speaker 1>less obvious. It's not like going from eight bit graphics

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<v Speaker 1>to sixteen bit graphics, or when we got up to

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<v Speaker 1>sixty four bit graphics. Now the improvements are more polish

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<v Speaker 1>than they are transformational. This isn't bad, mind you. It

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<v Speaker 1>just means that the graphics are aren't necessarily a show stopper. However,

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<v Speaker 1>the way the game's load and run seems to be

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<v Speaker 1>spectacular based on the reviews. And on top of that,

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<v Speaker 1>reviewers have said really good things about the new PS

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<v Speaker 1>five controller. In the last PlayStation episode that I did,

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<v Speaker 1>I said we had yet to see the controller. Now

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<v Speaker 1>that we have seen it, folks are really digging it.

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<v Speaker 1>The triggers on the controller have variable tension and haptic

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<v Speaker 1>feedback built into them. Now that means that a game

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<v Speaker 1>developer can create situations in which using the triggers feels

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<v Speaker 1>different specific to whatever the context is within the game. So,

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<v Speaker 1>for example, imagine you've got a game in which your

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<v Speaker 1>character has a bow and they are drawing an arrow

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<v Speaker 1>back with that bow, and the trigger that you're using

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<v Speaker 1>is linking to that command to draw the arrow back.

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<v Speaker 1>So as you squeeze the trigger, you feel an initial

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<v Speaker 1>resistance which represents the tension on the bowstring. But let's

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<v Speaker 1>say in another part of the game, you need to

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<v Speaker 1>use the same trigger to just pick up a small item,

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<v Speaker 1>and this time you feel very little resistance as you

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<v Speaker 1>pull the trigger, which represents how easy that action is

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<v Speaker 1>within the game to your character. So it's a neat

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<v Speaker 1>way to add some immersive qualities to a game. You

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<v Speaker 1>can stress that this thing that you're having your character

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<v Speaker 1>do is harder for your character to do because you've

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<v Speaker 1>increased the tension on the control itself. I think that's

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<v Speaker 1>pretty genius. The controller can also make a lot of

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<v Speaker 1>different kinds of vibrations. Gone are the simple days of

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<v Speaker 1>the basic rumble pack. Now the vibrating motors inside the

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<v Speaker 1>controller can be manipulated to simulate everything from you know,

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<v Speaker 1>walking across crunchy leaves to flying through a war zone

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<v Speaker 1>in a helicopter. And I think Sony is in better

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<v Speaker 1>shape when it comes to exclusive titles for the PS

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<v Speaker 1>five compared to Microsoft and situation with the new Xbox consoles.

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<v Speaker 1>The pandemic has had an enormous impact on the development

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<v Speaker 1>cycle for games, and it's also done a serious number

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<v Speaker 1>on supply chain management. So it's actually pretty impressive that

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<v Speaker 1>the console and any games are coming out at all,

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<v Speaker 1>and not surprisingly, it could be a real challenge to

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<v Speaker 1>find a p S five or an Xbox right now

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<v Speaker 1>because supplies were limited due to that impact on production.

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<v Speaker 1>But let's switch over to the Xbox for just a

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<v Speaker 1>few moments, and switching is a good thing to start with,

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<v Speaker 1>as one of the features on the new Xbox Series

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<v Speaker 1>S and the Series X is the quick resume technology.

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<v Speaker 1>So say you're playing a game and maybe you hit

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<v Speaker 1>a spot where you're not making much progress and you're

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<v Speaker 1>getting frustrated, so you decide you're gonna take a break

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<v Speaker 1>from playing that game and switch to something else. Maybe

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<v Speaker 1>it's another game, maybe it's a video, but the Series

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<v Speaker 1>X will suspend your gameplay in the active game as

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<v Speaker 1>you swap over to your other task. And then you

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<v Speaker 1>let's say you load up a second game and you're

0:14:08.040 --> 0:14:10.280
<v Speaker 1>playing that. Then you decide, you know what, I want

0:14:10.280 --> 0:14:12.800
<v Speaker 1>to go back to my original game, So you back

0:14:12.800 --> 0:14:16.120
<v Speaker 1>out to your little splash menu and you swap back

0:14:16.160 --> 0:14:18.760
<v Speaker 1>over to the original game you were playing, and boom,

0:14:18.800 --> 0:14:21.840
<v Speaker 1>you're right back in it, and it's super fast. The

0:14:21.920 --> 0:14:27.239
<v Speaker 1>Series X and Series S are effectively putting their fingers

0:14:27.560 --> 0:14:29.400
<v Speaker 1>on a page in a book for you, so you

0:14:29.440 --> 0:14:32.280
<v Speaker 1>can just flip right back to that page without any

0:14:32.320 --> 0:14:34.640
<v Speaker 1>real delay. You don't have to wait for the game

0:14:34.680 --> 0:14:37.680
<v Speaker 1>to load back up into the system's memory. It's pretty

0:14:37.680 --> 0:14:40.880
<v Speaker 1>impressive to see. And what's going on is that your

0:14:40.960 --> 0:14:45.040
<v Speaker 1>game state from game number one is sort of flash

0:14:45.160 --> 0:14:50.240
<v Speaker 1>frozen into storage memory on the Xbox, and this memory

0:14:50.320 --> 0:14:53.760
<v Speaker 1>is really handy to the Xbox processor, so when you

0:14:53.800 --> 0:14:57.280
<v Speaker 1>swap back to the game, the processor can just fetch

0:14:57.360 --> 0:15:00.600
<v Speaker 1>the game state from memory rather than having to root

0:15:00.640 --> 0:15:04.440
<v Speaker 1>around in the solid state drive for that information. As

0:15:04.440 --> 0:15:07.440
<v Speaker 1>a feature, I think it follows under the quality of

0:15:07.520 --> 0:15:10.960
<v Speaker 1>life category. It's not transformational, but it's really nice to have.

0:15:11.560 --> 0:15:15.560
<v Speaker 1>The quick resume feature can accommodate between four and six games,

0:15:15.560 --> 0:15:19.920
<v Speaker 1>depending on how complex those games are. One big selling

0:15:19.960 --> 0:15:22.960
<v Speaker 1>point for the Xbox. Something that has been important since

0:15:23.040 --> 0:15:27.320
<v Speaker 1>the very beginning is backwards compatibility. Sony has had a

0:15:27.400 --> 0:15:30.320
<v Speaker 1>kind of spotty past when it comes to supporting games

0:15:30.360 --> 0:15:34.680
<v Speaker 1>from older consoles. The company has made more dramatic departures

0:15:34.920 --> 0:15:38.960
<v Speaker 1>from older system architecture, which makes it harder to adapt

0:15:39.080 --> 0:15:42.160
<v Speaker 1>older games to later systems. The p S three in

0:15:42.160 --> 0:15:47.360
<v Speaker 1>particular was a real challenge because the microprocessor architecture, while powerful,

0:15:47.960 --> 0:15:53.480
<v Speaker 1>was very different from earlier PS state systems. So the

0:15:53.640 --> 0:15:56.520
<v Speaker 1>Xbox follows a philosophy that's much closer to what we

0:15:56.600 --> 0:16:00.720
<v Speaker 1>see with PC games, which really should surprise no body.

0:16:00.800 --> 0:16:04.280
<v Speaker 1>And one of the attractions of the Series X and

0:16:04.360 --> 0:16:08.440
<v Speaker 1>Series S consoles is that you can play older games

0:16:08.480 --> 0:16:11.520
<v Speaker 1>on those systems and you'll end up getting an enhanced

0:16:11.680 --> 0:16:15.440
<v Speaker 1>upscaled experience in the process. So you can pull up

0:16:15.480 --> 0:16:20.000
<v Speaker 1>a real classic game like I don't know, Crimson Skies,

0:16:20.360 --> 0:16:23.920
<v Speaker 1>I hope, and it should look pretty good. It's not

0:16:23.920 --> 0:16:27.640
<v Speaker 1>going to magically, you know, convert up to four K resolution.

0:16:27.720 --> 0:16:29.440
<v Speaker 1>It doesn't. It's not gonna measure up to the level

0:16:29.520 --> 0:16:33.040
<v Speaker 1>of graphics you would see with a brand new game release,

0:16:33.480 --> 0:16:35.760
<v Speaker 1>but it will look better than it would on the

0:16:35.800 --> 0:16:39.680
<v Speaker 1>old original Xbox in theory. Anyway. I haven't actually tested

0:16:39.720 --> 0:16:42.360
<v Speaker 1>this out because I don't have an Xbox yet. I

0:16:42.440 --> 0:16:46.160
<v Speaker 1>just really like that game, you know, Crimson Skies is

0:16:46.200 --> 0:16:48.440
<v Speaker 1>an awesome game, and I really want to play it again.

