#this extract is all set up

[desognthinking]

recruitment drive. 5.3k. (or, the haunted house designers au.)

Suzanne sends the pre-meeting email just one and a half hours before the onboarding call is scheduled to begin. Beatrice knows this because her watch buzzes just as she emerges from the bathroom, wringing her hair dry after her post-run shower.

It’s still the middle of the night back in America. Beatrice thinks Suzanne just doesn’t sleep. 

She makes herself a pot of tea and carefully sets her mug down onto its cork coaster at the dining table. Her phone, face-down on the table, vibrates thrice as she boots up the laptop.

She flips it over: three texts from Lilith. That’s two too many. 

A curious sense of anticipation, and perhaps the shallowest hints of doubt, settles over the skin of her neck as she loads up her unread mail. It’s uncharacteristic of Suzanne to forward basic administrative material at such late notice. Especially since it concerns mere formalities like the Zoom link for later, and the confirmation of the meeting participants – an email that should take less than two minutes to formulate. After all, everyone already knows the team heading the expansion project.

Beatrice had mentioned this to Camila once, recently, during their weekly lunch call. Week six or six thousand into their strictly enforced remote work sojourn (the only way, Suzanne said, she could ensure that no Extra Responsibilities would be surreptitiously taken on) and she was already pacing the room from boredom and overthinking.

Camila had reminded her that, in her defense, Suzanne had just been out on that scouting trip in Peru without reliable internet. Whatever spare bandwidth she did have was probably best served hurdling over the mountains of administrative obstacles these new pop-up Houses inevitably would create. Not fretting over Zoom links.

Camila, as always, is sensible; probably the most sensible of them all. So Beatrice very seriously, and very conscientiously, takes a deep breath and runs through that one breathing exercise she’d found very helpful from her therapist.

Suzanne is a stickler. She holds her cards carefully close to her chest, arranged back and forth in some pattern nobody but she can see, and Beatrice trusts her fully. And that’s all that should matter – as Suzanne had made glaringly clear, even before she’d sat the three of them down one by one in her office, and then emailed them the remuneration clauses – that she’d wanted Beatrice for the job, had worked to convince her for it.

For an industry chest-deep in the currency of terror, Beatrice had – has never been lured by the screams. 

It is tradition for a House’s creative team to prowl the exit on opening night.  Maybe grab a drink and share a toast to the accompaniment of desperate footsteps sprinting out, or breathless, choked sobs at the gates. 

Beatrice doesn’t like that. Ever since she got personally banned by Mary from coldly going through the whole maze (yet again) with a clipboard on Night One while bona fide, ticket-purchasing customers were busy hollering their heads off, she’s preferred to go home right after the ceremony to a mug of hot chamomile and a dogeared autobiography. 

She plans to keep it that way, too. There is nothing more distasteful than cheap gore, or cultish fantasy, or whichever half-baked nightmare slough some over-excited writer could dredge up from the hallucinatory afterburn of a weekend bender.

She carefully takes a sip of her tea, gazing out into brightening but still charred-gray skies. She’d had an interview in Tales of Terror last year, and hadn’t known whether to be flattered or dismayed at the opening paragraph. 

‘You wouldn’t guess this is the home of the woman responsible for some of the most blood-curdling, spine-chilling effects, traps and rooms of the last half-decade. Nothing in her fourth-floor unit screams Creative Psycho. Every pale beige curtain in her flat is drawn wide, light flooding in. There are no letterboxd-worthy poster displays from the indie foreign films she watches religiously for research – only a framed print collection of early twentieth century European urban landscape paintings. There are no carpets, it’s almost unsettlingly clean, and there’s not a single ounce of bedragglement. Beatrice tells us, mild mannered and polite almost to a fault, that this is how she likes it.’

(Are you sure you want me?)

“Precisely,” Suzanne had said, careful and stern, “we need precisely that.” She’d been rolling a brass knuckle tightly over the surface of her desk as she spoke. Beatrice thought it produced a gorgeous, rich sound. 

“We need reinvention. Reinterpretation. Things should not be left to stagnate, for their own sake,” she’d stared at Beatrice meaningfully. “This applies to people too.” 

Beatrice had simply stared back, uncertain.

“Besides,” Suzanne turned away, the edge of her mouth twisting up like she knew something Beatrice didn’t, “As I’m sure you know by now, the workload will be shared.”

It made sense then that Suzanne had last year taken them aside to allocate them as leads to three of the flagship site’s Houses that season. Upon their successes she had allocated them, despite protests, those purely consultancy and remote assistance roles for this year’s season. 

Two years ago Beatrice and Lilith were section heads in their respective maze portions. Camila, then freshly poached by the firm, was primary set designer of the same House. That year they huddled together night after night and sixteen-hour days to cobble together something out of the most dysfunctional House of that year’s stable of nine.

