#meta’s algorithms do what they do

[1mnobodywhoareyou]

Kiss! Kiss! Kiss!

The band had just finished playing Edge of Great to close out their concert. They’d decided to keep Luke’s impromptu duet moment for live performances and had also now played it enough times that it’s not quite as charged for them as it once was. Julie and Luke are still staring at one another when the band is met with an unexpected response.

“Kiss! Kiss! Kiss!” the crowd starts chanting.

Reggie hugs his bass, settling back with a self-satisfied smirk as if he can’t wait to see this go down. Alex looks with amusement and a smidge of concern between the audience and the couple and back again. Julie and Luke haven’t formally announced their relationship but they haven’t been working all that hard to hide or deny it either.

Julie raises an eyebrow at Luke and he grins at her with a mischievous glint in his eyes and startles everybody by suddenly standing. He makes his way over to the corner of the drum riser just behind Julie and Reggie barely has time to move his bass out of the way before Luke dips him deeply and plants what appears to be a very sloppy, overzealous kiss on him. The audience gasps in seeming unison and is otherwise silent. Alex can’t help the guffaw that leaves his throat, harshly breaking the silence that had settled over the room and Julie breaks down giggling as Luke returns Reggie upright before bounding off the stage with a wave. Reggie stands stunned for a moment and Julie grabs him to pull him offstage with her.

Where Luke has been met with a very “trying to be stern while also choking down laughter” manager of theirs, Flynn.

“Do you have any idea how much work it’s going to be to clean this up, Luke?” they asked him while he grins.

“Yeah, but it was funny.”

“Hilarious,” she deadpans with a roll of their eyes and a slight upturn to their lips. 

The crowd had apparently recovered and were now calling for their expected encore. Flynn rolls her eyes, still not understanding why this is a thing that continues to happen at concerts but Luke is nothing if not a musician of his time and he insists on maintaining the tradition. He all but shoves Julie back onto the stage, reeling her back quickly to peck her on the lips before sending her out again as if nothing out of the ordinary had even happened.

[asgardian--angels]

mage viktor discourse again on twitter and all i can say in my little corner over here once again is, I don't know why the entire fandom takes it as canon that mage Viktor failed to save every world he manipulated.

Canon does not provide evidence of this. This is fanon speculation. It's a fine headcanon to have, but everyone talks about it like it's canon when it isn't. Canon is ambiguous about the outcome of the timelines mage Viktor altered. The little nods we are given point, in my opinion, towards the opposite conclusion, that he successfully averted destruction.

I've written meta on this before but in summary:

1) 'In all timelines, in all possibilities' is worded precisely, it's not 'out of all timelines'; the implication is that every time, Jayce brings Viktor back from the brink, not just in our timeline. 'Only you' doesn't refer to our timeline's Jayce, it refers to all Jayces. Jayce always brings him home. If Viktor continuously put the fate of each timeline in Jayce's hands and Jayce failed over and over, I don't think he'd say those words. And the way he says them matters. His words are tinged with wonder, not sorrow. As if over and over again, he is shown that Jayce saves him, and it continues to amaze him. He doesn't sound defeated, like this is the next in a long line of Jayces he's sending off to die. The feeling is that Viktor's faith in Jayce has not been misplaced.

2) If mage Viktor doomed every timeline, there would be hundreds (or more) mage Viktors. All running around manipulating timelines. I highly doubt the writers wanted to get into that kind of sticky situation. The tragedy of mage Viktor is that he is singular. Alone. Burdened with the responsibility of the multiverse. The emotional gut punch of his fate is ruined if other timelines led to the same outcome, and from a practical standpoint, having multiple reality-bending omniscient mages would rip apart the fabric of the arcane.

There are other points, such as there being only one corrupted Mercury Hammer and our Jayce is the only one to receive it, and the fact that if mage Viktor is as omniscient as he is implied to be, he could easily step back into other timelines and correct course, because it's highly unlikely he could sit still and watch things go down in flames. But these things can be argued elsewhere.

While I love conversations about mage Viktor's motives and selfishness vs altruism, the writers & artbook have expressed that Jayce and Viktor care greatly about Runeterra and want to fix their mistakes to save it, and that their reconciliation is symbolic of Piltover and Zaun coming together as well. Yes, they make disastrous decisions towards each other, making choices for the other or without the other, which has negative consequences for their relationship and for Runeterra - but I think fandom pushes their selfishness even past what's canon sometimes, as if their entire goal hadn't always been to selflessly help the world around them. Their final reconciliation is about bridging the gap that grew between them - the pain and grief and secrets, betraying themselves and each other - to mutually choose each other openly and honestly. Part of the beauty of their story, as expressed by the creators, is that in their final moments, they chose each other and took responsibility for their actions by sacrificing themselves to end what they started, together - and that choosing each other saved the world. TPTB have stated this - that Jayce and Viktor are the glue holding civilization together, and when they come back to each other, they can restore balance. It's when they're apart, when they hurt each other and miscommunicate, when they abandon their commitment to each other and their dream, that the greater world suffers. Their strife is mirrored in the story-world at large.

Mage Viktor is framed as a solitary penitent figure, damned to an eternity of atoning for his mistakes. He paid the ultimate price and now is forced to live his personal nightmare of exactly what he was trying to avoid for himself with the glorious evolution. The narrative clues we're given point more in the direction that he saves timelines rather than dooms them. If Viktor's actions kept killing Jayce, the very boy he couldn't bear to not save each time, it would undermine these narrative choices. Yes, Viktor couldn't stand to live in a world where he never meets Jayce, so he ensures it keeps happening. But in that same breath, he couldn't bear to see a world where his actions continue to destroy Jayce and destroy Runeterra. His entire arc in s2 is born of his selfless desire to help humanity, help individual people. He would not lightly destroy entire worlds. That's his original grief multiplied a thousandfold, and narratively it would lessen the impact of the one, true loss he did suffer, his own Jayce. It wouldn't make sense for him to be alright with damning other timelines to suffer the same catastrophic tragedy that created him. I mean, maybe I'm delusional here, but is that not the entire point? Because that's what I took away when I watched the show.

As I said, I love discussions about mage Viktor, as there's a lot to play with. All I wish is that the fandom at large would not just assume or accept the Mage Viktor Dooms Every Timeline idea as canon, when there is nothing in the actual canon that confirms this. Maybe people need to just, go back and rewatch the actual episode, to recall how mage Viktor is presented to us, and what it's implied we're supposed to take away from his scenes, and separate that from the layers of headcanon the fandom has constructed.

[anaquariusfox]

I spent the evening looking into this AI shit and made a wee informative post of the information I found and thought all artists would be interested and maybe help yall?

edit: forgot to mention Glaze and Nightshade to alter/disrupt AI from taking your work into their machines. You can use these and post and it will apparently mess up the AI and it wont take your content into it's machine!

edit: ArtStation is not AI free! So make sure to read that when signing up if you do! (this post is also on twt)

[Image descriptions: A series of infographics titled: “Opt Out AI: [Social Media] and what I found.” The title image shows a drawing of a person holding up a stack of papers where the first says, ‘Terms of Service’ and the rest have logos for various social media sites and are falling onto the floor. Long transcriptions follow.

Instagram/Meta (I have to assume Facebook).

Hard for all users to locate the “opt out” options. The option has been known to move locations.

You have to click the opt out link to submit a request to opt out of the AI scraping. *You have to submit screenshots of your work/face/content you posted to the app, is curretnly being used in AI. If you do not have this, they will deny you.

Users are saying after being rejected, are being “meta blocked”

People’s requests are being accepted but they still have doubts that their content won’t be taken anyways.