0:16:48.920 --> 0:16:53.600
<v Speaker 1>Remake Crimson Skies, Xbox, go and go and make a

0:16:53.720 --> 0:16:57.400
<v Speaker 1>you know, a new current generation version of Crimson Skies

0:16:57.440 --> 0:17:01.200
<v Speaker 1>that game is amazing. Now, I allude did to it earlier,

0:17:01.520 --> 0:17:04.240
<v Speaker 1>and I've talked about it in other episodes. But Microsoft

0:17:04.280 --> 0:17:07.760
<v Speaker 1>has taken a different approach than Sony has with the

0:17:08.000 --> 0:17:12.520
<v Speaker 1>two tiers of Xbox consoles. So the Xbox Series X

0:17:13.000 --> 0:17:15.240
<v Speaker 1>is the one that has the optical drive, and it

0:17:15.320 --> 0:17:19.840
<v Speaker 1>costs four dollars, just like Sony's top level PS five,

0:17:20.320 --> 0:17:24.200
<v Speaker 1>but it also is a more advanced machine than the

0:17:24.240 --> 0:17:28.800
<v Speaker 1>digital only Series S is. The Series X has more

0:17:28.920 --> 0:17:32.640
<v Speaker 1>data storage, it's got a faster processor, it can support

0:17:32.720 --> 0:17:36.600
<v Speaker 1>four K gaming. The Series S is limited to fourteen

0:17:36.720 --> 0:17:40.480
<v Speaker 1>four DP resolution for gaming. So while the two models

0:17:40.480 --> 0:17:44.040
<v Speaker 1>of the PS five are identical except for one of

0:17:44.080 --> 0:17:48.560
<v Speaker 1>them has an optical drive, the Series X is better

0:17:48.760 --> 0:17:52.720
<v Speaker 1>future proofed than the Series S is. On the other hand,

0:17:52.720 --> 0:17:55.960
<v Speaker 1>the Series S comes in at two dollars, which makes

0:17:55.960 --> 0:17:59.520
<v Speaker 1>it one hundred bucks cheaper than the least expensive PS

0:17:59.600 --> 0:18:02.639
<v Speaker 1>five one that doesn't have an optical drive. Also, the

0:18:02.720 --> 0:18:06.480
<v Speaker 1>Series S and the Series X have a one terabyte

0:18:06.840 --> 0:18:11.000
<v Speaker 1>storage expansion slot, where you can purchase uh an extra

0:18:11.200 --> 0:18:14.040
<v Speaker 1>SSD up of a terrabyte and plug it into the

0:18:14.040 --> 0:18:17.400
<v Speaker 1>back and thus more than double the amount of storage

0:18:17.480 --> 0:18:21.240
<v Speaker 1>in your Xbox I think Microsoft is going to struggle

0:18:21.320 --> 0:18:23.679
<v Speaker 1>a little bit on the game front, at least for

0:18:23.760 --> 0:18:27.880
<v Speaker 1>new games, because many titles that were meant to debut

0:18:28.160 --> 0:18:31.280
<v Speaker 1>along with the console have since been delayed by at

0:18:31.359 --> 0:18:34.520
<v Speaker 1>least a few months. And again that's largely the pandemic

0:18:34.600 --> 0:18:37.399
<v Speaker 1>having an effect in addition to the normal issues we

0:18:37.440 --> 0:18:40.240
<v Speaker 1>see with game development where there can be delays. But

0:18:40.359 --> 0:18:44.960
<v Speaker 1>Microsoft also has game Pass, which is a subscription based

0:18:45.040 --> 0:18:48.360
<v Speaker 1>service that gives players access to more than one hundred

0:18:48.359 --> 0:18:52.040
<v Speaker 1>titles if they subscribe to it. So rather than buying games,

0:18:52.080 --> 0:18:54.639
<v Speaker 1>you subscribe to the service and that gives you access

0:18:54.760 --> 0:18:57.440
<v Speaker 1>to these games and you can play stuff that maybe

0:18:57.480 --> 0:19:00.200
<v Speaker 1>you overlooked or maybe you never had the cat to

0:19:00.359 --> 0:19:03.080
<v Speaker 1>buy that particular title back in the day, and a

0:19:03.080 --> 0:19:05.480
<v Speaker 1>lot of game journalists refer to it as the best

0:19:05.640 --> 0:19:07.879
<v Speaker 1>deal in gaming, and it's kind of hard to argue

0:19:07.880 --> 0:19:11.760
<v Speaker 1>with that. So let's say that I, Jonathan Strickland, have

0:19:12.119 --> 0:19:15.280
<v Speaker 1>recently upgraded my television because honestly, the one I have

0:19:15.440 --> 0:19:18.399
<v Speaker 1>right now is an outdated, regular old h d t V.

0:19:18.560 --> 0:19:21.439
<v Speaker 1>It's not even a smart TV. This hd TV is

0:19:21.480 --> 0:19:24.000
<v Speaker 1>from several years ago, works just fine, so I've never

0:19:24.040 --> 0:19:26.600
<v Speaker 1>replaced it. But let's say that I go ahead and

0:19:26.640 --> 0:19:28.959
<v Speaker 1>I upgrade. Now I've got a decision to make. Do

0:19:29.040 --> 0:19:31.719
<v Speaker 1>I go with the PS five or do I go

0:19:31.880 --> 0:19:36.200
<v Speaker 1>with the Xbox. This is legit a tough question for me, because,

0:19:36.560 --> 0:19:39.359
<v Speaker 1>for one thing, I'm I'm an Xbox die hard fan,

0:19:40.080 --> 0:19:43.120
<v Speaker 1>but I don't you know, I don't immediately fall into

0:19:43.119 --> 0:19:46.560
<v Speaker 1>a camp of Xbox good, PS five bad. The new

0:19:46.640 --> 0:19:49.960
<v Speaker 1>games for the PS five look insanely good, Spider Man

0:19:49.960 --> 0:19:53.680
<v Speaker 1>in particular, and Microsoft looks to lag behind a little

0:19:53.680 --> 0:19:56.359
<v Speaker 1>bit due to those production delays. On the other hand,

0:19:56.720 --> 0:20:00.880
<v Speaker 1>the game Pass deal is fantastic, and I'm all a subscriber.

0:20:01.240 --> 0:20:04.080
<v Speaker 1>But by that same logic, I could just continue to

0:20:04.280 --> 0:20:07.880
<v Speaker 1>access game Pass on my Xbox One and then wait

0:20:08.000 --> 0:20:11.760
<v Speaker 1>around a little bit longer to upgrade to a series console.

0:20:12.240 --> 0:20:15.480
<v Speaker 1>In fact, I would probably do that even if I

0:20:15.560 --> 0:20:19.280
<v Speaker 1>had the brand new, fancy television. I would probably get

0:20:19.280 --> 0:20:22.080
<v Speaker 1>the PS five to start off and have a goal

0:20:22.200 --> 0:20:25.440
<v Speaker 1>to get a series X later in the future. Now

0:20:25.440 --> 0:20:27.560
<v Speaker 1>that's a moot point for me because I do not

0:20:27.760 --> 0:20:30.320
<v Speaker 1>currently have a four K TV, so a lot of

0:20:30.320 --> 0:20:33.520
<v Speaker 1>these enhancements would not matter. I wouldn't be able to

0:20:33.520 --> 0:20:36.440
<v Speaker 1>see them because my television wouldn't be able to show them.

0:20:36.480 --> 0:20:38.520
<v Speaker 1>And also I don't have a whole lot of time

0:20:38.560 --> 0:20:40.600
<v Speaker 1>to play a lot of stuff right now. That's just

0:20:40.640 --> 0:20:43.760
<v Speaker 1>a bummer. But when we come back, I'm going to

0:20:43.760 --> 0:20:46.800
<v Speaker 1>talk about something else that needs to be updated, a

0:20:47.000 --> 0:20:50.399
<v Speaker 1>video streaming service that I covered during the pandemic that

0:20:50.520 --> 0:20:54.480
<v Speaker 1>ain't round here no more. But first, let's take a

0:20:54.600 --> 0:21:08.560
<v Speaker 1>quick break on August, which feels like a million years ago.

