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Tag: HIM

  • Him Star Tyriq Withers Talks Alternate Ending, Horror Movie’s Deeper Theme | Interview

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    ComingSoon’s Tyler Treese spoke with Him star Tyriq Withers about the new horror movie’s ending, its religious themes, and its deleted scenes. The Jordan Peele-produced film is now available to buy and rent on Digital, and will be out on 4K and Blu-ray on November 11, 2025.

    “The film follows Cameron Cade, a rising-star quarterback who has devoted his life, and identity, to football. On the eve of professional football’s annual scouting Combine, Cam is attacked by an unhinged fan and suffers a potentially career-ending brain trauma,” reads the official synopsis. “Just when all seems lost, Cam receives a lifeline when his hero, Isaiah White, a legendary eight-time Championship quarterback and cultural megastar, offers to train Cam at Isaiah’s isolated compound that he shares with his celebrity influencer wife, Elsie White. But as Cam’s training accelerates, Isaiah’s charisma begins to curdle into something darker, sending his protégé down a disorienting rabbit hole that may cost him more than he ever bargained for.”

    Tyler Treese: It is nice talking after release, so we can talk about some spoilers. I have to ask you about the ending, man. It’s so visually striking. There’s a ridiculous amount of blood on you. My poor dude, Tim Heidecker, got what he deserved. How is it getting covered in blood and really just unleashing that character for that ending? How is it filming that?

    Tyriq Withers: Yeah, I think physically it’s taxing ’cause you’re in the sun and you’re outside covered in blood that’s like sticky and certain things you have to film out of order, so you have to get more blood on you.

    And then, oh, “we’re gonna come back in here and shoot this.” You gotta take more blood off, and then you have to break for lunch, and do you wanna sit in blood for lunch and reapply it? So I think the logistics of the blood was not really fun to play with. It’s hot, so you wanna sit down, but then the cloth of the chair, it’s so many different things. But I think the beauty of the blood and being in that headspace of the character, it created more of an animalistic tone to my performance, and got to really feel vulnerable.

    I’ve learned to use it in a sense of the discomfort of being that exposed and covered in blood [with my] shirt off. I pour that into the performance. But yeah, it was cool to see and fun to play with all the gags. When it came to cutting the hand off or something like that, it was scary ’cause I didn’t want to hit them. It is a fake sword, obviously, but I didn’t wanna hurt anybody.

    But in the end of the day, it still was fun and I’m glad the character got to persevere.

    I also enjoyed watching the alternate ending and the deleted end scenes that were, or with the digital release and the home release. And they both show Cam playing football with the Saviors and finding success. We see Marlon’s character in real rough shape during the alternate ending. Do you wish that we saw some of Cam’s pro success in the film? Or are you kind of happy where the theatrical version ended things?

    Yeah, I think one of the alternate endings he wasn’t playing for the Saviors or additional scenes. If you look closely, he wasn’t playing for the Saviors, but…

    No, I think how they ended it was perfect for me because I want the audience to use their own personal opinions and feelings about who and where Cameron played for or played at, or even if he decided to pursue football. I think that open for interpretation is the beauty of art, where you get to really tap into the theories. And when you put a stamp or an answer to somebody’s question, it doesn’t always become more universal.

    I think you just gotta keep the people thinking. So yeah, I think how it ended was exactly how it was supposed to be.

    You mentioned engaging with the film. I’ve been engaging with this film since I saw it, and I grew up near Penn State, so this idea of football as a religion and a cult-like devotion, I’ve seen that. We all love sports, but that passion can be used and be twisted by people negatively. So what about that framework of sports as a religion did you find most interesting?

    Tyriq Withers: I think the framework of sports as a religion… I think what this movie does most interestingly is just hold up a mirror. I think that the hardest thing to do is just hold a mirror and let people see themselves. I think the beauty of football is the community of it, but when you treat it like a religion, then people place their own thoughts and opinions and discernments or negative remarks on actual human beings.

    And I think that’s the actual negative part about treating football like religion because you start treating people human beings like gods, and then when they disappoint you, then they, you destroy them like they’re a fallen angel, you know? And I think that’s the scary thing about sports, and it being that religious for the community.

    But yeah, I think we can all find a healthy balance between loving the team and the player and still protecting the human that the player is. Because at the end of the day, they have those emotions, they have those fears, that anxiety of performance, and they want to perform. If they perform bad, a single play can change a player’s trajectory and career. But I think, just remembering that these athletes are still humans.


    Thanks to Tyriq Withers for taking the time to talk about Him.

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    Tyler Treese

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  • Box Office: ‘Demon Slayer: Infinity Castle’ Becomes Biggest Anime Movie Ever With $555 Million, ‘Him’ and ‘Big Bold Beautiful Journey’ Misfire Overseas

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    Two new Hollywood releases, Universal’s sports thriller “Him” and Sony’s romantic drama “A Big Bold Beautiful Journey,” were outright rejected by overseas audiences.

    “A Big Bold Beautiful Journey,” starring Margot Robbie and Colin Farrell as strangers whose meet-cute takes them on the journey of a lifetime, flopped at the international box office with $4.5 million from 45 markets. Meanwhile, the Jordan Peele-produced “Him,” a disturbing mind-bender about a football player with aspirations to be the greatest of all time, fumbled even harder with $400,000 from 25 territories. Both films were saddled with terrible reviews and disappointing audience scores.

    “Him” at least started stronger at the domestic box office with $13.5 million, boosting the film’s global tally to $13.86 million. It carries a modest $27 million production budget. Justin Tipping directed “Him,” which stars Marlon Wayans as an aging quarterback who trains a young up-and-coming football player (Tyriq Withers) to chilling consequences.

    “Sports themes do not travel well overseas, and the sport in this film — American football — is uniquely American in its popularity,” says analyst David A. Gross of Franchise Entertainment Research. “But the picture cost a reasonable $27 million to make, so it can cover its costs on domestic business alone.”

    “A Big Bold Beautiful Journey,” however, crumbled in its North America debut as well, with $3.5 million for a worldwide haul of $8 million. The film has yet to release in major markets like France, Italy and South Korea.

    “The film should do better in foreign markets, but the production cost was high — that’s a big number to recoup,” Gross adds of “A Big Bold Beautiful Journey.”

