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mostlysignssomeportents · 2 months ago

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Prime’s enshittified advertising

Prime's gonna add more ads. They brought in ads in January, and people didn't cancel their Prime subscriptions, so Amazon figures that they can make Prime even worse and make more money:

https://arstechnica.com/gadgets/2024/10/amazon-prime-video-is-getting-more-ads-next-year/

The cruelty isn't the point. Money is the point. Every ad that Amazon shows you shifts value away from you – your time, your attention – to the company's shareholders.

That's the crux of enshittification. Companies don't enshittify – making their once-useful products monotonically worse – because it amuses them to erode the quality of their offerings. They enshittify them because their products are zero-sum: the things that make them valuable to you (watching videos without ads) make things less valuable to them (because they can't monetize your attention).

This isn't new. The internet has always been dominated by intermediaries – platforms – because there are lots more people who want to use the internet than are capable of building the internet. There's more people who want to write blogs than can make a blogging app. There's more people who want to play and listen to music than can host a music streaming service. There's more people who want to write and read ebooks than want to operate an ebook store or sell an ebooks reader.

Despite all the early internet rhetoric about the glories of disintermediation, intermediaries are good, actually:

https://pluralistic.net/2022/06/12/direct-the-problem-of-middlemen/

The problem isn't with intermediaries per se. The problem arises when intermediaries grow so powerful that they usurp the relationship between the parties they connect. The problem with Uber isn't the use of mobile phones to tell taxis that you're standing on a street somewhere and would like a cab, please. The problem is rampant worker misclassification, regulatory arbitrage, starvation wages, and price-gouging:

https://pluralistic.net/2024/02/29/geometry-hates-uber/#toronto-the-gullible

There's no problem with publishers, distributors, retailers, printers, and all the other parts of the bookselling ecosystem. While there are a few, rare authors who are capable of performing all of these functions – basically gnawing their books out of whole logs with their teeth – most writers can't, and even the ones who can, don't want to:

https://pluralistic.net/2024/02/19/crad-kilodney-was-an-outlier/#intermediation

When early internet boosters spoke of disintermediation, what they mostly meant was that it would be harder for intermediaries to capture those relationships – between sellers and buyers, creators and audiences, workers and customers. As Rebecca Giblin and I wrote in our 2022 book Chokepoint Capitalism, intermediaries in every sector rely on chokepoints, narrows where they can erect tollbooths:

https://chokepointcapitalism.com/

When chokepoints exist, they multiply up and down the supply chain. In the golden age of physical, recorded music, you had several chokepoints that reinforced one another. Limited radio airwaves gave radio stations power over record labels, who had to secretly, illegally bid for prime airspace ("payola"). Retail consolidation – the growth of big record chains – drove consolidation in the distributors who sold to the chains, and the more concentrated distributors became, the more they could squeeze retailers, which drove even more consolidation in record stores. The bigger a label was, the more power it had to shove back against the muscle of the stores and the distributors (and the pressing plants, etc). Consolidation in labels also drove consolidation in talent agencies, whose large client rosters gave them power to resist the squeeze from the labels. Consolidation in venues drives consolidation in ticketing and promotion – and vice-versa.

But there's two parties to this supply chain who can't consolidate: musicians and their fans. With limits on "sectoral bargaining" (where unions can represent workers against all the companies in a sector), musicians' unions were limited in their power against key parts of the supply chain, so the creative workers who made the music were easy pickings for labels, talent reps, promoters, ticketers, venues, retailers, etc. Music fans are diffused and dispersed, and organized fan clubs were usually run by the labels, who weren't about to allow those clubs to be used against the labels.

This is a perfect case-study in the problems of powerful intermediaries, who move from facilitator to parasite, paying workers less while degrading their products, and then charge customers more for those enshittified products.

The excitement about "disintermediation" wasn't so much about eliminating intermediaries as it was about disciplining them. If there were lots of ways to market a product or service, sell it, collect payment for it, and deliver it, then the natural inclination of intermediaries to turn predator would be curbed by the difficulty of corralling their prey into chokepoints.

Now that we're a quarter century on from the Napster Wars, we can see how that worked out. Decades of failure to enforce antitrust law allowed a few companies to effectively capture the internet, buying out rivals who were willing to sell, and bankrupting those who wouldn't with illegal tactics like predatory pricing (think of Uber losing $31 billion by subsidizing $0.41 out of every dollar they charged for taxi rides for more than a decade).

The market power that platforms gained through consolidation translated into political power. When a few companies dominate a sector, they're able to come to agreement on common strategies for dealing with their regulators, and they've got plenty of excess profits to spend on those strategies. First and foremost, platforms used their power to get more power, lobbying for even less antitrust enforcement. Additionally, platforms mobilized gigantic sums to secure the right to screw customers (for example, by making binding arbitration clauses in terms of service enforceable) and workers (think of the $225m Uber and Lyft spent on California's Prop 22, which formalized their worker misclassification swindle).

So big platforms were able to insulate themselves from the risk of competition ("five giant websites, filled with screenshots of the other four" – Tom Eastman), and from regulation. They were also able to expand and mobilize IP law to prevent anyone from breaking their chokepoints or undoing the abuses that these enabled. This is a good place to get specific about how Prime Video works.

There's two ways to get Prime videos: over an app, or in your browser. Both of these streams are encrypted, and that's really important here, because of a law – Section 1201 of the 1998 Digital Millennium Copyright Act – which makes it really illegal to break this kind of encryption (commonly called "Digital Rights Management" or "DRM"). Practically speaking, that means that if a company encrypts its videos, no one is allowed to do anything to those videos, even things that are legal, without the company's permission, because doing all those legal things requires breaking the DRM, and breaking the DRM is a felony (five years in prison, $500k fine, for a first offense).

Copyright law actually gives subscribers to services like Prime a lot of rights, and it empowers businesses that offer tools to exercise those rights. Back in 1976, Sony rolled out the Betamax, the first major home video recorder. After an eight-year court battle, the Supreme Court weighed in on VCRs and ruled that it was legal for all of us to record videos at home, both to watch them later, and to build a library of our favorite shows. They also ruled that it was legal for Sony – and by that time, every other electronics company – to make VHS systems, even if those systems could be used in ways that violated copyright because they were "capable of sustaining a substantial non-infringing use" (letting you tape shows off your TV).

Now, this was more than a decade before the DMCA – and its prohibition on breaking DRM – passed, but even after the DMCA came into effect, there was a lot of media that didn't have DRM, so a new generation of tech companies were able to make tools that were "capable of sustaining a substantial non-infringing use" and that didn't have to break any DRM to do it.

Think of the Ipod and Itunes, which, together, were sold as a way to rip CDs (which weren't encrypted), and play them back from both your desktop computer and a wildly successful pocket-sized portable device. Itunes even let you stream from one computer to another. The record industry hated this, but they couldn't do anything about it, thanks to the Supreme Court's Betamax ruling.

Indeed, they eventually swallowed their bile and started selling their products through the Itunes Music Store. These tracks had DRM and were thus permanently locked to Apple's ecosystem, and Apple immediately used that power to squeeze the labels, who decided they didn't like DRM after all, and licensed all those same tracks to Amazon's DRM-free MP3 store, whose slogan was "DRM: Don't Restrict Me":

https://memex.craphound.com/2008/02/01/amazons-anti-drm-tee/

Apple played a funny double role here. In marketing Itunes/Ipods ("Rip, Mix, Burn"), they were the world's biggest cheerleaders for all the things you were allowed to do with copyrighted works, even when the copyright holder objected. But with the Itunes Music Store and its mandatory DRM, the company was also one of the world's biggest cheerleaders for wrapping copyrighted works in a thin skin of IP that would allow copyright holders to shut down products like the Ipod and Itunes.

