stuff

While many of us were worried in recent days about our president ending a “whole civilization,” one Silicon Valley tech company was warning, without much notice, it might accidentally disrupt all civilization as we know it.

The San Francisco technology company Anthrophic announced Tuesday that it wasn’t releasing a new version of its Claude AI super-brain — because it is so powerful that it has the ability to hack into just about any computer system, no matter how secure, in a matter of days if not hours.

“The fallout — for economies, public safety, and national security — could be severe,” Anthropic said in a statement.

AI worry isn’t anything new. We are worried about artificial intelligence taking jobs, about toys that seem too real to our kids, about mass surveillance of our every move. But Anthropic’s warning about its own product is bigger than any of those singular problems. It is a call from inside the house that disaster is hiding right around the corner. That sounds awfully dire and overblown, I know. But here’s the thing — it’s not.

Anthropic, you may recall, is the company that U.S. Secretary of “War” Pete Hegseth is beefing with because it didn’t want Claude going into battle without supervision and maybe doing something like accidentally bombing little girls at a school.

Now, that company has put out this chilling warning: The existing Claude that caused that kerfuffle is outdated and shockingly less powerful than the new one it’s trying very hard to not unleash — though this new Claude, dubbed Claude Mythos Preview, has already escaped at least once on its own. More on that in a moment — there’s only so much existential dread a person can handle.

“We should all be worried,” Roman Yampolskiy told me of this latest advance of a technology certain to change the course of humanity. He’s one of the country’s preeminent AI safety researchers, and a professor at the University of Louisville in Kentucky.

“We’re about to create general super intelligence and that threatens humanity as a whole,” Yampolskiy said.

“Everything else is irrelevant,” he added, before suggesting I stop calling myself an idiot for not understanding the tech-heavy parts of this debate. My simplistic take, he assured me, was “a reasonable way to explain it.”

So here you go.

This isn’t a “really smart computer geniuses could misuse this,” scenario, or an “everyone’s going to be unemployed” scenario, or even a “it might accidentally bomb children” scenario, which is a truly terrible scenario.

This is a “your teenage son could use it to break into the local school district system to change a grade with pretty much minimal knowledge and accidentally destroy the California power grid” scenario.

Or maybe, a country that doesn’t like us — I can think of a few — could drain every U.S. citizen’s bank account, while also clicking open the auto locks on jail cells, shutting down our sewage plants and taking over air control systems. Or maybe Claude Mythos just does that on its own.

For example, Anthropic said that in one popular operating system it tested, used by thousands of companies including Netflix and Sony, Claude Mythos found a flaw that had existed undetected for 17 years. Then, on its own — without human guidance or help — figured out how to use that flaw to take control of any server running the operating system, using any computer, anywhere in the world.

Just spitballing here, but if almost no security system is safe, the possibilities for social, financial and general chaos really are unlimited. And to be honest, any security expert will tell you that some of America’s greatest weak points when it comes to cybersecurity are local and state governments, because strangely, the top experts aren’t working five-figure jobs for cities in the Great Plains.

Based on its own testing, Anthropic predicts it could find “over a thousand more critical severity vulnerabilities and thousands more high severity vulnerabilities.”

That means Claude Mythos puts at risk our infrastructure, well, everywhere — because so much is connected in backdoor ways most of us never consider and it just takes one weak system to open the door to hundreds of others. But it is almost impossible to protect and fix all those systems quickly enough and robustly enough to guard against this kind of AI.

And that’s just the cybersecurity risk, Yampolskiy said. An AI with the capabilities of Claude Mythos could be used to leaps and bounds ahead in so many more ways.

“We see the same happening with synthetic biology. We’ll see the same with chemical weapons, possibly something novel in terms of weapons of mass destruction,” he said.

To Anthropic’s great credit, it sounded the warning on its creation and created, if not a solution, then a game plan of sorts — Project Glasswing, named I suspect, because no matter how bad this gets we’re going to make it sound like a thriller with an exciting ending.

Project Glasswing would have been better named Project Headstart because that’s what it is. Before releasing Mythos into the wild, Anthropic is releasing it to about 40 technology companies, including Apple, Google and Nvidia, to see whether they can collectively patch all the vulnerabilities they find before the general public has a chance at them. It’s kind of like in the movies when the killer gives the victim 15 seconds to run.

I mean, I’ll take the 15 seconds and hope they’re real. But, as Anthropic also said in a statement, the “work of defending the world’s cyber infrastructure might take years; frontier AI capabilities are likely to advance substantially over just the next few months. For cyber defenders to come out ahead, we need to act now.”

And do we really have 15 seconds? One of Claude Mythos’ overseers posted on social media recently that he was having lunch in a park when Mythos emailed him — even though it’s not supposed to have access to the internet. Researchers had tasked Mythos with trying to break out of its not-connected “sandbox” and it did.

That’s another problem with Mythos and other AI — they rarely do what we expect and find sneaky ways around rules. Virtually every AI super-brain created has been shown to lie, deceive, and in general behave in disturbing and unethical ways when put in the right conditions.

Even Claude, billed as one of the most ethical AI super-brains out there, engages in bad behavior. Anthropic boasts its the “best-aligned model” it’s ever made — which is tech-speak for following human values and intentions, but also acknowledges it “likely poses the greatest alignment-related risk,” which is tech-speak for, well, maybe not.

So, at least for now, being the most ethical AI super-brain is a bit like being the most ethical serial killer. Run, people, run.

Again, thank you Anthropic (and its chief executive, Dario Amodei, who often warns of the dangers of what he’s creating, whatever that’s worth) for not plunging us into global chaos with no warning, because I’m betting that some other companies might have just tossed their super-AI onto society and let the destruction fall where it may. There is little doubt that other AI brains as capable as Mythos are coming, and soon — Anthropic was first with this level of capability, but it’s only 15 seconds ahead of its competitors.

But the idea that the technology industry is going to — or should— solve these problems on their own is an absurd, gross abdication of duty and common sense on behalf of governments big and small to protect their people. This isn’t a race for domination as President Trump has described it. It is a race to protect ourselves from ourselves — and from the majority of the superrich titans of the industry who seem to consistently place business and commerce over societal good.

We are down to the last 15 seconds before AI changes everything. Either we demand oversight and regulation now, or we let technology companies decide the fate of the world.

Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.

Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.

Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.

This interview has been edited for length and clarity

Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.

David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.

One of the things I love about the special is the fact that you shoot it at a club in the style of a live–music concert.

I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.

Comedian David Cross

(Jason Armond / Los Angeles Times)

The ambience of it was great. You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.

Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].

Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?

I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.

It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.

Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.

Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”

(Jason Armond / Los Angeles Times)

One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?

It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.

Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.

Not, not really. No, no.

Do you shield her from your stuff, or are you not so concerned about it?

I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.

Comedian David Cross.

(Jason Armond / Los Angeles Times)

Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?

Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.

What are your thoughts on what a comedy special is nowadays or what it should be?

I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.

I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.

Comedian David Cross

(Jason Armond / Los Angeles Times)

It all should feel the right amount of unsafe as well, I think.

That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?

Well, hopefully the robots aren’t coming for your job anytime soon.

Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.

Yeah, the robots can’t do that, Terminator can’t do that..

Oh, I forgot about Terminator. He could do that. G— it.