    Luckily, Sony is riding high with “Demon Slayer: Kimetsu no Yaiba Infinity Castle,” which just became the highest-grossing anime film ever with $555 million globally. The film is backed by Sony-owned Crunchyroll in North America, the United Kingdom and Brazil, as well as Toho and Aniplex in Japan and other Asian markets. “Demon Slayer” topped overseas charts again with $36 million from markets where Sony’s Crunchyroll is handling the rollout. So far, the film has earned a total of $451 million internationally and $104 million domestically. “Infinity Castle” is the first in a planned three-film series about a boy who becomes a demon slayer to avenge his family and find a cure for his sister, who was turned into a demon.

    Universal, meanwhile, had slightly better luck overseas with “Downton Abbey: The Grand Finale,” which added $8.3 million from 35 markets in its second weekend of release. The film, a continuation of the popular TV show, has generated $27.9 million overseas and $31.6 million domestically to date, bringing its global total to $59.5 million. The studio says those ticket sales are above 2022’s “Downton Abbey: A New Era” at the same point in its predecessor’s theatrical run. Neither film could reach the box office heights of the first cinematic feature, 2019’s “Downton Abbey,” which became a huge hit to the tune of $194.6 million globally.

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    Rebecca Rubin

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  • Critics Don’t Think Him Has It

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    AHS: NFL
    Photo: Universal Pictures/YouTube

    If you’ve seen the trippy ads for Him — the new sports thriller from director Justin Tipping and producer Jordan Peele — then you’ve seen the whole movie. At least that appears to be the critical consensus. Reviewers found the film flimsy, doing too much while saying too little. The movie depicts a college athlete (Tyriq Withers) who is taken under the wing of a spooky Svengali all-star QB (Marlon Wayans). At the mentor’s remote compound, the athlete undergoes psychological torture to accompany the grueling physical training. There are many set pieces with striking visuals, until the whole things hurtles towards an unsatisfying ending. In others words, it’s American Horror Story: Football.

    Critics did cite certain performances for elevating the material. Marlon Wayans is praised for his intense turn, especially by Rolling Stone: “at least Wayans knows how to lace with toxic irony as things get more unhinged.” Julia Fox was also routinely praised for her turn as Wayans’s kooky influencer wife. But overall, reviews found Him to be a fumble.

    Him’s marketing has Jordan Peele’s name all over it as producer, but it was actually directed by Justin Tipping, whose previous feature was the ultrastylized 2016 indie movie Kicks. Tipping has been working in the TV salt mines since then, which might explain why in Him he throws every cinematic trick in the book at us; maybe he needs an outlet for all that creative energy. The movie at times plays like a high-budget student film: It’s eager to impress us with technique.” — Bilge Ebiri, Vulture

    “I can’t believe I left the house to see HIM. I can’t believe I took the train for over an hour from the north side of Chicago to downtown to see this movie. I can’t believe I stood in line to buy a soda and popcorn at the theater to see HIM. And I especially can’t believe that I sat through the entirety of this thematically lost movie, allowed it to live in my head on my trip back home, and that I’m currently sitting on my couch writing about it. Putrid and hollow, Justin Tipping’s brain-dead football horror film, which somehow managed to secure the backing of producer Jordan Peele, is incomprehensibly bad.” — Robert Daniels, RogerEbert.com

    Him’s marketing campaign suggests something akin to a religious experience with its wannabe star quarterback posing as some sort of Christ-on-the-cross-like figure in the ads with the tagline, ‘Greatness demands sacrifices.’ I would add, ‘Movies demand coherence.’” — Pete Hammond, Deadline

    HIM ultimately takes all of these elements and throws them rapidly downfield at what feels like the most unfocused attempt at a socially resonant, allegory-heavy genre movie in ages. Anyone who thinks that the notion of a sports league centered around the financial exploitation of Black athletes and physical exploitation of Black bodies for gladiatorial entertainment, all overseen by rich, white team owners, would make for a compelling horror film will find that there’s a serious gap between conception and execution here.” — David Fear, Rolling Stone

    “The sports-centric thriller occasionally verges on horror territory, but it never tips over into the eerie (let alone the terrifying) despite numerous attempts. While it has a few fun visual flourishes, it’s a barely-competent movie, held together only by its lead performers who function less like MVPs and more like an injured athlete’s sports tape.” — Siddhant Adlakha, IGN

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    Bethy Squires

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  • No, That Wasn’t an X-Men Reference in ‘Him’

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    Of all the sports, football clearly lends itself best to horror. It’s a violent battle and requires players to do things to their bodies that no person would normally do. That’s why those players get paid so much, which then opens up a whole other can of worms. Those points may seem like obvious ways to evoke the horror genre, but it’s not something that happens very often. A horror sports movie? It’s unique.

    Him, the new film from director Justin Tipping and producer Jordan Peele, embraces all those things. It follows a young college quarterback named Cameron Cade (Tyriq Withers) who is mysteriously invited to train with his idol, a legendary quarterback named Isaiah White, played by Marlon Wayans. What Cameron soon finds out is that the price to pay to be the greatest of all time might not be something he’s willing to pay, but he may not have a choice.

    The film is now in theaters, and io9 spoke to its director, Justin Tipping, all about it. We discussed that odd mashup of sports and horror as well as the team-up and collaboration with Jordan Peele. Tipping talked about adapting the film’s original script by Skip Bronkie and Zack Akers and exclusively confirmed to io9 that there is not an X-Men connection in there, no matter what we thought we saw. Read about all that and more below.

    Wayans and Withers are fantastic. – Universal

    Germain Lussier, io9: I’m a huge sports movie fan so I was very excited to see your film. But I also know that sports movies and genre very rarely mix, and when they do, it’s usually sci-fi. Your Rollerballs. Your Real Steels. So what were your first thoughts when you realized you’re going to get the chance to make a sports horror movie, which is almost unprecedented?

    Justin Tipping: I was so excited. I played sports my entire life, a bunch of sports. I got to college and was playing soccer, and halfway through, I definitely was like, “There’s no way.” I was the worst. It was such a ridiculous idea, but it was setting in. So I found film and then became a film projectionist, and found this new thing to put all the energy in. Cinephiled out, you know. So I had this base. I studied film theory, film analysis, and film history. And so I think that basis of film language and history, seeing something like this mashup, I want to take the catalog and the canons and was like, “Wait, there are no comps.” Like I can’t really point to a comp that is told in this way. So I honestly lit up like a kid in a candy store. Like, “Holy shit.”