0:21:08.600 --> 0:21:11.439
<v Speaker 1>I know everyone says that, but man, it feels like

0:21:11.480 --> 0:21:15.040
<v Speaker 1>this year has just lasted forever. Well anyway, On August seventeenth,

0:21:15.119 --> 0:21:18.960
<v Speaker 1>I published an episode about Quimby, the streaming video platform

0:21:19.040 --> 0:21:21.480
<v Speaker 1>that had been in development for a couple of years

0:21:21.840 --> 0:21:25.360
<v Speaker 1>and had some big names in technology and entertainment behind it.

0:21:25.880 --> 0:21:28.960
<v Speaker 1>And that episode is called Quimby Quibble if you want

0:21:29.000 --> 0:21:31.320
<v Speaker 1>to check it out. I talked about how the original

0:21:31.400 --> 0:21:34.679
<v Speaker 1>concept for Quimby, which would feature short form videos that

0:21:34.760 --> 0:21:38.120
<v Speaker 1>lasted about ten minutes each, was intended to go after

0:21:38.200 --> 0:21:41.720
<v Speaker 1>a market of folks, mostly young folks, who are looking

0:21:41.720 --> 0:21:45.080
<v Speaker 1>to pass the time while waiting to do other stuff

0:21:45.119 --> 0:21:48.040
<v Speaker 1>like maybe they're on a train, or they're waiting in

0:21:48.119 --> 0:21:51.360
<v Speaker 1>line for a coffee or whatever, and how the pandemic

0:21:51.560 --> 0:21:55.080
<v Speaker 1>was eliminating the very use case that Quimby was based

0:21:55.080 --> 0:21:59.400
<v Speaker 1>off of, and I concluded with some skepticism about the

0:21:59.520 --> 0:22:02.520
<v Speaker 1>long or viability of the platform, which I didn't think

0:22:02.680 --> 0:22:06.160
<v Speaker 1>was particularly promising. Well, it's been a couple of weeks

0:22:06.200 --> 0:22:10.679
<v Speaker 1>since the announcement in late October, but Quimby is sadly

0:22:10.760 --> 0:22:14.440
<v Speaker 1>officially shutting down, and I hate that. I was right

0:22:14.480 --> 0:22:17.479
<v Speaker 1>to be skeptical, and let's be fair, it was the

0:22:17.520 --> 0:22:20.879
<v Speaker 1>only reasonable point of view to take given the circumstances.

0:22:20.880 --> 0:22:24.040
<v Speaker 1>So I'm not really giving myself any credit here. It's

0:22:24.080 --> 0:22:26.480
<v Speaker 1>like looking at the ocean and saying, I bet it's

0:22:26.480 --> 0:22:28.879
<v Speaker 1>wet in there. It was kind of obvious on the

0:22:28.880 --> 0:22:31.840
<v Speaker 1>face of it. I take no pleasure in the failure

0:22:32.160 --> 0:22:34.919
<v Speaker 1>because I think Quimby was giving a lot of really

0:22:34.960 --> 0:22:38.160
<v Speaker 1>creative people an opportunity to do what they love to do,

0:22:38.320 --> 0:22:41.600
<v Speaker 1>and seeing something like that go away just stinks. But

0:22:41.640 --> 0:22:43.880
<v Speaker 1>at the same time, I think the decision to pull

0:22:43.920 --> 0:22:47.200
<v Speaker 1>the plug was the most responsible thing to do. So

0:22:47.640 --> 0:22:49.840
<v Speaker 1>we're going to take a look at the short span

0:22:49.920 --> 0:22:55.560
<v Speaker 1>of time from August to October to see what happened. Now,

0:22:55.960 --> 0:22:58.639
<v Speaker 1>let me give a super quick recap of Quimby. I

0:22:58.640 --> 0:23:01.080
<v Speaker 1>already mentioned the use case for the platform the short

0:23:01.119 --> 0:23:05.000
<v Speaker 1>form videos of about ten minutes in length. Some projects,

0:23:05.160 --> 0:23:08.520
<v Speaker 1>like some of the videos on Quimby, were a lot

0:23:08.560 --> 0:23:12.560
<v Speaker 1>like a television series, with each episode being ten minutes

0:23:12.720 --> 0:23:15.639
<v Speaker 1>right in a ten minute episode, but some were more

0:23:15.680 --> 0:23:20.240
<v Speaker 1>like feature films that got divided up into ten minute chapters,

0:23:20.720 --> 0:23:23.480
<v Speaker 1>which presents a challenge when crafting a story, but we'll

0:23:23.520 --> 0:23:26.720
<v Speaker 1>get to that. Some were fiction, some were in the

0:23:26.840 --> 0:23:30.520
<v Speaker 1>reality TV space. Some fell into the category of news

0:23:30.760 --> 0:23:34.159
<v Speaker 1>or coverage of stuff like sports or lifestyle. It was

0:23:34.200 --> 0:23:37.479
<v Speaker 1>a pretty broad approach to entertainment as a whole, just

0:23:37.600 --> 0:23:40.280
<v Speaker 1>that it was all in a bite sized form factor,

0:23:40.840 --> 0:23:43.440
<v Speaker 1>and the guiding logic was that people are using their

0:23:43.480 --> 0:23:46.359
<v Speaker 1>phones to watch stuff more than ever, and frequently do

0:23:46.480 --> 0:23:49.119
<v Speaker 1>so to fill up time where they normally would be

0:23:49.160 --> 0:23:53.040
<v Speaker 1>doing nothing or at least nothing much. Quimby was meant

0:23:53.040 --> 0:23:56.520
<v Speaker 1>to tap into the psyche of the TikTok fan base

0:23:57.040 --> 0:24:00.520
<v Speaker 1>or snapchat platforms that excel in the present sentation of

0:24:00.560 --> 0:24:05.199
<v Speaker 1>short form video clips. But Quimby would marry that with

0:24:05.320 --> 0:24:08.920
<v Speaker 1>the original programming and high production value that you find

0:24:08.960 --> 0:24:13.240
<v Speaker 1>in services like Netflix. So yeah, kind of bringing together

0:24:13.320 --> 0:24:17.199
<v Speaker 1>the Netflix model and putting that with the TikTok model,

0:24:17.560 --> 0:24:19.920
<v Speaker 1>though the videos on Quimby were really, on the whole

0:24:20.040 --> 0:24:22.920
<v Speaker 1>much longer than anything you would have ever seen on TikTok.

0:24:23.359 --> 0:24:26.720
<v Speaker 1>On top of that, the service had a mobile specific

0:24:26.880 --> 0:24:31.040
<v Speaker 1>feature that many saws nothing more than really a gimmick,

0:24:31.080 --> 0:24:33.720
<v Speaker 1>and some folks just outright hated it. And it was

0:24:33.760 --> 0:24:38.119
<v Speaker 1>called Turnstile, and it let you switch between portrait viewing

0:24:38.280 --> 0:24:41.639
<v Speaker 1>and landscape viewing on a mobile device, and all the

0:24:41.680 --> 0:24:44.640
<v Speaker 1>content would be produced with this in mind, so that

0:24:44.760 --> 0:24:47.840
<v Speaker 1>you would get a full frame presentation in either format.

0:24:47.920 --> 0:24:50.800
<v Speaker 1>In other words, you wouldn't get black bars on top

0:24:50.840 --> 0:24:53.439
<v Speaker 1>and below the video. When you switched it over to portrait,

0:24:53.720 --> 0:24:56.359
<v Speaker 1>it would become a portrait view, and it would be

0:24:56.359 --> 0:24:59.520
<v Speaker 1>design in such a way where theoretically, at least you

0:24:59.560 --> 0:25:02.320
<v Speaker 1>weren't missing anything important. But you have to remember that

0:25:02.440 --> 0:25:04.720
<v Speaker 1>in portrait view it means that you have a narrower

0:25:04.800 --> 0:25:07.680
<v Speaker 1>view of what's going on, so some stuff that would

0:25:07.680 --> 0:25:10.600
<v Speaker 1>typically be in frame might not even be on camera.

0:25:10.800 --> 0:25:14.320
<v Speaker 1>So the service really was going all in on the

0:25:14.400 --> 0:25:18.800
<v Speaker 1>mobile centric presentation of video. The two main people at

0:25:18.840 --> 0:25:22.359
<v Speaker 1>the helm of Quimby were Jeffrey Catzenberg, former Disney and

0:25:22.480 --> 0:25:27.360
<v Speaker 1>DreamWorks executive and Meg Whitman, former CEO of Hewlett Packard Enterprises,

0:25:27.760 --> 0:25:30.280
<v Speaker 1>and in the year leading up to Quimby's launched, they

0:25:30.320 --> 0:25:34.120
<v Speaker 1>both appeared on stage together at various conferences and events

0:25:34.520 --> 0:25:37.879
<v Speaker 1>pitching the service, talking about taking aim at a market that,

0:25:38.119 --> 0:25:43.000
<v Speaker 1>while I wouldn't say was underserved, hadn't been explicitly catered to.

