Chances are, you or someone you know has been the target of a scam. According to the Federal Trade Commission (FTC), reported scams cost Americans more than $12.5 billion in 2024a 25% increase from the previous year. But as scams grow more sophisticated, so do their opponents.
A growing number of online vigilantes are flipping the script, turning the scam on the scammersand racking up millions of views in the process. Mashables Chris Taylor recently spoke to a few whove turned scambaiting into full-time work.
Rosie Okumura got into scambaiting after her mother was tricked out of $500 by a pop-up on her computer. Now, she channels her acting skillsmimicking well-known voices like Britney Spears and Kim Kardashianto waste scammers time while entertaining her audience. Her YouTube channel, IRLrosie, boasts most than 1.6 million subscribers, with another 1.2 million followers on TikTok.
“I feel like teaching people how to avoid scams is better than helping someone who’s lost a ton of money, or putting myself in a dangerous situation,” Okumura said.
Ashton Bingham and Art Kulik, the duo behind the YouTube channel Trilogy Media, also have 1.6 million subscribersbut they take their scambaiting offline. Their most-watched video, Hunting a Scammer with Cops, has amassed more than 5.6 million views since its 2022 release. In it, Bingham and Kulik team up with law enforcement to confront a refund scammer in person, armed with $40,000 in fake cash and a camera crew. With a subscription platform, Trilogy+, and a freshly signed deal for an unscripted TV show, scambaiting has become a profitable venture.
Some scambaiters argue that by wasting a scammers time, theyre preventing real victims from being defrauded. But whether this tactic actually reduces online fraud is still debated. Research has also flagged ethical concerns, as some early scambaiters used racist, extreme, or even violent methods when confronting scammers.
Still, for Okumura, the response has been overwhelmingly positive. The best part is getting recognized at restaurants, she told Mashable. They will comp my bill!
Roughly half a mile behind the Seven Dwarfs Mine Train and Ariels Grotto in Walt Disney World sits a nondescript cement warehouse with the words the can-do people written on the outside. Should tourists somehow get lost in that corner, located just outside the Magic Kingdom, its a place they would never pay attention to. What they might never imagine, however, is that generic building is the lynchpin of the Disney experience.
Welcome to Central Shops, a rarely spoken part of Disney thats off-limits to visitors and most of the companys cast members (Disneys term for its employees). Its ground zero for Disney Worlds ride safety and an essential part of park operations around the world.
With 417 employees spanning 15 trades, from electricians to carpenters to painters, Central Shops is where every ride in the four Orlando theme parks is regularly inspected to ensure theyre safe to ride. At the same time, its also the corner of Disney where character heads for in-park meet-and-greets and parades in all global parks are manufactured. (Put another way, every Goofy, Mickey, Minnie, and Donald you see at the parks had their noggins made here.)
[Photo: Disney]
Ripping apart Disney World rides
Ride inspection is, arguably, the most important job of Central Shops. Every ride vehicle in the four Orlando theme parks ends up here on a recurring basis for inspectionand its far from a quick one. Ride vehicles are torn apart, down to their components. Every panel, bolt, etc. is inspected individually, a process that generally takes between 12 and 18 weeks from start to finish, says Fred Cox, director of manufacturing.
For dark rides, like a Haunted Mansion Doom Buggy, a log flume from Tianas Bayou Adventure, or a horse on Prince Charmings Carousel, thats done on a calendar basis, scheduled breaks when select cars are taken out of commission and inspected. For thrill rides, like Space Mountain, its meter-based, meaning vehicles are taken off the line after theyve been ridden a predetermined number of times.
On a recent press trip through Central Shops, we saw a number of rides in various states of inspection. A collection of parts on one side was barely identifiable as a ride car from Guardians of the Galaxy: Cosmic Rewind. A few steps away, a honey pot from The Many Adventure of Winnie the Pooh gleamed, following a touch-up to its fiberglass. Sitting off to the side was a disassembled teacup from the Mad Tea Party.
And scattered throughout the shop were parts of Astro Orbiter, a ride that has been completely (and temporarily) removed from the Magic Kingdom. Every 10 years, explained Rich Votava, manager of manufacturing, the bearing at the bottom of the ride (which sits atop the People Mover in Tomorrowland) needs to be replaced. Imagineers remove it completely, giving Central Shops a chance to inspect all the ride elements, from the boom arms on the decorative planets on the ride to the ride cars. (The Disney World ride is expected to be back in the park this summer, likely in May or June.)
After ride cars are dismantled, each part is carefully inspected, some under X-ray to look for microscopic cracks in the metal. Once each part has been examined and refurbished (if needed), the components of vehicles are put back together, while the shells are repainted or refreshed. Once they are reassembled, cars are then returned to the park, where they run without riders for another two weeks to ensure everything is working properly. After that, visitors begin to pile in once again. (The maintenance schedule of most ride vehicles is staggered so that rides arent forced to close completely, like Astro Orbiter has.)
We break it down to the blueprints, says Votava.
Safety inspections go beyond ride vehicles, of course. Workers from Central Shops are in the parks nightly once visitors leave to make any necessary repairs and safety inspections for rides. Sometimes, thats done with drones, which inspect areas humans cant easily reachsuch as atop Spaceship Earth in Epcot or under the water at one of the resorts boat piers. And a tool called the Resistograph is used to check the density of wood throughout the park to alert Imagineers if theres rot inside and a piece needs to be replaced.
[Photo: Disney]
More than machines
While theres a lot of engineering work that goes on at Central Shops, theres also a surprising amount of detail touch-up.