    What that means in a way is there’s a new language that was necessary to do something that’s never been done before. And then that’s exciting. And then you actually get it, and then you’re kind of terrified because you’re like, “Oh shit.” But I think it was the most rewarding thing because everyone involved in the creative process was like, “Yeah, this is going to be tough to crack.” And it was a constant calibration through every part of making this, from development, through shooting, through post, where it was just like one too many jokes from Tim Heidecker at any moment, or not enough camp here, or not enough nuance here, kind of threw the tonal ebb and flow off. So it was amazing and terrifying.

    io9: Yeah. I imagine. Do you think the violent nature of football is crucial to making this? Like, maybe not this story, but could you imagine there is a soccer horror movie, a basketball, a baseball horror movie? Or is football just that right balance of messed up?

    Tipping: I think having made this one, I could see a path forward for other sports. This one I felt, and told Jordan upon seeing this off the bat, this is perfect because the body horror is inherently built into the DNA of the game. Just the machismo, the ecstasy of victory, the agony of defeat. And these guys are very gladiator adjacent. And there’s a lot of economic narrative, and people just understand that very primal “Two guys smash.” So it lent itself to the perfect fit because of that. And once that was already working, and it’s really just how you lens it, or it’s what you want to show or not want to show of the game, and even the recovery of the athletes, is leaning into the body horror. That was like, “Okay, well, we’ve got that and we can always hang our hats on that.”

    But for me, I really wanted to focus on the psycho horror because the psychology of what it takes and the psychology of these professional athletes that do this every week, knowing what they’re risking, knowing what’s on the line, and doing it anyway, what it takes to just push yourself to those limits, opened up a whole other Jacob’s Ladder, The Shining [thing]. But also, it’s a pretty eclectic, I was also making Tyriq watch Holy Mountain, the Jodorowsky. Then Luca [Guadagnino]’s Suspiria. Black Swan and Suspiria have that movement, [as well as] those supernatural elements. It pulls from a lot, I guess. And hitting that Venn diagram in the middle of the sweet spot where we’re servicing both somehow.

    Him Movie Justin Tipping
    Tipping with his stars. – Universal

    io9: Which you can absolutely see. Now, I know you came on board after Jordan and the Monkeypaw team had already found the original script. I’m wondering what changed the most from that initial script to what we finally see in theaters?

    Tipping: The fundamental kind of Nosferatu elements are still there, with the old QB and the new training together. I think what shifted the most was all the visuals, the visual language. And it really, there was a structure shift where I think in the original draft, he was already drafted, and it was about them training for the season. And the biggest shift was, what if he was not yet drafted? What it did was kind of raise the stakes to become more of the Rudy or Friday Night Lights or classic sports drama where you have everything to lose and everything’s on the line. And I think it was that reframe that Monkeypaw [gave it] that’s more popcorny and a simplified understanding. It just reframed what was going to happen or what could happen.

    io9: Right, and having seen the movie, I know what you mean. Though I will say as a huge fan of [the Kevin Costner movie] Draft Day, I would have liked to see a horror spin on Draft Day.

    Tipping: Listen, there are things on the cutting room floor. Pages that I have that I did. Maybe one day I’ll show you.

    io9: [Laughs] That would be awesome. Okay, so talk about working with Jordan. I read a little bit in the press notes about how you were so flattered that he had seen your first film and how surreal that was. But talk about him as a creative partner and  what he brought to the film. What was it like working with him? What were his contributions?

    Tipping: Having a filmmaker’s perspective was invaluable because he could come in after something I had done to be a bouncing board. We would sit down and actually page through scenes, and he could offer the point of view o,f like, “Well, what were you going for?” And then, “Oh, okay, well, what if?” And some of the most fun were those moments because it was like, “Oh, I can rally with somebody.” Like we were just playing tennis and it was like “What if this?” and “What if this?” and it was just a lot of “Yes anding” that could help me get to either a new idea or whatever it was.

    It was like, “Well, I bet if you just made this one sentence that Jim Jeffries’ character says, but if you word it this way, that’s the zone.” And it’s just a word. Like, cutting the mom off when she’s like, “We’re all praying for…” instead of cutting her off anywhere else in that sentence. So he has a whole other brain that is unlike mine that services those genre beats on a level that I’m like, “Oh, I would have never thought that that word that the change that would affect the tone of a scene for the genre.”

    And I think another example would be the final scene of the movie. I was like Charlie Day and that meme where he’s trying to figure everything out. I was like “Oh my God,” because the movie’s insane, really, and then it culminates there, and too many jokes from Tim, or like the wrong music or the wrong pacing, it would either go too camp or it would go too serious. So I remember presenting him three different cuts and losing my mind. And he’d watch all three and then go back and be like, “All right, if you really want that, I’m pretty sure you should try this, this, this. I’m gonna give you some notes.” And then I was like, “Okay, great.” And I go back and can do those notes.

    And then we could rewatch it together until it was like, “Oh, gee, thank God.” That’s the benefit of having someone like Jordan Peele in my corner. I don’t think this movie has made it unless he’s had my back. Sometimes I laugh. I’m like, “I don’t know how I got away with this.”

    Him Movie Tyriq Withers
    Tyriq Withers in Him. – Universal

    io9: It’s pretty, pretty messed up. Okay, this might be wrong, and I’d be embarrassed, but I have to ask. When Cameron first arrives at the compound, in the lobby, you see all of Isaiah’s championship rings and stuff. Did I see Magneto’s helmet from X-Men in there?  It’s on the bottom left corner of the door. Is that there, or did I project that?

    Tipping: [beat] I wish.

    io9: It really looks like it, but of course, you’ve seen the movie more than I have.

    Tipping: I wish because I am a ’90s X-Men cartoon fan, and that makes me so happy. So I’m just gonna say yes.

    io9: [Laughs] Okay. Perfect.

    Tipping: But everything in there was evocative of war or some kind of game, so it might’ve been a gladiator.

    io9: Yeah, that’s probably what it is, but it had a purple tone? Never mind. This is probably my last thing, but I love that in the movie it isn’t always clear what’s real and what’s not. So what was it like striking that balance and letting people know when it was real, when it wasn’t real, and how important that is throughout the film?

