#Virtual Company License

[shuraabusinesssetupindia]

How to get a Virtual Company License in Dubai?

In order to start the company in Dubai virtually, you would need to apply for a virtual company license in Dubai. This way as an investor you will be able to set up a business and operate it virtually without having the need for relocation to the country. A virtual company license in Dubai will allow investors to carry out various activities such as submitting and signing documents electronically and the same will be legal within Dubai.

[dduane]

Every person [surveyed] said they worry about losing access to films – a not irrational fear. Cillian Murphy just won the Oscar for best actor for Oppenheimer, but the movie that made him a star, 2002’s critically lauded and commercially successful 28 Days Later, is virtually impossible to stream. It’s also out of print on disc, with used copies fetching $60 or $70 on eBay. It’s partly for this reason that the actor Timothy Simons, best known as Jonah on Veep, prefers physical films. There’s a notion that, “you know, ‘Everything’s available on streaming,’” he told me. “Well, it kind of isn’t. And the thing that is available on streaming could just not be tomorrow, if two companies you don’t care about get in a fight about licensing.”

[weirdmarioenemies]

Name: Mino

Debut: Tetris

Tetris is all about blocks! You know that! Did you know that those blocks are called Tetriminos? Maybe you did! Geometrically, they are tetrominoes, shapes formed from four squares connected at the edges. "Tetrimino" is the official spelling of the ones used in Tetris specifically, which is a little confusing, but it's ok. Don't worry about it unless you are making your own game about tetrominoes! If you do that, be careful.

But what about the little blocks that make up the Tetrimino? These are geometrically called monominoes, but in Tetris, they are simply Minos! Humble little things. The game is named after Four, so what place does a measly One have?

If you ask me, they have all the place, because they are all over the place! There are no Tetriminos without Minos. Together, Minos are powerful, some of the most iconic and recognizable shape clusters in the world! Even in the form of a plush, The Tetris Company almost ALWAYS ensures that the individual Minos are visible. It is a part of the Tetriminos' designs at this point! The only exception I can think of is in situations unable to use their distinct colors, where other design factors are used to distinguish each. In this case, all but the I Tetrimino have their Minos visible, while I is just a solid color. Come on now, I. The most universally beloved Tetrimino, and you can't show some appreciation for the little guys who made you who you are? Sheesh!

While yes, Minos are a bit overlooked, they do indeed get the spotlight every once in a while! In game modes with items, you can expect that there will be one that turns all of your pieces into Minos, allowing you to instantly fill in gaps wherever you like. They are not particularly powerful, only able to clear one line at a time, but they ARE very convenient and easy to use!

Tetris Friends, my dearly beloved and departed Tetris Friends, uses Minos as the base for most of its avatars! I have already talked about these specifically, but I just want to point out these VERY default ones, each a piece of one of the classic Tetriminos, based on color... until the end, where we get what appears to be a Domesticated Mammal Mino! What are the implications of this? Have members of an intelligent species selectively bred the most docile of Minos together? Do Minos reproduce? Am I way off the mark, and is this Mino actually made of cookies and cream ice cream?

Finally, the reason I've been thinking of Minos in the first place! Here is a photo of the Tetris board game, with a single gray square in the Matrix. That's right! A Mino! In my opinion, this game is the most special Minos have ever felt. In this version, Tetriminos are dropped straight down into columns in the Matrix, and so they aren't as maneuverable as virtual ones. They can't be rotated while falling, and can't be slid into place to fill in any little notches.

This is where Minos come in! They are a sort of compensation for the lack of extra control, and can be placed to fill in extra space before dropping a Tetrimino. This is especially useful if you start with a Z or S block, since in this game, dropping one on a flat surface would leave a space no matter what! With a Mino, you can make a nice little ledge for your block to land neatly on.

This game's use of Minos really stood out to me! They're a major gameplay mechanic, they are explicitly named in the instruction manual, and, most importantly, they get their own PIECES. Physical, officially licensed, single Mino objects! They even get their very own color! A humble gray, not flashy like the rest, but distinct among all the others, and practical. A gray not to indicate a lack of interesting qualities, but instead, great potential!

There is no "official art" for Mino, so I just made the post's top image by editing some official Tetrimino art. Also, I have distinct memory of SOME official Tetris game, possibly Tetris Friends, referring to them as Tetrimonos. Does anyone else remember this? Please tell me if you do!

With that, we have reached the end of this post. But this is not the end of my fascination with Minos. In a way, it's only the beginning. In my Mino research, I have discovered some truly incredible things. Look forward to reading about them next week in Minos post part 2!

[mostlysignssomeportents]

They're handing out patents for "inventions" that don't exist

Today (Oct 16) I'm in Minneapolis, keynoting the 26th ACM Conference On Computer-Supported Cooperative Work and Social Computing. Thursday (Oct 19), I'm in Charleston, WV to give the 41st annual McCreight Lecture in the Humanities. And on Friday (Oct 20), I'm at Charleston's Taylor Books from 12h-14h.

Patent trolls produce nothing except lawsuits. Unlike real capitalist enterprises, a patent troll does not “practice” the art in its patent portfolio — it seeks out productive enterprises that are making things that real people use, and then uses legal threats to extract rents from them.

One of the most prolific patent trolls of the twenty-first century is Landmark Technology, whose U.S. Patent №7,010,508 nominally covers virtually anything you might do in the course of operating an online business: having a homepage, letting a customer login to your site, or having pages where customers can view and order products.

Landmark shook down more than a thousand productive businesses for $65,000 license-fees it demanded on threat of a patent lawsuit.

But that reign of terror is almost certainly over. When Landmark tried to get $65,000 out of Binders.com, the victim’s owner, NAPCO, went to court to invalidate Landmark’s patent, which never should have issued.

A North Carolina court agreed, and killed Landmark’s patent. Landmark faces further punishments in Washington State, where the attorney general has sued the company for violating state consumer protection laws in a case that has been removed to federal court.

Landmark’s patent contains “means-plus-function” claims. These a rentier’s superweapon, in which a patent can lay a claim over an invention without inventing or describing it. These claims are almost entirely used in software patents, something that has been blessed by the Federal Circuit, America’s most authoritative patent court.

A means-plus-function patent lets an “inventor” patent something they don’t know how to do. If these patents applied to pharma, a company could get a patent on “an arrangement of atoms that cure cancer,” without specifying that arrangement of atoms. Anyone who actually did cure cancer would have to pay rent to the patent-holder.

-A Major Defeat For Technofeudalism: We euthanized some rentiers.

My next novel is The Lost Cause, a hopeful novel of the climate emergency. Amazon won't sell the audiobook, so I made my own and I'm pre-selling it on Kickstarter!