Microsoft, predictably enough, focused on the "lock everything to our platform" strategy. Then-CEO Steve Ballmer went on record calling every Ipod owner a "thief" and arguing that every record company should wrap music in Microsoft's Zune DRM, which would allow them to restrict anything they didn't like, even if copyright allowed it (and would also give Microsoft the same abusive leverage over labels that they famously exercised over Windows software companies):

https://web.archive.org/web/20050113051129/http://management.silicon.com/itpro/0,39024675,39124642,00.htm

In the end, Amazon's approach won. Apple dropped DRM, and Microsoft retired the Zune and shut down its DRM servers, screwing anyone who'd ever bought a Zune track by rendering that music permanently unplayable.

Around the same time as all this was going on, another company was making history by making uses of copyrighted works that the law allowed, but which the copyright holders hated. That company was Tivo, who products did for personal video recorders (PVRs) what Apple's Ipod did for digital portable music players. With a Tivo, you could record any show over cable (which was too expensive and complicated to encrypt) and terrestrial broadcast (which is illegal to encrypt, since those are the public's airwaves, on loan to the TV stations).

That meant that you could record any show, and keep it forever. What's more, you could very easily skip through ads (and rival players quickly emerged that did automatic ad-skipping). All of this was legal, but of course the cable companies and broadcasters hated it. Like Ballmer, TV execs called Tivo owners "thieves."

But Tivo didn't usher in the ad-supported TV apocalypse that furious, spittle-flecked industry reps insisted it would. Rather, it disciplined the TV and cable operators. Tivo owners actually sought out ads that were funny and well-made enough to go viral. Meanwhile, every time the industry decided to increase the amount of advertising in a show, they also increased the likelihood that their viewers would seek out a Tivo, or worse, one of those auto-ad-skipping PVRs.

Given all the stink that TV execs raised over PVRs, you'd think that these represented a novel threat. But in fact, the TV industry's appetite for ads had been disciplined by viewers' access to new technology since 1956, when the first TV remotes appeared on the market (executives declared that anyone who changed the channel during an ad-break was a thief). Then came the mute button. Then the wireless remote. Meanwhile, a common VCR use-case – raised in the Supreme Court case – was fast-forwarding ads.

At each stage, TV adapted. Ads in TV shows represented a kind of offer: "Will you watch this many of these ads in return for a free TV show?" And the remote, the mute button, the wireless remote, the VCR, the PVR, and the ad-skipping PVR all represented a counter-offer. As economists would put it, the ability of viewers to make these counteroffers "shifted the equilibrium." If viewers had no defensive technology, they might tolerate more ads, but once they were able to enforce their preferences with technology, the industry couldn't enshittify its product to the liminal cusp of "so many ads that the viewer is right on the brink of turning off the TV (but not quite)."

This is the same equilibrium-shifting dynamic that we see on the open web, where more than 50% of users have installed an ad-blocker. The industry says, "Will you allow this many 'sign up to our mailing list' interrupters, pop ups, pop unders, autoplaying videos and other stuff that users hate but shareholders benefit from" and the ad-blocker makes a counteroffer: "How about 'nah?'":

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

TV remotes, PVRs and ad-blockers are all examples of "adversarial interoperability" – a new product that plugs into an existing one, extending or modifying its functions without permission from (or even over the objections of) the original manufacturer:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Adversarial interop creates a powerful disciplining force on platform owners. Once a user grows so frustrated with a product's enshittification that they research, seek out, acquire and learn to use an adversarial interop tool, it's really game over. The printer owner who figures out where to get third-party ink is gone forever. Every time a company like HP raises its prices, they have to account for the number of customers who will finally figure out how to use generic ink and never, ever send another cent to HP.

This is where DMCA 1201 comes into play. Once a product is skinned with DRM, its manufacturers gain the right to prevent you from doing legal things, and can use the public's courts and law-enforcement apparatus to punish you for trying. Take HP: as soon as they started adding DRM to their cartridges, they gained the legal power to shut down companies that cloned, refilled or remanufactured their cartridges, and started raising the price of ink – which today sits at more than $10,000/gallon:

https://pluralistic.net/2024/09/30/life-finds-a-way/#ink-stained-wretches

Using third party ink in your printer isn't illegal (it's your printer, right?). But making third party ink for your printer becomes illegal once you have to break DRM to do so, and so HP gets to transform tinted water into literally the most expensive fluid on Earth. The ink you use to print your kid's homework costs more than vintage Veuve Cliquot or sperm from a Kentucky Derby-winning thoroughbred.

Adversarial interoperability is a powerful tool for shifting the equilibrium between producers, intermediaries and buyers. DRM is an even more powerful way of wrenching that equilibrium back towards the intermediary, reducing the share that buyers and sellers are able to eke out of the transaction.

Prime Video, of course, is delivered via an app, which means it has DRM. That means that subscribers don't get to exercise the rights afforded to them by copyright – only the rights that Amazon permits them to have. There's no Tivo for Prime, because it would have to break the DRM to record the shows you stream from Prime. That allows Prime to pull all kinds of shady shit. For example, every year around this time, Amazon pulls popular Christmas movies from its free-to-watch tier and moves them into pay-per-view, only restoring them in the spring:

https://www.reddit.com/r/vudu/comments/1bpzanx/looks_like_amazon_removed_the_free_titles_from/

And of course, Prime sticks ads in its videos. You can't skip these ads – not because it's technically challenging to make a 30-second advance button for a video stream, and doing so wouldn't violate anyone's copyright – but because Amazon doesn't permit you to do so, and the fact that the video is wrapped in DRM makes it a felony to even try.

This means that Amazon gets to seek a different equilibrium than TV companies have had to accept since 1956 and the invention of the TV remote. Amazon doesn't have to limit the quantity, volume, and invasiveness of its ads to "less the amount that would drive our subscribers to install and use an ad-skipping plugin." Instead, they can shoot for the much more lucrative equilibrium of "so obnoxious that the viewer is almost ready to cancel their subscription (but not quite)."

That's pretty much exactly how Kelly Day, the Amazon exec in charge of Prime Video, put it to the Financial Times: they're increasing the number of ads because "we haven’t really seen a groundswell of people churning out or cancelling":

https://www.ft.com/content/f8112991-820c-4e09-bcf4-23b5e0f190a5

At this point, attentive readers might be asking themselves, "Doesn't Amazon have to worry about Prime viewers who watch in their browsers?" After all browsers are built on open standards, and anyone can make one, so there should be browsers that can auto-skip Prime ads, right?