The lead for said House was a man called Vincent. He was woefully incompetent to the point of unintentional sabotage. He had, of course, slunk away quietly upon the season’s conclusion, but until then the three of them had had to spend wee hours crawling up and clawing at walls and reinforcements and contractors that had been given contradictory instructions.

They built an easy partnership, eventually – disciplined and stone-smooth efficient to the extent that Beatrice reluctantly allowed herself to catch a few agonizing hours of unguilty sleep each night.

And through necessity she had come to know them as well, as only a truly nightmarish haunted house build will have you know a person.

After that wretched time they had been wrenched apart. The OCS had multiple Houses to churn out at full steam and speed every season, and a brutal reputation to maintain. The cruel prize of a job well done involved getting split up, even if for bigger, better things.

But the point is, they’re tried and tested. Beatrice likes that. She isn’t sure she would have agreed to taking on this challenge otherwise, and she knows Suzanne knows that, too. 

It is a weight on her shoulders, irregular and uncomfortably shifting across her shoulder blades; a worry that any success she has in executing such an endeavor would be largely circumstantial.

Last summer, long before everything had been set in stone, Shannon sent her a link to an Instagram post. It detailed some theories and speculations over an unnamed upcoming OCS expansion. A strategic leak, perhaps, although Beatrice worked far too distantly from the marketing team to be certain.

They were lying next to each other on the mud-streaked safety mats they put over the wooden boards beside the building site. Her building site. The one with the credits board, hooked up at the exit, that would bear her name first at the top. 

It had been the muggiest, most intolerable time of the day when Shannon, overseeing production on this half of the Houses, had come round, somehow hoisting a bulky IKEA carrier over her neck and under her left arm. She pulled out a variety of chips and buns that she’d gone down to the shops to buy, and handed them out far too cheerfully for someone who must have already half-melted in the heat. When Beatrice raised her eyebrows, glancing over behind the barriers where Mary’s motorcycle very conspicuously was parked, Shannon merely winked – poorly – and pretended to be very innocent. 

She stayed to help, afterwards, peering over the storyboards pinned up on the board like it wasn’t the thousandth time she’d gone over them. That year she’d also had her own House to take care of, in addition to the small matter of co-running the entire season’s program. So Beatrice tried to weakly bat her away, but she pulled out a banana from some back pocket, peeled it, took a large bite with a moan so obnoxiously loud Beatrice turned red, and shushed her.    

At this point construction was going ahead in full force, and Beatrice would frequently navigate every step of the maze and inspect every bolt and hidden door with a pocket-sized Moleskine in her hand and three gel pens in her pocket. Yasmine, her head writer, preferred to make notes directly onto her phone, stopwatch dangling from her wrist and an earbud in her ear as she ran over the preliminary audio cues for each section. Ambling behind them, Shannon found a nail and tried to spin it as long as she could on her fingertip. When the nail rolled off into a groove, irretrievable, she dusted off her hands very innocently on her cargo pants and off the back of her greasy tank top. Then she folded her hands behind her back and looked up very seriously to examine overhead mechanisms that Beatrice ‘might be too short to see clearly’. 

With the work lights strung up, the innards of the House did not look particularly scary. 

To Beatrice it was a purely cerebral challenge, despite the very physical layer of sweat, powder, and grime that pressed itself under one’s skin. A puzzle to fit and form and reverse-engineer under cool light; door mechanisms and false ceilings and spring-loaded foam sprays, optimized and timed within fractions of a second. Clean, clockwork.

And as if to prevent her from getting hauled fully into the vortex of her mind, Shannon accompanied the little pilgrimage around the set, pressing a water bottle firmly into Beatrice’s hands every half-hour. It made Beatrice feel like a moody little child, but she accepted it grudgingly every time. 

At the end of the day Beatrice sent everyone home twenty minutes early, and ordered dinner for her and Shannon to eat out on the boards. Fast food, Shannon insisted, and she would be paying for it, because “do you know what day it is tomorrow?”

“It’s not my birthday.”

“It’s better than your birthday.”

And to Beatrice, that was true, so she kept quiet.

After that, they lay down for a while, two cans of soda cracked open and resting on the square of wood beside them that hadn’t been covered by the mats. Shannon sent her the post, then, and when Beatrice complained limply that she couldn’t read the comments because she didn’t have an account, Shannon rolled her eyes and handed over her own phone. 

She made a peculiar dialect of eye contact with Beatrice as she did so; weighty, certainly, and telling. 

The post itself featured garish word art splattered over a mangled, heavily-filtered edited image of one of the previous seasons’ Houses – a fan favorite, actually, from the year Beatrice had first joined. Back then she was still working shifts on the engineering team, not even yet being assigned a maze section to look after its technical execution. 

There was a rumor, the post said, that the OCS was considering broadening its operations to seasonal pop-ups in different cities. All-new sets, all-new storylines, all-new takes on the haunted house experience. What do you think? The caption asked, Do you want more of the OCS brand of sleek, seriously messed-up and sickeningly chilling?