[genericpuff]

completely off topic but regarding something that i saw pop up in my FB feed and i need to rant about

please do not fall for this shit

nintendo is NOT anti-AI.

it's really easy for them to say they're not going to use generative AI to create their games, because this statement has nothing to do with the very real issues with AI art such as the blatant theft of artists' work, environmental impact, replacement of humans in the industry, and just flat out unethical shit that AI has been designed around

it has EVERYTHING to do with their intellectual property rights, which Nintendo is NOTORIOUS for protecting with an iron fist even at their own expense. and i'm not talking the usual sensible argument shit like "ofc Nintendo wants to protect their IP's, they're a business!" i'm talking about the fact that this is the same company that just recently did a major takedown of the vast majority of Nintendo-licensed games on Vimm's Lair which aren't even being sold legitimately anywhere anymore-

i have so many fucking bones to pick with the flaccid bootlicking anti-piracy arguments out there but basically it comes down to this:

Nintendo is not a small indie company. They are literally one of the biggest, richest, most powerful gaming companies on the planet, rivalling Disney in just how many major franchises they own and profit off of. Many of their games are cultural classics, not just through the sentimentality and nostalgia of our childhoods, but also for all the innovations they made through games like Super Mario Bros, Super Mario 64, The Legend of Zelda: Ocarina of Time, and many others that we, within the world of gaming, owe a lot to and should be able to access and play. It's not a matter of "wanting these games for free", it's a matter of wanting to be able to access these games, period, and Nintendo is deadset on making it as difficult as possible, even when it doesn't necessarily profit from them (need I remind you that many of the games that were taken down from Vimm's Lair are NOT available through their shitty, poorly-ported emulation subscription service - plus that subscription service can be altered and/or removed at any time, regardless of what you paid for, just like the Wii Virtual Console was, meaning you do not own any of the games you're paying to play on there.)

This isn't about being "cheap" or "not wanting to pay for games". This is about media preservation and the virtue of actually owning the things we pay for. If these games were resold at official outlets for reduced prices or made more accessible through e-shops that don't close down in between console generations or drip feed the odd legacy title every few months or release crappy ports on their outdated af tech for only a few months at a time for three times the price of their original value, people would gladly pay. It's the fact that people are having to put up with all of the hoops that Nintendo has put in place to prevent them from even handing them money to play their favorite titles that even drives them to piracy to begin with, and Nintendo will gladly shut those sites down to protect their IP even when it's an IP they're no longer profiting from and aren't making active efforts to sell.

Like, I would gladly hand over a reasonable amount of money (i.e. not the cost of a brand new triple A title in 2024 which is like $80-$100 here in Canada) for Diddy Kong Racing on the Switch, but ofc it's not on the fucking online play store and even if it was, I'd have to deal with paying an overpriced subscription fee for a port of the game that would undoubtedly run WORSE than it does on my PC, and that subscription service can be taken down at any time. But Nintendo wants me to not pirate the game that's not available on their shitty subscription service because... just don't do it, pretty please??

Nintendo is not anti-AI. They would gladly use AI in place of manual labor to scour the internet and dish out DMCA's to every emulation site, archived ROM hub, fan game, and artist alley creator if they could... oh wait, they already are.

Do not fall for the virtues of anti-AI when it comes to companies like Nintendo. They are not anti-AI. They're anti-ownership. They're anti-preservation.

[utilitycaster]

OGL misconceptions

Since I am still seeing a lot of misinformation out there, I figured I'd do a fact check post. Note that I do not personally have a copy of the leaked draft; some resources are given at the end of the post. See also the 2000 OGL v1.0a here. This is noncomprehensive, is only touching on some of the things I've seen most commonly in the tags [sidebar: the only tag I check regularly is the Critical Role tag, and much of what I've seen on Tumblr is coming from people spamming that tag for general D&D content that only tangentially mentions CR, so...stop doing that.] Finally, this is based on what is a draft, and there are quite possibly going to be updates to the final document. I would also assume that the January 13th effective date will be changed based on the release date of the finalized OGL.

Free fan content is not affected. That is covered by the Fan Content Policy. Your personal homebrew or the weird-ass build you saw on Reddit or the item you saw in a post last week are all fine.

Actual play shows should be largely unaffected, and only merchandise containing WoTC IP would be. (NOTE: original posting of this post had a typo of "affected" for "unaffected"; check your reblogs) Shows like Critical Role, NADDPod, and D20 all use homebrew settings, so that's also unaffected (as is any Exandrian content that was published in the Explorer's Guide and Call of the Netherdeep; that is CR's IP that WoTC has license to use). A show might be affected if they've set the game in a WoTC licensed setting or with a WoTC module (eg: Eberron, Ravenloft), but most of the shows that do that are put out by WoTC anyway. Critical Role and TAZ have, notably, already avoided using copyrighted terms for deities, races, etc. in published non-WoTC works (this is why Melora is exclusively the Wildmother in the Tal'Dorei guides, because "Melora" is WoTC IP, but the idea of a nature goddess is obviously not; this is also why Cree in the Nine Eyes is referred to as catfolk and not a tabaxi, or why Phandalin's name in the TAZ graphic novels is changed to Haverdale). The only reason why a show might need to switch game systems would be if they use a system that is not D&D but is based on D&D's SRD and which will be subject to the OGL changes. Most Pathfinder shows I'm aware of use the Pathfinder SRD (ie, free), and SW5e as used in Starstruck Odyssey is also free. This also only affects the future of those shows.

VTTs (Virtual Tabletop Tools) may be affected, but most of their core features aren't. Battle maps and virtual dice rollers are not WoTC IP. Incorporating the mechanics of D&D into the VTT is, but that would mean actively having a character sheet or monster statblock available within the VTT. You could still just have a dice roller that prompts you for a modifier (which is how I always personally used Foundry). D&D Beyond will not be affected, since it is owned by WoTC. Additionally, many VTTs already have existing agreements specifically with WoTC that will take precedence over the OGL, which is a catch-all for companies that do not have specific licensing agreements. See the WoTC/D&D Beyond blog post here.

Only creators making over $750,000 specifically on material licensed under the OGL will be subject to royalties, and only on income in excess of $750,000. This means that if you put something up on DMs Guild and make $500, you are fine and owe nothing. If you make $749,999, you owe nothing. If you make $750,100, you owe the 25% royalty only on the $100 you are making above $750,000. WoTC predicts under two dozen companies will actually be affected by this at this time; they are all fairly big names within the D&D content arena such as Paizo, Darrington Press (CR's imprint), Hit Point Press, Green Ronin, Kobold Press, etc. Royalties also are said to begin in 2024, so companies have a year to decide what to do.

