A traveling salesman visits a small town in the Midwest and sees a circus banner reading, "Don't Miss the Amazing Goldstein!" Curious, he buys a ticket and sits through the usual circus acts: animals, clowns, contortionists, etc. Suddenly, trumpets blare and all eyes turn to the center ring. There in the middle of the ring is a table with three walnuts on it. In comes a little old Jewish man, five feet tall and barely able to walk to the table. He unzips his pants, whips out his long shlong, and proceeds to smash all three walnuts with three mighty swings! The crowd erupts in thunderous applause as the elderly Goldstein is carried off on the shoulders of the clowns. Twenty years later the salesman visits the same little town and he sees a faded sign for the same circus and the same "Don't Miss the Amazing Goldstein." He can't believe the old guy is still alive much less still doing his act! So he buys a ticket and sits through various acts. Finally, the center ring is illuminated. This time, instead of walnuts, three coconuts are on the table. As before, old Goldstein takes forever to make it to the table. He unzips his fly and proceeds to smash the coconuts with three swings of his amazing shlong. The crowd goes wild! The salesman requests a meeting with him after the show. In Goldstein's dressing room, the salesman tells him he's never seen anything like his act. But he wants to know why he's now smashing coconuts instead of the much easier walnuts. "Vell," says Goldstein, "mein eyes aren't vhot they used to be!"

In Obsession, director avoided making Nikki look “possessed.” “We were very specific. I didn’t ever want her to play possessed. I wanted her to play like a jealous girlfriend.” Director Curry Barker encouraged the actress Inde Navarrette to “go home and make faces” in the mirror. She experimented with contortions, different voices, and expressions to build the possessed/shadow versions of Nikki “I prepared for the role of Nikki by just allowing myself to be unfiltered and raw with the way that there’s ugly emotions that we never want to show people”

Of course that’s your contention. You’re a first-week agentic coding enjoyer. You just watched a tasteful terminal demo - dark theme, three panes, someone whispering “autonomy” like it’s a Gregorian chant. You’re gonna believe that until next Thursday, when Codex Mobile lets you browse your workspace, pick the right directory, inspect files, link paths into prompts, and suddenly the agent isn’t wandering the repo - you were just pointing it at the wrong folder. Then you’ll review a diff with expand/collapse controls and develop a serious theory that software engineering is mostly emotional regulation around changed files. That’ll last until side chats, subagents, queued prompts, recovered tasks, cleaner assistant actions, LaTeX rendering, profile sharing, and activity history all start making the app feel less like “ask model, receive code” and more like mission control for the repo. And by next month you’ll be in here explaining that Codex was never just a coding agent. It was the pre-revolutionary utopia of letting your laptop suffer on your behalf while you review PRs from your phone like a minor aristocrat of the repo.