#TikTok business 2023

[trendsettiv2]

10 Expert TikTok Content Ideas For Small Businesses and Brands[2023]

Content Ideas For Small Businesses and Brands Using TikTok Content Ideas For Small Businesses and Brands Using TikTokBehind-the-scenes contentProduct demonstrationsUser-generated contentInfluencer collaborations Educational videosHumorous contentResoursesTikTok for BusinessTikTok Creator FundInfluencer marketing platformsHashtag research toolsTikTok analytics toolsTikTok marketing…

[lock-my-feelings-in-a-jar]

Written by Russ Ballard

[dothexe]

The way people are acting like the Barbie movie is the most controversial take on politics and gender is just further proof of how conservative and right wing our times have become but ig a lot of people are too afraid to face that

[alanaartdream]

Sooo many things going on in my life atm and yet I still draw something every day

[lesbianraskolnikov]

original clone high was fine or whatever but 5 minutes into the leak its BAD...

[seriousbusinessforhumans]

23 Dec 2022

TikTok has admitted that it used its own app to spy on reporters as part of an attempt to track down the journalists’ sources, according to an internal email. The data was accessed by employees of ByteDance, TikTok’s Chinese parent company and was used to track the reporters’ physical movements. The company’s chief internal auditor Chris Lepitak, who led the team involved in the operation, has been fired, while his China-based manager Song Ye has resigned. They looked at IP addresses of journalists who were using the TikTok app in an attempt to learn if they were in the same location as employees suspected of leaking confidential information. The effort, which targeted former BuzzFeed reporter Emily Baker-White and Financial Times reporter Cristina Criddle among other reporters, was unsuccessful, but resulted in at least four members of staff based in both the US and China improperly accessing the data, according to an email from ByteDance general counsel Erich Andersen. All four have been fired. Company officials said they were taking additional steps to protect user data.

ByteDance and TikTok had initially issued categorical denials of the allegations when they were first reported. The company claimed it “could not monitor US users in the way the article suggested”, and added that TikTok had never been used to “target” any “members of the US government, activists, public figures or journalists”. Those claims are now acknowledged to be false.

[jolenes-book-journey]

Up in Arms with Amazon

Are your “Up in Arms” with Amazon? In other words and for those who may not be familiar with that term, has Amazon done something to you as writer that you just do not understand? Yes, it seems to be happening all around the world and with every independently published author out there. This past week we receive an email about the Author Central Profile page changing to exclude author pictures…

[reasonsforhope]

"Shopping for clothes is already intimidating. There are so many options and styles to consider, as well as factors like sustainability and ethics.

But for people in fat, disabled, or queer and gender-nonconforming bodies, it’s even more arduous.

Nico Herzetty, Emma K. Clark, and Paul Herzetty wondered: What if there was a way people could shop — not necessarily by color or size — but by measurements, materials, and ethics?

So they set off to create their website: Phoria. 

Here, shoppers can set up a free profile, add their body measurements (and “typical fit challenges”) and peruse over 270 brands. Once these data points are entered, users can personalize their pages with “saved,” “recommended,” or “hidden” brands. 

Pages can be totally private, or shared with the community to connect over styles and brands.

Aside from fit, brands in the Phoria database (which claims to be “the largest database of plus-friendly brands”) can also be filtered as “gender-neutral,” “woman-run,” “small business,” or “natural fibers.” Users can also filter for price, preferred styles, and more.

Pictured: A screenshot of the "Fit Challenges" feature on a Phoria user's profile.

Some brands include popular names like Athleta, Levi’s, and Patagonia. Others are small businesses, like Beefcake Swimwear, or Hey Peach.

“For so many people, it feels too damn hard to find and keep clothing that fits in all the ways that really matter. So we’re doing something about it,” the Phoria website reads.

“Unlike most online shopping experiences, we center the needs of plus-size women, nonbinary, and trans people, and prioritize supporting clothing brands focused on sustainability, ethics, and inclusion.” ...

That team — made up of Clark, and Nico and Paul Herzetty — calls themselves “fat, disabled, and very, very queer.” 

“These are some of the main ways we identify, and they’re qualities that have directly impacted our ability to get dressed every day in a way that feels good,” the Phoria team introduces themselves on the website.

Pictured: A screenshot of Phoria's plus-size clothing brand database.

In addition to catering the user experience to women, non-binary, and trans people, Phoria is also a benefit corporation, or a B corp.

“We’ve legally required ourselves to consider the interests of all our stakeholders — customers, employees, the planet, and our shareholders,” the Phoria website explains.

“Our specific public benefit purpose is to reduce people’s dependence on buying mass-produced items made in unsustainable ways and to use human-centered business models to boldly challenge economic systems of inequity.” 

Right now, in the early stages of the company’s business, it doesn’t make any money.

“We’re focused on building something that genuinely solves plus-size people’s challenges around clothes shopping and supports smaller and more sustainable brands,” Phoria’s website states.

So, spreading the word seems to be of utmost importance...