Now for the editorializing part:

Paizo is specifically in the crosshairs and anyone telling you to switch to it is either misinformed at best, or does not have your best interests at heart. Paizo is the main target here. The others are publishing material that serve as supplements to the core WoTC products, but do not replace them. For example: if you have either of the Tal'Dorei Campaign Setting books, you will note that they do not have stats for the races mentioned, nor the core class information. If you want to play a Cobalt Soul Monk, you still need the PHB in addition to the Tal'Dorei setting books. On some level, this is almost certainly due to Paizo being like "look! we're like D&D but we're not! switch to us!" And, understandably, WoTC is saying "hey, you took our SRD game engine and are now our largest competitor", which is also almost certainly why this is overriding the OGL 1.0a under which Pathfinder was originally created. I am not saying not to switch to a different TTRPG if you want to! You should always feel free to switch to a different TTRPG if D&D is not meeting your needs! I am saying that Pathfinder is probably your absolute worst bet in terms of things likely to be affected by the OGL, and anyone telling you to switch to it is telling you to jump from an ocean liner into a slightly smaller ship heading straight for a waterfall solely because the ocean liner stopped serving bottomless brunch.

People throwing this to actual play shows do not know what they are talking about and are just trying to start shit. Self-explanatory; why should Dimension 20 or whatever put out a statement on an unofficial leaked draft that minimally affects them.

Bad faith is common and everpresent. As discussed extensively on this blog in scattered bitchy shitposts, there are a lot of people who hate D&D/WoTC, or Critical Role, or other popular actual play shows. Sometimes their reasons are valid and sometimes their reasons are stupid. It doesn't really matter though; what matters is that their minds are made up and they will be telling you to switch game systems/stop listening or watching pretty much regardless of what the companies do. If you want to switch or stop listening, that's fine! But, as mentioned, I remember a few months ago someone arguing that you should switch from D&D because they were obviously going to start licensing NFTs for profitability reasons, and now the OGL specifically prohibits that. There's a lot being pulled out of thin air to make spurious arguments. In general, it is helpful to ask yourself "is this person recommending a game because they genuinely believe it will improve my life and better fit my individual tastes and needs? Or are they just being a dick about D&D or this specific actual play show and don't give a shit about my happiness, just as long as I'm not playing the game/watching the show that they, an internet stranger with bad vibes to boot, do not personally like."

YouTubers are trying to get views, and that is usually their primary goal. Also self-explanatory. If you're trusting the same people who decided that Silvery Barbs would ruin D&D which had also already been ruined by the chronomancy class, the fact that some sorcerers get more spells than other sorcerers, the fact that healing word exists... to tell you that this has ruined D&D? I don't think I can help you.

Several of the things people are freaking out about are either standard boilerplate now, or were in the original OGL. OGL 1.0a reserves the right to terminate the license with 30 days notice as well (item 13); stating that material you make via an open license can be used freely by the owner of that IP is fairly standard legal practice.

Sources:

OGL v1.0a

WOTC Fan Content Policy

Gizmodo/io9 coverage

D&D Beyond/OneD&D blog post

Screenrant coverage

[race-week]

FOM, The FIA and Liberty Media

What are they? Who is part of them? Do I have to know the difference?

I mean, it might help…

Let’s start with Liberty Media, it is an American mass media company.

Formula One Group (FOG) is a subsidiary of Liberty Media. The President and CEO of FOG is Stefano Domenicali. FOG has a few subsidiaries of its own, but we only need to be concerned with one

Formula One Management (FOM) is the main operating company of the group, and controls the broadcasting, organisation and promotional rights of Formula One. The season calendar for the championship is structured by FOM

The FIA (or Fédération Internationale de l'Automobile) It is the governing body for many auto racing events, including Formula One. The FIA is responsible for regulating competition, whether that be issuing licences and permits to drivers and teams or establishing safety regulations. The current FIA President is Mohammed Ben Sulayem.

The Race Director has the 'overriding authority' in a number of areas during a grand prix weekend, working with the clerk of the course to give out orders. The race director controls practice, qualifying and the race, making sure that the timetable is followed properly. If necessary, the race director can propose changes to the timetable; for example, if heavy rain delays a session. He decides if red flags are brought out, he deploys the safety car and the virtual safety car, and instructs lapped cars to overtake, among other responsibilities

The job of the Stewards is to rule on racing incidents and apply penalties for breaches of the sporting code and technical regulations if they have been reported to them by officials or delegates. Their job is to apply the FIA Sporting or Technical Regulations, they can’t penalise something that’s not mentioned in the regulations.

Things FOM/Liberty Media control: Circuit contracts/fees, calendar layout, TV broadcast deals

Things that the FIA control: Circuit licensing, driver superlicenses, sporting regulations.

[onceuponatown]

The Loomis Radio School, Washington D.C. ca. 1921.

The school was located at 401 Ninth St. N.W. and operated with the call letters 3YA. By 1920 it was offering a six month course enabling the graduate to obtain a first grade commercial radio license and by January of 1922 was offering a four year course with a degree in Radio Engineering bestowed on graduates.

The school was founded by Mary Texanna Loomis, pictured in the last photo.

Born August 18, 1880 near Goliad, Texas. She was the second child born to Alvin Isaac and Caroline (Dryer) Loomis. Though born on homestead in Texas in 1880, by 1883 her parents had returned to Rochester NY and then on to Buffalo where Alvin became president of a large delivery and storage company. Little is known of her early years, but appears she had a fairly middle-class up bringing. She seemed well schooled, with an early interest in music and language (she mastered French, German and Italian) Her early years were spent in Buffalo, NY and she later relocated to Virginia. 

During the early years of World War I, she became interested in the new field of wireless telegraphy. There was a family precedent; her cousin, Dr. Mahlon Loomis, had conducted early wireless experiments with moderate success and may in fact have been the first person, in 1865, to send and receive wireless signals. 

Mary soon became proficient enough in wireless telegraphy to be granted a license by the United States Department of Commerce. Thoroughly fascinated with the field now called “radio”, she decided to turn her expertise into a career. Also, she wanted to do something that would honor her pioneering ancestor. Her idea was to do this by founding a radio school. 

Though radio was indeed, for many years, a profession dominated by men, Mary Loomis around age 40 took no notice and in 1920 founded the Loomis Radio School in Washington, D.C. and it quickly gained an excellent reputation. Ms. Loomis set high standards for the school and it attracted students not only from the United States but Europe and Asia as well. Loomis enjoyed teaching as much as she enjoyed radio itself. In an interview, she said, “Really, I am so infatuated with my work that I delight in spending from 12 to 15 hours a day at it. My whole heart and soul are in this radio school.” 

As president and Lecturer of the Loomis Radio School, Mary authored a definitive book on radio, named “Radio Theory and Operating.” 

