Over 13 years before premiering The One I Love, alongside Mark Duplass, director Charlie McDowell, and screenwriter Justin Lader during the 2014 Sundance Film Festival, Elisabeth Moss attended the Sundance Institute Directors Lab as an actor in 2001 (top photo).

In acclaimed author Charlie McDowell’s highly original directorial debut, The One I Love, Elisabeth Moss and Mark Duplass deliver delightfully wry and engaging performances as a couple on the verge of dissolution. McDowell injects his distinct, comedic voice into this uncanny exploration of the human relationship—with welcomingly unpredictable results.

Check out an interview with Moss here where she discusses Mad Men, exploring intense relationships, and The One I Love.

The One I Love opens in select cities on Friday, August 22 and expands on August 29.

Photos by Doug Emmett and Jeff Vespa

Watch on ted.tumblr.com

"Empathy is more powerful than hate, and our lives should be dedicated to making it go viral."

We loved this powerful story of an American boy trained to hate who chose a peaceful path instead. He tells his story in “The Terrorist’s Son,” a new TED Book, coming out this fall. We’re excited to share it with you! 

Sometimes the CIA or the director of national intelligence or the NSA or the White House will call about a story. You hit the brakes, you hear the arguments, and it’s always a balancing act: the importance of the information to the public versus the claim of harming national security. Over time, the government too reflexively said to the Times, “you’re going to have blood on your hands if you publish X,” and because of the frequency of that, the government lost a little credibility. But you do listen and seriously worry. Editors are Americans too. We don’t want to help terrorists.

Jill Abramson, former Executive Editor of The New York Times, to Cosmopolitan. I’m Not Ashamed of Being Fired

In a Q&A with Cosmo, Abramson talks about life after the Times and offers good advice to young journos. For example:

I taught at Yale for five years when I was managing editor and what I tried to stress for students interested in journalism, rather than picking a specialty, like blogging or being a videographer, was to master the basics of really good storytelling, have curiosity and a sense of how a topic is different than a story, and actually go out and witness and report. If you hone those skills, you will be in demand, as those talents are prized. There is too much journalism right now that is just based on people scraping the Internet and riffing off something else.

It all comes back to storytelling.

What I will show is the boy reaching an understanding of the girl, and the process of the girl’s heart opening up to the boy.

In the end the girl may say to the boy, ‘I love you, Ashitaka. But I can’t forgive human beings.’

The boy will smile and say, ‘That’s alright. Won’t you live together with me?’

This is the kind of film I want to make.


I’ve been working on my website and beefing up my portfolio so it’s more up to date with my current skill level, so I decided to re-paint one of the pieces I did earlier this year - but still keeping the basic idea and design.

Thought it’d be cool to share this with you guys and to see the comparison (and also what 7 months of arting does. never stop painting!!) 

"We're making it up as we go" - why this isn't a bad thing

After watching ‘Joshua and Margaret Investigations’, I thought about the scene in ‘The Witch’s Garden’ where Jake tries remembering how he got his powers. 


He vaguely recalls rolling in a mud puddle, and he finishes by hesitantly saying, “And…I guess I became a magic dog?”

No one, not even Jake, is sure of how he got his powers. But we, the audience, just assume that’s how he did.

And then ‘Joshua and Margaret Investigations’ came around.


It’s painfully obvious that Pendleton Ward never had a clear reason as to how Jake has his powers when first conceiving the show. Even so, this is not at all a bad thing; it doesn’t affect the show’s established canon one bit. Jake was a newborn pup, so it makes sense that his memory was a blur, and he did roll around in a puddle as a pupster. Just one made from brain juice. This revelation just added a new layer of depth to Jake’s most important trait without creating any retcons. 

Here, here, let me explain what I mean:

There are some people, myself once included, that were a little let down when they first heard that the writers of ‘Adventure Time’ are kinda making the story up as they go. 