0:25:43.560 --> 0:25:46.200
<v Speaker 1>I mean, people watch videos on mobile devices all the time,

0:25:46.680 --> 0:25:49.720
<v Speaker 1>but Quimby was meant to fit neatly into that style

0:25:49.720 --> 0:25:52.520
<v Speaker 1>of viewing from the get go. So the thought was,

0:25:52.760 --> 0:25:56.240
<v Speaker 1>if we make content designed to be watched on mobile

0:25:56.280 --> 0:26:00.600
<v Speaker 1>devices in short spans at high production value, you we

0:26:00.640 --> 0:26:03.080
<v Speaker 1>will hit that sweet spot for people who are already

0:26:03.160 --> 0:26:06.920
<v Speaker 1>using their devices to do that, but the content doesn't

0:26:07.480 --> 0:26:12.400
<v Speaker 1>conform to the use. Quimby launched with a free trial period,

0:26:12.800 --> 0:26:15.880
<v Speaker 1>after which users would be asked to choose a subscription plan,

0:26:16.400 --> 0:26:19.840
<v Speaker 1>and there were two available here in the United States.

0:26:19.880 --> 0:26:22.680
<v Speaker 1>The lower plan was four dollars nine cents a month,

0:26:23.000 --> 0:26:26.000
<v Speaker 1>and that gave you access to add supported videos on Quimby,

0:26:26.080 --> 0:26:30.800
<v Speaker 1>so you still had ads between videos. For seven a month,

0:26:31.200 --> 0:26:34.199
<v Speaker 1>you would get the videos, but with no ads, the

0:26:34.320 --> 0:26:38.200
<v Speaker 1>content was exclusive to the platform, and it was highly produced.

0:26:38.240 --> 0:26:40.879
<v Speaker 1>Like I said, you wouldn't find it anywhere else. But

0:26:40.960 --> 0:26:44.840
<v Speaker 1>the question was would the variety and quality of content

0:26:45.000 --> 0:26:48.320
<v Speaker 1>be enough to convince a large enough subscriber base to

0:26:48.440 --> 0:26:53.160
<v Speaker 1>make the operation profitable. Producing content is really expensive, whether

0:26:53.200 --> 0:26:57.280
<v Speaker 1>you're funding it directly or you're negotiating with content creators

0:26:57.400 --> 0:27:01.800
<v Speaker 1>who fund production in return for a contract with the platform.

0:27:01.840 --> 0:27:04.639
<v Speaker 1>There was little hope that quimby would operate at a

0:27:04.640 --> 0:27:08.080
<v Speaker 1>profit right away, as just the cost of making stuff

0:27:08.280 --> 0:27:10.600
<v Speaker 1>would mean there would be a growing gap to cover

0:27:10.840 --> 0:27:13.919
<v Speaker 1>with revenue before it could turn a profit now. In

0:27:13.960 --> 0:27:16.720
<v Speaker 1>my previous episode about Quimby, I talked about how the

0:27:16.760 --> 0:27:20.879
<v Speaker 1>service was on uncertain ground. Even back in July, just

0:27:20.960 --> 0:27:23.680
<v Speaker 1>a couple of months after the service had launched, news

0:27:23.680 --> 0:27:26.439
<v Speaker 1>outlets like The Verge reported that quimby was losing around

0:27:26.520 --> 0:27:31.080
<v Speaker 1>nine of users once the free trial concluded, at least

0:27:31.080 --> 0:27:33.359
<v Speaker 1>for those users who signed up during the first few

0:27:33.440 --> 0:27:36.520
<v Speaker 1>days of the app becoming available. Actually, it's a little

0:27:36.560 --> 0:27:39.000
<v Speaker 1>worse than that. The opening sentence of that Verge article

0:27:39.040 --> 0:27:42.480
<v Speaker 1>says streaming service Quimby only managed to convert a little

0:27:42.560 --> 0:27:45.920
<v Speaker 1>under ten percent of its early wave of users into

0:27:45.920 --> 0:27:51.440
<v Speaker 1>paying customers, says mobile analytics firm Sensor Tower. So imagine

0:27:51.680 --> 0:27:54.560
<v Speaker 1>you have ten people together and you give each of

0:27:54.560 --> 0:27:59.000
<v Speaker 1>those ten people a a slice of your delicious homemade pie,

0:27:59.440 --> 0:28:01.760
<v Speaker 1>and afterwards you ask any of them who here wants

0:28:01.800 --> 0:28:04.280
<v Speaker 1>to buy a pie so you can take it home

0:28:04.640 --> 0:28:07.159
<v Speaker 1>for your family, and only one of them takes you

0:28:07.240 --> 0:28:09.399
<v Speaker 1>up on the offer, and even that person is not

0:28:09.480 --> 0:28:12.920
<v Speaker 1>super jazzed about it. That's not great, and it's way

0:28:12.920 --> 0:28:15.720
<v Speaker 1>worse when that apple pie is actually a streaming video

0:28:15.760 --> 0:28:21.560
<v Speaker 1>content service with nearly two billion dollars of investment behind it. That, uh,

0:28:22.960 --> 0:28:27.480
<v Speaker 1>that's some apple pie. Still as bad as that sounds,

0:28:27.800 --> 0:28:30.320
<v Speaker 1>the Verge piece goes on to explain that in the

0:28:30.359 --> 0:28:34.560
<v Speaker 1>grand scheme of business, this isn't as big of a

0:28:34.560 --> 0:28:36.919
<v Speaker 1>disaster as it seems like. On the face of it,

0:28:37.000 --> 0:28:40.600
<v Speaker 1>an eight percent conversion rate, that is, getting eight percent

0:28:40.680 --> 0:28:44.520
<v Speaker 1>of your audience to commit to a paid subscription isn't

0:28:44.560 --> 0:28:48.880
<v Speaker 1>the worst, but compared to other services like Disney Plus,

0:28:49.400 --> 0:28:53.120
<v Speaker 1>it was pretty far behind. Disney Plus had an eleven

0:28:53.160 --> 0:28:56.320
<v Speaker 1>percent conversion rate. So on the face of it, you

0:28:56.360 --> 0:28:58.640
<v Speaker 1>might even say, well, that doesn't sound like it's that much.

0:28:58.640 --> 0:29:01.960
<v Speaker 1>I mean, eight percent to eleven percent. What's the big deal? However,

0:29:03.080 --> 0:29:06.760
<v Speaker 1>it had You gotta look at the scale. Quimby signed

0:29:06.800 --> 0:29:10.960
<v Speaker 1>up nd people in the first few days of going live,

0:29:11.720 --> 0:29:14.959
<v Speaker 1>and that meant that about seventy two thousand of them

0:29:15.000 --> 0:29:20.800
<v Speaker 1>converted into subscribers. But Disney Plus nine point five million

0:29:21.080 --> 0:29:23.720
<v Speaker 1>people signed up for a trial for Disney Plus. So

0:29:23.760 --> 0:29:26.120
<v Speaker 1>it wasn't just that it was a larger percentage of

0:29:26.160 --> 0:29:29.440
<v Speaker 1>a conversion rate, it was also a much bigger scale.