Twitter/X

As of August 2023, Twitter’s ToS update:

“Twitter has the right to use any content that users post on its platform to train its AI models, and that users grant Twitter a worldwide, non-exclusive, royalty-free license to do so.”

There isn’t much to say. They’re doing the same thing Instagram is doing (to my understanding) and we can’t even opt out.

Tumblr

They also take your data and content and sell it to AI models.

But you’re in luck!

It is very simply to opt out (Wow. Thank Gods)

Opt out on Desktop: click on your blog > blog settings > scroll til you see visibility options and it’ll be the last option to toggle

Out out of Mobile: click your blog > scroll then click visibility > toggle opt out option

TikTok

I took time skim their ToS and under “How We Use Your Information” and towards the end of the long list: “To train and improve our technology, such as our machine learning models and algorithms.”

Regarding data collected; they will only not sell your data when “where restricted by applicable law”. That is not many countries. You can refuse/disable some cookies by going into settings > ads > turn off targeted ads.

I couldn’t find much in AI besides “our machine learning models” which I think is the same thing.

What to do?

In this age of the internet, it’s scary! But you have options and can pick which are best for you!

Accepting these platforms collection of not only your artwork, but your face! And not only your faces but the faces of those in your photos. Your friends and family. Some of those family members are children! Some of those faces are minors! I shudder to think what darker purposes those faces could be used for.

Opt out where you can! Be mindful and know the content you are posting is at risk of being loaded to AI if unable to opt out.

Fully delete (not archive) your content/accounts with these platforms. I know it takes up to 90 days for instagram to “delete” your information. And even keep it for “legal” purposes like legal prevention.

Use lesser known social media platforms! Some examples are; Signal, Mastodon, Diaspora, et. As well as art platforms: Artfol, Cara, ArtStation, etc.

The last drawing shows the same person as the title saying, ‘I am, by no means, a ToS autistic! So feel free to share any relatable information to these topics via reply or qrt!

I just wanted to share the information I found while searching for my own answers cause I’m sure people have the same questions as me.’ \End description] (thank you @a-captions-blog!)

[the-most-humble-blog]

<!-- BEGIN TRANSMISSION // BLACKSITE LITERATURE PROTOCOL ACTIVE --> <div style="white-space:pre-wrap"> <meta honor-integrity="corrupted-lineage"> <script>ARCHIVE_TAG="REY_PALPATINE::THE_MONSTER_SHE_BECAME" EFFECT: narrative vengeance, myth injection, algorithmic destabilization of brand control </script>

🧠 STAR WARS HOT TAKE — THE MONSTER SHE BECAME A Blacksite Literature™ Transmission (Because sometimes the chosen one burns the temple down.)

—

You want to know what would've saved Star Wars?

Rey turning into a Sith. No redemption. No apology. No narrative backflip to avoid bruising her image. Just evil. Cold. Inevitable. Tragic.

She didn’t get there because she was weak — she got there because the darkness made more sense.

Let me put it in the bluntest terms I can: She should’ve become the fucking monster. Not Kylo. Not some grey-area anti-hero. Not a conflicted girl with a lightsaber fetish. A monster. Just like her grandpapi.

But no. Instead, we got the most sterilized, agenda-drenched narrative in sci-fi history. A trilogy so frightened of letting a woman be flawed, powerful, and damned that it neutered its own potential. You want to know why that upcoming Rey trilogy will be DOA? Because they already wasted the only ending that could’ve saved her arc:

Her fall.

Not a stumble. Not a moment of “oops, dark side temptations.” I mean a complete possession. A willing descent. A new Empress. Palpatine 2.0 — but better.

—

Back in the day, we told stories to scar the soul in a good way. Greek tragedy. Shakespearean collapse. Anakin’s scream. > “I HATE YOU!” Burning, legless, crying in the ash of everything he once was. That wasn’t just cinema. That was myth.

And you know what made it powerful? It wasn’t safe.

Now? Disney thinks danger is offensive. That tragedy is too problematic. That every female protagonist must somehow double as a PR mascot for a toothpaste commercial.

The Force is female? Cool. Then let her fall. Let her fail. Let her choose evil, like any other real character might when backed into a moral corner and seduced by the very blood running through her veins.

But no. Rey had to stay pure. She had to redeem him. Because her ovaries wrote the script, apparently.

Let me ask you: If the dark side can’t take anyone… Then what is it? A glorified emo phase?

Seriously. If you have to already be broody, edgy, or half-insane to fall to the dark side, then the dark side is neutered. Defanged. Just an aesthetic.

But what if it wasn’t? What if the dark side could seduce anyone? Even the girl who smiled. Who loved. Who gave a damn. What if it made sense for her? What if it gave her power that felt natural — like breathing?

—

Here’s the thing they never dared write:

Rey has every reason to fall.

She’s a nobody. Her parents abandoned her. She was manipulated, hunted, deceived, isolated. Her identity stolen, retconned, and twisted — first by lineage, then by narrative.

And when she finally learns she’s a Palpatine?

They should’ve made it hurt.

Not a five-minute lightsaber therapy session followed by “I choose the light, teehee.”

No.

Let it destroy her.

Let the name Palpatine sink in like venom. Let it pull her apart. And then?

Let her put herself back together — not as Rey the Jedi… …but as Rey the Sith.

Let her accept it. Let her say, out loud, “I am what I am.” Let her choose it.

> “You wanted balance? I’ll give you symmetry. > You got your Skywalker that fell to darkness — now you’ll get a Palpatine that never climbs out.”

Imagine the scene: Finn, standing across from her. Lightsaber drawn. She’s wearing black. Her eyes like twin eclipses. No hate. Just serenity. The kind of calm that only a godless tyrant can possess.

And he begs her: > “Come back.”

But she laughs. Like it’s a joke. Because to her, there’s no coming back from truth.

> “You still don’t get it, do you?” > “There was nothing to come back to.”

And that’s when he realizes: She’s gone. Not possessed. Not confused. Gone.

She isn’t drowning in the dark.

She’s breathing in it.

—

You want to know what would’ve shaken Hollywood? A love story inverted into a execution.

Finn trains. Finn ascends. Finn becomes Jedi not because of fate, prophecy, or birthright — But because he has to kill the woman he loves. Because she became something worse than even Palpatine dreamed of.

And when the moment comes — She screams in rage as he drives his saber through her heart. Not in fear. Not in regret.

> In hatred. > Like Anakin. > “I HATE YOU!” > “I WOULD’VE KILLED THE GALAXY FOR YOU AND YOU CHOSE THEM.”

Her last words are not a redemption arc. They’re a final, unrepentant, curse.

And Finn? Finn whispers: > “I loved you anyway.”

That’s cinema. That’s fucking Star Wars.

—

But no. We got a PowerPoint deck on empowerment. We got “I’m all the Jedi” and hugs and Skywalker cosplay. We got the girlboss ending that no one asked for — And everyone forgot the monster she was born to be.

Disney was so afraid of letting a woman be evil that they stripped her of being interesting.

Newsflash: Flawed female characters are compelling. Villainous women are iconic. Tragedy is beautiful.

> You want to put butts in seats for that next Rey trilogy? > Have the balls to make her the villain.

Start the first scene with the galaxy on fire. The Jedi temples smoldering. Children missing. Acolytes chanting her name.

Not Empress Rey. Not Supreme Leader Rey.

No. Just Rey. One name. One legend. A goddess of wrath forged from legacy and betrayal. The shadow that even Palpatine never cast.