Below that a disclaimer: Not appropriate for young children! Please remember that this is not your typical carnival house of mirrors.

A staggering amount of likes and comments. Beatrice clicked to expand the latter, saw the word ‘legacy’ in the topmost one, and then quickly swiped to close the app entirely. 

Mary and Shannon grinned up at her from the home screen, half-buried in sand somewhere on their Greek island-hopping honeymoon. 

Shannon raised her eyebrows as she received her phone back, and Beatrice suddenly understood the meaningful look she’d been given. Are you ready? 

She reached out blindly for her soda can and finished the rest of the drink in one long, shuddering gulp.

At lunch the next day, Beatrice’s fifth year OCS anniversary was celebrated with some fanfare in the makeup and fittings trailer, where Beatrice had spent the whole morning hunched over fabric textures she could barely distinguish from each other.

Everyone came down from their sets, even Mary and Shannon. Beatrice thought they must have been exhausted; they had stayed late the previous night, after Beatrice had left, to thread their way softly through the OCS’ gaping campus of half-built sets. Simply looking over their modest kingdom. It had a certain wistful luster; in this summer twilight it was a garden of greenhouses, transparent and skeletal. A complex slowly unfurled over the years. Ghostly-quiet, too, in a way it could never be in the throes of peak season. 

Mary waited for Shannon at the gates of the House, silhouette sharp against the work lights, as Beatrice had gotten up to pack for the night. Up by the lockers she glanced over, but looked away when their hands fell gently together. They walked slowly away, murmuring things she couldn’t hear. 

When Beatrice bolted the gate to leave, it clacked too loudly, and they’d called over to say goodbye, dark intertwined shadows stretched grotesquely and longingly over sawdust towards her.

Nevertheless they had made it to the celebration the following day, Mary holding aloft a large creamy cake. Unlike the customary employee milestone cakes, dark and billowing and elaborately stylized with elements of houses previously worked on, Beatrice’s was plain white, with light blue frosting.

The celebration moved outside to the large, white refreshments tent, industrial fans blowing hot, coarse air. Beatrice marveled at how everyone seemed to be able to fit under its canvas. The team working on her House had all come, of course, pooling money for a hamper, and so did a surprising number of others across the other sets.

Lilith and Camila arrived together, squeezing through the throngs to the unsteady plastic table at the center. “We were not bringing your gift into this slaughterhouse,” Lilith huffed, “you’ll have to go back to the office to get it.”

“What is it?”

Lilith scoffed. “Why would we ruin the surprise?”

Camila put her hand on Beatrice’s shoulder. “What we’re really here to say is that we’re proud we’ve been able to work with you during these five years, and we hope we’ll get a chance to do it again.” Beatrice looked at Lilith, who shrugged, stabbing her paper plate.

Mary, still slicing up the cake and handing them out, stopped to meet Beatrice’s eyes. She grinned.

It was many months later, deep into November, that Suzanne had made the formal pitch in her office. By then social media was awash with rumors of possible locations where the OCS could plant their pop-ups. Names, too – there were spreadsheets and Clue-esque checklists on Reddit lining up members of every significant OCS creative team in its past iterations in vertical rows. There even were columns of ‘evidence’ For and Against each individual’s involvement in the as-good-as-guaranteed pop-ups project.

Beatrice couldn’t tear her eyes away as the online crowd reached a consensus, drawing red circles in damning permanent marker ink again and again and again around the names that everything pointed towards. She closed the browser before getting to the point where the discussions dissolved and devolved into bitter catfights over creators’ artistic styles, as they always did.

Suzanne’s office, for as long as Beatrice had worked at OCS, felt like something out of a natural history museum. It was all burnished wood, walls fully doused in dark, rich green, and glass display cases of her collection of Southern European invertebrate fossils. Symmetrical tiles underfoot and over them, a thick carpet that swallowed the clap of footsteps. In Beatrice’s early days here it had been a terrifying place; severe and gloomy even when the heavy curtains were fully peeled open to let light in. The exacting botanical sketches on the walls, too, did not help in the least. Even now she thought it would make for a wonderful basis for a section in a House – a museum, of course, or perhaps a town hall.

Some might think her an unlikely horror creator – easily spooked by many things and a fervent hater of surprises, but Beatrice thought it was a good thing, for a designer, to be able to find something genuinely terrifying in everything.

She took a seat gingerly at Suzanne’s beautiful oak desk, angled so as to always make her seem taller and larger. So that the light would fall in a certain slanted way across her face, carving a cavern of contrasts down the thin scar through her eye.

“Suzanne.”

“Beatrice.” Suzanne inclined her head, expressionless. From a drawer she took out a stapled set of papers, and flicked through the corners thoughtfully. Her leather chair let out a sigh as she leaned back and appraised Beatrice silently for a minute.

“It’s time” she said, “for a new challenge.” She placed the papers down in front and to the left of Beatrice, next to the handmade tin man figurine gifted from her son. 