0:29:29.920 --> 0:29:33.480
<v Speaker 1>Quimby tried to recover as it became clear that the

0:29:33.560 --> 0:29:38.240
<v Speaker 1>mobile centric focus was more of a an albatross around

0:29:38.280 --> 0:29:41.680
<v Speaker 1>the company's neck rather than a selling point. Quimby began

0:29:41.720 --> 0:29:44.479
<v Speaker 1>to work with set top box devices to produce apps

0:29:44.520 --> 0:29:47.720
<v Speaker 1>for them so that people could watch the content of

0:29:47.800 --> 0:29:51.240
<v Speaker 1>Quimby on their televisions rather than just on their phones

0:29:51.320 --> 0:29:54.719
<v Speaker 1>or tablets, and at first the solutions involved services like

0:29:54.880 --> 0:29:59.160
<v Speaker 1>Apple Airplay or Google Chrome Cast to you know, cast

0:29:59.800 --> 0:30:04.000
<v Speaker 1>the content of a phone or tablet to a device

0:30:04.040 --> 0:30:07.360
<v Speaker 1>that's connected to a television. Just before word came out

0:30:07.480 --> 0:30:10.520
<v Speaker 1>that Quimby was going to shut down, Variety reported that

0:30:10.560 --> 0:30:14.680
<v Speaker 1>the company had created apps for Apple TV, Amazon Fire TV,

0:30:15.240 --> 0:30:19.320
<v Speaker 1>and Google TV Slash Android TV. In addition, the company

0:30:19.320 --> 0:30:22.040
<v Speaker 1>had been in negotiations with Roku to get on there

0:30:22.120 --> 0:30:25.600
<v Speaker 1>as well, but all that focus on the mobile experience

0:30:25.800 --> 0:30:28.959
<v Speaker 1>was a real issue for the company. We'll never know

0:30:29.000 --> 0:30:32.120
<v Speaker 1>if Quimby would have thrived in a world that wasn't

0:30:32.200 --> 0:30:35.080
<v Speaker 1>hit by the COVID nineteen pandemic. I mean, I think

0:30:35.080 --> 0:30:37.720
<v Speaker 1>it still would have faced an uphill battle even without

0:30:37.760 --> 0:30:40.880
<v Speaker 1>the pandemic, but it is clear that the pandemic really

0:30:40.920 --> 0:30:43.880
<v Speaker 1>shaped how people were accessing media because most of us

0:30:43.920 --> 0:30:46.440
<v Speaker 1>just weren't out and about as much and had less

0:30:46.440 --> 0:30:49.720
<v Speaker 1>of a need to be glued to our mobile devices. Meanwhile,

0:30:50.080 --> 0:30:53.640
<v Speaker 1>the company spent money on some fairly luxurious digs for

0:30:53.680 --> 0:30:57.640
<v Speaker 1>a corporate headquarters. Now, arguably, in the business that is

0:30:57.840 --> 0:31:01.400
<v Speaker 1>show this is a necessity, as having a cool space

0:31:01.480 --> 0:31:05.040
<v Speaker 1>is a great way to impress potential content partners and

0:31:05.120 --> 0:31:08.280
<v Speaker 1>to get them on board. I've seen it happened at iHeart,

0:31:08.320 --> 0:31:11.720
<v Speaker 1>in fact, so you could argue that this is understandable,

0:31:11.840 --> 0:31:15.160
<v Speaker 1>but it's also an expense and a pretty hefty one,

0:31:15.320 --> 0:31:18.120
<v Speaker 1>and in a business where things are not going so hot,

0:31:18.560 --> 0:31:20.920
<v Speaker 1>it can be something that critics will point to when

0:31:20.920 --> 0:31:25.800
<v Speaker 1>they discuss bad decisions. However, if Quimby had been successful.

0:31:25.960 --> 0:31:28.960
<v Speaker 1>I'm not sure the nitro coal brew on tap or

0:31:29.320 --> 0:31:32.760
<v Speaker 1>the sleek glass offices would have merited much discussion. I

0:31:32.800 --> 0:31:36.280
<v Speaker 1>don't know that anyone would have pointed it out. Perhaps

0:31:36.400 --> 0:31:40.160
<v Speaker 1>in an act of desperation, Quimby tested out a freemium

0:31:40.280 --> 0:31:43.600
<v Speaker 1>version of its service in Australia and in New Zealand.

0:31:43.920 --> 0:31:46.479
<v Speaker 1>So there you could sign up for a free account

0:31:46.560 --> 0:31:49.560
<v Speaker 1>and you could watch ads supported Quimby content to your

0:31:49.600 --> 0:31:53.520
<v Speaker 1>heart's content. You could still sign up for a paid

0:31:53.560 --> 0:31:56.880
<v Speaker 1>subscription and you could go add free as well. Perhaps

0:31:56.960 --> 0:31:59.080
<v Speaker 1>the company was dipping its toe into the water to

0:31:59.120 --> 0:32:01.720
<v Speaker 1>see if, may be it could entice enough users to

0:32:01.760 --> 0:32:06.000
<v Speaker 1>adopt the service if ads were the only revenue generating

0:32:06.040 --> 0:32:10.280
<v Speaker 1>avenue for the basic subscription. But it turned out that free,

0:32:10.560 --> 0:32:13.440
<v Speaker 1>just I guess, wasn't cheap enough for people, because the

0:32:13.520 --> 0:32:16.680
<v Speaker 1>offer did not receive that many takers, and as far

0:32:16.680 --> 0:32:19.960
<v Speaker 1>as I can tell, Quimby didn't really try it anywhere else.

0:32:20.560 --> 0:32:23.840
<v Speaker 1>So a little more than six months after it launched,

0:32:23.880 --> 0:32:27.680
<v Speaker 1>and after raising more than one point seven five billion

0:32:28.040 --> 0:32:31.680
<v Speaker 1>dollars from investors ranging from the Walt Disney Company to

0:32:32.040 --> 0:32:36.640
<v Speaker 1>JP Morgan Chasing Company to the Chinese mega corporation, Ali

0:32:36.680 --> 0:32:41.040
<v Speaker 1>Baba Katzenberg called an employee meeting to break the bad

0:32:41.080 --> 0:32:44.200
<v Speaker 1>news the company was going to shut down. The three

0:32:44.960 --> 0:32:47.920
<v Speaker 1>million dollars of cash on hand would be redistributed to

0:32:47.920 --> 0:32:52.520
<v Speaker 1>the various investors, which raised questions from content creators about

0:32:52.560 --> 0:32:56.240
<v Speaker 1>how or even if they would be paid for their work,

0:32:57.040 --> 0:32:59.400
<v Speaker 1>questions that, as far as I can tell, have not

0:33:00.000 --> 0:33:03.880
<v Speaker 1>mostly been answered, which is pretty darn rough now. Depending

0:33:03.960 --> 0:33:07.640
<v Speaker 1>upon which report you read, the announcement either wasn't a

0:33:07.640 --> 0:33:11.080
<v Speaker 1>surprise to most employees or it came as a total shock.

0:33:11.640 --> 0:33:13.720
<v Speaker 1>It seems like there's a bit of a discrepancy there.

0:33:14.240 --> 0:33:17.880
<v Speaker 1>It's hard for me to imagine it as shocking. Not

0:33:18.040 --> 0:33:21.560
<v Speaker 1>only was the company facing the challenges I had already mentioned,

0:33:21.560 --> 0:33:24.480
<v Speaker 1>it was also doing so in an environment where content

0:33:24.600 --> 0:33:28.000
<v Speaker 1>creation was either screeching to a halt or having to

0:33:28.120 --> 0:33:32.600
<v Speaker 1>change dramatically to work within the pandemic era. Quimby had

0:33:32.640 --> 0:33:36.440
<v Speaker 1>spent a lot of money on content production early on.

0:33:36.880 --> 0:33:40.320
<v Speaker 1>They frontloaded the service with a lot of original programming

0:33:40.360 --> 0:33:43.840
<v Speaker 1>to attract users. But a service like Quimby needs to

0:33:43.920 --> 0:33:48.040
<v Speaker 1>generate new content to refresh offerings on a regular basis,

0:33:48.440 --> 0:33:50.800
<v Speaker 1>and the pandemic just isn't a great time to try

0:33:50.800 --> 0:33:54.360
<v Speaker 1>and produce studio quality video content. A lot of people

0:33:54.640 --> 0:33:58.400
<v Speaker 1>have adjusted to working from home studios or at least

0:33:58.480 --> 0:34:01.600
<v Speaker 1>very limited sets in local aations, but it is still

0:34:01.720 --> 0:34:04.120
<v Speaker 1>hard to do, and there's still a risk of someone

0:34:04.160 --> 0:34:06.760
<v Speaker 1>getting sick, and if someone does get sick, that can

0:34:06.800 --> 0:34:09.600
<v Speaker 1>shut down an entire production for a couple of weeks.

0:34:10.239 --> 0:34:14.000
<v Speaker 1>It was a pretty bad scenario, perhaps a worst case one.

0:34:14.560 --> 0:34:16.920
<v Speaker 1>And maybe it's more accurate to say that people were

0:34:16.960 --> 0:34:21.120
<v Speaker 1>surprised at the timing of the announcement, not that it happened,

0:34:21.160 --> 0:34:24.000
<v Speaker 1>but just that it happened so early. Quimby had just

0:34:24.080 --> 0:34:27.240
<v Speaker 1>secured apps on those set top boxes I mentioned earlier,

0:34:27.560 --> 0:34:31.560
<v Speaker 1>and it had raised an enormous amount of investment money

0:34:31.600 --> 0:34:34.520
<v Speaker 1>that there was kind of a general belief that could

0:34:34.560 --> 0:34:36.440
<v Speaker 1>at least be able to stick around a little bit

0:34:36.480 --> 0:34:38.960
<v Speaker 1>longer to see if perhaps it can make everything work.