    Tipping: That’s the perfect example of it being a constant calibration. I definitely pushed it too far at points, and it became bad confusion. And then sometimes I overcalibrate, and it was like, “All right, we all get it.” Now we’ve lost some of the intrigue. I went beat by beat, and I knew, in my heart of hearts and in our lore, what was and what wasn’t. So there would be things in the frame itself that would be left over or Easter egg-y and it was kind of like, “Well, look. If Reddit does their thing and they really investigate this, it points to XYZ.” But that’s how it should feel. It shouldn’t be obvious.

    And look. I love shit like that. Jacob’s Ladder was a big influence on me. So any way that we could lean into the fun of having an unreliable narrator that we set up in that first 10 minutes, the more fun and mischief we could have. I was constantly trying to think of things to put in the frame. A lot of those things were just me on set, like putting on a leather head or throwing it to somebody. Like I had that thing on me the whole time.

    io9: But not, not the Magneto helmet. 

    Him is now in theaters.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • Reviews For The Easily Distracted: Him

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    Title: Him Describe This Movie Using One The Running Man Quote: CAPT FREEDOM: This is a sport of death and honor! Code of the gladiators! KILLIAN: Cap, will you spare me the combat Zen speech? What the hell’s the matter with you? Brief Plot Synopsis: Maybe some things aren’t worth fighting…

    Title: Him Describe This Movie Using One The Running Man Quote:…

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    Pete Vonder Haar

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  • Video: ‘HIM’ | Anatomy of a Scene

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    new video loaded: ‘HIM’ | Anatomy of a Scene

    transcript

    transcript

    ‘HIM’ | Anatomy of a Scene

    The director Justin Tipping narrates a scene from “HIM,” featuring Marlon Wayans and Tyriq Withers.

    “Hi, My name is Justin Tipping and I’m the director of “HIM.” “I’m going to need a little volunteer.” Mr. White. I got you. “My man!” This is the moment in the film where Isaiah White, played by Marlon Wayans, is going to teach Cameron Cade, played by Tyriq Withers a lesson in how to be a great quarterback. In this lesson, I did a lot of research about quarterback drills that hone in on specific skills. For example, in a pro game, you want to be able to get the ball out of your hands under two seconds. So that’s why we have two seconds on the clock and to work on that speed that’s required of decision making. That’s why he’s turned away from the actual receivers. He has his eyes closed. So that you’re forced into a panic-like situation, and you have to throw the ball as quickly as possible. So what I really wanted to communicate in this scene specifically, was that there’s going to be a big tonal shift from something’s off to something’s very wrong, and it’s the first time we’re going to introduce violence and a dynamic between the two characters that becomes much more like a narcissistic, abusive relationship than a mentor-mentee “Too slow.” But seed it and bury that under the guise of hazing and just being a rookie. And what I landed on was this idea of using this JUGS machine to be that conduit of punishment. I also didn’t want him to have time to process anything. That’s why I kind of try to get music and a rhythm going in the edit. And even the sound design is rhythmic. That vibration and metallic clanking, it escalates and grows and grows over this entire sequence. And then we have these really tight, extreme close-ups of Cameron Cade’s eyes. And that was just a creative choice I made to rely on the language of horror, where there’s a classic peekaboo.

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    Mekado Murphy

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  • Jordan Peele Produced Newest Thriller, HIM is Out In Theatres

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    Attendees were also treated to a photo experience. Photo by Noah Washington/The Atlanta Voice

    Football has long stood as one of America’s most resilient institutions, celebrated for its grit, glory, and larger-than-life heroes. But behind the spectacle of packed stadiums and primetime broadcasts are questions about the costs of chasing greatness; questions that Him, the Jordan Peele-produced supernatural psychological sports horror film, places at the center of its story. As the NFL continues to face scrutiny over player safety, fan fanaticism, and the immense pressures placed on young athletes, Him uses the lens of horror to peel back the layers of America’s game, asking what sacrifices lie hidden beneath the pursuit of football immortality.

    Few sports carry the cultural weight of football, where the pigskin is more than leather and laces; it symbolizes community, sacrifice, and sometimes obsession. The film, distributed and produced by Universal Pictures and Jordan Peele’s Monkeypaw Productions, twists that symbol into something darker, asking: What price must be paid to hold the ball, and who decides who is worthy of greatness?

    Directed by Justin Tipping and co-written with Skip Bronkie and Zack Akers, Him opens Sept. 19. The film follows Cameron “Cam” Cade (Tyriq Withers), a promising athlete whose career nearly ends after an obsessed fan attacks him. Just as hope slips away, Cade’s idol, legendary quarterback Isaiah White (Marlon Wayans), invites him to train at his private compound. Over the course of several days, that mentorship devolves into something more sinister as Cade uncovers the rituals and manipulation behind White’s storied career.

    Photo by Noah Washington/The Atlanta Voice

    Withers is freshly coming off, I know what you did last summer, which was released earlier this year, and is most recognized for his role as Aaron in Donald Glover’s Atlanta. Wayans, long known for his comedic chops in films like White Chicks and Scary Movie, takes a dramatic turn as White, showcasing his best audition as The Joker, portraying the quarterback as both mentor and the ultimate gaslighter. His performance transforms the archetype of the celebrated athlete into a manipulative figure who uses Cade’s ambition against him. Julia Fox, recognized for her role in Uncut Gems, stars as White’s wife Elsie, a social media influencer who is more involved in the game than what is initially presented.

    The cast also includes comedian Tim Heidecker (Tim and Eric Awesome Show, Great Job!), stand-up comic Jim Jefferies, and Don Benjamin as Cade’s father.

    The screenplay began life as Goat, referencing both the sports acronym “greatest of all time” and the sacrificial undertones at the heart of the story. That metaphor runs throughout the film. Football fandom, often fueled by rituals, devotion, and near-religious fervor, becomes a backdrop for exploring how easily ambition and obsession can tip into fanaticism. For Cade, every pass and play with White isn’t just practice, it’s initiation into a cycle where chasing glory may demand more than sweat.

    With a score by composer Bobby Krlic (Midsommar) and a soundtrack featuring new music from Jean Dawson, Guapdad 4000, and Tierra Whack, Him blends sports, horror, and surrealism into a cautionary tale. It plays like a public service announcement for parents wary of football’s toll, a reminder that the pursuit of “GOAT” status can come with a price no trophy can justify.

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    Noah Washington

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  • angelic pushy bored

    angelic pushy bored

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    My scruffy little white ball of dryer lint went to doggy heaven yesterday. Here’s a picture of him with his “little” brother. I’m not looking for any condolences, I’m sad that he’s gone but had a good long happy life, which i was happy to give him. I just wanted to share him with all of you.

