#make this a new cultural phenomenon

[stenclastiel]

Madeline/Verna should be the new Wenclair

[piratewithvigor]

If I had a nickle for every time a wrestling company brought in some bullshit irritating internet personality to try and draw new viewers whilst alienating their current audience in the process and creating unbearable levels of cringe and rage, I'd have 2 nickles, which isn't a lot, but it's weird it happened twice

[starlit-mansion]

the weirdest part of the fnaf movie is the marketing presence made it so i had to hear people i never wanted to hear talk about fnaf talk about fnaf

[badolmen]

This post was (rightfully) addressing a US-centric focus on height and weight but I do want to point something out:

To my understanding weight checks aren’t explicitly for the purpose of calculating BMI (a bullshit eugenics metric that shouldn’t be used by medical professionals but is, unfortunately); they’re to make sure your weight remains relatively stable. Sudden major changes in weight (up or, of more immediate concern, down) can be indicative of serious health problems from digestive issues to cancer. I’m not doubting that some doctors are fatphobic and purposefully distressing their patients about their weights, but there is a reason to regularly check your patient’s weight for drastic fluctuations during a basic check up - especially because many serious digestive issues aren’t openly discussed or brought up by patients who feel embarrassed about it.

[necrotic-nephilim]

as a Helena fan who's witnessed this whole bit go from silly jokes/memes to genuine vitriol, it's been utterly bizarre. from what i noticed, the root of the comparison came from people fanonizing Jason to the degree of saying "he has Catholic guilt (bc of the Flashpoint priest!Jason) and he'd be an English school teacher (bc i'm assuming, his taste for classic lit) and he's female rage-coded and he would adopt/protect children" which, are canonical traits of Helena. so at first, it was sort of a joke lamenting the fact ppl would rather force unrealistic headcanons onto Jason than consume content with a woman in the Batfam. because it's sort of a tad ironic/painful to see fanonized Jason Todd who's being called all these things he isn't, when there's a canon character who *is* all of those things right there. like if that's the character you want, why wouldn't you want to read about Helena. the issue started with frustration against fanon Jason, from my experience anyway.

but then, it spiraled out of control to become a comparison of their lethal moral code and their disagreements with Bruce suddenly making Jason this stupid boy clone of Helena. which isn't true and is an insult to both of them to claim they're at all the same. they kill for different reasons, they're at odds with Bruce for different reasons. a well-written Helena and a well-written Jason really have little in common. though their interactions could be interesting, i don't even think they'd get along tbh.

i think in recent months/years, the Batfamily fandom suddenly became self aware that they grossly ignore the women of the Batfam. and now they're trying *too hard* to course correct for that. to an extent, i get why Helena isn't in the majority of fanon content- she hasn't really *been* a Batfamily member since pre-Flashpoint. the New-52 and Rebirth versions of her character are arguably not even the same character and certainly not a character as important to the Batfamily as she used to be. so why *would* a fandom mostly pulling from modern comics know who she is aside from the couple WFA episodes she's been in. (which did her *no* favors for people understanding her and also whitewashed her before the art was fixed.)

but, i think everyone's now trying to prove how woke their fandom content is (i hate using that word, it sounds very republican but i can't think of a better one.) by including women and characters of color to prove they don't just care about the boys. and sure, it's cool and all if you want to pick up Huntress comics bc you're sick of reading about stories only featuring Bruce and his "sons", but now it's like. almost a competition to prove how much more you know about the Batfam than other people when you make these jokes. i've seen the same thing happening comparing Steph and Jason recently. yes, it's important to care about the more diverse characters of the Batfam as much as you care about the boys. but now they're put on this ridiculous pedestal of being the "more cool alternatives". an organic push for content about the underrated characters is one thing, but it's another thing entirely when it's born out of a performative nature, which is certainly what this whole... thing feels like.

and the irony is, you can *really* tell the people doing this the most haven't actually read much of Helena's content outside of Gail Simone's Birds of Prey. and my hot take is, i don't think Gail Simone does a *great* job with Helena and she's often pretty sexist toward Helena (making other characters slut shame her, making Helena very promiscuous which isn't something she has a history of, etc) so, while it's important content for Helena, it can be a shallow reading of her. where all you really get about her is "pro-murder Batfam vigilante with a crossbow and a sassy personality" which sure, feels a *bit* like a shallow Jason. but that's the whole point, you have to make them both *incredibly* shallow to compare them. bc it's not about actually liking the women, it's about getting the shallow brownie points of saying "look i know who she is and i think she's *totally* cooler than Jason he's a dumb copy".

tbh even with the Jason Todd headcanons that are more egregious in feeling like "oh that's just Helena Bertinelli but a dude", it's not like it's being done on purpose. none of these fanon-only fans know enough about Helena to be purposefully stealing her traits and it really isn't that deep aside from sometimes, people just have bad headcanons that kinda make you wish they would read about characters aside from their main blorbos. but hey, they're not *required* to, and no one is an evil misogynist for having some OOC headcanons. you suck the fun out of fandom when you require people to interact with characters they aren't interested in. and depending on why someone likes Jason, they honestly might not like Helena. they're wildly different and have very different dynamics with everyone around them.

and i get it, Jason has had *wildly* inconsistent writing and there's debate upon debate of what's in character for him, what comics you should consider when trying to make fan content about him, and so on. i'm in the "anything past pre-Flashpoint isn't in the version i prefer" camp, but the whole mess of it scatters the fandom on how to write him. which i think is the actual root of him getting fanonizing beyond recognition, *not* people stealing from Helena. is it particularly headache-inducing to see Jason fans say "he's girl coded" or "he's female-rage coded"? yeah. but even those fans aren't ever going to be convinced out of their bubble by vitriolic comments made about how Jason's a total loser and Helena's so much cooler than him. and then the more canon-based fans who might *actually* like Helena and probably would read her comics if just given an honest recommendation of her character are *really* not going to want to be interacting her content/fandom. painting a broad stroke of the Jason fandom all seeing Jason as this cartoonish fanon version of himself does you no favors with anyone.