Now I nor the writers are saying that they make stuff up per episode; there are story arcs they have plans for, such as with Betty and Lemongrab and Finn’s parentage. It’s just with minute details like Jake’s powers and such.

Like when they were first writing out season 1, Pen nor Jesse nor anyone else were intending for Marceline and Ice King to have a history, or Bubblegum to actually be a hard woman that makes tough choices, or Jake to be a genetic hybrid of Joshua and an alien and so on. 

But this isn’t necessarily a bad thing. 


(Relevant in some way)

What’s so great about this show shifting focus to a more character-driven series is that the world it takes place in and its people are always changing. We’re always learning knew things about the characters, bits of history or quirks or whathaveyou that always adds more to their on-screen presence when we see them in future episodes…

…or re-watching old ones. 

Take what I said recently when I was asked a question about BMO’s ability to perceive and convey emotion:

  • Robots by nature cannot feel genuine emotions. If they do, then they’re programmed to.

    BMO was programmed to “understand” fun and how to play. Moe said he built BMO so be something more. His programming is likely the reason why BMO expresses emotions, or at least simulates them. In ‘Be More’, we see some of BMO’s files include…

    -Fundamental Ethics


    -Face Recognition

    -Frown Recognition

    He trashes none of these when doing his weird…high thing…at the beginning of the episode. 

    So no, I don’t think BMO feels genuine emotion, just simulated emotion. But this is a result of his programming to understand human joy. 

This isn’t me over-analyzing either. This was legit what the writers were trying to tell us with ‘Be More’. I think it goes without saying that back in season 1 I don’t think Pen Ward was imagining BMO as having the programming of an actual robot - he is able to feel because this is a cartoon and that is acceptable. But what ‘Be More’ did was add a new layer to BMO’s character, so that now that we know this about him, re-watching previous episodes beforehand we have this mental note as to why BMO is the way he is. 


It made him into a slightly more complex character without messing with the show’s established canon.

The same could be said for Princess Bubblegum. She seems completely different now from how kindhearted she was in seasons 1 and 2. But from the flashbacks of what she had to do in the past, we know now that this entire persona was just a public face, even though, again, I doubt that the writers were planning this far ahead. It all just fits together nicely without ruining the show’s established canon. Just like with BMO, we know the real PB and what she does in her free time when re-watching older episodes.


In ‘Jake the Dad’, there’s that scene with Margaret and young Jake fending off a snake. Jake says to her, “Look what I can do!” and his fist grows and he punches the snake. Margaret goes “Oh dear! Glob!”, sounding genuinely upset at this.


I think that scene was Jake’s first time demonstrating his powers, and Margaret realizing that he inherited some traits from the monster in ‘Investigations’. But I actually think the writers were intending for this to happen (since it does take nine months to make an episode and they had other stories to write; plus production order and all that jazz). 

And it doesn’t end there; with Marceline way back in season 1 we’re given another reason as to why she was traveling Ooo (to get away from Simon). 

This brings me to that silly theory about Marceline’s fries being cold because Simon gave them to her. Now I think it’s a silly theory, since ‘It Came From the Nightosphere’ was written long before Marcy and Simon were even considered to be a thing, but if the show were to actually establish this, I would accept that immediately because the evidence is there for it not to be a retcon and, again, it would add more density to Marceline’s character. 


I do hope they go with that though. Because it’s a nice theory and it actually makes Marceline’s anger about her eaten fries completely justified as something substantial and meaningful.

Do you get what I am saying here? Yes, it is a little disheartening that Pendleton Ward isn’t the J.R.R. Tolkien of cartoons. (Heck, the great George R.R. Martin originally intended ‘A Song of Ice and Fire’ to be three books; now he’s considering eight) Yes, it may come off as a bit sloppy that they’re making up stories as they go. But does this ruin the show’s previous episodes? Does it make them any less relevant? No. It just adds a new lens to these characters when we look back on older episodes. 

Anyways, that’s all I got. I hope you guys understand what I’m trying to say here.