#Entertainment & media production companies

[imunbreakabledude]

i am not anti-media-piracy, in fact i support it heartily on the media preservation level, and i have mixed but partially positive feelings about it on the individual choice/saving money level...

but the way some people talk about piracy like it's a heroic thing to do - not in the preservation sense, but in the 'fuck companies!!! if i can get something for free and screw them over, I'm fighting capitalism!' sense - oh some people sound like real goobers with those arguments.

[marcovaleyeah]

07.10.24

#Marco-Marathon | The Crow

Film Name: The Crow (2024); Production Studios: Lionsgate Films, FilmNation Entertainment, Davis-Films, Pressman Film 30WEST, Ashland Hill Media Finance, The Electric Shadow Company, Media Capital Technologies, Hassell Free Productions, Edward R. Pressman Film, Czech Anglo Pictures; Director by: Rupert Sanders; Screenwriter: Kevin Cornish, Cliff Dorfman, Zach Baylin, Alex Tse, Jesse Wigutow, William Josef Schneider; Starring: Bill Skarsgård, FKA Twigs, Danny Huston, Josette Simon, Laura Birn; Genres: Fantasy, Action, Criminal, Melodrama; Running Time: 1 hour 51 minutes;

"The Crow" (2024) is a failed attempt to revive a cult classic. Despite a promising cast, including Bill Skarsgård and FKA Twigs, the film lacks the depth and style that made the original so iconic. The plot, which focuses heavily on the backstory of Eric and Shelly's love, feels generic and lifeless, failing to create any real emotional connection between the characters. The villain is equally forgettable, and the film’s overall aesthetic is disappointingly bland.

Directed by Rupert Sanders, known for his mediocre remakes, the movie lacks the dark, gothic atmosphere and stylish flair that defined the original. Even its action scenes, save for one gory sequence near the end, are unremarkable. Ultimately, this reboot feels unnecessary, offering little more than a pale imitation of what made the 1994 version memorable.

One Star is a weak attempt to reboot an iconic franchise that falls short of expectations.

My rating:

⭐

[flugertv]

How to Create Your Own TV Channel for Free: A Step-by-Step Guide

What if we say creating your TV channel is as easy as creating a YouTube channel? Would you believe this?

For the clueless, let’s understand what it takes and how to start your own TV channel for free. If you’re a business owner, media house, independent broadcaster, or content creator, here’s your step-by-step guide to creating a professional-grade TV network.

[monsterfactoryfanfic]

Simone de Rochefort shared the email she sent to Jim Bankoff, the CEO of Vox Media who sold Polygon, on bluesky. The text of the email is transcribed below:

"Hi Jim,

I'm writing to let you know how incredibly disappointed I am about the decision to sell Polygon to Valnet. Even though I'm one of the fortunate few to still be employed, I'm still furious and heartbroken.

I was in Europe when the sale went public. A few days later, a reader recognized me at a cafe in Paris. He couldn't believe what had happened, and asked me how it was possible, in the United States, that a workforce like ours could just be disposed of. He also added, completely unprompted, that American workers should "choose violence." I just thought I'd mention that! It was cool to be recognized halfway around the world for my work. The readers have always appreciated it, even if you don't. But I'm going to tell you about it anyway.

At Polygon, we wrote stories and made videos that were unique in entertainment media - they were weird and well-researched and funny. We also got awards for our reporting (including myself and my now-laid-off colleague Clayton Ashley - we were nominated for an ASME and we won a New York Videogame Critics Circle award).

We attracted brand sponsorships, some of which my team was in the middle of working on when my colleagues were laid off. My understanding is that Vox will be doing make-good sponsorships for the businesses that had contracted with Polygon. I wonder if they will seek out Vox Media again, once that process is finished.

My colleagues who were laid off spent years building connections and trust with sources in our industry. On the video team, subjects gave us hours of their time and resources for interviews. People trusted us to tell their stories. You can't do good journalism without that trust, and that's been at minimum bruised by this sale and the dismantling of the team.

Our readers and viewers are wonderful. I applied to work at Polygon because I read a comment chain on the site that I expected to be full of sexism and vitriol. Instead I found thoughtful people having a civil and intelligent discussion. What a rarity on the internet!

Did you know that Polygon's YouTube comments have always been overwhelmingly positive? My games journalist colleagues at other sites marveled at the fact that at Polygon, I never got hate mail. Was never harassed. That I could scroll freely through the comments of any video that I or my colleagues made and see people appreciating our work. That is so, so rare.

I worked at Vox Media for 9 years. The week before the sale, as I was preparing to go on vacation, I stayed up till 5 AM so that I could finish my next video. No one asked me to do that! That was frankly stupid, considering how little you and the company valued our work. This doesn't make me look very good or very smart, but I'm including it anyway.

The truth is I like working and the feeling of productivity, and I liked what I was making. I felt like that made it worth it.

It didn't! I suppose what I am saying is that Polygon's employees did everything possible to make the site a success. We built a profitable, respected publication.

You, and Vox Media's leadership, didn't know what to do with it. You failed to make a good thing work for you. That's quite sad, and quite an indictment on Vox Media as a whole.

I used to have a lot of faith in the company's longevity. I don't anymore, because of your poor decision-making, and your failure to listen to the people who were telling you what Polygon needed.

I had always said that Vox Media is an amazing employer. That out of all the media companies, it was the best. I encouraged people who are bright and hard-working and talented to apply for work there. I felt so lucky to have my job. I don't think you know yet how many bridges you've burned with people like me who would've jumped at the chance to work for you, and let themselves be exploited along the way.

A couple years ago, a former employee told me that digital media would never love me back, and that I should leave Vox. They said I wouldn't understand how much the company takes from its employees until I tried working somewhere else.

Well, now I work for Valnet! Thank you for the push out the door!

Meanwhile, if you couldn't make a profitable website like Polygon work, then what hope is there for my colleagues at other Vox outlets?

How many unprofitable ventures will be propped up with profits from the Polygon sale, and for how long? Before you and the folks with a head for business (or so I'm told!) have to hit the ledgers again and find something to sell, or someone to let go. Or will the company just enjoy a tax write-off for 2025 and then … what?

Polygon was special, and it was valuable, and it was profitable, and you sold it, at a time when the economy was at a low point - and when Polygon, against all odds, was still making money.

This does not make sense to me. Please feel free to respond and convince me.

