This week on Generations, we dive into health tracking—why we use it, where it falls short, and how it can actually help instead of hurt. We talk Apple Watches, calorie deficits, anxiety, sleep data, menstrual cycle tracking, and why trends matter more than daily numbers. We share what we’ve learned from years of experimenting with fitness wearables, why privacy matters in tech, and how being “in tune with our bodies” isn’t about obsession—it’s about awareness. And we wrap with some surprising research on how just a little resistance training can dramatically lower your risk of death and even cancer.

Show Notes

• We kick off with winter fatigue, weird sleep weeks, and how small disruptions affect how we feel.
• Why this episode started with a text about starting a calorie deficit — and why we decided tracking was worth discussing.
• Peter’s long experiment with wearables (Fitbit, Garmin, Pebble, Microsoft Band) — and why most of them ultimately fell short.
• Why we landed on the Apple Watch:
  • Best overall smartwatch experience
  • Solid fitness tracking for normal humans
  • Actually useful smart features
  • Better privacy model than Google-owned ecosystems
• The real value of tracking:
  • Not the daily numbers
  • The trends over time
  • Using data for awareness, not obsession
• Heart rate alerts and anxiety:
  • Using elevated heart rate notifications as a cue to regulate
  • Tracking medication side effects responsibly
• Calorie tracking on a cut:
  • We don’t rely on watch calorie burn to determine deficits
  • Apps like Chronometer and MacroFactor help — but ease of use matters
• Sleep tracking:
  • Sleep latency, HRV, resting heart rate
  • Seeing physiological effects of behaviors (like late eating)
  • Why tracking can be helpful if it doesn’t increase anxiety
• Cycle tracking & women’s health:
  • Logging symptoms daily reveals powerful patterns
  • Hormones affect sleep, hunger, mood, and performance
  • Being in an “in tune with my body” era
• Apple Health collects a lot of data — but doesn’t present it well.
  • Third-party apps like Athlytic make it more usable.
• Medical Fact:
  • Resistance + cardio training linked to 40% lower all-cause mortality
  • Nearly 30% lower cancer-specific mortality
  • Strength training plays a particularly protective role

This week, we dig into the news that Brandon Sanderson has sold the rights to the entire Cosmere to Apple TV. We talk through our initial reactions—excitement mixed with very real nervousness—about what it means when beloved books make the jump to live-action. Along the way, we explore why Apple TV might actually be the best possible home for something this ambitious, how creative control (and unfinished stories) matter more than ever, and what makes Sanderson’s worlds both uniquely difficult and incredibly promising to adapt. We wrap up with thoughts on casting, representation, unfinished series trauma, and why this could be one of the rare cases where hope feels justified.

Show Notes

• We open with a quick life check-in, including wildly different winter weather and a discussion of apartment life, visitors, and an ever-expanding collection of houseplants.
• We shift into the main topic: the announcement that Apple TV has acquired the rights to the entire Cosmere.
• Initial reactions focus on adaptation anxiety—why turning beloved books into movies or shows so often goes wrong, and why live-action adaptations feel especially risky.
• We talk about how Sanderson’s reported level of creative control is unusual, especially compared to other high-profile adaptations.
• Peter reflects on growing up with The Lord of the Rings and how that experience shapes his optimism about adaptations done well.
• We discuss why animation might have been safer—and why live action still has enormous potential if handled carefully.
• A big point of optimism: Apple TV’s reputation among creators for funding projects well, giving creative freedom, and actually letting stories finish.
• Comparisons to Netflix and Amazon highlight the frustration of canceled shows and unfinished narratives.
• We talk about how Apple’s long-term planning (and willingness to greenlight full arcs) could be critical for something as massive as Stormlight and Mistborn.
• Casting comes up, with strong agreement that unknown actors would be ideal to avoid baggage and preserve immersion.
• We joke about nightmare casting scenarios and the dangers of star-driven decisions.
• Representation matters: we discuss how Stormlight’s cultures are intentionally written and why accurate casting is important.
• We explore the challenge of Cosmere “cross-pollination” and how later books rely heavily on wider lore.
• Peter raises an interesting upside: some of Sanderson’s weaker prose moments may translate better on screen, where dialogue and visuals carry more weight.
• We touch on structural questions—movies vs. series, pacing, and how to handle extremely long books.

This week, we dive into video games—what we play, what we love, what we bounce off of, and what being a “gamer” even means anymore. We talk through our very different gaming habits, from hundreds of hours in Stardew Valley and Minecraft to deep, story-driven single-player epics like Mass Effect and Assassin’s Creed. Along the way, we explore why some games feel comforting, why others feel like work, how difficulty and time shape our choices, and how gaming has changed with age, technology, and expectations. It’s a laid-back, honest conversation about play, frustration, storytelling, and why it’s okay to like what you like.

Show Notes

• We open with a quick check-in about extreme winter weather, frozen windows, and how different winters feel depending on where you live
• We introduce the episode’s theme: video games we love, games we don’t, and what we’re currently playing
• We question what it even means to be a “gamer” in 2026, especially in a world where mobile games dominate total playtime
• We talk about how gaming habits change with age, time constraints, and life responsibilities
• Aubrey walks through her most-played games:
  • Stardew Valley as her all-time favorite, including multiple worlds, co-op play, and reaching “perfection”
  • Minecraft as both a comfort game and a way to stay connected during long-distance relationships
• How co-op gaming became a form of long-distance date night
• We discuss different types of games and why they appeal differently:
  • Sandbox and simulation games
  • Roguelikes and progression-based loops
  • Loot-driven games like Diablo and Borderlands
  • Story-first, single-player games
• Peter explains why story and characters are the biggest draw for him, especially in:
  • The Mass Effect trilogy as his all-time favorite gaming experience
  • Assassin’s Creed Origins and Odyssey, and why Valhalla eventually felt too grindy
• We talk about difficulty settings, “story mode,” and why difficulty shouldn’t be a barrier to enjoying games
• We discuss games we want to like but don’t:
  • Zelda: Breath of the Wild and Tears of the Kingdom
  • Super Mario platformers
  • Why exploration-heavy games don’t always click
• Aubrey shares her experience with Cult of the Lamb, including finishing it on normal difficulty and attempting the harder survival mode
• We explore It Takes Two as a co-op experience that’s fun but emotionally and mechanically demanding
• Aubrey talks about discovering a newer, more systems-focused space game and why optimization and calm progression really work for her
• Peter brings up Cyberpunk 2077 as one of the best—but emotionally heavy—games he’s ever played
• We touch on party and group games:
  • Mario Kart
  • Boomerang Fu
  • Super Smash Bros (and character loyalty)
• We talk about competitive vs. solo gaming and why online multiplayer just doesn’t appeal to us
• Peter reflects on strategy games like Civilization—always buying them, rarely playing them
• We close by agreeing that gaming doesn’t need justification: comfort games count, single-player counts, and enjoying one game deeply is enough