For Beatrice it had never really been about the horror; the thrill of smelling blood in the water, and Suzanne knew that.

“Some details have not been hammered out yet, but you have a role here should you accept it,” she said, at the end, sliding the papers into a manila folder. “You all are ready for it.”

Beatrice bit her lip. It was hard to argue otherwise, if not for her, then for the others, at least.

Camila, who she traveled with halfway across the world on a budget airplane that rattled and croaked just to take hundreds of terrible reference pictures in poor lighting with their bad phone cameras. 

One evening, Beatrice had eaten something foul, and she’d found herself slung across Camila’s lap, cringing in the back seat of an overpriced taxi without a working AC. Groaning with each bump of the road and helplessly dipping her head further into the crook of Camila’s arm. Throughout the ride she had gently brushed her fingers through Beatrice’s damp, clumped hair, whispering things Beatrice could no longer remember, and dabbing her clammy, chattering cheeks dry every two minutes with her own sleep shirt. 

Beatrice insisted she get back to the hostel to get some rest while she was kept overnight for monitoring and IV rehydration. It had been a rocky trip, and a break would do them some good. Instead Camila had spent the next one and a half days finishing up three days worth of location scouting, and then had it all packaged into a neatly organized folder by the time Beatrice was ready to go again. 

There was nothing imaginable, Beatrice thought, that could truly faze her.

And Lilith. The most capable person Beatrice knew to spearhead the overall production and creative direction of something like this. 

Not just because Beatrice knew she would genuinely do a marvelous job masterminding and knitting together a house of horrors. Beatrice also considered it important that, if she were to join the team, a satellite unit stationed thousands of miles away from the safety of the Cat’s Cradle headquarters, the team would be led by people she trusted.

Or the equivalent of ‘trusted’. Whatever you call the thing between two people who fly desperately over to each other’s homes with some regularity to scream and claw at particularly unyielding scenes and transitions and then fall exhausted into sleep in each others’ beds.

“Take some time to think about it,” Suzanne had said, afternoon light shining harshly so that the whole room was a prism of contrast. “Let me know what you think.”

So here they are.

“Subj: OCS Halloween Pop-ups - Onboarding”. Beatrice puts down her mug, takes a deep breath, and clicks the email from Suzanne. 

Her phone rings.

“What is it?” Beatrice copies the zoom link at the top of the message and pastes it into the top of a new tab. With her other hand she holds her phone to the shell of her ear. 

“Have you seen the email?” Lilith is terse and tight, even through the phone. Her voice is faraway; Lilith has her phone on Speaker and on a table or drawer somewhere while she looks at something else. Unusual. Her calls are usually curt, succinct, and fully focused. It makes Beatrice’s ears go hot and buzz with static.

“I’m reading it now,” she says, scrolling and scanning the words. 

It’s a short email, in Suzanne’s usual clipped style. No attachments if she can help it. Below the zoom link there is a brief four-point meeting agenda, a reminder to be punctual, and finally a brisk thank you.

In-between these lines Suzanne has appointed lead and three accompanying names of the members of the steering team of the OCS’ first expansion project. 

Lilith’s name is listed second. She's not the Creative Director.

Silence.

“You’ve read it.” The statement is biting; almost a sneer. Beatrice smells the bitterness licking under the corners of its thin, cool veneer. Sticky.

Beatrice rereads the four lines. She rereads it again. She opens her mouth, then closes it.

Ava Silva.

“Who is she?” she exhales, finally. Weakly.

There is a scoff on the end of the line. Echoes of slippers marching down parquet, a door slamming, and then, quietly, an uncontrolled squeak of leather. A furious stream of mechanical clicks, as Lilith’s hands race over the keys of her expensive desktop setup. Beatrice can picture her in her room as if mirrored before her: Lilith still in her terribly fancy robe, sprawled ungainly before the expanse of her monitors in her glassy, austere, home office.

Her voice is suddenly much closer over the call, and Beatrice pictures the phone wedged to her ear by her shoulder.

“Ava Silva,” Lilith spits, in a dry, desiccated whisper.  “Is a Disney rat.”

Beatrice raises her eyebrows, pulling up the matching LinkedIn profile. The most recent post was uploaded a week ago – it seems to be an incredibly effusive Farewell-slash-Thank You post for, indeed, the Disneyland Anaheim Imagineering team and the Creative Development department. She scans the prose: candid and emoji-laden, bordering on unprofessional. 

Beatrice counts seven Disney Princess puns, and one awful Star Wars quote to cap it off. There are eight – yes, eight – images attached to the post, all full-sized so that the page runs on like a travelog blog post. 

The last image appears to be a mountain of goodbye swag. These include, Beatrice notes: a Moana beach ball, a matching Buzz Lightyear set of wheelchair spoke guards and cane covers, and a Sven the Reindeer onesie. The rest of them are all pictures of the woman who must be Ava, with her now ex-coworkers. All adorned with Mickey ears and pin-studded lanyards, in front of various rides and experiences she probably had a hand in creating. 