Sincerely, Simone de Rochefort"

[bookistasa]

[mostlysignssomeportents]

“If buying isn’t owning, piracy isn’t stealing”

20 years ago, I got in a (friendly) public spat with Chris Anderson, who was then the editor in chief of Wired. I'd publicly noted my disappointment with glowing Wired reviews of DRM-encumbered digital devices, prompting Anderson to call me unrealistic for expecting the magazine to condemn gadgets for their DRM:

https://longtail.typepad.com/the_long_tail/2004/12/is_drm_evil.html

I replied in public, telling him that he'd misunderstood. This wasn't an issue of ideological purity – it was about good reviewing practice. Wired was telling readers to buy a product because it had features x, y and z, but at any time in the future, without warning, without recourse, the vendor could switch off any of those features:

https://memex.craphound.com/2004/12/29/cory-responds-to-wired-editor-on-drm/

I proposed that all Wired endorsements for DRM-encumbered products should come with this disclaimer:

WARNING: THIS DEVICE’S FEATURES ARE SUBJECT TO REVOCATION WITHOUT NOTICE, ACCORDING TO TERMS SET OUT IN SECRET NEGOTIATIONS. YOUR INVESTMENT IS CONTINGENT ON THE GOODWILL OF THE WORLD’S MOST PARANOID, TECHNOPHOBIC ENTERTAINMENT EXECS. THIS DEVICE AND DEVICES LIKE IT ARE TYPICALLY USED TO CHARGE YOU FOR THINGS YOU USED TO GET FOR FREE — BE SURE TO FACTOR IN THE PRICE OF BUYING ALL YOUR MEDIA OVER AND OVER AGAIN. AT NO TIME IN HISTORY HAS ANY ENTERTAINMENT COMPANY GOTTEN A SWEET DEAL LIKE THIS FROM THE ELECTRONICS PEOPLE, BUT THIS TIME THEY’RE GETTING A TOTAL WALK. HERE, PUT THIS IN YOUR MOUTH, IT’LL MUFFLE YOUR WHIMPERS.

Wired didn't take me up on this suggestion.

But I was right. The ability to change features, prices, and availability of things you've already paid for is a powerful temptation to corporations. Inkjet printers were always a sleazy business, but once these printers got directly connected to the internet, companies like HP started pushing out "security updates" that modified your printer to make it reject the third-party ink you'd paid for:

https://www.eff.org/deeplinks/2020/11/ink-stained-wretches-battle-soul-digital-freedom-taking-place-inside-your-printer

Now, this scam wouldn't work if you could just put things back the way they were before the "update," which is where the DRM comes in. A thicket of IP laws make reverse-engineering DRM-encumbered products into a felony. Combine always-on network access with indiscriminate criminalization of user modification, and the enshittification will follow, as surely as night follows day.

This is the root of all the right to repair shenanigans. Sure, companies withhold access to diagnostic codes and parts, but codes can be extracted and parts can be cloned. The real teeth in blocking repair comes from the law, not the tech. The company that makes McDonald's wildly unreliable McFlurry machines makes a fortune charging franchisees to fix these eternally broken appliances. When a third party threatened this racket by reverse-engineering the DRM that blocked independent repair, they got buried in legal threats:

https://pluralistic.net/2021/04/20/euthanize-rentier-enablers/#cold-war

Everybody loves this racket. In Poland, a team of security researchers at the OhMyHack conference just presented their teardown of the anti-repair features in NEWAG Impuls locomotives. NEWAG boobytrapped their trains to try and detect if they've been independently serviced, and to respond to any unauthorized repairs by bricking themselves:

https://mamot.fr/@q3k@hackerspace.pl/111528162905209453

Poland is part of the EU, meaning that they are required to uphold the provisions of the 2001 EU Copyright Directive, including Article 6, which bans this kind of reverse-engineering. The researchers are planning to present their work again at the Chaos Communications Congress in Hamburg this month – Germany is also a party to the EUCD. The threat to researchers from presenting this work is real – but so is the threat to conferences that host them:

https://www.cnet.com/tech/services-and-software/researchers-face-legal-threats-over-sdmi-hack/

20 years ago, Chris Anderson told me that it was unrealistic to expect tech companies to refuse demands for DRM from the entertainment companies whose media they hoped to play. My argument – then and now – was that any tech company that sells you a gadget that can have its features revoked is defrauding you. You're paying for x, y and z – and if they are contractually required to remove x and y on demand, they are selling you something that you can't rely on, without making that clear to you.

But it's worse than that. When a tech company designs a device for remote, irreversible, nonconsensual downgrades, they invite both external and internal parties to demand those downgrades. Like Pavel Chekov says, a phaser on the bridge in Act I is going to go off by Act III. Selling a product that can be remotely, irreversibly, nonconsensually downgraded inevitably results in the worst person at the product-planning meeting proposing to do so. The fact that there are no penalties for doing so makes it impossible for the better people in that meeting to win the ensuing argument, leading to the moral injury of seeing a product you care about reduced to a pile of shit:

https://pluralistic.net/2023/11/25/moral-injury/#enshittification

But even if everyone at that table is a swell egg who wouldn't dream of enshittifying the product, the existence of a remote, irreversible, nonconsensual downgrade feature makes the product vulnerable to external actors who will demand that it be used. Back in 2022, Adobe informed its customers that it had lost its deal to include Pantone colors in Photoshop, Illustrator and other "software as a service" packages. As a result, users would now have to start paying a monthly fee to see their own, completed images. Fail to pay the fee and all the Pantone-coded pixels in your artwork would just show up as black:

https://pluralistic.net/2022/10/28/fade-to-black/#trust-the-process

Adobe blamed this on Pantone, and there was lots of speculation about what had happened. Had Pantone jacked up its price to Adobe, so Adobe passed the price on to its users in the hopes of embarrassing Pantone? Who knows? Who can know? That's the point: you invested in Photoshop, you spent money and time creating images with it, but you have no way to know whether or how you'll be able to access those images in the future. Those terms can change at any time, and if you don't like it, you can go fuck yourself.

These companies are all run by CEOs who got their MBAs at Darth Vader University, where the first lesson is "I have altered the deal, pray I don't alter it further." Adobe chose to design its software so it would be vulnerable to this kind of demand, and then its customers paid for that choice. Sure, Pantone are dicks, but this is Adobe's fault. They stuck a KICK ME sign to your back, and Pantone obliged.

This keeps happening and it's gonna keep happening. Last week, Playstation owners who'd bought (or "bought") Warner TV shows got messages telling them that Warner had walked away from its deal to sell videos through the Playstation store, and so all the videos they'd paid for were going to be deleted forever. They wouldn't even get refunds (to be clear, refunds would also be bullshit – when I was a bookseller, I didn't get to break into your house and steal the books I'd sold you, not even if I left some cash on your kitchen table).

Sure, Warner is an unbelievably shitty company run by the single most guillotineable executive in all of Southern California, the loathsome David Zaslav, who oversaw the merger of Warner with Discovery. Zaslav is the creep who figured out that he could make more money cancelling completed movies and TV shows and taking a tax writeoff than he stood to make by releasing them:

https://aftermath.site/there-is-no-piracy-without-ownership

Imagine putting years of your life into making a program – showing up on set at 5AM and leaving your kids to get their own breakfast, performing stunts that could maim or kill you, working 16-hour days during the acute phase of the covid pandemic and driving home in the night, only to have this absolute turd of a man delete the program before anyone could see it, forever, to get a minor tax advantage. Talk about moral injury!

