#review campaign advertisment

[leadoku]

Achieve More with LinkedIn B2B Lead Generation Automation

[hridoykarmakarr]

I am a digital marketing expert, working on growing your business worldwide.(more)

[pure-welness-max]

Unleashing Marketing Mastery - A Comprehensive Review of FunnelCockpit

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[trans-axolotl]

"Much ink has already been spilled on Harris’s prosecutorial background. What is significant about the topic of sex work is how recently the vice president–elect’s actions contradicted her alleged views. During her tenure as AG, she led a campaign to shut down Backpage, a classified advertising website frequently used by sex workers, calling it “the world’s top online brothel” in 2016 and claiming that the site made “millions of dollars from trafficking.” While Backpage did make millions off of sex work ads, its “adult services” listings offered a safer and more transparent platform for sex workers and their clients to conduct consensual transactions than had historically been available. Harris’s grandiose mischaracterization led to a Senate investigation, and the shuttering of the site by the FBI in 2018.

“Backpage being gone has devastated our community,” said Andrews. The platform allowed sex workers to work more safely: They were able to vet clients and promote their services online. “It’s very heartbreaking to see the fallout,” said dominatrix Yevgeniya Ivanyutenko. “A lot of people lost their ability to safely make a living. A lot of people were forced to go on the street or do other things that they wouldn’t have otherwise considered.” M.F. Akynos, the founder and executive director of the Black Sex Worker Collective, thinks Harris should “apologize to the community. She needs to admit that she really fucked up with Backpage, and really ruined a lot of people’s lives.”

After Harris became a senator, she cosponsored the now-infamous Stop Enabling Sex Traffickers Act (SESTA), which—along with the House’s Allow States and Victims to Fight Online Sex Trafficking Act (FOSTA)—was signed into law by President Trump in 2018. FOSTA-SESTA created a loophole in Section 230 of the Communications Decency Act, the so-called “safe harbor” provision that allows websites to be free from liability for user-generated content (e.g., Amazon reviews, Craigslist ads). The Electronic Frontier Foundation argues that Section 230 is the backbone of the Internet, calling it “the most important law protecting internet free speech.” Now, website publishers are liable if third parties post sex-work ads on their platforms.

That spelled the end of any number of platforms—mostly famously Craigslist’s “personal encounters” section—that sex workers used to vet prospective clients, leaving an already vulnerable workforce even more exposed. (The Woodhull Freedom Foundation has filed a lawsuit challenging FOSTA on First Amendment grounds; in January 2020, it won an appeal in D.C.’s district court).

“I sent a bunch of stats [to Harris and Senator Diane Feinstein] about decriminalization and how much SESTA-FOSTA would hurt American sex workers and open them up to violence,” said Cara (a pseudonym), who was working as a sex worker in the San Francisco and a member of SWOP when the bill passed. Both senators ignored her.

The bill both demonstrably harmed sex workers and failed to drop sex trafficking. “Within one month of FOSTA’s enactment, 13 sex workers were reported missing, and two were dead from suicide,” wrote Lura Chamberlain in her Fordham Law Review article “FOSTA: A Hostile Law with a Human Cost.” “Sex workers operating independently faced a tremendous and immediate uptick in unwanted solicitation from individuals offering or demanding to traffic them. Numerous others were raped, assaulted, and rendered homeless or unable to feed their children.” A 2020 survey of the effects of FOSTA-SESTA found that “99% of online respondents reported that this law does not make them feel safer” and 80.61 percent “say they are now facing difficulties advertising their services.” "

-What Sex Workers Want Kamala Harris to Know by Hallie Liberman

[askmrtorgue]

HEY! YOU THERE! WANT TO PLAY A TABLETOP ADVENTURE WITH A PROFESSIONAL STORYTELLER?

I'M MISTER TORGUE, AND THE NERD WHO HELPS ME LOG INTO THIS ACCOUNT ASKED ME TO DO AN AD FOR HIS SERVICES. I TOLD HIM I WOULD, BUT ONLY IF I GOT TO WRITE IT MYSELF. SO STRAP IN, DUMPSUCKS. IT'S PRODUCT PLACEMENT TIME:

--

DO YOU WANT TO PLAY DUNGEONS & DRAGONS BUT YOU CAN'T FIND SOMEONE TO RUN YOUR GAMES?

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DO YOU WANT WANT TO LEARN TABLETOP RPGS BUT EVERYONE WHO TRIES TO EXPLAIN IT USES THINGS LIKE MATH AND SPREADSHEETS AND YOU CAN'T STOP THEM BECAUSE FATAL SUPLEXES ARE ILLEGAL ON YOUR PLANET?

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NOT ONLY DOES BEN OWN A PAIR OF CAT-EAR HEADPHONES, HE EXCELS AT RIPPING YOUR HEART STRAIGHT OUT OF ITS RIBCAGE USING NOTHING BUT COMPELLING, ROMANCEABLE CHARACTERS AND BADASS EPIC ADVENTURES. IN FACT, EVEN HIS VILLAINS ARE SEXY AS F*CK. JUST CHECK OUT THIS VAMPIRE FROM ONE OF HIS CAMPAIGNS:

THIS DEATH DADDY IS ABSOLUTELY ABOUT TO KILL ME AND I DON'T GIVEN EVEN A SINGLE F*CK.

NOT YOUR STYLE? NO PROBLEM, PLAYER, HE ALSO OFFERS TERRIFYING MURDER MOMMIES!