0:34:39.400 --> 0:34:42.400
<v Speaker 1>But Katzenberg made the decision to call it quits in

0:34:42.480 --> 0:34:45.839
<v Speaker 1>order to avoid losing more investor money. And that was

0:34:46.000 --> 0:34:49.480
<v Speaker 1>probably a pretty wise decision on his part, because I

0:34:49.520 --> 0:34:52.600
<v Speaker 1>suspect he will want to launch other businesses in the future,

0:34:52.960 --> 0:34:55.359
<v Speaker 1>and it would be way easier to do that if

0:34:55.440 --> 0:34:59.319
<v Speaker 1>he wasn't burning bridges. Between now and then, around two

0:34:59.719 --> 0:35:03.359
<v Speaker 1>people lost their jobs as a result of Quimby shutting down.

0:35:03.880 --> 0:35:07.560
<v Speaker 1>And then there are the various production studios, the content creators,

0:35:07.640 --> 0:35:10.640
<v Speaker 1>the crews, and all the other people who are impacted

0:35:10.640 --> 0:35:14.880
<v Speaker 1>because their work was for projects that were based on Quimby.

0:35:14.920 --> 0:35:17.359
<v Speaker 1>Behind the scenes, there was a lot of turnover at

0:35:17.360 --> 0:35:20.960
<v Speaker 1>the executive level, with stories leaking that working with Whitman

0:35:21.000 --> 0:35:24.359
<v Speaker 1>and Catzenberg could be challenging. Catzenberg in particular, has a

0:35:24.360 --> 0:35:29.560
<v Speaker 1>reputation for micro managing. The service will continue operating until

0:35:29.680 --> 0:35:33.840
<v Speaker 1>December one, when it will then all shut down, and

0:35:33.880 --> 0:35:36.759
<v Speaker 1>I think it's a shame from multiple perspectives. It is

0:35:36.840 --> 0:35:40.880
<v Speaker 1>a huge challenge to get something made with real production value.

0:35:40.960 --> 0:35:44.640
<v Speaker 1>If you're a content creator, there just aren't that many opportunities.

0:35:44.800 --> 0:35:48.000
<v Speaker 1>For every TV show or film that you see, there

0:35:48.000 --> 0:35:50.960
<v Speaker 1>are hundreds of ideas that never make it, and some

0:35:51.040 --> 0:35:52.600
<v Speaker 1>of them never even get a chance. Some of them

0:35:52.640 --> 0:35:56.319
<v Speaker 1>are just never even glanced at. So anytime there is

0:35:56.360 --> 0:35:59.920
<v Speaker 1>an opportunity for a creative person to realize their vision,

0:36:00.440 --> 0:36:03.960
<v Speaker 1>I think that's kind of special. And Quimby also created

0:36:04.040 --> 0:36:08.239
<v Speaker 1>an interesting challenge. It's not necessarily a good challenge, but

0:36:08.360 --> 0:36:12.440
<v Speaker 1>an interesting one. And that's this. With content divided up

0:36:12.440 --> 0:36:15.840
<v Speaker 1>into ten minute videos, you have to structure your story

0:36:16.239 --> 0:36:19.279
<v Speaker 1>to fit the format. Now, ideally you would end a

0:36:19.400 --> 0:36:21.440
<v Speaker 1>video in such a way that people would want to

0:36:21.440 --> 0:36:25.320
<v Speaker 1>see the next episode or the next segment of your movie.

0:36:25.760 --> 0:36:29.319
<v Speaker 1>So if you make a movie that's essentially twelve ten

0:36:29.440 --> 0:36:33.120
<v Speaker 1>minute long videos, that means you've got to craft eleven

0:36:33.160 --> 0:36:37.239
<v Speaker 1>cliffhangers that lead towards a satisfying conclusion. It becomes the

0:36:37.360 --> 0:36:40.839
<v Speaker 1>Dan Brown novel of films. And this is really hard

0:36:40.880 --> 0:36:43.799
<v Speaker 1>to sustain. I think of shows like twenty four, a

0:36:43.920 --> 0:36:47.120
<v Speaker 1>television series in which episodes take place in real time

0:36:47.200 --> 0:36:50.440
<v Speaker 1>over the course of twenty four hours. Uh that's a

0:36:50.600 --> 0:36:54.160
<v Speaker 1>twenty four episodes per season, with each episode lasting one hour.

0:36:55.160 --> 0:36:58.960
<v Speaker 1>The beginning and the end of a season of twenty

0:36:58.960 --> 0:37:03.400
<v Speaker 1>four hends to be pretty amazing, and the middle tends

0:37:03.440 --> 0:37:07.120
<v Speaker 1>to be less amazing, as writers are trying to find

0:37:07.160 --> 0:37:10.040
<v Speaker 1>out ways that they can keep the momentum going from

0:37:10.080 --> 0:37:13.480
<v Speaker 1>episode to episode in order to get to their conclusion.

0:37:13.800 --> 0:37:15.719
<v Speaker 1>I imagine the same thing was true for a lot

0:37:15.760 --> 0:37:20.439
<v Speaker 1>of Quimby creators. Still, this segment is for you, Quimby.

0:37:20.640 --> 0:37:23.720
<v Speaker 1>We hardly knew ye. In fact, some of us didn't

0:37:23.760 --> 0:37:27.000
<v Speaker 1>know ye at all. Next, we'll look at a few

0:37:27.000 --> 0:37:30.120
<v Speaker 1>other stories I talked about after lockdown and how things

0:37:30.120 --> 0:37:33.200
<v Speaker 1>have changed in just a few months. But first let's

0:37:33.239 --> 0:37:43.840
<v Speaker 1>take another quick break. One of the other series of

0:37:43.840 --> 0:37:48.560
<v Speaker 1>episodes that I tackled while working from home was about Panasonic,

0:37:49.040 --> 0:37:52.120
<v Speaker 1>and this should be a pretty quick update right here.

0:37:52.239 --> 0:37:55.799
<v Speaker 1>Panasonic's president at the time of those episodes was a

0:37:55.840 --> 0:37:59.400
<v Speaker 1>man named kasu Hiro Suga, who technically he's still the

0:37:59.400 --> 0:38:02.560
<v Speaker 1>president right now, but he had the unenviable task of

0:38:02.640 --> 0:38:07.360
<v Speaker 1>reversing Panasonics slide into losses under the leadership of the

0:38:07.400 --> 0:38:12.200
<v Speaker 1>previous president, Fumio Otsubo. Now where it comes that Suga

0:38:12.360 --> 0:38:16.759
<v Speaker 1>plans to step down by June of one. His replacement

0:38:16.960 --> 0:38:21.920
<v Speaker 1>will be Yuki Kusumi. Kusumi, like Suga, worked largely in

0:38:21.960 --> 0:38:26.840
<v Speaker 1>the automotive component division of Panasonic. The company also announced

0:38:26.840 --> 0:38:29.760
<v Speaker 1>that by twenty twenty two, it would change the company's

0:38:29.760 --> 0:38:32.959
<v Speaker 1>structure and convert it into a holding company, with each

0:38:33.000 --> 0:38:37.239
<v Speaker 1>division within Panasonic operating more as its own separate entity.

0:38:37.320 --> 0:38:39.960
<v Speaker 1>And the intent here is to make it more clear

0:38:40.080 --> 0:38:43.440
<v Speaker 1>what the deliverables are for each division within the company,

0:38:43.520 --> 0:38:46.640
<v Speaker 1>and also to free up leaders to make their decisions

0:38:46.640 --> 0:38:51.000
<v Speaker 1>more quickly and without any bureaucratic red tape. Now. I

0:38:51.040 --> 0:38:55.120
<v Speaker 1>also did an episode about TikTok, the video social networking

0:38:55.160 --> 0:38:57.560
<v Speaker 1>service that I mentioned earlier. In this episode, when I

0:38:57.600 --> 0:39:00.480
<v Speaker 1>was talking about Quimby and when I last left off

0:39:00.480 --> 0:39:04.040
<v Speaker 1>about TikTok, I mentioned that there was this growing pressure

0:39:04.640 --> 0:39:08.320
<v Speaker 1>for TikTok to split off from the Chinese parent company

0:39:08.400 --> 0:39:12.120
<v Speaker 1>Byte Dance, and that there were a few American company

0:39:12.239 --> 0:39:15.080
<v Speaker 1>suitors that were toying with the idea of an acquisition.