In addition to creating character heads (in a top-secret room that Disney did not allow members of our press tour to view), the facility also handles repairs to character costumes at the Florida parks. Shoes get scuffed and details torn as Mickey and Buzz Lightyear interact with visitors. The stormtroopers are also getting a glow-up as Star Wars Day (May 4) approaches. Costumes are bought here, where theyre refurbished (a process that can take a week or two).
Meanwhile, horses on the Magic Kingdoms carousel are getting a touch-up. They have a lot of sentimental value, as they were purchased by Walt Disney himself, so the hand-carved maple stallions are treated with an especially delicate touch, with touch-ups done by artists and old layers of paint carefully sanded off so as to not hurt the detail of the carving.
Some small elements that guests might not even notice are handled in Central Shops as well, such as adding details like the small trunk hairs on a baby elephant from The Jungle Cruise, which have to be inserted one at a time by hand.
Its detail-oriented work thats done well out of view, so guests can stay in the Disney bubble. But with more than 115 attractions at the parks (along with more than 50 character experiences), Central Shops is essential to keeping the rides running smoothly and maintaining the parks reputatin as the so-called happiest place on earth.
If you’re finding yourself contemplating whether you can get an extension on this year’s tax return, you’re not alone. Forty percent of Americans still haven’t filed.
Theres something almost perverse about the IRS placing tax day smack-dab in the middle of the loveliest month of the year. Want to enjoy the warm weather, cherry blossoms, and the sunshine reflecting off the pasty white skin of everyone venturing outside for the first time since last fall? Too bad! You have to excavate all of your financial decisions from the previous year while simultaneously trying to remember your math skillsor risk the wrath of an IRS agent named Spike.
Thats why its something of a relief that every American taxpayer can get an automatic six-month extension on filing their federal income taxes. But, since this is the IRS were dealing with, there is a catch: You still have to pay what you owe by Tax Day.
If filing your 2024 taxes has crept up on you this year (when did it get to be April already?), heres what you need to know about getting an extension while staying on Spike the Auditors good side.
File for an extension with Form 4868
While all taxpayers are eligible for an automatic tax return extension, you still need to request one. Thats where Form 4868, Application for Automatic Extension of Time to File U.S. Individual Income Tax Return comes in.
Anyone who fills out and turns in Form 4868 (which can be filed electronically using IRS Free File) by the tax filing deadline of April 15, 2025, automatically receives a six-month extension for filing their 2024 taxes. This pushes the tax filing deadline back to October 15, 2025.
Unlike your 1040 and other required tax forms, Form 4868 does not require a great deal of information from you. All you need to provide on this form is the following
Your name
Current address
Social Security number
Estimated tax liability for 2024
Amount of 2024 tax you have already paid
The form also asks you to subtract your total 2024 payments from your estimated liability to calculate your balance due.
Once you have completed and filed the form, you will automatically receive the filing extension. Just remember that youve only extended the deadline for filing your tax paperwork. You still have to hand over your estimated tax liability by April 15.
Estimate your tax liability
If you, like me, have never once figured out your tax liability (or overpayment, in the years you get a return) without actually filing your taxes, you might be wondering how youre supposed to calculate your estimated tax liability for Form 4868. It doesnt help that the IRS offers this not-at-all ominous warning on Form 4868:
Make your estimate as accurate as you can with the information you have. If we later find that the estimate wasnt reasonable, the extension will be null and void.
Just in case you werent already stressed about tax season.
Thankfully for those seeking a tax return extension, there are some guidelines for making a reasonable estimate of your tax liability.
Knowing whats reasonable
Since one taxpayers reasonable is anothers gross negligence, the IRS helpfully defines a reasonable estimate as being 90% of the total tax you owe. If your estimate is at least 90% of the real number, and if you pay the remaining 10% or less balance when you file your tax return by the end of the six-month extension period, the IRS considers you all good.
W-2 employees
Traditionally employed taxpayers will typically have the easiest time estimating their liability. If you remained in the same job in 2023 and 2024 and your income didnt change a great deal, youll just need to look back at your total tax liability for 2023. Go back to your 2023 tax return and check line 24, labeled your total tax.
When youve found your 2023 total tax number, subtract the following from it:
Any taxes you have already paid in 2024, includingmoney withheld from your paychecks by your employer
any estimated tax payments you made
Any 2024 tax credits you qualify for, includingthe child tax creditthe child and dependent care credit
the earned income tax credit
Taking your 2023 total tax liability and subtracting any 2024 taxes paid and 2024 tax credits from it should give you a reasonable approximation of your current liability.
Self-employed taxpayers
Freelancers, gig workers, entrepreneurs, and small business owners seeking a tax return extension have a tougher task ahead of them when estimating their tax liability. Instead of a handy-dandy W-2, these taxpayers have to rely on their own records to know their income and estimate their taxes.
For these taxpayers, start with your total profits and losses from 2024 to get a back-of-the-envelope estimate of your income for the year. Plug that income estimate into a marginal tax rate calculator like this one from Bankrate to calculate your tax liability. Once you have that number, you can subtract any quarterly estimated taxes you paid in 2024, as well as any tax credits you qualify for. This should give you a reasonable estimate of your liability.
Job-hopping taxpayers
If you had more than one job in 2024, had an extreme change in your income, or otherwise had kind of a weird year money-wise, its probably best to calculate your tax liability with the IRS 1040-ES Estimated Tax Worksheet.
This is a 12-page form, which means it will take more work than filling out Form 4868. (It may even be the IRSs Machiavellian scheme to encourage procrastinating taxpayers to just file their taxes already, since this requires almost as much work). But using the 1040-ES will give you the most accurate method of calculating your tax liability if you need to file for the extension.
Pay what you oweor else pay even more
If you dont cough up the taxes you owe by April 15, there will be consequencesof the financial variety.