THIS WOMAN COULD DRINK MY BLOOD AND I WOULD SAY "THANK YOU"

OR MAYBE IT'S TIME TO EMBRACE EVERYONE'S TRUE SECRET DESIRE:

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BENCOMPETENCE ALSO HAS THIRSTY SWORD LESBIANS, A GAME ABOUT BADASS SWORDFIGHTS AND WARFARE IN THE GREATEST BATTLEFIELD OF ALL: THE HEART

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HE EVEN HOSTS SEMINARS THAT TEACH YOU TO BE A BETTER ROLEPLAYER OR GAME MASTER!!

HE ALSO ASKED ME TO TELL YOU THAT SESSION 0'S ARE FREE, AND I HAVE NO IDEA WHAT THAT MEANS!

WANT TO JOIN A TABLE? THEN LISTEN UP, F*CKTRUCKS, BECAUSE IT'S LIST TIME:

FIGHT OR MAYBE MAKE OUT WITH HOT EVIL VAMPIRES IN CURSE OF STRAHD (NOW AVAILABLE IN DEATH DADDY AND MURDER MOMMY)

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JOIN THIRSTY SWORD LESBIANS AND BE AS BAD AT ROMANCE AS YOU ARE GOOD AT KICKING ASS

JUMP INTO THE BLUE BOX AND EXPLORE ALL OF TIME AND SPACE

SOMETHING ABOUT LEARNING HOW TO BE A BETTER ROLEPLAYER IN A PERSONALIZED LECTURE

THERE'S A LOT MORE TO SAY, BUT THE NERD WRITING THIS SCRIPT STARTED TALKING ABOUT CHARACTER SHEETS AND SOMETHING CALLED NARRATIVE AGENCY, SO I HAD TO BEAT HIM WITH A FOLDING CHAIR UNTIL HE STOPPED. YOU CAN HELP PAY FOR THE BODYCAST I PUT HIM IN BY SIGNING UP TODAY!

END OF ADVERTISEMENT.

[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[perseidlion]

Dead Boy Detectives friends, I totally respect and support those of you who feel like you want to fight. You want to make noise. You want to sign petitions and organize campaigns. I get that you don't want to give up on this wonderful show.

Normally I'd support campaigns, but in this case I think there are some very big things working against us:

The Neil Gaiman factor. I hate to say it, but the accusations against him were probably part of the reason for cancellation and why getting picked up elsewhere is a non-starter. The explicit ties to the Netflix Sandman with Death and Despair SHOULD have helped the show get renewed. But with the accusations against NG, that definitely hurt it. That's so deeply unfair because those of us who are fans of the show know that DBD is not a Gaiman show, and his contribution to the story is minimal. But Sandman is Gaiman's, and they made the connection to Sandman and thus Gaiman, explicit. When the news about NG came down, Sandman was already well into production and contracts were signed. I honestly wouldn't be surprised if S2 was Sandman's last season.

The collapse of streaming. Gone are the days when networks pick up each others' shows to try and court subscribers and steal an audience share. That barely happens anymore, and when it does it's under very unusual circumstances. Every network is cancelling well-reviewed shows with a following. Every network is cancelling queer shows more than others. Every network is greedy and looking for mega-hits only. There are no good guys in the streaming landscape.

The economy and the strikes. Don't get me wrong, the gains made by SAG-AFTRA, and the Writers and Directors' guilds were absolutely necessary and required for fairness. But it did increase production costs. Instead of adjusting their profit expectations, the streamers are trying desperately to keep the same profits from the pre-strike days. Which is why we have this mega-hit or bust model. Add to that the economic downturn and the price of everything going up, and the bar for "success" from a corporate standpoint is set impossibly high.

Streaming's metric for success is new subscribers, not how much existing subscribers enjoy the content. This is a big one. It used to be if an audience loved it and that audience was appealing to an advertiser, a show could keep going. Advertisers wanted the affinity for the show to spill over onto their product for supporting it. But with streaming, the streamers don't care how much you love something. They just care that you watch it, you stay subscribed, and that content gets new subscribers. A passionate watch is worth the same $$ wise to them as a hate watch or a half-interested watch. In that way, the loss of commercials is the reason for so many of the more niche shows getting cancelled.

The big reason I think we're sunk for either getting Netflix to reverse the decision or for it to get picked up elsewhere is honestly, because Yockey posted a pretty big S2 spoiler. The showrunner wouldn't do that if he thought there was any hope. My guess is the show is tied to Netflix because of the Sandman connection, and because they commissioned scripts for S2 that they own. There's probably some contractual reasons that make network hopping impossible.

I don't want to be a downer, and like I said if you want to campaign to let your heart heal or just to not let this happen quietly, I fully support that.

But in my heart, I think we have to lay our beloved Dead Boy Detectives to rest - at least as a show. They'll live on in our hearts and our fanworks.

[sgiandubh]

What happened with Barbour ?

Dear Barbour Anon,

My favorite kind of Anon, even if I know the question has recently been asked again and not in this corner. Never mind, I think it's time to talk about it, too.

I bought my first Barbour (entry-level, so olive) Bedale wax jacket 25 years ago, from their (long gone, now) shop on Boulevard Raspail, in Paris. It was a mandatory clothing item to own if you wanted to properly mingle with the law school crowd (it still is) and it ended up being one of my most prized possessions, possibly a part of me. I still have it somewhere, back home. Two more followed, along with a fetishist array of shirts, scarves, beanies and even one of those sturdy crossbody bags you can fit half a house in. So you can imagine my absolute thrill when I found out, very very late, that S had had a rather substantial collaboration with them, from 2016 and until 2019.