Additionally, TikTok creators @couplagoofs (a queer couple named Morgan and Phoebe), recently shared a video in which they discovered Phoria. They met the website’s creators at a fat liberation event in their city and were introduced to the tool.

Quickly, commenters responded with gratitude and excitement.

“It is so disappointing to sort through pages of plus size clothes that aren’t even plus size,” a TikTok user commented. “This is gonna be such a good tool!” 

Some even shared emotional responses, speaking to the need at the heart of Phoria’s mission. 

“I’m… gonna cry,” another commenter wrote. “I’ve needed this my whole life.”"

-via Goodgoodgood, November 20, 2023

[notoh-dev]

Flowers for Kasumi on Itch.io!

Flowers for Kasumi was a demo that @eredoh and I (previously Nedras) released in 2017. It was developed in RPG Maker VX Ace. While Flowers for Kasumi is on an indefinite hiatus, (at least until my other project, The Doctrine of Perseverance is completed) I wanted to share this old demo as it is dear to me, and there is at least one confirmed character who is also in TDOP. Also, the RPGMaker.net download is inaccessible due to their website being down.

I have also merged the setting for both projects (This will be more noticeable once the full game for TDOP is completed): Flowers for Kasumi will take place in Noxton, some other characters in FFK will see name changes as well in the future. Other story elements from this project are subject to change in the future.

Synopsis

Flowers for Kasumi tells the story of titular girl, Kasumi, and how her life ended so abruptly. The game takes place in the fictional town of Kumashina, a small town that holds a grave secret. In the midst of fall, protagonists Isa and Omoka will unearth the secrets behind Kasumi, and the truth behind her death.

Solve puzzles and piece together the dark mystery of what happened to Kasumi Erizawa.

Disclaimer

This is a demo from 2017. The project's development halted around late 2018/early 2019. Eredoh and I were teenagers when we began, but as life got busy, it was ultimately discontinued.​ I have just returned to game development last year (2023). Flowers for Kasumi is on an indefinite hiatus until my other project, The Doctrine of Perseverance is completed.

>> Download on Itch.io <<

Affiliated Links

Youtube Twitter Tiktok

[delusional-day-dreamer]

First. Love. Part¹ - p.b

playlist. next part.

‣ paige bueckers x oc (reader?, tbh i'm not sure how it works!)

‣ wc: 1790

‣‣ synopsis: people say in life, you have your FIRST love and your first LOVE, but what if paige was both?

‣‣�� a/n: y'all i'm SO SORRY for my inactivity, summer classes and morning practices are awful. i promise i will try to release more fics on a more regular basis. For the sake of the FICTIONAL story, pazzi simply does not exist, they are best friends but denied the rumors during azzi's freshmen year and she has a boyfriend. Songs that are underlined are linked to tiktok covers just because I love them!

Us Weekly : Tuesday June 13th, 2023

Just this friday, upcoming singer-songwriter Jenna Smyths performs her own song, Means Something and an instrumental cover of Holy Ground by Taylor Swift at BBC Live Lounge to introduce her soon to be released debut album, Eternal Us (not my most creative moment I know 😔). The young singer has just graduated from UCLA after completing her three-year Bachelor's Degree with a double major, her focus being Business Economics with a minor in Film, Television, and Digital Media.

This Friday was Jenna's first televised performance, and her constantly sold out small-venue concerts have been applauded all over social media and by celebrities for her vocal maturity, depth and intricacy within her song lyrics, and her ability to convey raw emotion through her performances. However, this song cover was announced by the singer-songwriter to be particularly special to her, as she mentions that this song "brings back specific memories".

The twenty-one year old kept her composure throughout both songs, yet fans on various media platforms have pointed out Jenna's seemingly tear filled eyes during Holy Ground. The artist addresses the emotions she felt during the song during her first appearance on the Jimmy Fallon Show after performing her first released single, Promise, which is prominently featured as it’s one of her most popular singles.

The Tonight Show: Monday June 12th, 2023 "Please welcome to The Tonight Show, Jenna Smyths," Jimmy introduced you as you walked onto the set of the show, the live audience cheering loudly as you took your seat on the couch.

"Thank you so much Jimmy, it's such an honor to be here, sitting on this sacred couch," you joked, bringing some of your recently curled hair over your shoulder in hopes of disguising any traces of anxiety the crowd or camera may pick up. Thankfully, it worked as you heard the stir of laughter on set, allowing you to relax further into the couch, it actually was quite comfortable.

"It's incredible that we have you sitting here, I mean almost two years ago you blew up on TikTok for your incredible song covers, and then you started playing live in a bunch of LA venues, then you started releasing your own music, and now you're a UCLA Alumni sitting here," as he summed up your rise to fame, the audience began another round of applause.

"Oh my gosh I know right," you giggled, overjoyed that the audience was showing so much support towards you and that your first big interview was going so well. "I swear it was like two weeks ago I was singing on TikTok and then freaking out about my notifications and somehow I just teleported here," you laughed off the slight tinge you felt in your heart.

