#Campaign Spending

[justinspoliticalcorner]

Maxwell Tani at Semafor:

Soon after Vice President Kamala Harris became the Democratic nominee, deputy campaign manager Rob Flaherty turned his attention to sports. The campaign needed to introduce Harris quickly to people who aren’t obsessed with politics. Sports is perhaps America’s last remaining monoculture, and Flaherty and the Harris team decided to book her on sports shows and podcasts. But one by one, the biggest personalities and shows politely turned them down. “Sports and culture have sort of merged together, and as sports and culture became more publicly and sort of natively associated with this Trump-conservative set of values, it got more complicated for athletes to come out in favor of us,” Flaherty, 33, told me in an interview last week. “It got more complicated for sports personalities to take us on their shows because they didn’t want to ‘do politics.’” “That’s not to say Steph Curry and Steve Kerr and LeBron [James] and all them coming out wasn’t impactful or important,” he said. “It was more impactful because it had gotten so much harder. But certainly the culture that has been associated with heavy sports-watching has become associated with right-wing culture in a way that makes it harder for us to reach people.”

Flaherty declined to say who turned Harris down, but she didn’t appear on key shows hosted by sports figures sympathetic to Democrats, like Colin Cowherd, Bill Simmons, or the Kelce brothers. (As Semafor first reported at the time, Harris did appear on All The Smoke, a popular but more niche basketball podcast, and NFL hall-of-famer Shannon Sharpe’s Club Shay Shay podcast.) The campaign’s failure to completely crack the sports sphere was, to Flaherty, ominous, and part of a larger trend in which some influencers who had felt comfortable engaging with the Biden White House, demurred when asked to help Harris make her case to their followers. “When it’s not cool to talk about politics,” he said, “you’re kind of afraid of the audience.” “Campaigns, in many ways, are last-mile marketers that exist on terrain that is set by culture, and the institutions by which Democrats have historically had the ability to influence culture are losing relevance,” he said. “You don’t get a national eight-point shift to the right without losing hold of culture.”

[...] Flaherty was also paying close attention to how the race was being run on the Republican side. Donald Trump was leaning into new podcasts, and his opponents were tapping a large network of right-leaning and conservative personalities to amplify their message.

Then, he acknowledged that the Republican Party had done a better job building up its alternative digital media ecosystem with podcasters, YouTube streamers, and friendly pundits. But he argued that the then-Biden campaign would overcome those obstacles by better navigating the “personalized internet,” by which sophisticated algorithms feed Americans highly specific information tailored to their tastes and online behavior. Speaking with me again last week, Flaherty said that remained their theory of the case the entire time. The campaign knew from the beginning that the race was going to come down to voters who do not pay attention to politics or mainstream news and instead get their information from people on YouTube, their friends’ Instagram stories, or links or memes dropped in a group chat. This firstly meant a shift in paid advertising from previous campaigns. Instead of just blanketing the airwaves in the battleground states, the campaign also invested heavily in ads on YouTube, recognizing the rapid growth in streaming. That’s where, the campaign’s data showed, many of Harris’ key voters were spending their time.

More importantly, this meant building out a strategy focused more on podcast appearances and interviews with influencers than on traditional media. Flaherty said the campaign skipped opportunities to talk to the major legacy news outlets because of Harris’ extremely limited time and its survey data, which showed that their audiences overwhelmingly supported Harris already. “There’s just no value — with respect to my colleagues in the mainstream press — in a general election, to speaking to the New York Times or speaking to the Washington Post, because those [readers] are already with us,” Flaherty said. Flaherty isn’t dismissive of television and other legacy media. “One of the most important moments of the campaign for the vice president was her interview with Bret Baier. That was a huge fundraising moment. It was a huge social moment,” he said.

“When Trump did the McDonald’s thing, it was smart, because it was a thing that obviously drove television coverage, but it also drove social media engagement too,” he said. “And those things often happen in tandem, but they don’t always, and so it was the sweet spot. It drove traditional coverage and nontraditional media. I don’t think TV is dead. It’s still probably the most important thing, but it’s the literal TV and what’s on it that matters.” As the campaign wore on, though, Flaherty said he realized their failure to gain traction in certain corners of media reflected a deeper problem — one that wasn’t solved when Harris replaced Biden on the ticket. The Harris campaign, representing what many voters saw as an embodiment of the status quo, was running contrary not just to ideological distrust of establishment figures but to media trends. The media successes of 2024 were independent, nontraditional online personalities who themselves were avatars of the rewards of going up against the Establishment.

Rob Flaherty, Kamala Harris’s digital campaign chief, told Semafor’s Maxwell Tani that the Democrats’ loss of hold on the culture played a big role into Donald Trump’s win.

[badolmen]

People against piracy fail to realize that no, I can’t just ‘buy it.’ They stopped making DVDs and Blu-Rays. They’re barely offering digital copies for download. I am not spending money I could use for food or bills to pay for a subscription service just so I can always have access to a beloved piece of media. Especially not when the service will remove media on a whim without concern for how the loss of access to that piece will make its artistic conservation nigh impossible.