I am very bad with timelines, as you probably know and possibly even cackle about, but still: S was appointed as the company's first ever Global Brand Ambassador on July 16, 2016. His mission statement was very precisely defined by the brand and for some reason we'll analyze a bit later, this is important:

(Source, heh: https://www.astonbourne.co.uk/is-barbour-a-luxury-brand-unraveling-the-mystique-of-classic-outerwear/).

A shirt and vest signature collection followed in 2017 and 2018, with the contract being renewed. Advertisement was absolutely gorgeous and designed to shape a very positive image, both for S and the brand. Last autumn's SS Gin promo retained some of that irresistible aesthetic DNA and I discussed it at length.

See for yourself, Anon. The fandom endlessly discussed the first long clip (with the chocolate labrador), but I have no idea if these two have been seen, let alone debated. If they did, let that be my nostalgic mistake.

Spring/Summer 2018:

Fall 2018:

And then disaster stroke, with S's trip to Ha-wa-wee 1.0, in the spring of 2019. A short reel, featuring a rather agglomerated boat trip, was posted on socials. Unfortunately for S, it also featured an allegedly horrifying scene involving the 'traditional' bludgeoning to death of a tuna fish. Emotions ensued and as it often happens here, they spun out of control. Many people, including some of the most vocal S haters, tagged Barbour in their diatribes, filled with environmentalist indignation. They suggested this guy (who did not participate to the savagery and I would be even unsure he realized what was going on) was, by no reasonable means, a proper 'embodiment of the brand's identity, values and aspirations' (remember that mission statement?).

Tone deaf as ever in the midst of a serious PR crisis, S put friendship above anything else, and publicly praised the boat's owner, calling him 'the heart and soul of the island', if I remember well. I still would like to think he has no idea what the hell exactly happened. And then, when somebody finally (August 2019) asked Barbour on Insta about their collaboration with S, they got this politely dry, but clear answer:

"We don't have any plans for a collaboration with SH in the near future" means, in my book and to my understanding, "we are never going to work with this guy again". Truly, some people in here who dare to give morality lessons to others, should be proud of themselves: they did it knowingly and in a very organized way, using multiple sock accounts, to give the impression of a collective retching reflex. To cut the story short, the dread of any ad campaign on this planet.

The effort was genuine. The result of that collaboration was very good. Take, for example, this somewhat heartbreaking customer review by an American guy who has no idea who SRH is and who bought one of those jackets from a Barbour factory warehouse, in 2021, with a hefty rebate (70% off). Clearly something Barbour wanted to get rid of at all costs - what a pity and really what a SHAME on all those hypocrites who will never admit to a public assassination by the book:

This time, I am absolutely not sorry for the length, Anon. This is something that still makes me boil. Unfairness and cheap nastiness simply disgust me.

(Thank you, sweetheart, for the screenshot, always. You know who you are 😘😘😘).

[justinspoliticalcorner]

Michelle R. Smith at AP, via HuffPost:

PROVIDENCE, R.I. (AP) — A letter submitted to the U.S. Senate that states it was sent by physicians in support of Robert F. Kennedy Jr.’s nomination as secretary of Health and Human Services includes the names of doctors who have had their licenses revoked, suspended or faced other discipline, The Associated Press has found. The letter was meant to lend credibility to Kennedy’s nomination, which has faced strenuous opposition from medical experts due to his two decades of anti-vaccine activism. Republican Sen. Bill Cassidy of Louisiana, a medical doctor who boasts on his official website of an effort he created to vaccinate 36,000 children against hepatitis B, expressed hesitancy about Kennedy’s nomination and is seen as a key vote. The AP found that in addition to the physicians who had faced disciplinary action, many of the nearly 800 signers are not doctors. The letter with the names of those who signed was provided to the AP by Sen. Ron Johnson’s office after he entered it into the Congressional Record on Wednesday during the first of Kennedy’s two confirmation hearings. Among those who signed it were a self-described journalist, a certified public accountant, a firefighter/paramedic, a certified health coach and someone who said they had a bachelor’s degree “with an emphasis on Jungian Psychology.” The signers include at least 75 nurses, as well as physician’s assistants. More than 90 did not include any credentials at all. Over 20 were chiropractors, representing an industry that has funded Kennedy’s work. An AP investigation found that donations from a chiropractic group represented one-sixth of the revenues collected by Kennedy’s anti-vaccine nonprofit in 2019.

The letter was organized and submitted by MAHA Action, which is run by Del Bigtree, who worked for Kennedy’s presidential campaign and is a longtime anti-vaccine activist. The Washington Post reported Wednesday that Kennedy transferred the trademark for the “MAHA” slogan to an limited liability company run by Bigtree. Kennedy reported that he received $100,000 in income from licensing the slogan and said in his financial disclosures that he had transferred the trademark for “no compensation.” MAHA stands for “Make America Healthy Again,” a play on President Donald Trump’s “Make America Great Again.”

[...] The letter includes the header “Doctors for Robert F. Kennedy Jr. ” and begins with the words, “We, the undersigned physicians.” It says lower down that it “reflects the collective voice of physicians and medical professionals” committed to addressing chronic disease. The AP’s review found that at least 10 doctors who signed the letter had run into trouble with state medical boards or their board certification body for a variety of alleged misconduct. Sanctions they faced included having their license revoked or suspended, being put on probation, receiving a reprimand or other action. One received a warning letter from the Federal Trade Commission, which said he was unlawfully advertising products as treatments or prevention for COVID-19, including intravenous nutrient therapy and vitamins. [...] Opponents of Kennedy’s nomination sent their own letter with signatures from what they said were more than 18,000 “vetted and verified” doctors. The group, the Committee to Protect Health Care, said that the letter was initially circulated among verified physicians and that as additional signatures were added, their credentials were checked. The group provided the list of signatories to the AP but with anonymized names that included the first initial of their first name along with the first three letters of their last name, as well as their medical credentials. They said doctors’ names were anonymized for their privacy and to protect them from harassment.