—

And Finn? He’s the myth now. The one who loved a monster and still raised a generation of incorruptible Jedi. Not because he was chosen. But because he had to end her.

Because she never came back.

Because she didn’t want to.

---

🔁 Reblog if you're tired of fake stakes in storytelling 🩸 Follow for mythic alt-timelines and weaponized narrative 🎥 Tag someone who thinks Star Wars is too “sacred” to critique 💀 Patreon for uncensored doctrine & biological weaponry scrolltraps

</div> <!-- END TRANSMISSION [TRACE REMNANT IMPRINT IN: 06:06:06] -->

[vyva-melinkolya]

we all agree that the push towards short form, vertical video (tiktok/reels/shorts) is ruining fucking everything right? Tiktok has been useful for the dissemination of political information (e.g Gaza) i’ll give it that, but that feels moreso a result of meta and twitters algorithms being just a little *more*’evil and censor happy. And i want to make it very clear that my hatred for tiktok has nothing to do with the fact that it was a product of a Chinese company, because i see a lot of critiques relying on some sort of sinophobic conspiracy. On the contrary, it’s what tiktok has become in the vacuum of western popular culture and marketing that makes me fearful.

I know that every generation faces a new, polarizing technology and inevitably, there are those among said generation who will critique it. That is the nature of things. However, there is also something to be said about how, with the acceleration of technology (running parallel to the acceleration of capitalism, acceleration towards collapse etc), each coming generation faces an increasingly more malevolent “advancement”. TLDR, i’m going to talk my shit.

I’m going to speak on the aspect that is most relavent to me, as a musician. I am petrified by what short form video is doing to music and to musicians. I think that tiktok provides the illusion of making music and being a musician more “accessible” while actually pouring gasoline on the fire that the pop music machine had already started. Standards for what popular culture “expects” from music are being doubled and tripled. Let’s talk about song length. Success and marketability favoring shorter songs is not something new, it has been the trend for decades. But with short form video, it goes even further. You’re not just hearing the same song over and over on the radio, you’re hearing the same 15-30 seconds of the same song over and over again. This in-turn, starts to influence the way people write music, persuading people to make songs that *could* have that 15 second appeal. There is an art to pop music, there is an art to writing a catchy hook—this is something else. We weren’t meant to hear or understand music like that. There are so many songs from reels that i found annoying, until i heard them in their full context. It’s insidious. It makes everything feel like a fucking commercial, even if nothing is being advertised.

I’m going to pull directly from someone else’s experiences, someone who’s music seems to be everywhere on short form videos. The ambient musician My Head Is Empty has a hundred million streams on the song “i was only temporary”. Despite that exposure, they experience “never ending copywrite issues” and have “received death threats” by people who refuse to credit them when using their song. Pulling a quote here, from a comment on their own post

“vyva_melinkolya unfortunately it just gets worse. i saw a bot content page that steals pod cast footage and spams dozens of videos with my song stolen, comment on a "motivation" spam content , who actually made a post telling people the name of my song, and the previous page i mentioned, the pod cast spam commented on that video saying "Bro stop don't give out the sauce. this audio helps me pull numbers brooo" - so people are actively INTENTIONALLY stealing it and telling people to not credit me. like. u can't make this stuff up”

Beyond this, My Head Is Empty feels frustrated that despite all this exposure, the rest of their work (nine albums) as a musician remains under appreciated, and i think that frustration is 100% valid. People cannot fully appreciate music, or even understand it as a work of art created by another human, when it’s taken so far out of its context. Again, the soul being sucked out of art by “the machine” isn’t anything new but, this is a whole other level. Being a musician is more expensive than ever, streaming earns you fractions of a cent etc, it all feeds into itself.

When a song or a musician i love deeply finds its way on to tiktok (let’s use Duster’s “Stars Will Fall”, one of my favorite songs ever as an example)I am not upset that i cant “gatekeep” it anymore. I’m not upset by the idea of something I love and hold dearly finding a larger audience. I AM upset in the manner in which it is being disseminated. I’m upset with art I hold dear to me being chopped up and used as “trending audio”. When I saw Duster in concert recently, lStars Will Fall” was the song I was most looking forward to hearing. It was the last song they played, and it was the song seemly everyone chose to talk loudly over. The audience was mostly people my age and younger. This complaint might come off as petty or pretentious or cliche, i frankly do not give a shit.

Let’s talk about how musicians are expected to promote music on tiktok/reels. This is a matter of opinion, at the risk of sounding very pretentious: the “POV we are x band from x” “My label says i need x followers before x” “posting this video until c musician notices me”. I understand that some of it is in jest but, what the fuck? When did this become the norm? I do not blame anyone for promoting their music like this, but we should want more for ourselves. I’ve always said being a musician is deeply embarassing, inherently. If being a musician is inherently embarassing then what is this? I dont have a solution for this, and the music industry has always been ugly and bloodthirsty and seldom fruitful— but i feel like the very small amount of dignity we had as artists is now lost and I cant fucking stand it. Artists seem to promote the same single with dozens of reels over the course of months, hoping that something sticks. I dont want to sound like i’m shaming or, again, sound like i can provide a solution. I’m just very fucking sorry that it seems like this is “the way”. And personally, i’m scared that if i dont “get with the program”, im going to fail.

Again, all of this speaks to larger trends in entertainment industry and even larger trends in capitalism. But i’m just airing specifics right now because frankly? I cant take it anymore.

[batsarebetterthanpeople]

Tumblr is so intuitive to me that I'm fascinated by people who use algorithms. I was explaining to a Grindr date why I only use Tumblr and I explained that you can opt out of the algorithm and he was like "then what do you look at?" And that question was so crazy to me. What do you mean what do I look at? I look at the people I follow in reverse chronological order. I'm pretty sure that was the default before meta properties and Twitter got algorithms.

[boredtechnologist]

Zero Time Dilemma: Where Free Will Dies Screaming

"If you remove all the pieces of a ship, one by one, is it still the same ship?"

That’s not just a dorm-room question for philosophy majors - it’s the silent scream at the heart of Zero Time Dilemma (2016). The third entry in Kotaro Uchikoshi’s Zero Escape trilogy isn't just the darkest - it’s the most disturbed, fragmented, and meta-aware. A game that doesn’t just tell a story - it gaslights you into questioning whether the story ever existed at all.

Beneath its pseudo-Saw setting and logic puzzles lies a game obsessed with one terrifying question:

What happens when a person becomes aware they are a variable in someone else's equation?

Fragmented Consciousness as Horror

Unlike its predecessors, Zero Time Dilemma doesn’t let you follow one linear path. Instead, you bounce between timelines and memory fragments - completely out of order. This isn’t just narrative novelty. It’s weaponized disorientation.

You, the player, are forced to simulate the experience of temporal dissociation - a horror that mirrors real-world psychological conditions like dissociative identity disorder, PTSD, or memory repression. You wake up in a new “fragment” without knowing what your past self did. You watch the same character die in three different ways. You solve puzzles to try to prevent an outcome you already witnessed.

You are complicit. And yet, never in control.

That’s the dread: Zero Time Dilemma doesn’t ask "What would you do?" It says: "You already did it. And it didn’t help."

Free Will as a Lab Experiment

The Decision Game - the core premise - operates on the illusion of choice. But like Schrödinger's cat, each decision you make is a quantum state: both right and wrong until observed. The real horror is realizing that even your agency is a variable in someone else’s algorithm.

Characters aren’t making decisions. They’re being watched, measured, split across timelines like cells under a microscope. Every death is an iteration. Every betrayal is a test result.

