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Nate Jones performed a yeoman’s job of summarizing Mary Meeker’s 340-slide deck on AI trends, the “2025 Technology as Innovation (TAI) Report.” For those of you who don’t know, Mary Meeker is a famed technology analyst and investor known for her insightful reports on tech industry trends. For the longest time, as an analyst at Kleiner Perkins, she published the Internet Trends report. And she was always prescient.

Half of Jones’ post is the summary, while the other half is how the report applies to product teams. The whole thing is worth 27 minutes of your time, especially if you work in software.

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I Summarized Mary Meeker's Incredible 340 Page 2025 AI Trends Deck—Here's Mary's Take, My Response, and What You Can Learn

Yes, it's really 340 pages, and yes I really compressed it down, called out key takeaways, and shared what you can actually learn about building in the AI space based on 2025 macro trends!

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Thoughts on the 2024 Design Tools Survey

Tommy Geoco and team are finally out with the results of their 2024 UX Design Tools Survey.

First, two quick observations before I move on to longer ones:

  • The respondent population of 2,200+ designers is well-balanced among company size, team structure, client vs. product focus, and leadership responsibility
  • Predictably, Figma dominates the tools stacks of most segments

As a reaction to the OpenAI + io announcement two weeks ago, Christopher Butler imagines a mesh computing device network he calls “personal ambient computing”:

…I keep thinking back to Star Trek, and how the device that probably inspired the least wonder in me as a child is the one that seems most relevant now: the Federation’s wearables. Every officer wore a communicator pin — a kind of Humane Pin light — but they also all wore smaller pins at their collars signifying rank. In hindsight, it seems like those collar pins, which were discs the size of a watch battery, could have formed some kind of wearable, personal mesh network. And that idea got me going…

He describes the device as a standardized disc that can be attached to any enclosure. I love his illustration too:

Diagram of a PAC Mesh Network connecting various devices: Pendant, Clip, Watch, Portable, Desktop, Handset, and Phone in a circular layout.

Christopher Butler: “I imagine a magnetic edge system that allows the disc to snap into various enclosures — wristwatches, handhelds, desktop displays, wearable bands, necklaces, clips, and chargers.”

Essentially, it’s an always-on, always observing personal AI.

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PAC – Personal Ambient Computing - Christopher Butler

Like most technologists of a certain age, many of my expectations for the future of computing were set by Star Trek production designers. It’s quite

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Modern Muybridge

Abstract gradient illustration of a horseback rider, formed by layered, semi-transparent rectangles in motion.

I knew instantly that the brand identity was paying homage to Eadweard Muybridge’s famous photographic studies of a galloping horse. It’s a logo for an AI video company.

The whole case study from Jody Hudson-Powell and Luke Powell of Pentagram is great.

Following up on OpenAI’s acquisition of Jony Ive’s hardware startup, io, Mark Wilson, writing for Fast Company:

As Ive told me back in 2023, there have been only three significant modalities in the history of computing. After the original command line, we got the graphical user interface (the desktop, folders, and mouse of Xerox, Mac OS, and Windows), then voice (Alexa, Siri), and, finally, with the iPhone, multitouch (not just the ability to tap a screen, but to gesture and receive haptic feedback). When I brought up some other examples, Ive quickly nodded but dismissed them, acknowledging these as “tributaries” of experimentation. Then he said that to him the promise, and excitement, of building new AI hardware was that it might introduce a new breakthrough modality to interacting with a machine. A fourth modality.

Hmm, it hasn’t taken off yet because AR hasn’t really gained mainstream popularity, but I would argue hand gestures in AR UI to be a fourth modality. But Ive thinks different. Wilson continues:

Ive’s fourth modality, as I gleaned, was about translating AI intuition into human sensation. And it’s the exact sort of technology we need to introduce ubiquitous computing, also called quiet computing and ambient computing. These are terms coined by the late UX researcher Mark Weiser, who in the 1990s began dreaming of a world that broke us free from our desktop computers to usher in devices that were one with our environment. Weiser did much of this work at Xerox PARC, the same R&D lab that developed the mouse and GUI technology that Steve Jobs would eventually adopt for the Macintosh. (I would also be remiss to ignore that ubiquitous computing is the foundation of the sci-fi film Her, one of Altman’s self-stated goalposts.)