College had gone by far too quickly, and you were constantly consumed with stress regarding your future. Up until a few weeks ago, you had no idea what you were going to do with your life. What if your album flopped? What if you never made it big? How would you move on and get a regular job from there?

"Yes yes, I remember seeing some of your earliest covers on tiktok. In fact," a smirk appeared on his face, he clearly had something hiding up his sleeve. "We just so happen to have a little video edited together of your old covers, for old times' sake just to show how far you've come," he laughed at the nervous expression on your face and the crowd's enthusiasm.

"Oh god, some of those are from questionable times," you mumbled, raising your right hand to slightly cover your mouth as the video played.

Clips of you singing in your old college apartment bedroom appeared, switching in between guitar covers and piano while singing Katy Perry's Teenage Dream, We Can't Be Friends by Ariana Grande (yes pretend it was out at the time), Bags by Clairo, to the Man Who Can't Be Moved, and a few others. You watched your younger self, heartbroken and healing, singing songs to post on the internet just for your friends to watch, and yet somehow your voice had reached millions of people.

"Well you can see it here clear as day folks, Jenna has clearly always had a knack for those gut-wrenching songs, the ones that make you wonder if you're depressed or the artist is just incredibly good at what they do," you knew he was introducing your live performance with this, sneakily rubbing your sweaty palms over your jeans. You weren't nearly as scared as your BBC performance, but the combination of fear and adrenaline before any performance was overwhelming compared to logic at times.

"So what do you guys say, because I think we need to hear it live to determine which one it truly is," the small crowd erupted at Jimmy's rhetoric, eager to watch your performance.

"Well when you ask so nicely how could I ever refuse Jimmy?" You grinned, standing up to make your way over to the performance area with the live band.

With your guitar in your hands, you let the unique sense of calmness and security wash over you as you adjusted the mic in front of you. Music had always been one of the biggest parts in your life, and even know it never failed you. Not in your best moments, and not even in your worse.

"This is Promise from my new album, Eternal Us, out June 30th"

***Post-performance part of the interview***

"Jenna, you know I have to ask you this, because so far the songs on your album, your covers, and even your performance at the BBC Live Lounge were all fairly depressing songs," Jimmy insists. The two of you had been joking and answering the interview questions with a sense of ease after the performance aspect of the show. The audience was eating up the playful energy the two of you seemed to have, despite the twenty-seven year age gap.

"Please, ask away Jimmy," you quipped, enjoying your time on the show. The steady laughter from the live audience had long soothed any remaining nerves. Growing up, you always felt as if you were born to perform, and this type of live interview was right up your alley.

"And I swear I'm being serious with this, but does the emotion in your music affect you the same it affects your listeners? Because after your cover of Holy Ground aired, you blew up on social media even more then you were before. But one of the things your fans noticed was that it looked like you were gonna cry?" Jimmy inquired, you could hear small murmurs from the audience section at his question, no doubt intrigued to hear your answer.

"You know Jimmy," you began, "Honestly it was just a heat of the moment kinda thing. Like obviously I changed the song in a different key and sang it that way intentionally you know? Taylor is known for her ability to write the most gut-wrenching lyrics and then syncing them up to a catchy beat in a pop song and boom, it's a hit," you explained to both him and the crowd.

"But when I was offered the opportunity to go on BBC Live Lounge and I was trying to decide what song to cover, the lyrics of the song just really stuck out to me in a personal way and I wanted to convey to my listeners the emotions I felt reading and experiencing the lyrics, not listening to it as an upbeat pop song. But don't get me wrong, it's an incredible song just the way it is!" You ended your ramble enthusiastically, trying your best to not delve into the deeper emotions laced within your statement.

"Of course, I mean it was your first televised performance and to a Taylor Swift song no less, but this song has a very meaning to it, unlike some of Taylor's other doctorate-level essay worthy songs you could spend hours analyzing," Jimmy jokes, lightening the mood as always before asking the hard hitting question you had been dreading the entire interview.

"Why did you choose to sing a song about reminiscing of a past relationship, an ex lover if you will. I mean, a good majority of your songs follow the heartbroken post-breakup theme, but the media isn't aware of any relationships you may or may not have had during your time at UCLA, was there someone before?" He questions.

"You're right, I didn't have any actual relationships while at UCLA. My only serious relationship was during my last two years of high school, and a lot of my songs I'm releasing now were written during that time or even earlier, I've just polished them a lot. And of course, my earliest covers are from my freshman year of college, so the wound was still pretty fresh you know?" You skimmed over the topic, keeping the discussion as light-hearted as possible.

"Oh my god, all of that was from one person?" Jimmy jokes, unaware of how hard his statement hits home for you.

"Yeah I mean, I guess your first love will just do that to you, you know?" You joked back. You refused, refused, to let Paige Bueckers affect you in this way on national television. It had been three years for god's sake, you needed to get a grip of yourself.

"Well, they must have been one heck of a first love to be such a long-lasting muse for you," Jimmy pried, and you could tell he was waiting for you to give more details about your relationship.

