#big commerce

[expertsgroupit]

Do you need E-Commerce or Big Commerce website?

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[xettle-technologies]

How Can You Use BigCommerce Development Services to Grow Your Store?

In today's digital landscape, establishing a strong online presence is crucial for the success of e-commerce businesses. BigCommerce, a leading e-commerce platform, offers a robust framework for creating and managing online stores. Leveraging BigCommerce development services can significantly enhance the growth potential of your store, providing scalability, customization, and innovative features. In this article, we delve into how businesses can utilize big commerce development services to drive growth, with a focus on the expertise and solutions offered by Xettle Technologies.

Scalability and Flexibility:

One of the key advantages of BigCommerce development services is scalability. As your business grows, you need a platform that can accommodate increased traffic, transactions, and product offerings. Xettle Technologies specializes in developing scalable BigCommerce solutions tailored to your specific requirements. Whether you're a startup looking to expand or an established enterprise seeking to optimize operations, Xettle ensures that your store can seamlessly scale to meet evolving demands, without compromising performance or user experience.

Customization and Personalization:

Personalization is paramount in today's competitive e-commerce landscape. BigCommerce development services offer extensive customization options, allowing businesses to create unique and branded storefronts that resonate with their target audience. Xettle Technologies excels in crafting custom BigCommerce themes, plugins, and extensions that align with your brand identity and cater to the preferences of your customers. By leveraging Xettle's expertise in customization, you can differentiate your store, enhance user engagement, and drive conversions.

Optimized User Experience:

A seamless and intuitive user experience is essential for driving engagement and retention in e-commerce. BigCommerce development services enable businesses to optimize their store's user interface, navigation, and checkout process for maximum convenience and satisfaction. Xettle Technologies specializes in UX/UI design for BigCommerce, ensuring that your store is user-friendly, responsive, and aesthetically appealing across devices and platforms. By prioritizing user experience, Xettle helps businesses create frictionless shopping experiences that encourage repeat purchases and foster customer loyalty.

Integration and Expansion:

Integration with third-party tools and services is crucial for extending the functionality and reach of your BigCommerce store. Xettle Technologies offers seamless integration services, enabling businesses to connect their store with payment gateways, shipping providers, marketing platforms, and more. Whether you're looking to integrate with CRM systems, inventory management tools, or analytics platforms, Xettle ensures smooth interoperability and data synchronization, empowering businesses to streamline operations and expand their capabilities.

Data-driven Insights and Optimization:

In the competitive e-commerce landscape, data-driven decision-making is essential for driving growth and profitability. BigCommerce development services provide access to advanced analytics and reporting features that enable businesses to gain valuable insights into customer behavior, sales trends, and performance metrics. Xettle Technologies specializes in implementing analytics solutions for BigCommerce, helping businesses track key metrics, identify opportunities for optimization, and make informed decisions to drive store growth.

Security and Compliance:

Ensuring the security and compliance of your e-commerce store is paramount for building trust and protecting sensitive customer information. BigCommerce development services prioritize security measures such as PCI compliance, SSL encryption, and fraud detection capabilities. Xettle Technologies implements robust security protocols and best practices to safeguard your store against cyber threats and data breaches, providing peace of mind for both businesses and customers.

Conclusion:

Utilizing BigCommerce development services is essential for unlocking the full potential of your e-commerce store and driving sustainable growth. With Xettle Technologies as your trusted partner, you can leverage the expertise and solutions needed to maximize the performance, scalability, and profitability of your BigCommerce store. Whether you're a startup looking to establish a strong online presence or an established enterprise seeking to optimize operations, Xettle Technologies offers tailored BigCommerce development services to help you achieve your business objectives and thrive in the competitive e-commerce landscape.

[cristianworthington]

Grow Your Business With HymCommerce | Ecommerce Website Development | Marketplace Management [Video]

[lady-raziel]

'West Wing' creator spins scenario to save Democrats: Nominate Mitt Romney to stop 'dangerous imbecile' Trump (msn.com)

As much as this is not going to happen I absolutely love Aaron Sorkin's, the creator of one of the most successful political tv shows of all time, desire to write political fanfiction with reality. A man after my own heart

Love the idea of the classic narrative arc where the big bad from a previous season joins the other side in a redemption plotline to take down the BIG big bad but with Mitt Romney

please include this in the anime reboot of the west wing

[aliveandfullofjoy]

Yet again, it's time to indulge in one of my favorite new year traditions: my ten favorite new-to-me films of 2023!