By January 1922 the school was offering a four year course with a degree in Radio Engineering bestowed on graduates. Loomis also intended that her students understand more than just the inner and outer workings of radio. In addition to a radio laboratory (with equipment constructed almost entirely by Mary herself), the school maintained a complete shop capable of teaching carpentry, drafting and basic electricity. She reasoned that many of her graduates might find themselves at sea, or in other challenging situations and she wanted them adequately prepared. “No man,” Ms. Loomis said, at the time, “can graduate from my school until he learns how to make any part of the apparatus. I give him a blueprint of what I want him to do and tell him to go into the shop and keep hammering away until the job is completed.” 

The school appears to have been in existence at least through the early 1930's, but it has not been possible to find information after that.

In an interview given to H.O. Bishop of the Dearborn Independent in 1921, Mary was asked: “What sort of young men are taking up the radio profession?” to which she replied:

“The Kind who have grit and want to get there! Virtually all of them are ambitious and enthusiastic over the possibility of visiting every nook and corner of the world. My students are not only enrolled from various sections of the USA and Canada but from many foreign countries, such as Sweden, Ireland, England, Poland, Russia, Austria, Rumania and the Philippines. One of the brightest pupils I ever had was Prince Walimuhomed of Far-away Afghanistan. He was an extremely modest young man, keeping his real identity a secret until after graduating. He said he had no idea of earning his living by working at radio, but just wanted to know all about it. He does.You have no idea how much happiness I get out of the success of each individual graduate. My boys keep in touch with me from all parts of the world. Scarcely a day goes by that I do not get some trinket or postcard from some remote section of the world. I have made the wonderful discovery that the only way for me to get happiness for myself is to make some one else happy. I find that I am making these young men happy by teaching them every phase of the radio business so that they can earn a comfortable living for themselves and their dependents and at the same time, see the great big beautiful world.

As far as we can figure out, Mary Loomis left Washington D.C. around 1935 and moved to San Francisco where she worked as a stenographer. She died in 1960 and is interred at Woodlawn Memorial Park, Colma, CA. 

Source

[dr-spencer-reids-queen]

To Hell...: Part Two

Pairing: Spencer Reid x Female!Reader

Word Count: ~1.9k

Summary: A man intentionally admits to murdering ten people he didn’t kill all because his sister is missing. The facts take you to a pig farm where a world of horror is waiting for you.

Warnings: canon violence, canon language, canon talk of death, methods of kill

Author’s Note: I do not own anything from Criminal Minds. All credit goes to their respective owners. If there are any warnings that exceed the normal death/kills from the show, I will list them. If you’ve seen the show, then it’s the same level of angst unless otherwise stated

x

Everyone heads back to the conference room to talk about the new evidence while Will stays in the interrogation room. You play the voicemail for everyone to hear.

"William, are you there? Something bad is happening. It's dark. I don't know where he's taking me--"

"After that, the signal cuts out."

"Is this the same night she left her mom's house?" Spencer asks.

"Yeah. Will called in an army favor. They triangulated the call to a cell tower in Canada just over the border in Port Huron. It explains why he crossed into your jurisdiction."

"It's also a surefire way to get the FBI involved. He knew we'd investigate an American citizen being held on multiple murder charges."

"You believe him?" Jeff asks you.

"I do." Penelope calls and you place her on speakerphone. "Go ahead, Penelope."

"I have good news and bad news. The good news is that I've got IDs on multiple border crosses for the dates in question. The trouble is, I've got hundreds, and as far as I can tell if your license doesn't ping for any prior felonies, you're pretty much gonna pass go and collect two hundred Canadian dollars."

"She's right. That's the busiest cross in North America. There's a lot of commercial traffic, trucks mostly. Stop and searches would cause too many delays."

"He's got a virtually free pass, and once he crosses, there's nothing but woods to hide whatever he's doing."

Rossi and Hotch managed to get Jeff to release William so that he's under the FBI's jurisdiction. Hotch wants him patrolling the streets like he's been doing. He has a rapport with those people, so he's the best bet in noticing if someone is missing. If something comes up, then there is a lot more manpower to deal with it than what Will's been given.

You and Spencer walk into the conference room where JJ is on the phone.

"Yes, ma'am, right now we just consider them missing. The second I get more information, I'll be in contact with you."

"How's it going?"

"The majority of the people on the street aren't even from Detroit. We don't have last names or hometowns on most of them. Unless there's a missing persons report on file somewhere, it's almost impossible."

"Most of these people's families probably gave up on seeing them long ago," Spencer sighs.

"A mother would never give up." You have to agree with JJ here. If your child went missing, you'd do anything to find them. "Can you hand me William's arrest report?"

Spencer does, and she leaves the room just in time for Penelope to call.

"Yeah, Garcia?"

"Sherlock, it's Watson. I think I've got something."

"What do you have?"

Rossi enters the room to hear what Penelope has to say.

"I checked Detroit crime reports over the last month because Derek and Emily astutely thought there might be some sort of assaults or disturbances having to do with our unsub. Well, it's tres weird but on five of the abduction nights, Detroit PD reports a break-in or a robbery at some type of medical facility."

"What type of medical facility?"

"We got a hospital, blood bank, medical supply company, and the Red Cross. He's not even stealing narcotics. The stuff he took is anesthesia, sterilizing equipment, and syringes."

"Where were these places located?"

"Putnam Street, St. Antoine, East Hancock, and Martin Luther King Boulevard."

"Those are all in the Cass Corridor."

That's where everyone seems to be disappearing from.

"Do you have a list of what else he stole?" you ask and grab a pen and paper.

"IV tubes, an infusion pump, units of O-negative blood, chest tubes, O-silk sutures, and Elastoplast."

"Thanks, Pen." Spencer hangs up. "You don't just randomly know how to hook a line up to an infusion pump, or that O-neg is the only safe blood type for any victim."

"I'll tell Hotch we think we know what he's doing with them," Spencer says.

Rossi and Jeff gather the men and women of the police force so that you can deliver the profile. Something about this doesn't make sense to you, but with all the evidence in front of you, you have no choice but to go with what everyone else is saying.

"We believe the man we're looking for is a sexual sadist. What this means is that for him, torture becomes a substitute for the sex act. The fact that he's stealing medical equipment like sterilizing agents and anesthesia tells us he may be performing experiments or surgeries on his victims," Rossi begins.

"We believe this unsub gets gratification from his ability to keep his victims alive in order to endure more torture. The choice of items stolen is extremely specific, which makes us believe he's got a medical background, so check disciplinary files at hospitals, med schools, and community health organizations. People would have noticed his behavior."

