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mostlysignssomeportents · 4 months ago

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On July 14, I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I'm appearing in CHICAGO at Exile in Bookville.

We're living through one of those moments when millions of people become suddenly and overwhelmingly interested in fair use, one of the subtlest and worst-understood aspects of copyright law. It's not a subject you can master by skimming a Wikipedia article!

I've been talking about fair use with laypeople for more than 20 years. I've met so many people who possess the unshakable, serene confidence of the truly wrong, like the people who think fair use means you can take x words from a book, or y seconds from a song and it will always be fair, while anything more will never be.

Or the people who think that if you violate any of the four factors, your use can't be fair – or the people who think that if you fail all of the four factors, you must be infringing (people, the Supreme Court is calling and they want to tell you about the Betamax!).

You might think that you can never quote a song lyric in a book without infringing copyright, or that you must clear every musical sample. You might be rock solid certain that scraping the web to train an AI is infringing. If you hold those beliefs, you do not understand the "fact intensive" nature of fair use.

But you can learn! It's actually a really cool and interesting and gnarly subject, and it's a favorite of copyright scholars, who have really fascinating disagreements and discussions about the subject. These discussions often key off of the controversies of the moment, but inevitably they implicate earlier fights about everything from the piano roll to 2 Live Crew to antiracist retellings of Gone With the Wind.

One of the most interesting discussions of fair use you can ask for took place in 2019, when the NYU Engelberg Center on Innovation Law & Policy held a symposium called "Proving IP." One of the panels featured dueling musicologists debating the merits of the Blurred Lines case. That case marked a turning point in music copyright, with the Marvin Gaye estate successfully suing Robin Thicke and Pharrell Williams for copying the "vibe" of Gaye's "Got to Give it Up."

Naturally, this discussion featured clips from both songs as the experts – joined by some of America's top copyright scholars – delved into the legal reasoning and future consequences of the case. It would be literally impossible to discuss this case without those clips.

And that's where the problems start: as soon as the symposium was uploaded to Youtube, it was flagged and removed by Content ID, Google's $100,000,000 copyright enforcement system. This initial takedown was fully automated, which is how Content ID works: rightsholders upload audio to claim it, and then Content ID removes other videos where that audio appears (rightsholders can also specify that videos with matching clips be demonetized, or that the ad revenue from those videos be diverted to the rightsholders).

But Content ID has a safety valve: an uploader whose video has been incorrectly flagged can challenge the takedown. The case is then punted to the rightsholder, who has to manually renew or drop their claim. In the case of this symposium, the rightsholder was Universal Music Group, the largest record company in the world. UMG's personnel reviewed the video and did not drop the claim.

99.99% of the time, that's where the story would end, for many reasons. First of all, most people don't understand fair use well enough to contest the judgment of a cosmically vast, unimaginably rich monopolist who wants to censor their video. Just as importantly, though, is that Content ID is a Byzantine system that is nearly as complex as fair use, but it's an entirely private affair, created and adjudicated by another galactic-scale monopolist (Google).

Google's copyright enforcement system is a cod-legal regime with all the downsides of the law, and a few wrinkles of its own (for example, it's a system without lawyers – just corporate experts doing battle with laypeople). And a single mis-step can result in your video being deleted or your account being permanently deleted, along with every video you've ever posted. For people who make their living on audiovisual content, losing your Youtube account is an extinction-level event:

https://www.eff.org/wp/unfiltered-how-youtubes-content-id-discourages-fair-use-and-dictates-what-we-see-online

So for the average Youtuber, Content ID is a kind of Kafka-as-a-Service system that is always avoided and never investigated. But the Engelbert Center isn't your average Youtuber: they boast some of the country's top copyright experts, specializing in exactly the questions Youtube's Content ID is supposed to be adjudicating.

So naturally, they challenged the takedown – only to have UMG double down. This is par for the course with UMG: they are infamous for refusing to consider fair use in takedown requests. Their stance is so unreasonable that a court actually found them guilty of violating the DMCA's provision against fraudulent takedowns:

https://www.eff.org/cases/lenz-v-universal

But the DMCA's takedown system is part of the real law, while Content ID is a fake law, created and overseen by a tech monopolist, not a court. So the fate of the Blurred Lines discussion turned on the Engelberg Center's ability to navigate both the law and the n-dimensional topology of Content ID's takedown flowchart.

It took more than a year, but eventually, Engelberg prevailed.

Until they didn't.

If Content ID was a person, it would be baby, specifically, a baby under 18 months old – that is, before the development of "object permanence." Until our 18th month (or so), we lack the ability to reason about things we can't see – this the period when small babies find peek-a-boo amazing. Object permanence is the ability to understand things that aren't in your immediate field of vision.