This is a wild, wild group of movies, but all of them got under my skin in one way or another and made this year that much brighter. If you like, consider this a strong endorsement for each of them.

Same rules as always: no movies from this past year (2023) or the year prior (2022). Every other year is fair game.

01. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (dir. Chantal Akerman, 1975; Belgium/France; 202 mins.)

"I often cry when I think of you, Jeanne."

Sight & Sound's newly crowned Greatest Fim of All-Time was one of my first viewing experiences of 2023, and it loomed like a cloud over the rest of my moviegoing year. It was a bit of an ideal viewing experience - my favorite local independent theater had a showing, and the sizable audience was utterly enthralled by it. The massive Jeanne Dielman is a masterpiece in observation and behavior, and its power reveals itself through the way Akerman creates and unravels Jeanne's routine. She turns the lights off in every room she leaves. She replaces the lid of the money jar every single time. She watches her neighbor's baby for a little while in the afternoon. She looks presentable and pristine at all times, including after her sex work. When parts of these routines start shifting - the lid being left off the jar, the lights being left on for a bit too long, tousled hair - it plays like a jump scare. 

I was shocked at how quickly this flew by. By the time the first day ended, I glanced at the time out of curiosity and was surprised to see it had already been an hour. Jeanne Dielman is a film that is frequently called "boring," which is both fair and entirely the point. It's still utterly mesmerizing within that boredom. This is thanks in large part to Delphine Seyrig's performance. With her hypernaturalistic stillness, Seyrig reaches rare levels of unaffected authenticity. Jeanne doesn't really feel like a character at all -- even with as little as we truly know about her, she feels like a human being.

Essential viewing. Long live the queen.

Currently streaming on the Criterion Channel and Max.

02. The Ascent (dir. Larisa Shepitko, 1977; Soviet Union; 111 mins.)

"Thanks for not leaving me. With company, it's... Okay, let's move on."

My final film in my 52 Films by Women challenge from a few years ago (shut up), Larisa Shepitko's The Ascent must be one of the greatest war movies ever made. Admittedly, it's not a genre I'm often drawn to, but Shepitko instills this film with an emotional power that becomes almost too much to bear.

Every act of cruelty, every gun fired, every open wound, is accompanied by a visceral pain. The way Shepitko uses the natural world as a stage for this story is astonishing - the vast snowy expanse of an unforgiving Russian winter, the rows of trees. Each of her actors manages to convey so much with their faces, too, especially the devastatingly good Lyudmila Polyakova, but the heart of the film is in the work of the two leads. Boris Plotnikov and Vladimir Gostyukhin work beautifully as a pair and as individuals. Shepitko masterfully traces the arc of their relationship against the backdrop of the war, and the end result is absolutely shattering.

The Ascent was, tragically, Shepitko's final film before she died in a car accident. It was my introduction to her as a filmmaker. I hope I can catch up with some of her earlier work, but The Ascent on its own is proof that she was a generational talent.

Currently streaming on the Criterion Channel.

03. The Big Snit (dir. Richard Condie, 1985; Canada; 10 mins.)

"And stop sawing the table!!!"

Oh my God, I loved this so much? Other than being vaguely aware of the title and its good reputation, I had no expectations going into The Big Snit, but everything about it worked for me. The utterly bizarre sense of humor, the voice acting (especially the CAT?!), and Condie's deft combination of a marriage gone stale against the backdrop of nuclear anxiety make for a surprisingly moving ending. I think it might be a masterpiece of the form. And like Jeanne Dielman, it feels profoundly influential - it's easy to see the aftershocks of The Big Snit in a decade's worth of shows on Nickelodeon and Cartoon Network.

Currently streaming on the National Film Board of Canada's website.

