Olivia
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Francisco Serna
@pacosernatorres
Joined May 2011
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Optimus is coming
Mobility is the key unlock. Tabletop tasks, no matter how reliable, only go so far if the robot needs to be fed and babysat. Mobility completes the autonomy loop.
@DynaRobotics is taking their destiny into their own hands by designing their own semi-humanoid. Also cool to see the engineers talking about their work in this video.
Introducing Gemini 4 Argon – our new frontier model.
It’s built for complex workflows across coding, enterprise knowledge work, and cybersecurity defense – rolling out today to a set of trusted testers through our Fairwind Program.
I was there Friday night in San Francisco for the @REK event, and this is something you had be in the room to get it, but I’ll try to describe it.
It hit completely differently from robot-versus-robot fights. Those are entertaining, sure, but after a while they start to feel strange. You’re empathizing with machines that aren’t conscious, don’t feel pain, and don’t feel anything. Robot versus human hits different and raw, it was an emotional rollercoaster. I felt real fear for the human fighter, and real excitement, mostly fear, and when it ended there was a huge wave of relief.
The robots were remote-controlled, of course, but the kicks were genuinely powerful. We know how power-dense those actuators are, and the human fighter took real hits to his body. The kicks from the six-foot-tall EngineAI T800 seemed nearly impossible to dodge when they were hurled in the right direction. The Unitree H1 was even harder to deal with because its dynamic balance is so good that it just refused to go down.
This could be the start of a genuinely new entertainment genre. But I can tell you this: if someone wants to fight a robot with a real AI brain and real perception, you’d need robots that are far less powerful, throttled down, and compliant. Otherwise it ends in serious injury or worse.
This is the beginning of something different in robotics and entertainment, and we need to think seriously about it before regulators use moments like this as fearmongering fodder to throttle the entire humanoid frontier.
The Optimus factory construction at Giga Texas is progressing rapidly.
It'll be a massive 7 million sq ft facility with a targeted capacity of 10 million Optimus per year. Initial production is planned to begin in 2027.
The Fremont facility, planned for 1 million per year, is expected to begin production this year.
The World is Changing: AI For Creativity
By Jeffrey Katzenberg
A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe.
Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.”
I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both.
In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious.
There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love.
People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft.
Is History Repeating Itself?
The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul."
Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work.
A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept.
They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded.
This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix.
What I Learned From Walt Disney
In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell.
We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not.
That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create.
A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did.
Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.”
A Distinction With a Difference
I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . .
Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new.
Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out.
Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new.
One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable.
Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground.
A Path Forward
In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . .
Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human.
At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling.
The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it.
There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us.
The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires.
What I Learned From Steve Jobs
Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities.
What I See Coming Soon
As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process.
Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.
El fundador de @AnthropicAI hizo video llamada y anunció el descubrimiento de un nuevo mecanismo de edición genética.
🔴💊 El gobierno reconoce que adeuda más de 110 mil millones de pesos a la industria farmacéutica, lo que equivale a 63% del presupuesto del IMSS-Bienestar para 2026.
Hay adeudos que vienen de licitaciones que se llevaron a cabo en 2023, admite la administración de la presidenta Claudia Sheinbaum.
https://t.co/w2ZuMaJldz
Tres sexenios y contando…
La caja ya es muy chica, pero aún quedan recursos que atraen a ‘samaritanos’ al @ipejalgob
Mientras este Instituto siga siendo un apéndice del gobierno, y no un órgano bajo responsabilidad de los que aportan (los trabajadores), no habrá gran solución.
🇮🇹 La primera ministra de ultraderecha, Giorgia Meloni, indicó que esta disposición también contempla la prohibición del burka y el niqab en las aulas y que los padres de los estudiantes extranjeros con dificultades para integrarse en el sistema escolar aprendan italiano
https://t.co/u8p3U8113s
@Trafico_ZMG Es imperdonable que permita esto. Esos desechos debe ser tratados por esas empresas, pero claro es mas sencillo seguir contaminando el rio.
Vecinos de la colonia La Azucena, en el municipio de El Salto, nos comparten este video en el que se puede apreciar un camión de carga tirando desechos dentro del Río Santiago. Mencionan que esto es recurrente tanto en esta colonia como en el fraccionamiento Las Lilas 2. Mencionan que esto aumenta los riesgos sanitarios en la zona, por lo que solicitan a @ElSaltoGob y @GobiernoJalisco tomar cartas en el asunto e incrementar las sanciones para las empresas que replican este tipo de prácticas #TraficoZMGPeriodismoCiudadano
🚨 ÚLTIMA HORA: SE CONFIRMA PERSECUCIÓN DE ESTADO🚨
Tras tener acceso a MI carpeta de investigación, se confirma exactamente lo que hemos dicho desde el inicio: estamos ante una persecución política y penal iniciada por el @INEMexico en complicidad con la @FGRMexico.