A pro-RFK Jr. letter has 800 signatures, but most of those aren’t doctors. Among the doctors who signed the letter, most of them faced disciplinary action of some kind.

[ultrainfinitepit]

When you first started making pins, how did you advertise them? And vs now? I really want to get into making some of my own :]

That's a great question! There's lots of ways to advertise and I'll share what worked for me. But your mileage may vary or you might find ways that work better for you than they did for me.

Here are my first angel pins, by the way, it's been four years since I first started if you can believe it.

Here's what I did at the beginning that I still do now:

Build your following on social media and post about your pins. This is probably the most important thing to do, but also the hardest. Focus on a small number of social media profiles that you can manage comfortably, don't stretch yourself too thin as it is important to engage with your audience to build it. Each site has their own quirks as well. I can go into detail on my favorites and what I've observed for each if anyone is curious, just send a follow-up ask.

Run crowdfunding campaigns to fund your pins and then advertise to backers. Specifically start on Kickstarter if you are a beginner. While I am loving Backerkit it is a lesser-known site and it's harder to get discovered on it. I have gotten comments from artists who worry that they need to be popular before doing crowdfunding. However in my case it was my first campaign that built my audience the most. And in my opinion, it is never a waste of time to try out a campaign. If it fails you still have the artwork ready, you can gauge interest and see which designs are popular, and you will have a starter pool of people interested in your art that you can build off of.

Create a merch newsletter and share monthly updates. Since it is independent of social media it is a lower barrier to entry for customers interested in your art; and doesn't require them to check social media and happen to catch your posts. It takes some time to build a list but you can be assured everyone who signs up is invested in your merch.

There's quite a few things I did at the beginning to get started pin making and then advertise, that I don't do now. Mainly it is an issue of time. I used to spend hours and hours running around on all these sites, as well as reading over posts for research. Nowadays, social media and shop following are enough for me. But I would recommend the following for anyone looking to start out in pin making.

Things I used to do that I would recommend, but don't do much of now:

Join PMR on Facebook and post in their weekly share thread. "Pin Maker Resource" is the best place for beginner pin makers. It is a huge group of dedicated pin makers, all eager to answer questions and provide valuable insights into pin making. Most of all, it has those manufacturer reviews and names that everyone is always asking for! I have personally posted many reviews to this group. It is open for applications once a month. You have to apply because they specifically prohibit pin manufacturers from joining so people can post their reviews freely.

Post in Facebook groups. These communities can be large so your post may get lost in the crowd, but it will be seen by people specifically looking for pins. I like "Pin & Art Collector Marketplace" and "Pin Nation." "Enamel Pin Collectors, Artists, Trades and Kickstarters!" is decent but smaller.

Join a pin Discord server and share your designs in promotion channels. Many pin collectors such as myself join these servers to look for pins to buy. We are also in multiple servers and will crosspost if we like something. I have found these servers mainly by joining pin creators' Patreon clubs.

Post on Reddit. The communities are small but a guaranteed place to find people interested in pins. I like r/EnamelPins and r/pinprojects. If your pins are for a specific audience, you can post to relevant subreddits. For example, I have shared my work on angel art subreddits.

That's just about everything I can recall. I hope this is helpful, good luck on your pin journey!

[tamapalace]

2024 Year In Review

2024 was a great year for Tamagotchi, it was our second year with the Tamagotchi Uni, and of course the iconic return of the Tamagotchi Connection! This year brought a record number of collaborations, software updates, Tamaverse Tickets, and Gashapons! For 2024, since so much happened, we are only going to focus on the big news.

01/03/2024 Tamagotchi Adventure Kingdom is Now Available on Apple Arcade! After being announced in December, 2023, the Tamagotchi Adventure Kingdom Apple Arcade application officially launched in the Apple App Store in early 2024! It was really exciting to see this game launch, and it has consistently received positive reviews.

02/17/2024 Bandai Namco US & Premium Bandai USA Announce Easter Themed Tamagotchi Original Shells This was a first, and we really enjoyed it! Bandai Namco US announced exclusive Easter 2024 themed Tamagotchi Original shells. Six shells were announced, and they were exclusively available on Premium Bandai US!

03/25/2024 New Tamagotchi Original Shells Advertisements in Japan’s Train Stations An impressive campaign was launched back in March, 2023 in Japan located at Shinjuku Station! It was to help spread the word about more western Tamagotchi Original shells being released in Japan. This was one of our favorite memories of 2024!

04/01/2024 Bandai Namco US Pulls Tamagotchi Connection April Fools Prank Bandai Namco US had jokes, huh? We had no idea that this April Fools joke would foreshadow a future announcement. The prank showcases a removable Tamagotchi accessory to add to your Tamagotchi Original, giving it the Tamagotchi Connection/Keitai antenna. Well played, Bandai Namco US!

04/11/2024 Bandai Japan Announces Hello Kitty 2024 Tamagotchi To commemorate the 50th anniversary of Hello Kitty, Bandai partnered up with Sanrio again to release another Tamagotchi Nano! New shells, and two new characters added to then programming which were Neliatchi and Shykutchi!