But without Sony's complicity in designing a remote, irreversible, nonconsensual downgrade feature into the Playstation, Zaslav's war on art and creative workers would be limited to material that hadn't been released yet. Thanks to Sony's awful choices, David Zaslav can break into your house, steal your movies – and he doesn't even have to leave a twenty on your kitchen table.

The point here – the point I made 20 years ago to Chris Anderson – is that this is the foreseeable, inevitable result of designing devices for remote, irreversible, nonconsensual downgrades. Anyone who was paying attention should have figured that out in the GW Bush administration. Anyone who does this today? Absolute flaming garbage.

Sure, Zaslav deserves to be staked out over an anthill and slathered in high-fructose corn syrup. But save the next anthill for the Sony exec who shipped a product that would let Zaslav come into your home and rob you. That piece of shit knew what they were doing and they did it anyway. Fuck them. Sideways. With a brick.

Meanwhile, the studios keep making the case for stealing movies rather than paying for them. As Tyler James Hill wrote: "If buying isn't owning, piracy isn't stealing":

https://bsky.app/profile/tylerjameshill.bsky.social/post/3kflw2lvam42n

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/12/08/playstationed/#tyler-james-hill

Image: Alan Levine (modified) https://pxhere.com/en/photo/218986

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[t-jfh]

Dual strikes by writers and actors brought Hollywood to a standstill this year.

(Photo: Mark Abramson for The New York Times)

Striking Actors and Hollywood Studios Agree to a Deal

The agreement all but ends one of the longest labor crises in the history of the entertainment industry. Union members still have to approve the deal.

By Brooks Barnes, John Koblin and Nicole Sperling

The New York Times - November 8, 2023

https://www.nytimes.com/2023/11/08/business/media/actors-strike-deal.html?smid=nytcore-ios-share&referringSource=articleShare

•

[vgenmedia255]

Virtual reality has transformed the way we experience entertainment, allowing us to step into virtual worlds and interact with them. In the realm of animation, VR has provided animators and storytellers with a unique set of tools to craft immersive narratives that captivate audiences like never before.

Animation has a rich history that dates back to the early 1900s with traditional hand-drawn animation. It has since evolved through various techniques such as stop motion, cel animation, computer-generated imagery (CGI) and more. Each advancement in technology and technique has contributed to the growth and transformation of animation as an art form and entertainment medium.

Understanding the evolution of animation is crucial because it provides a foundation for appreciating the role of virtual reality in shaping its trajectory.

By examining the progression of animation techniques, animators and storytellers can identify the challenges, innovations, and trends that have influenced the industr

The integration of virtual reality into animation represents a significant milestone in this ongoing evolution. Virtual reality enables animators to create immersive and interactive experiences, breaking the barriers of traditional two-dimensional screens. It introduces a new dimension of storytelling, where viewers can step into animated worlds and actively engage with the narrative.

Additionally, studying the evolution of animation helps us appreciate the impact of technological advancements on the industry. Virtual reality is a prime example of how technology continually pushes the boundaries of what is possible in animation. By recognizing the rapid pace of technological change, animators can stay at the forefront of innovation and adapt their skills and techniques accordingly.

Let’s explore the ways in which virtual reality is reshaping the animation landscape.

Read More : https://shorturl.at/yBIPU

[samreich]

Dropout is back in production. 🫡

As I mentioned, Dropout is not associated with the AMPTP, who negotiates on behalf of the majority of studios and streamers. But truthfully, there's no such thing as a "struck company." There are instead "struck contracts" -- and not-struck contracts.

We assumed Dropout's contract - the New Media Agreement for Non-Dramatic Programming - was stuck because it wasn't specifically on a list of non-struck contracts. After speaking at length with our lawyers and with SAG, turns out that is not the case.

So, Dropout can return to business as usual. And because none of our shows were ever struck, talent can go back to promoting their Dropout appearances. 🎉

SAG's decisions are in part strategic. Small streamers like us continuing to work while the major streamers cannot gives us a competitive advantage and puts more pressure on them to make a deal. 😎

But make no mistake about it: We continue to support our striking performers and their cause.

- Between Dropout and me personally, we have donated $20,000 to the Entertainment Community Fund.

- If anyone doesn't feel comfortable working with us or promoting their work during the strike for whatever reason, we respect their decision.

- While we already pay above minimums, we will continue to go above and beyond to reward and protect our performers *and* crew members, and plan to put even more of our money where our mouth is before the end of the year.

Dropout fans, thank you for your support and solidarity during this uncertain time. Keep supporting the Entertainment Community Fund, as well as the pet projects of your favorite creators.

And with that, it's back to work. ⛏️

[myth1cs]

Our Love is Pure (Yu Ji-min (Karina) x M!Reader)

Hey its been a while huh? Anyways here's Karina smut

Word Count: 2,473

"So, the final question for you two. Both of you are lovers in "Crime Scene Season 2" but the fans are dying to know what you guys are to each other off screen. Are you guys friends, just coworkers, or dating?"

"We are ... very close." Karina responded. She made it a point to respond that way. After all both of you were told to act romantically in front of the media by your boss. Many people liked to speculate whether you and Karina were dating off screen and rather than deny it you guys were told to just "entertain" the idea without actually confirming anything.

"Alright well that concludes the interview. Thank you both for taking time out of your day to come out. And remember to catch the season finale of "Crime Scene Season 2" at 3pm Thursday."

"And cut!"

"Phew well I think that went well. Again I want to thank you both for agreeing to come to this interview. Make sure to travel safely okay?"

"We will."

After the interview ended you and Karina made your way out of the building to a company car. Once you both got in the driver started to drive.

"I think that went well Y/N."

"I'm exhausted Karina I don't think I can do a fan meeting after this. And this makeup is irritating my skin."

Being an actor wasn't easy for you. This was your first big production where you got to be one of the main leads and of course the show became a hit. You thought it was cool at first, many people would get excited seeing you, people took photos with you, and there were many positive comments on social media about you. It was all something that you loved at first.

However it didn't take long for you to get annoyed by all the attention you were getting. You couldn't go out shopping anymore without going out in disguise and as the show became ever more popular the more obligations you had to do as promotion for the show. Karina wasn't new to acting and she often tried to take care of you.

Karina pulled out a makeup remover wipe out of her purse and started to lightly remove some of your makeup on your face.

"If anyone asks I didn't remove part of your makeup."

"Thank you Karina. And don't worry my lips are sealed."

As Karina started to remove some of the makeup off your face you felt butterflies on your stomach. You knew that you shouldn't, you were an actor and being in a relationship was prohibited. But you couldn't help yourself. Remembering those times when you and Karina shared a kiss on camera for the first time made your cock throb a bit. She was really everything you could ever want in a woman. From her personality to her figure everything was just perfect.