Wrong, alas. Back in 2017, the W3C – the organization that makes the most important browser standards – caved to pressure from the entertainment industry and the largest browser companies and created "Encrypted Media Extensions" (EME), a "standard" for video DRM that blocks all adversarial interoperability:

https://www.eff.org/deeplinks/2017/09/open-letter-w3c-director-ceo-team-and-membership

This had the almost immediate effect of making it impossible to create an independent browser without licensing proprietary tech from Google – now a convicted monopolist! – who won't give you a license if you implement recording, ad-skipping, or any other legal (but dispreferred) feature:

https://blog.samuelmaddock.com/posts/the-end-of-indie-web-browsers/

This means that for Amazon, there's no way to shift value away from the platform to you. The company has locked you in, and has locked out anyone who might offer you a better deal. Companies that know you are technologically defenseless are endlessly inventive in finding ways to make things worse for you to make things better for them. Take Youtube, another DRM-video-serving platform that has jacked up the number of ads you have to sit through in order to watch a video – even as they slash payments to performers. They've got a new move: they're gonna start showing you ads while your video is paused:

https://www.usatoday.com/story/money/2024/09/20/youtube-pause-ads-rollout/75306204007/

That is the kind of fuckery you only come up with when your victory condition is "a service that's almost so bad our customers quit (but not quite)."

In Amazon's case, the math is even worse. After all, Youtube may have near-total market dominance over a certain segment of the video market, but Prime Video is bundled with Prime Delivery, which the vast majority of US households subscribe to. You have to give up a lot to cancel your Prime subscription – especially since Amazon's predatory pricing devastated the rest of the retail sector:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

Amazon's founding principle was "customer obsession." Ex-Amazoners tell me that this was more than an empty platitude: arguments over product design were won or lost based on whether they could satisfy the "customer obsession" litmus test. Now, everyone falls short of their ideals, but sticking to your ideals isn't merely a matter of internal discipline, of willpower. Living up to your ideals is a matter of external discipline, too. When Amazon no longer had to contend with competitors or regulators, when it was able to use DRM to control its customers and use the law to prevent them from using its products in legal ways, it lost those external sources of discipline.

Amazon suppliers have long complained of the company's high-handed treatment of the vendors who supplied it with goods. Its workers have complained bitterly and loudly about the dangerous and oppressive conditions in its warehouses and delivery vans. But Amazon's customers have consistently given Amazon high marks on quality and trustworthiness.

The reason Amazon treated its workers and suppliers badly and its customers well wasn't that it liked customers and hated workers and suppliers. Amazon was engaged in a cold-blooded calculus: it understood that treating customers well would give it control over those customers, and that this would translate market power to retain suppliers even as it ripped them off and screwed them over.

But now, Amazon has clearly concluded that it no longer needs to keep customers happy in order to retain them. Instead, it's shooting for "keeping customers so angry that they're almost ready to take their business elsewhere (but not quite)." You see this in the steady decline of Amazon product search, which preferences the products that pay the biggest bribes for search placement over the best matches:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

And you see it in the steady enshittification of Prime Video. Amazon's character never changed. The company always had a predatory side. But now that monopoly and IP law have insulated it from consequences for its actions, there's no longer any reason to keep the predator in check.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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/2024/10/03/mother-may-i/#minmax

#pluralistic #amazon #enshittification #ads #prime #ad-tech #discipline

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reasonsforhope · 10 months ago

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"In a bid to slow deforestation in the Amazon, Brazil announced Tuesday [September 5, 2023,] that it will provide financial support to municipalities that have reduced deforestation rates the most.

During the country´s Amazon Day, President Luiz Inácio Lula da Silva also signed the creation of two Indigenous territories that total 207,000 hectares (511,000 acres) — over two times the size of New York City — and of a network of conservation areas next to the Yanonami Indigenous Territory to act as a buffer against invaders, mostly illegal gold miners.

“The Amazon is in a hurry to survive the devastation caused by those few people who refuse to see the future, who in a few years cut down, burned, and polluted what nature took millennia to create,” Lula said during a ceremony in Brasilia. “The Amazon is in a hurry to continue doing what it has always done, to be essential for life on Earth.”

The new program will invest up to $120 million in technical assistance. The money will be allocated based on the municipality´s performance in reducing deforestation and fires, as measured by official satellite monitoring. A list of municipalities eligible for the funds will be published annually.

The resources must be invested in land titling, monitoring and control of deforestation and fires, and sustainable production.

The money will come from the Amazon Fund, which has received more than $1.2 billion, mostly from Norway, to help pay for sustainable development of the region. In February, the United States committed to a $50 million donation to the initiative. Two months later, President Joe Biden announced he would ask Congress for an additional $500 million, to be disbursed over five years.

The most critical municipalities are located along the arc of deforestation, a vast region along the southern part of the Amazon. This region is a stronghold of former far-right President Jair Bolsonaro, who favored agribusiness over forest preservation and lost the reelection last year.

“We believe that it’s not enough to just put up a sign saying ‘it’s forbidden to do this or that. We need to be persuasive.” Lula said, in a reference to his relationship with Amazon mayors and state governors.

Lula has promised zero net deforestation by 2030, although his term ends two years earlier. In the first seven months of his third term, there was a 42% drop in deforestation.

[Note: For context, Lula's third term as president started January 1, 2023. It was not continuous with his first two terms, when he was president from 2003 to 2010. Lula's third term has been a historic and desperately needed reversal of the anti-environmental, etc. policies of Bolsonaro, whose term ended at the end of 2022.]

Brazil is the world’s fifth-largest emitter of greenhouse gases, with almost 3% of global emissions, according to Climate Watch, an online platform managed by World Resources Institute. Almost half of these emissions come from deforestation. Under the 2015 Paris Agreement, Brazil committed to reducing carbon emissions by 37% by 2025 and 43% by 2030."

-via AP, September 5, 2023

#brazil #deforestation #lula da silva #amazon #amazon rainforest #environmentalism #fossil fuels #environment #environmental justice #land back #illegal miners #yanonami #indigenous #first nations #greenhouse gasses #conservation #good news #hope

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melis-writes · 23 days ago

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(2024) My current collection of The Godfather/The Godfather Part II Merch Part 1!

You can check out my Al Pacino merch collection here!

Part 2 here!

All purchased in 2021 when I was in Turkey! From the top, left to right, "A Life on The Wire" is an autobiography about Al. The one and only, "The Godfather" by Mario Puzo, and the bottom left there is actually a blank Godfather notebook I purchased in Turkey as well. I have the Coppola Restoration of all 5 discs in a collection for the films and extra contents!

Godfather I and II posters! Also all purchased from local online retailers in Turkey from 2021 and 2022.

A little cardboard Vito cutout! I bought this in a local bookstore in Turkey in 2022.

My prized Michael Corleone 1:6 figurine! 🥺🖤 I got him from Aliexpress, but he certainly did not look like this because his face/head was different and he was wearing a blue suit (that he never wore in any movie ever). If I didn't modify Michael, he would have been about $350 CAD or so. He looked like this before:

I put together about $100 CAD of modifications on him to get a new had, new hands and a new suit, and voila!

My Godfather phone cases!

My Godfather funkos are everything! 🥺 Vito and Michael are the only ones that have 2 funkos from the first two films.

A Godfather air freshener is needed in my car, of course. 🤭

A cute Godfather Part II poster gifted to me by my best friend alongside more merch in 2021!

This here I was so pleasantly shocked to find in a local Turkish bookstore in 2022. I couldn't find an English version of this to save my life. It was titled (translated) as The Godfather Family Album. It's extremely unique in terms of the content inside, like a folder keeping tabs on all of the events, newspaper clippings and character profiles!

The Godfather magazine I purchased off Amazon (Canada) in 2022.

The official motion picture archives book of The Godfather from Amazon (Canada).