04. Vagabond (dir. Agnès Varda, 1985; France; 105 mins.)

"I know little about her myself, but it seems to me she came from the sea."

There really was nobody like Agnès Varda. Vagabond, or Sans toit ni loi, if you prefer its evocative original title, is pretty handily the most emotionally devastating film of hers that I've seen. As Varda shows us Mona's journey through the French countryside, it's hard not to see shades of Wendy and Lucy or even Nomadland. Like the protagonists of those films, Mona struggles to keep her head above water while living on the margins of society, and, like Reichardt and Zhao, Varda manages to find the joyful, the beautiful, and the life-affirming underneath the hardship. She also coaxes stunning work out of Sandrine Bonnaire, who turns in an extraordinarily unaffected and naturalistic performance.

Vagabond's secret weapon might be in its structure. Marrying traditional narrative scenes with a documentary-like direct address, Varda creates an achingly realistic atmosphere. Her work as a documentarian is well-known, and as a bridge between narrative and documentary filmmaking, Vagabond may just be the crown jewel in Varda's expansive body of work.

Currently streaming on the Criterion Channel.

05. A.I. Artificial Intelligence (dir. Steven Spielberg, 2001; USA; 146 mins.)

"And for the first time in his life, he went to that place where dreams are born."

Weepy existential sci-fi remains undefeated!

A.I. Artificial Intelligence is undeniably a huge swing. Genuinely feeling like that impossible mix between Spielberg's and Kubrick's sensibilities, A.I. achieves something of a hat trick - a fairytale steeped in existentialism. The Pinocchio comparisons are immediate and on-the-nose, but that doesn't make it any less fertile grounds for a compelling story. There's so much in this film that physically hurts the heart and the head to think about for too long - so much grief, so much cruelty - that framing it around David's immediately accessible journey toward becoming a real boy is pretty ingenious.

Of course, this film, maybe more than any of Spielberg's others, is deeply reliant on its lead performance. Haley Joel Osment is astonishing in this film, a blank slate for an entire world's love and anguish to project itself. Without him, the film would probably still be a fascinating sci-fi epic, but Osment lends the film the bulk of its emotional power. If we don't believe that David's entire reason for being comes from his need for love from his adopted mother (which, admittedly, is a pretty thin clothesline for the film's heavy plot to hang on), then we don't care. Osment makes us care. From anybody, this performance would be a triumph, but from a 12-year-old? It might be one of the miracles of acting.

Available to rent on demand.

06. Humanity and Paper Balloons (dir. Sadao Yamanaka, 1937; Japan; 86 mins.)

"How could he kill himself on such a nice day? How utterly selfish of him."

Up until watching this film, I don't think I ever paid any special attention to Sadao Yamanaka's name. Within a year of the release of Humanity and Paper Balloons, the 28-year-old Yamanaka would be dead.

His untimely death only hints at the kinds of films he could have made with more time. This, though, is surely one of the finest (and most depressing) final films I can think of. One of the great strengths of Humanity and Paper Balloons is how startlingly modern it all feels: it's a 1930s drama, yes, but Yamanaka's thoughtful, assured direction really brings the poetic and tragic script (written beautifully by Shintaro Mimura) and performances (especially Kanemon Nakamura as Shinza the hairdresser) to life. Like the best tragedies, the events of Humanity and Paper Balloons feel senselessly cruel and brutally inevitable, but unlike other tragedies, Yamanaka is careful to keep just a bit of disarming humor to prevent the film from feeling too heavy. 

It's an incredibly sad story beautifully told by a filmmaker struck down in his prime. Extremely worth a watch.

Currently streaming on the Criterion Channel.

07. Mississippi Masala (dir. Mira Nair, 1991; USA; 118 mins.)

"Home is where the heart is. And my heart is with you."

There is so much in Mississippi Masala that's wonderful. There's the beautiful young couple at the center, Sarita Choudhury (in a lovely debut performance) and Denzel Washington (a few years after his first Oscar win), who are so hot together that it feels like the TV might catch on fire. There's the supporting cast, too, including the legendary Sharmila Tagore, the great Charles S. Dutton, and the soulful Roshan Seth, whose sad, exhausted face is the heart of the film. There's the sensitive script by Sooni Taraporevala, that somehow finds an intimate romantic drama in a sprawling story that includes the Indian exodus from Uganda, an immigrant family's assimilation into the American South, and two clearly defined family dramas in vastly marginalized communities.

