#cutting tools market company

[millermenapologist]

Fandom friends, we have won the battle (although we definitely did not win the war).

Yesterday, I wrote this post about lore.fm, an AI scraping app that was being marketed as an accessibility tool. Now, the person that has been promoting this app decided, in the light of plenty of backlash, to backtrack and pull it down, as they "feel uncomfortable" with how authors reacted to it.

Of this video, it's very important to highlight a couple of things:

the video is 3 long minutes of guilt-tripping: she keeps repeating that her (and her team, whose existence wasn't disclosed until yesterday: this app was marketed as being a sole woman's pet project) wanted to do good and create an accessibility tool. This comes with the underlying layer that all the authors who rightfully decided to defend their creations are ableist and in the wrong. It's a manipulation tactic;

there is no acknowledgement of the fact that the app was created by a team that specifically works to create apps that generate AI stories;

there is no explanation as to where the money to fund this app is coming from, and we all know that, when you're not paying for the product, you are the product;

this is backtracking, not genuine conversation: since the other day, the videos promoting this app went viral on r/Ao3, and plenty of people began contacting team@lore.fm to ask for their works to not be included. Then, the news spread on Tumblr too. They originally thought they could get away with "legally" stealing as much material as possible, and had to cut the project short because authors were doing everything in their power to stop them. The decision to take the app off for "reassessment" doesn't come from the goodness of their hearts.

At this point of the conversation, I think it's clear that the entirety of the project was relying on the perceived naïveté of fanfic readers and writers, who are oftentimes seen and stereotyped as being silly teens and not adults with real jobs and real knowledge of the law. When they saw dozens, if not hundreds, of authors contacting them to ask their works to not be featured, some of them threatening legal consequences, they had no other choice but to backtrack.

For now, the issue is closed, but don't think it'll be forever. Know your rights, even if you're "just" a fic author, and defend yourself and your works too from these scummy companies that see us as nothing but machines that churn out material for them to steal and profit off of with no consequences.

[tangibletechnomancy]

The reason I took interest in AI as an art medium is that I've always been interested in experimenting with novel and unconventional art media - I started incorporating power tools into a lot of my physical processes younger than most people were even allowed to breathe near them, and I took to digital art like a duck to water when it was the big, relatively new, controversial thing too, so really this just seems like the logical next step. More than that, it's exciting - it's not every day that we just invent an entirely new never-before-seen art medium! I have always been one to go fucking wild for that shit.

Which is, ironically, a huge part of why I almost reflexively recoil at how it's used in the corporate world: because the world of business, particularly the entertainment industry, has what often seems like less than zero interest in appreciating it as a novel medium.

And I often wonder how much less that would be the case - and, by extension, how much less vitriolic the discussion around it would be, and how many fewer well-meaning people would be falling for reactionary mythologies about where exactly the problems lie - if it hadn't reached the point of...at least an illusion of commercial viability, at exactly the moment it did.

See, the groundwork was laid in 2020, back during covid lockdowns, when we saw a massive spike in people relying on TV, games, books, movies, etc. to compensate for the lack of outdoor, physical, social entertainment. This was, seemingly, wonderful for the whole industry - but under late-stage capitalism, it was as much of a curse as it was a gift. When industries are run by people whose sole brain process is "line-go-up", tiny factors like "we're not going to be in lockdown forever" don't matter. CEOs got dollar signs in their eyes. Shareholders demanded not only perpetual growth, but perpetual growth at this rate or better. Even though everyone with an ounce of common sense was screaming "this is an aberration, this is not sustainable" - it didn't matter. The business bros refused to believe it. This was their new normal, they were determined to prove -

And they, predictably, failed to prove it.

So now the business bros are in a pickle. They're beholden to the shareholders to do everything within their power to maintain the infinite growth they promised, in a world with finite resources. In fact, by precedent, they're beholden to this by law. Fiduciary duty has been interpreted in court to mean that, given the choice between offering a better product and ensuring maximum returns for shareholders, the latter MUST be a higher priority; reinvesting too much in the business instead of trying to make the share value increase as much as possible, as fast as possible, can result in a lawsuit - that a board member or CEO can lose, and have lost before - because it's not acting in the best interest of shareholders. If that unsustainable explosive growth was promised forever, all the more so.

And now, 2-3-4 years on, that impossibility hangs like a sword of Damocles over the heads of these media company CEOs. The market is fully saturated; the number of new potential customers left to onboard is negligible. Some companies began trying to "solve" this "problem" by violating consumer privacy and charging per household member, which (also predictably) backfired because those of us who live in reality and not statsland were not exactly thrilled about the concept of being told we couldn't watch TV with our own families. Shareholders are getting antsy, because their (however predictably impossible) infinite lockdown-level profits...aren't coming, and someone's gotta make up for that, right? So they had already started enshittifying, making excuses for layoffs, for cutting employee pay, for duty creep, for increasing crunch, for lean-staffing, for tightening turnarounds-

And that was when we got the first iterations of AI image generation that were actually somewhat useful for things like rapid first drafts, moodboards, and conceptualizing.

Lo! A savior! It might as well have been the digital messiah to the business bros, and their eyes turned back into dollar signs. More than that, they were being promised that this...both was, and wasn't art at the same time. It was good enough for their final product, or if not it would be within a year or two, but it required no skill whatsoever to make! Soon, you could fire ALL your creatives and just have Susan from accounting write your scripts and make your concept art with all the effort that it takes to get lunch from a Star Trek replicator!

This is every bit as much bullshit as the promise of infinite lockdown-level growth, of course, but with shareholders clamoring for the money they were recklessly promised, executives are looking for anything, even the slightest glimmer of a new possibility, that just might work as a life raft from this sinking ship.

So where are we now? Well, we're exiting the "fucking around" phase and entering "finding out". According to anecdotes I've read, companies are, allegedly, already hiring prompt engineers (or "prompters" - can't give them a job title that implies there's skill or thought involved, now can we, that just might imply they deserve enough money to survive!)...and most of them not only lack the skill to manually post-process their works, but don't even know how (or perhaps aren't given access) to fully use the software they specialize in, being blissfully unaware of (or perhaps not able/allowed to use) features such as inpainting or img2img. It has been observed many times that LLMs are being used to flood once-reputable information outlets with hallucinated garbage. I can verify - as can nearly everyone who was online in the aftermath of the Glasgow Willy Wonka Dashcon Experience - that the results are often outright comically bad.

To anyone who was paying attention to anything other than please-line-go-up-faster-please-line-go-please (or buying so heavily into reactionary mythologies about why AI can be dangerous in industry that they bought the tech companies' false promises too and just thought it was a bad thing), this was entirely predictable. Unfortunately for everyone in the blast radius, common sense has never been an executive's strong suit when so much money is on the line.