A 3D printout (made by a local seller in Turkey) of The Godfather's title on top of a set of Godfather playing cards (also bought from a novelty store in Turkey) in 2022.

A Godfather mug that reads "I don't apologize to take care of my family" with Vito on one side and the film's logo on the other. Found in a Turkish bookstore in 2022!

A 3D printout bust of Vito Corleone, made by a local Turkish seller I bought in 2022.

Probably one of my all time favourite merch pieces ever... this huge, glossy photo filled Godfather Family Album. I cannot recommend this enough for diehard Godfather fans! 🖤

Michael Corleone in The Godfather Part II as a phone case. 🤭

Hands down my favourite movie poster of The Godfather Part II.

A Godfather board/card game called "An Offer You Can't Refuse" was the first Godfather related game of any kind I bought in 2022 from a private seller in Canada.

The Godfather trivia game!! I've yet to meet anyone who can beat me when it comes to the first two films' trivia. 🤭😂

A mini Godfather music player that absolutely plays the most dazzling little version of the film's theme song next to a lego version of Vito! The lego vito was gifted to me in 2021 by my best friend. I bought the music player from Aliexpress in 2022.

#al pacino #michael corleone #the godfather #the godfather part ii #sonny corleone #santino corleone #vito corleone #marlon brando #james caan #melly talks #tom hagen #robert duvall #fredo corleone

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imtoodizzy · 9 months ago

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MASTER-LIST OF EVERYTHING SNOW DAY

links included, of course! — with the help of a list created by jsb777 on discord, i will be creating a masterlist of EVERYTHING we have gotten shown about snow day so far. i’m doing this in honer of the london showcase happening in 8 hours! i may have gotten a few things wrong here or there, or missed something that happened, but i’m pretty happy with what i’ve done.

• August 6th, 2021

- Matt Stone & Trey parker, while discussing their 900 million dollar deal with Viacom, mention a 3d game in the works

• January 5th, 2022

- Question games shares a job offer for a lead multiplayer level designer. Game Informer created an article on January 7th which talks about it

• August 12th, 2022

- Randy teaser releases from THQ Nordic event.

• August 11th, 2023

- THQ Nordic event reveals a Snow Day trailer

- This marks the day Snow Day’s title was revealed, as well as a 2024 release date

• September 12th, 2023

- Amazon listings go up, featuring new images

• November 22th, 2023

- New gameplay trailer released

• December 21st, 2023

- New release date trailer released

- Collectors edition/Digital deluxe reveal

- Of course, this is when the March 26th, 2024 specific date was revealed

- Pre-order underpants gnome cosmetics bonus revealed as well

• February 21st, 2024

- Nintendo switch releases a trailer

- These were at some point available on South Park’s social media accounts, but on a date I don’t know and for unknown reasons, it has been wiped clean.

• February 27th, 2024

- Best Buy adds a second print of Snow Day’s collectors edition.

- THQ Nordic also releases the second print

• March 1st, 2024

- London pop-up event announced

• March 4th, 2024

- South Park announces the second print of Snow Day’s collectors edition

• March 5th, 2024

- IGN releases an article with Matt Stone talking about Snow Day.

• March 6th, 2024

- IGN shares the footage of said interview.

- Genuine gameplay footage!

• March 7th, 2024

- IGN’s first preview of Snow Day

- Image of the London pop-up shared!

• UPCOMING: March 8th-10th

- The first play of Snow Day will be happening during the Snow Day pop up event in London.

- Merch & games will be available to everyone without a ticket!

i tried to include everything i could think of. i may have missed a detail or two… or three, even, but i think my list is pretty good! i will share any new information to come from london today through sunday, so stay tuned if you’re interested! though this is mostly for me anyways. thank you again to jsb777 for setting up a guide for me to follow to create this masterlist!

#south park #southpark #south park fandom #sp fandom #matt stone #trey parker #south park snow day #sp snow day #snow day #trey and matt #matt and trey #south park studios #i’m so excited #hell yeah!

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nando161mando · 8 months ago

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"No Tech for Apartheid’s protest is as much about what the public doesn’t know about Project Nimbus as what it does. The contract is for Google and Amazon to provide AI and cloud computing services to the Israeli government and military, according to the Israeli finance ministry, which announced the deal in 2021.

Nimbus reportedly involves Google establishing a secure instance of Google Cloud on Israeli soil, which would allow the Israeli government to perform large-scale data analysis, AI training, database hosting, and other forms of powerful computing using Google’s technology, with little oversight by the company.

Google documents, first reported by the Intercept in 2022, suggest that the Google services on offer to Israel via its Cloud have capabilities such as AI-enabled facial detection, automated image categorization, and object tracking."

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djarins-cyare · 9 months ago

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So it’s been a year…

One year since Disney released episode 1 season 3 of The Mandalorian

One year since I published chapter 1 of Be-All And Endor

I don’t really remember much of the first 20 weeks of that year, just that it was a flurry of proofreading and finalising and uploading (the hard parts) and comment reading and new friend making and massively appreciating (the wonderful parts).

Proofing and publishing 2 chapters a week with average lengths of around 10k words was exhausting. But for the first 8 of those weeks I had Din Djarin on the screen (intermittently *ahem* but this isn’t a post about the quality of s3) and for the rest of the year I had my readers leaving comments and sending messages, and it was… overwhelmingly the best year of my life.

I mean that. The best year. Ever. Because of you. Any of you, all of you, if you’ve ever even just clicked on my fic and given it chance, you’ve raised the hits on it. Even seeing that metric tick up has made me so thankful.

Because I didn’t think I could write. I always wanted to be an author but never believed in myself.

I did an English degree with writing in mind, but told myself nobody ever does anything with an English degree. I took creative writing modules, and when the published author who ran the class gave me scathing feedback, my dream fully died. I got an okay grade, hardly anything to be proud of, and I graduated and went to work in another industry.

I suffered from clinical depression.

One day many years later, I found a favourite author online and messaged him to ask when his fourth novel in a series was being published, and (emboldened by the anonymity of being online) cheekily offered to proofread it for him. Except he took me seriously and sent me the prologue to see what I could do. Like, for a real book you can buy on Amazon. After feeling sick for two whole days I went all Autistic Obsession on it and sent him back the most thoroughly proofed bit of writing anyone had ever seen. And I got the job. (I say ‘job’, I’d volunteered for free in exchange for the privilege of reading it in advance, so I can only ever call it semi-professional since I didn’t earn from it).

This, amongst other things, lifted me from my depression. I came off the pills and felt happier, more creative. Once the proofing was completed, the author encouraged me to write my own stuff, but whilst I’d gained some confidence… my brain was empty. I had no clamouring stories to get down on the page, no gems ready to polish.

Then in summer 2021, a friend sat me down and showed me the first 3 episodes of the Mandalorian. And my brain chemistry was instantly altered. I binge-watched the first two seasons, by the end of which I was unequivocally in love with Din Djarin, and then I binge-watched them again.

Around that time, I moved to a different country. Well, Wales is still the UK, but it’s a different country to England, and I was now 170 miles away from my friends. I went because as a single woman on a middling salary, London is too expensive to live in and having rid myself of an overbearing long term relationship, I was NOT keen to get into another one just to pay the bills. The pandemic meant I could work remotely, so I upped sticks and moved to Cardiff, resolving to visit my office in London (and my friends) once a month. It’s 2 hours by train, totally doable.