0:39:15.640 --> 0:39:19.719
<v Speaker 1>The deadline for severing ties to that parent company in

0:39:19.840 --> 0:39:25.600
<v Speaker 1>China fell in mid November, which is you know now ish.

0:39:25.640 --> 0:39:30.360
<v Speaker 1>In fact, as I recorded, that deadline was yesterday, November twelve.

0:39:31.160 --> 0:39:34.439
<v Speaker 1>UH News recently broke that TikTok's deadline has now had

0:39:34.480 --> 0:39:38.000
<v Speaker 1>a fifteen day extension. This was not because of some

0:39:38.080 --> 0:39:41.839
<v Speaker 1>sort of leniency granted by the US government, but rather

0:39:42.000 --> 0:39:45.880
<v Speaker 1>because the US government failed to do anything after the

0:39:45.920 --> 0:39:49.880
<v Speaker 1>deadline passed and then negotiated a new deadline. But to

0:39:49.880 --> 0:39:53.160
<v Speaker 1>be fair for those of US not paying attention, the

0:39:53.280 --> 0:39:56.600
<v Speaker 1>US government has had a few other concerns going on

0:39:56.719 --> 0:40:00.520
<v Speaker 1>right now, including the aforementioned pandemic and the fall out

0:40:00.560 --> 0:40:03.960
<v Speaker 1>of the twenty twenty election, and boy, howdy is it

0:40:04.000 --> 0:40:07.960
<v Speaker 1>a fun time to be paying attention to politics now.

0:40:08.560 --> 0:40:12.600
<v Speaker 1>There wasn't so much threat of things changing significantly for

0:40:12.640 --> 0:40:16.120
<v Speaker 1>TikTok anyway, even if the government had tried to go

0:40:16.200 --> 0:40:20.320
<v Speaker 1>through with this deadline, because in various court cases, federal

0:40:20.400 --> 0:40:24.920
<v Speaker 1>judges have decided against the Trump administration and blocked the

0:40:25.040 --> 0:40:29.320
<v Speaker 1>orders that the administration was was leveling to ban US

0:40:29.400 --> 0:40:34.080
<v Speaker 1>companies from having transactions with TikTok. In other words, advertisers

0:40:34.120 --> 0:40:37.239
<v Speaker 1>wouldn't be able to advertise on TikTok's platform, that kind

0:40:37.239 --> 0:40:42.040
<v Speaker 1>of thing, and those orders were struck down in federal courts.

0:40:42.080 --> 0:40:44.880
<v Speaker 1>So with those judgments in place, the government really didn't

0:40:44.880 --> 0:40:47.080
<v Speaker 1>have a whole lot of pressure that it could put

0:40:47.200 --> 0:40:50.799
<v Speaker 1>on TikTok. So it's kind of like someone saying, you'd

0:40:50.800 --> 0:40:53.839
<v Speaker 1>better not do that again, or I'll tell you not

0:40:53.920 --> 0:40:58.600
<v Speaker 1>to do it again. It's hardly an intimidating threat. Meanwhile,

0:40:58.760 --> 0:41:02.319
<v Speaker 1>China has grown quite hostile to this whole situation, and

0:41:02.400 --> 0:41:06.680
<v Speaker 1>since any deal would require cooperation between China and US

0:41:06.760 --> 0:41:11.120
<v Speaker 1>companies and authorities, that presents a big challenge as well.

0:41:12.000 --> 0:41:15.399
<v Speaker 1>Now what do I think about all this, Well, I mean,

0:41:15.440 --> 0:41:19.799
<v Speaker 1>I'm still not a huge TikTok fan. From the perspective

0:41:19.800 --> 0:41:24.560
<v Speaker 1>of personal security and privacy. I think it's fine for

0:41:24.680 --> 0:41:28.240
<v Speaker 1>what it's doing except for that security and privacy side.

0:41:28.840 --> 0:41:33.880
<v Speaker 1>But that's like all social networking sites, right. TikTok collects

0:41:33.880 --> 0:41:36.759
<v Speaker 1>a lot of information about users, and that information is

0:41:36.800 --> 0:41:38.799
<v Speaker 1>going to a company, in this case a company that

0:41:38.880 --> 0:41:42.000
<v Speaker 1>happens to be owned by a Chinese parent company. That

0:41:42.080 --> 0:41:46.080
<v Speaker 1>does cause me a little concern, But then I also

0:41:46.440 --> 0:41:51.239
<v Speaker 1>feel concerned regarding US owned social networking sites. Do I

0:41:51.280 --> 0:41:56.279
<v Speaker 1>feel TikTok is more dangerous than say, Facebook, No, I

0:41:56.320 --> 0:41:59.279
<v Speaker 1>actually think Facebook is at least as big of a

0:41:59.320 --> 0:42:03.520
<v Speaker 1>concern as TikTok, and probably a bigger concern from a

0:42:03.600 --> 0:42:07.200
<v Speaker 1>security and privacy point of view. And and it's it's

0:42:07.280 --> 0:42:10.400
<v Speaker 1>potential to do things like undermine the democratic process. I

0:42:10.400 --> 0:42:14.520
<v Speaker 1>think Facebook's the bigger threat. But this is all complicated

0:42:14.560 --> 0:42:17.600
<v Speaker 1>by the fact that the timing of the US government's

0:42:17.760 --> 0:42:21.720
<v Speaker 1>escalation in opposition to TikTok seemed to fall in line

0:42:22.120 --> 0:42:25.359
<v Speaker 1>with a big prank that the TikTok community pulled on

0:42:25.400 --> 0:42:29.640
<v Speaker 1>the Trump campaign staff during the lead up to the election,

0:42:30.200 --> 0:42:33.879
<v Speaker 1>and that has led some people to hypothesize that the

0:42:34.000 --> 0:42:38.680
<v Speaker 1>US scrutiny is fueled not through some concern for national security,

0:42:39.040 --> 0:42:43.080
<v Speaker 1>but rather due to vindictiveness. Now I have no idea

0:42:43.160 --> 0:42:45.680
<v Speaker 1>what's going on at this point. If I'm being honest,

0:42:45.719 --> 0:42:49.400
<v Speaker 1>I don't know what the motivations are. Really. The whole

0:42:49.440 --> 0:42:51.799
<v Speaker 1>thing is a big, confusing mess. What I do know

0:42:52.280 --> 0:42:54.680
<v Speaker 1>is I'm just about fed up with all social networking

0:42:54.719 --> 0:42:57.600
<v Speaker 1>sites out there. In fact, I got off Facebook, although

0:42:57.640 --> 0:43:01.879
<v Speaker 1>admittedly I'm still on it. Are a lot so I'm

0:43:01.920 --> 0:43:05.440
<v Speaker 1>not free of it. Oh. Another story I talked about

0:43:05.560 --> 0:43:09.320
<v Speaker 1>was Epic Games versus Apple, and here's a quick rundown.

0:43:09.680 --> 0:43:14.120
<v Speaker 1>Epic Games publishes many games, among them one called Fortnite,

0:43:14.520 --> 0:43:19.080
<v Speaker 1>which is available on lots of different platforms, including Apple's iOS.

0:43:19.640 --> 0:43:23.240
<v Speaker 1>Epic has micro transactions within the game. The game itself

0:43:23.320 --> 0:43:26.120
<v Speaker 1>is free to download, but then micro transactions are how

0:43:26.320 --> 0:43:28.920
<v Speaker 1>Epic makes money off of it. So players can spend

0:43:29.000 --> 0:43:32.680
<v Speaker 1>real world money to buy digital assets to customize their

0:43:32.760 --> 0:43:36.480
<v Speaker 1>characters in Fortnite. You give them specific costumes and dances

0:43:36.520 --> 0:43:39.520
<v Speaker 1>and that kind of thing. Apple's policy is to take

0:43:39.520 --> 0:43:43.239
<v Speaker 1>a cut of all transactions that occur within apps that

0:43:43.320 --> 0:43:46.400
<v Speaker 1>are in the Apple App Store, a thirty percent cut.