like i used to find the silly jokes/memes that were solely calling out bad fanon enjoyable as pure lighthearted "oh i wish more people liked this character the way they liked that character bc the fandom for this character is so small" vibes, but you're right about it getting out of hand. it's become the only thing people seem to talk about in the Huntress fandom space. i'd much rather discuss Helena for who she is then talk about Jason. because isn't it just a *little* ironic that in attempting to make this fandom more inclusive of the women, we still just *have* to make it about the men? you don't make Helena, or Steph or Cass or Onyx or any other underrated woman sound cool by comparing them to Jason. you just make it sound like you don't know how she stands as a character on her own. she's a cool character with a cool history (both in-universe and the meta history of the Huntress mantle) but this whole weird hate boner for Jason permeating the fandom space for her just makes people hate her instead of not know of her. and really, i can't blame anyone for that.

Like. Where and when did Helena vs Jason thing start? It's so fucking annoying and makes me think that I'll never want to interact with the Huntress fandom if/when I read more stuff about her. Which is a bit how I avoid interacting with the Nightwing fandom at large despite liking his stuff.

[genderkoolaid]

just explained to my friend how wildly antisemitic Henry Ford was so here is your friendly reminder that

Henry Ford was an antisemitic conspiracy theorist who was given the highest award available to a foreigner by the Nazi Party because of how he used his obscene wealth to promote antisemitism

If people think "cancel culture" is a completely new phenomenon, just point them to the boycott of his products, his subsequent """apology""', and the song "Since Henry Ford Apologized To Me" which makes fun of his shitty apology

[renthony]

In Defense of Shitty Queer Art

Queer art has a long history of being censored and sidelined. In 1895, Oscar Wilde’s novel The Picture of Dorian Gray was used as evidence in the author’s sodomy trials. From the 1930s to the 1960s, the American Hays Code prohibited depictions of queerness in film, defining it as “sex perversion.” In 2020, the book Steven Universe: End of an Era by Chris McDonnell confirmed that Rebecca Sugar’s insistence on including a sapphic wedding in the show is what triggered its cancellation by Cartoon Network. According to the American Library Association, of the top ten most challenged books in 2023, seven were targeted for their queer content. Across time, place, and medium, queer art has been ruthlessly targeted by censors and protesters, and at times it seems there might be no end in sight.

So why, then, are queer spaces so viciously critical of queer art?

Name any piece of moderately-well-known queer media, and you can find immense, vitriolic discourse surrounding it. Audiences debate whether queer media is good representation, bad representation, or whether it’s otherwise too problematic to engage with. Artists are picked apart under a microscope to make sure their morals are pure enough and their identities queer enough. Every minor fault—real or perceived—is compiled in discourse dossiers and spread around online. Lines are drawn, and callout posts are made against those who get too close to “problematic art.”

Modern examples abound, such as the TV show Steven Universe, the video game Dream Daddy, or the webcomic Boyfriends, but it’s far from a new phenomenon. In his book Hi Honey, I’m Homo!, queer pop culture analyst Matt Baume writes about an example from the 1970s, where the ABC sitcom titled Soap was protested by homophobes and queer audiences alike—before a single episode of the show ever aired. Audiences didn’t wait to actually watch the show before passing judgment and writing protest letters.

After so many years starved for positive representation, it’s understandable for queer audiences to crave depictions where we’re treated well. It’s exhausting to only ever see the same tired gay tropes and subtext, and queer audiences deserve more. Yet the way to more, better, varied representation is not to insist on perfection. The pursuit of perfection is poison in art, and it’s no different when that art happens to be queer.

When the pool of queer art is so limited, it feels horrible when a piece of queer art doesn’t live up to expectations. Even if the representation is technically good, it’s disappointing to get excited for a queer story only for that story to underwhelm and frustrate you.

But the world needs that disappointing art. It needs mediocre art. It even needs the bad art. The world needs to reach a point where queer artists can fearlessly make a mess, because if queer artists can only strive for perfection, the less art they can make. They may eventually produce a masterpiece, but a single masterpiece is still a drop in the bucket compared to the oceans of censorship. The only way to drown out bigotry and offensive stereotypes created by bigots is to allow queer artists the ability to experiment, learn through making mistakes, and represent their queer truth even if it clashes with someone else’s.

If queer artists aren’t allowed to make garbage, we can never make those masterpieces everyone craves. If queer artists are terrified at all times that their art will be targeted both by bigots and their own queer communities, queer art cannot thrive.

Let queer artists make shitty art. Let allies to queer people try their hand at representation, even if they miss the mark. Let queer art be messy, and let the artists screw up without fear of overblown retribution.

It’s the only way we’ll ever get more queer art.

_

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[orionsangel86]

There is a phenomenon happening on Tumblr right now which may be a product of the Twitter exodus or maybe its just modern fandom mentality vehemently rejecting the old, but you guys have GOT to stop being so damn MEAN about fandom.

There are posts circulating on Tumblr right now hating on so many aspects of fandom. Yeah we all know the incorrect quotes format can be cringe and most of the time its the same quotes used for every fandom ever reducing the characters to stereotypes. Yes we know most fandoms scramble to ship the two basic white guys over all the other characters. Yes we know your blorbo probably Does Not Fucking Say That. Yes we know A/B/O is weird AF (especially now its breached containment and found its way into mainstream hetero erotica). Yes we know SuperWhoLock was ridiculous and attempts to make modern shows into a new SuperWhoLock have got old fast.