Content ID has no object permanence. Despite the fact that the Engelberg Blurred Lines panel was the most involved fair use question the system was ever called upon to parse, it managed to repeatedly forget that it had decided that the panel could stay up. Over and over since that initial determination, Content ID has taken down the video of the panel, forcing Engelberg to go through the whole process again.

But that's just for starters, because Youtube isn't the only place where a copyright enforcement bot is making billions of unsupervised, unaccountable decisions about what audiovisual material you're allowed to access.

Spotify is yet another monopolist, with a justifiable reputation for being extremely hostile to artists' interests, thanks in large part to the role that UMG and the other major record labels played in designing its business rules:

https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing

Spotify has spent hundreds of millions of dollars trying to capture the podcasting market, in the hopes of converting one of the last truly open digital publishing systems into a product under its control:

https://pluralistic.net/2023/01/27/enshittification-resistance/#ummauerter-garten-nein

Thankfully, that campaign has failed – but millions of people have (unwisely) ditched their open podcatchers in favor of Spotify's pre-enshittified app, so everyone with a podcast now must target Spotify for distribution if they hope to reach those captive users.

Guess who has a podcast? The Engelberg Center.

Naturally, Engelberg's podcast includes the audio of that Blurred Lines panel, and that audio includes samples from both "Blurred Lines" and "Got To Give It Up."

So – naturally – UMG keeps taking down the podcast.

Spotify has its own answer to Content ID, and incredibly, it's even worse and harder to navigate than Google's pretend legal system. As Engelberg describes in its latest post, UMG and Spotify have colluded to ensure that this now-classic discussion of fair use will never be able to take advantage of fair use itself:

https://www.nyuengelberg.org/news/how-explaining-copyright-broke-the-spotify-copyright-system/

Remember, this is the best case scenario for arguing about fair use with a monopolist like UMG, Google, or Spotify. As Engelberg puts it:

The Engelberg Center had an extraordinarily high level of interest in pursuing this issue, and legal confidence in our position that would have cost an average podcaster tens of thousands of dollars to develop. That cannot be what is required to challenge the removal of a podcast episode.

Automated takedown systems are the tech industry's answer to the "notice-and-takedown" system that was invented to broker a peace between copyright law and the internet, starting with the US's 1998 Digital Millennium Copyright Act. The DMCA implements (and exceeds) a pair of 1996 UN treaties, the WIPO Copyright Treaty and the Performances and Phonograms Treaty, and most countries in the world have some version of notice-and-takedown.

Big corporate rightsholders claim that notice-and-takedown is a gift to the tech sector, one that allows tech companies to get away with copyright infringement. They want a "strict liability" regime, where any platform that allows a user to post something infringing is liable for that infringement, to the tune of $150,000 in statutory damages.

Of course, there's no way for a platform to know a priori whether something a user posts infringes on someone's copyright. There is no registry of everything that is copyrighted, and of course, fair use means that there are lots of ways to legally reproduce someone's work without their permission (or even when they object). Even if every person who ever has trained or ever will train as a copyright lawyer worked 24/7 for just one online platform to evaluate every tweet, video, audio clip and image for copyright infringement, they wouldn't be able to touch even 1% of what gets posted to that platform.

The "compromise" that the entertainment industry wants is automated takedown – a system like Content ID, where rightsholders register their copyrights and platforms block anything that matches the registry. This "filternet" proposal became law in the EU in 2019 with Article 17 of the Digital Single Market Directive:

https://www.eff.org/deeplinks/2018/09/today-europe-lost-internet-now-we-fight-back

This was the most controversial directive in EU history, and – as experts warned at the time – there is no way to implement it without violating the GDPR, Europe's privacy law, so now it's stuck in limbo:

https://www.eff.org/deeplinks/2022/05/eus-copyright-directive-still-about-filters-eus-top-court-limits-its-use

As critics pointed out during the EU debate, there are so many problems with filternets. For one thing, these copyright filters are very expensive: remember that Google has spent $100m on Content ID alone, and that only does a fraction of what filternet advocates demand. Building the filternet would cost so much that only the biggest tech monopolists could afford it, which is to say, filternets are a legal requirement to keep the tech monopolists in business and prevent smaller, better platforms from ever coming into existence.