For example, I recently learned that Disney+ had an original film called Crater. It’s scifi, family friendly, and seems cool - I would love to buy it as a holiday gift for my little brother! But: it’s exclusive to D+ and THEY REMOVED IT LITERALLY MONTHS AFTER ITS RELEASE.

The ONLY way I can directly access this film is through piracy. The ONLY available ‘copies’ of this film are hosted on piracy websites. Disney will NEVER release it in theaters, or as something to buy, and it may NEVER return to the streaming service. It will be LOST because we aren’t allowed to purchase it for personal viewing. If I can’t pay to own it, I won’t pay for the privilege of losing it when corporate decides to put it in a vault.

So yes, I’m going to pirate and support piracy.

Edit: if you are able, use $5 you would otherwise use for a streaming subscription to donate to a GazaFunds campaign.

[bacchuschucklefuck]

while teen while goblin while aroace while injured while doing your best

[shorthaltsjester]

doing questionable things like rewatching a bard’s lament for “fun” and scanlan and vex you will always be famous. the fact that scanlan brings up that they’ve travelled across planes to fix vex’s daddy issues but then it’s vex’s daddy issues that ground her rebuttal to scanlan when she tells him to stop treating kaylie like an object. and god. vex’s “fuck him! fuck him for not saying anything sooner. and fuck us for not asking.” in the immediate aftermath, and then once she has time to put her walls back up, vex’s “my take-away from scanlan is that we all talk too much.”

the fact that vex was the one who made that comment that without his magic scanlan is just some guy but he’s also the some guy that vex spends the campaign looking up to (even if she does it through barbs and snark), the fact that when vex was fighting against saundor hearing things like “unproven ally” scanlan was all jokes until he realized how much vex believed what was being said to her. the fact that when scanlan comes back, it’s vex who literally sees through his disguise.

what do you mean scanlan was a deadbeat father who discovered a daughter that he did love but loved only as an object until vex called him out on it? what do you mean vex was a woman who struggled to forgive in part due to her crapshoot father and she was the first to forgive scanlan when he came back?

vex and scanlan also have such interesting interactions in terms of the balance of snark, silliness, and sincerity. it’s not uncommon from any characters of sam or laura’s since they are both silly little guys who also love drama and roasting each other especially when it comes to character rp, but as always it’s so dynamic when it’s the two of them bouncing off each other, especially when they’re doing so through scanlan and vex who are already bitchy characters (affectionate) with humour as a deflection method. but it’s a silly and deeply sincere moment when vex finally puts the witch hat scanlan gave her back on with his promise that he won’t run away from the final battle. it is one of my favourite laughable moments in c1 but it also reeks of sincerity when scanlan asks vex if she prefers planetar scanlan or normal scanlan and vex tells him he is fucking hot as a planetar, but she loves him like he was and he’s her favourite when he’s just himself.

like. they’re insane do you understand. the dawnfather asks vex to prove herself and scanlan turns her into a dragon to help her succeed, pelor asks vox machina what vex means to them and scanlan says she’s greedy and mean and the most perfect of them all. the knowing mistress asks scanlan to prove himself and vex escorts him on a broom he unlocked for her and then she picks an impossible lock for him, ioun tries to remind scanlan that his strength is the joy he provides to his friends and he makes a deflective quip that he’s really powerful and vex undercuts his deflection with a sincere assertion that he is. scanlan cast his last wish spell letting her see her brother on her wedding day. vex sent herself across the continent alone with her worry and grief while scanlan’s corpse lay awaiting resurrection to ensure that his daughter could be there to either bring him back or say goodbye.

they are the platonic chosen soulmates of all time to me. i make a post like this like once a year minimum and it’s because they Haunt me. both sam and laura said what if we made high charisma characters using their charisma as a shield and humour as a weapon and they saw through each other’s masks but they never explicitly talked about it to one another. good riddance to talks machina but i will never forget the episode post bard’s lament with laura and sam where sam revealed that vex was the only one who said anything that actually got through to scanlan and another episode where laura revealed that the reason vex was so angry and sad when scanlan left was that vex felt like her and scanlan had a unique bond where they were the only two who really saw one another’s masks for what they were. also laura providing the insight that while vex was actively working on being more forgiving, another reason she was so open and happy with scanlan when he came back was that vex didn’t want to scare him away again.

what am i supposed to do with all that? be normal about scanlan and vex? literally impossible

[eyeofthebrainstorm]

There's something very compelling to me about how Vax and Vex are the Apollo/Artemis trope with a twist. Vex is a huntress and she uses bow and arrows, but while Artemis is goddess of the moon and chaste, Vex is very sensual and ends up under the protection of the sun god. Vax is a theater kid and he's charming, with that main character energy and poetic destiny. But unlike Apollo he's dark and connected to shadows and death. He's also very devoted to a woman who will eventually become a tree.