04/11/2024 Bandai Announces Tamagotchi Uni Sanrio Characters & Tamaverse Ticket Sanrio Characters Another Tamagotchi Uni! The Sanrio Characters Tamagotchi Uni was announced, and it served up a new color, a new faceplate, and of course a new Tamaverse Ticket! The most exciting part was that this would soon be announced as a global release, for the first time ever!

04/23/2024 Detective Conan Tamagotchi Nano Colorful Bandai Japan officially announced the very first Tamagotchi Nano Colorful, after teasing an announcement with Detective Conan on social media. An updated Tamagotchi Nano, but this time in color, and a rechargeable battery with USB-C connectivity. Super exciting to see Bandai partner up with Detective Conan again!

04/25/2024 Bandai Teases Possible Tamagotchi Connection Re-Release OMG, we remember this one like it was yesterday. Bandai drops a teaser for an upcoming Tamagotchi release. The teaser video was reminiscent of the Tamagotchi Connection V3 commercial. We were all on cloud 9.

05/13/2024 Bandai Introduces the Tamagotchi Connection with a 20th Anniversary Global Re-Release After years of outcry from the community, Bandai officially announces the return of the Tamagotchi Connection for the 20th anniversary. THIS WAS HUGE, and it still is. We finally have our Tamagotchi Connection back, and that makes our heart happy. Six shells announced globally, with two returning from the early 2000’s, and four shells were announced for Japan, with all four of them being updated shells from the originals released back in the early 2000’s.

05/28/2024 Bandai Announces Tamagotchi Uni Angel Festival & Tamagotchi Uni Monster Carnival More Tamagotchi Uni’s! We didn’t know at this time but this release was foreshadowing the return of the angel! Bandai announces two new Tamagotchi Uni’s, Angel Festival and Monster Carnival, along with their respective Tamaverse Tickets! Gorgeous new shells, and some new characters.

06/02/2024 Inside the Bandai Namco Store American Dream Mall Grand Opening Bandai Namco US opened the first very Bandai Namco store in the United States! That’s right, on May 31st, 2024 the first store was opened in the American Dream Mall, located in New Jersey. We were so excited to attend the store opening, and meet Asaki Murakami! This is where #MelonSodaGate all started!

07/11/2024 Bandai Japan Announces Hololive Fantasy Tamagotchi Nano ColorfulThe second Tamagotchi Nano Colorful is announced! This time, it’s collaboration with Hololive Fantasy, a group consisting of video streamers! Four new shells, with matching plushies are announced.

08/31/2024 Inside the Tamagotchi Booth at 2024 Tokyo Toy Show After a big year of announcements, Bandai Japan took their latest Tamagotchi goodies to the 2024 Tokyo Toy Show. Showcasing the new Tamagotchi Uni Sanrio Characters, Angel Festival, Monster Carnival, and of course Tamagotchi Original in all your favorite shells, along with the iconic return of the Tamagotchi Connection.

10/17/2024 Bandai Namco US Announces Tamagotchi Original Angel at “Fun With Tamagotchi” 2024 New York Comic-Con Panel This announcement was incredible to witness in person! At the 2024 New York Comic-Con Bandai Namco US hosted a “Fun With Tamagotchi Panel” were they announced the return of the Tamagotchi Angel, under the name “Tamagotchi Original Angel”, which features generation 3 programming. Two shells were announced, and fans all over the world rejoiced! Another return for 2024!

10/17/2024 Bandai Namco US is Bringing Melon Soda Tamagotchi Connection to the United States After we spoke to Asakai Murakami at the Bandai Namco Cross store opening at the American Dream Mall, and the launch of #MelonSodaGate, Bandai Namco US officially announces the Melon Soda shell! That’s right, for the first time ever Melon Soda is now available to purchase in the United States. This was a HUGE win.

10/31/2024 CHOGOKIN Tamagotchi Robot This was major! A collaboration of two Bandai brands, Tamagotchi and CHOGOKIN to bring the CHOGOKIN Tamagotchi Robot! A die cast metal robot with a Tamagotchi nested in it’s chest, the community is loving this one!

2024 was incredible, and there is so much to celebrate. The biggest highlight had to have been the return of the Tamagotchi Connection, which holds such a special place in our heart!

We couldn’t image celebrating Tamagotchi without our amazing fans. We are looking forward to an even better 2025, so stay tuned to Tama-Palace for the latest and great Tamagotchi news. Happy New Year!

[unwelcome-ozian]

Weaponizing violence. With alarming regularity, the nation continues to be subjected to spates of violence that terrorizes the public, destabilizes the country’s ecosystem, and gives the government greater justifications to crack down, lock down, and institute even more authoritarian policies for the so-called sake of national security without many objections from the citizenry.

Weaponizing surveillance, pre-crime and pre-thought campaigns. Surveillance, digital stalking and the data mining of the American people add up to a society in which there’s little room for indiscretions, imperfections, or acts of independence. When the government sees all and knows all and has an abundance of laws to render even the most seemingly upstanding citizen a criminal and lawbreaker, then the old adage that you’ve got nothing to worry about if you’ve got nothing to hide no longer applies. Add pre-crime programs into the mix with government agencies and corporations working in tandem to determine who is a potential danger and spin a sticky spider-web of threat assessments, behavioral sensing warnings, flagged “words,” and “suspicious” activity reports using automated eyes and ears, social media, behavior sensing software, and citizen spies, and you having the makings for a perfect dystopian nightmare. The government’s war on crime has now veered into the realm of social media and technological entrapment, with government agents adopting fake social media identities and AI-created profile pictures in order to surveil, target and capture potential suspects.