🟥¿QUÉ BUSCAN CON ESTA IMPUTACIÓN?
📍Evitar que sigamos exponiendo las arbitrariedades y la violación a los derechos de las y los trabajadores del Instituto.
📍Silenciar los despidos masivos que ejecutan a través de prácticas de hostigamiento y afectación a su dignidad.
📍 Evitar a toda costa que ejerza mi libertad de expresión desde los medios de comunicación.
🟥 LA FABRICACIÓN DEL DELITO:
Me atribuyen el delito de "amenazas". Pero no piensen que se trata de amenazas hacia una persona o su ámbito privado, sino que supuestamente "AMENACÉ CON SUBIR A REDES SOCIALES LA AUDIENCIA".
Sí, una audiencia de funcionarios públicos en sede institucional, un acto que legítimamente y en ejercicio de derechos la ciudadanía puede y debe conocer.
¡ESO NI SIQUIERA ES UN DELITO!
Por si fuera poco, la PERSECUCIÓN también es por los comentarios y reacciones a las publicaciones.
Toda la carpeta es un atentado contra la LIBERTAD DE EXPRESIÓN. Es una fabricación que constituye un GRAVE precedente para el libre de la ABOGACÍA, el periodismo y la crítica a la función pública.
Por cierto, @INEMexico, el asunto se lleva en la Fiscalía GENERAL de la República, por ser una cuestión INSTITUCIONAL, por tratarse de hechos de la función pública federal, sede del INE, funcionarios federales, usaron recursos públicos para armar todo y con información personal que el INE tiene a su resguardo.
En pocas palabras, una persecución política desde el @INEMexico.
Aquí les dejo los links de las publicaciones que la @FGRMexico ordenó a la plataforma X eliminar para censurar la verdad: 👇
🔗https://t.co/UbuUdNkJwK
�
🔗https://t.co/KO3Omdgz1P
🔗 https://t.co/2nbhQuEMDy
🔗 https://t.co/o8B4UFJnWE
🔗 https://t.co/Or1werCBfv
🔗 https://t.co/Ouy4ZYZID7
🔗 https://t.co/asBwJBNNn2 https://t.co/Ebv2ym2ab6
Señor secretario @mario_delgado malas noticias, farmear aura y modificar el horario escolar para ver Mundial no dio resultado. La @ocdeenespanol reporta que el (Programme for International Student Assesment) PISA muestra un deterioro de la educación en México.
@imcomx El resultado de una politica educativa nula por parte de los rojillos en el gobierno
📚 Ya están disponibles los resultados de #PISA2025.
📊 Los puntajes de México son 414 en Ciencias (+4 vs. 2022), 388 en Matemáticas (-7) y 408 en Comprensión Lectora (-7), todos menores al promedio de los países de la OCDE.
📉 El país se ubica en el penúltimo lugar en Ciencias y Comprensión Lectora, lo que indica que persiste la tendencia a la baja en el desempeño de los estudiantes.
En un país de 134 millones, el sueño de llegar a Primera división ya no se gana en la cancha:
Para los millones de niños mexicanos
solo quedan 482 LUGARES EN PRIMERA DIVISIÓN.
#Ascenso #AmorEsLeones
Un gobierno que paga funcionarios para gobernar y consultores para hacer el trabajo de esos funcionarios no necesariamente tiene menos burocracia. Tiene algo peor: doble costo y menos capacidad pública.
¿Cuánto gobierno queda dentro del gobierno?
https://t.co/0OdfP5b2xV
La autopista Guadalajara - Colima: entre obras, casetas y riesgo al volante. Filas de hasta tres horas, obras, carriles reducidos, desvíos y fallas en el cobro del peaje están convirtiendo el recorrido de la autopista en una prueba de paciencia… y también de riesgo. https://t.co/HKV5blMnXE
Ya son los amparos, mas la sugerencia atinada de @JuanJoseFrangie de buscar otras opciones para edificar.
Lo que se dilata, se complica. Tal vez sea tiempo de que el gobernador @PabloLemusN cierre este tema delicado y reoriente un buen proyecto, a otro mejor lugar.
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