Ah, essentially an always-on, always watching AI that is ready to assist. But whatever the form factor this device takes, it will likely depend on a smartphone:

The first io device seems to acknowledge the phone’s inertia. Instead of presenting itself as a smartphone-killer like the Ai Pin or as a fabled “second screen” like the Apple Watch, it’s been positioned as a third, er, um … thing next to your phone and laptop. Yeah, that’s confusing, and perhaps positions the io product as unessential. But it also appears to be a needed strategy: Rather than topple these screened devices, it will attempt to draft off them.

Wilson ends with the idea of a subjective computer, one that has personality and gives you opinions. He explains:

I think AI is shifting us from objective to subjective. When a Fitbit counts your steps and calories burned, that’s an objective interface. When you ask ChatGPT to gauge the tone of a conversation, or whether you should eat better, that’s a subjective interface. It offers perspective, bias, and, to some extent, personality. It’s not just serving facts; it’s offering interpretation.

The entire column is worth a read.

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Can Jony Ive and Sam Altman build the fourth great interface? That's the question behind io

Where Meta, Google, and Apple zig, Ive and Altman are choosing to zag. Can they pull it off?

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Nick Babich writing for UX Planet:

Because AI design and code generators quickly take an active part in the design process, it’s essential to understand how to make the most of these tools. If you’ve played with Cursor, Bolt, Lovable, or v0, you know the output is only as good as the input.

Well said, especially as prompting is the primary input for these AI tools. He goes on to enumerate his five parts to a good prompt. Worth a quick read.

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How to write better prompts for AI design & code generators

Because AI design and code generators quickly take an active part in the design process, it’s essential to understand how to make the most…

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Related to my earlier post today about Arc’s novelty tax, here’s an essay by DOC, a tribute to consistency.

Leveraging known, established UX patterns and sticking to them prevent users from having to learn net-new interactions and build net-new mental models every time they engage with a new product.

But, as Josh Miller wrote in the aforementioned post, “New interfaces start from familiar ones.” DOC’s essay uses jazz as a metaphor:

Consistency is about making room for differentiation. Think about a jazz session: the band starts from a known scale, rhythm. One musician breaks through, improvising on top of that pattern for a few minutes before joining the band again. The band, the audience, everyone knows what is happening, when it starts and when it ends, because the foundation of it all is a consistent melody.

Geometric pattern of stacked rectangular blocks forming a diagonal structure against a dark sky. Artwork by Maya Lin.

Consistency

On compounding patterns and the art of divergence.

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Josh Miller, writing in The Browser Company’s substack:

After a couple of years of building and shipping Arc, we started running into something we called the “novelty tax” problem. A lot of people loved Arc — if you’re here you might just be one of them — and we’d benefitted from consistent, organic growth since basically Day One. But for most people, Arc was simply too different, with too many new things to learn, for too little reward.

“Novelty tax” is another way of saying using non-standard patterns that users just didn’t get. I love Arc. It’s my daily driver. But, Miller is right that it does have a steep learning curve. So there is a natural ceiling to their market.

Miller’s conclusion is where things get really interesting:

Let me be even more clear: traditional browsers, as we know them, will die. Much in the same way that search engines and IDEs are being reimagined [by AI-first products like Perplexity and Cursor]. That doesn’t mean we’ll stop searching or coding. It just means the environments we do it in will look very different, in a way that makes traditional browsers, search engines, and IDEs feel like candles — however thoughtfully crafted. We’re getting out of the candle business. You should too.

“You should too.”

And finally, to bring it back to the novelty tax:

**New interfaces start from familiar ones. **In this new world, two opposing forces are simultaneously true. How we all use computers is changing much faster (due to AI) than most people acknowledge. Yet at the same time, we’re much farther from completely abandoning our old ways than AI insiders give credit for. Cursor proved this thesis in the coding space: the breakthrough AI app of the past year was an (old) IDE — designed to be AI-native. OpenAI confirmed this theory when they bought Windsurf (another AI IDE), despite having Codex working quietly in the background. We believe AI browsers are next.