Much like CGI before it, what we have here is a whole new medium that is seldom being treated as a new medium with its own unique strengths, but more often being used as a replacement for more expensive labor, no matter how bad the result may be - nor, for that matter, how unjust it may be that the labor is so much cheaper.

And it's all because of timing. It's all because it came about in the perfect moment to look like a life raft in a moment of late-stage capitalist panic. Any port in a storm, after all - even if that port is a non-Euclidean labyrinth of soggy, rotten botshit garbage.

Any port in a storm, right? ...right?

All images generated using Simple Stable, under the Code of Ethics of Are We Art Yet?

[mostlysignssomeportents]

Amazon’s financial shell game let it create an “impossible” monopoly

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me in TUCSON (Mar 9-10), then San Francisco (Mar 13), Anaheim, and more!

For the pro-monopoly crowd that absolutely dominated antitrust law from the Carter administration until 2020, Amazon presents a genuinely puzzling paradox: the company's monopoly power was never supposed to emerge, and if it did, it should have crumbled immediately.

Pro-monopoly economists embody Ely Devons's famous aphorism that "If economists wished to study the horse, they wouldn’t go and look at horses. They’d sit in their studies and say to themselves, ‘What would I do if I were a horse?’":

https://pluralistic.net/2022/10/27/economism/#what-would-i-do-if-i-were-a-horse

Rather than using the way the world actually works as their starting point for how to think about it, they build elaborate models out of abstract principles like "rational actors." The resulting mathematical models are so abstractly elegant that it's easy to forget that they're just imaginative exercises, disconnected from reality:

https://pluralistic.net/2023/04/03/all-models-are-wrong/#some-are-useful

These models predicted that it would be impossible for Amazon to attain monopoly power. Even if they became a monopoly – in the sense of dominating sales of various kinds of goods – the company still wouldn't get monopoly power.

For example, if Amazon tried to take over a category by selling goods below cost ("predatory pricing"), then rivals could just wait until the company got tired of losing money and put prices back up, and then those rivals could go back to competing. And if Amazon tried to keep the loss-leader going indefinitely by "cross-subsidizing" the losses with high-margin profits from some other part of its business, rivals could sell those high margin goods at a lower margin, which would lure away Amazon customers and cut the supply lines for the price war it was fighting with its discounted products.

That's what the model predicted, but it's not what happened in the real world. In the real world, Amazon was able use its access to the capital markets to embark on scorched-earth predatory pricing campaigns. When diapers.com refused to sell out to Amazon, the company casually committed $100m to selling diapers below cost. Diapers.com went bust, Amazon bought it for pennies on the dollar and shut it down:

https://www.theverge.com/2019/5/13/18563379/amazon-predatory-pricing-antitrust-law

Investors got the message: don't compete with Amazon. They can remain predatory longer than you can remain solvent.

Now, not everyone shared the antitrust establishment's confidence that Amazon couldn't create a durable monopoly with market power. In 2017, Lina Khan – then a third year law student – published "Amazon's Antitrust Paradox," a landmark paper arguing that Amazon had all the tools it needed to amass monopoly power:

https://www.yalelawjournal.org/note/amazons-antitrust-paradox

Today, Khan is chair of the FTC, and has brought a case against Amazon that builds on some of the theories from that paper. One outcome of that suit is an unprecedented look at Amazon's internal operations. But, as the Institute for Local Self-Reliance's Stacy Mitchell describes in a piece for The Atlantic, key pieces of information have been totally redacted in the court exhibits:

https://www.theatlantic.com/ideas/archive/2024/02/amazon-profits-antitrust-ftc/677580/

The most important missing datum: how much money Amazon makes from each of its lines of business. Amazon's own story is that it basically breaks even on its retail operation, and keeps the whole business afloat with profits from its AWS cloud computing division. This is an important narrative, because if it's true, then Amazon can't be forcing up retail prices, which is the crux of the FTC's case against the company.

Here's what we know for sure about Amazon's retail business. First: merchants can't live without Amazon. The majority of US households have Prime, and 90% of Prime households start their ecommerce searches on Amazon; if they find what they're looking for, they buy it and stop. Thus, merchants who don't sell on Amazon just don't sell. This is called "monopsony power" and it's a lot easier to maintain than monopoly power. For most manufacturers, a 10% overnight drop in sales is a catastrophe, so a retailer that commands even a 10% market-share can extract huge concessions from its suppliers. Amazon's share of most categories of goods is a lot higher than 10%!

What kind of monopsony power does Amazon wield? Well, for one thing, it is able to levy a huge tax on its sellers. Add up all the junk-fees Amazon charges its platform sellers and it comes out to 45-51%:

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

Competitive businesses just don't have 45% margins! No one can afford to kick that much back to Amazon. What is a merchant to do? Sell on Amazon and you lose money on every sale. Don't sell on Amazon and you don't get any business.

The only answer: raise prices on Amazon. After all, Prime customers – the majority of Amazon's retail business – don't shop for competitive prices. If Amazon wants a 45% vig, you can raise your Amazon prices by a third and just about break even.

But Amazon is wise to that: they have a "most favored nation" rule that punishes suppliers who sell goods more cheaply in rival stores, or even on their own site. The punishments vary, from banishing your products to page ten million of search-results to simply kicking you off the platform. With publishers, Amazon reserves the right to lower the prices they set when listing their books, to match the lowest price on the web, and paying publishers less for each sale.

That means that suppliers who sell on Amazon (which is anyone who wants to stay in business) have to dramatically hike their prices on Amazon, and when they do, they also have to hike their prices everywhere else (no wonder Prime customers don't bother to search elsewhere for a better deal!).

Now, Amazon says this is all wrong. That 45-51% vig they claim from business customers is barely enough to break even. The company's profits – they insist – come from selling AWS cloud service. The retail operation is just a public service they provide to us with cross-subsidy from those fat AWS margins.

This is a hell of a claim. Last year, Amazon raked in $130 billion in seller fees. In other words: they booked more revenue from junk fees than Bank of America made through its whole operation. Amazon's junk fees add up to more than all of Meta's revenues:

https://s2.q4cdn.com/299287126/files/doc_financials/2023/q4/AMZN-Q4-2023-Earnings-Release.pdf

Amazon claims that none of this is profit – it's just covering their operating expenses. According to Amazon, its non-AWS units combined have a one percent profit margin.

Now, this is an eye-popping claim indeed. Amazon is a public company, which means that it has to make thorough quarterly and annual financial disclosures breaking down its profit and loss. You'd think that somewhere in those disclosures, we'd find some details.

You'd think so, but you'd be wrong. Amazon's disclosures do not break out profits and losses by segment. SEC rules actually require the company to make these per-segment disclosures:

https://scholarship.law.stjohns.edu/cgi/viewcontent.cgi?article=3524&context=lawreview#:~:text=If%20a%20company%20has%20more,income%20taxes%20and%20extraordinary%20items.