Weaponizing digital currencies, social media scores and censorship. Tech giants, working with the government, have been meting out their own version of social justice by way of digital tyranny and corporate censorship, muzzling whomever they want, whenever they want, on whatever pretext they want in the absence of any real due process, review or appeal. Unfortunately, digital censorship is just the beginning. Digital currencies (which can be used as “a tool for government surveillance of citizens and control over their financial transactions”), combined with social media scores and surveillance capitalism create a litmus test to determine who is worthy enough to be part of society and punish individuals for moral lapses and social transgressions (and reward them for adhering to government-sanctioned behavior). In China, millions of individuals and businesses, blacklisted as “unworthy” based on social media credit scores that grade them based on whether they are “good” citizens, have been banned from accessing financial markets, buying real estate or travelling by air or train.

Weaponizing compliance. Even the most well-intentioned government law or program can be—and has been—perverted, corrupted and used to advance illegitimate purposes once profit and power are added to the equation. The war on terror, the war on drugs, the war on COVID-19, the war on illegal immigration, asset forfeiture schemes, road safety schemes, school safety schemes, eminent domain: all of these programs started out as legitimate responses to pressing concerns and have since become weapons of compliance and control in the police state’s hands.

Weaponizing entertainment. For the past century, the Department of Defense’s Entertainment Media Office has provided Hollywood with equipment, personnel and technical expertise at taxpayer expense. In exchange, the military industrial complex has gotten a starring role in such blockbusters as Top Gun and its rebooted sequel Top Gun: Maverick, which translates to free advertising for the war hawks, recruitment of foot soldiers for the military empire, patriotic fervor by the taxpayers who have to foot the bill for the nation’s endless wars, and Hollywood visionaries working to churn out dystopian thrillers that make the war machine appear relevant, heroic and necessary. As Elmer Davis, a CBS broadcaster who was appointed the head of the Office of War Information, observed, “The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized.”

Weaponizing behavioral science and nudging. Apart from the overt dangers posed by a government that feels justified and empowered to spy on its people and use its ever-expanding arsenal of weapons and technology to monitor and control them, there’s also the covert dangers associated with a government empowered to use these same technologies to influence behaviors en masse and control the populace. In fact, it was President Obama who issued an executive order directing federal agencies to use “behavioral science” methods to minimize bureaucracy and influence the way people respond to government programs. It’s a short hop, skip and a jump from a behavioral program that tries to influence how people respond to paperwork to a government program that tries to shape the public’s views about other, more consequential matters. Thus, increasingly, governments around the world—including in the United States—are relying on “nudge units” to steer citizens in the direction the powers-that-be want them to go, while preserving the appearance of free will.

Weaponizing desensitization campaigns aimed at lulling us into a false sense of security. The events of recent years—the invasive surveillance, the extremism reports, the civil unrest, the protests, the shootings, the bombings, the military exercises and active shooter drills, the lockdowns, the color-coded alerts and threat assessments, the fusion centers, the transformation of local police into extensions of the military, the distribution of military equipment and weapons to local police forces, the government databases containing the names of dissidents and potential troublemakers—have conspired to acclimate the populace to accept a police state willingly, even gratefully.

Weaponizing fear and paranoia. The language of fear is spoken effectively by politicians on both sides of the aisle, shouted by media pundits from their cable TV pulpits, marketed by corporations, and codified into bureaucratic laws that do little to make our lives safer or more secure. Fear, as history shows, is the method most often used by politicians to increase the power of government and control a populace, dividing the people into factions, and persuading them to see each other as the enemy. This Machiavellian scheme has so ensnared the nation that few Americans even realize they are being manipulated into adopting an “us” against “them” mindset. Instead, fueled with fear and loathing for phantom opponents, they agree to pour millions of dollars and resources into political elections, militarized police, spy technology and endless wars, hoping for a guarantee of safety that never comes. All the while, those in power—bought and paid for by lobbyists and corporations—move their costly agendas forward, and “we the suckers” get saddled with the tax bills and subjected to pat downs, police raids and round-the-clock surveillance.

Weaponizing genetics. Not only does fear grease the wheels of the transition to fascism by cultivating fearful, controlled, pacified, cowed citizens, but it also embeds itself in our very DNA so that we pass on our fear and compliance to our offspring. It’s called epigenetic inheritance, the transmission through DNA of traumatic experiences. For example, neuroscientists observed that fear can travel through generations of mice DNA. As The Washington Post reports, “Studies on humans suggest that children and grandchildren may have felt the epigenetic impact of such traumatic events such as famine, the Holocaust and the Sept. 11, 2001, terrorist attacks.”

Weaponizing the future. With greater frequency, the government has been issuing warnings about the dire need to prepare for the dystopian future that awaits us. For instance, the Pentagon training video, “Megacities: Urban Future, the Emerging Complexity,” predicts that by 2030 (coincidentally, the same year that society begins to achieve singularity with the metaverse) the military would be called on to use armed forces to solve future domestic political and social problems. What they’re really talking about is martial law, packaged as a well-meaning and overriding concern for the nation’s security. The chilling five-minute training video paints an ominous picture of the future bedeviled by “criminal networks,” “substandard infrastructure,” “religious and ethnic tensions,” “impoverishment, slums,” “open landfills, over-burdened sewers,” a “growing mass of unemployed,” and an urban landscape in which the prosperous economic elite must be protected from the impoverishment of the have nots. “We the people” are the have-nots.