Perhaps most wonderful is Nair's gorgeous direction. The film has an expressive, vibrant visual palette, with so many different shades of red accompanying Mina and Demetrius' blooming romance. This is a rich, sensual film, and one of the great romantic dramas of the 90s.

Currently streaming on the Criterion Channel.

08. Lingua Franca (dir. Isabel Sandoval, 2019; Philippines/USA; 95 mins.)

"It doesn't matter where I go. They will hunt me down, and take me away."

Speaking of sensual! Sandoval, a true multi-hyphenate, is the director, writer, and lead performer in the stunning Lingua Franca.

The story, following an undocumented trans Filipina caregiver, is urgent, unabashedly political, and deeply moving. Sandoval and Eamon Farren both turn in deeply affecting performances, evocatively painting portraits of bruised souls trying desperately to find a way forward. The beauty in Sandoval's direction shows us that a way forward is within their grasp. It's the choices they need to make in striving for a better life that drive them further apart. The much-discussed sex scene is one of the most sensual and breathtaking in recent memory, but so much of the central romance is painted with such empathy and grace and beautiful visuals that it makes the unraveling feel all the more gutting. Also gutting is Lynn Cohen's quietly perfect performance. 

Lingua Franca is not Sandoval's directorial debut, but it does feel like the arrival of a major artist. She's clearly one of the most exciting filmmakers working today.

Currently streaming on the Criterion Channel.

09. The Blue Angel (dir. Josef von Sternberg, 1930; Weimar Republic; 108 mins.)

"Men swarm around me like moths 'round a flame, And if their wings are singed, surely I can't be blamed."

It's easy to see The Blue Angel as a collision between the expressionism and full-body physicality of silent cinema (embodied in Emil Jannings' performance) and the daring, tempting new-age sound cinema (embodied, of course, by the iconic Marlene Dietrich), but that almost devalues the skill of the actual storytelling and filmmaking going on here. Jannings' relationship with Dietrich - as naive and one-sided as it may sometimes be - is inevitable and pitiful. It's ridiculous and tragic to watch as he throws his entire life away for the most fleeting, meaningless romance imaginable. 

Both lead performers are superb, of course. Dietrich, iconic across all of her Sternberg collaborations, is exquisite both in her onstage burlesque performances and her more intimate scenes with Jannings. Their chemistry is really lovely, even as we know it can never last. Jannings is tremendous, a layered and honest performance that culminates in an emotional breakdown that feels almost ripped from a Universal monster movie. The animalistic noises of his anguish are utterly haunting. Brutal stuff, and pretty handily my favorite Sternberg film.

Available to rent on demand.

10. Time Piece (dir. Jim Henson, 1965; USA; 9 mins.)

"Help!"

Why yes, that is the head of a young Jim Henson on that plate!

It's so weird seeing a Henson film without puppets, but if Time Piece is anything, it's weird. It's also brilliant - the product of Henson's singular creative voice. At just nine minutes, the short is a striking, funny, strange meditation on what it means to be beholden to the relentless march of time. It also boasts impeccable sound design and music, courtesy of the late, great Don Sebesky.

Currently available on Vimeo.

Special mention: Vittorio De Seta's 1955 documentaries.

In 1955, De Seta released six(!) documentary shorts: Islands of Fire, Surfarara, Easter in Sicily, The Age of Swordfish, Sea Countrymen, and Golden Parable. Stunning as individual films, but taken as a group, they become a meditation on the violence of living off the land and the endless cycle of life and death. Acting as director, editor, and cinematographer, De Seta marries ethnography and anthropology with artistry, creating bite-sized, miraculous films that immortalize life and labor in rural Sicily. The cinematography alone is jaw-dropping. Whether the films chronicle the Stromboli volcano, ancient religious rituals, a day of work in sulfur mines, harvesting grain, or the life of a fisherman, they are immersive and fleeting. The longest of these films is 12 minutes, and they all feel like dreams. Stunning stuff.