Sad to see Arc’s slow death, but excited to try Dia soon.

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Letter to Arc members 2025

On Arc, its future, and the arrival of AI browsers — a moment to answer the largest questions you've asked us this past year.

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Colorful illustration featuring the Figma logo on the left and a whimsical character operating complex, abstract machinery with gears, dials, and mechanical elements in vibrant colors against a yellow background.

Figma Make: Great Ideas, Nowhere to Go

Nearly three weeks after it was introduced at Figma Config 2025, I finally got access to Figma Make. It is in beta and Figma made sure we all know. So I will say upfront that it’s a bit unfair to do an official review. However, many of the tools in my AI prompt-to-code shootout article are also in beta. 

Since this review is fairly visual, I made a video as well that summarizes the points in this article pretty well.

Patrick Morgan writing for UX Collective:

The tactical tasks that juniors traditionally cut their teeth on are increasingly being delegated to AI tools. Tasks that once required a human junior designer with specialized training can now be handled by generative AI tools in a fraction of the time and cost to the organization.

This fundamentally changes the entry pathway. When the low-complexity work that helped juniors develop their skills is automated away, we lose the natural onramp that allowed designers to gradually progress from tactical execution to strategic direction.

Remote work has further complicated things by removing informal learning opportunities that happen naturally in an in-person work environment, like shadowing senior designers, being in the room for strategy discussions, or casual mentorship chats.

I’ve been worried about this a lot. I do wonder how the next class of junior designers—and all professionals, for that matter—will learn. (I cited Aneesh Raman, chief economic opportunity officer at LinkedIn, in my previous essay.)

Morgan does have some suggestions:

Instead of waiting for the overall market to become junior-friendly again (which I don’t see happening), focus your search on environments more structurally accepting of new talent:

1. Very early-stage startups: Pre-seed or seed companies often have tight budgets and simply need someone enthusiastic who can execute designs. It will be trial-by-fire, but you’ll gain rapid hands-on experience.

2. Stable, established businesses outside of ‘big tech’: Businesses with predictable revenue streams often provide structured environments for junior designers (my early experience at American Express is a prime example). It might not be as glamorous as a ‘big tech’ job, but as a result they’re less competitive while still offering critical experience to get started.

3. Design agencies: Since their business model focuses on selling design services, agencies naturally employ more designers and can support a mix of experience levels. The rapid exposure to multiple projects makes them solid launchpads even if your long-term goal is to work in-house in tech.

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No country for Junior Designers

The structural reality behind disappearing entry-level design roles and some practical advice for finding ways in

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Tabitha Swanson for It’s Nice That:

A few years ago, I realised that within a week, I was using about 25 different design programs, each with their own nuances, shortcuts, and technological learning curves. (That number has continued to grow.) I also began to notice less time to rest in the state of full technological proficiency in a tool before trends and software change again and it became time to learn a new one. I’ve learned so many skills over the years, both to stay current, but also out of genuine curiosity. But the pressure to adapt to new technologies as well as perform on social media, update every platform, my portfolio, website and LinkedIn and keep relations with clients, is spiritually draining. Working as a creative has never felt more tiring. I posted about this exhaustion on Instagram recently and many people got in touch saying they felt the same – do you feel it too?

I get it. There’s always so many new things to learn and keep up with, especially in the age of AI. That’s why I think the strategic skills are more valuable and therefore more durable in the long run.

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POV: Designers are facing upskilling exhaustion

Why is lethargy growing among designers? Creative director, designer and SEEK/FIND founder, Tabitha Swanson, discusses where our collective exhaustion to upskill and “grow” has come from.

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OpenAI is acquiring a hardware company called “io” that Jony Ive cofounded just a year ago:

Two years ago, Jony Ive and the creative collective LoveFrom, quietly began collaborating with Sam Altman and the team at OpenAI.

It became clear that our ambitions to develop, engineer and manufacture a new family of products demanded an entirely new company. And so, one year ago, Jony founded io with Scott Cannon, Evans Hankey and Tang Tan.