The first consequence is a late payment penalty. This penalty charges you 0.5% of the unpaid taxes per month or partial month that the taxes remain unpaid. For example, lets you owe Uncle Sam $5,000 for your 2024 taxes. Instead of making the $5,000 on April 15, you wait to pay until you file your tax return on October 15. You will face a 3.0% penalty or $150 because you made your payment six months after the April 15 deadline.
The second penalty youll face will be interest chared on your unpaid taxes, which can really be a pain in your bank account. The IRS sets its interest rate at the federal short-term rate, plus 3%, and it changes the rate on a quarterly basis. As of April 2025, the IRS currently charges an interest rate of 7% per year, compounded daily, for underpayment of individual taxes.
That means waiting until October 15 to pay your $5,000 in taxes would mean owing $178 in interest (provided the rate does not change). And that interest will continue to accrue until you pay what you owe.
Dont forget about state taxes
If you live in a state with income tax, you probably need an extension for your state tax filing deadline, too. The good news is that many states automatically grant an extension for state taxes when you apply for a federal tax extension. But thats not true of all statessome require a separate form to receive a state-level extension. You can find out what your state requires here.
Just remember that you also have to pay your state income tax by the spring tax deadline, even when you apply for a state-level extension. Theres no avoiding the spring tax payment.
Give yourself some breathing room
If tax season snuck up on you, an automatic extension can give you more time to file your taxes. Just remember that Uncle Sam still expects the money you owe him on April 15.
The Federal Emergency Management Agency, or FEMA, is known for responding to extreme weather like hurricanes and wildfiresthe kinds of disasters that are becoming more intense and more common as climate change gets worse. The agency also has a program that sends billions of dollars proactively to communities, municipalities, and states so that they can prepare for these events before they hit.
In an internal FEMA memorandum obtained and first reported by Grist, the Trump administration announced its plans to dismantle that programthe biggest climate adaptation initiative the federal government has ever fundedeven as disasters incur hundreds of billions of dollars’ worth of damages across the United States. The decision comes as at least seven people were killed this week as tornadoes and catastrophic flooding descended on the Central United States in what meteorologists called a once-in-a-generation event.
The Building Resilient Infrastructure and Communities program, or BRIC, was established in 2018 during President Donald Trumps first term, replacing a similar FEMA initiative. BRICs first round of funding was launched in 2020, when Trump was still in office, and in 2023, the program awarded close to a billion dollars to scores of communities, states, and tribal nations across the country. In January, before Trump began his second term, the agency opened its fiscal year 2024 notice of funding, with $750 million in matching grants made available to applicants from areas that received a major disaster declaration within the past seven years.
But FEMA now aims to cancel those grants and any other BRIC grants that have not been paid out yet by the federal government, according to the pre-decisional memo dated April 2 from Cameron Hamilton, a Trump administration official who is serving as FEMA administrator until the president appoints a permanent head of the agency.
BRIC was yet another example of a wasteful and ineffective FEMA program, a FEMA spokesperson told Grist. It was more concerned with climate change than helping Americans affected by natural disasters.
BRIC generally shoulders 75% of the cost of a given resilience project, and up to 90% of the cost of projects in disadvantaged communities. The programs emphasis on equity is what may have marked it for demolitionthe Trump administration has been systematically dismantling Biden-era efforts to infuse equity into governmental programs and direct more climate spending toward underrepresented groups.
FEMA employees disputed Hamiltons argument in the memo that BRIC grants have not enhanced the level of hazard mitigation as much as desired.
I dont know where that came from, said one agency employee who preferred to stay anonymous.
According to a source within the agency, the Trump administration asked BRIC staffers to offer justification for the program and its Direct Technical Assistance sister initiative, which offers nonfinancial support to help communities navigate the BRIC funding process and identify the hazards they face. The request was made on Tuesday this week with a Wednesday deadline.
With a tight turnaround, staffers offered success stories from across the country. BRIC awards have helped communities bury power lines, build culverts, protect wastewater facilities from being inundated by flooding, and upgrade power stations. If BRIC is frozen, communities will no longer be able to apply for the grants for fiscal year 2024 made available in January. Projects that have been selected in past years but not yet disbursed funds will no longer receive payment. Partially completed projects will be scrutinized and reviewed, the memo said.
The administration now has one of FEMAs most effective grant programs on the chopping block, said Shana Udvardy, a senior climate resilience policy analyst with the Climate and Energy program at the Union of Concerned Scientists. Its oversubscribed almost every single year. In fiscal year 2023, FEMA received more than 1,200 subapplications across all 50 states, 35 tribes, five territories, and Washington, D.C., totaling more than $5.6 billion in requests. It was able to provide less than a fifth of the money requested.
A looming question is whether FEMA can yank grants that are being funded with money appropriated by Congress. The 2021 Infrastructure Investment and Jobs Act, also known as the bipartisan infrastructure law, allocated approximately $6.8 billion to FEMA for community-wide mitigation efforts, with a portion of this funding directed to the BRIC program. If this administration does away with the program, it goes against a law that Congress passed, Udvardy said, so theres a concern there to be raised.
This article originally appeared in Grist, a nonprofit, independent media organization dedicated to telling stories of climate solutions and a just future. Sign up for its newsletter here.
To San Francisco chef and restaurateur Thomas McNaughton, QR codes are an efficient way to serve a crowd. Sure, the codesand restaurants that use themhave endured much loathing. And, yes, people still love to criticize them. But at the newest location of McNaughtons Flour + Water Pizzeria, set to open later this month, QR codes are the star.
There’s good reason. The 1,800-square-foot restaurant sits a few blocks from Oracle Park, where the San Francisco Giants just opened the baseball season. It needs to handle serious spikes in business from game-day crowds and pump out pizzas fast.