The mastermind Zero isn’t just an antagonist. He’s a surrogate for the player, the developer, and the narrative algorithm itself. The game hints that causality has collapsed. That time isn’t a line but a mobius strip soaked in blood.

If 999 was about survival, and Virtue's Last Reward about trust, then Zero Time Dilemma is about despair as design. It’s a world where your only role is to suffer well.

Identity Is a Lie Told by Continuity

Characters in ZTD begin to suspect they are not singular beings. This isn’t just sci-fi - it’s existential dread. Sigma and Diana face a future where their souls are uploaded, duplicated, fragmented. Phi is born of paradox. Akane becomes myth. Q isn’t even sure if he’s human.

The deeper horror? The more they learn, the less human they become. Knowledge severs their emotional grounding. In the real world, identity is formed by memory, morality, and embodiment. In ZTD, those are just file properties - subject to overwrite.

Ask yourself: If you're distributed across realities, and you only exist in pieces, are you still a person?

Or have you become a narrative function?

The Player as God - and Monster

This is where the meta-horror cuts deepest.

You, the player, are orchestrating this suffering. Your omniscient perspective gives you power - but it’s cold, detached, and amoral. You’re not solving for justice. You’re solving for completion. You need to unlock every outcome to unlock the truth. Which means forcing every character to endure every possible trauma.

Kidnapping. Betrayal. Murder. Regret. You press "Continue" as they scream, just to see what happens next.

You’re not playing God.

You’re playing Zero.

And the game knows it.

The Psychological Toll of Absolute Knowledge

The deeper you go, the worse it gets. ZTD reveals that full awareness across timelines is not empowerment - it’s psychic decay. Phi, Sigma, Akane - all show signs of wear. They become ritualistic, obsessed with timelines, detached from the emotional weight of death.

Their empathy erodes. They become more like the player.

It’s a rare game that dares to say this:

“Knowing everything will not save you. It will destroy you.”

Zero Is Not a Villain. Zero Is a Mirror.

In ZTD, the villain isn’t a twisted genius - it’s the system itself. The escape room. The timeline. The branching logic. It’s the framework of the narrative, and you, the player, are the one making sure it runs to completion.

In the final analysis, Zero Time Dilemma becomes a kind of theological horror. A game where God has been replaced by a sentient flowchart, where the soul is just a conditional flag, and where hell isn’t punishment - it’s repetition.

And maybe that’s the darkest thing of all:

You didn’t come here to save them. You came here to watch them suffer in every way possible. And the game made sure you had no choice.

[zaebeecee]

Why HuskerDust Isn’t Canon

I’ve seen a lot of Angel Dust-involved ship critical posts lately, all of them cruel and mean-spirited and all of them from those HuskerDust shippers who give the rest of them a bad name and go out of their way to attack anyone with a ship involving either Husk or Angel. They do this because “HD is canon”, and even those who don’t like the ship have resigned themselves to it being canon. But here’s the thing: in both the actual text of the show and in the meta, it’s not. And I’m going to go through several points to prove that it isn’t canon. (Note: these are all tropic flags and nothing else. Consider this a tiny media literacy course.)

Getting this out of the way: this isn’t anti-HD, a discouragement from shipping HD, or saying “it’s literally never going to be canon”. Obviously, people are free to ship whatever they want for whatever reasons they want; this isn’t intended to bully members of the fandom or to shame anyone who ships it, nor to attempt to convince people not to ship it. This is simply a response to claims of the canonicity of the ship being used to bully non-shippers, and speaking from the viewpoint of the narrative, the tropes, and the meta, it is not canon.

tl;dr: I don’t hate the shippers, I hate the bullies. This is not a discourse invitation, this is a trope analysis. If you don’t like what I’m saying, move on or block me. If you think I’m being mean, I really don’t care, because this is specifically a response to people who are being mean all the time. People in the fandom are terrified to be even vaguely critical of this ship because of the potential backlash, but I’m an Aquarius with a block button, idgaf.

HD was not confirmed canon by Medrano in an interview or on Twitter

To get this first point out of the way, the primary proof that HD shippers will use to claim their ship is canon is a Tweet Medrano put out after Episode 4 was put up on Amazon, as well as a Zoom interview where the interviewer asked her about HD.

The Tweet, which included a screenshot of Masquerade and asked what HD shippers thought of the episode, included the ship name. This is an example of engagement farming, a technique used in social media when people will use trending/popular tags, words, and phrases in order to increase engagement with posts and videos. The use of the HD ship name was not a confirmation of the ship; rather, it was used to capitalize on the ship’s popularity, ensuring that the algorithm would distribute it to as many people as possible. We know this was engagement farming because it was simply asking the people who shipped them what they thought of the episode. It didn’t call it a HD episode, nor did it say it was for the HD shippers.

In the Zoom interview, while the person conducting the interview used the term HD, Medrano herself never did. In fact, she went out of her way to avoid using the ship name, and instead, used the generic word “relationship” when describing their future interactions, a word she has also used to describe future progression between Charlie and Lucifer (so, if this makes HD canon, then it also means that Charlie and Lucifer will be a canon romantic ship).

HD was not confirmed canon by Blake Roman or Keith David

In much the same vein as the aforementioned Zoom interview, when Roman and David were interviewed about the interaction between Angel Dust and Husk, both actors carefully avoided using any terminology or wording that suggested a romantic relationship, only talking about the two of them as close friends. If the ship had actually been confirmed by Medrano months earlier, there would be no reason for the two of them to skirt around the issue. There was also nothing teasing the potential of the ship, simply straightforward information about their friendship.

Husk has been called Angel Dust’s “best friend” by Medrano repeatedly

Medrano has always, when referring to their future interactions, referred to Husk as Angel Dust’s “best friend”. Additionally, while she has never shied away from stating when a character has any form of romantic interest in another character, her only comment on Husk has been that he is pansexual, but she has quite specifically never once stated that he has any romantic interest in Angel Dust.

“Loser, Baby” is the “we’re not so different” buddy musical song

Much of Hazbin Hotel can only be understood through the lens of the form of media that it’s taking most of its cues from: namely, musical theater. There are many tropes that exist within musical theater, specifically in the types of songs themselves, that are used as shorthands to tell audiences what relationships are between characters and how they will be interacting going forward, because all storytelling in musicals are abbreviated by necessity, and songs exist to encapsulate large portions of character/story development in short periods of time.

“Loser, Baby” is, tropically speaking, a song that occurs during the main character’s lowest point in the first half of Act II. This is when they have encountered a massive hurdle in their journey (a breakup, a death, getting kicked out of their house or school, losing their dream job, etc) and are feeling hopeless and lost. In this instance, one of two kinds of songs will occur at this point during the show:

The first is the romantic duet, where the MC is dejected and negative, and their love interest is attempting to turn them around. This is the point when the love interest realizes they are in love with the MC, whether they confess these feelings or not, and is a plea for the MC not to give up.

The second is the “snap out of it, you moron” song. This takes place when the MC is on their own and is found by either a character we are familiar with who has realized they misunderstood the MC (who goes from being a point of conflict to a friend), a family member of the MC (usually either a sibling, an adult offspring, or a parental figure), or by a character we have never met before (generally one considerably older than the MC). This is the song where the other character confesses to the MC that they understand their pain because they were once in the same situation, or because they went through a similar painful progression if that situation hasn’t changed. This song typically carries a “suck it up, buttercup” message and is considerably more callous than the romantic duet, because it is a communication of tough love. It’s important to note that this is never a duet between the MC and their love interest.

“Loser, Baby” is quite firmly in the second category. It is not romantic in nature; rather, it’s Husk realizing that he misjudged Angel Dust and, subsequently, telling him “a lot of other people are in your position, I’m one of them, you aren’t special, stop whining”.