So what to do with all the spare time I suddenly had?

By Easter 2022 I’d started writing. 9 months later (yes, it’s my actual baby), Be-All And Endor was complete and I began publishing alongside season 3’s release.

Now… it has over 62.k views and 1.2k kudos 🥹🤯

Did I think it would be this popular? No way. I can’t even believe it now. I still see SO much wrong with it, which is why I’m still proofreading and editing it.

A professional proofread/edit takes a long time, and if you’re wondering what I’m doing to it, it involves the following:

Checking for things like clichés, non-inclusive language

Checking all adverbs to see if a better word can be used (e.g. ‘bellows’ instead of ‘shouts loudly’… adverbs usually end in -ly and it’s not good to overuse them)

Rephrasing any passive sentences (simply put: ‘the ship is flown by Din’ is passive; ‘Din flies the ship’ is active)

Reducing average sentence length (shorter sentences are easier to read)

Going through every single damn polysyllabic word (e.g. anything that has more than 3-syllables) and seeing if a shorter synonym can be found (this helps the rhythm, as too many long words slows things down and can make readers stumble… and I use them a lot 😖)

Checking the 50 most frequently used words and seeing if I can find synonyms for those (helps give more variety in the language)

Ensuring Din’s name isn’t overused or underused, and adding epithets (e.g. ‘the hunter’ or ‘your Mandalorian’) where it’s overused but it’s too confusing to just say ‘he’/‘him’

These are the big things, but there’s more too - I’m streamlining decisions I made to use certain phrasings throughout; tweaking Din’s word choice here and there to ensure his voice is captured the best way possible; revamping some of the photos. And with all the tiny tweaks, it’s slowly padding things out too… when publishing was done it was 393k, now it’s 403k, although it’s not extra content as such, just better described.

I’m up to chapter 13 so far, and I’ll probably be doing this for another 2 years to get through all 40, because (a) I want to write other things too so that slows down the proofing, and (b) I so badly want to be proud of this project… everyone’s telling me I should be, and I am in a way… but it’s more gratitude to others than pride in myself… and I feel like if I get this proofing done and finally have a story I’m truly happy with, I can at last let myself be proud of what I achieved here.

I confess, I’m so envious of those who can post something without obsessing over it. I know it’s a facet of my autism, and I’ve long since accepted that my neurodivergent brain will not let me be cool about things other people are cool about. If I’ve learned anything, it’s that I should turn it to my advantage, so okay… I’m gonna make this fic the same quality as a published book on your bookshelf. And meanwhile I’m gonna enjoy and love all the fics that people can write and publish with far greater speed than I can, because the greatest thing about this fandom is that every contribution is worthy of appreciation, no matter the author’s experience or writing method. Quality fic isn’t synonymous with proofreading, and I hope it’s clear that I’m describing my obsession with perfecting my own writing, not other people’s. I’ve read so many amazing authors on here, and I want them all to know how much I love their work (any recs are from the bottom of my heart).

So anyway, this long and rambling post has turned into something unintended… I guess you now have some insight into my mind and the origins of Be-All And Endor and the future of it. Not what I meant to do, but I’ll leave it in for context.

Because the real reason I started writing this diatribe was because I wanted to express my true and undying gratitude to everyone who has ever read, commented, or left kudos on my fic over on AO3, and/or messaged me, followed me, interacted with me, or reblogged my masterlist here on tumblr 🧡💚

I know I am insanely lucky to have received the level of support I have, and I don’t take that for granted at all. I want to give back to this fandom, and I love reading and reccing other people’s fics, meeting new moots, and hopefully soon I’ll be publishing new fics for you all to read too. Fresh material is percolating, so it won’t be too long now.

So thank you to everyone who reads this post, you’re the absolute best and I love you more than I have the vocabulary to describe. Please accept a grateful forehead kiss instead 💋

#well this was longer than intended #but we all know brevity isn’t my strong suit #cannot express how much i love you all #so i rambled and i hope my gratitude comes across in there somewhere #thank you for supporting me #the mandalorian #din djarin #din djarin x reader #mandalorian #the mandalorian x reader #mando #mandalorian x reader #mando x reader

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the-garbanzo-annex-jr · 7 months ago

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By Isabel Vincent

The cash from Soros and his acolytes has been critical to the Columbia protests that set off the national copycat demonstrations.

Three groups set up the tent city on Columbia’s lawn last Wednesday: Students for Justice in Palestine (SJP), Jewish Voice for Peace (JVP) and Within Our Lifetime.

At the “Gaza Solidarity Encampment,” students sleep in tents apparently ordered from Amazon and enjoy delivery pizza, coffee from Dunkin’, free sandwiches worth $12.50 from Pret a Manger, organic tortilla chips and $10 rotisserie chickens.

An analysis by The Post shows that all three got cash from groups linked to Soros. The Rockefeller Brothers Fund also gave cash to JVP.

The fund is chaired by Joseph Pierson, and includes David Rockefeller Jr, a fourth-generation member of the oil dynasty, on its board of directors. The non-profit gives money to “sustainable development” and “peace-building.”

And a former Wall Street banker, Felice Gelman, a retired investment banker who has dedicated her Wall Street fortune to pro-Palestinian causes, funded all three groups.

17Free sandwiches from upscale takeout joint Pret a Manger are on offer at the encampment, worth up to $12, and $10 rotisserie chickens. Cash for the encampment has come from billionaire investor George Soros.NYPJ

Both SJP and JVP were expelled from Columbia University in November for “threatening rhetoric and intimidation.” JVP blamed Israel for the Oct 7 Hamas terrorist attack that left 1,200 Israelis dead.

“Israeli apartheid and occupation — and United States complicity in that oppression — are the source of all this violence,” JVP said in a statement on its website.

SJP called the terrorist strike on Israel “a historic win.”

17Also on offer for the thirsty anti-Israeli protesters camped out at Columbia is free coffee from Dunkin’. Behind the scenes, the groups organizing the encampment have received cash from Soros and another former Wall Street banker.NYPJ

An analysis by The Post shows how Soros and Gelman’s cash made its way to the students through a network of nonprofits that help obscure their contributions.

Soros has given billions to the Open Society Foundations which his son Alexander — whose partner is Huma Abedin, Hillary Clinton’s top aide and the estranged wife of pervert Anthony Weiner — now controls.

In turn, Open Society has given more than $20 million to the Tides Foundation, a progressive nonprofit “fiscal sponsor” that then sends the cash to smaller groups.

Those groups include A Jewish Voice for Peace, which between 2017 and 2022 has received $650,000 from Soros’ Open Society. Its advisers include the academic Noam Chomsky and the left-wing feminist author Naomi Klein.

JVP has been a prominent part of the protests at Columbia and one of its student members was among a group expelled from the university for inviting the leader of a proscribed terrorist group, Khaled, to the “Resistance 101” Zoom meeting.

Soros has also donated $132,000 to WESPAC, called in full the Westchester People’s Action Coalition Foundation.

#george soros #columbia university #open society foundations #rockefeller brothers fund #jewish voice for peace #gaza solidarity encampment #within our lifetime #students for justice in palestine

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beardedmrbean · 5 months ago

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California high school students will soon be required to take a financial literacy course to graduate, thanks to a bill slated to be signed by Gov. Gavin Newsom soon.