We envision a scenario where, for two hours, it’s completely gangbusters before the game. How can we help manage those crowds? McNaughton says.
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The team, with the help of a local design agency, got creative. Inside the restaurant, guests cant miss the large, stylized poster featuring a Giants player with a QR code for a face. Scan to place a takeout order, it reads, & pick up around the corner.
The restaurant also printed baseball-style trading cards with the same image, for fast QR ordering (for pickup or delivery) from afar. Smaller codes dot a handful of tables. If youre lucky enough to snag one, orders placed digitally are delivered right to your seat.
Research from the National Restaurant Association shows that about half of diners are keen to order via QR code at a quick-service restaurant like this onebut you might not know it based on very loud grumblings everywhere you look.
The QR backlash has won, declared a headline in the Wall Street Journal last year. A year earlier, I was quoted as an industry expert in a New York Times piece titled, The QR-code menu is being shown the door. About twice a month, someone sends me an Instagram post where a celeb or influencer or random stranger complainsstillabout using the tech.
[Source Photo: Flour + Water]
For all the whining, the codes are . . . really useful. When deployed thoughtfully, theyre downright hospitable. The skepticism, McNaughton thinks, has to do with negative emotions associated with the moment that QR codes rocketed to restaurant infamy during the earliest days of the pandemic.
I think the pushback that you heard was partly because everything was so different, he says. Every restaurant was just trying to stay afloat and trying to be accessible while still being safe.
Its true. Clunky QR-code menus promised to keep shared surfaces touch-free, an almost quaint, if completely misguided effort from a challenging time. Since then, the codes have evolved with utility in mind. Major restaurant technology companies like point-of-sale and payments giant Toast built QR ordering into their products. Now, customer orders go straight into the system, bypassing human servers and their potential human mistakes.
Digital orders also shorten the distance between diner and kitchen, McNaughton explains, a shortcut that allows the pizzeria to pump out orders much faster and keep crowds happier. (People placing digital orders get to skip the presumably long line.)
Its a model specific to this location, which McNaughton calls a fast-casual offshoot of his restaurant groups original, much larger pizzeria. Plenty of fast-casual and fast-food restaurants (or “quick service,” in restaurant lingo) are chasing digital orders. Last month, Taco Bell parent company Yum Brands tapped AI powerhouse Nvidia to coax more orders online, in an effort to one day digitize every order.
Flour + Water Pizzeria isnt planning to push all of its orders online; it employs humans who can take orders on countertop tablets, or, if necessary, flip them over to become self-service touch-screen ordering kiosks. The guest chooses based on how, and how fast, they want to get their order.
You can talk to somebody, you can use a kiosk, or you can just skip that line completely, McNaughton says. Its about efficiency.
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In Abbey Roads Studio One, even a lick of paint could ruin everything.
Famous for hosting Adele, Harry Styles, and U2, its where the scores of Star Wars, Harry Potter, and Wicked were recorded, as well as the soundtracks of blockbuster games like Call of Duty, Halo, and Final Fantasy. Its also where Ryan Gosling delivered his memorable Im Just Ken for Barbie.
Nearly a century after its opening, Studio One underwent a six-month, multimillion-pound refurbishment, with the main priority being the preservation of one very important thing: the sound.
What we dont want to do is change the acoustics, so every minute detail in the room has been conserved and preserved, so the sound doesn’t shift, said Sally Davies, managing director of Abbey Road Studios.
The reverb of the 4,844-square-foot room has been maintained at 2.3 seconds, the same as it was in the 1970s. Theres been no redecorating or style makeover, leaving the original art deco wall panels untouched.
We have simply washed down the walls to preserve that sound, said Davies, adding that the floor was re-sanded and oiled, but not varnished. Most of the upgrades, she explained, are technological upgrades in the control room. This room is just about preserving that magic.
A pilgrimage for music fans
Opened in 1931, this hallowed hallonce a nine-bedroom house on a grand suburban street in Londons St. Johns Wood neighborhoodbecame the worlds first recording studio. Its where stereo was invented and its visited every day by music fans from around the world, who are happy just to stand on the street outside.
Davies says that more than a million people a year make a pilgrimage to the crossing outside, many to recreate the cover of the Beatles Abbey Road albumand that number could increase after Sam Mendess upcoming biopics starring Paul Mescal, Barry Keoghan, Harris Dickinson, and Joseph Quinn as the Fab Four.
And while John Lennon, Paul McCartney, George Harrison, and Ringo Starr are famously known for using Studio Two, they also made history in the larger Studio One, which they used for the worlds first global live performance, a rendition of All You Need Is Love beamed to television sets around the world in 1967.
Before the Beatles, Studio One had already cemented its place in music history, when it was opened by British composer Sir Edward Elgar, who recorded his Land of Hope and Glory with the London Symphony Orchestra. Its also hosted other music greats like Maria Callas, Igor Stravinsky, Daniel Barenboim, Fats Waller, and Glenn Miller.
Due to its huge size, more than double Studio Two, it can fit a 100-piece orchestra and 100-member choir at the same timewhich is perfect for recording film soundtracks, and explains why 6 to 7 out of every 10 Hollywood films are scored at Abbey Road, according to the studio.
History being made
Standing on the balcony, overlooking the 40-foot-high room, Davies points out the original screen that was used to show Raiders of the Lost Ark (1981) while musicians played along to record the soundtrack.
Since then, everything from The Lord of the Rings trilogy to Marvels Black Panther and Guardians of the Galaxy to Barbie were scored in Studio One. For the last, all the musicians came in with something pink, whether a pink instrument or piece of clothing.
Oscar-nominated composer Daniel Pemberton has been recording in Studio One since 2009 and calls his creative home a spectacular space.