We gathered together the best hardware and software engineers, the best technologists, physicists, scientists, researchers and experts in product development and manufacturing. Many of us have worked closely for decades.

The io team, focused on developing products that inspire, empower and enable, will now merge with OpenAI to work more intimately with the research, engineering and product teams in San Francisco.

It has been an open rumor that Sam Altman and Ive has been working together on some hardware. I had assumed they formalized their partnership already, but I guess not.

Play

There are some bold statements that Ive and Altman make in the launch video, teasing a revolutionary new device that will enable quicker, better access to ChatGPT. Something that is a lot less friction than how Altman explains in the video:

If I wanted to ask ChatGPT something right now about something we had talked about earlier, think about what would happen. I would like reached down. I would get on my laptop, I’d open it up, I’d launch a web browser, I’d start typing, and I’d have to, like, explain that thing. And I would hit enter, and I would wait, and I would get a response. And that is at the limit of what the current tool of a laptop can do. But I think this technology deserves something much better.

There are a couple of other nuggets about what this new device might be from the statements Ive and Altman made to Bloomberg:

…Ive and Altman don’t see the iPhone disappearing anytime soon. “In the same way that the smartphone didn’t make the laptop go away, I don’t think our first thing is going to make the smartphone go away,” Altman said. “It is a totally new kind of thing.”

“We are obviously still in the terminal phase of AI interactions,” said Altman, 40. “We have not yet figured out what the equivalent of the graphical user interface is going to be, but we will.”

While we don’t know what the form factor will be, I’m sure it won’t be a wearable pin—ahem, RIP Humane. Just to put it out there—I predict it will be a voice assistant in an earbud, very much like the AI in the 2013 movie “Her.” Altman has long been obsessed with the movie, going as far as trying to get Scarlett Johansson to be one of the voices for ChatGPT.

EDIT 5/22/2025, 8:58am PT: Added prediction about the form factor.

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Sam and Jony introduce io

Building a family of AI products for everyone.

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The AI Hype Train Has No Brakes

I remember two years ago, when my CEO at the startup I worked for at the time, said that no VC investments were being made unless it had to do with AI. I thought AI was overhyped, and that the media frenzy over it couldn’t get any crazier. I was wrong.

Looking at Google Trends data, interest in AI has doubled in the last 24 months. And I don’t think it’s hit its plateau yet.

Line chart showing Google Trends interest in “AI” from May 2020 to May 2025, rising sharply in early 2023 and peaking near 100 in early 2025.

Sam Bradley, writing for Digiday:

One year in from the launch of Google’s AI Overviews, adoption of AI-assisted search tools has led to the rise of so-called “zero-click search,” meaning that users terminate their search journeys without clicking a link to a website.

“People don’t search anymore. They’re prompting, they’re gesturing,” said Craig Elimeliah, chief creative officer at Code and Theory.

It’s a deceptively radical change to an area of the web that evolved from the old business of print directories and classified sections — one that may redefine how both web users and marketing practitioners think about search itself.

And I wrote about answer engines, earlier this year in January:

…the fundamental symbiotic economic relationship between search engines and original content websites is changing. Instead of sending traffic to websites, search engines, and AI answer engines are scraping the content directly and providing them within their platforms.

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How the semantics of search are changing amid the zero-click era

Search marketing, once a relatively narrow and technical marketing discipline, is becoming a broad church amid AI adoption.

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I was recently featured on the Design of AI podcast to discuss my article that pit eight AI prompt-to-code tools head to head. We talked through the list but I also offered a point of view on where I see the gap.

Arpy Dragffy and Brittany Hobbs close out the episode this way (emphasis mine):

So it’s great that Roger did that analysis and that evaluation. I honestly am a bit shocked by those results. Again, his ranking was that Subframe was number one, Onlook was two, v0 number three, Tempo number four. But again, if you look at his matrix, only two of the tools scored over 70 out of 100 and only one of the tools he could recommend. And this really shines a dark light on AI products and their maturity right now**.** But I suspect that this comes down to the strategy that was used by some of these products. If you go to them, almost every single one of them is actually a coding tool, except the two that scored the highest.

