
Geographically Hollywood is hundreds of miles away from Silicon Valley, but it seems like the two are getting closer and closer in metaphorical ways.
The latest example of this is The Internship, the new buddy movie starring Vince Vaughn and Owen Wilson that’s set to premiere this upcoming summer. In it, Vaughn and Wilson play middle-aged laid off salesmen who somehow nab internships at Google. Bespectacled genius 20-somethings are their bosses, they don’t exactly fit in, and of course hilarity ensues.
It’s no surprise that the somewhat wacky world of today’s tech industry is attractive story fodder to showbiz types: The Social Network showed just how compelling these stories can be on the big screen. And what it’s like to work at companies such as Facebook and Google have held special allure to the mainstream for years now (as I say in my disclosure form, my spouse works at Google — and every holiday season he fields questions about Google’s free food and other widely-reported job perks from even my most unplugged family members.)
But what is a bit surprising is the degree to which it seems Google participated in the making of The Internship. The cast is said to have had access to Google’s Mountain View headquarters as they were preparing to make the movie, and Google itself has put out an enthusiastic statement of support that says: “We’re excited that Vince Vaughn and Owen Wilson chose the Google campus as a backdrop for their first film together since Wedding Crashers.” Yesterday, Google’s homepage (a notoriously sparse space that typically only gives occasional links to its own new products or big charity causes) even included a prominent link to a Google+ Hangout with Vaughn and Wilson that was apparently part of the movie’s promotional push.
It’s a far cry from, say, Facebook’s response to The Social Network, which was mostly silence punctuated by occasional flat-out rejections. They are two very different types of movies, of course, but it is interesting to see a company play along so much here.
Anyway. The trailer just hit the web today, and it’s embedded above.
Read more from the original source: So Yeah, There’s Gonna Be A Vince Vaughn And Owen Wilson Movie About Life As A Google Intern

There’s been plenty of discontent surrounding PayPal lately, especially among developers, and that’s one reason why developer-focused payments startup Stripe has gained ground so quickly.
Yes, developers have been joining Stripe in droves, but since the young service isn’t geared towards the average, code-shy user, non-devs have been completely left out. This is where Space Box comes in: a service created by Drew Wilson which makes Stripe significantly more accessible by allowing anyone to set up simple and gorgeous payment pages, without code. Put simply:
Want to sell your products but don’t want to deal with PayPal or code your own payment form? Use Space Box!
As you can see below, after signing up for Space Box and Stripe (you can only join Stripe if you’re in the US or Canada), you can quickly create elegant payment pages.

Free users can post two public pages at a time, while Pro subscribers must pay $7/month for unlimited listings. After creating a page, you’ll then get a simple short link to share. Check out my rocket ship, for sale below (note: I am not actually selling a rocket ship).

Given that Stripe’s fees mirror PayPal’s, you may not immediately see the benefit of ditching PayPal. If you’re satisfied with your existing solutions, you should stick with them. Otherwise, if you’re searching for alternatives or are interested in Stripe’s lower international rate, check out Space Box via the link below.
For more on creator Drew Wilson‘s design and development process of the Web app, which only took 5 days, head here.
Image Credit: Handout / Getty Images
See the rest here: Space Box: This service lets non-developers accept payments with Stripe