"This is someone who would volunteer to perform painful procedures," you state. "He would spend extra time probing a broken hand or a distended abdomen, and after a long day when everyone else is emotionally drained from multiple traumas and mangled bodies, he'd be the one pushing his coworkers to go out for a drink and talk about their day."

"Now, we know what you're thinking--a profile is fine, but our best shot at stopping this guy is still to catch him in the act. This unsub is extremely smart and obviously organized. He's managed to abduct very different victims with very different abilities, all with no witnesses. That's why we're coordinating with the police and our agents on the ground in Detroit."

"We've also asked Sergeant Hightower to act as a guide on the streets in Detroit while he's in our custody," Rossi says.

Everyone looks at Will who is silent at the table.

"That's it. If you have any questions, you find me or one of the agents," Jeff says to his people.

William is about to get up when he sees someone enter the station with JJ. He goes rigid like he's not expecting someone he knows to show up here.

"What's she doing here?" he asks angrily.

"We've notified all the family members we can locate."

"You have no right."

"It's her daughter," Rossi says. "She has a right to know."

William looks at the picture of his sister on the board and lets a tear roll down his cheek. If he's getting this emotional, then that can only mean the woman with JJ is his mother.

"It's one thing to believe Lee is lost on the streets, but I don't want her to know that there's a killer out there. We know how this is gonna end."

"No, we don't."

"Look, everything I have done is to find the truth so I can spare her. I don't want her living off hope."

"There are worse things," Jeff says.

"You're wrong. Bad news stops us for a while, but then you move on. Hope is paralyzing."

"He has a point," you say. "Hope in situations like this drains you of the person you are. I'd rather the bad news."

His mother stands at the doorway so that when he looks behind him, he sees the look on her face. He gets up to greet her even though he can't seem to say anything. She doesn't say anything but opens her arms for him, to which he hugs her back.

"Oh, my God," she whispers and pulls away from Will to approach the board with all the victims on it. "Are all these people missing?"

"We believe so."

"Do you have any suspects?"

"No, but we have a strategy to try to catch him. William is helping."

"My daughter... Is there any chance she could still be alive?"

"It's possible."

"Do you know what he's doing to them?"

"It's difficult to say."

JJ escorts Will's mother out of the room to sit somewhere else to answer a few questions. You, Hotch, and Will are going to join Derek and Emily down at the station in Detroit while the rest stay in Canada. You reach over to grab Spencer's hand but he quickly moves it away from you.

"Please don't touch me."

"Oh, okay."

"I mean, not my hands," he stutters.

"You don't have to explain yourself. It's okay. I'll call you if we find something."

You leave Spencer with that and head to Detroit with Will and Hotch. Spencer is still probably freaked out about what happened with the whole Anthrax situation, so you'll give him as much space and time as he needs to heal. In the meantime, you have a case to worry about. Emily and Derek meet you at the station when you arrive in Detroit.

"Thanks for believing me," Will says to you and Hotch.

"You don't have to thank us," you say.

"William, I want you to understand that even if we catch him, you're probably gonna end up doing some time in Canada."

"I can live with that."

You three get out and walk over to Derek and Emily who is with a woman.

"Detective Tay Benning, this is SSA Aaron Hotchner and SSA Y/N."

"Hi, this is William Hightower. He's gonna help us on the ground. Will, these are agents Prentiss and Morgan. We should split up and cover male and female potential victims."

We'll take the men," Derek says.

"I'll make introductions for you," Will offers.

"Stay close to your phones. If anyone's out of place, Detective Benning can get a name and a description of our patrol cars as quickly as possible."

You, Emily, and Hotch go off to talk to the women while Will, Detective Benning, and Derek talk to the men. This unsub is going to strike again with someone in this area soon whether that be tonight or tomorrow. He's stuck to a tight schedule in the past and you don't think he's going to deviate from that. Yes, it'd be much easier to approach a prostitute rather than a homeless man, so how is he doing it? The question is, why does he alternate victims in clusters of men and women? Why take the men at all if this has a sexual component to it?

The unsub sees these people as disposable, it doesn't matter if they're male or female. For a sexual sadist, male or female isn't important because the torture itself is the sex.

Unless sex has nothing to do with this.

With the photos that Will provided you with, you're able to go around and check off who is working on the street. There are only three people who have not been accounted for, and you go to Hotch once he's done with his section. Will had come back to Hotch after he made an introduction to Derek, so he is in the car with Hotch.

"We have three unaccounted for."

Hotch and Will get out of the car and approach some girls on the street with you and Emily by their sides.

"Excuse me, ladies, did you see any of these girls leave with customers?"

You show them the photos of the three girls.

"I saw Monica and Sasha leave with two men, but I don't know about Kelly."

"Do you know where they would go?"

"There's a parking lot down at Cass Park. The girls have their Johns park there."

Hotch walks away and dials Detective Benning to confirm this.

"What about Kelly? Is there a reason why you wouldn't have seen her leave?" you ask.

"I don't know. I could have been distracted."

"So, she was here before? Was there any reason she would sneak off?" Will asks.

"I don't know what she does. She's fresh meat out here."

"Okay," Hotch returns, "Detroit PD confirmed two prostitutes with Johns in the parking lot at Cass Park."

"We're short one girl."

"Did you know his sister, Lee Hightower?" you ask.

"Yeah, I knew her."

"Is there any place where she would have taken clients? Maybe somewhere the other girls wouldn't go?"

"She didn't do it normally. She'd try to get a real job but then she'd slip. Then about a month and a half ago, she said she was leaving."

"That's when I took her to my mom's," Will says.

"I haven't seen her since."

x

Follow my library blog @aqueenslibrary​​​​​​​​​​​ where I reblog all my stories, so you can put notifications on there without the extra stuff :)

[theresattrpgforthat]

This is slightly off-theme for you, but: *not* horror fantasy *adventures* by small companies, for systems with combat? (Compatibility doesn't really matter; creatures can be tweaked from existing and/or created.) Finding games has become easier than adventures, and most adventures I find are on the horror side of things (The Isle, etc.). Thanks/apologies for going off theme!

Theme: Non-Horror Fantasy Combat Adventures.

Hello there! I have less familiarity with adventures, but I follow some folks on Itch who compile some very useful collections. I noticed that in many cases these collections included dungeon crawls or system agnostic settings, so I hope you find these to be useful!

Mount Zorgoth, by Highland Paranormal Society.

Zorgoth, the Cyclops godling rules from the highest peak. His star magic keeps the world below shrouded in darkness! Can the spell be broken?

This is a one-page mountain-climbing adventure with a goofy look to it and a light-hearted tone. There is no named system for which this adventure appears to be designed for, and as a result there aren’t any stats for the monsters that show up - such as the Slug Shepard and his 2d4 spider goats. But for a one-page rpg there’s certainly a lot you can glean based off of the different locations you can go to. I think this might be a fun game to try with Brave Zenith, as tone-wise both games feel a little bit goofy.