All six of these films, and more of De Seta's work, are streaming on the Criterion Channel.

Honorable mentions (in alphabetical order): After Yang (dir. Kogonada, 2021); Akira (dir. Katsuhiro Otomo, 1988); Asako I & II (dir. Ryusuke Hamaguchi, 2018); Beverly Hills Cop (dir. Martin Brest, 1984); The Boy Friend (dir. Ken Russell, 1971); Carnal Knowledge (dir. Mike Nichols, 1971); Dogfight (dir. Nancy Savoca, 1991); Game Night (dir. John Francis Daley and Jonathan Goldstein, 2018); Girlhood (dir. Céline Sciamma, 2014); The Great Piggy Bank Robbery (dir. Robert Clampett, 1946); Heat (dir. Michael Mann, 1995); Italianamerican (dir. Martin Scorsese, 1974); Kajillionaire (dir. Miranda July, 2020); Linda Linda Linda (dir. Nobuhiro Yamashita, 2005); Mean Streets (dir. Martin Scorsese, 1973); Night of the Living Dead (dir. George A. Romero, 1968); Pink Flamingos (dir. John Waters, 1972) Saving Face (dir. Alice Wu, 2004); Shake! Otis at Monterey (dir. D. A. Pennebaker, Chris Hegedus, and David Dawkins, 1987); Shiva Baby (dir. Emma Seligman, 2020); Three Thousand (dir. asinnajaq, 2017); Videodrome (dir. David Cronenberg, 1983); When the Day Breaks (Amanda Forbis and Wendy Tilby, 1999); While You Were Sleeping (dir. Jon Turteltaub, 1995); Windy Day (dir. John Hubley and Faith Hubley, 1968); Wings of Desire (dir. Wim Wenders, 1987); Your Face (dir. Bill Plympton, 1987)

And finally, some miscellaneous viewing stats:

First movie watched in 2023: Akira (dir. Katsuhiro Otomo, 1988)

Final movie watched in 2023: The Devil Wears Prada (dir. David Frankel, 2006)

Least favorite movie: Blonde (dir. Andrew Dominik, 2022)

Oldest movie: The Impossible Voyage (dir. Georges Méliès, 1904)

Longest movie: The Ten Commandments (dir. Cecil B. DeMille, 1956 - 220 mins.)

Shortest movie: Premonitions Following an Evil Deed (dir. David Lynch, 1995 - 1 min.)

Month with the most viewings: January (35)

Month with the fewest viewings: May (5)

First movie from 2023 seen: Rye Lane (dir. Raine Allen-Miller, 2023)

Total movies: 231

Movies! They're good. Sometimes. Happy new year, friends!

[teenagefeeling]

friendly reminder that they do still like, print books out onto paper. i love ebook libraries as much as anyone but always remember that if libby doesn't have it, you can search oclc for a physical copy. you can buy books in person at book sales, charity shops, garage sales, and locally-owned bookstores too, it doesn't have to be an online retailer

[quotelr]

when you become addict in to MATERIAL things in life then the TRUE natural life start to run away from you, YES! it's can give you certain pleasure in the society but in the same time it will sabotage your true HAPPINESS of life which we could have simply with GRATITUDE and FORGIVENESS

Rashedur Ryan Rahman

[ace-and-ranty]

I gained some weight over the pandemic. As a result, I lost most of my wardrobe. Being a Body Positive Girlie(TM), I thought, Well, that's fine, I will save some money and do a big shopping trip and redo my wardrobe!

I just came back from the first attempted shopping trip and I couldn't find one plus-size tank top I liked.

Knowing the issue is the fashion industry, and not my body, isn't helping much right now

[jcmarchi]

US launches $1.6B bid to outpace Asia in packaging tech

New Post has been published on https://thedigitalinsider.com/us-launches-1-6b-bid-to-outpace-asia-in-packaging-tech/

US launches $1.6B bid to outpace Asia in packaging tech

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The US is betting big on the future of semiconductor technology, launching a $1.6 billion competition to revolutionise chip packaging and challenge Asia’s longstanding dominance in the field. On July 9, 2024, the US Department of Commerce unveiled its ambitious plan to turbocharge domestic advanced packaging capabilities, a critical yet often overlooked aspect of semiconductor manufacturing. 