The more days of filming that went by it got harder to keep up this "Pure" feeling of love with her.

"Guys we're here."

Both of you arrived at the fan meeting event. Security led you both to a back entrance and you started to change clothes before going out to the fan meeting event.

You got to meet many people from many ages. While you were tired you tried to keep up a happy mood for your fans.

Everything was going fine until a fan asked a certain question.

"Y/N are you dating anyone?"

Before you could respond with something cliche like "My fans are my boyfriend/girlfriend." Karina got up from her seat, made her way to you, and wrapped her arms around you.

"Well I don't think Y/N is currently looking for love. If he was then I think I would know right Y/N?"

She squeezed you tighter and rested her chin on your neck. Of course this got people riled up.

-

After the event was over both you and Karina were taken to an apartment. Since you both had to attend a variety show the next day the company decided it would be best to keep you two together instead of separating you two and needing two different drivers to take you both to the same location.

Both of you started to clean up and get ready to go to bed. You and Karina took off the makeup the stylists had put on and then took turns using the shower.

Now both of you were relaxing in the living room on your phones with the T.V playing some cooking show for background noise.

A few gossip articles were written about this situation already and it hasn't even been 24 hours.

"Y/N you have to hear about this title it's called "Y/N and Karina are dating?! New breaking information!" It's stupid right? I act a little clingy and people act like I proposed to you."

You let out a fake laugh "Yeah ... it's crazy."

Karina put her phone down and made her way over to your side. She put her hand on your shoulder.

"Y/N what's wrong, is the stress getting to you?"

You leaned your head onto Karina's shoulder. She grabbed your waist and pulled you closer to her.

"I just don't know how to feel about something."

"They say that repressing is a bad thing. You should come out and say it. I promise I won't judge you Y/N."

You lifted your head up and looked into the eyes of Karina. You wanted to tell her - your love - but you feared that if you told her and she rejected you then it would make things awkward further on. Besides what if Karina reported you for trying to get in a relationship with her when you were both strictly told that it was off limits.

"I'll tell you one day."

"That's no fun Y/N. Stop trying to deal with everything yourself. We've been actors hanging out with each other for so long now. Are you telling me you don't trust me after everything that we've been through?"

"Jimin-"

"Fine be that way Y/N. If you want something don't come ask me." Karina left the living room and started heading for her room.

"Fuck."

You weren't used to being on bad terms with Karina. In fact you've both have never been on bad terms until now. As much as you wanted to be honest with her, telling her your feeling wasn't an option was it?

Unsure of what to do you went to your own room and laid down on your bed. Twisting and turning thinking about what you should be doing. You pulled out your phone and went through your contacts.

"Mom? no, Mina? She's probably still at work at this hour, Jihyo? she's probably hanging out with her boyfriend, Sana?"

You settled with calling Sana. You knew she was probably sleeping at this hour but you didn't have any other choice. You were desperate for advice.

"H- Hello?"

"Y/N do you have any idea what hour this is?"

"Sana this is personal."

"Just talk to Karina about it."

"It's actually about her."

Sana sighed and you heard her sitting up on her bed.

"What's happened?"

"I've kinda developed feelings for Karina. But I'm worried that she'll report me for it since we're not supposed to be in relationships. Even if she just rejects me then it'll be awkward between us from now on."

"Is that all Y/N?"

"Yeah."

"Okay well she probably feels betrayed that you won't trust her, so you want to know what I'd advise you? You should get your ass up and go tell her your feelings."

"But-"

"I don't know Karina like you do but I know she won't report you for something like this. If she rejects you just go back to being friends. It'll only be awkward if you make it awkward."

Before you had the chance to respond Sana hung up the phone. You tried calling her back but it just went to voicemail.

As much as you didn't want to admit it Sana was right.

You got up and went to Karina's room. You stood outside of her door and put your hand on the handle. After taking a few deep breaths you mustered up the courage to open the door.

To your surprise you didn't see Karina at first. But then you noticed her standing outside on the balcony overlooking the view of the city.

You made your way to the balcony and saw her wearing a pink top with a pink jacket. You noticed she was also drinking some alcohol.

"Jimin what are you doing?"

"Just thinking Y/N."

"Look about earlier-"

"If you don't want to tell me that's fine. I'm over it, I shouldn't overstep your boundaries." Karina said as she took a sip of her alcohol.

"No it's not fine. I owe it to you, besides it related to you."

"It relates to me?"

"Jimin... I- I love you."

Karina's eyes widened. She walked over to you, standing in front of you. Her chest was almost pressed up against yours and you did your best not to look down at them.

"You know I could get you fired over this right? You know you're still a rookie and we're not supposed to be dating right?"

"I- I know."

Karina looked over your body before reaching your face and smiling. She put her hand on your shoulders again.

"For an actor you suck ass at acting you know."

"Wh- what?"

"I can tell you want to look at my breasts. Your not good at hiding it."

"Uhm~"

"Go ahead Y/N touch them."

You weren't sure if it was the alcohol in her system or if she was just naturally this straight forward. Probably a mix of both, but you weren't complaining.

"Shouldn't we go inside?"

"We're at the highest floor Y/N. Nobody can see us up here."

You looked around the surrounding area and realized that the closest building that was actually at a similar height was far away. If you did it up here nobody would know.

Karina dropped her jacket leaving her in her top. She let out a breath and you could smell alcohol from it.

"Did you think I was that butt hurt about you not telling me your "secret"?"

"W- wait did you-"

"Yup."

Karina wrapped her arms around you and pulled you in close to her. Your lips got pressed up against hers. Karina's tongue went into your mouth and her tongue started to rub against yours.

You attempted to take off Karina's top off but before you could do so she pulled away from you.

"Wait Y/N... before I forget to tell you I actually got a message from our director-"

"Jimin, I don't fucking care."

You pulled Karina back on to you and started to kiss her neck. Karina moaned as you started to leave love marks on her. She put her hands under your shirt and started to draw small circles on your stomach.

Her soft chest was pressed against you and it was making you hard. Karina reached her hands down at your erection and started to rub your cock.

"You get so damn pent up over my breasts huh?"

Unable to resist any longer you pushed your face onto Karina's clothed breasts. It made your erection harder and it made Karina smile.

You started to take her top off and got a view of Karina's bare chest. Her pink nipples got hard as they were exposed to the cold air breeze.

"Want something to warm you up Karina?"

She nodded at your comment.

Attaching your mouth to Karina's nipples you alternated from her left to right as you licked and sucked them.

While this was happening Karina was starting to take your pants off. Your hard cock sprung out of its confinement. It was bigger than Karina had imagined it being.

She rubbed your tip which made you start leaking pre-cum. Not letting it go to waste Karina used your pre-cum as a lubricant and got it all over her hand to start to pump your cock.

