Channels with Peter Kafka

Then the computers went and learned to code. Now anyone can do it, in theory, courtesy of Claude Code and other vibe coding apps.Tech people I talk to are very, very excited about this. But they often have a hard time explaining to me, a non-coder, why AI-powered coding is such a big deal. And whether it’s a big deal to everyone who already codes or deals with software for a living — or whether it’s a big deal for everyone who uses software. All of us, that is.Here to the rescue is Paul Ford, a guy who learned to code and who also learned to write and talk, like a human. Paul is the guy who wrote an entire issue of Businessweek dedicated to a single question — What is Code? — and blogs at Ftrain.com; but his day job is making software, which he does at Aboard.Paul is not the guy who can tell you what’s going to happen to Saas stocks, or if AI is going to wipe out all the jobs, some jobs or will create a gazillion new jobs. Anyone who tells you any of those answers with confidence, he says, is making it up.But he can tell you and me why the recent change in AI-produced software — something that really kicked in over the last few months — is changing his life, and why it’s going to change software for good. And he’ll help you think about what that means for you, a normal person. You’ll like this one.
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Jason Blum built one of Hollywood’s smartest businesses: make low-budget horror movies, give filmmakers room, pay talent on the back end, and let the hits carry the misses. It worked so well that it became a Harvard Business Review case study.But the movie business that made that model work has changed: Theatrical is weaker, lots of people are making horror movies, studios are consolidating, and AI is the latest thing Hollywood is supposed to fear — or embrace.So I sat down with Blum at a live Business Insider event in San Francisco to ask what still works. We talked about why his new Mummy movie is a very different bet than the movies that built Blumhouse, why he thinks consolidation is bad for Hollywood even if new buyers like Amazon and Apple help offset it, why he’d make AI disappear from moviemaking if he could — while still insisting his team learn how to use it — and what he learns from flops.
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Sam Altman has spent years presenting himself as the face of AI: The guy warning that the technology could change everything, and the guy insisting that he should be the one to build it. Now we are facing some overdue questions: Can we trust Sam Altman with the massive power AI may generate? And should we trust anyone with that power?

Ronan Farrow and Andrew Marantz join me to talk about their New Yorker profile of the OpenAI CEO, the internal fights around OpenAI’s mission, and why so many people who’ve worked with Altman keep coming back to the same concerns about trust.

We talk about Altman’s talent for telling different audiences different things; why Silicon Valley’s usual tolerance for founder myth-making looks different when the product is AI; and how OpenAI went from warning about dangerous race dynamics to helping kick one off with ChatGPT.

Then we broaden out: if the real problem is structural, not just personal, what kind of oversight should exist for the people building a technology they say could reshape all of our lives?

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Jonathan Glatzer has written for shows like Succession and Better Call Saul. Now he’s got his own: The Audacity, a new AMC drama set in Silicon Valley.So why make a Silicon Valley show right now — and what, exactly, is he trying to say about tech?

Glatzer tells me he wasn’t interested in making a wall-to-wall “tech show,” or in doing spot-the-billionaire satire. Instead, he says, he wanted to focus on the people living inside that world: the strivers, service providers, almost-rich neighbors, therapists, and families orbiting vast amounts of money and power.

We talk about why privacy and data collection still worry him more than AI hype; why he thinks tech has failed to deliver on many of its biggest promises; and why he’s more interested in the human consequences of Silicon Valley than in explaining how the industry works.

Plus: what it means to make a prestige-style TV drama in a post-Peak TV market, why AMC was willing to take a swing on this one, and how you fake Silicon Valley by shooting in Vancouver.
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Elon Musk has spent the last year being quieter than usual — by Elon Musk standards.That may be about to change in a very big way, as his SpaceX moves toward what could be one of the biggest IPOs in history. So what, exactly, is Musk selling? A rocket company? A satellite internet giant? An AI play? Or just the latest, biggest version of Elon himself?Bloomberg’s Max Chafkin, who has been tracking Musk for a couple of decades, joins me to walk through what Musk has actually been up to lately. We talk about what SpaceX is now that it includes multiple businesses under one roof; why Musk might want to take it public after years of insisting he didn’t; and how much of the pitch is grounded in real operating businesses — rockets! Satellite internet! — versus the familiar promise of something much vaguer and hard to assess.Then we broaden out: Tesla’s drift from car company to AI-and-robotics story, whether X is still a business or simply a political and cultural weapon, and what changed after Musk’s break with Trump. The bigger question underneath all of it: has Musk built a coherent empire — or just a very effective machine for turning hype, power, and celebrity into capital?
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