This move, part of the Biden-Harris Administration’s CHIPS for America program, comes as the US seeks to revitalise its semiconductor industry and reduce dependence on foreign suppliers. Advanced packaging, a crucial step in semiconductor production, has long been dominated by Asian countries like Taiwan and South Korea. By investing heavily in this area, the US aims to reshape the global semiconductor landscape and position itself at the forefront of next-generation chip technology, marking a significant shift in the industry’s balance of power.

US Secretary of Commerce Gina Raimondo emphasised the importance of this move, stating, “President Biden was clear that we need to build a vibrant domestic semiconductor ecosystem here in the US, and advanced packaging is a huge part of that. Thanks to the Biden-Harris Administration’s commitment to investing in America, the US will have multiple advanced packaging options across the country and push the envelope in new packaging technologies.”

The competition will focus on five key R&D areas: equipment and process integration, power delivery and thermal management, connector technology, chiplets ecosystem, and co-design/electronic design automation. The Department of Commerce anticipates making several awards of approximately $150 million each in federal funding per research area, leveraging additional investments from industry and academia.

This strategic investment comes at a crucial time, as emerging AI applications are pushing the boundaries of current technologies. Advanced packaging allows for improvements in system performance, reduced physical footprint, lower power consumption, and decreased costs – all critical factors in maintaining technological leadership.

The Biden-Harris Administration’s push to revitalise American semiconductor manufacturing comes as the global chip shortage has highlighted the risks of overreliance on foreign suppliers. Asia, particularly Taiwan, currently dominates the advanced packaging market. According to a 2021 report by the Semiconductor Industry Association, the US accounts for only 3% of global packaging, testing, and assembly capacity, while Taiwan holds a 54% share, followed by China at 16%.

Under Secretary of Commerce for Standards and Technology and National Institute of Standards and Technology (NIST) Director Laurie E. Locascio outlined an ambitious vision for the program: “Within a decade, through R&D funded by CHIPS for America, we will create a domestic packaging industry where advanced node chips manufactured in the US and abroad can be packaged within the States and where innovative designs and architectures are enabled through leading-edge packaging capabilities.”

The announcement builds on previous efforts by the CHIPS for America program. In February 2024, the program released its first funding opportunity for the National Advanced Packaging Manufacturing Program (NAPMP), focusing on advanced packaging substrates and substrate materials. That initiative garnered significant interest, with over 100 concept papers submitted from 28 states. On May 22, 2024, eight teams were selected to submit complete applications for funding of up to $100 million each over five years.

According to Laurie, the goal is to create multiple high-volume packaging facilities by the decade’s end and reduce reliance on Asian supply lines that pose a security risk that the US “just can’t accept.” In short, the government is prioritising ensuring America’s leadership in all elements of semiconductor manufacturing, “of which advanced packaging is one of the most exciting and critical areas,” White House spokeswoman Robyn Patterson said.

The latest competition is expected to attract significant interest from the US semiconductor ecosystem and shift that balance. It promises substantial federal funding and the opportunity to shape the future of American chip manufacturing. As the global demand for advanced semiconductors continues to grow, driven by AI, 5G, and other emerging technologies, the stakes for technological leadership have never been higher.

As the US embarks on this ambitious endeavour, the world will see if this $1.6 billion bet can challenge Asia’s stronghold on advanced chip packaging and restore America’s position at the forefront of semiconductor innovation.

(Photo by Braden Collum)

See also: Global semiconductor shortage: How the US plans to close the talent gap

Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.

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Tags: ai, AI semiconductor, artificial intelligence, chips act, law, legal, Legislation, Politics, semiconductor, usa

[theabstruseone]

I slept in and just woke up, so here's what I've been able to figure out while sipping coffee:

Twitter has officially rebranded to X just a day or two after the move was announced.

The official branding is that a tweet is now called "an X", for which there are too many jokes to make.