Onlook, its headline is “The Cursor for Designers.” So of course it’s a no brainer that makes a lot of sense. That’s part of their use cases, but nonetheless it didn’t score that good in his matrix.

The top scoring one from his list Subframe is directly positioned to designers. The title is “Design meet code.” It looks like a UI editor. It looks like the sort of tool that designers wish they had. These tools are making it easier for product managers to run research programs, to turn early prototypes and ideas into code to take code and really quick design changes. When you need to make a change to a website, you can go straight into one of these tools and stand up the code.

Listen on Apple Podcasts and Spotify.

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Rating AI Design to Code Products + Hacks for ChatGPT & Claude [Roger Wong]

Designers are overwhelmed with too many AI products that promise to help them simplify workflows and solve the last mile of design-to-code. With the...

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I tried early versions of Stable Diffusion be ended up using exclusively Midjourney because of the quality. I’m excited to check out the full list. (Oh, and of course I’ve used DALL-E as well via ChatGPT. But there’s not a lot of control there.)

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Stable Diffusion & Its Alternatives: Top 5 AI Image Generators

AI-generated imagery has become an essential part of the modern product designer’s toolkit — powering everything from early-stage ideation…

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John Gruber wrote a hilarious rant about the single-story a in the iOS Notes app:

I absolutely despise the alternate single-story a glyph that Apple Notes uses. I use Notes every single day and this a bothers me every single day. It hurts me. It’s a childish silly look, but Notes, for me, is one of the most serious, most important apps I use.

Since that sparked some conversation online, he followed up with a longer post about typography in early versions of the Mac system software:

…Apple actually shipped System 1.0 with a version of Geneva with a single-story a glyph — but only in the 9-point version of Geneva. At 12 points (and larger), Geneva’s a was double-story.

To me, it does make sense that 9-point Geneva would have a single-story a, since there are less pixels to draw the glyph well and to distinguish better from the lowercase e.

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Single-Story a’s in Very Early Versions of Macintosh System 1

A single-story “a” in Chicago feels more blasphemous than that AI image Trump tweeted of himself as the new pope.

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For as long as I can remember, I’ve been fascinated by how television shows and movies are made. I remember the specials ABC broadcast about the making of The Empire Strikes Back and other Lucasfilm movies like the Indiana Jones series. More recently—especially with the advent of podcasts—I’ve loved listening to how show runners think about writing their shows. For example, as soon as an episode of Battlestar Galactica aired, I would rewatch it with Ronald D. Moore’s commentary. These days, I‘m really enjoying the official The Last of Us podcast because it features commentary from both Craig Mazin and Neil Druckmann.

Anyway, thinking about personas as characters from TV shows and movies and using screenwriting techniques is right up my alley. Laia Tremosa for the IxDF:

Hollywood spends millions to bring characters to life. UX design teams sometimes spend weeks… only to make personas no one ever looks at again. So don’t aim for personas that look impressive in a slide deck. Aim for personas that get used—in design reviews, product decisions, and testing plans.

Be the screenwriter. Be the director. Be the casting agent.

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The Hollywood Guide to UX Personas: Storytelling That Drives Better Design

Great products need great personas. Learn how to build them using the storytelling techniques Hollywood has perfected.

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Comic-book style painting of the Sonos CEO Tom Conrad

What Sonos’ CEO Is Saying Now—And What He’s Still Not

Four months into his role as interim CEO, Tom Conrad has been remarkably candid about Sonos’ catastrophic app launch. In recent interviews with WIRED and The Verge, he’s taken personal responsibility—even though he wasn’t at the helm, just on the board—acknowledged deep organizational problems, and outlined the company’s path forward.

But while Conrad is addressing more than many expected, some key details remain off-limits.

Illustrated background of colorful wired computer mice on a pink surface with a large semi-transparent Figma logo centered in the middle.

Figma Takes a Big Swing

Last week, Figma held their annual user conference Config in San Francisco. Since its inception in 2020, it has become a significant UX conference that covers more than just Figma’s products and community. While I’ve not yet had the privilege of attending in person, I do try to catch the livestreams or videos afterwards.