If you’ve followed the news, a collective of hackers recently rented a 3D printer to build a real, working gun. The group, Defense Distributed, began the project but once the renter, Stratasys, discovered what they were building, they took the printer back.
Writes the Danger Room:
Stratasys responded to questions by saying: “Stratasys reserves the right to reject an order. Members of Defense Distributed, like any U.S. citizens, are able to follow the well-established federal and state regulations to manufacture, distribute or procure a firearm in this country.”
This whole kerfuffle – and that’s really what it is – clouds a very interesting debate that we’re all about to have as 3D printing goes more and more mainstream. While we currently look at home 3D printing as the domain of the hopelessly nerdy, fact is that the 3D printer is past its infancy and is now in the gangly, awkward adolescent stage that all paradigm-shifting technologies face.
3D printing 2012 is where home printing was in 1982. Those old enough to remember tractor-fed paper and even the abysmal thermal printers of yore can relate to this situation. 3D printers, though technologically impressive, just aren’t that exciting to the average consumer. By 1984, however, Broderbund launched Print Shop and made the run-of-the-mill dot matrix printer far more compelling. The resolution was still spotty and people didn’t see printers as a “threat” per se until we were able to essentially print out a letter-quality page a decade or so later. In short, printers snuck up on us, just as 3D printers will.
In terms of a direct analogue to this issue, however, we can point to home taping and CD burning. The expectation – and it’s a valid one – is that home 3D printing will get so good that the items it produces will rival simple items we now buy. Right now a Makerbot takes a few hours to print out the most rudimentary of products, but what happens when those hours dwindle to minutes? What happens when we can print an Ikea silverware set in our kitchens? Again, perhaps we’re a far piece from being able to do those things, but the programmers at Broderbund had no idea that their software would soon be replaced by real home desktop publishing and printing tools that created a polished and very handsome product in a few seconds.
So what of this gun? There are multiple arguments against manufacturing this item and none of them hold water. First, there is legality. A gun “is a weapon that launches one or more projectile(s) at high velocity through confined burning of a propellant.” We could create a Saturday Night Special with a metal tube and a nail or we could make a gun in our basement provided it wasn’t for sale or trade. That these folks were planning on using a leased printer to build it and later release the plans is a perfectly legal action. Sharing the process for building a gun, as the Anarchist’s Cookbook shows us, is protected speech. To think otherwise is to invite chilling effects to the free distribution of information (we can argue the counter-point that if these folks were building an atomic bomb we would have every right to silence them, but atomic bombs are ostensibly illegal). But, ultimately, what they were doing wasn’t illegal.
Then there’s the financial issue. If anyone with time, a little metal, and the will can print a gun, won’t Smith & Wesson go out of business? I find that to be very specious argument on the surface, but it bears further analysis. People are calling 3D printers “piracy machines.” This is arguably heavy handed, but if I can print a perfect replica of, say, a Mickey Mouse bobblehead and share the plans for that bobblehead, then Disney is out a bobblehead sale. However, as we learned from home taping, the interface between the digital and the physical is a difficult barrier to breach. Music and film piracy is rampant because it’s frictionless. The printing of an object, on the other hand, requires a signifiant investment. Unless you’re planning on making a gross of bobbleheads, it’s probably not worth the time and materials to really stick it to Disney. After all, home taping didn’t kill the music industry. Napster did.
Finally there’s the moral issue, which we partially addressed above. There are those who believe guns are our birthright and others who believe they should be outlawed. But what of guns that you don’t have to buy? What about guns that can’t be traced and are potentially dangerous to the shooter and, obviously, the target? Don’t we have a moral responsibility to protect, I suppose, “The Children”?
We do, but this isn’t the way it’s done. I am, to be clear, against guns in my home but I will not begrudge any individual or group the right to experiment with 3D-printed firearms. Innovation in hardware comes from experimentation. Without it, we slog up to dead end after dead end and nothing is learned. While I disagree that a 3D printed gun is an important part of my household, I do agree that it is an important part of our right to tinker. Humans invented weapons before they invented ploughs, that much is sure. But without those weapons, we would not have expanded so far afield and into the era of agriculture.
Stratasys failed here. Their claims of illegality arise from fear of litigation. Had the group said nothing and just printed their parts, the Stratasys would have been none the wiser. Whether it’s a legal, financial, or moral issue, ever hacker has the right to hack and, in turn they are responsible for that they create. As Hall wrote of Voltaire, “I disapprove of what you say, but I will defend to the death your right to say it.” Replace “say” with “build” and we have an answer to this seemingly unsolvable conundrum.
See the original post here: Home 3D Printing Is Killing The Manufacturing Industry