Welcome to Candy Mountain, by cog5games.

Created centuries ago with dark magics informed by gluttony, cast by a wizard who has since lost interest, Candy Mountain stands as a blemish of sweetness protruding from an otherwise bland countryside. The inhabitants of the mountain, who were also affected by the strange enchantment, went about their daily lives. Until…

Side with the Candy Crone and summon a gargantuan Lemon Titan to crush the Sugar Queen. Or! Bow to the Sugar Queen and stop the Candy Crone from exacting her revenge. Or! Forget all that and seek out a source of pure sugar crystals for Doctor Xaraqus and complete the lens of the temporal telescope.

There are honestly a lot of Troika supplements that you would probably find interesting to flip through in your search for non-horror adventures. Troika is a science-fantasy multiversal ttrpg, so there doesn’t have to be a lot of cohesion in terms of setting details. This also means that while not every Troika supplement may work for you, there’s bound to be something out there that does! If you want to check out more troika adventures, you could also look at the Troika! Pamphlet Adventure Jam that this game was submitted to.

Flowers Beneath The Mountain, by BPB Games.

A Casual Stroll Through a Wondrous Locale. Time to Hit the Road!

Flowers Beneath the Mountain is a licensed adventure for Ryuutama. Designed as an evocative introductory adventure for new players who want to explore a region that has more magic and whimsy than the standard setting, Flowers Beneath the Mountain is a simple adventure that provides useful information to help veteran or first time Ryuujin to fill out sheets on their own.

I know Ryuutama has a reputation for being a bit on the cozier side, so I expect this adventure to be fantastic and cute, even if there are monsters for you to fight. The game also comes with tokens for you to use on a Virtual Tabletop of your choice, if you are looking for that to add to your game!

Almanac of Lost Places, by Fantastic Jean.

A mountain coveted by rival kingdoms. A city where information is not a synonym of truth. The ruins of a civilisation far from being abandoned. A valley bending reality to protect itself from exploitation.

This is a loose outline of a number of places with conflicts waiting to be expanded upon. The Almanac holds story seeds: how you describe people and places, and how your players decide to respond will determine what conflicts they find themselves in, which allies they make, and what powers they will bear witness to. There's potential for horror, but I don't think this setting is beholden to it. I’m also wondering if perhaps combining this with something like the Big List of RPG Plots would give you enough to get a story in motion.

Overdue! by seedling.

In this system-agnostic game in a fantasy world, the players are all agents of the Library, sworn to carry out its will.  In this one-shot they can become entangled in book-themed royal intrigue, outwit a dragon who has taken control of all scientific journals, save the kingdom, and, most importantly, retrieve an overdue library book.

This is a system-agnostic dungeon-like adventure that looks to be less focused on combat, but I have a feeling that if you wanted to involve some combat, you could likely change some of the encounters within the game without necessarily having to change the core premise of the adventure.

[rpgsandbox]

5th-level Banish Rumour (Abjuration). Casting time: 1 Action. Components: Verbal, Material (A single public statement).

Dungeons & Dragons is in a bizarre place right now—it's on the verge of the totally-not-a-new-edition ruleset revamp and an in-development virtual tabletop project, riding high off the back of Baldur's Gate 3. But Wizards of the Coast (WotC) has also suffered from a massive round of layoffs, and the bruises of the catastrophic OGL fiasco a year ago are still smarting.   This has laid the groundwork for a swarm of rumours regarding a potential sale to Tencent—a massive conglomerate and holding company with its fingers in dozens of different pies including Remedy Entertainment, Paradox Interactive, FromSoftware, Epic Games and (most importantly to the matter at hand) Larian Studios. Said whispers began when the Chinese news outlet Speed Daily (as translated by Pan Daily) reported that WotC parent company Hasbro was "seeking to sell its well-known IP 'Dungeons & Dragons'", citing Hasbro's "financial crisis" as a reason for the speculation. That's despite D&D being a huge earner for Hasbro, achieving record years (as per a financial report last October) for the company. 

Shucking D&D as a property entirely would be like throwing a crate of diamonds overboard to stop your ship from sinking—not something you'd do unless you were definitely about to drown. Which isn't completely out of the question. That same report noted Hasbro's total revenue was down "13-15%", and repeatedly cites a difficult situation for toys across the board. Still, I'm not sure if things are dire enough for a spontaneous bout of violin-playing. That's been confirmed in a comment provided to Dicebreaker, where Wizards of the Coast writes the following: "We regularly talk to Tencent and enjoy multiple partnerships with them across a number of our IPs. We don’t make a habit of commenting on internet rumours, but to be clear: we are not looking to sell our D&D IP. We will keep talking to partners about how we bring the best digital experiences to our fans. We won't comment any further on speculation or rumours about potential [mergers and acquisitions] or licensing deals." So there you have it: D&D isn't being sold to anyone. What's more likely is that Tencent—which owns a 30% stake in Larian Studios—might be thinking about pouring money into another D&D game. That should surprise nobody, considering the meteoric success of Baldur's Gate 3. Another licensing deal isn't just 'not out of the question', it's a plain good idea. Under any other circumstances I'm not sure any of this would've made waves in forums and headlines. But the environment surrounding D&D at the moment is, understandably, one of fear. Hasbro's layoffs included several senior members of staff. Game designers, art directors, and Liz Schuch—the company's former Head of Publishing and Licensing, who was with Wizards of the Coast for 28 whole years.  There's a bordering-on-zero percent chance something like this would actually happen, but the background radiation of 'strange times' has a lot of TTRPG fans without a fuller scope of the situation willing to buy into speculative panic, and I can't say I necessarily blame them.

[stevebattle]

Mint (model 4200) by Evolution Robotics, Pasadena, CA (2010). The Mint, as seen in the top photograph, is a cleaning robot that dusts and wet-mops hard surface floors. Functional and design prototypes of the Mint are shown in the second and third photographs. The robot uses an indoor navigation system called NorthStar, with a cube that projects four infrared dots onto the ceiling, used by the robot for positioning and orientation.

"Evolution Robotics was founded to develop the first consumer grade robot operating system. The company overcame substantial technical challenges and licensed their tech to consumer electronics companies. When the 2008 financial crisis hit virtually all products in development were cancelled by the company’s partners resulting in an 80% decline in revenues. With the capital it had left they made a “bet the company” wager and decided to take the leap and design and produce their own floor cleaning robot." – Evolution Robotics Epic Success.