But do you have to constantly drag these things all the time? Why is it suddenly cool and popular to ridicule and criticise and hate on peoples fun?

Let people be cringe

Let people play in the fandom sandbox

Let people have their fun

Not everything has to be an intellectual critique and it doesn't make you a better person to constantly shit on fandom ON THE FANDOM WEBSITE

Fandoms can be problematic, toxic, and infuriating at times. But all the negativity isn't making things better. Yeah okay some aspects of fandom can be annoying, but must we have so many call out posts go viral on here specifically for hating on parts of fandom culture? Yet people wonder why fandom creators are quitting and there isnt as much art and interaction on here as there used to be.

If you see another negative post shitting on aspects of fandom cross your dash, maybe think before you reblog it. Maybe ask yourself if that post may be hurtful to a mutual? Perhaps youve got a mutual who writers A/B/O or CharacterxReader fanfiction who doesnt wanna see your reblog of the callout post stating reader×character fanfic is gross, or perhaps your mutual creates fun text posts applying quotes to their fave characters and youve just reblogged a 90k+ note post calling them cringy and overdone.

Just THINK please. Its not necessary. We've got to be KINDER to each other. Please don't let this place become like Twitter. Twitter was a toxic cesspool where no one had anything worthwhile to add to the discussion, no one created, everyone was just screaming angry rants into the void. Dont let tumblr become like that, because it will be the death of this place. And where will you go to find fanart and gifsets of your blorbos then?

[ryanseslow]

NEWYAWK T-SHIRTS ARE BACK!

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Picture this: The bustling 1970s, 80s, and 90s, a time when the city was an evolving kaleidoscope of cultures and dialects. New Yorkers didn’t just speak; they orchestrated their own language! “Walk” metamorphosed into “WAAWK,” “talk” became “TAAWK,” “coffee” was no longer just coffee—it was “CAAWWFEE.” And “three” wasn’t just a number; it was “TREE.” These linguistic quirks are the very heartbeat of NYC’s vibrant culture.

As our founder journeyed through these bustling streets, he discovered the magic of graffiti and stencil art, a transformative love that birthed the unique tag: “newyawk.” This wasn’t just a tag; it was a revolution in lowercase, a cardboard stencil masterpiece that evolved into a hand-painted marvel for screen printing. And then, the pièce de résistance: a classic car image, symbolizing movement and the relentless drive of New Yorkers.

The journey of NEWYAWK is one of passion, creativity, and an undying love for the art of silk screen printing. This technique didn’t just create prints; it immortalized them, preserving the hand-painted charm that makes each t-shirt a timeless piece of wearable art.

Today, NEWYAWK isn’t just a brand—it’s a grassroots phenomenon. These t-shirts, born from a heart full of NYC pride, have taken the world by storm. They’re not just worn; they’re celebrated, cherished, and adored by those who wear their love for New York on their sleeves.

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Explore our collection and feel the heartbeat of New York City at https://newyawkteeshirts.com/ – The brand name is NEWYAWK, and we promise you, this is more than just a t-shirt—it’s a piece of NYC history, ready to be worn by you.

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[filurig]

Well i have decided to make a little silly phenomenon in pareidolia so. yes folke is used as an example for a reason no i wont elaborate... but i will elaborate about the phenomenon below...

most humans associate the scars with trolls (keep in mind this is about basilisks in the nordics so) because of the idea that trolls shapeshift (in Pareidolia Reality they don't and the "real" trolls are more baueresque than the more traditional view. but its all human terminology anyway lol). any humans with troll scars tend to try to hide them bcs of it, but it can be hard depending on how extensive they are - if you just got a scar where you have extra furring, you may just be able to shave it. if you got the feather variant, it might suck a bit more lol...

troll scars are premanent, the tissue it affects will be forever changed.

filament tends to be somewhat adapted to fit where the original tissue was. claws won't grow from random patches of skin etc.

pigment is usually inherited from the scarred individual, but on rare occasions it may spontaneously "pick up" on local bird species pigmentation like basilisks do in development (as baby)

metamorfum acid burns heal very fast - a large area can heal in about as little as a month. but that's just for the "superficial" healing, and it will appear like a normal burn scar at first until it'll slowly start to grow the new filaments or the tissue will appear to "change".

basilisk acid burns rarely ever go deeper than the skin because it stops being active fast after exiting the basilisk body.

many basilisk cultures are hesitant about interspecies relationships (with other sophonts i mean) using hastuik as a justification. interestingly enough, metamorfum accidents don't seem to affect harpies as badly, probably because the two species are related, so there's usually less of a hesitation in regards to those relationships. it may vary however from community to community

hastuik is a basilisk term (well among scandinavian basilisks) which often refers to these scars but also in other contexts and is also a combination of two words - "hastu", which is also a family suffix (used for chicks before they pick their name), whose meanings include young/youth, chick and naiveté, while "ik" can be translated to foolishness/stubbornness (specfically with the connotation that it is unreasonable). calling another basilisk hastuik is basically calling them naive/childish in a derogatory sense since the term is kind of obsolete for them anyway (the acid burns heal normally for them)

[atlaculture]

Cultural Calendars: Water Tribe

As we all know, the Water Tribe is primarily inspired by Inuit peoples. However, there is no one standard Inuit calendar, as their traditional timekeeping systems are inextricable from the specific areas where they live. For example, the names of their months typically take inspiration from the different life stages of animals and natural phenomenon in their particular environment. Similarly, Inuit is a language family, so the vocabulary varies quite a bit from region to region. So instead of replicating one specific Inuit group or village's calendar for the Water Tribe, I thought I'd share some interesting details and commonalities I've noticed across the calendars I've looked at; from there, you can decide what to incorporate for your Water Tribe calendar.