The official account is still @twitter because someone else owns @X and they didn't reclaim the username first.

The logo is 𝕏 which is the Unicode character Unicode U+1D54F so the logo cannot be copyrighted and it is highly likely that it cannot be protected as a trademark.

Outside the visual logo, the trademark for the use of the name "X" in social media is held by Meta/Facebook, while the trademark for "X" in finance/commerce is owned by Microsoft.

The rebranding has been stopped in Japan as the term "X Japan" is trademarked by the band X JAPAN.

Elon had workers taking down the "Twitter" name from the side of the building. He did not have any permits to do this. The building owner called the cops who stopped the crew midway through so the sign just says "er".

He still plans to call his streaming and media hosting branch of the company as "Xvideo". Nobody tell him.

This man wants you to give him control over all of your financial information.

Edit to add further developments:

Yes, this is all real. Check the notes and people have pictures. I understand the skepticism because it feels like a joke, but to the best of my knowledge, everything in the above is accurate.

Microsoft also owns the trademark on X for chatting and gaming because, y'know, X-box.

The logo came from a random podcaster who tweeted it at Musk.

The act of sending a tweet is now known as "Xeet". They even added a guide for how to Xeet.

The branding change is inconsistent. Some icons have changed, some have not, and the words "tweet" and "Twitter" are still all over the place on the site.

TweetDeck is currently unaffected and I hope it's because they forgot that it exists again. The complete negligence toward that tool and just leaving it the hell alone is the only thing that makes the site usable (and some of us are stuck on there for work).

This is likely because Musk was forced out of PayPal due to a failed credit line project and because he wanted to rename the site to "X-Paypal" and eventually just to "X".

This became a big deal behind the scenes as Musk paid over $1 million for the domain X.com and wanted to rebrand the company that already had the brand awareness people were using it as a verb to "pay online" (as in "I'll paypal you the money")

X.com is not currently owned by Musk. It is held by a domain registrar (I believe GoDaddy but I'm not entirely sure). Meaning as long as he's hung onto this idea of making X Corp a thing, he couldn't be arsed to pay the $15/year domain renewal.

Bloomberg estimates the rebranding wiped between $4 to $20 billion from the valuation of Twitter due to the loss of brand awareness.

The company was already worth less than half of the $44 billion Musk paid for it in the first place, meaning this may end up a worse deal than when Yahoo bought Tumblr.

One estimation (though this is with a grain of salt) said that Twitter is three months from defaulting on its loans taken out to buy the site. Those loans were secured with Tesla stock. Meaning the bank will seize that stock and, since it won't be enough to pay the debt (since it's worth around 50-75% of what it was at the time of the loan), they can start seizing personal assets of Elon Musk including the Twitter company itself and his interest in SpaceX.

Sesame Street's official accounts mocked the rebranding.

[anthonybialy]

Not Trading Away Dealing

Liberals tell us everyone else is afraid of what they don’t know.  Then they shriek about decadent kulak tyrannical tycoons daring to thrive by mugging willing patrons.  Projection is only the first problem.  The process’s demonizers don’t grasp what the economy is, but they’re otherwise close to pecuniary security.  It’s shocking that people who spend trillions taken from taxpayers on nothing are bad at earning.

Sit home and demand more payments.  Maintain your ideal negotiating position.  Charging ransom for existing is the ‘20s mentality that treats showing up to work as an honor.  Claim retailers are holding products hostage unless their demands for payment are met.

Business is not a machine that lets owners plate cabinets with platinum merely by being powered up.  Oh, right: they’re creating things.  It’s not either cruel fate or thieving manipulation that enables extra zeroes.  We tried turning it off and on again only to find the heartless behemoth didn’t power up easily.  The humming beast enriching conglomerates keeps shelves from looking lonely.

The virus era spread the diseased notion that government can dole out whatever’s required after flipping the switch.  Claiming financial villains treasured running their enterprises more than humans living ignores how the latter keep people alive.  A little deal sounds exploitative until realizing everyone else rightfully expects something back.