Outside, it just looks like a normal house. And then you come in and you find this space in it thats like almost the size of a football pitch. In fact, I have played football in there once, he laughs.
Pemberton is known for scoring Spider-Man: Across the Spider Verse, Ferrari, and The Trial of the Chicago 7, and creating the Slow Horses theme song and Strange Game, with Mick Jagger.
Whats so exciting about a room like Studio One is what happens on the day is what happens for the rest of time, he says. Its like history is being made, whether its good history or bad history or whatever, youre making a moment then.
Pemberton notes the stories, whether personal or musical, that have unfolded within the walls of Studio One.
The ghosts are insane in there, he said.
Davies agrees that the history adds to the enchantment.
You walk into this room and you can feel it. . . . There is a magic in the sound. It sounds phenomenal. There is a spirituality in who has been here, who has performed here, she says. So when we see artists come through, you know that immediate reaction of, Oh my gosh. Im in Studio One.
To celebrate the reopening this week, Abbey Road Studios showcased an unusual art form for the space: dance, which incorporated Pembertons scores, remixed by resident artist Jordan Rakei and choreographed by Joseph Toonga.
It kind of like threw me back a bit like, wow, it really is big, said Toonga of the first time he saw the studio. He then incorporated that feeling into a dance which spanned hip-hop, krumping, and ballet.
Up next, the first client to record in Studio One since the refurbishment is a hush-hush Hollywood franchise.
But there are lots of secrets at Abbey Road. One of them is Pembertons plan to record the unique rattling sound of the new railings for a movie soundtrack.
There was concern that the hollow, art deco-style bars would upset the acoustics of the room, and a backup plan was made to fill them with sand if they messed with the reverb.
Luckily, the empty bars were allowed to stay because Pemberton is delighted by the noise they make when you run past them with keysits another dramatic sound that can only be created in Studio One and will make its way into theaters around the world, via a film score.
By Hilary Fox, Associated Press
Walton Goggins has had an incredible run recently. Last year, he anchored Amazon’s Fallout TV show and this year is starring in Season 3 of The White Lotus and the 4th and final season of The Righteous Gemstones. These roles are feathers in the cap of the character actor who’s had star turns in The Shield, Justified, and Vice Principals.
But he’s not just an actorhe’s also a small business owner. As part of his partnership with GoDaddy, he’s teamed up with the company to use its suite of AI tools to design the website for and manage his new ventureWalton Goggins Goggle Glasses. He worked with GoDaddy to create the line of glasses that resemble ski goggles and retail for $150 each, and he starred in the company’s Super Bowl ad in February. The spot highlights AiroGoDaddy’s suite of AI-powered tools that help small business owners with everything from website creation and copywriting to inventory management.
In the latest episode of the Most Innovative Companies podcast, Goggins and GoDaddy CEO Aman Bhutani talked with host Yasmin Gagne about how the company helps small businesses use AI to grow. And after a bit of prodding, Goggins offered some hints about the last episode of The White Lotus Sunday night.
In 2020, you said to Garden and Gun, speaking about your whiskey brand, Mulholland Distilling: Well, I’m not going to sell toothpaste. I’m not really good at selling anything. I would argue you’re pretty good at selling things. Why partner with GoDaddy?
Walton Goggins: I’m a big believer in small business owners and what they do for their families and for communities. The opportunity arose when GoDaddy was looking to promote its product GoDaddy Airo. They approached me about starting a business, asking me if there’s something that I really wanted to do. I wanted to work with this company, which I’ve been a fan of for a very long time. In the past, they hosted a website for Mulholland Distilling. Part of our portfolio was already in GoDaddy when we started, so when the opportunity arose to work, I just jumped at it.
Why did you decide to partner with Walton for the Super Bowl ad?
Aman Bhutani: Our mission is to make opportunity more inclusive for all, and we want somebody who feels it themselves and who cares. And Walton, from the first moment we met him, cared. The glasses are awesome.
What is the brand identity you’re trying to build for GoDaddy? I remember some pretty sexual ads back in the day.
AB: When people think about small business, they’re sometimes talking about people that have 50 employees or 30 employees. If you go through GoDaddy’s over-20-million customer base, you’ll start with companies that have one employee. By the time you get to 10, you will have traversed 90% of our customers. They want to connect with somebody like Walton who is doing what they are doing. He’s starting a business, and it doesn’t matter how big a celebrity he is or how successful he is, it’s still hard for him to start a business. Every person watching the Super Bowl ad feels like an imposter when they start their business. The ad makes people see themselves in him.
Walton, tell me about the concept of the glasses and how you built the business with GoDaddy.
WG: I wear the most fashion-forward accessory you can put on the body. I’ve been collecting sunglasses for a very long time, for upwards of 28 years. I bought my first pair of sunglasses that were of real value when I was 22 years old. I saved up my money with tips. I had a valet parking business because I refused to wait tablesI was not the kind of guy that would ever get someone a glass of iced tea. I saved up my tips to buy this pair of Oliver Peoples sunglasses. They cost $250 in 1993. It was a lot of money to me. I still own that pair of sunglasses.
There was a time when I was sitting in this new place where I moved with my family. We have a little ski resort not too far from our home. I was sitting around a fire, having a beer, and with ski goggles on, thinking, I don’t want to take these off! I made that mental note, and this just stayed in the back of my mind. No one’s really done this in a functional way that also brought fashion into the conversation. I pitched GoDaddy this idea. GoDaddy Airo does the things I dont know how to doto build a website, to procure all of these domain names, to regulate your inventory. Once they began to show me this product, I was blown away thinking, had this existed when I was 19 years old and I had my first business, I probably wouldn’t be an actor right now.
What was your first business when you were 19?
WG: The first thing I did was valet parking. The second thing I did was become a personal trainer.