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  • Alan Cumming plays a character on Traitors, but season 2’s surprises snapped him back to reality

    Alan Cumming plays a character on Traitors, but season 2’s surprises snapped him back to reality

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    If you think Alan Cumming, host of the U.S. version of The Traitors, gives off “guy who killed someone” vibes, he’ll laugh — you’re picking up what he’s putting down. It’s why, in episode 8 of season 2, when he sent the contestants off on their mission, he gleefully turned to the camera and said, “And they were never seen again.”

    “I said that many times, on every task,” Cumming admits. “I wanted that to be my new catchphrase, but they only used it a couple times.”

    This is exactly why the team behind Peacock’s hit reality game show wanted Cummings in the first place, even if he didn’t understand it at first. He met with producers, initially, out of confusion and curiosity.

    “I couldn’t understand why they would want me to do it. Then I realized they wanted a sort of character. And I said, ‘Do you mean you want it to be sort of like a James Bond villain?’”

    The answer was an enthusiastic yes. And suddenly Cumming could see the whole persona: “He’s the sort of Scottish Laird, and he’s kind of Machiavellian, [and] brings all these people here,” Cumming says. The look would be a sort of “dandy” Scottish tartan. Cumming’s dog could even come with, so the actor could menacingly pet her while staring down contestants.

    “I really love this character. And it’s funny, life just flings these things at you that you never would have seen coming. I never thought I would be hosting a big, successful competition reality show in Scotland and a castle with a bunch of reality stars. I mean — you couldn’t make it up. But I obviously go out going through life open to certain things. I’ve always been quite eclectic. And these things come to me and actually, this one I really, really enjoy.”

    And it’s a role he takes really seriously. As he gets ready in the morning he listens in on the players’ breakfast discussion, watching on a big screen so he can “really feel a part of it” as he gets ready to make his big entrance. “It’s good for me to understand, when I walk into the room, the mood of the room and the atmosphere,” Cumming says.

    Cumming is often around the castle, but not with the contestants — after his breakfast entrance he usually has a little break when he can look over scripts for the next day, then he and the players go to film the mission. After that, the contestants hang out and Cumming has another break (he says he’s usually eating or walking Lala the dog), but stays briefed on what’s happening. “When the roundtable comes it really does feel like this big theatrical moment because they all go in and they play this scary music in real life,” Cumming says. “It’s like these little performative spurts. And in between I’m trying to keep an eye on what’s happening and trying to get an understanding of how the wind is blowing.”

    Even still, he’s just as on the edge of his seat as the rest of us. He likes to maintain a distance between himself and the cast (he feels his character should always have “quite a stern, daddy demeanor” that leaves the contestants scared), and Cumming has been surprised by how things went once he got into the room. “That’s what’s great about the games — there was a person I thought was doing really well, a faithful, and was going to help tear the whole thing apart. And people turned on them. It was like hyenas going for a baby elephant, it really was. I was gobsmacked.”

    While he wouldn’t say who that was about, he would say some of the contestants he’s most surprised by: Bergie (when he became the MVP of the graveyard challenge), Phaedra (he appreciates her showmanship and the way it provides her cover), and Parvati (he hadn’t watched Survivor, and she seemed like a “sweet little thing with a hairband”).

    But even with a closer view, he’s just as eager to let it all play out as the rest of us. Well, sort of — at least the rest of us don’t live in fear about bumping the wrong shoulder when selecting traitors at the roundtable.

    The Traitors season 2 (the U.S. version) airs new episodes on Peacock every Thursday at 6 p.m. PST/9 p.m. EST.

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    Zosha Millman

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  • OpenAI Tried to Fire Sam Altman. It Only Made Him More Powerful.

    OpenAI Tried to Fire Sam Altman. It Only Made Him More Powerful.

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    “The thing people forget about human babies,” mused Sam Altman, the entrepreneur whisperer turned artificial intelligence diviner, to The New Yorker’s Tad Friend in 2016, “is that they take years to learn anything interesting.” Tough but fair, although any babies reading this oughtn’t feel too embarrassed: Altman pointed out elsewhere in the piece, which was titled “Sam Altman’s Manifest Destiny,” that we grown-ups aren’t too quick on the uptake ourselves.

    “There are certain advantages to being a machine,” said Altman, the 38-year-old who—with the hectic exception of the past five-ish days; more on that in a moment!—has been the high-profile and highly influential CEO of OpenAI since 2019. His company recently flirted with an implied valuation of $80 billion; it is behind products like the smart image generator DALL-E and the beguiling large language model chatbot ChatGPT. “We humans are limited by our input-output rate—we learn only two bits a second, so a ton is lost,” Altman told Friend. “To a machine, we must seem like slowed-down whale songs.”

    It’s easy to imagine a tech leader like Altman sympathizing with the plight of such a bot. When you’re a guy who likes to operate not just on a different wavelength from most other mortals, but in a whole nother realm of consciousness—one in which the goal of achieving AGI, or “artificial general intelligence,” is considered possibly world saving or world ending, depending on who is doing the extrapolations—those brisk whirs of industry tend to resonate better than humanity’s low, musical moans.

    Why, just the other day—last Thursday, to be specific—Altman sat at a developer conference and described a recent experience that had left him positively vibrating with wonder. “On a personal note,” he told interviewer Laurene Powell Jobs and the rest of the APEC audience, “just in the last couple of weeks, I have gotten to be in the room when we sort of, like, push the veil of ignorance back and the frontier of discovery forward.” I’ve heard people use this kind of language to describe, like, the glory of childbirth, but in Altman’s case, he was describing the arrival of a different little bundle—lines of code on a computer that could go on to change the world.

    And yet, even the sleekest, purringest, many-billion-dollar flywheel can get smoked by a dumb, sudden bird strike; even the deepest-dwelling whales can surface at random and upend a vessel. Why, just the other day—last Friday, to be specific—the OpenAI board of directors abruptly decided it would be prudent to fire its CEO into the sun. And so, without telling anyone, including its publicly traded partner and mega-investor Microsoft, it went ahead and did it, with a ruthlessness that might have pleased the machines if everything hadn’t turned out so aggressively, humanly awkward instead.


    It’s always jarring when a real story feels fake, when everyone is skeptical of buying what you’re telling. Sometimes, the very people most familiar with a story are the ones most moved to try to explain things via shared fiction.