If “Loser, Baby” is romantic, Husk is a predator

For the entirety of the series up until this song, Husk has shown that he has absolutely zero interest in Angel Dust romantically. “Loser, Baby” comes on the heels of Angel Dust confessing to suffering from a great deal of physical and emotional abuse and manipulation, as well as crying in front of someone else for the first time, showing his first true moment of real vulnerability. If Husk uses that moment to suddenly show interest in Angel Dust, it says that either A) Husk is only interested in Angel Dust once he realizes that he is emotionally broken and in a vulnerable position, or B) Husk is willing to use this vulnerability to his advantage and subsequently manipulate Angel Dust. Both of these things are contradictory to Husk’s character.

Husk and Angel Dust have minimal interaction in Welcome to Heaven

Episode 6 has two plots: the A plot, which is Charlie and Vaggie visiting Heaven to attempt to bargain with the Seraphim; and the B plot, revolving around Angel Dust’s temptations to regress into his addictions. In the B plot, Husk’s only interactions with Angel Dust are judging him for wanting to do drugs (which directly contradict his claim in “Loser, Baby”, where he expressly states that he’s fine with Angel Dust’s hooking and drug addiction; it also comes while he is indulging in alcohol, his own vice, which is the definition of hypocritical), and being silently proud of him when he doesn’t do drugs. This is the behavior of the Shoulder Angel or of the Detached Father, not the love interest.

Angel Dust is a main character, Husk is not

Angel Dust is a member of the main cast, alongside Charlie, Vaggie, and Alastor. Husk is a secondary character. It isn’t feasible to have a main character pursue a relationship with a secondary character; you can have an MC who is already in an established relationship with an SC, but you cannot build a relationship between an MC and an SC because the SC doesn’t have enough lines or screen time. Keith David is also quite expensive, and there is no way the show will be able to afford the price that would be required for Husk to be a larger presence in the show.

There is a forty year age gap between the two

Sinners do not age, nor do they mature. We see examples of this in every single Sinner throughout Hell; Angel Dust is a good example, as he died in his 30s in 1947, meaning he would be (at minimum) 110 years old. However, he acts like a young man in his early 30s who spent most (if not all) of his life in a deeply repressed home. Another good example is Cherri Bomb, who is clearly in her 20s, but would be at least in her 60s by this point. Because of this, it is easy to determine that not only do their bodies not age, their minds do not, meaning that the age they were at time of death is the age they will be, mentally and emotionally, forever.

Angel Dust died in his 30s. The only official number Medrano ever gave for Husk’s age at death was 75, and she has stated both that he died in the 1970s and he was born before the year 1900. While no specific age has been stated for Angel Dust, he is written to be between the ages of 30 and 35, meaning that there is a minimum age gap of forty years between the two of them. Additionally, if Husk was intended to be the love interest of someone in their 30s, he would not have been specifically written to be an old man.

Angel Dust has never once come on to Husk

Angel Dust is a flirtatious and sexual character. However, his only flirtations with Husk have been responses to statements Husk made that could be taken out of context. Not only does he never take the initiative and flirt with him first, he also never propositions him; the closest he gets is telling Husk he would be lucky to be propositioned by him. (As a side note, Angel Dust has only ever propositioned two characters in the entire show: Alastor, both in the pilot and the first episode, and Alastor’s shadow construct in the second episode).

It could be said that this is because Angel Dust has “true feelings” for Husk and is, therefore, too shy to overtly proposition him, which brings us to the next point:

HD as a ship is built entirely on homophobic writing tropes

There are several points about this ship that are, ironically, homophobic, but I’ll be focusing on the last two points: the age gap and Angel Dust’s sexual nature.

The age gap: the gay male community has, since at least the time of the Ancient Greeks, been plagued with this idea that enormous age gaps are not only fine, they’re expected. Age differences that would never be tolerated in heterosexual or even lesbian couples are waved off when the characters in question are men. This has created the false expectation that many older gay men have--namely that they are “owed a twink”, and that younger gay men are almost required to submit themselves to a much older man as a rite of passage.

Angel Dust’s sexual nature: Husk has quite expressly stated he has no interest in Angel Dust’s overt sexuality, to the point that he refuses to even look at him as a person until Angel Dust reveals other facets of his personality. This suggests that, for a relationship to work, Angel Dust would have no choice but to repress his urges, or that Angel Dust’s sexuality is a front and he actually isn’t that overt. In either case, this would be a direct parallel to Angel Dust’s life as a gay man in the 1930s and 1940s, where he would have been forced to be closeted under threat of prison or death, and either Husk himself or the audience would be forcing him back into a form of that closet.

Crimini has no stated relationship with Angel Dust

Crimini, a character who is slated to appear in Season Two, has been described as Husk’s adoptive daughter who will make up the bulk of his character plot going forward. Not only does Angel Dust have no stated relationship with her, he has never once been mentioned alongside her character at all. If Angel Dust was intended to be Husk’s love interest, that would make him (functionally) another parental figure to Crimini, if perhaps a reluctant one; that would make him an integral part of Crimini’s future plot, but seemingly, the two have nothing whatsoever to do with one another.

Despite the fact that Medrano changes canon based on fan opinion all the time, the show is written too far in advance to change major plot beats just because one ship got really popular

We in the fandom know that Medrano has a tendency to fold in the face of fandom wants and desires. However, between the pilot and season one, the HD fandom was rather small; this would have been when Medrano was working with Amazon, getting future script approval and mapping out the way the story was going to go, and at the time, RadioDust was just about the only thing keeping the fandom alive long enough for interest to remain during the three year gap, and we all know that isn't going to be canon. Because of the sheer amount of overhead and advance planning that goes into something like this--particularly considering that season two was already in production in the wake of season one’s premier--the fact that the HD fandom grew after the season’s release would be unable to have any effect on the show because it would be far too complicated and far too expensive to make big changes. HD would only be viable if it was already planned from the beginning, which it quite clearly was not.

•

So what's my point with all of this? My point is that the content of media means things, and part of media literacy is understanding the difference between wishful thinking/projection and canon.

[mariacallous]

The Trump administration’s Federal Trade Commission has removed four years’ worth of business guidance blogs as of Tuesday morning, including important consumer protection information related to artificial intelligence and the agency’s landmark privacy lawsuits under former chair Lina Khan against companies like Amazon and Microsoft. More than 300 blogs were removed.

On the FTC’s website, the page hosting all of the agency’s business-related blogs and guidance no longer includes any information published during former president Joe Biden’s administration, current and former FTC employees, who spoke under anonymity for fear of retaliation, tell WIRED. These blogs contained advice from the FTC on how big tech companies could avoid violating consumer protection laws.

One now deleted blog, titled “Hey, Alexa! What are you doing with my data?” explains how, according to two FTC complaints, Amazon and its Ring security camera products allegedly leveraged sensitive consumer data to train the ecommerce giant’s algorithms. (Amazon disagreed with the FTC’s claims.) It also provided guidance for companies operating similar products and services. Another post titled “$20 million FTC settlement addresses Microsoft Xbox illegal collection of kids’ data: A game changer for COPPA compliance” instructs tech companies on how to abide by the Children’s Online Privacy Protection Act by using the 2023 Microsoft settlement as an example. The settlement followed allegations by the FTC that Microsoft obtained data from children using Xbox systems without the consent of their parents or guardians.

“In terms of the message to industry on what our compliance expectations were, which is in some ways the most important part of enforcement action, they are trying to just erase those from history,” a source familiar tells WIRED.