[biggest-gaudiest-patronuses]

*tries to organize my thoughts*

*remembers i'm not in school and therefore beholden to neither heaven nor hell nor any man's grading system*

*joyously shredding & tossing all my carefully arranged 3x5 mental notecards into the air like so much beige confetti. raising my arms in victory, cheering raucously until i accidentally inhale bits of homemade confetti*

(*coughing up itty bits of paper like a cat evicting a hairball with a firm understanding of tenants' rights*) wait wat happens next

[obsob]

there he is......the man of the house

[stardustedknuckles]

It's looking like there's a growing divide between Campaign watchers and Tlovm watchers in terms of like. We're here for the characters. 12-episode seasons aren't. They can't be. I'm already making peace with everything we'll lose in the Mighty Nein show, and I know I will enjoy it for what it is but I also know that almost nothing that made the story so special will translate to the screen, because turning it into a show automatically means (in this day and age) that plot must be the number one priority. They've already come out and told us it's going to be different, the characters we know and love but new stories.

Because that's how this has to work. And I feel bad for campaign one lovers, because while it is certainly the easier of the two to translate to a big, overarching story, even though it's a more "traditional" high fantasy story with easier archetypal characters, the archetypes and the plot aren't what cemented most people's love for the campaign. So much of the love for critical role is stored in the interpersonal dynamics and the payoff that comes from hundreds of hours of tiny interactions that one day become cornerstones of development and even affect or dictate the plot.

There's no room for that. There's no room for Bard's Lament in a story that cannot afford to remove and replace a main character. A lot of tlovm is for people who have been here for all of campaign one. Most of it, however, isn't. It's for a new crowd. While CR may have creative control, you can bet your ass that there were months and years devoted to figuring out how to map a character-focused love of the show into a plot that hits the right beats to be viable in the show market.

And it worked. Tlovm has consistently high viewing numbers, and its popularity has brought and will continue to bring new people into the universe who have never interacted with CR previously. That's not a bad thing - imagine finishing your favorite show and discovering it has another FIVE HUNDRED HOURS of the equivalent of behind the scenes content. That's incredible for these newcomers. But man, it is in many ways a loss for us.

[mysteryfeesh]

Guys they all have two hands. No guys hear me out-

[lazylittledragon]

happy deathiversary to the queen. can we do the rest of the bastards now

[utilitycaster]

The thing about Otohan is that she had an awesome mechanical build and she served a narrative purpose in that the party lived in fear of her for nearly 60 episodes but she truly did die as she lived, with a personality replaced by frogs and murderous intent. And the thing is I suspect there's plenty of interesting stuff about there. I've been there as a DM, having built a super cool NPC with worldbuiding ties that the party simply did not give a shit about, and I think that's the same situation here.

Legend of the Peaks isn't particularly meaningful since only two party members have any recollection of the Apex War and neither show the slightest interest in the politics thereof and they haven't really been relevant to the story. We don't know why she worshiped the Raven Queen once nor what happened to make her stop while still using that symbol...and it hasn't really been relevant to the story. We don't know if the backpack came from her or was from Ludinus...but it's not really relevant to the story other than tracing the potions of possibility back through Treshi and Jiana. We don't know what specifically drove her towards the Vanguard other than lacking answers as a Ruidusborn - which may have simply been enough - but again. Not relevant. We have Liliana to represent the perspective of a Ruidusborn who went through the Omen Archive study and whose motivations warped and twisted from a place of genuine worry and fear, and we have Ludinus to represent the centuries-long architect of this entire plan (plus he can't stop monologuing about his motivations, and that is a compliment). That's plenty.

And so Otohan consistently fails the Sexy Lamp With A Gun Attached Test, and it doesn't really matter, and I'm sure there was a backstory there but there's quite literally been no reason to care about it at any point, and I think most people do not. Her entire purpose within the narrative was that of a sentient evil Jersey Barrier that ultimately had to be blown up. I'm infinitely more interested in the loot drop that resulted from her death (and obviously the emotional ramifications of FCG's sacrifice) than any of her repetitive zealot bullshit.

[burntlikethesun]

beloved actor and national treasure david tennant remarked at an lgbt awards ceremony that our vile anti-trans idealogue minister for equalities should shut up and now the soon to be ex-prime minister is beefing with him a literal week before the election

[cosmosarcana]

petition for an aabria run acofaf style campaign with lou, emily, ally, and erika where lou and ally's character have the exact same dynamic as pete and fabian. brennan is there too so he can look to aabria when ally proposes and CRITS for the most insane shit like "do you see what i fucking deal with?"

[curapicas]

Gosh, just. The way Percy can never win when it comes to Ripley.

If he follows her, he's facing his own thirst for revenge and giving in to his most self-destructive impulses. But if he doesn't, SHE follows him and destroys everything he loves until he follows her back to a secondary location - and while at it, she gets more time to mass produce and spread guns, doubling his guilt. This isn't even touching in how even with the Briarwoods attack, Percy still fears her the most not only bc she's the one who personally tortured him, but also is the one most alike him in a twisted dark mirror situation.

This no-win situation also reflects on how her biggest ally is Orthax, a creature that can't be destroyed in their world even if defeated.

Like. Telling Ripley outloud that he forgives her is the one real win Percy ever got over her

[shorthaltsjester]

@percahliaweek -- Day 3: Glasses / Feathers

perc'ahlia & their various griefs x loose garment by MUNA

[mrsterlingeverything]

Will you fw me for president