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Why does it feel so weird to ride in a driverless car?

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Why does it feel so weird to ride in a driverless car?

Waymo driverless cars are now ubiquitous in San Francisco.

Chloe Veltman/NPR


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Chloe Veltman/NPR

Dan Avedikian’s recent ride across San Francisco in a driverless car was a mostly uneventful experience.

But at one point, the robotaxi did something the 37-year-old music educator wasn’t expecting: The car signaled as if it were going to turn left at an intersection, but then didn’t.

Avedikian said human drivers often do things like this — make choices that don’t seem to make sense right away.

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“Like, big whoop,” he said. “It’s the kind of thing I do all the time.”

But it’s not what he expected from a robot.

“Because the robot should be perfect, right?” he said.

Setting expectations

Alphabet-owned Waymo, one of the most prominent self-driving car companies, recently announced the expansion of its service to Atlanta and Austin early next year. This means many more people are about to see the Silicon Valley company’s vehicles on their city streets. In San Francisco, Waymos are already ubiquitous. But riders can find the experience unsettling, especially when the ride isn’t perfect.

“When we talk about autonomous vehicles, the purported benefit is that it is a better driver than we are,” said Nidhi Kalra, a senior information scientist with the global policy think tank RAND Corporation who studies driverless cars.

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She said it’s the driverless car companies themselves that set the public’s high expectations. “Their claim is this is going to be an extraordinary experience,” Karla said. “This is going to be safe. This is going to be easy.”

Waymo’s advertising campaigns feature lines such as, “The Waymo driver will take care of you and keep you safe from Point A to Point B, whether it’s your first ride or your hundredth one.”

Driverless cars do seem to be safer in some situations. A recent study from the University of Central Florida states: “It is anticipated that the automation of systems will significantly reduce the number of accidents, as human errors contribute up to 90% of accidents.”

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But the research also shows there’s not enough data to really know: “Despite the recent advancements that Autonomous Vehicles have shown in their potential to improve safety and operation, considering differences between Autonomous Vehicles and Human-Driven Vehicles in accidents remain unidentified due to the scarcity of real-world Autonomous Vehicles accident data.”

A tricky balance

Waymo is trying to strike a tricky balance between the image of seamless machine performance that the company projects and a friendly and familiar experience that earns the public’s trust.

“There are a lot of things that we do that are very human-like,” said Ryan Powell, Waymo’s head of design and customer research.

Powell cites Waymos’ careful negotiations at intersections as one human-like characteristic.

“We might nudge a little bit forward as a way to signal to the other drivers or to the pedestrians that we’re about ready to take that turn,” he said.

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There’s also the warm, safety-conscious in-car voice, which reminds passengers to, “Please make sure it’s clear before exiting.”

The human-but-not-quite factor

For some, that disembodied voice is unsettling.

“It’s got this kind of inhuman friendliness,” said New Yorker cartoonist and author Amy Kurzweil. Kurzweil’s work, such as her 2023 graphic memoir Artificial: A Love Story, explores human-machine relationships; in a cartoon for The New Yorker, she poked gentle fun at autonomous vehicles and the people who ride in them.

Amy Kurzweil's autonomous car cartoon, published in the Apr. 4 2016 issue of The New Yorker.

Amy Kurzweil’s autonomous car cartoon, published in the Apr. 4 2016 issue of The New Yorker.

Amy Kurzweil


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Amy Kurzweil

Kurzweil said she has taken Waymos a couple of times in San Francisco, and that she enjoys the experience, but she said the uncanny feeling stretches beyond just the voice — for example, the steering wheel spins without anyone sitting behind it.

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“That’s triggering our nightmare sense that there should be somebody there, and there isn’t,” she said.

This ghostly echo of the human driver who isn’t there taps into peoples’ deep-seated fears about machines possessing a kind of human consciousness.

“Because we’re often slotting robots into human jobs and human roles, we have this little background nightmare of them as actually having human agency, which they don’t have,” said Kurzweil. “And there is something about the driverless car that is a really good symbol for that anxiety.”

Kurzweil traces the anxiety back to R.U.R — Rossum’s Universal Robots, a 1920 play by Czech writer Karel Čapek. It tells of a deadly uprising of artificial, humanlike beings who were created by humans to do their grunt work. These types of stories keep playing out in our culture, from the awe-inspiring Replicants in the 1982 movie Blade Runner, to last year’s horror film Megan about a scary AI doll.

Kurzweil said she wonders if doing away with the elements we associate with having a human chauffeur might, paradoxically, make riders feel more comfortable.

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“If the machine didn’t have a driver’s seat and it didn’t have a steering wheel, it would be less uncanny,” Kurzweil said.

Waymo’s Powell said the company would like to get rid of these things, too. But despite a 2022 regulatory action that paves the way for this possibility, the National Highway Traffic Safety Administration still requires them — for now.

Jennifer Vanasco edited the audio and digital versions of this story; Chloee Weiner mixed the audio.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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Ben Margot/AP

When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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Lifestyle

OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Kirsty Wigglesworth/AP

Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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