AB 2927, sponsored by Democratic State Rep. Kevin McCarty and co-authored by a league of bipartisan lawmakers, requires students graduating in the class of 2030-2031 to take a semester-long personal finance course, meaning public high schools and charter schools will be required to offer the course beginning in the 2027-2028 school year.

"We need to help Californians prepare for their financial futures as early as possible. Saving for the future, making investments, and spending wisely are lifelong skills that young adults need to learn before they start their careers, not after," Newsom said of the effort, per a press release from the Golden State's official website.

The release indicated that Newsom, along with Senate President pro Tempore Mike McGuire, Assembly Speaker Robert Rivas and NGPF Mission 2030 – a national financial literacy nonprofit – agreed to make the content a requirement for high school graduates in the near future.

McCarty, commenting on the bill's success, said he is "thrilled" to know the legislation will be signed into law.

"I’m proud to be the lead author on this important policy and help students make smart money decisions that will benefit them throughout their adult lives. I want to thank Next Gen Personal Finance, Governor Newsom, Speaker Rivas, and Senate President pro Tempore McGuire, for their leadership in making this happen," he said, per ABC 10 in Sacramento.

FINANCE COLUMNIST FLABBERGASTED AFTER SHE FELL FOR AMAZON SCAM THAT COST HER $50,000 IN SAVINGS

This comes as some findings, including data from a recent WalletHub survey, indicate Gen Z is the least financially confident generation, with 28% expressing a lack of confidence in their ability to manage money, along with a lack of budgeting and a skeptical attitude toward the possibility of homeownership at some point in their lives.

An EverFi survey released in 2022 and cited in ABC 10's report similarly found that younger Americans are not confident financially, with only 10% of surveyed highschoolers saying they felt "prepared" or "very prepared" to "figure out the full costs of the colleges they were interested in attending."

Less than half of highschoolers felt prepared to fill out the FAFSA – or the Free Application for Federal Student Aid – and only a third believed they could "read and understand loan offers," the survey said.

Additional findings indicated that less than half of high school students felt confident that they understood how to read a paycheck or felt they could successfully "select, open, and manage" a savings or checking account. _________________

About damn time

#nunyas news

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afeelgoodblog · 2 years ago

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The Best News of Last Week - December 12, 2022

1. Big cats: US Senate unanimously passes bill to curb private ownership

A bill to restrict the private ownership of big cats like lions and tigers in the US has passed by unanimous consent in the Senate. The Big Cat Public Safety Act would stop people from keeping the animals as pets and from them being exposed to public petting and photo opportunities.

Efforts to curb private ownership have increased in the wake of the Netflix documentary series Tiger King.

The bill now needs to be signed into law by President Joe Biden.

2. New Mexico voted a child care guarantee into its constitution.

New Mexico in May became the first state to offer free child care to most of its residents. Now, after a November referendum, it’s also the first state to enshrine child care funding in its constitution, effectively making the service a universal right – and perhaps offering a model for how other states could serve their youngest residents and working parents.

3. Rare good news from the Amazon: Gigantic fish are thriving again

Thanks to sustainable fishing programs that combine education with strict rules and quotas, the pirarucu, one of the world's largest freshwater fish it's now making a comeback.

"The pirarucu population has recovered," says Ana Claudia Torres, who runs the sustainable fishing program for the Mamirauá Institute, which manages a vast nature reserve covering 4,300 square miles of jungle in northern Brazil.

4. Dog reunited with family 7 days after falling from cliff on Vancouver Island

A beloved pet that went missing in the Highlands area of Vancouver Island was found seven days later by an army of volunteers. Luna, was found desperately clinging to a narrow ledge on a cliff, and was reunited with her owner after a heroic rescue last month.

It's believed that Luna had chased an animal out of her yard and got lost, somehow falling off a cliff and landing on a two-foot wide ledge. She remained there, alone, as her owner and searchers frantically looked for her.

5. Iran Shutting Down Morality Police, Official Says, After Months of Protests

Iran has scrapped its morality police after more than two months of protests triggered by the death of Mahsa Amini following her arrest for allegedly violating the country's strict female dress code, local media said Sunday, citing a single Iranian official.

"Morality police have nothing to do with the judiciary and have been abolished," Attorney General Mohammad Jafar Montazeri was quoted as saying by the ISNA news agency.

6. Condoms to be free for young people in France, Macron says

Young people in France will be able to get condoms free of charge from next year in an effort to reduce the spread of sexually transmitted diseases (STDs), President Emmanuel Macron said on Thursday.

"In pharmacies, condoms will be free for those aged 18 to 25 from January 1," Macron told reporters during an event about young people's health.

7. One-eared rescue dog Van Gogh paints his way into adoption

A former bait dog in a North Carolina dogfighting ring "paints" artwork for charity and is living his best life in Connecticut.

. . .

That’s it for this week. If you liked this post you can support this newsletter with a small kofi donation:

Buy me a coffee ❤️

Have a great week ahead :)

#best news of last week

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mostlysignssomeportents · 2 years ago

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Social Quitting

In “Social Quitting,” my latest Locus Magazine column, I advance a theory to explain the precipitous vibe shift in how many of us view the once-dominant social media platforms, Facebook and Twitter, and how it is that we have so quickly gone asking what we can do to get these services out of our lives to where we should go now that we’re all ready to leave them:

https://locusmag.com/2023/01/commentary-cory-doctorow-social-quitting/

The core of the argument revolves around surpluses — that is, the value that exists in the service. For a user, surpluses are things like “being able to converse with your friends” and “being able to plan activities with your friends.” For advertisers, surpluses are things like “being able to target ads based on the extraction and processing of private user data” and “being able to force users to look at ads before they can talk to one another.”

For the platforms, surpluses are things like, “Being able to force advertisers and business customers to monetize their offerings through the platform, blocking rivals like Onlyfans, Patreon, Netflix, Amazon, etc” and things like “Being able to charge more for ads” and “being able to clone your business customers’ products and then switch your users to the in-house version.”

Platforms control most of the surplus-allocating options. They can tune your feed so that it mostly consists of media and text from people you explicitly chose to follow, or so that it consists of ads, sponsored posts, or posts they think will “boost engagement” by sinking you into a dismal clickhole. They can made ads skippable or unskippable. They can block posts with links to rival sites to force their business customers to transact within their platform, so they can skim fat commissions every time money changes hands and so that they can glean market intelligence about which of their business customers’ products they should clone and displace.

But platforms can’t just allocate surpluses will-ye or nill-ye. No one would join a brand-new platform whose sales-pitch was, “No matter who you follow, we’ll show you other stuff; there will be lots of ads that you can’t skip; we will spy on you a lot.” Likewise, no one would sign up to advertise or sell services on a platform whose pitch was “Our ads are really expensive. Any business you transact has to go through us, and we’ll take all your profits in junk fees. This also lets us clone you and put you out of business.”

Instead, platforms have to carefully shift their surpluses around: first they have to lure in users, who will attract business customers, who will generate the fat cash surpluses that can be creamed off for the platforms’ investors. All of this has to be orchestrated to lock in each group, so that they won’t go elsewhere when the service is enshittified as it processes through its life-cycle.

This is where network effects and switching costs come into play. A service has “network effects” if it gets more valuable as users join it. You joined Twitter to talk to the people who were already using it, and then other people joined so they could talk to you.