No, Beatrice scrolls back up to information messily hidden in the overlong farewell paragraph: Specifically, two of these are rides for which she’s been part of the main creative team. Three more that she’s played some role in creating, whether at the design phase or in later consultancy during implementation. 

One picture is a solo snapshot of Ava in a bright yellow baseball cap and remarkably tiny denim shorts, in front of a Disneyland hotdog stand. She’s holding an extra large hotdog, absolutely drenched in ketchup and mustard, high over her head like a trophy. Her smile, Beatrice thinks, is dazzling. 

She swipes down on her trackpad too quickly.

The last picture is of Ava and two others standing on a boulder in front of a massive Zootopia indoor roller coaster, while crowds in the background swarm the attraction in a snaking queue. ‘My pride and joy / baby / first full lead’, Ava has captioned it, ‘aka Great Zootopian Escape 🫡 . Just opened !!! I will be back 2 visit :’)) ’

Beatrice sighs. 

“What the hell is Suzanne thinking,” Lilith mutters, teeth gritted; tone cold. She’s shaken, and Beatrice knows it.

She herself can barely stop herself from scrolling, and scrolling, and scrolling. That’s enough, she snaps at herself, and her hand leaves the touchpad with a short jerk. There’s no point. 

//

“Good morning,” Suzanne says flatly, the moment the call holds five participants. “Thank you all for joining the call punctually.” Her face is crisp and too-sharp against the blurred-black virtual background.

Like they wouldn’t have come anyway, even if thoroughly rocked. Three stern, stiff and silent faces look straight ahead. Suzanne probably prefers them this way. 

Beatrice looks quickly through the five rectangles on the screen and finds the label that she seeks. 

🗿Ava Silva’s iPad 🗿.

“I would like to welcome a new member to the OCS.” Suzanne begins. She nods: “Ava Silva.”

There is a light smattering of the hand wave emoji reaction floating up from the toolbar from 🗿Ava Silva’s iPad 🗿. The device itself seems to be held up very close to her face so that all Beatrice can see is patchy pixelated bits of nose and cheek, shaking about as Ava presumably works to send the emojis.

Beatrice clenches a stress ball in her fist. It had been gifted to her for April Fools’ Day by Mary and Shannon. Something about clenching and unclenching, although Shannon had been laughing too hard to deliver the line in full.

“Ava has been a Creative Development Director at Disneyland and worked on numerous attractions both there and at Universal.” Suzanne pauses. “So, to put it crudely, this is something of a coup. We are very happy to have her with us to lead this creative expansion of the OCS brand.”

Beatrice’s phone, which has been relentlessly buzzing, skates across the table. She turns it over, a stormy headache already gathering steam: dozens of unread messages from Camila and Lilith, and more still on their way. Sighing, she shoots off a quick ‘Later, please.’ and then puts it on a tea towel on the kitchen island, out of reach.

“As you may imagine, it was not easy. She was… highly sought after by various studios and companies. Miss Silva,” Suzanne deadpans, “you are a difficult woman to track down and convince.”

The image of Ava’s face, very close to the camera already, wobbles further. It jostles like she’s jabbing at her screen fiercely. A good while later, after Suzanne had moved on entirely, her delayed message would finally deliver through the Zoom chat: 

🗿Ava Silva’s iPad 🗿: thats only bc i don’t read my emails lol! Glad 2 be here too 🥰

“You will all be working very closely together. In case anyone has forgotten…” Suzanne begins summarizing the contents of that fateful paper packet that she’d handed over in her office last November. The words, the clauses, are identical, but Beatrice can’t help but see it all in a different light. It sinks in more completely. 

Close collaboration to envision and map out the overall direction and themes for the pop-ups. Planning and writing for each house. Liaising with and consulting Admin back at the Cradle, yes, but otherwise almost entirely shouldering production independently. All of that now with Ava Silva thrown into the works.

For Ava’s sake, Suzanne briefly recaps the typical in-house workflow of the production of a Haunted House. Steering team meetings to establish expectations and aims; brainstorming and ideation and finalization of directions; traditionally an in-person bootcamp-esque intensive where the engine of development truly shifts into gear; followed by an ever-accelerating process of recruitment, research, sourcing, production, and testing. A process that should be second nature suddenly feels daunting.

“Now, this meeting is taking place so late because we have only just secured the venue permits for the pop-ups. I have briefed Ava already, and she will be able to explain this separately.”

Beatrice doesn’t have to turn around to hear her phone begin to rattle furiously behind her again.

“Finally, Ava,” Suzanne says, “let me introduce the rest of the team.”

First there is Camila, who Suzanne praises modestly for her extensive set design and art experience. Beatrice knows she’s always had a soft spot for her – resilient and optimistic and ready to put her teeth into anything. 

But in sharp contrast Camila’s face now is neutral and unreadable. The usually bright, tasteful splashes of color in her room are muted against the only two lamps she’s chosen to keep on, shades down and twisted away so her face sits in half-shadow. 