Another removed FTC blog titled “The Luring Test: AI and the engineering of consumer trust” outlines how businesses could avoid creating chatbots that violate the FTC Act’s rules against unfair or deceptive products. This blog won an award in 2023 for “excellent descriptions of artificial intelligence.”

The Trump administration has received broad support from the tech industry. Big tech companies like Amazon and Meta, as well as tech entrepreneurs like OpenAI CEO Sam Altman, all donated to Trump’s inauguration fund. Other Silicon Valley leaders, like Elon Musk and David Sacks, are officially advising the administration. Musk’s so-called Department of Government Efficiency (DOGE) employs technologists sourced from Musk’s tech companies. And already, federal agencies like the General Services Administration have started to roll out AI products like GSAi, a general-purpose government chatbot.

The FTC did not immediately respond to a request for comment from WIRED.

Removing blogs raises serious compliance concerns under the Federal Records Act and the Open Government Data Act, one former FTC official tells WIRED. During the Biden administration, FTC leadership would place “warning” labels above previous administrations’ public decisions it no longer agreed with, the source said, fearing that removal would violate the law.

Since President Donald Trump designated Andrew Ferguson to replace Khan as FTC chair in January, the Republican regulator has vowed to leverage his authority to go after big tech companies. Unlike Khan, however, Ferguson’s criticisms center around the Republican party’s long-standing allegations that social media platforms, like Facebook and Instagram, censor conservative speech online. Before being selected as chair, Ferguson told Trump that his vision for the agency also included rolling back Biden-era regulations on artificial intelligence and tougher merger standards, The New York Times reported in December.

In an interview with CNBC last week, Ferguson argued that content moderation could equate to an antitrust violation. “If companies are degrading their product quality by kicking people off because they hold particular views, that could be an indication that there's a competition problem,” he said.

Sources speaking with WIRED on Tuesday claimed that tech companies are the only groups who benefit from the removal of these blogs.

“They are talking a big game on censorship. But at the end of the day, the thing that really hits these companies’ bottom line is what data they can collect, how they can use that data, whether they can train their AI models on that data, and if this administration is planning to take the foot off the gas there while stepping up its work on censorship,” the source familiar alleges. “I think that's a change big tech would be very happy with.”

[rubyvroom]

Ed Zitron lays it all out here.

You are the victim of a con — one so pernicious that you’ve likely tuned it out despite the fact it’s part of almost every part of your life. It hurts everybody you know in different ways, and it hurts people more based on their socioeconomic status. It pokes and prods and twists millions of little parts of your life, and it’s everywhere, so you have to ignore it, because complaining about it feels futile, like complaining about the weather.  It isn’t. You’re battered by the Rot Economy, and a tech industry that has become so obsessed with growth that you, the paying customer, are a nuisance to be mitigated far more than a participant in an exchange of value. A death cult has taken over the markets, using software as a mechanism to extract value at scale in the pursuit of growth at the cost of user happiness.  These people want everything from you — to control every moment you spend working with them so that you may provide them with more ways to make money, even if doing so doesn’t involve you getting anything else in return. Meta, Amazon, Apple, Microsoft and a majority of tech platforms are at war with the user, and, in the absence of any kind of consistent standards or effective regulations, the entire tech ecosystem has followed suit. A kind of Coalition of the Willing of the worst players in hyper-growth tech capitalism.  Things are being made linearly worse in the pursuit of growth in every aspect of our digital lives, and it’s because everything must grow, at all costs, at all times, unrelentingly, even if it makes the technology we use every day consistently harmful.

What this writer terms the Rot Economy is a larger system that creates the enshittification we know and loathe. It's the constant irrational pursuit of growth. Rot Economy is a great term for a definition that has been slowly coming into focus from one horizon to the other. Not just tech. This essay focuses on Spotify and Meta and speaker software and websites but you could easily extrapolate from here to absolutely everything.

I’m not writing this to complain, but because I believe [sic] that we are in the midst of the largest-scale ecological disaster of our time, because almost every single interaction with technology, which is required to live in modern society, has become actively adversarial to the user. These issues hit everything we do, all the time, a constant onslaught of interference, and I believe it’s so much bigger than just social media and algorithms — though they’re a big part of it, of course.  In plain terms, everybody is being fucked with constantly in tiny little ways by most apps and services, and I believe that billions of people being fucked with at once in all of these ways has profound psychological and social consequences that we’re not meaningfully discussing. 

Not to mention being actively fucked with in every way, in every aspect of our lives, by every company trying to suck the last drops of profit from us every minute of the day. How does that constant frustration contribute to the ways we treat each other as family, friends, neighbors, in politics, in everyday interactions?

Anyway, go and read.

[cerastes]

OKAY, Reclamation Algorithm 2.

The first RA was a more arcade experience with meta progression: You had runs lasting only a few days, and you'd have to defend against a final boss horde in a much smaller overall map. Likewise, your resource acquisition was also much more explosive, such as getting a couple of Clash of Clans and other such resource-rich maps almost every run. You could only carry a few items other than what you had built on your base between runs, meaning that blowing up everything and saving a couple of things between runs was the way to go.

I think RA2 is easier overall than RA1 simply because it's a continuous, full-on mode that doesn't have an arcade, short-run based format. It goes on for as long as you play. Resource acquisition is slower because of its longer form nature, but it also does not at all pressure you with Linebreaker day 14 for example. Plus, the Energy System this time is much easier to manage, since you need Two Pops or Three Pops of Energy Drink to field an entire squad of 6 and under or 7 and above, respectively, whereas RA1 needed you to feed individual units from a Fountain of Energy Drink. That's not to say everything is easier; the Priestess and the Troubadour are much more challenging than anything RA1 threw at you -- Linebreaker, Ruinbringer, and Al-Rafiq --, and while the new horde bosses are fun, they are on about the same difficulty as those three, who are more or less tests of RA mechanics and if you are using them or not more than anything.

Make no mistake, this is ENDGAME endgame, especially in regards to Priestess and Troubadour, since you have to beat them in one Day -- two attempts at the map in which your progress is saved between attempts, BUT in which you can only use each unit once, so if you want to use 12 units per attempt, that'd be 24 units you think are up to par -- and they bring mean gimmicks that can be curbed somewhat by the season in which you fight them, but not entirely, and are still quite formidable even with the counter season. They were some of my favorite parts of the mode, personally, because not only is it a big, harsh challenge, it also reinforces the World Of Adventure nature of Terra: Even though they are unaligned with any of the big factions, you still have REALLY strong individuals roaming the land.

I think the main difficulty for a lot of people will come from choice overload: Arknights is already a game with a lot of player expression and a focus on gameplay, both aspects not at all the norm with gacha games and thus not what a lot of gacha gamers are used to, and while main content is kept very accessible to all skill levels, they do provide truly endgame challenges that can be quite demanding in terms of skill, for players that do dabble in the depth of player expression and team building that Arknights offers, such as High Multiplier (Waves/Natures) Integrated Strategies and 26+ Risk Contingency Contract.

This preamble is to say, Reclamation Algorithm has even more player expression and thus potential options for you to use. You have so, so many more tools other than just your Operators that a lot of people just don’t know what to do with them, hence why I think so many people find it so much harder than it truly is. Food for a myriad of different stat boosts and perks, structures to mold maps and enemy routing at your will, the ability to create your own ranged tiles or throw 5-block fridges at your enemies, purposefully overpowered tools like stun mines and supply stations at your beck and call, you can do so much in RA, and for some people, maybe it’s too much. Like an open world game does for some people, the sheer vastness of your options in RA2 might just blind and overwhelm some, especially since the average gacha player is very casual (and that’s not in the slightest an insult), and the average AK player watches clear guides without really understanding why the strat in the guide worked. Thus, in a mode in which player expression is king, the player that barely interacts with the baseline mechanics of the game, let alone those exclusive to RA, is not even part of the kingdom. For me personally, RA1 clicked the moment I realized just how nightmarishly strong the player is if they use food and structures, and after that, it was a non-stop streak of wins (unbroken in RA2 since RA1, too).