You started groaning as Karina's hand felt perfect wrapped around your cock. You couldn't help yourself but shove your face deeper on Karina's breasts. As much as you loved her breasts you still had so much more to play with, you reached out for Karina's ass and gave it a firm squeeze making her yelp.

"Agh~"

Karina started to fondle with your balls and your grip on her tightened. Your hands wandered to the waistband of Karina's pants and you started to remove them. Her pants fell to the floor leaving her completely naked outside.

You started to rub her pussy lips and her clit. Both of you trying to make the other cum first.

Since Karina has already been pumping your cock for a while you were the one to ejaculate first. Some of your cum got on Karina's stomach and some dripped onto the floor. You felt bad for the janitor who would have to clean it up later but that wasn't your concern for the moment.

Karina didn't let you cumming stop her. She continued to pump your cock making it hard again. You pushed her hands away and got down to your knees to start licking her pussy. Your tongue being covered in her sweet juices, Karina moaned as your tongue was shoved deeper in her. She was tighter than you thought she'd be but you continued to shove your tongue deeper.

"Y/N I'm going to cum!"

Quickly pulling your tongue out you made her bend over on the railing to the balcony. You shoved your hard cock into Karina's warm pussy. Now you were frantically thrusting in and out so you could cum alongside her.

You reached your hands for Karina's breasts and started to squeeze them. Karina's eyes rolled back loving the feeling you were giving her.

"Imagine if everyone down there could see us. What would they say?"

Karina's pussy tightened as she thought about your words. She felt a rush at the thought that others could see her being fucked and they could do nothing but watch.

"I'd love that."

"Maybe we should ask for us to have a sex scene during our show."

Both of you came not long after. Semen spilled onto the floor but a bit of it was on your cock.

"Let me clean that up for you Y/N."

Karina got onto her knees and started to suck you clean. You almost ejaculated again but you were able to hold yourself back.

After picking up your clothes both of you headed for the shower to get yourselves cleaned up for the variety show the next day.

------------------------------------------------------------------------------

I've been busy writing smut for another fandom. But I'm finally back.

Starring: You Karina (Aespa)

[thealexchen]

Why Dontnod's games feel original and inspired (and why Deck Nine's games don't)

So, I've talked at length about how Double Exposure feels much more like a corporate product than a playable piece of art entertainment [My initial thoughts on the DE trailer] [My thoughts on the early access paywall] [My thoughts on the weird marketing].

But now with the release of Lost Records, I feel like I have no choice but to confront the question: were any of Deck Nine's games truly original or inspired in any way? And honestly, I have to say no.

Objectively, I could say it's because Deck Nine literally has not produced any original IP's since their rebrand from Idol Minds in 2017. Their only narrative adventure games are all part of the LiS franchise. But even their most original game, True Colors, pretty obviously follows the first game's narrative formula (young woman with a superpower investigates a sudden disappearance/death in a small town with a dark secret, has two opposite sex love interests, learns about a twist villain, is nearly murdered, and goes through a psychological nightmare in the last episode) to a tee. But oh look, there's also a LARP!

But I believe there's more to it than that, because when I look at Dontnod's games, they are always inspired by other works. Life is Strange 1 plays very clear homage to Twin Peaks with the Pacific Northwest setting and Rachel Amber resembling Laura Palmer. Max Caulfield is named after the protagonist of The Catcher in the Rye, another novel about the fleeting innocence of childhood and superficiality of society. Life is Strange borrows tropes from Donnie Darko, Groundhog Day, The Girl With the Dragon Tattoo, Stand By Me, and even Blue is The Warmest Color for its themes and plot points. Just take a look at its "Shout-out" page on TV Tropes. And the result is... something completely original, with riveting plot twists, memorable characters, and an ending that will make you cry.

This shouldn't make sense, right? You'd think this big soup of references would turn into an indistinguishable mess of cliches, but Life is Strange managed to be a synthesis of everything the writers loved and were inspired by, to become something completely new. Why? Because nobody had tried to take Twin Peaks, Donnie Darko, and The Catcher in the Rye and turn it into a video game before! And make it gay!

The point being, Dontnod consistently makes original material because they take creative risks. This is definitely not done lightly, since they still need to be a company that generates profit, but they still prioritize making art over selling out. Their stories feel inspired because they are inspired; when writers love what they're writing about, the result is a passion project that has loving, clever nods to all the works that are woven into it.

So perhaps a way to reword that first question is to then ask, "Have Deck Nine's games ever been inspired by anything?" And unfortunately, the answer is still no. Instead, they just copy what they hope will sell well. And a bland imitation for the sake of generating profit is never going to produce anything that feels original.

This takes me back to Lost Records, which is also clearly inspired by the same works: Twin Peaks, It: Chapter One, The Craft, The Blair Witch Project, The Goonies, Stand By Me. But again, no other game studio besides Dontnod has ever looked at these works and thought, "But what if it starred teenage lesbians instead?" Or, more specifically: "How do we capture the spirit of what made these media great and incorporate that into a new story for a new audience?" And those characters have so much thought and care poured into them too: while I've been disappointed that Double Exposure Max looks airbrushed to hell and back, I love that the Bloom & Rage girls have asymmetrical faces, acne, freckles, body hair, skin discoloration, and diverse body types. Double Exposure is marketed as nostalgia bait for fans, where Max is reduced to a prettied-up, polished-up, representation of nostalgia, not even her own character anymore, in a game that otherwise has no connection to the original. Her quips are reduced to "Hey! Remember our good ol', dad-joke cracking, dorky Max Caulfield??" and her grief is shoved aside for "Hey, look at that appealing new love interest! Because we knoooow y'all love your sapphic romance, right?"

By contrast, Lost Records has only been out for 10 days, but I already feel like the girls are some of the most memorable characters I've come across in gaming for the niche they fill. Swann seems like your typical Max-like dork, except she's also a movie buff and giddy about bugs, horror, and the paranormal; and has clearly been affected by her mother's fatphobic beliefs. Autumn is a level-headed leader who always stuck to her desire to help others, and her Blackness naturally informs her desire to feel valued and not cause trouble in a small, very white, conservative town. Nora intrigues me so much for going from a fun-loving rebel punk teen to a more gender-conforming, capitalist-leaning, influencer businesswoman. And Kat feels like an evolution of Chloe's cynicism, where her scrappy charm belies an almost unsettling obsession with the occult and a deep, tragic chasm of rage at having to confront her mortality far too young. They make sense. They feel carefully written, genuine, and like real people.