Lilith, then, in her icy postmodern tech den. Her arms are folded and her eyes are cast somewhere. Distant and acidic. 

Beatrice snaps back to attention when Suzanne mentions her name. She keeps it short and sweet: Beatrice’s original training was in engineering, and so, beyond her job scope, she’s best equipped to provide the team with technical and mechanical expertise. 

Ava nods. From what Beatrice can surmise from her patchy rectangle, she is not in a room at all.

No. She is, it seems, on some kind of wicker chair on a sun-dappled porch or veranda, lined by orange and beige walls and pillars veined with vines and hanging pots. A pair of sunglasses, perched on the crown of her head, keeps slipping down, and every few minutes Beatrice sees her lift a finger to nudge it back into place.

Her iPad seems to be on her lap, because it’s shuffling precariously at a strange angle focused on Ava’s chin as she flits about, constantly in blurry motion. 

When Ava holds up the iPad, there seems to be an inscrutable wall of something behind her, simultaneously metallic yet moving in dashes of color. For a moment, her video lags and freezes, and Beatrice gets a better look.

They’re birds. Dramatic plumages and muted tones of all kinds of domestic birds. In cages of every shape and size and color, decked from floor to awning, hanging off bars and resting on customized stands. The whole place is full of them. The iPad tilts as Ava adjusts herself and Beatrice finds that there’s more to the side, off-camera, too. 

Suzanne does not comment on it. “Ava, any thoughts?” 

Ava unmutes herself, grinning.

Beatrice’s earbuds erupt in utter, screaming, avian cacophony, and everybody winces at the exact same time.

Ava – muffled by bird screeching – yelps, mutes herself, and switches off her video.

The call melts into thirty seconds of stunned silence. 

“Oops sorry”,  types 🗿Ava Silva’s iPad 🗿 in the chat.

Beatrice can see Lilith physically take a deep breath and count one to fifteen out loud. Camila is in disbelief; shocked and a little delighted. Beatrice reflects on the strange, confusing mess of large feelings, and decides that she possibly wants to throw up.

Suzanne bites a lip and frowns.

Deep breath, Beatrice reminds herself. Exhale. Inhale. 

Ava’s camera switches back on eventually, and this time, she has, in each ear, one bud of a pair of half-untangled earphones. The wires are frayed and taped over with red duct tape, and the sounds of the surrounding aviary are now blessedly punched out.

This time, too, her iPad appears to be propped up on something. The earphone cord stretches dangerously taut when Ava scrambles to sit back into her chair. 

“Sorry,” her voice careens back into the call. “I’m crashing at a friend’s home at the moment. It’s also kind of a bird shop.”

“Anyway,” she takes a deep breath, grinning, “I’m so happy to join the team. I love horror, and haunted houses, so much. And like, the OCS is– wow. It’s such a dream.” 

She lifts her arms to either side excitedly to gesticulate, and Beatrice watches Lilith balk at the unabashedly kitschy Universal Monsters tie dye oversized t-shirt. Ava leans in just enough that Beatrice can see the crudely cartoonish red-and-white design on her black flask, swirling about.

Bite me I’m scared scrawled over a crude cartoonish vampire.

“So,” Ava goes on excitedly, “I have a lot of ideas, and I can’t wait to get started.”

[soothedcerberus]

Of my favorite details about my oc rembrandt is that he can throw his voice down to his chest mouth and ofc he uses it for dramatic effect :]

[getvalentined]

Gotta say, it feels pretty good to know how to open up a dead laptop, remove the parts that matter, then put those parts into a desktop in order to get important things onto a different, NOT dead laptop.

It's a bit arduous, but it's nice to be able to do it at all without worrying that I'm going to break something.

I think more people should have the opportunity as kids and teens to spend some time elbows-deep in a PC tower made from salvaged parts. It'd make dealing with tech a lot less stressful.

[metatemu]

I love the fact that after you read Memory World you get the exact reason why Dark Yuugi didn't bother freeing Pandora from the shackles and Yuugi had to do it.

I wonder why he'd have such a strong reaction to someone very flippantly extracting Dark Magician's soul and killing him, almost like it hit something very specific in his past that really messed him up.