That’s how you got the abs.
WG: Yeah, that’s exactly right. But if I’d had a website then, I would’ve had more clients. However, it did allow me to sustain myself as an artist and work only 10 or 15 hours a week. Then I started a whiskey spirits brand, Mulholland Distilling, and now, Walton Goggins Goggle Glasses.
The name, Goggins Goggle Glasses: Is that a play on your character, Uncle Baby Billy, from The Righteous Gemstones and his show, Baby Billy’s Bible Bonkers?
WG: Of course. It just kind of makes sense. And it was already out in the public. It just rolls off the tongue.
How does Airo work with small businesses?
AB: Many micro business owners or small business owners are good at what they know, but theyre not good at technology, building websites, or purchasing domain names. Instead of needing to know the domain name you want, you just describe your business, and Airo looks at millions and millions of available domains and gives five or 10 that people would remember. As soon as you buy that domain, it builds out a one-page website for you. You don’t have to pay anything for that. You can customize it a little bit. So within a few minutes, you’ve got a presence online. People can find you, you can post it to social media, and people now know who you are. You have branding; Airo can create a logo for you in a few seconds. Airo can create a social calendar for you, create posts, and upload them. Once they have a website, once [they have] inventory online and they start to use the tools, their reach increases exponentially.
At what point did Generative AI change things for you?
AB: Airo uses the power of Generative AI to create content. Airo does three big things: It automates a lot of tasks so our customer doesn’t have to do it. It generates content using Generative AI. Our customer might say, How do I respond to my customer? Well, Airo will generate a message for them, and then they just have to say, Yes, send it.
What portion of the GoDaddy business is Airo leading?
AB: We’re a decent-size business and we talk to [Wall Street] about Airo all the time. But I’m always talking about why Airo is first and foremost about discovery and engagement. The monetization should come over time. Weve had Airo for about 14 months. The first cohort of customers are just finishing their first year, and we’re seeing high retention rates because the customer is discovering and engaging with multiple products.
Walton, what’s been the most useful feature for your business?
WG: I’ve used them all, right? I like writing copy. I like writing texts and emails. But when it comes to communicating with an audience that you’re trying to reach for a product, it’s hard to formulate those thoughts in a vacuum. There’s also an element to this experience that allows you to capture some images and then repurpose those images. All of a sudden, that social pressure of producing things that are outside of your product is taken off the table for you. You don’t have to think about it.
How did you all come up with the concept for the Super Bowl ad?
AB: GoDaddy hadn’t been in the Super Bowl for eight years. We really wanted to come back and remind the world that GoDaddy is so much more than what they might remember; so many folks remember GoDaddy as a domains company, but we do so much more.
What was your creative input in that ad?
WG: We talked about different scenarios and what’s the best way to explain the fact that many small business owners can feel like imposters and how can we mine comedy but then land it someplace that is real and that can move you.
Can you tell us what happens in The White Lotus finale?
WG: Ill give you a fake ending. Everyone on The White Lotus dies, everyone. Including the staff. Its food poisoning. Not from the Four Seasons, mind you. Its nothing to do with our corporate sponsors. It’s from a delivery, an off-site delivery. Somebody ordered some bad pizza.
How did you prepare for the Super Bowl commercial?
WG: I eat one meal a day, and I may augment that with a couple boiled eggs for lunch or something like that. I like being lean, not just lean physically, but mentally. I like being a little hungry. I feel more creative when I have an appetite.
And we’ve seen you in so many shirtless photo shoots lately. I cant believe you didnt take your shirt off in this GoDaddy ad.
WG: Yes. There’s more to come, I’m afraid. I’m so sorry. My apologies now.
Over the past few years, experts have been sounding the alarm over how much time Americans spend alone.
Statistics show that were choosing to be solitary for more of our waking hours than ever before, tucked away at home rather than mingling in public. Increasing numbers of us are dining alone and traveling solo, and rates of living alone have nearly doubled in the past 50 years.
These trends coincided with the surgeon generals 2023 declaration of a loneliness epidemic, leading to recent claims that the U.S. is living in an anti-social century.
Loneliness and isolation are indeed social problems that warrant serious attention, especially since chronic states of loneliness are linked with poor outcomes such as depression and a shortened life span.
But there is another side to this story, one that deserves a closer look. For some people, the shift toward aloneness represents a desire for what researchers call positive solitude, a state that is associated with well-being, not loneliness.
As a psychologist, Ive spent the past decade researching why people like to be aloneand spending a fair amount of time there myselfso Im deeply familiar with the joys of solitude. My findings join a host of others that have documented a long list of benefits gained when we choose to spend time by ourselves, ranging from opportunities to recharge our batteries and experience personal growth to making time to connect with our emotions and our creativity.
So it makes sense to me why people live alone as soon as their financial circumstances allow, and when asked why they prefer to dine solo, people say simply, I want more me time.
Its also why Im not surprised that a 2024 national survey found that 56% of Americans considered alone time essential for their mental health. Or that Costco is now selling solitude sheds where for around $2,000 you can buy yourself some peace and quiet.
Its clear there is a desire, and a market, for solitude right now in American culture. But why does this side of the story often get lost amid the warnings about social isolation?
I suspect it has to do with a collective anxiety about being alone.
The stigma of solitude
This anxiety stems in large part from our cultures deficit view of solitude. In this type of thinking, the desire to be alone is seen as unnatural and unhealthy, something to be pitied or feared rather than valued or encouraged.
This isnt just my own observation. A study published in February 2025 found that U.S. news headlines are 10 times more likely to frame being alone negatively than positively. This type of bias shapes peoples beliefs, with studies showing that adults and children alike have clear judgments about when it isand, importantly, when it is notacceptable for their peers to be alone.