That rule was enacted in 1966, out of concern that companies could use cross-subsidies to fund predatory pricing and other anticompetitive practices. But over the years, the SEC just…stopped enforcing the rule. Companies have "near total managerial discretion" to lump business units together and group their profits and losses in bloated, undifferentiated balance-sheet items:

https://www.ucl.ac.uk/bartlett/public-purpose/publications/2021/dec/crouching-tiger-hidden-dragons

As Mitchell points you, it's not just Amazon that flouts this rule. We don't know how much money Google makes on Youtube, or how much Apple makes from the App Store (Apple told a federal judge that this number doesn't exist). Warren Buffett – with significant interest in hundreds of companies across dozens of markets – only breaks out seven segments of profit-and-loss for Berkshire Hathaway.

Recall that there is one category of data from the FTC's antitrust case against Amazon that has been completely redacted. One guess which category that is! Yup, the profit-and-loss for its retail operation and other lines of business.

These redactions are the judge's fault, but the real fault lies with the SEC. Amazon is a public company. In exchange for access to the capital markets, it owes the public certain disclosures, which are set out in the SEC's rulebook. The SEC lets Amazon – and other gigantic companies – get away with a degree of secrecy that should disqualify it from offering stock to the public. As Mitchell says, SEC chairman Gary Gensler should adopt "new rules that more concretely define what qualifies as a segment and remove the discretion given to executives."

Amazon is the poster-child for monopoly run amok. As Yanis Varoufakis writes in Technofeudalism, Amazon has actually become a post-capitalist enterprise. Amazon doesn't make profits (money derived from selling goods); it makes rents (money charged to people who are seeking to make a profit):

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Profits are the defining characteristic of a capitalist economy; rents are the defining characteristic of feudalism. Amazon looks like a bazaar where thousands of merchants offer goods for sale to the public, but look harder and you discover that all those stallholders are totally controlled by Amazon. Amazon decides what goods they can sell, how much they cost, and whether a customer ever sees them. And then Amazon takes $0.45-51 out of every dollar. Amazon's "marketplace" isn't like a flea market, it's more like the interconnected shops on Disneyland's Main Street, USA: the sign over the door might say "20th Century Music Company" or "Emporium," but they're all just one store, run by one company.

And because Amazon has so much control over its sellers, it is able to exercise power over its buyers. Amazon's search results push down the best deals on the platform and promote results from more expensive, lower-quality items whose sellers have paid a fortune for an "ad" (not really an ad, but rather the top spot in search listings):

https://pluralistic.net/2023/11/29/aethelred-the-unready/#not-one-penny-for-tribute

This is "Amazon's pricing paradox." Amazon can claim that it offers low-priced, high-quality goods on the platform, but it makes $38b/year pushing those good deals way, way down in its search results. The top result for your Amazon search averages 29% more expensive than the best deal Amazon offers. Buy something from those first four spots and you'll pay a 25% premium. On average, you need to pick the seventeenth item on the search results page to get the best deal:

https://scholarship.law.bu.edu/faculty_scholarship/3645/

For 40 years, pro-monopoly economists claimed that it would be impossible for Amazon to attain monopoly power over buyers and sellers. Today, Amazon exercises that power so thoroughly that its junk-fee revenues alone exceed the total revenues of Bank of America. Amazon's story – that these fees barely stretch to covering its costs – assumes a nearly inconceivable level of credulity in its audience. Regrettably – for the human race – there is a cohort of senior, highly respected economists who possess this degree of credulity and more.

Of course, there's an easy way to settle the argument: Amazon could just comply with SEC regs and break out its P&L for its e-commerce operation. I assure you, they're not hiding this data because they think you'll be pleasantly surprised when they do and they don't want to spoil the moment.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

Image: Doc Searls (modified) https://www.flickr.com/photos/docsearls/4863121221/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[prettyinpwn]

I know I'm gonna sound like a crazy old broken record... but hear me out. Lots of speculation as to the true purpose of the thisisnotawebsitedotcom.com thing beneath the cut.

So... does anyone else feel like the ARG website is... odd? Like it's leading to something more coming? And before anyone screams, "Well, ackshully, Hirsch said he doesn't want to do a Season 3-"

YES. I KNOW. He said no Season 3 a million times. I was there when he told us Season 2 was it for the first time. But what he didn't say, however, was, "No more Gravity Falls anything... EVER.". Hence why we've gotten Journal 3, Lost Legends, and now The Book of Bill. Hirsch is veeerrrrry comfortable making more GF stuff.

And as someone that studied programming in college, I can tell you, this website does not seem like it was easy or cheap to make. It's effectively a single screen point and click game in a browser. Looking at the code, it seems they did use a framework called Bridgetown, lacing in looped animated MP4 files with clickable assets on top that make up the interactive elements (e.g the computer), with a lot of content made for the website itself from image files and text for each prompt a user might type. Sure, it's not the most difficult thing to program, but it's a lot more complex than, say, the searchfortheblindeye site back in the day.

That, and as someone who has worked in the corporate world, I'm sorry, but you don't pour this much effort/money into something that is just "lol cool things after product for funsies". If this was just for The Book of Bill, the smart marketing decision would have been to make the lofi album and the website, tease fans with both of them, and let them lead to an announcement of the book itself to tempt them into buying it, not the other way around. Like... Disney ain't gonna do that just out of love for fans. It's Disney, come on. They do things for money.

It's possible that Hirsch paid for it himself just for the fans, but I doubt it. Wanna know why? Because of the website's security certificate and ownership. Let's take a gander at this:

There are two odd things here. One, the range of the expiration. Most security certs last 1-2 years, at least they did at one of my previous places of employment (and we had like 50+ of them). This one expires November 7th, 2024. Odd, but maybe they only want the website up for a few months? Anyways, as an aside, everyone keep an eye out for November 7th, 2024. Could be nothing, could be something.

The other weird thing is the domain holder. Looking it up on ICANN, it gives this address:

Look that up on Google Maps, and it takes you to a company called Dun and Bradstreet. Long story short, the company does a bazillion things, but the main thing we're talking about here is:

Oh gee, Sales and Marketing. And their Sales and Marketing tools? Basically, they use data to tell companies who their audience is, so that they can market to them. Now, why would Disney care about this for a fandom for a show that's been done for almost a decade, just for a book that was released before said website (so we know they're not gathering marketing data for the book)?

Well, if I were to guess... long story short, all this stuff is a tactic to gauge who the Gravity Falls audience is now. Release the book, make some dough and fans happy, tie in a secret marketing data collection gimmick (AKA the website) using D&B as a vendor to hook the data into your CRM, send fans to a website to collect marketing data, and shabam. Now you know who the target market is all this time after.

And why in the hell would a company care about that? You tell me. Why care about who a target market is if you're not planning on marketing something to them later?

