telemetry 12nov25

Beehiiv, who host my newsletter, is touting some transformative “winter release” for tomorrow, which I’m presuming will be some major pivot to enterprise that will simply make everything harder and less fun for someone who just wants to send a newsletter once a week.

Denis Villeneuve’s “Dune: Part Three,” which started shooting in July, has officially wrapped production. That’s four months of filming for the final chapter.

Though early reports had referred to the project as “Dune: Messiah”—a direct reference to Frank Herbert’s 1969 novel on which the film is based—Warner Bros. recently confirmed the film’s title would follow a more straightforward numerical approach. This further hints that Villeneuve could be tackling not just “Messiah,” but also parts of the third book, “Children of Dune.”

Much about Jordan Patterson’s music seems to follow a logical path. Listening to her songs, you likely wouldn’t be surprised to learn she was born in North Carolina and raised on Roberta Flack, or that she then traveled west to study at the L.A. County High School for the Arts (alumni: Phoebe Bridgers, Haim, and Sasami) and soon after discovered Nick Drake, Radiohead, and Ableton. Her warm, hand-held but slightly unsettled music is constitutive of all her influences.

What can’t be accounted for, however, is that voice, which seems to exist entirely outside any lineage or explanation. Her singing almost seems to propose a new paradigm: What if all of the stress were emphasized in the backend? What if the human lung were capable of taking its largest breath just as it reaches emptiness?