Filternets are also incapable of telling the difference between similar files. This is especially problematic for classical musicians, who routinely find their work blocked or demonetized by Sony Music, which claims performances of all the most important classical music compositions:

https://pluralistic.net/2021/05/08/copyfraud/#beethoven-just-wrote-music

Content ID can't tell the difference between your performance of "The Goldberg Variations" and Glenn Gould's. For classical musicians, the best case scenario is to have their online wages stolen by Sony, who fraudulently claim copyright to their recordings. The worst case scenario is that their video is blocked, their channel deleted, and their names blacklisted from ever opening another account on one of the monopoly platforms.

But when it comes to free expression, the role that notice-and-takedown and filternets play in the creative industries is really a sideshow. In creating a system of no-evidence-required takedowns, with no real consequences for fraudulent takedowns, these systems are huge gift to the world's worst criminals. For example, "reputation management" companies help convicted rapists, murderers, and even war criminals purge the internet of true accounts of their crimes by claiming copyright over them:

https://pluralistic.net/2021/04/23/reputation-laundry/#dark-ops

Remember how during the covid lockdowns, scumbags marketed junk devices by claiming that they'd protect you from the virus? Their products remained online, while the detailed scientific articles warning people about the fraud were speedily removed through false copyright claims:

https://pluralistic.net/2021/10/18/labor-shortage-discourse-time/#copyfraud

Copyfraud – making false copyright claims – is an extremely safe crime to commit, and it's not just quack covid remedy peddlers and war criminals who avail themselves of it. Tech giants like Adobe do not hesitate to abuse the takedown system, even when that means exposing millions of people to spyware:

https://pluralistic.net/2021/10/13/theres-an-app-for-that/#gnash

Dirty cops play loud, copyrighted music during confrontations with the public, in the hopes that this will trigger copyright filters on services like Youtube and Instagram and block videos of their misbehavior:

https://pluralistic.net/2021/02/10/duke-sucks/#bhpd

But even if you solved all these problems with filternets and takedown, this system would still choke on fair use and other copyright exceptions. These are "fact intensive" questions that the world's top experts struggle with (as anyone who watches the Blurred Lines panel can see). There's no way we can get software to accurately determine when a use is or isn't fair.

That's a question that the entertainment industry itself is increasingly conflicted about. The Blurred Lines judgment opened the floodgates to a new kind of copyright troll – grifters who sued the record labels and their biggest stars for taking the "vibe" of songs that no one ever heard of. Musicians like Ed Sheeran have been sued for millions of dollars over these alleged infringements. These suits caused the record industry to (ahem) change its tune on fair use, insisting that fair use should be broadly interpreted to protect people who made things that were similar to existing works. The labels understood that if "vibe rights" became accepted law, they'd end up in the kind of hell that the rest of us enter when we try to post things online – where anything they produce can trigger takedowns, long legal battles, and millions in liability:

https://pluralistic.net/2022/04/08/oh-why/#two-notes-and-running

But the music industry remains deeply conflicted over fair use. Take the curious case of Katy Perry's song "Dark Horse," which attracted a multimillion-dollar suit from an obscure Christian rapper who claimed that a brief phrase in "Dark Horse" was impermissibly similar to his song "A Joyful Noise."

Perry and her publisher, Warner Chappell, lost the suit and were ordered to pay $2.8m. While they subsequently won an appeal, this definitely put the cold grue up Warner Chappell's back. They could see a long future of similar suits launched by treasure hunters hoping for a quick settlement.

But here's where it gets unbelievably weird and darkly funny. A Youtuber named Adam Neely made a wildly successful viral video about the suit, taking Perry's side and defending her song. As part of that video, Neely included a few seconds' worth of "A Joyful Noise," the song that Perry was accused of copying.

In court, Warner Chappell had argued that "A Joyful Noise" was not similar to Perry's "Dark Horse." But when Warner had Google remove Neely's video, they claimed that the sample from "Joyful Noise" was actually taken from "Dark Horse." Incredibly, they maintained this position through multiple appeals through the Content ID system:

https://pluralistic.net/2020/03/05/warner-chappell-copyfraud/#warnerchappell

In other words, they maintained that the song that they'd told the court was totally dissimilar to their own was so indistinguishable from their own song that they couldn't tell the difference!

Now, this question of vibes, similarity and fair use has only gotten more intense since the takedown of Neely's video. Just this week, the RIAA sued several AI companies, claiming that the songs the AI shits out are infringingly similar to tracks in their catalog:

https://www.rollingstone.com/music/music-news/record-labels-sue-music-generators-suno-and-udio-1235042056/

Even before "Blurred Lines," this was a difficult fair use question to answer, with lots of chewy nuances. Just ask George Harrison:

https://en.wikipedia.org/wiki/My_Sweet_Lord

But as the Engelberg panel's cohort of dueling musicologists and renowned copyright experts proved, this question only gets harder as time goes by. If you listen to that panel (if you can listen to that panel), you'll be hard pressed to come away with any certainty about the questions in this latest lawsuit.