    Even among the techno journos and cyber doomers and network statists and “See, corporate governance matters!” nerds who have been glued to the sudden goings-on and votings-out at OpenAI—even among those of us who are terminally online enough to have tuned in eagerly last Friday to a highly speculative and information-light Twitter Spaces event about Altman’s odd ousting cohosted by Martin Shkreli; ask me how I know—we couldn’t help but notice that the past five days have unfolded like something you’d find on TV.

    Like an episode of Succession! Like a whole season of Succession, I should say, with enough rapid twists and U-turns in the power struggle timeline to make GoJo seem slo-mo by comparison. On Wednesday morning, when I woke up to the news that we’d reached a finale and Altman was coming back to OpenAI as CEO, my rotted brain could only think about Tom Wambsgans saying to Kendall Roy: “I’ve seen you get fucked a lot, and I’ve never seen Logan get fucked once.” And when I learned that Altman’s return involved a board of directors shake-up that installed both former Salesforce co-CEO Bret Taylor and former jetsetting Harvard president and compulsive opiner Larry Summers (?!?) … I mostly thought about how ’ol “Lawrence of Absurdia” would have been quite the character on Silicon Valley. (“Larry sucks up, and he bullies down” has the makings of a Russ Hanneman motivational speech, you know?)

    But mostly, all this time, I’ve thought about Survivor: specifically, one of those humdingers where the tribal council has started but there are still 24 minutes left in the episode. Just consider that, between the close of the stock market’s trading hours at 4 p.m. Eastern time Friday and the opening of the stock market’s trading hours at 9:30 a.m. Monday, all of the following happened:

    • OpenAI’s board of directors—a riddle wrapped in a mystery inside an enigma, which sits on the original nonprofit side of the organization but has absolute control over the newer for-profit side too, due to a once-idealistic, now-unusual corporate governance structure—announced that Altman was out. It informed him of this decision via Google Meet; it informed most of the rest of the world via a press release that cryptically described Altman as having been “not consistently candid in his communications with the board.”
    • Into this absence of information flowed many theories. The abruptness of the decision suggested the worst. On the Twitter Spaces event I joined, Shkreli posited that perhaps it had something to do with a recent New York magazine story titled “Sam Altman Is the Oppenheimer of Our Age,” in which Altman’s sister, Annie, spoke out about her estrangement from her brothers and followed up on past accounts of familial abuse. (The hosts of the Twitter Spaces event concluded that this explanation for Sam’s ouster seemed less likely once big names in Silicon Valley began speaking out with public statements of support for him.)
    • Greg Brockman, OpenAI’s president and a member of the board who was also blindsided by a vote of removal, bid adieu in protest.
    • Another theory behind the decision began to take hold around social media and hasn’t quieted since: that the board of directors had fired Altman out of some sense of moral duty because members felt or knew that he was being too cavalier, or maybe too commercial, with the technology’s rate of veil-lifting, frontier-pushing growth. Was this an attempt to keep OpenAI from breaking with its nonprofit origins and expanding its for-profit operations? Was it a way of slowing the company from iterating its way into the brave new world of actual AGI too soon? It’s not unusual for a board of directors to make decisions based on an organization’s mission or first principals or founding charter. But when that mission is related to the very future of mankind, the stakes are slightly raised.
    • Terms like “doomers” (used to describe fretful people who regard the potential of AGI with dread), “safetyists” (self-explanatory), and “decels” (people who think we should just sloooow down, man, before someone gets hurt) were all over my timeline, deployed with varying amounts of derision or respect.
    • An October tweet from board member Ilya Sutskever, who was said to have delivered the news to Altman, resurfaced and was widely analyzed for clues: “if you value intelligence above all other human qualities,” he had written, “you’re gonna have a bad time.”
    • Altman posted “I love you all” on Twitter; followers with big Swiftie energy pointed out that the first letters of each word spelled out ILYA.
    • Elon Musk, who cofounded and named OpenAI in 2015 and had served on the board for a time (along with Shivon Zilis, a former Yale hockey goalie who has worked at Tesla and Neuralink and who is also the mother of one of Musk’s sets of twins), stoked the existential crisis flames. He retweeted Sutskever’s quote; “I am very worried,” Musk added. “Ilya has a good moral compass and does not seek power. He would not take such drastic action unless he felt it was absolutely necessary.”
    • OpenAI’s chief operating officer, Brad Lightcap, wrote an internal memo viewed by several media outlets that explained all the reasons that weren’t behind Altman’s firing: The move “was not made in response to malfeasance or anything related to our financial, business, safety, or security/privacy practices,” Lightcap wrote. “This was a breakdown in communication between Sam and the board.” About what, he did not say.
    • The Verge and other outlets reported that Altman was in talks to return to the company. Soon after, he posted a photo of himself wearing an OpenAI guest badge. Another AI employee posted a photo of Altman taking said selfie, as proof of life.
    • OpenAI made an announcement confirming that Altman would not be returning as CEO—because the company had made a new indefinite-term hire. A warm welcome to onetime Microsoft intern Emmett Shear: the former CEO of Twitch, a noted Harry Potter fan, and one hell of a reply guy. Shear, a self-described safetyist/doomer who also seemed not to know exactly why his predecessor had gotten got, vowed to launch an investigation immediately.
    • Microsoft CEO Satya Nadella released a scorcher of a corporate communication around midnight Pacific time Sunday, expressing optimism about the company’s many-billion-dollar investment in OpenAI and adding that, oh, by the way, he had decided to hire Altman and Brockman into Microsoft directly so they could start a new in-house artificial intelligence and also that, oh, by the way, Big Clippy would be happy to hire any of the hundreds of OpenAI employees who sought to follow their former leaders to the BigCo. This was bonkers stuff. (Also, something about the glint of “We look forward to getting to know Emmett Shear” made my blood run cold.)
    • OpenAI employees loyal to Altman—including Mira Murati, who had ever so briefly been interim CEO—flooded Twitter with heart emoji and the line, “OpenAI is nothing without its people,” which sounds precisely like the kind of thing a scheming AI would say to butter us tenderhearted humans up. (I did see someone on Twitter joke that maybe if he joined in and tweeted the line too, he could slip right into a seven-figure job at Microsoft undetected.)
    • ILYA TWEETED THAT HE DEEPLY REGRETTED HIS PARTICIPATION IN THE BOARD’S ACTIONS AND WROTE THAT HE NEVER INTENDED TO HARM OPENAI. (?????) (!!!!!!!!)
    • SAM RETWEETED ILYA’S TWEET AND ADDED SOME HEART EMOJI.
    • As reported by Kara Swisher, a petition went around imploring the remaining board holdouts—one of whom included the CEO of Quora, because of course—to step down or face the mass resignation of what would eventually be something like 95 percent of OpenAI employees. ILYA SIGNED THE PETITION. (It’s unclear whether he was clad in a hot dog suit at the time.)