“Switching costs” are what you have to give up when you leave a service: if a service is siloed — if it blocks interoperability with rivals — then quitting that service means giving up access to the people whom you left behind. This is the single most important difference between ActivityPub-based Fediverse services like Mastodon and the silos like Twitter and Facebook — you can quit a Fediverse server and set up somewhere else, and still maintain your follows and followers:

https://pluralistic.net/2022/12/23/semipermeable-membranes/#free-as-in-puppies

In the absence of interoperability, network effects impose their own switching cost: the “collective action problem” of deciding when to leave and where to go. If you depend on the people you follow and who follow you — for emotional support, for your livelihood, for community — then the extreme difficulty of convincing everyone to leave at the same time and go somewhere else means that you can be enticed into staying on a service that you no longer enjoy. The platforms can shift the surpluses away from you, provided that doing so makes you less miserable than abandoning your friends or fans or customers would. This is the Fiddler On the Roof problem: everyone stays put in the shtetl even though the cossacks ride through on the reg and beat the shit out of them, because they can’t all agree on where to go if they leave:

https://doctorow.medium.com/how-to-leave-dying-social-media-platforms-9fc550fe5abf

So the first stage of the platform lifecycle is luring in users by allocating lots of surplus to them — making the service fun and great and satisfying to use. Few or no ads, little or no overt data-collection, feeds that emphasize the people you want to hear from, not the people willing to pay to reach you.

This continues until the service attains a critical mass: once it becomes impossible to, say, enroll your kid in a little-league baseball team without having a Facebook account, then Facebook can start shifting its surpluses to advertisers and other business-users of the platform, who will pay Facebook to interpose themselves in your use of the platform. You’ll hate it, but you won’t leave. Junior loves little-league.

Facebook can enshittify its user experience because the users are now locked in, holding each other hostage. If Facebook can use the courts and technological countermeasures to block interoperable services, it can increase its users’ switching costs, producing more opportunities for lucrative enshittification without the risk of losing the users that make Facebook valuable to advertisers. That’s why Facebook pioneered so many legal tactics for criminalizing interoperability:

https://www.eff.org/cases/facebook-v-power-ventures

This is the second phase of the toxic platform life-cycle: luring in business customers by shifting surpluses from users to advertisers, sellers, etc. This is the moment when the platforms offer cheap and easy monetization, low transaction fees, few barriers to off-platform monetization, etc. This is when, for example, a news organization can tease an article on its website with an off-platform link, luring users to click through and see the ads it controls.

Because Facebook has locked in its users through mutual hostage-taking, it can pollute their feeds with lots of these posts to news organizations’ sites, bumping down the messages from its users’ friends, and that means that Facebook can selectively tune how much traffic it gives to different kinds of business customers. If Facebook wants to lure in sports sites, it can cram those sites’ posts into millions of users’ feeds and send floods of traffic to sports outlets.

Outlets that don’t participate in Facebook lose out, and so they join Facebook, start shoveling their content into it, hiring SEO Kremlinologists to help them figure out how to please The Algorithm, in hopes of gaining a permanent, durable source of readers (and thus revenue) for their site.

But ironically, once a critical mass of sports sites are on Facebook, Facebook no longer needs to prioritize sports sites in its users’ feeds. Now that the sports sites all believe that a Facebook presence is a competitive necessity, they will hold each other hostage there, egging each other on to put more things on Facebook, even as the traffic dwindles.

Once sports sites have taken each other hostage, Facebook can claw back the surplus it allocated to them and use it to rope in another sector — health sites, casual games, employment seekers, financial advisors, etc etc. Each group is ensnared by a similar dynamic to the one that locks in the users.

But there is a difference between users’ surpluses and business’s surpluses. A user’s surplus is attention, and there is no such thing as an “attention economy.” You can’t use attention to pay for data-centers, or executive bonuses, or to lobby Congress. Attention is not a currency in the same way that cryptos are not currency — it is not a store of value, nor a unit of exchange, nor or a unit of account.

Turning attention into money requires the same tactics as turning crypto into money — you have to lure in people who have real, actual money and convince them to swap it for attention. With crypto, this involved paying Larry David, Matt Damon, Spike Lee and LeBron James to lie about crypto’s future in order to rope in suckers who would swap their perfectly cromulent “fiat” money for unspendable crypto tokens.

With platforms, you need to bring in business customers who get paid in actual cash and convince them to give you that cash in exchange for ethereal, fast-evaporating, inconstant, unmeasurable “attention.” This works like any Ponzi scheme (that is, it works like cryptos): you can use your shareholders’ cash to pay short-term returns to business customers, losing a little money as a convincer that brings in more trade.

That’s what Facebook did when it sent enormous amounts of traffic to a select few news-sites that fell for the pivot to video fraud, in order to convince their competitors to borrow billions of dollars to finance Facebook’s bid to compete with Youtube:

https://doctorow.medium.com/metaverse-means-pivot-to-video-adbe09319038

This convincer strategy is found in every con. If you go to the county fair, you’ll see some poor bastard walking around all day with a giant teddy bear that he “won” by throwing three balls into a peach-basket. The carny who operated that midway game let him win the teddy precisely so that he would walk around all day, advertising the game, which is rigged so that no one else wins the giant teddy-bear:

https://boingboing.net/2006/08/27/rigged-carny-game.html

Social media platforms can allocate giant teddy-bears to business-customers, and it can also withdraw them at will. Careful allocations mean that the platform can rope in a critical mass of business customers and then begin the final phase of its life-cycle: allocating surpluses to its shareholders.

We know what this looks like.

Rigged ad-markets:

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

Understaffed content moderation departments:

https://www.dw.com/en/twitters-sacking-of-content-moderators-will-backfire-experts-warn/a-63778330

Knock-off products:

https://techcrunch.com/2021/12/08/twitter-is-the-latest-platform-to-test-a-tiktok-copycat-feature/

Nuking “trust and safety”:

https://www.reuters.com/technology/twitter-dissolves-trust-safety-council-2022-12-13/

Hiding posts that have links to rival services:

https://www.makeuseof.com/content-types-facebook-hides-why/

Or blocking posts that link to rival services:

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

Or worse, terminating accounts for linking to rival services:

https://blog.joinmastodon.org/2022/12/twitter-suspends-mastodon-account-prevents-sharing-links/

That is, once a platform has its users locked in, and has its business customers locked in, it can enshittify its service to the point of near uselessness without losing either, allocating all the useful surplus in the business to its shareholders.

But this strategy has a problem: users and business customers don’t like to be locked in! They will constantly try to find ways to de-enshittify your service and/or leave for greener pastures. And being at war with your users and business customers means that your reputation continuously declines, because every time a user or business customer figures out a way to claw back some surplus, you have to visibly, obviously enshittify your service wrestle it back.

Every time a service makes headlines for blocking an ad-blocker, or increasing its transaction fees, or screwing over its users or business customers in some other way, it makes the case that the price you pay for using the service is not worth the value it delivers.

In other words, the platforms try to establish an equilibrium where they only leave business customers and users with the absolute bare minimum needed to keep them on the service, and extract the rest for their shareholders. But this is a very brittle equilibrium, because the prices that platforms impose on their users and business customers can change very quickly, even if the platforms don’t do anything differently.

Users and business customers can revalue the privacy costs, or the risks of staying on the platform based on exogenous factors. Privacy scandals and other ruptures can make the cost you’ve been paying for years seem higher than you realized and no longer worth it.