But most of all, Dontnod's games have never felt like products. In fact, most of their characters have historically gone against the grain of what traditionally "marketable" characters are. The first LiS took all these aforementioned stories about straight white men and chose to remix and retell it through the eyes of a young, queer, time-traveling girl instead. Tell Me Why is the first AAA game with a trans protagonist, and Tyler is voiced by a trans actor in all the language dubs. Lost Records decided that it would tell its story through four queer teenage girls, with women writers onboard, and fucking own it. As long as Dontnod keeps making games that stick to their creative integrity, I'll keep respecting their vision in whatever they decide to create next. Also, maybe I should finally watch Twin Peaks.

Thank you for reading!

[lampochkaart]

*kicks the door open* Hey, I'm back with yet another AU based on an obscure piece of media which requires a long intro post explaining the setting and the plot. So get ready for a very long explanation :D

It's based on a book series by Olga Gromyko about space travels, different planets and species. The main concept is that this is a mostly comedy sci-fi story set in the future, the space travel is developed very well, the technology is advanced. And a big part of plot involves cyborgs

And that's why I call it Cyborg AU

Don't be fooled by that cover, this AU is 90% comedy

Also shoutout to @backpackevil for help figuring some things out, giving ideas, designing Kaito's clothes and of course for listening to my long ramblings about this AU<333

Go check out their blog, they're awesome!!

Now, About this AU

First of all, about the cyborgs

The cyborgs have pretty much human body (unlike androids who in this universe are just robots) but they do have some minor mechanical additions to them (the processor plus some implants that improve capabilities). They're physically stronger than most humans. There are different models and some of them are closer to human level of strength and some are pretty much unbeatable and unsurvivable.

About those models

Cyborgs are created by the DEX company and that company produces several models

DEX: killing machines, perfect soldiers. The first model they created and their main product

Mary: for service. Mainly used as maids/butlers or caregivers. More on the weaker side but still can probably kick ass of someone who attacks their owner

Iren: for "entertainment". Basically living sex dolls. Have the most variety in appearance and look the most appealing

And Bond. They're the newest model. They're great spies for undercover missions. Usually can't be owned by random people, only either by someone very important or with powerful connections. They have the most advanced human imitation program and processor that's hidden from most scanners. Basically detecting Bond is possible pretty much only by a more advanced Bond model. They also have the shortest lifespan since they mostly work on one mission (however, the mission can technically last fairly long if it's complicated) and then are disposed of since they're often like spies to the government, so they really can't risk being recognized.

Mostly cyborgs don't behave like humans at all save for the programs imitating personality but that's just program, not a real "intelligence".

But in some models, specifically DEX 6 and Bond 3(?), who had the newest kind of processor, the connection between processor and brain is not that strong, which can allow brain to develop separately, leading to some cyborgs gaining conscience.

It's difficult for the "defected" cyborgs to survive since they have to mask their intelligence very hard, or else they'll be disposed of. Most known defected cyborgs go berserk and attack their owners (the reason they go berserk obviously are not discussed since cyborgs are treated like machines) and then are obviously disposed of by the DEX company.

Also cyborgs are (almost) unable disobeying orders of their owner (plus the police and the DEX company).

Now to the actual AU

This AU's plot is heavily based on one of the books (named "Cyborg and his forester")

So. Kokichi is a cyborg in this AU. Bond to be precise

I have a vague idea about the beginning of the story, but whatever

The way Kaito and Kokichi met is pretty complicated. Kaito found him injured near the spaceport. By pretty much accident he figured out Kokichi is a cyborg. And then the situation gets complicated. On one hand Ouma was seriously injured so Momota couldn't just leave him where he found him. But on the other, Kaito just pretty much stole a cyborg (when Kokichi unfortunately passed out).

When Kaito asked his tech savvy friend (Miu) for help she naturally freaked out. Because not only he basically stole an expensive device, he also stole a fucking Bond, which regular people definitely aren't allowed to own.

Miu reluctantly helped Kaito analyze Kokichi's memory and found out that he didn't have any data about his owner and what he was doing. The "owner" column said "information not found" and the memory bank was empty.

A little side note, but the thing about it is that the digital memory being empty doesn't mean that a cyborg doesn't remember, because having a fleshy body gives you a great gift of natural memory. Normally that wouldn't matter since the brain for a cyborg is just like an adapter for the processor. It's not supposed to function differently from the processor. But the "defected" cyborgs' brains develop separately from the processor so that means they can remember things organically even if they're erased from their digital memory. Basically, what I'm saying is Kokichi does remember his owner, his job, the information he had before, however he absolutely would not talk about it, always hiding behind a standard system message "data not found".

Anyway, Kaito figured that the owner is probably wasn't coming back for him. Also Kokichi still was in a bad condition, literally pretty much unconscious. Momota couldn't just leave him like this but it's also not a good idea just having an unknown cyborg around. So he got a bright idea and asked Miu to hack him. Naturally she freaked out even more. But with some convincing (and probably bribing) she reluctantly caved (but made him swear that if/when the police or hitmen would come for him he would he would not even mention her).

And that's how Kaito ended up with a cyborg. Now he had to figure out what to do with him.

Obviously Kokichi wasn't happy about the fact that some random dude kidnapped him while he was unconscious, took to his apartment, then someone messed in his program rummaged through his memory (even though it was empty), and assigned the said guy to be his owner.

Not a great start to a relationship.

And the thing about the cyborgs is that they have to do anything their owner says since he just can't NOT do it. The program doesn't allow them to disobey direct orders (even if they're said offhandedly without realizing, which as you can imagine happens a lot with Kaito). Well, technically it's possible to disobey orders but it causes real physical pain since the muscles are literally being pulled to obey it by the processor and you're trying to pull them to other side. So Kokichi chooses the next best thing, which is what? Loopholes. Completing the task in a way that is technically correct, but is obviously not what is wanted from him.

He started with small things but progressively was going further and further with it. He was testing waters to see how far Kaito would let him go before suspecting that something is wrong.

And turned out VERY far. It started with "minor inconveniences but technically correct execution" and gradually grew to "what's the worst/most creative way to fail a task"

And Kokichi's absolutely baffled by how much shit Kaito lets him get away with. But the thing is. Kaito wasn't exactly that familiar with what's normal for cyborgs, since he didn't interact with them often aside from seeing some as bodyguards or service workers, and from the movies. But they usually don't have a personality imitation program (or have a pretty basic one) since that's totally unnecessary for their jobs and just a waste of storage and energy. And Kokichi has personality imitation program preinstalled and Kaito decided not to delete or turn it off because then Kokichi becomes very creepy. Also Kaito usually chalked it up to assuming that there's something wrong with Kokichi's processor and maybe he glitches bc of that (when Kokichi found out about that he was very offended).

Even when Kokichi stopped pretending that he's a normal cyborg and actively got on his nerves, Kaito shrugged it off. Even when Kokichi started to openly complain and even insult him despite the fact that he told Kaito that he has a "companion program" that is meant to fit his behavior to what his owner would like more.