Wondering where food is supposed to come from is for advanced students.  Remedial students of humanity conclude it’s the government, which is why every lucky Soviet Union citizen enjoyed every glorious turnip.  Why aren’t those compassionate enemies of accumulating lucre still around?  I bet capitalists bankrupted the loving sharing nation out of jealousy.

Wondering how we get anything is one way to maintain childlike wonder.  It’d still be better to retain the basics.  Interaction with cashiers offer the opportunity to work on manners.

Satisfying each other’s needs only sounds filthy.  It can be if you’re into that.  But that’s up to players.  The great thing about free markets is that everyone is participating willingly.  We only ask that freaks close the blinds.

Treating profit as a swear word has cursed us.  I wish productivity’s foes hated anything as much as they do sellers getting a little more than they spent on inventory.  Those selfishly compensated will in turn use that to buy items or services of need or interest.  It’s almost like everyone’s working together.  An economy offers the cooperation central planners claim to desire.  To them, the problem is they’re not supervising transactions.

Greed is someone other than you making money.  Everyone else has some nerve collecting rewards for being useful.  Honorary East Germans are horrified by profits, which as a reminder are handed over freely.  Grifters who think outposts exist to distribute salaries think they can get avarice out of this whole money claptrap, which to them means not having to display competence.

I’m not saying uninformed customers are a little dim, but they never think to spend where they wish.  Sophisticated political theorists think corporations dominate our lives.  You can’t just shop somewhere else, and we should really change that law.  Unfortunately, corporations won’t allow mean Republicans to permit fiscal dissent.  Driving to a different store is unlike the monolithic government they beg to dominate them.

Profits disappear for lousy sellers.  That doesn’t just mean the government: it also applies to concerns that can’t meet concerns.  The difference is one must fear going bust without revolution.  Black holes of commerce warp the procedure by presuming outlets exploit the populace by peddling stuff people like so much they’ll hand over currency.  Said stuff was once worth something before professional shoplifters stole what everyone couldn’t afford.

A fairly high percentage of people have to work.  This world is really mean that way.  But attempting to evade its parameters only makes life more challenging.  That’s what liberalism is, and I’m sure it’s about to turn out universal happiness next time.

Those who cherish having paper which can be dealt for possessions end up going to some stupid job with people and things.  But an existence where one must create value in order to get anything in return is not all that bad.  Laborers get to do something they’re capable of performing and get paid in currency that’s worth more than the time spent monitoring Facebook for important updates about Crumbl’s weekly flavors.

Capitalism is not a system.  There’s no competition for competing.  The normal course of life involves giving something in exchange for wanting something.  Anything that infringes upon your right to peddle what you wish harms humans in concept and practice.  The only thing those who don’t contribute generate is a goofy concept about prosperity’s source.  Vying for consumers reduces inefficiency, according to those who tried to get rich by printing bills.

Trade for what you wish.  And don’t wait for permission granted in the previous sentence.  I want to avoid alarming you, but you don’t have everything you require or desire.  You will have to restock the pantry or at least go back to Sonic.  The ceaseless need for obtaining feels rapacious.  But the beef is with reality.

Using a John Lennon song as the new constitution hasn’t prompted as much bliss as anticipated.  By contrast, America’s original rule book remains suited toward people who realize attempting to evade prices only increases them.  We’re probably going to have to acquire energy and maintain a dwelling and could use other items such as garments and a screen to view Cobra Kai.  

Those disgusted by entrepreneurship inadvertently concede personal uselessness.  The ironically selfish need government to properly redistribute what was unfairly distributed to cheaters who worked hard and smart.  It’s the same way the allegedly compassionate never conceive of donating voluntarily.

Everyone benefits, which ticks off some beneficiaries.  Cash for completing tasks is as fun as amassing desired belongings for handing over cash.  The owner and employee both get something.  Isn’t that nice?  Outrage because the person who took risks, envisioned something the public wanted to buy, and guides the course gets to live in a fancier ZIP code will surely improve one’s own lot.

Inferior, defective, or otherwise bad goods get eliminated from the sales floor.  By contrast, you must buy if Washington’s selling junk.  That’s the only scenario where it’s true.

[cristianworthington]

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