    And that accounting of the weekend absurdity doesn’t include the most Silicon Valley detail of them all, the one so on the nose it seemed scripted, but only because it happened after the opening bell:

    • The CEO of a “smart mattress” company called Eight Sleep tapped into the mainframe and emerged with some data: Few people in San Francisco got a good night of sleep on Sunday. Maybe it’s because they’re being surveilled by their mattresses?

    The breakneck pace of updates continued once the workweek got under way: There were lots of reports about meetings, more OpenAI employees signing the petition; wives doing work; Salesforce’s Marc Benioff getting roasted; Shear trying and failing to learn why Altman got sacked in the first place; things of that nature. For a time, Altman existed in a sort of quantum state, employed (though not quite yet) by Microsoft and fired from (but still looming over) OpenAI. On Tuesday night, a New York Times story noted the deep rift between Altman and some of the members of the board—one of whom, Helen Toner, had criticized OpenAI in an academic paper she wrote and had also said that the company, and the mission, and humanity, could be better off without Altman.

    I fell asleep thinking this might last for a while, feeling sorry for tech reporters whose Thanksgiving might be ruined. And when I woke up, Sam was back.


    I know some readers might be thinking: What’s up with all the Sams? And you know what, they’re right to do so. Because there really are a number of similarities between Altman and another Sam of recent yore—Bankman-Fried—whose fraud trial I spent my October observing.

    Both have totally aptronymic last names, if you think hard about it, man. Bankman-Fried had a disagreement with a business partner named Tara Mac Aulay that led to a professional schism; Altman had a disagreement with a now-former board member named Tasha McCauley that led to Friday’s professional schism. (As a side note, McCauley married Joseph Gordon-Levitt in 2014, which I understandably have no parallel for, but it feels essential to mention.) Both had game-changing moments while on hikes just outside San Francisco: Bankman-Fried charmed Michael Lewis into writing a book, while Altman “relinquished the notion that human beings are singular” and began thinking more deeply about the power and might of simulating intelligence. (So, like, same, except exactly the opposite.) Bankman-Fried named his investment firm Alameda Research in an attempt to sound less crypto-y; Altman had an early entity he called Hydrazine, named after the compound used in rocket fuel.

    And both Sams ultimately became well-known and willing avatars for their respective nascent industries, always ready to don those little nude nub microphones they hand out at tech conference panels and opine about P values and the future of crypto or AI. They may not have written the code underlying their ventures, but they sure spoke the media’s lingua franca. (Wait, were they the personality hires?!) In their own ways, they cultivated press relationships: Bankman-Fried’s attention to his own narrative was so deliberate that the prosecution used it against him in court, while Altman’s rapport with some reporters may have helped him this weekend, as one opined.

    But the other quirky Samilarity is that both of their ascents had ties to effective altruism, the rationalist-adjacent worldview that seeks to define, quantify, and ultimately encourage the actions that can do the most good for all of humanity—both now and in the future. For Bankman-Fried, effective altruism was, at least nominally, an ethical framework that compelled him to seek greater and greater sums of money and encouraged him to take bigger and unwieldier financial swings. (He struck out.)

    Altman’s engagement with EA is murkier. On Twitter, a coalition of shitposters, venture capitalists, and chaos slurpers—whoa, everything really IS (a) securities fraud and (b) college football—have started half-jokingly calling themselves “effective accelerationists,” or “e/acc,” of late, a salvo against what they consider to be the gloomier-and-doomier EA types. Altman offers glimpses of futures that both EA believers and e/acc trolls want, and some in the latter group have interpreted his reverse-Grandpa Simpson as a sign that perhaps he shares their merrier approach to AI R&D. Whether he actually does is something I assume we’ll find out when our strawberry overlords come to town.


    While the Altman drama was in full flux, much of Silicon Valley hearkened back to its most notorious founder ousting of all time: that of Apple’s Steve Jobs, a farewell so famous that Uber’s Travis Kalanick later tried to turn the breakup into a verb. “If only twitter had been around during the john sculley / steve jobs conflict,” wrote Founders Fund principal Delian Asparouhov (recently described as “the man speed-running the new space race”). “History is so much more interesting when you watch it play out live on a timeline.”

    It wasn’t just the firing of Jobs that is relevant to Altman’s situation, though. It was the way his eventual return only enhanced his power and influence.

    Walter Isaacson’s biography of Jobs quotes him in 1983, two years before the split with Apple, when he recruited Sculley away from PepsiCo with this winning pitch: “Do you want to spend the rest of your life selling sugared water, or do you want a chance to change the world?” But in the real world, Jobs and Sculley clashed over the disappointing sales of, among other products, the Macintosh. An attempt by the Apple cofounder to appeal to the board of directors following a demotion led instead to his departure from the company. “I am but 30 and want still to contribute and achieve,” Jobs wrote in a parting letter to the company’s vice chairman.

    A little over a decade later, at the end of 1996, Apple was floundering, and Jobs was brought (and bought) back into the fold. At the time, I was a teenage employee of an online chat company with Apple roots that had Sculley as a board member and investor, as well as a huge Apple dweeb who handled the return of Jobs like a Marvel fan glimpsing a bygone fav in a mid-credits scene. When Apple debuted its “Think different” campaign in the fall of 1997, I downloaded a grainy QuickTime of the ad and watched it again and again.

    By then, the company was back on the rise. Earlier that summer, I had attended the Macworld expo in Boston, where Jobs went on stage and made a pivotal announcement about a big, stabilizing $150 million investment from … Microsoft. Jobs was but 42, and still had a whole lot to contribute and achieve; to doom and bless the world with. Or, as he might’ve put it, he had a few more one more things up his sleeve.