"Nah nah, cut the cameras, I think we're out of time for tonight right," you nervously laughed, jokingly leaning over to gesture in an over the top manner to the camera crew to stop filming, which roused hefty laughter around set at your antics.

"Don't worry Jenna, we'll leave that topic for next time yeah?" Jimmy chuckled at your immediate refusal, using his perfected charm to continue the interview without any bumps or awkward conversations.

Before you knew it, the interview had been long over and you were laying in your hotel's bedroom. In your opinion, the NYC suite was luxurious and was far too large for just one person to reside. But fortunately for you, you were used to the sense of loneliness you felt in the empty room. To think that you were only a few hours away from Paige, your first love, your first everything, and yet you had never felt more separated from a person you used to love with your whole being.

Thank you for reading all the way through! Part 2 of So High School will be out soon I promise, this series just happened to randomly inspire me and I want to finish it asap before I lose motivation or hit writer's block!

[mostlysignssomeportents]

Why Millennials aren’t leaving Tiktok

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TOMORROW NIGHT (Mar 22) in TORONTO, then SUNDAY (Mar 24) with LAURA POITRAS in NYC, then Anaheim, and more!

The news that Gen Z users have abandoned Tiktok in such numbers that the median Tiktoker is a Millennial (or someone even older) prompted commentators to dunk on Tiktok as uncool by dint of having lost its youthful sheen:

https://www.garbageday.email/p/tiktok-millennials-turns

But "why are Gen Z kids leaving Tiktok?" is the wrong question. The right question is, why aren't Millennials leaving Tiktok? After all, we are living through the enshittocene, the great enshittening, in which every platform gets monotonically, irreversibly worse over time, and Tiktok is no exception:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

To understand why older users are stuck to Tiktok, we need to start with why younger users relentlessly seek out new platforms. To some extent, it's just down to youth's appetite for novelty, but that's only part of the story. To really understand why people come to – and leave – platforms, you have to understand switching costs.

"Switching costs" is the economists' term for everything you have to give up when you change products or services. Switching from Ios to Android probably means giving up a bunch of your apps and purchased media. Switching from an airline where you're a high-status frequent flier to another carrier means giving up on free checked bags and early boarding.

In an open market, rivals have lots of ways to lower these switching costs (it's an open secret that you can call an airline and say, "Hi, I'm a 33rd Order Mason on American Airlines, will you make me a Triple Platinum Diamond Sky-Baron if I switch to Delta?"). Of course, big incumbents hate this, and do everything they can to increase their switching costs, finding ways to impose high switching costs that punish disloyal consumers who have the temerity to go elsewhere.

With social media, lock-in comes for free, thanks to the "collective action problem." Getting people to agree on a given course of action is hard, and as you add more people to the picture, the problem gets harder. It's hard enough to get half a dozen people in your group-chat to agree on where to go for dinner or what board-game to play. But once you're reliant on a social media service to stay in touch with friends, relatives around the world, customers, communities (say, rare disease support groups), and coordination (like organizing your kid's little league car-pool), the problem becomes nearly insoluble. Maybe you can convince your overseas relatives to switch to a Signal group, but can you do the same for your small business's customers, or your old high-school pals?

https://pluralistic.net/2022/10/29/how-to-leave-dying-social-media-platforms/

Taken together, switching costs and collective action problems make platforms "sticky," and sticky platforms inevitably enshittify.

Platforms, after all, generate value. They connect end-users with each other (say, little league parents) and they connect end-users to business customers (you and your small business's customers). That value needs to be parceled out among end users, business customers, and the platform's shareholders. A platform can make life better for business customers at its end users' expense by increasing the number of ads (hello, Youtube!), and it can make life better for its shareholders at its business customers' expense by decreasing the share of ad revenue given to publishers or performers (oh, hello again, Youtube!).

From a platform's perspective, the ideal state is one in which end users and business customers get no value from the platform, because it's all being captured by the platform's shareholders. But if Youtube interrupted every 30 seconds of video for ten minutes of ads and paid the video creators nothing, both users and creators would ditch the platform – and advertisers would follow:

https://www.youtube.com/watch?v=Dab8sKg8Ko8

So platforms seek an equilibrium: "what is the least value we apportion to end-users and business customers without triggering their departure?" Maybe that means giving more value to end-users (for example, keeping Uber fares low by suppressing wages), or to business-customers (crowding more ads into your social media feed).

Every business – including brick-and-mortar, non-digitized ones – wants to find some kind of equilibrium between the value going to its suppliers, its customers and its owners, but digital businesses have an advantage here: digital systems are flexible in ways that analog, hard-goods businesses are not. Digital businesses can alter pricing, payouts and other dynamics from moment to moment – second to second – and make a different offer to every supplier and customer. They have a bunch of knobs, and they can twiddle them at will:

https://pluralistic.net/2023/02/19/twiddler/

Well, not quite at will. Businesses face constraints on their twiddling. If they get too greedy, users or business customers might weigh the cost of staying against the switching costs and decide it's not worth it. But the more expensive – the more painful – a platform can make leaving, the more pain they can inflict on the people who stay.