The notice-and-takedown system is what's known as an "intermediary liability" rule. Platforms are "intermediaries" in that they connect end users with each other and with businesses. Ebay and Etsy and Amazon connect buyers and sellers; Facebook and Google and Tiktok connect performers, advertisers and publishers with audiences and so on.

For copyright, notice-and-takedown gives platforms a "safe harbor." A platform doesn't have to remove material after an allegation of infringement, but if they don't, they're jointly liable for any future judgment. In other words, Youtube isn't required to take down the Engelberg Blurred Lines panel, but if UMG sues Engelberg and wins a judgment, Google will also have to pay out.

During the adoption of the 1996 WIPO treaties and the 1998 US DMCA, this safe harbor rule was characterized as a balance between the rights of the public to publish online and the interest of rightsholders whose material might be infringed upon. The idea was that things that were likely to be infringing would be immediately removed once the platform received a notification, but that platforms would ignore spurious or obviously fraudulent takedowns.

That's not how it worked out. Whether it's Sony Music claiming to own your performance of "Fur Elise" or a war criminal claiming authorship over a newspaper story about his crimes, platforms nuke first and ask questions never. Why not? If they ignore a takedown and get it wrong, they suffer dire consequences ($150,000 per claim). But if they take action on a dodgy claim, there are no consequences. Of course they're just going to delete anything they're asked to delete.

This is how platforms always handle liability, and that's a lesson that we really should have internalized by now. After all, the DMCA is the second-most famous intermediary liability system for the internet – the most (in)famous is Section 230 of the Communications Decency Act.

This is a 27-word law that says that platforms are not liable for civil damages arising from their users' speech. Now, this is a US law, and in the US, there aren't many civil damages from speech to begin with. The First Amendment makes it very hard to get a libel judgment, and even when these judgments are secured, damages are typically limited to "actual damages" – generally a low sum. Most of the worst online speech is actually not illegal: hate speech, misinformation and disinformation are all covered by the First Amendment.

Notwithstanding the First Amendment, there are categories of speech that US law criminalizes: actual threats of violence, criminal harassment, and committing certain kinds of legal, medical, election or financial fraud. These are all exempted from Section 230, which only provides immunity for civil suits, not criminal acts.

What Section 230 really protects platforms from is being named to unwinnable nuisance suits by unscrupulous parties who are betting that the platforms would rather remove legal speech that they object to than go to court. A generation of copyfraudsters have proved that this is a very safe bet:

https://www.techdirt.com/2020/06/23/hello-youve-been-referred-here-because-youre-wrong-about-section-230-communications-decency-act/

In other words, if you made a #MeToo accusation, or if you were a gig worker using an online forum to organize a union, or if you were blowing the whistle on your employer's toxic waste leaks, or if you were any other under-resourced person being bullied by a wealthy, powerful person or organization, that organization could shut you up by threatening to sue the platform that hosted your speech. The platform would immediately cave. But those same rich and powerful people would have access to the lawyers and back-channels that would prevent you from doing the same to them – that's why Sony can get your Brahms recital taken down, but you can't turn around and do the same to them.

This is true of every intermediary liability system, and it's been true since the earliest days of the internet, and it keeps getting proven to be true. Six years ago, Trump signed SESTA/FOSTA, a law that allowed platforms to be held civilly liable by survivors of sex trafficking. At the time, advocates claimed that this would only affect "sexual slavery" and would not impact consensual sex-work.

But from the start, and ever since, SESTA/FOSTA has primarily targeted consensual sex-work, to the immediate, lasting, and profound detriment of sex workers:

https://hackinghustling.org/what-is-sesta-fosta/

SESTA/FOSTA killed the "bad date" forums where sex workers circulated the details of violent and unstable clients, killed the online booking sites that allowed sex workers to screen their clients, and killed the payment processors that let sex workers avoid holding unsafe amounts of cash:

https://www.eff.org/deeplinks/2022/09/fight-overturn-fosta-unconstitutional-internet-censorship-law-continues

SESTA/FOSTA made voluntary sex work more dangerous – and also made life harder for law enforcement efforts to target sex trafficking:

https://hackinghustling.org/erased-the-impact-of-fosta-sesta-2020/

Despite half a decade of SESTA/FOSTA, despite 15 years of filternets, despite a quarter century of notice-and-takedown, people continue to insist that getting rid of safe harbors will punish Big Tech and make life better for everyday internet users.