"Mint automatically dusts and wet mops hard surface floors using popular cleaning cloths, such as Swiffer brand Dry and Wet Cloths and other similar products. Mint's innovations are grounded in the simple goal of making an appliance-grade product that reliably cleans consumers' floors and makes their lives easier. 'Similar to how the once manual chores of washing dishes or doing laundry evolved with the invention of the dishwasher and washing machine, floor cleaning has officially been replaced by an automated appliance that achieves the same result, if not better, than previous manual methods'" – Dr. Paolo Pirjanian (CEO of Evolution Robotics), Evolution Robotics Introduces Mint: The Evolution of Floor Cleaning.

[errorbouquet]

fun fact: officially, ci flower isn't the same character/entity as v4flower- and this has been confirmed by her companies several times now. on her official voisona character page you can find this little blurb...

...that says she's a new flower from a parallel world! so technically flower, but also ...not.

(which really isn't much of a surprise- the majority of cevios are representatives/dopplegangers of pre-existing fictional characters or virtual likenesses. for a cevio, I think ci flower might be the first to be based specifically on a vocaloid, rather than being a direct extension/continuation ala yukari and ia.)

the "what if" theme is assumedly why her design has always looked so different from vflower since the start (though I would argue that she has a lot of shared design motifs on close inspection, its just leans more to flower's V3 and talk designs than her V4). its also why she has a planetary motif/logo.

this is from an interview with her devs, source here. (its an entirely free article but it is in japanese. that last sentence should say "previous vflower designs", deepL botched that part, but the rest is accurate)

ci flower gets a lot of disdain for not being "vflower enough" but that's kinda... her entire point. she's an "au" flower so she is intended to be different. while you can intepret her however you like (use her as vflower continued or her sister or her reincarnation or her clone or whatever you want for your art lol) I feel like the general lack of understanding towards her concept/theme is why most people don't even bother to give her design, let alone her voice, a chance. vflower is still being sold and is extremely popular among producers (I do not forsee her going the way of piko anytime soon). even ci flower's official twitter has stated that she wants them both to be loved, including the differences!

its important to note that ci flower is being handled by a different company all-together, incs toenter (the same agency that supercell and honeyworks are under! incs also helped out with miku fes'24 spring and seemingly are business partners with crypton).

as for vflower's company, gynoid's current state is ??? ...what we know about them lately in regards to flower is that they apparently restructured their entire company and also fired the original development team behind her and the meikas. then, sometime after, they licensed out ci flower's rights to incs (who until this point, had never been publicly involved with ci flower's release, gynoid even wiped all their old articles about her development from their website). incs then released her... three years from initial annoucement.

I don't think its entirely unreasonable to believe that the reason ci flower is a "spin-off" is because of all the development hell her release went through. 🫠

...anyways, as a treat for reading this far, have this:

[thelaurenshippen]

okay, so, I tried to attend the virtual SAG meeting on saturday to ask some of my questions but it was literally full - I did not know that could happen virtually. but it's amazing, I love that the membership is SO galvanized.

that said, I have watched the in-person meetings for both LA and NY (both of which are, uh, 4 hours long thank god for 2x speed on youtube). the wonderful actors in attendance (including some real life pals!) asked all my questions and more. I took some notes on the SAG presentation (only the LA one - I didn't watch the NY presentation, just the Q&A) but I'm assuming it was larger the same) and the answers from the Q&A that I thought were particularly interesting.

I'm making a new post because my original post got so long, but I'm going to link this with a small summary in a reblog as well, because I think it's important to see how my thinking has shifted as I've gotten more information. (also, on that original post, I've seen some folks be like 'I'm not an actor or a sag member, but I think you should vote yes'...lovingly, please stop. share the post! share your thoughts! but please don't try to pressure a vote on a contract you have no material investment in).

anyway, let's get into it:

the presentation

nothing really revelatory here, but there were a few points that Duncan Crabtree-Ireland (the chief negotiator and a lawyer) brought up that I thought were really interesting:

if you wanted to make your own digital replica or have one made with a third party contract, you could then license that under the same consent rules as if the company did the scan. my brain immediately latched onto this because I think there is a lot of very interesting ramifications for someone making their own replica and then making an argument that the company needs to license that replica instead of scanning them. I don't think this is something that's really going to happen in a major way in this contract period but an actor having and controlling their own replica and making companies pay for it is genuinely very cool if I'm understanding it correctly.

he did mention that the dubbing issue with alteration was more about companies being able to hire an actor to dub in a foreign language and then alter the actor's mouth to match the dialogue, so presumably would not be a threat to dubbers. I don't know that the companies are required to hire a voice actor for this, but that was at least good to hear.

the whole thing about synthetic performers...Duncan really made some interesting points around this. in the Q&A, he basically echoed the point that I made in my original point that this doesn't actually have to do with actors at all, but he saw the inclusion of it as a good thing. synthetics have nothing to do with actor employment, but duncan argued that by putting it in here, we're forcing the studios to acknowledge that synthetics are horning in on our territory and it seems that the union will work to de-incentivize the use of synthetics by making it more expensive than hiring an actor (really hoping the MOA provides more clarity on this)

studios will meet with SAG twice a year to talk about AI stuff

he confirmed that studios have to hire background actors and if they use their digital replicas (which the background actors have to consent to) those actors have to be paid for their replicas work.

he made the argument that there are a lot of things, like consent to replicas, that are conditions of employment: salary, relocation, nudity, etc. and that's true, certainly, but this is still something we're going to have to keep close eyes on IMO.

there's a provision that actors have to be given notice for scenes that may be triggering to film! cool!

the Q&A

this is just a sampling of the many wonderful questions that were asked - if you're a member, I highly recommend you watch both of the livestreams and future meetings.

I didn't know this but there's a legal framework for minors to disavow contracts when they're 18, so this would allow minors to rescind their consent of their digital replicas. good!

someone pointed out that SAG could notify the membership about a company using synethics (which they have to notify SAG) about and use the membership/public to pressure the studios or boycott the use of synthetics. SAG confirmed that there's nothing to prevent SAG from telling us and letting us galvanize the public.

duncan reminded everyone that companies rely on copyright to make money and currently AI cannot legally by copyrighted, which will de-incentivize studios from leaning on it.

companies can only use digital replica in projects they've contracted, they cannot sell them to third party, which includes non-identifiable data. this was a great question and it's awesome to hear that the companies cannot do anything with any of the replica data, anonymized or not, without your consent.

there is so much likeness legislature out there already (you own your likeness, etc.), so these things just bolster those

a company choosing to hire someone else because you won't consent to scanning is not retaliation but being replaced during the course of your employment because of not consenting is and you could take action against that studio. and remember, they have to ask for your consent on specific things, so you would be giving your consent throughout presumably.

someone asked about loopholes with generative AI, and SAG emphasized that any resemblance to a real actor kicks it from synthetic into digital replicas and the actor would have to consent/be paid

background actors seem divided - in some ways they've gotten major gains and in others, they're very worried about being replaced because they don't want to be scanned.

they did fight for union consent to use of generative AI, and the studios are seemingly never going to give that

there was a question about studios scanning non-union actors and creating digital replicas and just using those instead; if I understood correctly (which I'm not sure I did), the studios would not be able to do that under this contract - all the digital replica terms would apply to any replica done, union or not.

my thoughts

I have all the same concerns as I expressed in my original post, but I do think that these meetings reassured me that SAG has the best intentions. I have been very vocal about my criticism of SAG (specifically how they approached podcasting, my main art form) so I don't have rose-colored glasses here. I have also seen them really improve on those areas of criticism in the past several years and I think we always have to keep in mind that we'll be back at the negotiations in two and a half years. I do think SAG is doing the best they can.