In other words, there's two ways to keep a customer or supplier's business: you can make a better service so they won't want to leave, or you can make leaving the service so painful that they stay even if you mistreat them.

There's three ways a digital company can make things worse for their customers and users without losing their business.

First, they can eliminate competition (think of Mark Zuckerberg buying Instagram to recapture the users who'd fled Facebook to escape his poor management):

https://pluralistic.net/2023/09/03/big-tech-cant-stop-telling-on-itself/

Second, they can capture their regulators and avoid punishment for trampling their suppliers' or users' legal rights (think of how Amazon has raised the price of everything we buy, both on- and off Amazon, through its "most favored nation" deals):

https://pluralistic.net/2023/04/25/greedflation/#commissar-bezos

Third, they can use IP law to prevent competitors from modifying their services to claw back some of that value (think of how Apple used legal threats to block an Android version of Imessage, blocking Apple customers from having private conversations that included non-Apple customers:

https://pluralistic.net/2024/01/12/youre-holding-it-wrong/#if-dishwashers-were-iphones

Companies can't just use this tricks at will, of course. Antitrust laws can block companies from making anticompetitve acquisitions or mergers. Regulators can punish companies for cheating their customers, workers and users. Technologists can come up with clever ways of modding or reconfiguring existing services with "interoperable" add-ons that let users bargain for better treatment by refusing to accept worse:

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

Day in, day out, the decision-makers at tech companies test these constraints, twisting the knobs that shift value away from users to shareholders. Their bosses and boards motivate them with "KPIs" that dangle the promise of huge bonuses and promotions for any manager who successfully enshittifies part of the company's products:

https://pluralistic.net/2023/07/28/microincentives-and-enshittification/

Decades of pro-corporate, pro-monopoly policy has loosened those knobs. 40 years of lax antitrust meant that companies had a lot of leeway to buy or merge with rivals – that's changing today, but it's tough sledding:

https://pluralistic.net/2023/07/14/making-good-trouble/#the-peoples-champion

As sectors grew more concentrated, they found it easier to capture their regulators, so that they no longer fear punishment for price-gouging, spying, or wage-theft, so applying the same amount of torque to the "break the law" knob cranks it a lot further:

https://pluralistic.net/2022/06/05/regulatory-capture/

Once you've captured your regulators, you can aim them at your competitors. A monopoly-friendly policy environment has transformed IP law into a bully's charter, allowing powerful companies to strangle would-be competitors who dare to offer their customers tools to shield themselves from enshittification, like scrapers, ad-blockers and alternative clients. Big companies can crank the enshittification knob all the way over and know that smaller rivals knobs won't turn at all:

https://pluralistic.net/2022/10/20/benevolent-dictators/#felony-contempt-of-business-model

At one point, bosses faced one more constraint on knob-twiddling: their workforce. Many tech workers genuinely cared about their users' welfare, something bosses encouraged as a sneaky trick to get techies to put in long hours without exercising their leverage by quitting rather than destroying their lives to meet arbitrary deadlines. These workers would fearlessly slap their bosses' hands when they reached for the enshittification knob, threatening to quit rather than allowing the products they'd given so much for to be enshittified. Today, after hundreds of thousands of tech layoffs, tech workers are far less like to challenge their bosses' right to twiddle, and far more likely to get fired if they try:

https://pluralistic.net/2023/09/10/the-proletarianization-of-tech-workers/

All this means that tech bosses don't have to change their approach at all, and yet, their services will grow steadily worse. The boss who twiddles the enshittification knob in exactly the same way as he did a year or a decade ago will find it turning much further, because his customers are locked into his platform, his regulators won't protect them, the same regulators will stop his competitors' attempts at countertwiddling, and his workers fear losing their jobs too much to speak up for their users.

That's the contagion that produced the enshittocene: the forces that constrained companies (competition, regulation, self-help and labor – all melted away, allowing every company's MBA-poisoned knob-twiddling leaders to shamelessly caress their knobs with every hour that God sends:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

Which is why people want to leave platforms. When a platform loses its users, those users have weighed the switching costs against the pain of staying and decided that it's better to bear those costs than to stay.

So why have Tiktok's younger users found the costs too high to bear, and why have their elders remained stuck to the platform?

For that, we have to look at the unique characteristics of young people – characteristics that transcend the lazy cliche that kids are easily bored, fickle novelty-seekers who hop from one service to another with unquenchable restlessness.

Whether or not kids are novelty-seekers, they are, fundamentally, a disfavored minority. They want to do things that the platforms don't want them to do – like converse without being overheard by authority figures, including their parents and their schools (also: cops and future employers, though kids may not be thinking about them as much).