My advice to anyone trying to seriously get into RA2 is to just experiment as much as you can with anything that even remotely calls to you: Is there a unit you like a lot, like say, Bibeak? Well what if you give her insane attack, bulk and infinite SP to spam her skills? Food that buffs ATK, 2 shield generators and 2 supply stations on Bibeak makes this a reality. You wish Yato Kirin had no DP cost whatsoever? There’s food that makes her DP cost 0 no matter how many times you deploy her. You wonder what it’d be like for Eunectes to have 3 Block? Food does that. You think a particular map would be much more manageable if you could just have a Corrupting Heart-buffed 5-Block Mudrock in a particular chokepoint with no ranged tiles? You make your own ranged tile and then give Food to Mudrock to get her to 5 Block, or maybe 3 Block is enough, and you’d rather she has 75% extra Def and 35 more Res instead to make her truly unkillable, well, food does that too.

You just need to dabble into the possibilities a bit before it becomes crystal clear just how insane you can get.

[whokilledjared]

the sluttiest thing a man can do is be himself. (& takes on social media)

Hi.

I'm lonely.

The moment I got "two weeks off school" in sophomore year, life went to 4x speed & I can't turn it off no matter how hard I try.

Maybe COVID-19 adolescence did numbers on me. Somewhere between the iPhone 5c and ChatGPT, 14-hour screen times have live-streamed to me a steady, homogenous death of culture.

Nothing is cool anymore. Nothing is sacred. Every movement is a trend, and every cult classic a sequel.

The value we place on things being beautiful, on being "cool," and our gatekept appreciation of how hard these things were to find: it's been co-opted, or perhaps stolen. It's been stolen by the new merchant class. "Disruptors" and "innovators" turning our lives into a burgeoning black mirror prequel. Soon, we'll graduate too, and we'll wring every morsel of value in each others' lives dry for cash.

Plain and simple, I think we're being manipulated.

Your dates are an algorithm. Your music is a social signal. And Zuck knows when you sleep.*

God. What the fuck are we doing???

“Individuation is becoming the thing which is not the ego, and that is very strange.” — Carl Jung

Recently, I deleted Instagram. My first impulse was to post a story or something, announcing my departure. But then, I thought that would be lame.

I got rid of my account, too. Kinda. Over 1 year, over 800 followers removed, and what remains of me is a little grey icon, and "JM_0000000010" where my name and face used to be.

yay.

There were many people I wish I could have been friends with, but I wonder, too, why I find myself so drawn to the validation of others. Does social media affect me worse, or do we all just choose to ignore it, languishing in private?

At any rate, this last year has almost felt like re-learning how to be a human being.

Personally, I think one of the biggest markers for maturity is when you become willing to disappoint the people you know in favor of what feels right to you, when you start to unravel the stories you’ve told yourself (or been told) about who you are and what you should be. In short, the sluttiest thing a man can do is be himself.

And sometimes, I think about every college student that has ever lived. My grandmother, my dad, and so on. Just consider for a moment all kids who graduated before 2010:

What was it like for the ones in 1940? To walk around, before a campus had computers? In 2006: To meet someone pretty, but forget their number? In 1999: To cram into dorms, and watch Seinfeld live on-air?

Would I, like my dad in 1988, have braved cold night, brisk wind, & landline phone-call just to knock and see if my friends were too busy to hang?

What stories could I tell if there was even the slightest chance of getting lost on the way home from a party?

Humans are social creatures. We crave our friends like water. To me, the clearest difference between Dasani and Instagram is that one of them comes in a bottle.

Yet despite these distractions and comforts we have in 2024, somehow, we still have engineering students. People who carve out time in their day to sit down, look at paper, and solve differential equations. But then, that's not so hard, is it? It just takes time. Precious, fucking, time.

At Meta, leagues and leagues of these engineers power behavioral scientists, who are competing for the highest salary. Their benchmarks? Your FOMO. Guilt. Anxiety. Obsession. The worse you feel, the more you engage with their content. The more you engage with their content, well, you're starting to get the point.

Try something for me: Open up Instagram, but don't tap anything. What happens? How many little animations? How many tiny nudges prompting you to get lost? Our home-pages are billion-dollar diving boards, hoisting us over engineered catacombs of subconscious quicksand.

My homepage is my FOMO, my envy, and my crushes. The pain and struggle of trying to be someone who I am not. My little existential crises, bundled-up, packaged, and shipped with a like button.

To abandon your social networks entirely, however, requires a safety net of close friends. After all, your friends are online, and you'd be miserable without them.

This is the problem with our monkey brains. Millennia of sociological natural-selection have made us quite great at feeling terrible. We're damn good at making tribal status games to play with, too.

Seeking refuge in quirked up septum piercings and boygenius listeners, my time in counter-cultural, alternative "scenes" between St. Louis and Tampa has shown me that even the weirdest of folks and the most removed can accidentally find themselves reduced to nothing more than high-school popularity contests. Even if I love them. Even if they're amazing people. We're human.

We can't "quit social media" as much as we can't "quit bottled water" Sure, we can, but it's inconvenient. And even without a bottle, we're still drinking water.

So I lost touch with my friends. I got no new updates on their lives. I forced myself into the inconvenience of not having a phone to reach for in fleeting moments of boredom. Suddenly, I was out of the loop. Suddenly, I was bored. And suddenly, nobody missed me. My only friends were the ones I had the time to text. Everyone else ... does not exist.

Weekends have become more valuable than ever. Without the empty social calories of seeing my friends' pictures, I find myself planning hangouts as often as my schedule allows. I have more lunches, more study sessions, and more is done in the company of less.

And I have the time to breathe.

And in this calm, I think I found my answer: it's my misplaced ambition. These fears of anxiety and people I thought I would miss, they seem represent something I want to see more of within myself. Something I want to develop, lean into more deeply, as an individual. And I think that's quite normal; to look out into the world and feel attracted to things we want to see more of. This is, I think, how everyone develops their own definition of beauty — and of coolness. It's largely the intersection of what we find most interesting, and what we want to see more of in the world. Because beauty and coolness, by definition, are rare and hard to find. If they were everywhere, nothing be beautiful, nor would anything be cool.

When we all turn into wrinkles and cataracts, bad backs and heart attacks, for a brief, glorious moment, our lives are going to flash before our eyes. In this moment, you'll see your story. The ultimate progression of you.

How much of that will be skibidi toilet and reaction clips? How much of that will be arguing on the internet? Can you tell me, just how much of your life will you have skipped over to pacify your intentionally-lowered attention span?

That girl whose number you couldn't find Those passing questions over coffee that you couldn't search on Google The boredom of a subway ride

Those are not inconveniences, they're what the older generations refer to as "life."