    Altman’s exile, depending on whether you calculate the end of it as his show of support from Microsoft or his return to OpenAI specifically, lasted roughly between one-twentieth and one-tenth of 1 percent as long as Jobs’s did. But it included a larger, undefined number of heart emoji tweets, that’s for sure. Like Tom Sawyer and Huckleberry Finn sneaking into their own funeral service, both Altman and Brockman got to observe an enormous amount of employee support for their leadership. Now, back atop the company, they get to figure out what to do with it, and how to ensure that all this goodwill doesn’t break bad.

    Since the will they or won’t they nature of this story has given way to (some?) clarity, this is the biggest focal point surrounding OpenAI’s future. In a pair of televised appearances Monday evening, Microsoft’s Nadella had amiably and CEO-ishly hedged about whether he thought Altman would wind up in-house at Microsoft or whether he’d be able to return to OpenAI. “I’m open to both options,” he said on CNBC. “One thing I will not do is stop innovating.” (He’s running!) Over the past few days, Microsoft served as an important backstop for OpenAI, a sort of employer-of-last-resort during what felt like the HR version of a bank run. In exchange for Nadella’s trouble, it stands to reason that OpenAI’s new board—which, at the moment, consists of just three people: Taylor, Summers, and the Quora CEO Adam D’Angelo, who already had a seat—will have a much friendlier and likely more commercial relationship with the company who provides all that computing power in addition to capital. And Microsoft will ostensibly at some point want to push for a board seat of its own.

    There are two other parts of the 2016 New Yorker story that feel especially relevant today. The first is a quote from the venture capitalist Paul Graham, a longtime Altman colleague and advocate who once approvingly wrote that “software is eating the world” and had a track record of finding Altman to be formidable. “Sam is extremely good at becoming powerful,” Graham told Friend in the story. It echoed something that Graham wrote back in 2008, linking to a video of Altman presenting his Gossip Girl–approved app, Loopt, at an Apple developers conference while wearing two polo shirts with popped collars: “Sam Altman has it. You could parachute him into an island full of cannibals and come back in 5 years and he’d be the king.”

    The second resonant part of that New Yorker story is an anecdote about a leading AI researcher from Google visiting Altman and Brockman. The researcher asks them—I mean really asks them—how they would define OpenAI’s goal. Brockman’s answer is classic Silicon Valley, and classic Silicon Valley. “Our goal right now … is to do the best thing there is to do,” he declares. “It’s a little vague.”

    What isn’t as vague is that, going forward, OpenAI is well and truly Altman’s baby—a baby that has a much scarier and expedient learning curve than our human ones do. These past few days have been filled with everyone talking over one another—investors, founders, and observers alike. But to the machines, it was all just background noise, some distant hum of human discord. Sometimes you eat the whale, and sometimes the whale eats you.

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    Katie Baker

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  • Dex-Starr is the goodest of kitties

    Dex-Starr is the goodest of kitties

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    context:
    cat is put in a bad cause its trying its best to protect his human, some ******* throw him into a river, the anger he feels is so strong that it makes him worthy of a red ring,
    his human gets killed so he hunts down the ******* that did it and kills them all

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  • CompetentSee, LLC to Launch New Crowdsourcing Platform With Scoring System to Connect Medical Coders With Employers

    CompetentSee, LLC to Launch New Crowdsourcing Platform With Scoring System to Connect Medical Coders With Employers

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    Platform enables coders to demonstrate real-world competency to compete for jobs, while employers reduce cost and hiring mistakes.

    CompetentSee LLC, a skills verification company, today announced the upcoming launch of two new products making historic leaps in the competency verification of medical coders, professionals in health information management, the health care revenue cycle, and payer compliance. This next generation algorithmic solution connects medical coders, and their employers for smart networking focused on employment goals.

    According to a recent survey of medical coders and their employers, nearly half (47.63 percent) of medical coders and their employers believe that coding certification exams do not reflect the coder’s skills in the “real world” of billing. 46.3% believe that certification alone doesn’t help coding experts stand out in a resume crowd, and 70.53% believe it won’t help a new coder without several years of experience.

    The CaaS (Coder-as-a-Service™) platform and the patent-pending CoderScore™ system unravel these problems by combining a transparent, accurate, and reliable ranking system with a global network of crowdsourced medical coders. The outcome is reduced time and recruiting costs for employers, and unrestricted access to job and mentoring opportunities for coders.

    CoderScore™ uses a three-digit number generated by a mathematical algorithm that predicts the likelihood of the coder making mistakes. It uses a crowdsourced data system that dynamically updates to reflect the current skills of coders. It allows employers to know a coder’s real competency, at a glance, in advance of the hire, allowing both to negotiate the best relationship. Connecting competency ranked coders with employers of medical coding jobs using the CoderScore™ system allows new coders to get unstuck from traditional certification and experience filters and helps experts differentiate their advanced skills at a glance.

    In addition to connecting coders with employers, the CaaS (Coder-as-a-Service™) platform provides a revolutionized peer-to-peer knowledge sharing network that allows coders to proactively take control of their career and rapidly train up to the latest information. “I love that I can use CaaS to find and help coders who want my firsthand insights,” said Grace Jones, an expert coder, “It gives me extra money and a feeling of purpose that is really fulfilling.”

    “I’m excited to push the envelope to solve the competency verification challenges faced by medical coders and their employers,” said Stephanie Cecchini, founder and CEO of CompetentSee, LLC. “It’s an incredible time to leverage technology with a bias for efficacy in connecting coders with employers and mentors to help our health care communities.”

    A key aspect of the system is the use of a diversified CompetentSee Advisory Board (CAB) who play an important role by prequalifying the competencies of coders on the platform. Appointment to the board is by invitation-only to cross-industry, thought leaders, who represent the needs of coding employers. Only coders affirmed as competent by a current CAB member are permitted to join the CaaS (Coder-as-a-Service™) platform or to receive a CoderScore™. “Engaging CompetentSee Advisory Board members to lead meaningful change is healthy for the unique needs of each community,” said Cecchini. “It is the most effective way to achieve the complex goal of creating successful connections between coders and employers.”

    The CaaS (Coder-as-a-Service™) platform and the patent-pending CoderScore™ system launch on March 4, 2019.

    -END-

    About CompetentSee, LCC

    CompetentSee is powering the future of medical coding work by aligning a global network of medical coders with the employers of medical coding jobs based on a highly transparent ranking system of coder competencies. Learn more about what the next generation of coding competency verification looks like at https://coderscore.org.

    Media Contact: Robin Sherman, telephone 801-349-1049, email robin@coderscore.org 

    Source: CompetentSee, LLC

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