In other words, kids pay intrinsically lower switching costs than adults, because a platform will always do less for them than it will for grownups. This is a characteristic kids share with other supposedly technophilic, novelty-seeking "early adopters," from sex-workers to terrorists, from sexual minorities to trolls, from political dissidents to fascists. For those groups, the cost of mastering a new technology and assembling a community around it is always more likely to be worth bearing than it would be for people who are well-served by existing tools:

https://pluralistic.net/2022/06/21/early-adopters/#sex-tech

Pornographers didn't jump on home video because of its superiority as a medium for capturing flesh-tones. Home video was a good porn medium because it was easier to discreetly get into the hands of porn consumers, who could, in turn, discreetly view it. The audience for porn in the privacy of your living room is larger than the audience for porn that you can only watch if you're willing to be seen marching into a dirty movie theater.

Every new technology is popularized by a mix of disfavored groups and neophiles, who normalize and refine it – and yes, infuse it with their countercultural coolth – until it becomes easy enough to use to become mainstream. As more normies drift into the new system, the switching costs associated with leaving the old system declines. It gets easier and easier to find the people and services you want in the new realm, and harder and harder to find them in the old one.

This is why tech platforms have historically experienced sudden collapse: the platform that gets more valuable and harder to leave as it accumulates users gets less valuable and easier to leave as users depart:

https://www.zephoria.org/thoughts/archives/2022/12/05/what-if-failure-is-the-plan.html

If you're a Gen Z kid on Tiktok, you experience the same enshittification as your Millennial elders. But you also experience an additional cost to staying: as late-arriving adult authority figures become more fluent in the platform, they are more able to observe your use of it, and punish you for conduct that you used to get away with.

And if you're a Millennial who isn't leaving Tiktok, it's not just that you experience the same enshittification as those departing Gen Z kids – you also face higher switching costs if you go. The older you get, the more complex your social connections grow. A Gen Z kid in middle school doesn't have to worry about losing touch with their high-school buddies if they switch platforms (they haven't gone to high school yet – and they see their middle school friends in person all the time, giving them a side-channel to share information about who's leaving Tiktok and where they're headed to next). Middle-schoolers don't have to worry about coordinating little league car-pools or losing access to a rare disease support group.

In other words: younger people leave old platforms earlier because they have more to gain by leaving; and older people leave old platforms later because they have more to lose by leaving.

This is why Facebook is filled with Boomers. Yes, their kids bolted for the exits to avoid having their parents (or grandparents) wading into their sexual, social and professional lives. But the reason the Boomers were late joining younger users' Facebook exodus – or the reason they never joined it – is that they stand to lose more by going. Facebook deliberately cultivated this dynamic, for example, by creating a photo hosting service designed to entice users into uploading their family photos while disguising how hard it would be to take those photos with them if they left:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

The irony here is that tech has intrinsically low switching costs. All other things being equal, a new platform can always build a bridge to ease the passage of users from the old one. There's no (technical) reason that moving to Mastodon, or Bluesky, or any other platform should mean cutting ties with the people who stayed behind.

A combination of voluntary interoperability (where old platforms offer APIs to allow new services to connect with them), mandatory interop (where governments force tech companies to offer APIs) and adversarial interop (where new companies hack together their own API with reverse-engineering, scraping, bots, and other guerrilla tactics) would hypothetically allow users to hop between networks as easily as you change phone carriers:

https://pluralistic.net/2022/12/19/better-failure/#let-my-tweeters-go

Tech platforms tend to offer APIs when they're getting started (to ease the inward passage of new users) then shut them down after they attain dominance (locking the door behind those users). The EU is tinkering with mandatory APIs through the Digital Markets Act (though bafflingly, they're starting with encrypted messaging rather than social media). Restoring adversarial interoperability will require extensive legal reform, which is getting started through Right to Repair laws:

https://www.techdirt.com/2024/03/13/oregon-passes-right-to-repair-law-apple-lobbied-to-kill/

The people who are stranded on social media platforms shouldn't be mistaken for uncool, aging technophobes. They're not stubborn, they're stranded. Like the elders who can't afford to leave a dying town after the factory shuts down and the young people move away, these people are locked in. They need help evacuating – a place to go and a path to get there.

Name your price for 18 of my DRM-free ebooks and support the Electronic Frontier Foundation with the Humble Cory Doctorow Bundle.

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/2024/03/21/involuntary-die-hards/#evacuate-the-platformsr

[fuckyeahgoodomens]

The Radio Times magazine from the 29 July-04 August 2023 :)

THE SECOND COMING

How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?

For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.

This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.

Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.

Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).

It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.

A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.

There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.

In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.

"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."

Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.

Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."

He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.

And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.

After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."

While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS

DIVINE DUO

An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise

Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."

Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.

It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."

Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.

Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?

David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!

Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.

There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.

David: Nothing's explicit.

Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.

There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?

David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.

Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?

Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.

David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?

David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.

Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!

David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"

How do you feel about your US peers going on strike?

David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.

Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible

Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?

David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!

Michael: I don't think we were thinking beyond three, were we?

So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?

David: Oh, never say never, will we?

Michael: And it's more Hinge and Bracket.

David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN

[yandere-kokeshi]

Can i request platonic yandere 141 x darling who has a speech impediment? When they go out and the waiter asks him what he wants he gets nervous and struggles, often goes mute etc. How would they feel if the darling asks them to talk for him?