Nearly 17 months after Adobe and Figma announced the termination of their merger talks, Figma flexed their muscle—fueld by the $1 billion breakup fee, I’m sure—by announcing four new products. They are Figma Draw, Make, Sites, and Buzz.

  • Draw: It’s a new mode within Figma Design that reveals additional vector drawing features.
  • Make: This is Figma’s answer to Lovable and the other prompt-to-code generators.
  • Sites: Finally, you can design and publish websites from Figma, hosted on their infrastructure.
  • Buzz: Pass off assets to clients and marketing teams and they can perform lightweight and controlled edits in Buzz.

As a certified Star Wars geek, I love this TED talk from ILM’s Rob Bedrow. For the uninitiated, Industrial Light & Magic, or ILM, is the company that George Lucas founded to make all the special effects for the original and subsequent Star Wars films. The firm has been an award-winning pioneer in special and visual effects, responsible for the dinosaurs in Jurassic Park, the liquid metal T-1000 in Terminator 2: Judgement Day, and the de-aging of Harrison Ford in Indiana Jones and the Dial of Destiny.

The point Bedrow makes is simple: ILM creates technology in service of the storyteller, or creative.

I believe that we’re designed to be creative beings. It’s one of the most important things about us. That’s one of the reasons we appreciate and we just love it when we see technology and creativity working together. We see this on the motion control on the original “Star Wars” or on “Jurassic Park” with the CG dinosaurs for the first time. I think we just love it when we see creativity in action like this. Tech and creative working together. If we fast forward to 2020, we can see the latest real-time virtual production techniques. This was another creative innovation driven by a filmmaker. In this case, it’s Jon Favreau, and he had a vision for a giant Disney+ “Star Wars” series.

He later goes on to show a short film test made be a lone artist at ILM using an internal AI tool. It’s never-before-seen creatures that could exist in the Star Wars universe. I mean, for now they look like randomized versions of Earth animals and insects, but if you squint, you can see where the technology is headed.

Bedrow goes on…

Now the tech companies on their own, they don’t have the whole picture, right? They’re looking at a lot of different opportunities. We’re thinking about it from a filmmaking perspective. And storytellers, we need better artist-focused tools. Text prompts alone, they’re not great ways to make a movie. And it gets us excited to think about that future where we are going to be able to give artists these kinds of tools.

Again, artists—or designers, or even more broadly, professionals—need fine-grained control to adjust the output of AI.

Watch the whole thing. Instead of a doom and gloom take on AI, it’s an uplifting one that shows us what’s possible.

Star Wars Changed Visual Effects — AI Is Doing It Again

Jedi master of visual effects Rob Bredow, known for his work at Industrial Light & Magic and Lucasfilm, takes us on a cinematic journey through the evolution of visual effects, with behind-the-scenes stories from the making of fan favorites like “Jurassic Park,” “Star Wars,” “Indiana Jones” and more. He shares how artist-driven innovation continues to blend old and new technology, offering hope that AI won’t replace creatives but instead will empower artists to create new, mind-blowing wonders for the big screen. (Recorded at TED2025 on April 8, 2025)

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A lot of young designers love to look at what’s contemporary, what’s trending on Dribbble or Instagram. But I think to look forward, we must always study our past. I spent the week in New York City, on vacation. My wife and I attended a bunch of Broadway shows and went to the Museum of Broadway, where I became enamored with a lot of the poster art. (’Natch.) I may write about that soon.

Coincidentally, Matthew Strom wrote about the history of album art, featuring the first album cover ever, which uses a photo of the Broadway theater, the Imperial, where I saw Smash earlier this week.

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The history of album art

Album art didn’t always exist. In the early 1900s, recorded music was still a novelty, overshadowed by sales of sheet music. Early vinyl records were vastly different from what we think of today: discs were sold individually and could only hold up to four minutes of music per side. Sometimes, only one side of the record was used. One of the most popular records of 1910, for example, was “Come, Josephine, in My Flying Machine”: it clocked in at two minutes and 39 seconds.

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