As of now, it seems likely that Section 230 will be dead by then end of 2025, even if there is nothing in place to replace it:

https://energycommerce.house.gov/posts/bipartisan-energy-and-commerce-leaders-announce-legislative-hearing-on-sunsetting-section-230

This isn't the win that some people think it is. By making platforms responsible for screening the content their users post, we create a system that only the largest tech monopolies can survive, and only then by removing or blocking anything that threatens or displeases the wealthy and powerful.

Filternets are not precision-guided takedown machines; they're indiscriminate cluster-bombs that destroy anything in the vicinity of illegal speech – including (and especially) the best-informed, most informative discussions of how these systems go wrong, and how that blocks the complaints of the powerless, the marginalized, and the abused.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

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/2024/06/27/nuke-first/#ask-questions-never

Image: EFF https://www.eff.org/files/banner_library/yt-fu-1b.png

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

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aniseya · 4 months ago

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“It’s a difficult tightrope to walk—murdering Jedi at will and still coming off as sympathetic and likable—but Jacinto pulls it off with aplomb, gradually building a tantalizing bond with Osha through his subtle allure. “He’s like that high school bad boy,” Jacinto says. “He just minds his own business. He’s not pulling you, he’s not telling you to come and be with him. He’s just living his own life, and you wind up intrigued by what he’s doing.”

“There’s also the prospect of The Acolyte season two still on the horizon—the show has yet to be officially renewed, but Jacinto says there is plenty of story he and the rest of the cast and crew would love to dive in on. “In the fan art I've seen, there's a good amount that implies… something between Osha and the Stranger,” he says. “That's something that people, I think, have been yearning for in this genre, or at least in this IP, and I love that people are honing in on it and encouraging it. So I think people can look forward to more of that, possibly. If people want it, we can explore that subsequent season.”

“How The Acolyte’s Manny Jacinto Brought Sexy Back to Star Wars” by Yang-Yi Goh

#oshamir #osha x qimir #qimir x osha #manny jacinto #AAAAAHHHH

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totheslushpile · 1 year ago

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I should probably add that I made him for my husband specifically because Bergomir is his and his buddy Dan's OC that they somehow got GW to let them do a comic about. Sadly, the contract didn't get renewed despite his editor having already approved the season 3 outline and episode ideas.

They did some lore on the character's background, his Stormhost and the village it's set in if anyone is interested.

Hey remember how Warhammer Community had a webcomic about a Stormcast who ends up basically being appointed mayor in a small town sitcom setup? I painted the main character so he could live on my husband's desk

#stormcast eternals #age of sigmar #is it still an OC if the IP holder pays you #still annoyed they didn't renew #it was very fun to have GW giving us money #usually it works the opposite way #bragging about partner #and his talented bestie #i love them so much

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soulaires · 11 months ago

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cardan greenbriar family headcanons. your aaron warner was amazing btw.

The Greenbriars.

pairings: dad!cardan x mom!reader

summary: Introducing the Greenbriar Family.

warnings: domestic fluff, ooc!cardan, mention of alcohol, family shenanigans, dad cardan, not proofread ...

note: omg! Thank you so much! Hope you love this one 🤍

Cardan Greenbriar, the High King of Elfhame, sat upon his majestic throne and reclined in your shared space, the air hung with a quiet warmth as you, his beloved Queen of Elfhame, nervously fidgeted nearby.

"Cardan," you began, eyes meeting his with a mixture of anticipation and anxiety. "I have something to tell you." His gaze, worries and panick visible to his eyes fixed on yours, waiting for the words that lingered on the tip of your tongue.

Cardan instinctively wrap his hands around you, trying to calm you down.

“what is it, My love?” he asked, but you only stares at him, anxiety building ip to the both of you.

The silence stretched, prompting you to take a steadying breath. As you pulled away from his embrace, which did not help your husband to calm at all, you let the secret out.

"I'm pregnant," you confessed, the weight of the words settling in the air between you. His eyes widened for a fleeting moment before a slow grin spread across his face.

you are pregnant. Gods, you are pregnant! He is going to be a father!

"Pregnant?" Cardan repeated, disbelief giving way to a genuine, unrestrained joy. He stood, closing the distance between you, and gently cupped your face. "You're going to be a mother," he murmured, his voice filled with a mixture of astonishment and delight.

“And I am going to be a father...” He whispered as he pick you up and hugged you around.