Warnings: yandere behavior, feat of being made fun of, and Platonic fluffiness — NOTHING ROMANTIC

A/N: Even though you requested for male, there are no pronouns stated; hope you can still enjoy this <3. I had fun writing this!

To start, they don’t bat an eye nor care that you have a speech impediment. It’s just another thing to you, the same with scars or appearance. Of course, they do know that snide comments are expected, especially in public, but they’ve shown many times to be all respectful, and not having an ounce of frustration when it comes down to you.

With words and pronunciation, they know how difficult it can be. 

This said, whenever you are talking about something, and get stuck on a word — their eyes flicker at you, before one of them will give you a synonym that’s easier for you to pronounce. Letting you continue on with a second-thought. 

With their own ways of showing affection, it’s the same with helping you. Simon and Kyle are often the ones that try to let you do things on your own, but also step in if needed. As for Simon, he’s quieter when helping you, especially if you’re having trouble. A rough hand will grab yours, and he’ll avoid your gaze with silence, only giving you a small nudge to resume your story. Now, starting with another letter or giving yourself a short break to try once more. 

Gaz is more gentle, looking at you before guessing the word or filling it in with a description of the word; laughing when you nod frankly at his finishing. He also helps you through pronunciation, spelling it out with baby steps, and ensuring that you don’t feel embarrassed or bad for going slow. Everyone learns at their own pace, and their own way. 

As for Price and Johnny, both of them can be quite overbearing. They like to take advantage of you asking for help, which makes them talk through every interaction in public. 

Price is more prominent to jump in, spewing out what you were going to say — before looking at you with a questioning look when he notices that it annoys you. When you try to talk to him about it, he gently waves it off, saying that: “I was helping ya’ kiddo, no need to be embarrassed for asking for it. We know you like the back of my hand, yeah?” 

With Johnny, he has a tendency of guessing your words, spewing them out like a machine gun; which only frustrates you more. Towards the end, he gets it right. But it doesn’t mean it is incredibly annoying. 

When eating out all together, especially at a place that can be busy, all of them take patience really seriously; they know how mean people can be. So when eating at a restaurant, they let you talk until they read you can’t do it anymore; Soap actively making jokes to the waiter to ensure they’ll wait. 

But, when it comes down to the waiter, who's only giving you the ‘eye look’, or simply being impatient. Price or the others will step in and finish it for you, looking at you with a nod and a gentle smile.

Masterlist || Please consider reblogging and commenting instead of liking. It helps me as a creator!! Stay well!!

© yandere-kokeshi 2023 — Do not copy, modify, edit, repost, or use my works for ASMR readings, tiktoks, or other content.

[lovelypham]

☁️ ──── in which enha's hyung line are forced to reveal their relationship with their idol s/o after rumors spread about the two of them °

ღ⋆｡pairing. enha's hyung line(seperate)x fem!idol!reader

warnings!:fluff, dating rumors(obv)

*:･ﾟ✧*:･ﾟlee heeseung x le sserafim 6th member

read the maknae line ver here

ღ It was revealed that Enhypen, as well as other rising kpop groups were going to perform at MAMA 2023 and one of them was Le sserafim,which is the group you had the chance of debuting in

ღ you had already told heeseung about your upcoming performance at MAMA and gave him a huge spoiler about the killer dance break

ღ But in typical heeseung fashion, he was still surprised when he saw your captivating performance of your latest songs and couldn't help but send love struck eyes your way

ღ poor heeseung was too busy admiring the way you professionally switched between different dance moves, and the way you'd wink at the camera when it was your part,to notice that the camera was sneakily recording his reaction

ღ and enhypen being enhypen they decided to not alarm their eldest member and leave him to deal with dating rumors the next day.

ღ but when heeseung heard the sudden loud screams of fans he quickly looked at the big screen and saw his face on there which he quickly covered up with a tight smile and a wave

ღ After your guys' performance was done you and the other enha members clowned him for his actions towards you and how you had him "wrapped around your finger" which he denied and said he had you that way

ღ The following day korea woke up to the news of le sserafim's 6th member and enhypen's eldest member dating.

*:･ﾟ✧*:･ﾟpark jongseong X newjeans 6th member

˚✧ it was known that idols from the same company always did dance challenges together whenever their groups had a new comeback

˚✧ and that was the case with you and jay

˚✧ HYBE decided to pair you with enhypen's jay who was also your dear bf in order to do a dance challenge for your newest group comeback "super shy"

˚✧ and because both you,being form NewJeans and jay,being from enhypen did a dance challenge together it obviously shook both engenes and bunnies and actually most kpop fans

˚✧ but in reality what made the short dance clip so popular is because of the heart eyes you and jay kept doing at each other in the bts video and the shy glances you'd send each other while teaching him the choreography.