It all started in a basement in Manhattan. The guys from Lua (which you may remember from the TechStars NYC Demo day a few months back) had the opportunity to meet with none other than Fred Wilson after a few friendly connections got them in touch. Wilson came to their basement “office,” and sat down to give them about an hour’s worth of feedback. It was then that Lua got the idea to apply for TechStars and take the leap.
And it would seem that leap (with the help of Mr. Wilson) has paid off, as the company just announced a $2.5 million seed round led by Roger Ehrenberg’s IA Ventures. Angels Aaron Stone of Apollo Global Management, Strauss Zelnick of Take-Two Interactive Software, John Maloney (former Tumblr president). The Dark Knight Rises producer Charles Roven also participated in the round.
Lua Technologies, if you are unfamiliar with it, is a platform that helps facilitate communication within a mobile work force. This ranges from movie sets to construction sites to cruise ships, and can actually extend much further than that. The idea is that email, SMS, or some other form of social networking simply isn’t sufficient when dealing with massive crews in a mobile workplace environment.
By developing an Android and iOS app (as well as a mobile web interface and SMS functionality), Lua allows the admin of a certain workforce to separate individuals into certain groups. For example, a director on a movie set would categorize hair and makeup, set design, camera crew, talent, etc. into their own groups, so messages are only sent to those who need to see them.
Of course, a director (or any admin/manager) can send messages to the entire workforce if needed, with the ability to require a “copy that” response. Files, images, etc. can also be shared within the app.
Obviously, the entertainment industry is an excellent launchpad for Lua, but they have a much bigger vision. Consider, for example, a retail store. Right now employees and managers are paging each other over a loud-speaker, but it doesn’t have to be this way. Lua would allow employees to communicate from various parts of the store without bothering customers.
Lua is also in talks with Jones Lang LaSalle construction to migrate into new territories, while adding other industries to the “to disrupt” list.
Read more: Lua Goes From A Manhattan Basement To $2.5M In Seed Funding From IA Ventures

Book self-publishing platform FastPencil has closed a merchandising partnership with bookstore giant Barnes & Noble, the company revealed today. While the deal has been under negotiation for some time and soft launched a few months ago, the company has now made the union official.
As you may know, FastPencil was launched in 2009 as an end-to-end self-publishing platform for books and e-books. While it is open to publishers and agents, it also gives writers the opportunity to get their books on the shelves without relying on these traditional players while maximizing their royalties.
According to FastPencil co-founder, Steve Wilson, Barnes & Noble was interested in the combination of self-publishing and quality that characterizes the platform. Not only has it retained 50,000 writers, but it also helps successful authors to emerge.
As a matter of fact, the company has two premium in-house publishing imprints: PREMIERE, featuring names such as Steven Pressfield, Mercer Mayer and Angela Sage Larsen, and Wavecrest, for “thought leaders with strong community followings.”

“Barnes & Noble is excited to partner with FastPencil to bring quality, independently published books to our readers,” said its VP Digital Content, Theresa Horner.
Following the deal, both PREMIERE and Wavecrest authors now have full access to in-store placement through Barnes & Noble’s retail stores, as well as online merchandising through its Nook devices and apps, not to mention BN.com.
Wilson insists we are not talking about a small deal in one or two local stores: during the first quarter of 2012, four of FastPencil’s books have already been made available in Barnes & Noble’s stores all across the US. And this is just the start, FastPencil is now working directly with B&N’s buyers, that’s a first for the industry, Wilson adds.
While FastPencil isn’t the only self-publishing platform on the Internet, it differs from several of its competitors by its focus on technology. Most of the process is automated, which means you can easily create an e-book in several formats; once you are done, you can also share it on the social network of your choice.
“We started as a book company wanting to break the barriers we saw in the book industry,” Wilson told us. Based on today’s announcement, it seems on the right track to achieve its goal.
Image credit: Grilled cheese
Read more from the original source: Self-publishing platform FastPencil inks partnership with Barnes & Noble
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