A cascade of emotions washed over you both—excitement, uncertainty, and the undeniable joy that comes with the promise of new life. Cardan's hands found yours, intertwining fingers in a gesture that spoke volumes. "We're going to have a family," he declared, his voice rich with emotion.

The reality of impending parenthood settled in as you exchanged glances, both grappling with the enormity of the news. Cardan's fingers traced circles on the back of your hand, a silent reassurance. "Are you happy?" you asked, the vulnerability in your voice bared for him to see.

His laughter, deep and genuine, filled the room. "Happy doesn't even begin to cover it," Cardan replied, pulling you into a tender embrace. “I love you so much, We can do this together, okay?” You nodded, as you two hugged once again, your husband face buried in your neck.

"We'll need to prepare," he mused, a glint of determination in his eyes. "A nursery, perhaps?"

As the news spread through the kingdom, joy radiated from the palace, touching every corner of Elfhame. The High King and his Queen, expecting an heir.

Elfhame celebrated with grand feasts and festivities, the air filled with laughter and music.

Days turned into weeks, and your pregnancy became the talk of the realm. The royal court buzzed with excitement, and Cardan, once the stoic ruler, found himself sharing his happiness openly. He attended to his kingly duties with renewed vigor, fueled by the anticipation of becoming a father.

As your pregnancy progressed, Cardan became increasingly involved, attending appointments with the court healer and participating in the preparations for the nursery. Soft kisses on your forehead, a gentle touch to your belly, and whispered promises of love to the baby.

dad!cardan who after the revelation he stops and restrain himself from drinking.

the baby was your 4th tear wedding anniversary baby

he LOOOOVES pressing his face to upur stomach, peppering kisses and talking to the baby even if the bump is not visible.

he had a habit wrapping his tail around you!

He gets very protective

he also does not care what time is it if you ever wake him up in the middle of the night because your cravings are acting out

he loves the way you are being clingy, even having mood swings being away from him

which also he had, hates it when he is away from you.

He do whatever you wish you want

Really can not say no to you

Only wants the best for you and the baby

Oh hes very paranoid

then when the time was near, he is always by your side and taking care of you.

When your water broke, cardan was not with you and you started to panick

You quickly rung the bell to call for servants to assist you

The pain was unbearable so you let out a cry

Your husband heard you and immediately darted out to reach you.

He quickly swept you to his arms and rushed you to the bed and the healers were already filing up in the room. Tears ran down to your cheeks as you pressed your face to your husbands chest.

Cardan attempted to stay strong for you despite his fears coming at him, he holds your hand and kissed your temples as he whisperers assurances and cheering you on.

“Oh, my love, I’m here now. It would be okay.”

“Shh, don’t worry. You can do this.”

“I love you. I love you. You and the baby would be fine just breathe for me, darling.”

As a mixture of nerves and anticipation settled over both of you. The night when contractions finally began, Cardan's calm demeanor cradled your anxiety. In the hushed hours of the birthing room, he held your hand, a steadfast presence amidst the whirlwind of emotions.

When the cries of a newborn filled the air, the reality of parenthood embraced you both. Cardan, his eyes shimmering with unspoken awe, cradled the tiny bundle in his arms. "We did it," he whispered, his gaze never leaving your exhausted yet elated face.

It was a boy! You named him archer. Archie as a nickname.

jude become his godmother!

he wrote letter to archie for him to read in the future

Cardan who is willing to be sleepless so tou can have your much needed rest and to ensure baby archies safety and comfort.

The type of dad to do silly things just to embarrass and make your kid laugh!

His prioritie is you and archies happiness

Oh archie is spoiled rotten as you and your husband falls victim to the puppy dog eyes easily

who cried when archie have his first word!!

Of course it was “dada”

you softly smiled and hug him as he hold your son

you guys cuddle at night as he whispers sweet nothings to your ears.

🪩 :: voicemail; hope you guys love this one as much with the aaron warner hcs do not worry this is not the last time you guys gonna see baby archie and dad!cardan 🤭 Also if you want to be in my Cardan Greenbriar taglist please let me know on my inbox or dm me! See you soonest <3

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thankskenpenders · 1 year ago

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As I'm sure many of you are already aware, Did You Know Gaming (who have been doing some really great investigative work lately) recently put out a video on canceled Sonic games. The whole thing's worth a watch, but I have to bring it up here specifically because they talk about the plans for Sonic Chronicles 2 with a LOT of new info directly from the lead designer.

youtube

The section on how the story of Sonic Chronicles 2 would have went starts at 9:45. It's very interesting! He outlines the whole plot, including the fact that they were going to end with ANOTHER obvious plot hook for a sequel in the hopes that they or some other studio could keep the Sonic Chronicles series going indefinitely. Sonic Team even claimed they were interested in using Chronicles characters like Shade in other games. It's crazy to imagine a timeline where this might have become a pillar of the franchise.