˚✧ after filming the tiktok video it blew up because of the many comments suggesting you guys had something going on underneath the idol facade you both put on

˚✧ and you know what they were right because not even 2 weeks later HYBE confirmed the raging news of their two idols dating

*:･ﾟ✧*:･ﾟPark sunghoon X Ive's 7th member

˚✧ it was known that sunghoon from enhypen and wonyoung from ive were mc partners together

˚✧ and while many fans thought they looked good together because of their icy visuals it just wasn't the case

˚✧ When wonyoung had an overseas schedule in the US for a photoshoot you had to be the substitute mc for her alongside your boyfriend sunghoon

˚✧ fans noticed the fascinating chemistry between you guys and noticed how it was even better than that of sunghoon and wonyoung

˚✧ which lead to some investigation and what they turned out with is that you and sunghoon must have been friends for you guys to be so comfortable with each other

˚✧ but when they noticed the long lasting eye contact and the close approximity you guys had

˚✧ they knew you guys had to be way more than friends which lead to the fast spread of dating rumors surrounding two rising stars from two different companies

˚✧ the dating rumors got so bad that both HYBE and Starship had to reply to the rumors by confirming their artist's relationship with another idol

˚✧ and what both of you didn't expect was the immense amount of support you got from both engenes and dives

*:･ﾟ✧*:･ﾟsim jaeyun x æspa's 5th member

ღ after recent dating rumors sparked around the internet of heeseung and karina,SM ent decided to pair you with yet another member of enhypen to film the new dance challenges of both your groups

ღ and while your companies knew that you and jake were dating, the news was yet to be revealed to the fans

ღ while jake was busy admiring the way you had quickly learned the choreography to his new group comeback 'sweet venom' fans quickly took notice of his lingering stares

ღ fans even noted the way you'd laugh about anything he said like you had known him for a long time

ღ and they thought that you guys fit together perfectly

ღ So Mys and engenes made it their mission to see any possible signs that show that the two of you are dating

ღ and they didn't need to look much as the hints were hidden in plain sight , in which fans quickly noticed you and Jake's shared spotify playlist as you guys had the exact same playlist playing on a weverse live

ღ as well as the countless matching necklaces and rings he got you from prada

ღ while this was enough evidence fans thought that it might just be a coincidence as you guys were famous idols and always wore luxurious jewelry

ღ but what wasn't a coincidence was the picture you accidentally posted on your personal Instagram account,that showed you and jake laying in bed with him petting your hair and you laying on his chest

ღ even though the picture was kinda blurry and was deleted in the matter of nanoseconds some fans manged to screenshot the picture of their favorite idols in a comforting state

ღ after two days of fans demanding for an answer from both companies,SM and HYBE quickly released a statement confirming their artist's relationship and hoping that fans will be acceptable and respectful as they chose to keep their relationship private just not secretive.

(A/N: I'm sorry this was so trashy lol😭😭 it's my first time ever writing something like this so excuse me😗

ps.if you have any constructive criticism you can give me it'll be appreciated just don't hate as this is all pure fiction and for entertainment purposes only 🌼)

dia asked me to tag her when i post this so @enmi-land here you go💓💓

˚✧

[maplewoodstreet]

CONTENT WARNING: police, violence

Some Stop Cop City TikToks caught my attention

and got me interested in learning more about Cop City. I thought I would share some of the information I found.

from Police Foundations. These are not necessarily corporations that donated to Cop City, but they are to show that donating to police is something corporations regularly do.

Cop City is another name for the Atlanta Public Safety Training Center in Atlanta, Georgia.

Funded with $90,000,000 in taxes and donations.

Largest police training facility in the United States.

Located in the densest black populated area in Georgia.

Cop City is being built in one of Atlanta’s last forests.

Stop Cop City protester and environmentalist activist Manuel Esteban Paez Terán was shot “12 or 13” times by a police officer despite Terán not firing at the police. The cop did not face charges because the killing was “objectively reasonable under the circumstances of this case”.

Georgia Attorney General Chris Carr described Defend Atlanta Forest as “an anarchist, anti-police, and anti-business extremist organization” and 61 activists have been charged with domestic terrorism.

The Israel Defense Force (IDF) directly shares strategies with the Georgia International Law Enforcement Exchange (GILEE). “The Atlanta Police Department and Fulton County SWAT teams had conducted training exercises in an abandoned hotel to remove “Hamas terrorists’.”

Corporations like Dunkin Donuts parent corporation Inspire Brands, Coca-Cola, Chic-Fil-A, Bank of America, UPS, Norfolk Southern, and more help fund Cop City with multimillion-dollar donations. Coca-Cola, UPS, Chic-Fil-A, and more made statements during the murder of George Floyd with things like “…end the cycle of systemic racism”, “creating social impact, advancing diversity, equity, and inclusion”, and “building stronger communities.” Corporations often donate to police foundations.

Articles sourced:

https://prismreports.org/2023/11/14/stop-cop-city-gilee-palestinian-genocide/

https://www.forbes.com/sites/morgansimon/2023/03/14/cops-and-donuts-go-together-more-than-you-thought-the-corporations-funding-cop-city-in-atlanta/ 

I’m not a professional or even a hobbyist journalist, so if I have wrong information here, please let me know.