Seasons

Inuit/Inupiat/Yupik seasons vary between 5-8 seasons, depending on the weather cycle of the particular area. The most well documented seasonal cycles (shown above) are from Nunavut, Canada in the Inuktitut language and King Island, Alaska in the Inupiatun language. Keeping track of the seasons is vital for hunter-gatherer societies.

Years & Months

I've written about the celebration of Quviasukvik aka Arctic New Year before, so I won't go too in-depth about it. The New Year for many circumpolar people is defined by the first sunrise after the Winter Solstice, as it marks the end of the polar nights, a period when the sun remains below the horizon for multiple months. Meaning that from Katara and Sokka's point of view, Aang first met Roku on New Year's Eve. ^_^

Since the ATLAverse uses a 12-month system, I figured I would use the names that Inuit groups have assigned to the months of the Gregorian calendar. Below is a graph I made of month names (translated into English) from different Inuit, Inupiat, and Yupik regions. If you click on the underlined names, you'll get a link to the sources:

(The months called "miscarriage" are in reference to February and March bring common months for seal miscarriages.)

Based off this research, here are the month names I came up with for the Water Tribe:

I didn't want to choose a specific dialect group, so I just went with English "translations". I tried to make the meanings clear, while also giving the months names that sound like month names (to an English-fluent ear).

Days of the Week

The unit of time known as a "week" wasn't really relevant to arctic peoples as they primarily tracked time based on the seasons and lunar cycles, as that's what's most important to a hunter-gatherer lifestyle. As such, I think the Water Tribes just adopted the "international" days of weeks that I mentioned here. East-day, North-day, West-day, South-day, and Center-day would be their day names; whether they'd take a break on Center-day would depend on the month/season they were in.

[mostlysignssomeportents]

Antiusurpation and the road to disenshittification

THIS WEEKEND (November 8-10), I'll be in TUCSON, AZ: I'm the GUEST OF HONOR at the TUSCON SCIENCE FICTION CONVENTION.

Nineties kids had a good reason to be excited about the internet's promise of disintermediation: the gatekeepers who controlled our access to culture, politics, and opportunity were crooked as hell, and besides, they sucked.

For a second there, we really did get a lot of disintermediation, which created a big, weird, diverse pluralistic space for all kinds of voices, ideas, identities, hobbies, businesses and movements. Lots of these were either deeply objectionable or really stupid, or both, but there was also so much cool stuff on the old, good internet.

Then, after about ten seconds of sheer joy, we got all-new gatekeepers, who were at least as bad, and even more powerful, than the old ones. The net became Tom Eastman's "Five giant websites, each filled with screenshots of the other four." Culture, politics, finance, news, and especially power have been gathered into the hands of unaccountable, greedy, and often cruel intermediaries.

Oh, also, we had an election.

This isn't an election post. I have many thoughts about the election, but they're still these big, unformed blobs of anger, fear and sorrow. Experience teaches me that the only way to get past this is to just let all that bad stuff sit for a while and offgas its most noxious compounds, so that I can handle it safely and figure out what to do with it.

While I wait that out, I'm just getting the job done. Chop wood, carry water. I've got a book to write, Enshittification, for Farar, Straus, Giroux's MCD Books, and it's very nearly done:

https://twitter.com/search?q=from%3Adoctorow+%23dailywords&src=typed_query&f=live

Compartmentalizing my anxieties and plowing that energy into productive work isn't necessarily the healthiest coping strategy, but it's not the worst, either. It's how I wrote nine books during the covid lockdowns.

And sometimes, when you're not staring directly at something, you get past the tunnel vision that makes it impossible to see its edges, fracture lines, and weak points.

So I'm working on the book. It's a book about platforms, because enshittification is a phenomenon that is most visible and toxic on platforms. Platforms are intermediaries, who connect buyers and sellers, creators and audiences, workers and employers, politicians and voters, activists and crowds, as well as families, communities, and would-be romantic partners.

There's a reason we keep reinventing these intermediaries: they're useful. Like, it's technically possible for a writer to also be their own editor, printer, distributor, promoter and sales-force:

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

But without middlemen, those are the only writers we'll get. The set of all writers who have something to say that I want to read is much larger than the set of all writers who are capable of running their own publishing operation.

The problem isn't middlemen: the problem is powerful middlemen. When an intermediary gets powerful enough to usurp the relationship between the parties on either side of the transaction, everything turns to shit:

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

A dating service that faces pressure from competition, regulation, interoperability and a committed workforce will try as hard as it can to help you find Your Person. A dating service that buys up all its competitors, cows its workforce, captures its regulators and harnesses IP law to block interoperators will redesign its service so that you keep paying forever, and never find love:

https://www.npr.org/sections/money/2024/02/13/1228749143/the-dating-app-paradox-why-dating-apps-may-be-worse-than-ever

Multiply this a millionfold, in every sector of our complex, high-tech world where we necessarily rely on skilled intermediaries to handle technical aspects of our lives that we can't – or shouldn't – manage ourselves. That world is beholden to predators who screw us and screw us and screw us, jacking up our rents:

https://www.thebignewsletter.com/p/yes-there-are-antitrust-voters-in

Cranking up the price of food:

https://pluralistic.net/2023/10/04/dont-let-your-meat-loaf/#meaty-beaty-big-and-bouncy

And everything else:

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

(Maybe this is a post about the election after all?)

