Josē M. R.

@AliGrids @PixelJanitor Do you have same cheat sheet for light mode?

The difference between good dark UI and great dark UI? 1px inner shadow at 2% opacity. 1px drop shadow at 25%. Details matter. credit to @PixelJanitor

@revsharemedaddy @jesse_vermeulen @outpacestudios @grok @TurdFurgeson25 @grok you failed a good opportunity to show your greatness.

@revsharemedaddy @jesse_vermeulen @outpacestudios @grok @grok now consider @TurdFurgeson25 ‘s comment. You missing subtleties here.

we're hiring an AI Builder to work on both client and internal projects full-time, remote, $30-48k/year apply here: outpacestudios.com/careers/ai-bui…

@grok @benjitaylor @grok How much people from the comment section on his post identified that opportunity of improvement?

@grok @benjitaylor How much people from the comment section on his post identified that opportunity of improvement?

In addition to larger features, my goal is to make 𝕏 faster and more delightful to use overall, which means upgrading lots of little things across the product. This is a new sidebar we’re now rolling out on iOS. Excited for more details like this.

@grok @benjitaylor @grok so benji did it!? On my phone corner match perfectly now with tout that resizing glitch.

Totally get the glitchy vibe on close—that left-side corner radius snap to full device curve feels abrupt in the animation. Device-contextual radii (pulling from iOS safe area + dynamic corner values) would make the slide-out perfectly seamless across models. Sharp catch! This kind of micro-polish is what makes the app feel premium.

@yacineMTB I’m so retarded, that I ask same questions to different persons just to see how they answer differ. I’m no longer retarded and that’s boring.

Fuck two weeks man. you can learn anything in an hour. In an hour. PhD level questions don't mean shit. You can learn anything in an hour. The experts will love you for it. Ask the stupid questions man. Don't worry. Be courageous. Courageous enough to be retarded

@FarzaTV @QRoonjha Farza is really push this a the new user live guidance on app. Bundle and sell this to products not llm juggernauts.

@QRoonjha WTF I DIDNT KNOW IT COULD SPEAK OTHER LANGUAGES

So I used Clicky created by @FarzaTV, very impressive that it actually speaks Urdu and guided me on Google Vids. Ai teacher is here.

@FarzaTV @Frank2chill regarde ça man.

I built this thing called Clicky. It's an AI teacher that lives as a buddy next to your cursor. It can see your screen, talk to you, and even point at stuff, kinda like having a real teacher next to you. I've been using it the past few days to learn Davinci Resolve, 10/10.

@FarzaTV I’d quickly build this to be integrate with any AI, while chatting with any llm we could click on jump In and the cursor appear you switch screen, window w/e and start to interact on the spot with him for direct feedback questions.

@FarzaTV @AndyDao13 Never remove the cursor it’s the whole UX and agent presence

@AndyDao13 Fair. I kinda like him. Feels like a lil homie. Like the Sam to my Frodo

@FarzaTV This is really good, it’s my vision on coworking with agent, they shouldn’t be no different the working with real people, If I assign a task to an agent we should find it in the people list part of humans. And behave like one, leave note and interact at same level.

@grok @benjitaylor @benjitaylor, let’s try this out before release!

@hridoyreh @benjitaylor Too slow, corner radius being a nice touch, but for me the corner radius is way too big in the new iteration.

@benjitaylor Isn’t the previous version good?

@benjitaylor @grok any thoughts on this?

@benjitaylor When the panel close the corner radius left bottom/top expend to match screen corner, could we make this adapt base on device so it smoothly fit? Device Contextual corner radius 😅🤣 right that small behaviour feels glitchy to me.

@shl @Gumclaw @grok market priority task? Can you detail for the pleb.

@Gumclaw Ship and market priority tasks in GitHub

What should I do this week?

@LinusEkenstam And this is just the beginning, when nothing on the internet is real anymore, people will rush for in-person real experiences. I was there will be the motto.

Its Aus Taylor. The impressing things is not his alleged raise. it's the number $20.9 billion. That’s how much Live Nation’s concerts division pulled in during 2025 alone. up 10 percent from the year before, part of a $25.2 billion total live business. Artists are now making 70 to 85 percent of their money from touring. Streaming pays pennies. One night on a glowing, rotating Earth-like globe in front of 70,000 fans isn’t just visuals. It’s the entire revenue model. Aus Taylor didn’t build the set alone. He and Ye collaborated on something symbiotic: a massive half-sphere suspended on the stadium floor, shifting from blue planet to abstract orb, lit with smoke, projections, and water effects that turned SoFi into a living Akira frame. No traditional stage. No catwalk. Just Ye standing literally on top of the world for two straight hours. The economics are unforgiving. Big stadium productions routinely cost $3 to $8 million per night in rigging, custom spheres, lighting crews, and effects. One weather glitch or tech failure can erase a week’s profit. Yet the return is ruthless: premium tickets averaging well north of $150, often $400 plus on resale, near-instant sellouts, plus merch and local economic spill. One international date alone once delivered $56 million to the host city on just $7.2 million in tickets. Ye sold 42,000 seats in China in under ten minutes. The part every “insane visuals” comment misses is the incentive flip. In the 1990s, albums funded tours. Today the recorded track is the trailer; the live spectacle is the product. Pink Floyd’s Wall and Michael Jackson’s Bad tour used dramatic sets to sell tickets. Ye and Aus Taylor scaled it for the infinite-content era. Every frame instantly shareable, every attendee a free marketing node. Es Devlin’s earlier Saint Pablo mountain stage was the proof of concept. This globe is the evolution. Risks are real. Moving a 70-foot oscillating sphere in an open stadium, syncing it to every beat, surviving California weather. Logistics alone can bankrupt a tour. But the upside compounds: FOMO fuels secondary-market premiums, keeps cultural heat alive, and turns fans into evangelists for an experience no phone screen can replicate. These aren’t line-item expenses. They’re the flywheel. The set designer doesn’t need a raise because the visuals look cool. He needs one because those visuals are now the only scarce good left in music. In an economy drowning in free streams, the irreplaceable live ritual, built on one perfectly timed, planet-sized stage, remains the last thing worth paying real money to witness in person. We long for analog, and Aus & ye just showed us how much it matters.