It could be that Disney is planning something similar to Gravity Falls and wants to gauge if there'd still be a market for that kind of show. Or... it could mean that Disney is planning on something more substantial related to Gravity Falls or Hirsch pitched it, and they were like, "Well, wait, let's collect data on this, first, so we'd know if it'd be a good business decision.". Not sure.

I mean, maybe I'm crazy, but doesn't this seem fishy to anyone else? If anyone else has any hypotheses as to why Hirsch and Disney have a Gravity Falls website owned by D&B, let me know, but to me... this smells... very... marketing oriented. And Hirsch doesn't seem like the guy to pour his own money into hiring an outside company to gather marketing data, that seems more up Disney's alley.

[feministdragon]

Transcript:

"Many people still believe that the spread of transgender ideology represents a harmless fad, or a phase, or a problem of youth culture or social media, I've chosen to talk about the wider context and conditions that have allowed this ideology to take hold.

Transgenderism is a predatory, an authoritarian, neoliberal ideology, and one that couldn't take hold outside of the context of the rape culture that Steff described. I want to make this as clear as I can in ten minutes. My slideshow is just a series of books, my sources, and if you want to record them, go ahead.

So the first point to make about neoliberalism is that it's basically synonymous with globalization and with corporatization. It is not just a flawed economic policy, it is a corporate backlash against the political left and a tool of colonization. The 19th and 20th centuries saw the rise of a strong political left, indigenous Renaissance movements, workers unions, successful independent struggles that ousted colonizers, anti-war protests, and women's rights movements.

By the 1990's the World Bank and the International Monetary Fund had a response. They adopted policies that would reverse the progress these movements made. They began to hand out financial loans to governments only on the condition that they undergo what is euphemistically called ‘structural adjustment’, a term to ponder in relation to this issue, for the benefit of multinational corporations.

This structural adjustment has three basic components. Firstly, governments have had to make natural resources, lands, and public infrastructure, available for purchase by foreign corporations. Secondly they are compelled to drastically cut back public spending on health, education, welfare, and social services. Lastly, regulations and legal protections that restrict corporate profiteering, like laws that protect workers from exploitation need to be removed.

This is neoliberalism: the commodification of nature and the removal and defunding of social services and protections, ramped up for the age of multinational corporations. Neoliberalism and its so-called structural adjustments are packaged with rhetoric about freedom. The story is that our so-called free market—in which private sector employers face minimal barriers to profiteering—fosters job and opportunity creation and a trickle-down effect that gradually enables the empowerment of the self-made individual or employee and choice for consumers.

In her book the Shock Doctrine, Noemi Klein points out that people—especially people who have been fighting for centuries for true liberation—don't actually take these sorts of reforms lying down, so alongside propaganda, disaster conditions have been crucial for imposing neoliberalism worldwide. That's why Klein calls neoliberalism disaster capitalism.

Structural adjustment often follows a state of emergency, a natural disaster, or a military invasion or coup. Multinationals and profiteers and agribusiness and tourism move in and benefit. And because women are made especially vulnerable when land is sold off and degraded, subsistence lifestyles are destroyed, wages drop and welfare and health care are harder to access.

One of the industries that has profited most from neoliberalisation is prostitution. The global sex trade lobby is extremely strong at the moment, and of course in a neoliberal climate, it sells us the idea that prostitution is a legitimate business and that pimps are just job creators, in an industry we are now supposed to call sex work, and perceive to be empowering for women as individuals, disregarding the factors of poverty, land theft, sexism, and rape.

Combine this with tourism and the internet and you have huge industries, and sex tourism, trafficking, and pornography—one in ten websites are porn sites. The industry is worth more than the combined revenue of the top ten web technology companies. To encourage porn consumption, porn is also normalized through mainstream media. All of this fuels a climate, described by Steve earlier, a climate of male sexual entitlement, rape and violation, objectification, body hatred, dissociation, dysphoria, and anorexia.

These are the disaster conditions that transgender ideology exploits and that enable whole populations to buy into the idea that not only can women be bought and sold like products, but womanhood itself is a commodity to which men should be entitled. Transgenderism is a neoliberal ideology that treats the natural fact of biological sex itself as something to be plowed over and substituted with the cash crop of gender identity.

It is "empowering" for the individual to reject biological sex, and substitute it for a customized gender that expresses one's own essential tastes. Just like your clothes and shoes are meant to do, and even your car and your cell phone screen protector and your toothbrush.

The mindless mantra, “trans women are women”, encapsulates both the ideology and attitudes of transgenderism and the neoliberal zeitgeist in three words. It implies the destruction of nature, of biology, of our own bodies, including through the radical mastectomies increasingly conducted on adolescent girls, mainly lesbians. It is based on the commodification of women and it leads to the removal of legal protections and social supports designated for women and based on sex. And using this mantra, ‘trans women are women” like a threat, because if you don't accept it you're a ‘bigot’, men are colonizing woman's hard-won spaces, organizations, movements, and safe houses, as well as lesbian culture.

This mantra is also having the effect of consolidating the domestication of the whole political left—peace groups, unions, socialist organizations like Anna described—and assimilating them with the establishment as they ingest and then commit to and prioritize transgender mythology, purge feminists and independent critical thinkers from their ranks, and build stronger ties to the liberal political parties and big money, also promoting gender identity and funding the pride parades.

In this way the lie that trans women are women is the neoliberal answer to the myth of the resurrection within the Catholic Church. It is the one mad thing that you need to accept these days to demonstrate that, despite whatever else you believe in or work toward, you are ultimately willing to surrender your critical faculties and submit to power and to groupthink.

People would never buy the idea that men can get pregnant or that a lesbian can have a penis outside of the disaster conditions we feminists call ‘rape culture’. The conditions of male sexual entitlement—a woman being raped somewhere in the world every single second of the day, normalized porn objectification, dysphoria and body hatred.

In a culture that honored women, cared for children, and was grounded in the natural world, the spread of transgender ideology would not occur. Voltaire’s famous warning that 'those who can make you believe absurdities can make you commit atrocities' is also pertinent.

Despite all these large-scale pop-up social movements taking place throughout the West at the moment, it is actually a dangerous and threatening climate. We live in a climate in which the absurdities of transgenderism are promoted so widely, while they cause such serious irreversible harm, and it's so taboo to question. Women who speak out now face ostracism, and losing their livelihoods at the hands of the very same people who are currently joining mass movements that claim to fight for the planet and for social justice.

But as Audrey Lorde famously said, “Your silence will not protect you.” So to women out there holding their tongues to stay safe I say, “We're living in an era of rising authoritarianism, and this ideology is a key vehicle for it. You need to find your sisters. Now is the time to speak the truth where you can—in spite of those who will turn on you, who'll refuse to offer you solidarity—and find your sisters. We're here, we're healing, and finding our voices together, and we want you among us."