The difference between a helpmeet and a parasite is power. If we want to enjoy the benefits of intermediaries without the risks, we need policies that keep middlemen weak. That's the opposite of the system we have now.

Take interoperability and IP law. Interoperability (basically, plugging new things into existing things) is a really powerful check against powerful middlemen. If you rely on an ad-exchange to fund your newsgathering and they start ripping you off, then an interoperable system that lets you use a different exchange will not only end the rip off – it'll make it less likely to happen in the first place because the ad-tech platform will be afraid of losing your business:

https://www.eff.org/deeplinks/2023/05/save-news-we-must-shatter-ad-tech

Interoperability means that when a printer company gouges you on ink, you can buy cheap third party ink cartridges and escape their grasp forever:

https://www.eff.org/deeplinks/2020/11/ink-stained-wretches-battle-soul-digital-freedom-taking-place-inside-your-printer

Interoperability means that when Amazon rips off audiobook authors to the tune of $100m, those authors can pull their books from Amazon and sell them elsewhere and know that their listeners can move their libraries over to a different app:

https://pluralistic.net/2022/09/07/audible-exclusive/#audiblegate

But interoperability has been in retreat for 40 years, as IP law has expanded to criminalize otherwise normal activities, so that middlemen can use IP rights to protect themselves from their end-users and business customers:

https://locusmag.com/2020/09/cory-doctorow-ip/

That's what I mean when I say that "IP" is "any law that lets a business reach beyond its own walls and control the actions of its customers, competitors and critics."

For example, there's a pernicious law 1998 US law that I write about all the time, Section 1201 of the Digital Millennium Copyright Act, the "anticircumvention law." This is a law that felonizes tampering with copyright locks, even if you are the creator of the undelying work.

So Amazon – the owner of the monopoly audiobook platform Audible – puts a mandatory copyright lock around every audiobook they sell. I, as an author who writes, finances and narrates the audiobook, can't provide you, my customer, with a tool to remove that lock. If I do so, I face criminal sanctions: a five year prison sentence and a $500,000 fine for a first offense:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

In other words: if I let you take my own copyrighted work out of Amazon's app, I commit a felony, with penalties that are far stiffer than the penalties you would face if you were to simply pirate that audiobook. The penalties for you shoplifting the audiobook on CD at a truck-stop are lower than the penalties the author and publisher of the book would face if they simply gave you a tool to de-Amazon the file. Indeed, even if you hijacked the truck that delivered the CDs, you'd probably be looking at a shorter sentence.

This is a law that is purpose-built to encourage intermediaries to usurp the relationship between buyers and sellers, creators and audiences. It's a charter for parasitism and predation.

But as bad as that is, there's another aspect of DMCA 1201 that's even worse: the exemptions process.

You might have read recently about the Copyright Office "freeing the McFlurry" by granting a DMCA 1201 exemption for companies that want to reverse-engineer the error-codes from McDonald's finicky, unreliable frozen custard machines:

https://pluralistic.net/2024/10/28/mcbroken/#my-milkshake-brings-all-the-lawyers-to-the-yard

Under DMCA 1201, the Copyright Office hears petitions for these exemptions every three years. If they judge that anticircumvention law is interfering with some legitimate activity, the statute empowers them to grant an exemption.

When the DMCA passed in 1998 (and when the US Trade Rep pressured other world governments into passing nearly identical laws in the decades that followed), this exemptions process was billed as a "pressure valve" that would prevent abuses of anticircumvention law.

But this was a cynical trick. The way the law is structured, the Copyright Office can only grant "use" exemptions, but not "tools" exemptions. So if you are granted the right to move Audible audiobooks into a third-party app, you are personally required to figure out how to do that. You have to dump the machine code of the Audible app, decompile it, scan it for vulnerabilities, and bootstrap your own jailbreaking program to take Audible wrapper off the file.

No one is allowed to help you with this. You aren't allowed to discuss any of this publicly, or share a tool that you make with anyone else. Doing any of this is a potential felony.

In other words, DMCA 1201 gives intermediaries power over you, but bans you from asking an intermediary to help you escape another abusive middleman.

This is the exact opposite of how intermediary law should work. We should have rules that ban intermediaries from exercising undue power over the parties they serve, and we should have rules empowering intermediaries to erode the advantage of powerful intermediaries.

The fact that the Copyright Office grants you an exemption to anticircumvention law means nothing unless you can delegate that right to an intermediary who can exercise it on your behalf.

A world without publishing intermediaries is one in which the only writers who thrive are the ones capable of being publishers, too, and that's a tiny fraction of all the writers with something to say.

A world without interoperability intermediaries is one in which the only platform users who thrive are also skilled reverse-engineering ninja hackers – and that's an infinitesimal fraction of the platform users who would benefit from interoperabilty.

Let this be your north star in evaluating platform regulation proposals. Platform regulation should weaken intermediaries' powers over their users, and strengthen their power over other middlemen.

Put in this light, it's easy to see why the ill-informed calls to abolish Section 230 of the Communications Decency Act (which makes platform users, not platforms, responsible for most unlawful speech) are so misguided:

https://www.techdirt.com/2020/06/23/hello-youve-been-referred-here-because-youre-wrong-about-section-230-communications-decency-act/

If we require platforms to surveil all user speech and block anything that might violate any law, we give the largest, most powerful platforms a permanent advantage over smaller, better platforms, run by co-ops, hobbyists, nonprofits local governments, and startups. The big platforms have the capital to rig up massive, automated surveillance and censorship systems, and the only alternatives that can spring up have to be just as big and powerful as the Big Tech platforms we're so desperate to escape:

https://pluralistic.net/2024/03/23/evacuate-the-platforms/#let-the-platforms-burn

This is especially grave given the current political current, where fascist politicians are threatening platforms with brutal punishments for failing to censor disfavored political views.