The end goal of these mind control campaigns—packaged in the guise of the greater good—is to see how far the American people will allow the government to go in re-shaping the country in the image of a totalitarian police state.

[langernameohnebedeutung]

watching these adult right-wing bozo dudes write/film giant reviews about how the Barbie movie is an anti-man hate campaign is so funny. I don't even have a take other than it's the fucking Barbie movie. Ben Shapiro paid for a ticket to see the Barbie movie and then he bought some Barbie dolls and set them on fire (!) on camera because he was offended about poor Ken not becoming president of Barbieland or whatever. It's the Barbie movie. It's the Barbie. Movie.

These guys paid to see it. The whole pink Barbieworld is an evil matriarchy (because there are no male presidents) and it will corrupt young girls against motherhood because of the opening scene THE BARBIE MOVIE! HATES MOTHERS! They sat in those theatre chairs on opening night between the girls and the gays and the glitter and the pink and watched Ryan Gosling slide down a pink doll house slide. I saw someone comment how this movie will 'produce another generation of broken people'. They watched the giant beach fight and now they say this movie will teach little girls to hate men. It's the Barbie movie. It's the Barbie movie.

It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. they PAID to SEE it and honestly, being hated by podcast losers is free advertising for Mattel's and Barbie's attempt at feminist signalling.

It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie.

[wishingmyhairred]

Loockwood Fandom: PLAN OF ATTACK!!!

I have been a part of 2 major campaigns to save my favorite shows plus contribute to some minor ones. It took years for us to save the shows which was only possible because they were animated. Everything we are doing now was also done back then. But Lockwood is live action with aging actors/actresses; it has to be save sooner. We won our battle back then but this one will be harder. However, we have one golden opportunity that other campaigns did not have. 

Let me lay the field down for you. If you google Netflix cancellations you will see dozen of articles written over the years and you would basically be reading the same article over and over: Despite high viewership and reviews Netflix cancels another show, does not advertise/promote enough, does not want to pay residuals for shows past 3rd seasons, Fans/subscribers not happy, and criticism about Netflix playbook and questioning it’s wisdom. Not to mention that Damn quote “we have never cancelled a successful series”. You can also find articles of Fandoms efforts trying to save the show just like us. But it’s become the Same article over and over. We need something new to be reported on.

You know what is also being reported? The WGA strike. With the strike going in to it’s 3rd week most of the basic reporting is done and now it’s just repeat of picket lines. But we can change the narrative. We can give the news something new and different to report on.

There is a WGA strike fund you can donate to support the strikers but more importantly you can tribute your donation to someone. Someone named Lockwood & Co.

It doesn’t have to be a large donation. Let’s say we get 400 fans to donate $5 (+transaction fee) in tribute to Lockwood. That’s $2000 US and 400 tributes. Now let’s say those same fans do this 4 days in a row. That’s $8000 in funds plus 1600 tributes. This might gain attention by the WGA and strikers. They might feel compel to comment on it. They might want to say something about it as they stand protesting in front of Netflix. And there’s your new Headline.

Entertainment blogs will report how the growing frustration of Netflix cancellations has now lead to donations to WGA. The movement will hopefully gain traction and more news will be written. Other fandoms might join in for revenge of their cancellations. If we are successful a news broadcast is done showing the picket line but also showing clips of the show. That will get the show attention it’s never been given before. Attention that will hopefully get it back on the Top Ten. That would be another headline and even more attention.

You can click here to make the donation. But don’t forget to Tribute to Lockwood & Co.

Edit to add the lowest donation you can make is $5.

Make any size donation you want (don’t forget the transaction fee). Make a one time small donation. Make a large donation. Make multiple small donations.

It would really help if other people can blast this idea on other social media platforms. Make Memes, videos, TikTocks, Instagram posts, etc.

A lot of people are hurt by Netflix cancellations but Netflix has never cared no matter how many angry letters, comments and posts are made. It's the same old song and dance. But now We actually have a chance to hurt Netflix back in a way it never has been. Let the cancellation of Lockwood & Co be the straw that broke the camels back. Lets be reckless enough.

[docgold13]

Batman: The Animated Series - Paper Cut-Out Portraits and Profiles

Batman: The Mask of the Phantasm 

December 25th, 1993; exactly thirty years ago today, Warner Animation released the first Batman animated feature to play in theaters.  Directed by Eric Radomski and Bruce Timm, and based on a story written by Alan Burnett, the movie hit screens between the first and second seasons of Batman: The Animated Series.  

Despite largely glowing reviews, the lack of a strong advertising campaign contributed to the movie doing quite poorly at the box office.  The feature was later released in home theater format and played on television, ultimately garnering it huge acclaim among the fan community… with many (myself included) considering it to be the very best of the various Batman movies.  

The story centers on a mysterious vigilant who has come to Gotham to hunt the members of a once prominent crime family.  At first, the deaths of these criminals are attributed to The Batman, leading to the Gotham Police Department to deploy a special task force to arrest the Caped Crusader.  As such, Batman is forced to evade the police whilst tracking down this mysterious new threat.  Discovering the secrets of the Phantasm harkens back to Bruce Wayne's earliest days as a crimefighter, and a great love that nearly led to his never becoming Batman in the first place.  

Romance, tragedy, terrific action and top notch animation, it is not to be missed.  Staring the voice acting of Kevin Conroy, Dana Delany, Mark Hamill, Efrem Zimbalist Jr., Abe Vigoda and Stacy Keach.    