[mariacallous]

Elon Musk’s minions—from trusted sidekicks to random college students and former Musk company interns—have taken over the General Services Administration, a critical government agency that manages federal offices and technology. Already, the team is attempting to use White House security credentials to gain unusual access to GSA tech, deploying a suite of new AI software, and recreating the office in X’s image, according to leaked documents obtained by WIRED.

Some of the same people who helped Musk take over Twitter more than two years ago are now registered as official GSA employees. Nicole Hollander, who slept in Twitter HQ as an unofficial member of Musk’s transition team, has high-level agency access and an official government email address, according to documents viewed by WIRED. Hollander’s husband, Steve Davis, also slept in the office. He has now taken on a leading role in Musk’s Department of Government Efficiency (DOGE). Thomas Shedd, the recently installed director of the Technology Transformation Services within GSA, worked as a software engineer at Tesla for eight years. Edward Coristine, who previously interned at Neuralink, has been onboarded along with Ethan Shaotran, a Harvard senior who is developing his own OpenAI-backed scheduling assistant and participated in an xAI hackathon.

“I believe these people do not want to help the federal government provide services to the American people,” says a current GSA employee who asked not to be named, citing fears of retaliation. “They are acting like this is a takeover of a tech company.”

The team appears to be carrying out Musk’s agenda: slashing the federal government as quickly as possible. They’re currently targeting a 50 percent reduction in spending for every office managed by the GSA, according to documents obtained by WIRED.

There also appears to be an effort to use IT credentials from the Executive Office of the President to access GSA laptops and internal GSA infrastructure. Typically, access to agency systems requires workers to be employed at such agencies, sources say. While Musk's team could be trying to obtain better laptops and equipment from GSA, sources fear that the mandate laid out in the DOGE executive order would grant the body broad access to GSA systems and data. That includes sensitive procurement data, data internal to all the systems and services GSA offers, and internal monitoring software to surveil GSA employees as part of normal auditing and security processes.

The access could give Musk’s proxies the ability to remote into laptops, listen in on meetings, read emails, among many other things, a former Biden official told WIRED on Friday.

“Granting DOGE staff, many of whom aren't government employees, unfettered access to internal government systems and sensitive data poses a huge security risk to the federal government and to the American public,” the Biden official said. “Not only will DOGE be able to review procurement-sensitive information about major government contracts, it'll also be able to actively surveil government employees.”

The new GSA leadership team has prioritized downsizing the GSA’s real estate portfolio, canceling convenience contracts, and rolling out AI tools for use by the federal government, according to internal documents and interviews with sources familiar with the situation. At a GSA office in Washington, DC, earlier this week, there were three items written on a white board sitting in a large, vacant room. “Spending Cuts $585 m, Regulations Removed, 15, Square feet sold/terminated 203,000 sf,” it read, according to a photo viewed by WIRED. There’s no note of who wrote the message, but it appears to be a tracker of cuts made or proposed by the team.

“We notified the commercial real estate market that two GSA properties would soon be listed for sale, and we terminated three leases,” Stephen Ehikian, the newly appointed GSA acting administrator, said in an email to GSA staff on Tuesday, confirming the agency’s focus on lowering real estate costs. “This is our first step in right-sizing the real estate portfolio.”

The proposed changes extend even inside the physical spaces at the GSA offices. Hollander has requested multiple “resting rooms,” for use by the A-suite, a team of employees affiliated with the GSA administrator’s office.

On January 29, a working group of high-ranking GSA employees, including the deputy general counsel and the chief administrative services officer, met to discuss building a resting room prototype. The team mapped out how to get the necessary funding and waivers to build resting rooms in the office, according to an agenda viewed by WIRED.

After Musk bought Twitter, Hollander and Davis moved into the office with their newborn baby. Hollander helped oversee real estate and office design—including the installation of hotel rooms at Twitter HQ, according to a lawsuit later filed by Twitter executives. During the installation process, one of the executives emailed to say that the plans for the rooms were likely not code compliant. Hollander “visited him in person and emphatically instructed him to never put anything about the project in writing again,” the lawsuit alleged. Employees were allegedly instructed to call the hotel rooms “sleeping rooms” and to say they were just for taking naps.

Hollander has also requested access to Public Buildings Service applications; PBS owns and leases office space to government agencies. The timing of the access request lines up with Ehikian’s announcement about shrinking GSA’s real estate cost.

Musk’s lieutenants are also working to authorize the use of AI tools, including Google Gemini and Cursor (an AI coding assistant), for federal workers. On January 30, the group met with Google to discuss Telemetry, a software used to monitor the health and performance of applications, according to a document obtained by WIRED.

A-suite engineers, including Coristine and Shaotran, have requested access to a variety of GSA records, including nearly 10 years of accounting data, as well as detailed records on vendor payments, purchase orders, and revenue.

The GSA takeover mimics Musk’s strategy at other federal agencies like the Office of Personnel Management (OPM). Earlier this month, Amanda Scales, who worked in talent at Musk’s xAI, was appointed as OPM chief of staff. Riccardo Biasini, former Tesla engineer and director of operations at the Boring company, is now a senior adviser to the director. Earlier this week, Musk cohorts at the US Office of Personnel Management emailed more than 2 million federal workers offering “deferred resignations,” allegedly promising employees their regular pay and benefits through September 30.

The email closely mirrored the “extremely hardcore” note Musk sent to Twitter staff in November 2022, shortly after buying the company.

Many federal workers thought the email was fake—as with Twitter, it seemed designed to force people to leave, slashing headcount costs without the headache of an official layoff.

Ehikian followed up with a note to staff stressing that the email was legitimate. “Yes, the OPM email is real and should be taken very seriously,” he said in an email obtained by WIRED. He added that employees should expect a “further consolidation of offices and centralization of functions.”

On Thursday night, GSA workers received a third email related to the resignation request called “Fork in the Road FAQs.” The email explained that employees who resign from their positions would not be required to work and could get a second job. “We encourage you to find a job in the private sector as soon as you would like to do so,” it read. “The way to greater American prosperity is encouraging people to move from lower productivity jobs in the public sector to higher productivity jobs in the private sector.”

The third question posed in the FAQ asked, “Will I really get my full pay and benefits during the entire period through September 30, even if I get a second job?”

“Yes,” the answer read. “You will also accrue further personal leave days, vacation days, etc. and be paid out for unused leave at your final resignation date.”

However, multiple GSA employees have told WIRED that they are refusing to resign, especially after the American Federation of Government Employees (AFGE) told its members on Tuesday that the offer could be void.

“There is not yet any evidence the administration can or will uphold its end of the bargain, that Congress will go along with this unilateral massive restructuring, or that appropriated funds can be used this way, among other issues that have been raised,” the union said in a notice.

There is also concern that, under Musk’s influence, the federal government might not pay for the duration of the deferred resignation period. Thousands of Twitter employees have sued Musk alleging that he failed to pay their agreed upon severance. Last year, one class action suit was dismissed in Musk’s favor.