Eventually Kaito would realize that something is terribly wrong or maybe Kokichi himself would get sick of it and openly would tell him. But boy oh boy how long did it take Kaito

Big part of the reason why Kokichi felt safe enough to tell him at all is that, well. Kaito can't go to the DEX company to tell that his cyborg is defected because it is a stolen cyborg of a model he shouldn't have to be able to own at all. So Kokichi figured Kaito had nowhere to run. And also since cyborgs can see all person's physical parameters so they also know when someone is lying. So Kokichi straight up always knows when Kaito is lying. And so when Kaito's saying that he'll throw him on the streets or will take to the DEX company if he won't start behaving normally and Kokichi sees "sincerity: 10%" he's like "uh-huh. sure."

This AU is 90% is Kokichi ruining Kaito's life with minor but petty inconveniences.

If you've read this all then wow! Thanks! I hope you enjoyed it<3

That's all I'll tell about this AU for now, but I will write another post soon, talking about other characters in this AU. Also I already have some silly comics that I'm gonna post soon so stay tuned! And, as always, if you have any questions or just want to know more about this AU feel free to send asks<3

No text

[niceonet]

TRAİLERDB - DEVASA+ (3)

As we eagerly anticipate upcoming releases, the right trailer can set the tone and build our enthusiasm for what’s to come. In this blog post, we will explore the freshest trailers, giving you a sneak peek into the films and TV series that are about to hit screens near you. From highly anticipated films to captivating TV series trailers, we’ve got you covered with all the essentials. 

Latest Trailers

When it comes to keeping up with the ever-evolving world of entertainment, latest trailers play a significant role in generating buzz and excitement among fans. Every week, we are treated to a flurry of new previews that showcase the hottest upcoming films and series. Here’s a look at some of the most anticipated releases that you should keep an eye on.

One of the most talked-about latest trailers features the action-packed return of a beloved franchise. With stunning visuals and gripping storytelling, this trailer leaves us eager for the release date. The combination of stellar performances and a captivating soundtrack promises an exhilarating cinematic experience.

In the realm of animation, the latest offerings are equally impressive. The trailers highlight vibrant animation styles and heartwarming narratives that are sure to attract audiences of all ages. From family-friendly adventures to more mature themes, the latest trailers in animation showcase the diversity and creativity in storytelling.

Furthermore, the world of streaming platforms is overflowing with exciting latest trailers. With platforms like Netflix, Hulu, and Amazon Prime constantly releasing fresh content, viewers are treated to an array of genres, from gripping thrillers to heartfelt dramas. These trailers give a sneak peek into the rich storytelling and character development that we can look forward to.

Don’t forget that latest trailers also provide insights into upcoming TV series. Whether it’s a highly-anticipated season continuation or a brand-new concept, these previews are designed to engage fans and keep them coming back for more. Expect to see dramatic cliffhangers and intriguing character arcs that will undoubtedly spark discussions among viewers.

In conclusion, latest trailers serve as a window into the captivating stories that lie ahead. They not only excite fans but also shape our expectations of what’s to come in theaters and on screen. Stay tuned for more updates, as there are always more incredible trailers on the horizon!

Tv Series Trailer

In the world of entertainment, the TV series trailer serves as a pivotal tool for enticing audiences and generating excitement. With the rise of streaming platforms, the competition for viewers' attention has intensified, making trailers more crucial than ever.

One of the primary functions of a TV series trailer is to provide a glimpse into the show's storyline, characters, and overall tone. A well-crafted trailer can evoke emotions, build suspense, and leave viewers eager for more. For instance, trailers for popular series often highlight key moments, thrilling action sequences, and dramatic cliffhangers that captivate audiences.

Moreover, the editing style of a TV series trailer significantly influences its impact. Fast cuts, captivating visuals, and a powerful soundtrack can enhance the excitement and engagement level. As a result, viewers are more likely to share these trailers on social media, amplifying their reach and generating buzz.

In recent years, we've seen a shift in how trailers are released. Many production companies now opt for teaser trailers, followed by full-length versions. This strategy keeps fans engaged over a longer period, as each release builds anticipation for the show's premiere.

As viewers have become more discerning, trailers have evolved to include more diverse storytelling elements. Today’s trailers often reflect the complexity of characters and intertwine various plotlines. This trend allows audiences to connect more deeply with the series before they even watch an episode.

An important aspect to consider is the impact of TV series trailers on the show's marketing strategy. They often serve as a crucial element in the overall promotional mix, alongside posters, interviews, and social media campaigns. A strong trailer can significantly boost a series' visibility and attract a broader audience.

In conclusion, TV series trailers are not just promotional tools; they are artistic creations that encapsulate the essence of a show. As the landscape of television continues to evolve, the role of trailers in shaping viewers' perceptions will undoubtedly remain significant.

Trailer DB

Welcome to the your ultimate source for all things related to movie and TV trailers. In today’s digital age, where visual content reigns supreme, trailers play a crucial role in building excitement and anticipation for upcoming entertainment releases. This is where the Trailer DB comes into play, providing you with a comprehensive database of the latest trailers.

The Trailer DB is designed to cater to the needs of film enthusiasts and TV series fans alike. Here, you can discover latest trailers from various genres, ranging from action-packed blockbusters to heartwarming dramas. Whether you’re on the hunt for the upcoming superhero films or the hottest new TV series, the Trailer DB ensures you stay updated on the most recent releases.

One of the standout features of the Trailer DB is its user-friendly interface, which allows easy navigation to find trailers by categories, release dates, or popularity. With an extensive collection of trailers, you can quickly access both local and international titles, ensuring you never miss out on any cinematic gems or trending shows.

Moreover, the Trailer DB is continuously updated with the latest content, offering sneak peeks of highly anticipated films and series. From thrilling horror releases to delightful romantic comedies, there’s something for everyone. Each trailer is accompanied by essential information including release dates, cast details, and directorial credits, allowing viewers to dive deeper into the projects that catch their eye.

Join the community of film buffs and series aficionados today by exploring the Trailer DB. Embrace the excitement of new releases and share your thoughts on the latest trailers with fellow enthusiasts. With our extensive database at your fingertips, you’ll always be in the know about the best upcoming entertainment!

[bookistasa]

[mostlysignssomeportents]

Thinking the unthinkable

On SEPTEMBER 24th, I'll be speaking IN PERSON at the BOSTON PUBLIC LIBRARY!

Time and again, I find myself thinking about radium suppositories: specifically, I get to thinking about the day that the consensus shifted from "radium suppositories are great" to "stop putting radioisotopes up your ass."

The thing is, people really liked radium-based quack remedies. They drank radium-infused water, smeared radium cream on their faces and bodies, and yes, rammed radium suppositories up their assholes:

https://maximumfun.org/episodes/sawbones/radium-girls/

The fact that this made whatever ailed you sicker didn't deter the radium true believers: if you're getting sicker, then you must need more radium.