I refuse to mourn the loss of the sequel, though, because y'all saw me stream the original. It was miserable. And with the original game selling and reviewing decently well, they would have had little reason to go back to the drawing board and overhaul that game's bizarrely hateful design.

Of course, DYKG also had to talk about the reason why the game was canceled. I was dreading this because of how often people tend to get the basic facts of the Penders cases wrong or downplay the obvious Archie Knuckles inspiration in Chronicles. But no, they did their homework! And they got the details right in part because, well... they asked Penders for comment directly. And he sent them back a MASSIVE wall of text about the whole ordeal, including some fascinating details that I don't believe I've heard before!

You can go to 15:19 in the video and scrub through to read the many, MANY screencaps of their emails from Ken, but here are the most interesting and/or hilarious tidbits to me:

#1: Perjury!

As we already knew, Ken claimed that the incomplete, photocopied contract Archie presented in court was a forgery, and that he had never signed a work for hire contract.

The judge obviously knew that one side had to be lying here, and thus was more than willing to present the case to a jury to let them decide the truth... and send whoever was deemed the liar to jail for perjury. (The judge apparently looked Ken directly in the eye when he said this, which... well, make of that what you will.)

Archie's lawyers knew that they didn't have a completely airtight case and obviously did not want to go to jail. So they decided to settle instead of going to trial in front of a jury.

(I will reiterate that Archie's arguments not working out is overall a GOOD thing, because we really do not want to set a legal precedent where corporations can "lose" a contract for a creator, make up a story about what was on the contract, and then have that hold up in court. They gotta get that shit in writing. And they didn't. They fucked up!)

#2: Sega was threatening to revoke the Sonic license!

As we knew, Sega wanted nothing to do with the comic copyright lawsuit. To them, it was Archie's job as licensee to deal with their freelancers. (Y'all watch Succession? You know how Logan loves lackeys who will eat shit for him without him having to even hear about the problem? Yeah.) And, in fact, according to Ken, Sega gave Archie an ultimatum: if they wanted their license to make Sonic comics renewed, they were gonna have to deal with Ken on their own, and cover all the costs.

Yeah, uh, this kinda makes me think that Sega being pissed about the ongoing Scott Fulop copyright case in 2016 may have been a bigger factor in Archie Sonic's cancellation than I previously thought. There was a lot going on at the time that could have contributed, but, y'know.

Anyway, Archie sued Ken for "damaging their business" largely because Sega was threatening to take away the Sonic IP. But because Archie couldn't ask Sega for help and they couldn't produce an original contract, they had to settle.

There's another detail I find funny here, though. Ken WANTED Sega to get involved in the comic copyright case, thinking that Sega would strongarm Archie into paying him the millions of dollars he wanted for "using his work without permission" so that they could be done with it. I mean, sure. I guess Sega wouldn't have cared about Archie's finances, but still. I'm not so sure that would've worked out for him.

#3: Shade!

Yes, Penders still claims he legally owns Shade, and under advice from his lawyer still intends to put out an NFT of her to put his claim to the test. Yes, it's incredible that he still hasn't put out the damn NFT. It only needs to be one image, which he already drew! The market has collapsed!

Anyway, building an argument off the legal concept of estoppel, he says that if Sega continues to not do anything about his claims that he owns Shade then, in the eyes of the court, they'll be forfeiting their claims to Shade altogether. But they aren't going to do anything because they never wanted any part in the copyright battles in the first place, and to them Chronicles is a long dead asset not worth fighting over. Why bother trying to use Shade again and giving Ken a reason to take them back to court when they can just move on? It's not like this franchise is short on characters. And so Ken can say that Shade and Julie-Su are literally the same character, and if he owns Julie-Su then therefore he also owns Shade.

Our copyright system is, indeed, a nightmare. Chronicles should have been halfway to the public domain by now.

#4: Sega's oversight on the Archie comics!

Ken says that in his first year on the series Sega only requested some dialogue changes here and there through the editor. They never requested huge script changes, and also never spoke to Ken directly. After that first year, they stopped asking for dialogue changes altogether, and Ken "had a free hand to do pretty much whatever he wanted." Yeah, no surprise there.

He does, however, say that Archie's original deal with Sega stated that they weren't allowed to create ANY new Sonic characters without informing Sega. They would've needed to make a contract every single time to get Sega's approval and make it absolutely crystal clear that Sega owned the whole cast. And then Archie just... didn't do that! And didn't tell any of the freelance creatives not to come up with new characters! Had Archie followed this rule, the trajectory of the comics would have been completely different, but there also never would've been a copyright battle in the first place.