This makes sense given that American culture holds up extroversion as the ideal, indeed as the basis for whats normal. The hallmarks of extraversion include being sociable and assertive, as well as expressing more positive emotions and seeking more stimulation than the opposite personalitythe more reserved and risk-averse introverts. Even though not all Americans are extroverts, most of us have been conditioned to cultivate that trait, and those who do reap social and professional rewards. In this cultural milieu, preferring to be alone carries stigma.
But the desire for solitude is not pathological, and its not just for introverts. Nor does it automatically spell social isolation and a lonely life. In fact, the data doesnt fully support current fears of a loneliness epidemic, something scholars and journalists have recently acknowledged.
In other words, although Americans are indeed spending more time alone than previous generations did, its not clear that we are actually getting lonelier. And despite our fears for the eldest members of our society, research shows that older adults are happier in solitude than the loneliness narrative would lead us to believe.
Social media disrupts our solitude
However, solitudes benefits dont automatically appear whenever we take a break from the social world. They arrive when we are truly alonewhen we intentionally carve out the time and space to connect with ourselvesnot when we are alone on our devices.
My research has found that solitudes positive effects on well-being are far less likely to materialize if the majority of our alone time is spent staring at our screens, especially when were passively scrolling social media.
This is where I believe the collective anxiety is well placed, especially the focus on young adults who are increasingly forgoing face-to-face social interaction in favor of a virtual life, and who may face significant distress as a result.
Social media is by definition social. Its in the name. We cannot be truly alone when were on it. Whats more, its not the type of nourishing me time I suspect many people are longing for.
True solitudeturns attention inward. Its a time to slow down and reflect. A time to do as we please, not to please anyone else. A time to be emotionally available to ourselves, rather than to others. When we spend our solitude in these ways, the benefits accrue: We feel rested and rejuvenated, we gain clarity and emotional balance, we feel freer and more connected to ourselves.
But if were addicted to being busy, it can be hard to slow down. If were used to looking at a screen, it can be scary to look inside. And if we dont have the skills to validate being alone as a normal and healthy human need, then we waste our alone time feeling guilty, weird, or selfish.
The importance of reframing solitude
Americans choosing to spend more time alone is indeed a challenge to the cultural script, and the stigmatization of solitude can be difficult to change. Nevertheless, a small but growing body of research indicates that it is possible, and effective, to reframe the way we think about solitude.
For example, viewing solitude as a beneficial experience rather than a lonely one has been shown to help alleviate negative feelings about being alone, even for the participants who were severely lonely. People who perceive their time alone as full rather than empty are more likely to experience their alone time as meaningful, using it for growth-oriented purposes such as self-reflection or spiritual connection.
Even something as simple as a linguistic shiftreplacing isolation with me timecauses people to view their alone time more positively and likely affects how their friends and family view it as well.
It is true that if we dont have a community of close relationships to return to after being alone, solitude can lead to social isolation. But its also true that too much social interaction is taxing, and such overload negatively affects the quality of our relationships. The countrys recent gravitational pull toward more alone time may partially reflect a desire for more balance in a life that is too busy, too scheduled, and, yes, too social.
Just as connection with others is essential for our well-being, so is connection with ourselves.
Virginia Thomas is an assistant professor of psychology at Middlebury.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Smartphone cameras are still getting bigger and better by the year, particularly if you look at high-end phones coming out of China with huge sensors and protruding bumps to match. These phones can deliver awesome results, and Im happy to use them in several situations where I would previously have had to rely on a dedicated camera. Just this week I used the Xiaomi 15 Ultra to shoot a Formula One event in Tokyo.
But for all the advances that have been made, the laws of physics remain undefeated, and youre still going to get better results from a camera setup thats able to make use of larger lenses and sensors. Phones do need to be able to fit into our pockets, after all, so theres a limit to what can be achieved in that regard.
At Mobile World Congress this year, some concept announcements showed that companies are thinking about this reality, coming up with ideas to move mobile photography beyond the constraints of the phone. The question is whether peripheral camera products can ever really be more than a niche curiosity.
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Xiaomis concept is called the Modular Optical System, and it involves self-contained camera modules that magnetically and wirelessly attach to your phone. While the company doesn’t have concrete plans to sell them commercially, working models do exist I used one.
The demonstration unit had a Micro Four Thirds-size sensor with a 17.5mm f/1.4 lens, which comes out to 35mm-equivalent when accounting for the sensors crop factor. It could attach to a Xiaomi 15 phone that had been outfitted with magnets and a window for laser data transfer but otherwise looked normal.
The connection felt very secure, and there wasnt any need to fiddle with Bluetooth pairing or any special software once connected, the feed from the camera simply appears in the regular camera app. You can focus the lens by turning its ring or tapping the phones screen.
Because the camera mounts to the middle of the phone, the resulting combination feels well-balanced and similar to a regular mirrorless camera. It did make me wish the phone had a dedicated shutter button on the edge, though; using the touchscreen with your hands in that position takes some getting used to.
The results, at least as far as I could tell on the phone screen, were excellent. Micro Four Thirds is one of the smaller mirrorless formats, but its still a huge leap over even the 1-inch sensors found in the highest end phone cameras, and pairing one with a fast 35mm-equivalent lens makes for a really useful combination. I was taking pictures of friends in a dark restaurant that clearly could not have been captured on a phone.
Realme, a sister brand to Oppo, took another approach. Its Ultra concept phone has a couple of traditional smartphone cameras as well as a third 1-inch sensor thats exposed behind the glass; you can attach a Leica M-mount adapter and a lens of your choice to use with that sensor.
This feels somewhat less useful in practice. Theres no electrical connection between the lens and the phone, so adjusting the aperture ring isnt going to be reflected in software; the experience is more like adapting a manual lens to a digital camera.