This problem isn’t unique to social media platforms, either. It’s endemic to end-stage capitalism, where companies can go on for years paying their workers just barely enough to survive (or even less, expecting them to get public assistance and/or a side-hustle), and those workers can tolerate it, and tolerate it, and tolerate it — until one day, they stop.

The Great Resignation, Quiet Quitting, the mass desertions from the gig economy — they all prove the Stein’s Law: “Anything that can’t go on forever will eventually stop.”

Same for long, brittle supply-chains, where all the surplus has been squeezed out: concentrating all the microchip production in China and Taiwan, all the medical saline in Puerto Rico, all the shipping into three cartels… This strategy works well, and can be perfectly tuned with mathematical models that cut right to the joint, and they work and they work.

Until they stop. Until covid. Or war. Or wildfires. Or floods. Or interest rate hikes. Or revolution. All this stuff works great until you wake up and discover that the delicate balance between paying for guard labor and paying for a fair society has tilted, and now there’s a mob building a guillotine outside the gates of your luxury compound.

This is the force underpinning collapse: “slow at first, then all at once.” A steady erosion of the failsafes, flensing all the slack out of the system, extracting all the surpluses until there’s nothing left in the reservoir, no reason to stay.

It’s what caused the near-collapse of Barnes and Noble, and while there are plenty of ways to describe James Daunt’s successful turnaround, the most general characterization is, “He has reallocated the company’s surpluses to workers, readers, writers and publishers”:

https://tedgioia.substack.com/p/what-can-we-learn-from-barnes-and

A system can never truly stabilize. This is why utopias are nonsense: even if you design the most perfect society in which everything works brilliantly, it will still have to cope with war and meteors and pandemics and other factors beyond your control. A system can’t just work well, it has to fail well.

This is why I object so strenuously to people who characterize my 2017 novel Walkaway as a “dystopian novel.” Yes, the protagonists are eking out survival amidst a climate emergency and a failing state, but they aren’t giving up, they’re building something new:

https://locusmag.com/2017/06/bruce-sterling-reviews-cory-doctorow/

“Dystopia” isn’t when things go wrong. Assuming nothing will go wrong doesn’t make you an optimist, it makes you an asshole. A dangerous asshole. Assuming nothing will go wrong is why they didn’t put enough lifeboats on the Titanic. Dystopia isn’t where things go wrong. Dystopia is when things go wrong, and nothing can be done about it.

Anything that can’t go on forever will eventually stop. The social media barons who reeled users and business customers into a mutual hostage-taking were confident that their self-licking ice-cream cone — in which we all continued to energetically produce surpluses for them to harvest, because we couldn’t afford to leave — would last forever.

They were wrong. The important thing about the Fediverse isn’t that it’s noncommercial or decentralized — it’s that its design impedes surplus harvesting. The Fediverse is designed to keep switching costs as low as possible, by enshrining the Right Of Exit into the technical architecture of the system. The ability to leave a service without paying a price is the best defense we have against the scourge of enshittification.

(Thanks to Tim Harford for inspiring this column via an offhand remark in his kitchen a couple months ago!)

[Image ID: The Phillip Medhurst Picture Torah 397. The Israelites collect manna. Exodus cap 16 v 14. Luyken and son.]

#pluralistic #social media #post-twitter #post-facebook #switching costs #network effects #web theory #locus magazine #exodus #decentralization

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denimbex1986 · 9 months ago

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'Last month, the BBC offered an apology of sorts after a red-carpet reporter at the Baftas asked Andrew Scott, star of the film All of Us Strangers, about fellow Irish actor Barry Keoghan’s appendage. This had been the subject of conversation thanks to Keoghan’s naked dancing in the film, Saltburn, in which Keoghan’s floppy bishop steals the final scene. To settle this nagging concern the BBC turned to a gay man. ‘There was a lot of talk about prosthetics. How well do you know him?’ the reporter asked an annoyed Scott who shook his head and walked away.

Had a female actress been asked to authenticate another woman’s breasts, the scandal that would have ensued goes without mentioning, but the BBC dusted it off. ‘Our question to Andrew Scott was meant to be a light-hearted reflection of the discussion around the scene and was not intended to cause offence,’ the organisation said.

The gynarchy has made clear that objectifying men is perfectly fine and, after all, what’s a little light-hearted homophobia when gay movies are having a renaissance? All of Us Strangers – nominated for six Baftas but ultimately snubbed, and Saltburn, nominated for five – joined a handful of other gay titles that studios have banked on attracting an audience beyond the 4 per cent of the population who might traditionally see those films.

Where the box office didn’t pay off, critical acclaim largely has. 2020’s Supernova, staring Colin Firth and Stanley Tucci as a 60-something gay couple, and last year’s drama Passages directed by Ira Sachs, have also inched into a market where such movies typically didn’t belong.

‘Why are gay movies always so sad,’ people used to ask in the 1990s. Thirty years later, nothing has changed. Gay flicks tend to have three themes – loneliness, death, and villainy – and this recent batch of movies is no exception. The miniseries Feud: Capote vs. The Swans, released last month and based on writer Truman Capote’s final years, nicely encompasses all three.

‘New film All of us Strangers centers on gay loneliness and trauma,’ a headline on NBC News read, as though that’s anything new. And while I don’t know what ‘trauma’ is, I do know that gay people have always fixated on it and, increasingly, so does everyone else. Gay films haven’t changed, but the audience has. Women are lonelier, more promiscuous, and more atomised than ever and now they’ve discovered a whole sub-genre of cinema speaking to that and aiming to nurture those anxieties. Just a hunch, but the ladies sobbing along at home to Supernova are probably childless and spend many hours a week on Zoom calls.

When a gay film meanders too deeply into gay insider baseball, like Billy Eichner’s 2022 romantic comedy Bros, it bombs. The most resonate gay movie of all time might continue to be 1970’s The Boys in the Band, but the 2020 remake flopped, probably because it’s a story devoid of hope and beauty, only messiness and casual destruction –something gay men understand but remains far too raw and excruciating for women to enjoy.

Then there’s the other side of it – the neutered gay fan fiction written by and for women, like Amazon Prime’s horrendously stupid 2023 film Red, White & Royal Blue, which offers women magical gay pets to carry around in their dreams. When I asked the feminist writer Louise Perry about these films, she said:

"These are usually gay relationships represented in a uniquely feminine way: intensely emotional, no casual sex, very unlike gay porn for men.

I suspect that young women find these gay fantasies attractive because they’re scared of the asymmetries inherent to straight relationships, in which women are always the more physically vulnerable party. So, they invent fictional gay men and give them a style of sexuality more typical of women.

She continued: ‘Will & Grace was obviously created for women because the gay male characters are weirdly asexual,’ reiterating something gay men have speculated for some time, noting that the bitchy and boozy, heterosexual Karen Walker was the only character they gravitated toward.

That’s not to say women can’t write great gay stories. Brokeback Mountain, the most critically acclaimed gay movie of all time, was based on a short story by Annie Proulx, who revealed in a 2009 interview her frustration with fan letters wishing the story had ended on a positive note. Those ‘idiots’ who want a happy ending, she said, overwhelmingly tended to be men.'

#Andrew Scott #BAFTAs #All of Us Strangers #Saltburn #Will & Grace #Brokeback Mountain #Annie Proulx #Karen Walker #Red White & Royal Blue #Supernova #Passages #Feud: Capote Vs The Swans #Bros #The Boys in The Band

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