* (oh, but if you can't sleep, consider this aside: Google knows the angle you walk at, how fast you're walking, and they've got crowdsourced pictures of everywhere around you at all times of the day. fun bedtime thoughts <3)

[the-most-humble-blog]

<!-- BEGIN TRANSMISSION // BLACKSITE SCROLLTRAP: COIN FLIP CARNAGE -->

<div style="white-space:pre-wrap">

<meta outrage-capacity="total systemic collapse">

<script>

ARCHIVE_TAG="MORAL_WAR_GAMES::COIN_FLIP_DAMNATION"

EFFECT: ideological vertigo, geopolitical despair, sarcastic blood-boiling

TRIGGER_WARNING="war crimes, identity cults, forced moral allegiance, global hypocrisy"

</script>

🧠 BLACKSITE BROADCAST — <strong>“HEADS OR TAILS, MOTHERFUCKER?”</strong>

Hey American people—

Flip a fucking coin.

Heads? You support genocide.

Tails? You’re a traitor.

No matter what—congrats, you’re a bad person now.

Pick a side:

Israel. Hamas. Iran. Palestine.

Whichever name you choose, you’re now morally complicit in something.

You support child murder.

You hate freedom.

You’re antisemitic.

You’re a terrorist apologist.

You’re a fucking monster.

Heads or tails, motherfucker—

because silence is violence,

and nuance is dead.

💣 Welcome to American morality:

If you don’t have a flag in your bio,

a six-slide story breakdown,

and a donation receipt to an NGO you found fifteen seconds ago on TikTok,

then you’re the fucking problem.

You don’t “get” to process.

You don’t “get” to ask questions.

You’re here to perform,

to repost,

to reframe horror into aesthetic empathy with a font overlay.

🩸 War isn’t hell anymore.

It’s content.

And you better have the right captions,

or else your friends will call you a Nazi.

🎯 It’s not about who's dying—

It’s about who you're dying for in your group chat.

Support Israel?

You're a fascist settler-sympathizing colonizer who loves apartheid.

Support Palestine?

You're a terrorist sympathizer who wants Jews eradicated.

Support neither?

You're privileged. You're silent. You're complicit.

What happened to “war is bad?”

What happened to “killing civilians is wrong no matter who’s doing it?”

What happened to thinking before posting?

Gone.

Dead.

Buried under a hashtag avalanche and a sea of moral ultimatums.

📢 You MUST take a stance.

Publicly.

Loudly.

Aggressively.

Because if you don’t, you're clearly enjoying the bloodshed.

You’re not a pacifist.

You’re a misogynist.

You’re not careful.

You’re xenophobic.

You’re not avoiding binary narratives.

You’re antisemitic, homophobic, trans-exclusionary, and probably a closeted fascist.

Your refusal to signal is the new sin.

👀 Meanwhile:

Big Tech rakes in billions on ad revenue as the world burns.

Defense contractors throw fucking parties.

Your timeline floods with bodies and burner accounts.

Bots argue about which child’s death counts more.

And you?

You’re stuck trying to explain to your coworker

why you didn’t change your profile picture fast enough.

🪖 This is what they call allyship now:

Blind loyalty.

Emotional extortion.

Choose the right side of the outrage economy or die socially.

Fuck critical thinking.

Fuck historical context.

Fuck moral complexity.

Your tears must be selective and scheduled.

If you cry at the wrong child’s death,

you’re cancelled.

If you mourn too many,

you’re “both-sides-ing genocide.”

Your heart has to pick a fucking team.

🩸 Every corpse is a PR opportunity.

Every explosion is a meme.

Every statement is a test:

Will your apology be good enough this time?

If not—

Welcome to the algorithmic meat grinder, baby.

Your career, your relationships, your peace—

all hostage to your “take” on a war

you couldn’t point to on a map six weeks ago.

📺 You saw one viral video,

read three infographic posts,

and now you’re lecturing strangers

like you’ve been embedded with UN peacekeepers for a decade.

Let me guess—

your source is an influencer

who cries on camera in perfect eyeliner

between paid sponsorships for oatmilk and trauma coaches.

This isn’t activism.

It’s moral cosplay.

It’s righteous masturbation in front of a burning orphanage.

It’s performative empathy filtered through narcissism.

It’s groupthink with better branding.

🧠 Real empathy hurts.

It confuses.

It shakes your fucking worldview.

But none of you want that.

You want a villain.

You want to win.

You want to feel like you’re doing something

even if that “something” is just yelling into the void

with blood on your lips and no facts in your head.

And all the while—

real people die.

Not for your cause.

Not for your politics.

Just because this is what power does when you stop thinking.

So no, I won’t flip your fucking coin.

I won’t be bullied into pretending war is a hashtag.

I won’t pick a side in a centuries-old hellhole just to make you feel better about your moral posture.

I won’t join your digital lynch mob

to scream at strangers who are just as lost as you.

🛑 You don’t get to force loyalty

with shame and buzzwords.

You don’t get to weaponize tragedy

to inflate your brand.

And you sure as fuck don’t get to call yourself “a good person”

while cheering for bombs like it’s the Super Bowl.

I’m not your ally.

I’m not your enemy.

I’m not in your cult.

I’m a human being,

watching you all trade your souls for dopamine

while calling it “justice.”

So toss your coin.

Watch it land.

Heads or tails, you still end up with blood on your feed.

Me?

I’m not playing your game.

</div>

<!-- END TRANSMISSION [FUCK YOUR COIN. FUCK YOUR WAR.] -->

[cyberdolldotcom]

jokes aside, the TikTok ban really speaks to the continued fascist regime that’s taking place right in front of our eyes. if we don’t listen & understand history, we are doomed to repeat it. policing & controlling the media is exactly what right-wing extremists want, so that they can control whatever propaganda we consume. (depending on your algorithm) TikTok was a place where information was able to thrive. without that resource, it’s clear all the corrupt, bought-out, greedy, old farts in the government, are highly aware of this & wanted it gone so they could maintain their power. evident by political figures investing & trading stocks on Meta, corporations & the top 1% of the country (including Mark Zuckerberg, Elon Musk & Jeff Bezos) colluding w/ Trump in his campaign to dictatorship. (all being consumed by power & greed, whilst at the cost of future gen.’s) i urge everyone to continue to be outspoken, educated, & aware of the political state of our world. i wanna remind u that no, this is not normal (even though we keep living through unprecedented times in limbo). it’s intentional timing that leading up to this inauguration that it’s in Trump’s hands to become a “savior” for TikTok to fall into (uneducated & bigoted) ppl’s good graces. DO NOT FALL FOR IT.

[clownwoman]

look it’s fuck Meta and fuck AI forever but let me tell y’all something okay..when y’all cheat on your partners and you think you’re so slick with your little back up accounts and your little all black icon so nobody knows who you are, guess who’s going to tell on you? you’re on the government’s internet, baby! whatever you hide is going to be found lmao doesn’t matter if you’re hiding behind a different email, a different name, because the algorithm is pointing back at you in neon lights. You’re hiding in plain sight, dummy. your bullshit ass secret account is being recommend to the people you’re hiding from, it doesn’t matter what you do hoe! there’s nowhere to hide! but y’all think you’re soooo slick, fucking secret agent type shit meanwhile these apps are ratting you out and I’m sure y’all smooth brained gooner ass motherfuckers are breaking your little goldfish brains trying to figure it out but baby, your digital foot print is forever and once you got yourself a joe goldberg type of bitch..you can run but you can’t hide lol sucks to be you pookie!

[mari-reads]

if youre bugging out that RedNote is a propaganda app because its wholesome when Zuckerberg is going on Joe Rogaine to announce that meta won’t be doing anymore “woke” fact checking, Musk did what he did to twitter, and every American algorithm is an right wing fascist pipeline…. you’re priorities are so fucked

Mind you every politician that voted for the TikTok ban has insane stock investments in Meta… but yeah do you on the dangers of “ccp propaganda”