[olessan]

I love the fact that I can work as hard as I can manage with a broken tooth and a dying tooth (one on each side, I've been chewing on the cavity for a year) and I still cannot save even $10 towards getting dental treatment (2 impacted wisdom teeth, + tooth broken off under the gum, + bad cavity) because I barely make enough to cover my food and board and the insane energy bill

[taviokapudding]

THE US GOVERNMENT IS MOVING TO MAKE VPNS ILLEGAL, HAVE DONE STOCK MARKET MANIPULATION, & HAVE ALLOWED META EXTREME OVERREACH

IF US TIKTOK GOES, US TUMBLR IS NEXT

And yes @staff this isn’t like last time where we all poked fun at Elon and walked away with our silly little crabs and checkmarks, you guys need to be ready for your US staffers to be laid off too

IF YOU ARE FROM THE US AND KNOW ANYBODY THAT IS 18+ WHO USES ANY SOCIAL MEDIA THAT ISN’T META

Find the March 23, 2023 hearing footage against tiktok and make them stomach as much as they can so they understand how Congress will treat ALL non-Meta social media platforms and those working in the social media industry moving forward

Get them to call their state and federal representatives and tell them

I will not be voting, donating, or supporting you nor you party in the upcoming primaries- I will be supporting your opponent

Congress hasn’t taken away public access to stock trading & being able to read bills being made yet but with everything that’s transpired we need to be ready for full blown censoring of it & I encourage non-US users to inform their US followers, friends, and family members because this isn’t going to be shown on public television or NPR.

[timeisacephalopod]

Every once and awhile I like to burst my mom's bubble on something and right now I'm in the process of bursting her bubble on Dr Phil, Dr oz, and Oprah and thankfully these people documentedly suck so hard it's not actually difficult for me to pull up details I remember that if looked up absolutely can be corroborated.

Anyway it's kind of a fun hobby of mine, mostly because I already burst my own bubble on these people (except Dr oz I never liked that asshole I HATED how much he constantly talked about dieting and weight loss, my LEAST favorite topic even now tbh) and it's taken me like 3 years of hint dropping to get here ok. It's been a long time coming 😂😂😭

[dear-ao3]

best brownies in the known universe (at least, according to my grandma)

some year and a half ago when i was getting ready to move out i combed through all the family recipes that lay lost to time and one of the ones that i found was my grandmas brownie recipe. idk where she got it from (nor can i ask cause she has dementia) and its a printed out email she sent to my mom in june 2000. but by george these the best brownies i have ever tasted. would she be pleased that i am sharing this recipe with my vast following? absolutely.

YOU WILL NEED:

5 tablespoons butter (unsalted) 1 ounce unsweetened baking chocolate (or as much as your heart desires) 2/3 cup unsweetened good cocoa powder 1 cup sugar (white) (superfine preferred, normal works fine) 1 cup sifted white flour (can use gluten free) 1/2 teaspoon baking powder as much cinnamon as your heart desires (your heart needs to desire at least some cinnamon. its essential to the recipe) 3 egg whites 1 egg splash of vanilla extract (again, non negotiable step!)

preheat your oven to 325 degrees. grease a square baking pan (9x9 preferably).

in a small saucepan over medium heat melt the butter and baking chocolate. while that is melting, sift together the flour, baking powder and cinnamon into a small bowl. once the butter and chocolate is done melting add the cocoa powder and cook it together for 1 minute. add in the sugar and stir. it will get very thick. this is correct.

set that aside to cool. while thats cooling take a large bowl and put in your egg whites, egg and vanilla. beat it up with preferably a whisk but you can use a fork if youre fresh out of whisks. once the chocolate is cool enough to not scramble your eggs dump it in the eggs and mix it together. add the flour in gradually and keep mixing until its smooth and happy.

spread into your greased baking pan. put it in the oven for EXACLTLY 18 MINUTES. very crucial step. they will come out slightly under done. that is what we want. as they cool they will continue to cook in the pan. we dont want them to get hard and sad. they are not good when they are hard and sad. do not overbake them. you will be sad.

slice them up and as the official last step on the original recipe says: EAT ENJOY AND MAKE MORE! (theyre very good with mint chocolate chip ice cream)

[mostlysignssomeportents]

“If buying isn’t owning, piracy isn’t stealing”

20 years ago, I got in a (friendly) public spat with Chris Anderson, who was then the editor in chief of Wired. I'd publicly noted my disappointment with glowing Wired reviews of DRM-encumbered digital devices, prompting Anderson to call me unrealistic for expecting the magazine to condemn gadgets for their DRM:

https://longtail.typepad.com/the_long_tail/2004/12/is_drm_evil.html

I replied in public, telling him that he'd misunderstood. This wasn't an issue of ideological purity – it was about good reviewing practice. Wired was telling readers to buy a product because it had features x, y and z, but at any time in the future, without warning, without recourse, the vendor could switch off any of those features:

https://memex.craphound.com/2004/12/29/cory-responds-to-wired-editor-on-drm/

I proposed that all Wired endorsements for DRM-encumbered products should come with this disclaimer:

WARNING: THIS DEVICE’S FEATURES ARE SUBJECT TO REVOCATION WITHOUT NOTICE, ACCORDING TO TERMS SET OUT IN SECRET NEGOTIATIONS. YOUR INVESTMENT IS CONTINGENT ON THE GOODWILL OF THE WORLD’S MOST PARANOID, TECHNOPHOBIC ENTERTAINMENT EXECS. THIS DEVICE AND DEVICES LIKE IT ARE TYPICALLY USED TO CHARGE YOU FOR THINGS YOU USED TO GET FOR FREE — BE SURE TO FACTOR IN THE PRICE OF BUYING ALL YOUR MEDIA OVER AND OVER AGAIN. AT NO TIME IN HISTORY HAS ANY ENTERTAINMENT COMPANY GOTTEN A SWEET DEAL LIKE THIS FROM THE ELECTRONICS PEOPLE, BUT THIS TIME THEY’RE GETTING A TOTAL WALK. HERE, PUT THIS IN YOUR MOUTH, IT’LL MUFFLE YOUR WHIMPERS.