What a shitshow. Truly.

#tkp post

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flythesail · 2 months ago

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Everything about the Acolyte cancelation just feels so off. I want to be hopeful when seeing the strength of the renewal campaign or even the number of big news sources writing about it, that something like a wrap up movie could be possible, yet nothing about this situation says "normal."

There were reports from so many places (with no evidence) that Acolyte merch was intentionally taken offline. (For the record, nothing came up when you searched "Andor" either.) Then soon after, the merch is back. (Presumably because it was out of stock.) What I find surprising is that the news spread like wildfire. Why? When for most of its existence, the Acolyte has been thrown under the bus - from review bombing to racist attacks from so called "fans" - why was everyone suddenly jumping on the cancelation news when doing little to defend or support the show from the start? Merch seems like such a minor thing within the grand picture.

Many, okay most, shows are canceled after one season nowadays. But this is a first just by default of falling under an IP as large as Star Wars. Shows that are not renewed go "quietly." Kenobi was written as a single season. Tbobf might have been up for a second, but after the way it was used as a bridge for Mando seasons 2 and 3, a lack of renewal is not a shock.

There's so much proof the Acolyte was on course to be renewed and the cancelation was not planned. As recently as last month they were looking for directors for season 2. I believe there were reports of a writers room in February.

Lee Jung-jae says in an interview he's surprised about the cancelation, and right after there's "coincidentally" news that Keanu Reeves would have been Master Sol if not for scheduling conflicts. Lesley Headland has ALWAYS said JJ was her first choice. Which says what? That Lucasfilm wanted to punish JJ for showing support for the show that they canceled. This is on top of doing absolutely nothing to protect Amandla from all the disgusting racists on Instagram. This is on top of them announcing Manny for SW Celebration, which isn't until NEXT year. Wtf is he going to talk about?? Thanks for canceling my show last year! I sure would have loved to continue it! The cancelation news was even publicized on his birthday. This comes after recent news for tie-in novels, an art book, and a visual guide.

My best guess would be that plans for season 2 were underway, and a higher up got scared. Of what? Taking creative risks. Or maybe scared of the people who claim to be "fans" and have done nothing but trash the show from the start with no basis.

I'll play advocate, what if it was just for viewership and budgetary reasons? It does cost a lot to make. But then why not adjust the budget? Why not adjust the marketing strategy for season 2? The success of something like Star Wars cannot even be entirely measured by viewership or Disney+ subscriptions, less so a month after the finale. What about merchandise sales or growth over time, as the Acolyte perfectly slots into a space in canon that quite frankly, is unexplored but adds so much to the overall narrative longterm!

Even if the show is expensive, you will never convince me Disney of all companies doesn't have the money for it. Something happened and it happened fast. Whatever did happen, to cancel the Acolyte is a cowardly move. I want to hope it can come back and that this "scrambling" to change the narrative in the media is a sign of regret, yet it's most likely a poor attempt to control the narrative in their favor and push the blame to everyone who actually cares about the show.

At the very least, I hope the response is a wake up call. That Star Wars fans will not stick around no matter what. That you cannot treat your creators, actors, and fans, primarily women and poc, as lesser time and time again and expect them to continue to support your product. This decision is telling in more ways than one. It's unfair and if nothing changes, Star Wars will only get worse from here. Which is disappointing, because I love it and have been a fan on and off since I was 11 years old. But I cannot deny that everything about the way the cancelation is happening feels like a betrayal.

The Acolyte dared to be inventive. It dared to be diverse. Whether that be the cast or those behind the camera, this story was made by and made for people Star Wars has continually neglected, and it still felt like true Star Wars that anyone could enjoy. It was a step in the right direction. If given a chance, it would have only become bigger. When is the last time a Star Wars project brought in new fans like this? You can only retell the same stories so many times before they lose what made them special in the first place. As a true fan, Lesley brought fresh perspective. From Amandla's performance as Mae and Osha, to JJ's performance as Master Sol, which he learned English for. Or Manny as the Stranger, a mystery turned sith turned lead love interest. The Acolyte explored the grey era between good and evil, the decisions that define us, what it means to feel, and the power of that. The Acolyte dared to exist and a cancelation can't erase the fact that it matters.

If you're still reading, please do sign and share the petition. It might not bring the show back, but it is a show of support for the cast, crew, and fans it stood for.

#the acolyte #flythepost

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