I also think it's important to always assume that the studios have the worst intentions. they're going to violate this contract if it's ratified and accept their fine/slap on the wrist/do not work orders and then violate the contract again. they're going to find loopholes to save money and behave badly. no contract in the world could prevent those things from happening. SAG is not great at enforcing these violations but no contract is going to fix that.

it has always been important for actors to rely on their agents, lawyers, and union for support and reporting violations and that's going to be more important than ever under this contract. it's also going to be so important for the famous and wealthy actors to sue the studios when there's particularly bad behavior on the AI stuff.

it's also going to be really important for you guys - the audience, the subscribers - to fully reject any and all use of synthetic performers. public pressure will be the way we keep acting alive as a profession and art form.

but here's where I'm at: I'm leaning toward yes. "but lauren, you had so many concerns! you think that this contract is an existential threat to acting!" yeah, I know. I'm still there, but I'm also leaning yes. I believe SAG when they say we're not going to get a better deal. I think even if we did go back on strike, we're losing public support and support from other unions - actors barely have leverage to begin with (which is why SAG contracts have historically not been great) and I don't foresee us gaining more over the next 6 months.

so I don't think we're going to get a better deal and I also agree that it's better to have some protections in place instead of nothing. ultimately, it comes down to the fact that my issues with the contract have a lot to do with that existential threat and the icky feeling that I get thinking about signing a contract that suggests at times that actors are meat puppets.

if this was a contract I was looking at as an individual, I would not sign it, plain and simple. but collective bargaining is a different thing. this contract unarguably gives actors more protection against AI than they currently have. we will get to renegotiate again in less than three years and this is a much better place to start from, especially considering how much AI will grow and change in the next few years. if we have to go on strike again, we will, and we'll be armed with a better contract and more knowledge, especially since we'll be able to see how studios behave within this contract.

I completely understand why people want to vote no. I would never presume to tell someone how I think they should vote - follow your conscience. I personally will not be voting until I've had time to review the MOA (memorandum of agreement) and I would encourage everyone to read the full contract before deciding how to vote.

tldr: I am leaning toward voting yes because my pragmatic brain is winning out - as someone who has experience negotiating with major studios as an individual, I know that SAG is telling the truth when they say this is likely as good as its able to get. this is the first battle in a war of AI and we can either live to fight another day or not. I think this contract will help us live, even if it isn't an out-and-out victory.

[hprofational9]

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[ilhoonftw]

Fjfjfjfjfjfjf what!?!?

let me explain the gyuri boyfriend lore

they started dating in 2019, broke up in 2021

he is the grandson of guy who was once in charge of major construction business so the whole family is rich

they were known for being a noona - dongsaeng couple bc of 7 years age gap.... officially. but then after his car accident he was exposed for ageing himself up 5 years because 'young people aren't treated seriously in business' so in reality they have 12 years age gap 🫣

you'll be the judge. him at 21:

the news about his age came out loong after they broke up, when he announced he's gonna take part in elections and... gyuri subposted him on ig story

On January 12th 2022, KARA Park Gyu-ri posted six letters with an ambiguous meaning on her Instagram story. What she wrote was “loss of humanity”. Some people speculate that she might have written this after knowing about the recent issue related to her ex-boyfriend Song Ja-ho. However, this is just speculation, and there is a possibility that it was written as she wanted to express an opinion on social issues or her personal matter.

june 2021 ... dui

According to media outlets, Gyuri’s boyfriend Song Ja Ho, also known as the eldest grandson of Dongwon Construction founder Song Seung Hun, was caught drunk driving in Cheongdamdong. He reportedly fled the scene after hitting another vehicle in the parking lot. At the time, his blood-alcohol level was high enough for the cancellation of his license. Song is also accused of confinement as he allegedly confined a woman in the car even when she requested to be dropped off.

september 2021 official breakup confirmation (to be fair a lot of korean celeb couples not rarely release breakup announcements late, to the point you have actors talk about their ex on variety shows like they are still dating bc officially they are... all while their new partener co-star promoting the same drama on the same show is watching 🫣 jiyeon's ex did that. there's a whole i think happy together episode that's super awkward to watch... later he married the co-star but they are now divorced and co-parenting)

official reason was 'oh we are both having busy schedules, it's hard to meet'

they both deleted all photos of each other etc from ig right away. and they were a very public couple, they did charity stuff together and were pretty known

before i start the fraud part, gyuri did post on ig that she was unaware of what he was up to 🧐

If I did something wrong, my biggest mistake was not ending things earlier. As I stated in my official position, I am not involved, so I hope everyone writes based on the facts that have been revealed. — Park Gyuri

so basically 2 weeks ago he was released on bail after 7 months of detention

The Seoul Southern District Court’s Criminal Agreement 12th Division granted Song’s bail application on February 5, setting the stage for a trial that involves nearly 14,000 victims and a scam amounting to approximately ₩33.9 billion KRW (about $25.5 million USD).

Song Ja Ho, who ran a shared economy art company, was arrested last July. The charges against him were severe, involving violations of the Act on the Aggravated Punishment of Specific Economic Crimes. Song was accused of recruiting investors to put money into artworks that he had not secured and then manipulating the market price of a virtual asset known as PicaCoin. Alongside brothers Lee Hee Jin and Lee Hee Moon, Song is suspected of a massive embezzlement scheme that has left thousands defrauded.

The court has set stringent conditions for Song’s bail, including a 200 million won bail bond, a prohibition on leaving the country, the requirement to wear an electronic device for real-time location tracking, and restrictions on his residence. These measures reflect the court’s attempt to mitigate the risk of flight, given the gravity of the accusations. This case is particularly notable because of Song’s high-profile connections and ambitions. Prior to his arrest, Song declared his candidacy for the Seoul Seocho Gu National Assembly by-election, signaling his interest in entering the political arena.