In an internal video viewed by WIRED, Ehikian reiterated that GSA employees had the “opportunity to participate in a deferred resignation program,” per the email sent by OPM on January 28. Pressing his hands into the namaste gesture, Ehikian added, “If you choose to participate, I offer you my heartfelt gratitude for your service to this nation. If you choose to stay at the GSA, we’ll work together to implement the four pillars from the OPM memo.” He ended the video by saying thank you and pressing his hands into namaste again.

[karereiko]

Hello, everyone from Yuumori fandom.

Guess what, because of Concert that will be held in July all parts of Moriarty the Patriot Musical (op1-op5) are available to rent and watch online. With my Morimu fanarts or other talks about it I often get asked where you can watch it, often my answer is that you have to buy DVD or Bluray to watch this wonderful adaptation of Moriarty the Patriot manga. I know it's a big cost and hard to get for some so Streaming like this is a great opportunity to watch Morimu.

Official twitter posted few days ago about this possibility and here is the post with all information about it:

1600 yen is great amount to check if you will like it and wach it because I think it's worth any money, director who made morimu clearly loves manga, he treats source material with care and even makes it batter at some times, there is also a lot less cuts than in anime, like a lot. May be little spoiler or not, but Baskerville arc is there and Durham date too, as well as many Sherlock and John stuff that was cut in anime, some things from Moran arc etc. this is already big selling factor, right?

Actors are amazing and they love and care for characters they play. I wasn't into any actor adaptations before Morimu, I was ok with musicals but not caring too much about them and Morimu sold me since first part and it only got better and better each part even if you think that's not possible. Songs are there to make emotions and moments deeper or to have real fun with plot they show, they are not there just for song to be there. So yes high recommendation for you all to check Morimu if you didn't saw it yet. The most amazing thing is that you don't need VPN to buy those streams.

I was going to write about this few days ago and was busy, good I didn't because I talked with friends in Yuumori fandom who knows morimu and we were troubled to recommend this stream to people who doesn't understand Japanese. Morimu is faithful adaptation so almost like 70% lines comes from manga and you should understand what's going on if you read manga. Still, with subs it's a lot easier.

Kana did amazing job in creating English translation for Morimu Op1-Op4 at this point, all who bought DVD/Bluray versions of Morimu are using those subs and if you decide to buy own copy after seeing stream then those subs works great with DVD/Bluray versions.

So we talked over the stream matter and from what we checked with this plugin to Chrome it's possible to play subs with Morimu stream after you rent it (It works only with Chrome but if you know other program like this you can try it on different browsers, we only checked Chrome and this plugin) :

The only matter is that Kana saved subtitles in .ass file format, but you can easily format them to .srt file format that this plugin plays with this site:

You just open subtitle file and save it as srt, and open it with plugin to your Morimu stream. If you will have any more problems with subs them write me a message and I will try to help as soon as work let's me.

I think this is the easiest option that creators gave us now to watch Morimu, it was never so easy to buy or rent it until now, you had to use crazy VPN programs and other stuff to just check on it. So this is best option since for sure it won't last forever. Such promotional streamings are only around when new part is coming up, currently Concert I mentioned.

So for other things I wanna to say. If you get your copy of Morimu then please don't share it, don't post it to any social sites. Company that makes Morimu is quite strict with that matter and they do search who uploads those musicals and strikes them down/ deletes files even on places like google drive. Even without it, it's a matter of love for Moriarty the patriot. As much as fandom wants more people to watch those musicals, any piracy might destroy our chances to get Op6, possibilities for future streams and other stuff. Currently with Op5 we reached end of Final Problem arc and there is hope that maybe one day New York arc will be done in op6. Any piracy, sharing and messy stuff might destroy such chance, so please if you hold dear MTP then respect those rules. Watching streams with your friends in closed groups after you buy it isn't bad but please hold from any public sharing (they would be taken down anyway, but it would still put us fans in very bad light).

I know end of this post was not nice but it had to be told. I hope this possibility will help you see Morimu and fall in love with it like I did. I would recommend at least seeing OP1 and OP2, it should hook you and OP3 is where everything hits even more than op1-2, more hits from songs, more hits from sherliam stuff.

Hope to see you in Morimu cult :D... ehem... fandom. May you have "wind" (for some Great Detective) in your heart like William....

[genericpuff]

Webtoons Is Making Moves - So Should You.

We all saw it coming ages ago and now it's finally here. There's no more beating around the bush or doubting if anyone is "reading into it too much", Webtoons' use of AI in its more recent webtoons is not an accident, not an oversight, but by design, it always has been. And I guaran-fucking-tee you that the work that already exists on the platform won't be safe from Webtoons' upcoming AI integration through scraping and data mining. Sure, they can say they're not gonna replace human creators, but that doesn't change the fact that AI tools, in their current form, can't feasibly exist without stealing from pre-existing content.

Plus, as someone who's tested their AI coloring tools specifically... they're a long, LONG way away from actually being useful. Like, good luck using them for any comic style that isn't Korean manwha featuring predominantly white characters with small heads and comically long legs. And if they do manage to get their AI tools to incorporate more art styles and wider ranges of character identities... again, what do you think it's been trained on?

Also, as an added bit that I found very funny:

Um, I'm sorry, what fucking year is it? Because platforms like WT and Tapas have both been saying this for years but we're obviously seeing them backpedal on that now with the implementation of in-house publishing programs like Unscrolled which have reinvented the wheel of taking digital webtoons and going gasp physical! It's almost like the platform has learned that there's no sustainable profit to be had in digital comics alone without the help of supplementary streams of income and is now trying to act like they've invented physical book publishing!

"The future of comic publishing, including manga, will be digital"??? My brother in christ, Shonen Jump has been exclusively digital since 2012! What rock have the WT's staff been living under that they're trying to sell digital comics as the "future" to North Americans as if we haven't already been living in that future for over ten years now?? We've had an entire generation of children raised on that same digital media since then! This isn't the selling point you think it is LMAO If anything, the digital media market here in NA is dying thanks to the enshittification of digital content platorms like Netflix, Disney+, and mainstream social media platforms! That "future" is not only already both the past and present, but is swiftly on its way out! Pack it up and go home, you missed the bus!

Literally so much of WT's IPO pitch is just a deadass grift full of corporate buzzwords and empty promises. They're trying so hard to convince people that their business model is infinitely profitable... but if it were, why do they need the public's money? And where are all those profits for the creators who are being exploited day after day to fill their platform with content? Why are so many creators still struggling to pay their bills if the company has this much potential for profit?

Ultimately even their promised AI tools don't ensure profit, they ensure cutting expenses. The extra money they hope to make isn't gonna come from their content generating income, it's gonna come from normal people forking over their money in the hopes that it'll be turned around, and from Webtoons cheapening the medium even further until it's nothing but conveyer belt gruel. Sure, "making more than you spend" is the base definition of "profit", but can we really call it that when it's through the means of gutting features, retiring support programs, letting go editing staff, and limiting resources for their own hired freelancers who are the only reason they even have content to begin with? That's not sustainable profit or growth, that's fighting the tide which can and will carry them away at any moment.