M-mount lenses are all manual focus, however, so there isnt a need for anything like the touchscreen AF solution like Xiaomi came up with. But the sensors 2.7x crop factor means that actual Leica M lenses will have a zoomed-in field of view even a wide-angle 28mm becomes a 75mm-equivalent portrait lens.
These arent necessarily new ideas. Realmes is very similar to a Leica M-mount concept Xiaomi put out a few years ago, while Xiaomis own idea of wireless camera modules has been tried before.
And Sony made a go of it in 2013 with the quirky QX line, a range of all-in-one cameras that connected over Wi-Fi and clipped onto the back of your phone; one model even featured an APS-C sensor and could work with any E-mount mirrorless lens. Olympus tried something similar in 2014 with the Air A01, a wireless Micro Four Thirds sensor and mount.
There have been two big problems with these kinds of products in the past.
The first was that they were a hassle to use, forcing you to deal with attachment mechanisms, wireless pairing, and slow connectivity. The appeal of mobile photography is its convenience, and these detracted from that.
The second, arguably bigger hurdle is simply that they were separate devices that you had to carry alongside your phone. Thats a big ask for most people. Sonys QX100 had the same sensor and lens as its excellent RX100 compact camera, but it cost almost as much why not just carry the actual camera instead?
Sony discontinued the QX line pretty quickly, suggesting it didnt take off with consumers. Things could be different today Xiaomis magnetic mount solution is certainly more convenient but its still hard to see the idea becoming mainstream.
Personally, I would be interested in buying something like the Xiaomi concept I used. Id still have several questions, like how much itd cost and how long the magnetic mount would be supported on future handsets, but even in prototype form the idea worked well enough that I could see the extra lens being worth tossing into a tote bag.
But for most people, my sense is that it will still be worth paying more attention to built-in phone camera quality for the foreseeable future. Thats the camera youll actually find yourself using.
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Of all the modern parenting paradoxes, navigating screen time usage might be one of the most complexand divisive. Critics of screen time claim it can negatively impact social skills, behavior, and sleep. Proponents say it can help kids learn about living in a digital world, improve cultural awareness, and serve as a means of communication. Parents say sometimes they just need a break.
The truth, of course, lies somewhere in the messy middle of it all; like so many aspects of parenting, its all about finding the balance thats right for you and your child(ren).
Screen time is just one of many topics explored in Poems of Parenting, a new collection of poetry out April 8 from author and artist Loryn Brantz, a consulting creative director for the beloved kids educational program Ms. Rachel who has won two Emmy Awards for her work on Sesame Street. The mom of two children (one of whom has a disability) offers short, snappy, honest, and often irreverent reflections on everything from trimming tiny fingernails to watching war and famine play out on TV.
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Its exactly the type of content moms need in todays world. So what about screen time? Here, Brantz shares some insight behind her poem on itplus, an important and powerful reminder that applies to many aspects of parenthood.
This conversation has been edited and condensed for clarity.
View this post on Instagram A post shared by Loryn Brantz (@lorynbrantz)
Youve worked on two beloved kids shows and youve struggled with navigating screen time for your own kids. What insights can you offer parents trying to find the right balance?
It comes down to what works best for your family. I would never say, This or that is the right thing to do, because it never accounts for kids with disabilities who may rely more on screen time than others for various reasons.
That said, I believe there is such a thing as quality screen time, and I would encourage people to be cognizant of what they put on. Also, when possible, co-watching together, asking questions, or interacting while watching the show is ideal.
In our household, there was a lot of pressure to pack in as much early intervention therapy as we could during the first years of my daughters life because of all her developmental delays, so we were very strict with screen time. She was only allowed an hour or so per day in tandem with physical therapy, or as much as needed to distract from medical treatments. It was as stressful as it sounds. Now shes older (and doing amazingly), and her neurotypical little-potato brother watches with her, and were not worried about it at all.
Sometimes, after a long day of work and school, spending time on the couch cuddling and watching a movie can be the best thing for everyone. I often think, Wow, I can’t believe I popped these sweet little people out of my body, and now they’re watching TV with me! Life is pretty magical, isn’t it?
Every kid is different, and every kids needs are different.
How has your work in kids educational programming influenced your own parenting style and strategies?
When I was working on Sesame Street at the Jim Henson Co., it was well before I had my own children and I was mostly tapping into my own inner child as far as things I enjoy including The Muppets, Disney World, and picture books.
I was making what I enjoy. I figured thats also what a kid would enjoy, too. Nowadays, with my work for Ms. Rachel, I have learned an extraordinary amount about childhood development, not only from the show but through my own experience with early intervention (EI) for my daughter.
EI works best when the parent takes on what they learn during sessions and incorporates it into their childrens day-to-day lives. I more or less became a full-time speech, occupational, physical, and special-instruction therapist for the first three years of her life. So now, my work comes from not only a place of genuinely enjoying childrens media, but also thinking about what I would want my own childrenand really, all childrento be watching. Childrens media is so important and needs to be treated as such.
Youve said you feel like youve been working toward Poems of Parenting your whole life.
Its been quite a journey. This will essentially be my 12th book. So many things set it apart. For one, its the first book that feels like it has a real energy behind it from readers. When I started writing these poems, I immediately began getting messages like, When is the book coming out? or Will you be making a book? And I was just blown away because no one had ever asked me for a book before. Its just a dream come true. . . . After over a decade of pushing and pushing to get books made and in front of people, having people come to me asking for a book is a real pinch-me moment. After starting this book, I also decided it was finally time to take the leap to being a full-time artist and writer, primarily for my own projectswhich has been a lifelong goal.
Read more with Loryn Brantz on Two Truths.
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