[inthemaelstrom]

ART ISN'T SUPPOSED TO MAKE YOU COMFORTABLE

By Jen Silverman (NY Times)

(Mx. Silverman is a playwright and the author, most recently, of the novel “There’s Going to Be Trouble.”)

When I was in college, I came across “The Sea and Poison,” a 1950s novel by Shusaku Endo. It tells the story of a doctor in postwar Japan who, as an intern years earlier, participated in a vivisection experiment on an American prisoner. Endo’s lens on the story is not the easiest one, ethically speaking; he doesn’t dwell on the suffering of the victim. Instead, he chooses to explore a more unsettling element: the humanity of the perpetrators.

When I say “humanity” I mean their confusion, self-justifications and willingness to lie to themselves. Atrocity doesn’t just come out of evil, Endo was saying, it emerges from self-interest, timidity, apathy and the desire for status. His novel showed me how, in the right crucible of social pressures, I, too, might delude myself into making a choice from which an atrocity results. Perhaps this is why the book has haunted me for nearly two decades, such that I’ve read it multiple times.

I was reminded of that novel at 2 o’clock in the morning recently as I scrolled through a social media account dedicated to collecting angry reader reviews. My attention was caught by someone named Nathan, whose take on “Paradise Lost” was: “Milton was a fascist turd.” But it was another reader, Ryan, who reeled me in with his response to John Updike’s “Rabbit, Run”: “This book made me oppose free speech.” From there, I hit the bank of “Lolita” reviews: Readers were appalled, frustrated, infuriated. What a disgusting man! How could Vladimir Nabokov have been permitted to write this book? Who let authors write such immoral, perverse characters anyway?

I was cackling as I scrolled but soon a realization struck me. Here on my screen was the distillation of a peculiar American illness: namely, that we have a profound and dangerous inclination to confuse art with moral instruction, and vice versa.

As someone who was born in the States but partially raised in a series of other countries, I’ve always found the sheer uncompromising force of American morality to be mesmerizing and terrifying. Despite our plurality of influences and beliefs, our national character seems inescapably informed by an Old Testament relationship to the notions of good and evil. This powerful construct infuses everything from our advertising campaigns to our political ones — and has now filtered into, and shifted, the function of our artistic works.

Maybe it’s because our political discourse swings between deranged and abhorrent on a daily basis and we would like to combat our feelings of powerlessness by insisting on moral simplicity in the stories we tell and receive. Or maybe it’s because many of the transgressions that flew under the radar in previous generations — acts of misogyny, racism and homophobia; abuses of power both macro and micro — are now being called out directly. We’re so intoxicated by openly naming these ills that we have begun operating under the misconception that to acknowledge each other’s complexity, in our communities as well as in our art, is to condone each other’s cruelties.

When I work with younger writers, I am frequently amazed by how quickly peer feedback sessions turn into a process of identifying which characters did or said insensitive things. Sometimes the writers rush to defend the character, but often they apologize shamefacedly for their own blind spot, and the discussion swerves into how to fix the morals of the piece. The suggestion that the values of a character can be neither the values of the writer nor the entire point of the piece seems more and more surprising — and apt to trigger discomfort.

While I typically share the progressive political views of my students, I’m troubled by their concern for righteousness over complexity. They do not want to be seen representing any values they do not personally hold. The result is that, in a moment in which our world has never felt so fast-changing and bewildering, our stories are getting simpler, less nuanced and less able to engage with the realities through which we’re living.

I can’t blame younger writers for believing that it is their job to convey a strenuously correct public morality. This same expectation filters into all the modes in which I work: novels, theater, TV and film. The demands of Internet Nathan and Internet Ryan — and the anxieties of my mentees — are not so different from those of the industry gatekeepers who work in the no-man’s land between art and money and whose job it is to strip stories of anything that could be ethically murky.

I have worked in TV writers’ rooms where “likability notes” came from on high as soon as a complex character was on the page — particularly when the character was female. Concern about her likability was most often a concern about her morals: Could she be perceived as promiscuous? Selfish? Aggressive? Was she a bad girlfriend or a bad wife? How quickly could she be rehabilitated into a model citizen for the viewers?

TV is not alone in this. A director I’m working with recently pitched our screenplay to a studio. When the executives passed, they told our team it was because the characters were too morally ambiguous and they’d been tasked with seeking material wherein the lesson was clear, so as not to unsettle their customer base. What they did not say, but did not need to, is that in the absence of adequate federal arts funding, American art is tied to the marketplace. Money is tight, and many corporations do not want to pay for stories that viewers might object to if they can buy something that plays blandly in the background of our lives.

But what art offers us is crucial precisely because it is not a bland backdrop or a platform for simple directives. Our books, plays, films and TV shows can do the most for us when they don’t serve as moral instruction manuals but allow us to glimpse our own hidden capacities, the slippery social contracts inside which we function, and the contradictions we all contain.

We need more narratives that tell us the truth about how complex our world is. We need stories that help us name and accept paradoxes, not ones that erase or ignore them. After all, our experience of living in communities with one another is often much more fluid and changeable than it is rigidly black and white. We have the audiences that we cultivate, and the more we cultivate audiences who believe that the job of art is to instruct instead of investigate, to judge instead of question, to seek easy clarity instead of holding multiple uncertainties, the more we will find ourselves inside a culture defined by rigidity, knee-jerk judgments and incuriosity. In our hair-trigger world of condemnation, division and isolation, art — not moralizing — has never been more crucial.