I'm low key calling it now, a year or two from today we're gonna be seeing massive lawsuits and calls to action from the people who invested their money into WT and subsequently lost it into the black hole that is WT's "business model". This is a company that's been operating in the red for years, what about becoming an IPO is gonna make them "profitable"? Let alone profitable enough to pay back their investors in the spades they're expecting? The platform and its app are already shit and they're about to become even worse, we are literally watching this company circle the drain in the modern day's ever-ongoing race to the bottom, enshittification in motion, but they're trying to convince us all the same that they're "innovating".

Webtoons doesn't want to invest in its creators. We as creators need to stop investing in them.

[yesornopolls]

The article under the cut

Allies of Elon Musk stationed within the Education Department are considering replacing some contract workers who interact with millions of students and parents annually with an artificial intelligence chat bot, according to internal department documents and communications.

The proposal is part of President Trump’s broader effort to shrink the federal work force, and would mark a major change in how the agency interacts with the public. The Education Department’s biggest job is managing billions of dollars in student aid, and it routinely fields complex questions from borrowers.

The department currently uses both call centers and a rudimentary A.I. bot to answer questions. The proposal would introduce generative A.I., a more sophisticated version of artificial intelligence that could replace many of those human agents.

The call centers employ 1,600 people who field over 15,000 questions per day from student borrowers.

The vision could be a model for other federal agencies, in which human beings are replaced by technology, and behemoth contracts with outside companies are shed or reduced in favor of more automated solutions. In some cases, that technology was developed by players from the private sector who are now working inside or with the Trump administration.

Mr. Musk has significant interest in A.I. He founded a generative A.I. company, and is also seeking to gain control of OpenAI, one of the biggest players in the industry. At other agencies, workers from the newly created Department of Government Efficiency, headed by Mr. Musk, have told federal employees that A.I. would be a significant part of the administration’s cost-cutting plans.

A year after the Education Department oversaw a disastrous rollout of a new federal student aid application, longtime department officials say they are open to the idea of seeking greater efficiencies, as have leaders in other federal agencies. Many are partnering with the efficiency initiative.

But Department of Education staff have also found that a 38 percent reduction in funding for call center operations could contribute to a “severe degradation” in services for “students, borrowers and schools,” according to one internal document obtained by The Times.

The Musk associates working inside the Education Department include former executives from education technology and venture capital firms. Over the past several years, those industries have invested heavily in creating A.I. education tools and marketing them to schools, educators and students.

The Musk team at the department has focused, in part, on a help line that is currently operated on a contract basis by Accenture, a consulting firm, according to the documents reviewed by The Times. The call center assists students who have questions about applying for federal Pell grants and other forms of tuition aid, or about loan repayment.

The contract that includes this work has sent more than $700 million to Accenture since 2019, but is set to expire next week.

“The department is open to using tools and systems that would enhance the customer service, security and transparency of data for students and parents,” said Madi Biedermann, the department’s deputy assistant secretary for communications. “We are evaluating all contracts to assess effectiveness relative to costs.”

Accenture did not respond to interview requests. A September report from the Education Department describes 1,625 agents answering 462,000 calls in one month. The agents also handled 118,000 typed chats.

In addition to the call line, Accenture provides a broad range of other services to the student aid system. One of those is Aidan, a more rudimentary virtual assistant that answers basic questions about student aid. It was launched in 2019, during Mr. Trump’s first term.

Accenture reported in 2021 that Aidan fielded 2.2 million messages in one year. But its capabilities fall far short of what Mr. Musk’s associates envision building using generative A.I., according to the internal documents.

Both Mr. Trump and former President Joseph R. Biden Jr. directed federal agencies to look for opportunities to use A.I. to better serve the public.

The proposal to revamp the communication system follows a meltdown in the rollout of the new Free Application for Federal Student Aid, or FAFSA, last year under Mr. Biden. As FAFSA problems caused mass confusion for students applying for financial aid, several major contractors, including Accenture, were criticized for breakdowns in the infrastructure available to students and parents seeking answers and help.

From January through May last year, roughly three-quarters of the 5.4 million calls to the department’s help lines went unanswered, according to a report by the Government Accountability Office.

More than 500 workers have since been added to the call centers, and wait times were significantly reduced, according to the September Department of Education report.

But transitioning into using generative A.I. for student aid help, as a replacement for some or all human call center workers, is likely to raise questions around privacy, accuracy and equal access to devices, according to technology experts.

Generative A.I. systems still sometimes share information that is false.

Given how quickly A.I. capabilities are advancing, those challenges are potentially surmountable, but should be approached methodically, without rushing, said John Bailey, a fellow at the American Enterprise Institute and former director of educational technology at the Education Department under President George W. Bush.

Mr. Bailey has since become an expert on the uses of A.I. in education.

“Any big modernization effort needs to be rolled out slowly for testing, to see what works and doesn’t work,” he said, pointing to the botched introduction of the new FAFSA form as a cautionary tale.

“We still have kids not in college because of that,” he said.

In recent weeks, the Education Department has absorbed a number of DOGE workers, according to two people familiar with the process, who requested anonymity because they were not authorized to discuss the department’s security procedures and feared for their jobs.

One of the people involved in the DOGE efforts at the Education Department is Brooks Morgan, who until recently was the chief executive of Podium Education, an Austin-based start-up, and has also worked for a venture capital firm focused on education technology, according to the two people.

Another new staffer working at the agency is Alexandra Beynon, the former head of engineering at Mindbloom, a company that sells ketamine, according to those sources and an internal document.

And a third is Adam Ramada, who formerly worked at a Miami venture capital firm, Spring Tide Capital, which invests in health technology, according to an affidavit in a lawsuit filed against the Department of Government Efficiency.

None of those staffers responded to interview requests.