Anyone who tells you that "it's only censorship when the government does it" is badly confused. It's only a First Amendment violation when the government does it, sure – but censorship has always relied on intermediaries. From the Inquisition to the Comics Code, government censors were only able to do their jobs because powerful middlemen, fearing state punishments, blocked anything that might cross the line, censoring far beyond the material actually prohibited by the law:

https://pluralistic.net/2024/02/22/self-censorship/#hugos

We live in a world of powerful, corrupt middlemen. From payments to real-estate, from job-search to romance, there's a legion of parasites masquerading as helpmeets, burying their greedy mouthparts into our tender flesh:

https://www.capitalisnt.com/episodes/visas-hidden-tax-on-americans

But intermediaries aren't the problem. You shouldn't have to stand up your own payment processor, or learn the ins and outs of real-estate law, or start your own single's bar. The problem is power, not intermediation.

As we set out to build a new, good internet (with a lot less help from the US government than seemed likely as recently as last week), let's remember that lesson: the point isn't disintermediation, it's weak intermediation.

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/2024/11/07/usurpers-helpmeets/#disreintermediation

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en (Image: Cryteria, CC BY 3.0, modified)

[gemsalive]

re: that HEFTY siffrin sweep on id5’s isat favourite blorbos poll — this might sound silly but i do actually think it’s kinda fascinating that isat, as a game so inseparably steeped in (for lack of a better way to describe it) queer fandom culture, managed to so completely sidestep the common Fandom Phenomenon that i suspect was behind the poll in the first place by creating a main character that is also overwhelmingly the fan favourite character for once.

obviously there are any number of factors we could point at to explain the extent to which siffrin nomiddlenames nolastnames manages to grab people and absolutely not let go, but personally i think one of the most interesting ones to consider is the one specific to the medium — that is, how siffrin subverts the “silent blank slate video game protagonist” archetype in such a way that happens to be primo brainrot breeding grounds.

like, when a video game dev makes a silent protagonist it’s usually a bid to maximize immersion by closing the aesthetic distance between player and character as much as possible, right? which is especially true of rpg video games — players find connection in the generic, as that is what gives you the freedom of motion to insert yourself into the story in whatever unique shape suits you best. you are your character and your character is you.

(as ever, post ran long. yall know the drill. tossin in a quick header pic before thoughts on blank slates & blorboification continue under the cut)

and then you’ve got siffrin, who is expressly pointed out to be the taciturn type; who when initially giving the player exposition about their journey so far doesn’t seem to hint at a life or history or even really any motivations outside the journey; whose every thought and action is narrated in second person so as to keep tracing and re-tracing the connection between him and you.

even their design — all darkless and shapeless, bundled up in that big cloak, as if an invitation for you to fill it in with whatever lets you relate to them most! at this point they are their own character for sure, but they also have enough very clear parallels going on with the silent protagonist archetype to feel more than accidental.

of course, as you keep playing you start to recognize that his blankness is much, much more than just a grab at immersion; his apparent lack of backstory, itself a fundamental piece of backstory. this is where he flips dramatically in the player’s perception from “generic vessel for story delivery” to “thoroughly multidimensional character trapped within endless torment nexus custom-built to target and exacerbate all his very specific worst traits rooted in very specific traumas”.

yknow, the good stuff !

but by then you have also been playing enough to be feeling the effects of the thing isat’s design does best of all. i’m talkin bout that ludonarrative lockstep baby. every piece of isat’s gameplay is designed to make you feel what siffrin is feeling — you understand by now that he is not a stand-in for you, but all the same you share in his frustration, his grief, his rare moments of joy and the subsequent heart-in-your-shoes devastation when that joy is inevitably poisoned — and through it all, the desperate grasping for anything new — all as if they were every bit your own.

so in this way the connection is maintained, even if you were someone for whom siffrin’s particular traits & struggles might not otherwise cause you relate to them at all if you had encountered them elsewhere, in a setting where you weren’t actively controlling them as a player. siffrin still gets to carry all the “just like me fr” impact of the blank slate protagonist in the tropes he embodies and in the game mechanics’ design, while totally free to evolve completely into his own character and keep you relating to closely them all the same. now toss back in the fact that said traits & struggles very much ARE of a flavour that a great many people Would Tend To Relate To and just like that you’ve got a perfect storm cookin.

too individual and compellingly written to be an empty vessel for plot delivery. too closely connected with the player’s emotional state to be a story observed impassively from the outside. he has 92 mental illnesses and for the low low price of free u can give him yours to carry too. nobody is doin it like him. congratulations on your well-deserved nose sniffrin nomiddlenames nolastnames <3

[evermoredeluxe]

Taylor Swift’s Eras Tour Grand Total: A Record $2 Billion

By Ben Sisario

For the last 21 months, Taylor Swift’s Eras Tour has been the biggest thing in music — a phenomenon that has engulfed pop culture, dominated news coverage and boosted local economies around the world.

Now we know exactly how big.

Through its 149th and final show, which took place in Vancouver, British Columbia, on Sunday, Swift’s tour sold a total of $2,077,618,725 in tickets. That’s two billion and change — double the gross ticket sales of any other concert tour in history and an extraordinary new benchmark for a white-hot international concert business.

Those figures were confirmed to The New York Times for the first time by Taylor Swift Touring, the singer’s production company. While the financial details of the Eras Tour have been a subject of constant industry speculation since tickets were first offered more than two years ago — through a presale so in-demand it crashed Ticketmaster’s system — Swift has never authorized disclosure of the tour’s numbers until now.