When I think about the debate over radium, I imagine that the people who understood that radium was really bad for you must have run up against critics who told them they were being unreasonable. "You can't tell people to stop using radium. Tell them to use suppositories with less radium. Tell them to use them less frequently. But you can't just tell people, 'stop putting radium up your asshole.' They won't take you seriously."

About 20 years ago, I started pitching various institutions that reviewed consumer tech policy on the idea that they should reject any product that had DRM. After all, DRM didn't just restrict how you used a gadget today, it provided a facility for nonconsensually, irreversibly field-updating that gadget to add new restrictions tomorrow. How could a reviewer in good conscience say, "Go ahead and buy this device if you need this feature," if they knew that at any time in the future, the gadget's maker could take that feature away and leave the buyer with no recourse?

Here's the warning I (half-seriously) suggested magazines run alongside such products:

WARNING: THIS DEVICE’S FEATURES ARE SUBJECT TO REVOCATION WITHOUT NOTICE, ACCORDING TO TERMS SET OUT IN SECRET NEGOTIATIONS. YOUR INVESTMENT IS CONTINGENT ON THE GOODWILL OF THE WORLD’S MOST PARANOID, TECHNOPHOBIC ENTERTAINMENT EXECS. THIS DEVICE AND DEVICES LIKE IT ARE TYPICALLY USED TO CHARGE YOU FOR THINGS YOU USED TO GET FOR FREE — BE SURE TO FACTOR IN THE PRICE OF BUYING ALL YOUR MEDIA OVER AND OVER AGAIN. AT NO TIME IN HISTORY HAS ANY ENTERTAINMENT COMPANY GOTTEN A SWEET DEAL LIKE THIS FROM THE ELECTRONICS PEOPLE, BUT THIS TIME THEY’RE GETTING A TOTAL WALK. HERE, PUT THIS IN YOUR MOUTH, IT’LL MUFFLE YOUR WHIMPERS.

https://pluralistic.net/2023/12/08/playstationed/#tyler-james-hill

No one took me up on my offer. Over and over again, magazine editors, managers of nonprofit review outlets, and indie gadget reviewers told me that it was unrealistic to publish a roundup of, say, this year's portable music players with the recommendation, "Just don't buy any of these. None of them are fit for purpose."

In other words: No one wanted to publish, "The correct amount of radium to stuff up your asshole is zero."

But the correct amount of rectal radium for you to administer is "none" and the correct car for you to buy today is none of the cars:

https://foundation.mozilla.org/en/privacynotincluded/articles/its-official-cars-are-the-worst-product-category-we-have-ever-reviewed-for-privacy/

This isn't the first time the correct automotive recommendation was "don't buy any of these cars." Back before seatbelts came standard in cars, the correct car was "don't buy a car." Sometimes, the correct answer is "none of the above." Even if that makes you sound unserious, the alternative is that you counsel people to put radium up their asses in a bid to seem "reasonable."

Today, DRM-infected products are routinely downgraded and bricked:

https://www.theverge.com/2024/9/5/24236237/ftc-software-tethering-letter-consumer-reports-ifixit

Even when companies face public uproar over these disastrous decisions and vow to reverse them, they can't, because these downgrades are one way:

https://www.stereocheck.com/news/music/unfortunately-you-cant-revert-to-the-old-sonos-app-anymore/

That's bad enough when it's your smart speakers, but what about when the company bricks your wheelchair:

https://www.eff.org/deeplinks/2022/06/when-drm-comes-your-wheelchair

Or your $100,000 exoskeleton:

https://paulickreport.com/news/people/paralyzed-jockey-michael-straight-wants-to-keep-walking-but-manufacturer-wont-repair-exoskeleton

The reality is that we're living at the end of a catastrophic experiment in deregulation and its handmaidens, corruption and regulatory capture, and there are lots of "normal" things that we just need to stop doing. Not do less of them – just stop.

Like, the correct amount of collusion between realtors representing sellers and realtors representing buyers is zero:

https://www.latimes.com/business/real-estate/story/2024-03-19/realtor-rules-just-changed-dramatically-heres-what-buyers-and-sellers-can-expect

We got that one right, but there's plenty more that we're still engaged in this pathetic, denialist bargaining over. What's the correct degree to which White House officials should cycle back into working at the industries they oversaw? Zero. How many times should such a person come back to work at the White House? Again: zero:

https://prospect.org/power/2024-09-19-next-administration-can-stop-ethics-scandals/

When the Biden admin dropped its executive order on ethics just hours after the inauguration, they trumpeted that it "went further than any other towards slowing the revolving door and limiting conflicts of interest while in office":

https://www.whitehouse.gov/briefing-room/presidential-actions/2021/01/20/executive-order-ethics-commitments-by-executive-branch-personnel/

And it did. But it was also full of loopholes, because banning these conflicts of interest altogether was viewed as politically unserious, so the correct amount of radium up the administration's asshole was set at non-zero. The result? Well, it's about what you'd expect:

https://therevolvingdoorproject.org/what-the-hell-is-anita-dunn-even-allowed-to-work-on/

Congress hasn't updated consumer privacy law since 1988, when it took the bold step of…banning video-store clerks from telling the newspapers which VHS cassettes you took home. Since then, a coalition of commercial surveillance companies and the cops and spies who treat their data-lakes as massive, off-the-books anaerobic lagoons of warrantless surveillance data has prevented the passage of any new privacy protections for Americans.

The result? Stalkers, creeps, spies (both governmental and corporate), identity thieves, spearphishers and other villainous scum are running wild, endangering every American's financial, physical and political wellbeing. The correct amount of commercial data-brokerage for America is zero:

https://pluralistic.net/2023/12/06/privacy-first/#but-not-just-privacy

In other words, we should order every data-broker, every tech giant, every consumer electronics company and app vendor to delete all their surveillance data. All of it. The correct amount of radium in that asshole is – as with every other orifice zero:

https://pluralistic.net/2024/08/07/revealed-preferences/#extinguish-v-improve

From the perspective of the radium pitchmen, the most shocking thing about the past four years has been antitrust enforcers – like Lina Khan, Rohit Chopra, and Jonathan Kanter – who refused to bargain about how much radium we needed to stick up our butts. Fearless of being branded as "unserious" and "unreasonable," they seriously, reasonably said the right amount is none, actually.

None. Which is why they're so mad at Khan and co. Which is why they're so bent on getting Kamala Harris to fire Khan – despite the fact that this would burn precious political capital in the senate. Some people just love the feeling they get from a radium suppository – especially the suppository salesmen:

https://prospect.org/politics/2024-09-19-lina-khan-doesnt-need-to-be-confirmed-again/

The paperback edition of The Lost Cause, my nationally bestselling, hopeful solarpunk novel is out this month!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/19/just-stop-putting-that-up-your-ass/#harm-reduction/a>

Image: Museum of the Health Sciences https://www.uab.edu/amhs/