[manager-dante]

i need to flesh this out once i’ve mulled it over more but i adore how limbus company expands on the incredible world-building of project moon, because it is so goddamn realistic.

from the outset the player is presented with this incredibly bleak world in which corporations have become the state. the poor and the desperate bow their heads and toil at the altar of the free market. worth is measured by talent in exploitation. it’s a social darwinist’s wet dream. i also think the choice to base the cast off of literary figures was amazing, because it highlights very important connections to the past. i haven’t read all the books referenced, but the ones i have (the metamorphosis, don quixote de la mancha, & the odyssey so far) draw an unmistakable through-line from the suffering and exploitation depicted in those books to that which occurs in the city. the most horrifying parts of this game in my opinion aren’t the monsters or the machines — it’s the sheer enormity of human suffering which exists in the economic and political system the city operates under. and that’s the worst part, because in so many ways, the suffering and exploitation portrayed in the city is not a hypothetical fantasy — this is just capitalism working as intended. it’s not confined to the historical context of those books, nor the gritty sci-fi horror of the game.

but not only do we have this incredible setting that’s somehow both brutally realistic and fantastical at the same time, we also get to see how our main cast attempts to survive in that world — and ultimately how none of their attempts to change it succeeded at all.

in my mind, canto i portrays how neither kindness nor cold-heartedness will help you survive — especially through the dynamic between aya and hopkins. gregor has been both. he was a war hero in a meaningless war. after it ended, he was discarded as any tool which had outlived its usefulness would be. he can’t even control his arm from becoming a killing machine. and yet, gregor is still exceptionally personable, even going out of his way to be kind at times. but no matter whether he’s a tool for violence in the hands of war profiteers or simply a man doing his best to protect others, he still couldn’t save yuri — just as he couldn’t save his comrades — and this clearly haunts him. neither the war nor its end changed anything.

canto ii shows between rodya and sonya how both direct action and an “inevitable” revolution fail to quell the suffering of the vulnerable. sonya’s revolution is all bluster and no action. he does nothing to help the people in his community in favor of this grandiose revolution that must happen at the “right moment” — even if it means leaving his neighbors to starve in the meantime. rodya’s inspired yet short-sighted action to remove what she saw as the source of her community’s suffering only led to its destruction: the tax collector was a branch, not the root, of the problem, and killing one person did nothing to stop the system which upheld them.

canto iii is even more clear-cut in the ties between sinclair and kromer: neither violent zealotry nor blissful ignorance will save you in the city. kromer’s cult does not “purify” anything, but sinclair’s courage to stand up to her isn’t enough to beat her either. canto iii still doesn’t end in a victory. dante and the sinners barely survive. it’s only through demian (and k-corp’s) divine intervention that the sinners and kromer don’t destroy each other in the corpse pit.

in the most recent addition, canto iv appears to do the same thing. on one hand, you have the devotion to a principle shown through shrenne, samjo, and donbaek. their causes are different, but their devotion is the same. on the other, there is the cynicism, indifference, and escapism of yi sang and dongrang, both willingly complicit in the machine in different ways. and yet — none of them make any positive difference. whether they resisted or submitted, the machine grinds on around them — the only choices are to become a cog in it or be ground to bits by its gears.

to be clear, i do not think the game is arguing that none of these individual actions matter. even if gregor couldn’t rescue yuri, even if rodya couldn’t protect her neighbors, even if sinclair couldn’t defeat kromer and all that she stood for, even if the league of nine members each failed to realize their ideals — limbus argues that it matters they tried. it matters that they’re still trying. it may never be possible to oust the corporate overlords and make the city a better place, but the love still matters.

[apradonite]

every since i made her there's nothing i love drawing more in the world rn than kane's little mascot form

some deeper details about her under the cut v

Originally a humble and modest rotary phone saleslady with a squeaky clean criminal record in North Jersey, Alexis June Kane's silver tongue, boisterous-yet-charming public image, and overly-competitive spirit made her almost a seamless fit in the cutthroat business environment of Rapture. Noticing a fresh and underutilized slate in the television market, she immediately jumped on the opportunity in order to become one of the biggest faces on Rapture's televised programming.

The gameshow Kane runs is called All or Nothing: A high-stakes trivia game where 5 people answer questions correctly for money, but for each question you get right, you get the option to either leave with your current winnings or gamble to either keep playing for the big prize or lose it all and go home with nothing but the clothes on your back.

Like most companies in Rapture, it's completely bullshit: Kane is no stranger to bought-out wins, exorbitant fees to pocket winners' money, prizes that are shittier in quality than promised, etc. Hell, it even starts becoming another propaganda tool once Ryan starts getting stricter. But who cares? So long as Rapture's economy keeps going at a downward spiral, there will always be some desperate sob willing to risk their paycheck when the grand prize is a free warm meal! It even lets her in on her favorite hobby: punching down!

Outside of the show, she's a socialite who loves to go out to parties, has the alcohol tolerance of an elephant, and is currently banned from all casinos in Fort Frolic. Despite that though, she can't really say she has many friends (or any at all), but who needs people who will just drag her down anyway? All she needs is the show and the fat stacks it rakes in! More time to sit in her room waiting for the phone to ring again. And beg for forgiveness when she picks it up.

[memories-of-ancients]

Wooden Money in Olde England,

The use of tally sticks as an accounting tool goes back to ancient antiquity and the dawn of civilization. In an age when the vast majority of people were illiterate, the simplest way represent a certain number of goods was to simply cut markings into a stick, a piece of bamboo, bone, or other similar item. Such systems were common all over the world including Europe, Asia, Africa, and the Pre-Columbian Americas. If you have, say 12 goats, you could go to the market, find an interested buyer, hold up the stick with 12 notches cut into it and say, “I have this many goats, want to make a deal?”

 By the Middle Ages in Europe, Asia, and The Middle East, tally sticks were used as a record of debts, almost like a wooden credit card. An agreement to an IOU was made with the amount notched out on both sides of a stick. The stick was then split in half lengthwise, with one half held by the creditor, and the other half held by the debtor. Believe it or not this system of recording and settling debts continued well into modern times. In 1804 the use of the split tally was acknowledge as legal proof of debt in the Napoleonic Code. The split tally continued in use in Switzerland into the 20th century. When the Bank of England was founded in 1694 as a public corporation, the bank issued tally sticks to it’s investors as proof of their investments. Since the investments were recorded on stocks of wood, they became known as “stocks” and since then the use of the term “stock” for a investment in ownership of a public company has continued to this very day.

In 1100 King Henry I of England began issuing tally sticks as a form of money due to a lack of coinage in the kingdom and Europe in general at the time. The denomination of the stick would be etched onto both sides of the stick. The Dialogue Concerning the Exchequer, written in the 13th century, notes the different denominations as thus,

“The manner of cutting is as follows. At the top of the tally a cut is made, the thickness of the palm of the hand, to represent a thousand pounds; then a hundred pounds by a cut the breadth of a thumb; twenty pounds, the breadth of the little finger; a single pound, the width of a swollen barleycorn; a shilling rather narrower; then a penny is marked by a single cut without removing any wood.”

Like other split tallies, the stick was split lengthwise, with one half being circulated among the populace as money, and the other half being stored at the local exchequer’s office (treasurer).  If one believed they were being cheated with a counterfeit stick, one only had to make a visit to the local exchequer and match his half of the stick with the half held by the treasurer. 

The use of the split tally for money and the recording of debts ended by act of the British Parliament in 1826.  In 1834 Parliament ordered the burning of thousands of ancient tally sticks representing centuries worth of wooden money and debt records to be burned. During their destruction, the chimney of the stove caught fire, resulting in a blaze that destroyed most of the Palace of Westminster.