The official results are not far from the estimates that trade journalists and industry analysts have been crunching for months. But they solidify the enormous scale of Swift’s accomplishment. Just a few months ago, Billboard magazine reported that Coldplay had set an industry record with $1 billion in ticket sales for its 156-date Music of the Spheres World Tour — a figure that is just half of Swift’s total for a similar stretch of shows in stadiums and arenas.

Every date on the Eras Tour was sold out, and spare tickets were scalped at eye-popping prices — or traded within the protective Swiftie fan community, often at face value.

According to Swift’s touring company, a total of 10,168,008 people attended the concerts, which means that, on average, each seat went for about $204. That is well above the industry average of $131 for the top 100 tours around the world in 2023, according to Pollstar, a trade publication.

The biggest single night’s attendance was in Melbourne, Australia, on Feb. 16, 2024, with 96,006. And Swift’s eight nights at Wembley Stadium in London, which she played more than any other venue, drew 753,112 people — about as many as live in Seattle.

As gigantic as they are, the figures revealed by Swift’s company are only part of the overall business that has surrounded the tour. They exclude her extraordinary merchandise sales, for example, a product line so in demand that Swift opened stadium sales booths a day early in some markets to sell T-shirts, hoodies and Christmas ornaments to fans, ticketed or not.

And they do not count the secondary market of online ticket resellers. According to StubHub, the Eras Tour was the biggest-selling tour in the platform’s two-decade history, and last year it outsold Beyoncé’s shows by a factor of five. Another ticketing company, Victory Live, said the average price for resold tickets to the Eras Tour’s three Vancouver dates was $2,952. (Swift earned nothing from resold tickets.)

Beyond its numbers, the Eras Tour has been a mega-event that elevated the already-super-famous Swift to a new level, making her an epochal symbol of cultural saturation on the level of the Beatles in the 1960s or Michael Jackson in his ’80s prime. Swift’s every onstage utterance, outfit swap or offstage sighting was thoroughly documented, on social media and in the mainstream press, with news outlets big and small rushing to capture Swifties’ clicks. Online, fans tracked every tweak to the three-hour-plus set lists.

As the story of Swift’s tour took shape, it seemed to contain its own eras within it. First, in November 2022, came the ticket fiasco, when Ticketmaster was overwhelmed by what it said were 3.5 billion online requests for tickets, many from scalpers’ bots. The furor over those problems led to a Senate Judiciary hearing in January 2023, at which lawmakers from both parties openly called Ticketmaster’s corporate parent, Live Nation, a monopoly. (This year, the Justice Department filed an antitrust suit against Live Nation, calling for a breakup of the company.)

Then came the tour and the folkways that developed around it, like fans trading hand-assembled friendship bracelets. After the tour’s stop in Kansas City, Mo., a public flirtation between Swift and Travis Kelce, the star tight end of the Kansas City Chiefs, developed into a full-on romance, with the pop star and the football hunk sharing a field-level smooch after the Chiefs defeated the San Francisco 49ers at Super Bowl LVIII in February. The photographers definitely did not miss it.

In October 2023, she released “Taylor Swift: The Eras Tour,” a nearly three-hour concert film, released through a direct distribution deal with AMC Entertainment, the world’s largest theater operator. It sold about $93 million in tickets during its opening weekend, and ended up with $261 million in worldwide grosses, according to Box Office Mojo. The next step was a streaming deal with Disney+. A 256-page hardcover tour book, released last month through Target stores, sold 814,000 print copies in its first two days on sale.

As the tour moved to Europe in 2024, it narrowly avoided what could have been a major catastrophe when a terrorist bomb plot was uncovered before three planned shows in Vienna. Those events were canceled and never rescheduled.

Although Swift has largely avoided the news media during the tour, over time she has pulled back the curtain a bit to reveal some of how it came together. To prepare herself for the physical demands of the show, she trained for six months, with a cardio regimen that included singing the entire set list while running on a treadmill, she told Time magazine.

“I knew this tour was harder than anything I’d ever done before by a long shot,” the magazine quoted her as saying. “I finally, for the very first time, physically prepared correctly.”

The music video for “I Can Do It With a Broken Heart,” from her latest album, “The Tortured Poets Department” — her third release over the course of the tour, including two rerecorded versions of older albums — has behind-the-scenes clips confirming some of the stagecraft mechanics that fans have carefully cataloged on social media, like how she “dives” each night through a “hole” in the stage (onto a soft cushion held by crew members) and how she is ferried backstage in a dummy janitor’s cart.

The tour concludes just as Swift celebrates yet another win: “Tortured Poets” has returned to No. 1 on the Billboard 200 chart for a 16th week, with help from vinyl and CD sales of the 35-track “Anthology” edition of the album, which Swift released on Black Friday, also through Target. “Tortured Poets” is by far the biggest-selling album of the year so far.

Swift is up for six awards at the Grammys in February, including album of the year for “Tortured Poets” and both record and song of the year for one of its singles, “Fortnight.”

At a recent tour stop in Toronto, as the tour neared its end, Swift teared up as she delivered valedictory remarks to fans.

“My band, my crew, all my fellow performers,” she said, “we have put so much of our lives into this, and you put so much of your lives into being with us tonight and to giving us that moment that we will never forget.”

[weirdmarioenemies]

Name: Spamley

Debut: Ralph Breaks the Internet

Hey, remember the Ralph Breaks the Internet craze of 2018? What a time to be alive! Disney's film about What If The eBay Was A Place was an instant hit, due to the fact that everyone knows the Internet, and everyone wants to see a movie about it! You couldn't stop hearing about it! No wonder it won the Academy Award for best animated film! I think it beat out some movie about spiders, or something...?