0:43:46.640 --> 0:43:50.000
<v Speaker 1>In fact, Epic Games decided to try and sidestep this,

0:43:50.120 --> 0:43:53.080
<v Speaker 1>and that gave iOS players an option to buy in

0:43:53.280 --> 0:43:58.319
<v Speaker 1>game currency separately from iOS, so you could get more

0:43:58.480 --> 0:44:01.839
<v Speaker 1>in game value for your real world dollar, because there

0:44:01.880 --> 0:44:04.920
<v Speaker 1>wasn't a markup to compensate for that thirty cut that

0:44:05.000 --> 0:44:09.239
<v Speaker 1>Apple would have taken otherwise. Then Apple went nuclear on

0:44:09.360 --> 0:44:13.400
<v Speaker 1>Epic for violating terms of service, and they removed Fortnite

0:44:13.400 --> 0:44:17.399
<v Speaker 1>from the Apple App Store. And then they said to Epic, hey,

0:44:17.440 --> 0:44:20.240
<v Speaker 1>anything you guys are working on, we are no longer

0:44:20.320 --> 0:44:23.279
<v Speaker 1>going to support in iOS. And since that happens to

0:44:23.360 --> 0:44:27.480
<v Speaker 1>include game engines like the Unreal Game Engine, which Epic

0:44:27.880 --> 0:44:31.959
<v Speaker 1>is responsible for, and since many other game developers rely

0:44:32.200 --> 0:44:35.400
<v Speaker 1>on that particular game engine to power their own games,

0:44:36.160 --> 0:44:40.640
<v Speaker 1>this represented a huge problem. So Epic sued Apple for

0:44:40.719 --> 0:44:44.920
<v Speaker 1>anti competitive conduct. Apple filed a couple of counterclaims on Epic,

0:44:45.320 --> 0:44:49.440
<v Speaker 1>saying that Epic was intentionally interfering with Apple's business. The

0:44:49.560 --> 0:44:53.560
<v Speaker 1>judge would throw out Apple's counterclaims, saying that Apple was

0:44:53.600 --> 0:44:56.799
<v Speaker 1>on the losing side of this particular argument, But the

0:44:56.800 --> 0:44:59.600
<v Speaker 1>story is far from over. However, it did represent a

0:44:59.680 --> 0:45:03.200
<v Speaker 1>set back for Apple. Also back in October, a judge

0:45:03.239 --> 0:45:05.839
<v Speaker 1>found in favor of Epic when it came to the

0:45:05.880 --> 0:45:08.960
<v Speaker 1>banning of that game engine I mentioned, the Unreal engine.

0:45:09.360 --> 0:45:13.480
<v Speaker 1>The judge restrained Apple from removing support for the engine,

0:45:13.719 --> 0:45:16.319
<v Speaker 1>which was a huge win for Epic. You might even

0:45:16.360 --> 0:45:19.400
<v Speaker 1>call it an Epic win, but the judge didn't go

0:45:19.480 --> 0:45:22.960
<v Speaker 1>so far as to grant an injunction against Apple that

0:45:23.000 --> 0:45:26.680
<v Speaker 1>would have seen Fortnite get returned to the Apple App Store.

0:45:27.600 --> 0:45:30.480
<v Speaker 1>One judge proposed a trial date for the summer of

0:45:31.440 --> 0:45:34.080
<v Speaker 1>one to settle the whole thing, but so far both

0:45:34.120 --> 0:45:36.879
<v Speaker 1>Epic and Apple have indicated that they would really rather

0:45:37.040 --> 0:45:40.000
<v Speaker 1>have a case where a judge decides the outcome as

0:45:40.040 --> 0:45:44.080
<v Speaker 1>opposed to a jury trial. So we'll see what happens next.

0:45:44.520 --> 0:45:47.560
<v Speaker 1>And a couple of other real quick updates on the

0:45:47.640 --> 0:45:50.520
<v Speaker 1>update on the deep fake story I did. While deep

0:45:50.560 --> 0:45:52.680
<v Speaker 1>fakes didn't really play that much of a role in

0:45:52.719 --> 0:45:54.880
<v Speaker 1>the lead up to the election in the United States,

0:45:55.600 --> 0:45:58.800
<v Speaker 1>there were fears that we would be flooded with fabricated videos,

0:45:59.160 --> 0:46:02.799
<v Speaker 1>but those proved largely be unfounded fears. There was no

0:46:02.880 --> 0:46:07.760
<v Speaker 1>shortage of misinformation, and there were plenty of misinformation video clips,

0:46:07.920 --> 0:46:10.279
<v Speaker 1>but these were mostly video clips that were taken out

0:46:10.280 --> 0:46:13.880
<v Speaker 1>of context, so they were actual video clips of real people,

0:46:14.320 --> 0:46:17.480
<v Speaker 1>not deep fakes, but they were edited in such a

0:46:17.520 --> 0:46:19.840
<v Speaker 1>way to make it seem like a person was saying

0:46:20.280 --> 0:46:24.279
<v Speaker 1>something that they weren't really saying. So we didn't see

0:46:24.280 --> 0:46:26.400
<v Speaker 1>a big influx of deep fakes, but we were still

0:46:26.400 --> 0:46:30.799
<v Speaker 1>flooded with lies in misdirections. So yeah. I also did

0:46:30.880 --> 0:46:33.960
<v Speaker 1>an update on the G four TV episode I recorded

0:46:34.680 --> 0:46:37.799
<v Speaker 1>much earlier, and I did a little talk about the

0:46:37.840 --> 0:46:44.000
<v Speaker 1>network's upcoming resurrection currently scheduled for Since that update, there's

0:46:44.000 --> 0:46:46.360
<v Speaker 1>been a couple of others. There were rumors that Olivia

0:46:46.440 --> 0:46:49.520
<v Speaker 1>Munn is in talks to potentially return as a host

0:46:50.040 --> 0:46:52.799
<v Speaker 1>of a G four TV program. I think that could

0:46:52.800 --> 0:46:56.160
<v Speaker 1>be great if all parties can find agreeable terms. G

0:46:56.360 --> 0:46:59.040
<v Speaker 1>four has also continued to put out casting calls for

0:46:59.160 --> 0:47:03.000
<v Speaker 1>new shows, including a casting call that was a video

0:47:03.120 --> 0:47:06.440
<v Speaker 1>that had original G four TV and and before that,

0:47:06.560 --> 0:47:10.920
<v Speaker 1>Tech TV host Adam Sessler as a character called Crazy

0:47:11.040 --> 0:47:14.760
<v Speaker 1>Adam calling for people to come on down and submit applications.

0:47:15.239 --> 0:47:18.160
<v Speaker 1>I'm certain there are a lot more updates. I could

0:47:18.160 --> 0:47:21.320
<v Speaker 1>probably tackle, but these were the ones that really stood

0:47:21.320 --> 0:47:24.319
<v Speaker 1>out to me. Since my office went into lockdown on

0:47:24.440 --> 0:47:31.840
<v Speaker 1>March that also was a Friday, So I left the

0:47:31.880 --> 0:47:34.440
<v Speaker 1>office on Friday the thirteenth, and I'm recording this episode

0:47:34.480 --> 0:47:38.759
<v Speaker 1>on the next Friday. How about that. Now, I plan

0:47:38.880 --> 0:47:41.359
<v Speaker 1>on dipping into the archives now and then and giving

0:47:41.440 --> 0:47:44.560
<v Speaker 1>up dates on old Tech Stuff episodes. Some of the

0:47:44.600 --> 0:47:48.120
<v Speaker 1>episodes that I've done about companies are now a few

0:47:48.200 --> 0:47:51.280
<v Speaker 1>years old at this point, and those are almost certainly

0:47:51.360 --> 0:47:53.360
<v Speaker 1>due for an update, at least for the companies that

0:47:53.400 --> 0:47:55.839
<v Speaker 1>are still around today. But if you guys have any

0:47:55.880 --> 0:47:58.600
<v Speaker 1>suggestions on episodes that I should follow up on, or

0:47:58.640 --> 0:48:02.400
<v Speaker 1>even brand new episode ideas, let me hear them. The

0:48:02.440 --> 0:48:04.560
<v Speaker 1>best place to get in touch with me is over

0:48:04.640 --> 0:48:08.439
<v Speaker 1>on Twitter. Just tweet at the show text Stuff h

0:48:08.600 --> 0:48:12.720
<v Speaker 1>s W and I'll talk to you again really soon.

0:48:17.800 --> 0:48:20.799
<v Speaker 1>Text Stuff is an I Heart Radio production. For more

0:48:20.880 --> 0:48:24.280
<v Speaker 1>podcasts from My Heart Radio, visit the I Heart Radio app,

0:48:24.400 --> 0:48:27.560
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.