Kids today might not remember, because 2018 was so long ago. They're too obsessed with their new age sexymen, like Raymond and the big balls Dwarf. But this movie wouldnt've been the cultural phenomenon it was without one character taking the world by storm: a certain J.P. Spamley!

The Internet fell in love with Spamley at first sight, flooding social media with memes and fan art about the loveable green prick. He rose to the highest ranks of the Tumblr Sex Man for a good while! You couldn't scroll for a few minutes without seeing his catchphrase, "Now's your chance to get rich playing video games!"

What kind of a megacorporation would Gisnep be if it didn't capitalize on Spamley's popularity? So they held a special Spamley Sweepstakes event on November 2019, allowing fans to donate money in honor of Spankley himself! All proceeds would go to Bob Iger and Baby Yoda, and if that's not wholesome, I don't know what is. Those who entered even had a chance of winning WILD prizes, like:

That's it that was the only prize

See him in theatres! This is what Disney told us all to do, and we listened! Little did we know they were doing this to hide a dark secret! If you buy the Blu-ray version of the movie, you can actually manipulate the Scene Select to watch the movie out of order and make some... strange things happen. You can look up a walkthrough online, but the gist of it is making Vanelope kill all the Disney Princesses. Especially Merida. And when you do, you unlock a weird alternate ending...

Spamley NEO is the secret true main antagonist of the film, and he wants to take over Oh My Disney to spread spam and advertisements! No! Not Oh My Disney! Please, for the love of God, NOT OH MY DISNEY!! You have to kill him. You have to destroy your Blu-ray copy of Ralph Breaks the Internet now. I hope you're proud of yourself.

[xxmia0wm4yh3mxx]

SPRUNKI ISLAND AU

Okay its less of an Au and more of Fanlore I added but Idc

All sprunkis live on a place called Sprunki Island

Sprunkis all a unique color, shades, tints and hues and They all communicate through making music, singing, and beat boxing noises, Each Sprunki's Color and Sounds is as unique as a Fingerprint/Personality

Instead of reproducing through fornication, they all come from a factory, when two Sprunkis love each other they go to the factory and extract dna from both parents and they mix it in a egg

Unfortunately, some sprunkis are born without the ability to create music properly and need instruments to help make music (Vineria, Gray, Garnold)

sprunkis are born without the ability to create music properly are looked down on in Sprunki society, this is called Resonance Deficiency Syndrome (RDS)

RDS:

Sprunkis possess a unique biological phenomenon called Chromasymphonic Energy, a fusion of sound and light within their bodies. This energy is responsible for both their vibrant colors and their ability to produce music.

The frequency of a Sprunki’s "voice" directly affects the pigments in their skin. Higher frequencies create brighter, lighter hues, while lower frequencies result in deeper, richer colors. When a Sprunki is actively creating music, their color pulses or shifts slightly in intensity, creating a mesmerizing visual effect.

For example, during a lively group performance, the entire community might light up in a dazzling array of colors that dance in sync with their music.

Harmonic Resonance:

When two or more Sprunkis harmonize, their colors subtly blend, creating gradients or entirely new shades between them. This is especially prominent when Sprunkis collaborate creatively or emotionally bond, such as when two Sprunkis fall in love or form deep friendships.

For example, when Oren and Pinki harmonize, their orange and pink hues merge into a soft coral glow.

Healing and Energy Regulation:

Chromasymphonic Energy isn’t just for communication—it sustains their physical health. Creating music helps regulate their energy levels, while prolonged silence can cause them to feel sluggish or unwell. Similarly, vibrant colors indicate good health, while dull or faded hues can signal illness or stress.

Music therapy sessions, where Sprunkis perform gentle, harmonic melodies together, are a common form of healing.

Music as a Marker of Growth:

As Sprunkis grow and evolve, their music changes to reflect their experiences. A young Sprunki might produce chaotic, energetic rhythms, while an older, wiser one might create more intricate and deliberate melodies. This evolution is seen as a journey of self-discovery.

___________________________________________

RDS

RDS is a condition where a Sprunki’s Chromasymphonic Energy is imbalanced, making it difficult for them to synchronize with instruments or external sound sources. While they may have the desire to make music, their internal frequencies fail to align, resulting in disjointed or inaudible output. RDS is caused by Sprunkis whos Music are not 100% compatible with eachother

Symptoms:

Difficulty producing harmonious sounds, even with tools.

Faded or unstable coloration, as their body struggles to channel energy properly.

Feelings of frustration, isolation, or low energy due to the inability to fully express themselves.

Cultural Perspective:

Sprunki's see those with RDS are weaker and need to be fixed

Potential Treatments:

Instrument Tuning Therapy: Custom instruments are crafted to better match the individual's unique frequency.

Harmonic Resonance Groups:

Other Sprunkis harmonize with the affected individual to "retrain" their Chromasymphonic Energy.

Emotional Sound Counseling: Since emotional well-being is tied to musical output, counseling sessions often involve music to address internal imbalances.

Symptoms of RDS:

Sprunkis with RDS are usually lethargic and have lower energy than most Sprunkis, Low saturation in color and Quieter Music

Their are many Different Levels of RDS and no Sprunki with RDS looks the Same

Sprunkis with RDS:

Vineria:

Vineria has Mild RDS but still needs her Vine Wig to make Music

Garnold:

Without his Robotic Suit, Garnold can only make a short, sharp Beeping noises which makes him insecure about himself

Gray:

Gray can Only Make A low rhythmic humming Noise