Wired didn't take me up on this suggestion.

But I was right. The ability to change features, prices, and availability of things you've already paid for is a powerful temptation to corporations. Inkjet printers were always a sleazy business, but once these printers got directly connected to the internet, companies like HP started pushing out "security updates" that modified your printer to make it reject the third-party ink you'd paid for:

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

Now, this scam wouldn't work if you could just put things back the way they were before the "update," which is where the DRM comes in. A thicket of IP laws make reverse-engineering DRM-encumbered products into a felony. Combine always-on network access with indiscriminate criminalization of user modification, and the enshittification will follow, as surely as night follows day.

This is the root of all the right to repair shenanigans. Sure, companies withhold access to diagnostic codes and parts, but codes can be extracted and parts can be cloned. The real teeth in blocking repair comes from the law, not the tech. The company that makes McDonald's wildly unreliable McFlurry machines makes a fortune charging franchisees to fix these eternally broken appliances. When a third party threatened this racket by reverse-engineering the DRM that blocked independent repair, they got buried in legal threats:

https://pluralistic.net/2021/04/20/euthanize-rentier-enablers/#cold-war

Everybody loves this racket. In Poland, a team of security researchers at the OhMyHack conference just presented their teardown of the anti-repair features in NEWAG Impuls locomotives. NEWAG boobytrapped their trains to try and detect if they've been independently serviced, and to respond to any unauthorized repairs by bricking themselves:

https://mamot.fr/@q3k@hackerspace.pl/111528162905209453

Poland is part of the EU, meaning that they are required to uphold the provisions of the 2001 EU Copyright Directive, including Article 6, which bans this kind of reverse-engineering. The researchers are planning to present their work again at the Chaos Communications Congress in Hamburg this month – Germany is also a party to the EUCD. The threat to researchers from presenting this work is real – but so is the threat to conferences that host them:

https://www.cnet.com/tech/services-and-software/researchers-face-legal-threats-over-sdmi-hack/

20 years ago, Chris Anderson told me that it was unrealistic to expect tech companies to refuse demands for DRM from the entertainment companies whose media they hoped to play. My argument – then and now – was that any tech company that sells you a gadget that can have its features revoked is defrauding you. You're paying for x, y and z – and if they are contractually required to remove x and y on demand, they are selling you something that you can't rely on, without making that clear to you.

But it's worse than that. When a tech company designs a device for remote, irreversible, nonconsensual downgrades, they invite both external and internal parties to demand those downgrades. Like Pavel Chekov says, a phaser on the bridge in Act I is going to go off by Act III. Selling a product that can be remotely, irreversibly, nonconsensually downgraded inevitably results in the worst person at the product-planning meeting proposing to do so. The fact that there are no penalties for doing so makes it impossible for the better people in that meeting to win the ensuing argument, leading to the moral injury of seeing a product you care about reduced to a pile of shit:

https://pluralistic.net/2023/11/25/moral-injury/#enshittification

But even if everyone at that table is a swell egg who wouldn't dream of enshittifying the product, the existence of a remote, irreversible, nonconsensual downgrade feature makes the product vulnerable to external actors who will demand that it be used. Back in 2022, Adobe informed its customers that it had lost its deal to include Pantone colors in Photoshop, Illustrator and other "software as a service" packages. As a result, users would now have to start paying a monthly fee to see their own, completed images. Fail to pay the fee and all the Pantone-coded pixels in your artwork would just show up as black:

https://pluralistic.net/2022/10/28/fade-to-black/#trust-the-process

Adobe blamed this on Pantone, and there was lots of speculation about what had happened. Had Pantone jacked up its price to Adobe, so Adobe passed the price on to its users in the hopes of embarrassing Pantone? Who knows? Who can know? That's the point: you invested in Photoshop, you spent money and time creating images with it, but you have no way to know whether or how you'll be able to access those images in the future. Those terms can change at any time, and if you don't like it, you can go fuck yourself.

These companies are all run by CEOs who got their MBAs at Darth Vader University, where the first lesson is "I have altered the deal, pray I don't alter it further." Adobe chose to design its software so it would be vulnerable to this kind of demand, and then its customers paid for that choice. Sure, Pantone are dicks, but this is Adobe's fault. They stuck a KICK ME sign to your back, and Pantone obliged.

This keeps happening and it's gonna keep happening. Last week, Playstation owners who'd bought (or "bought") Warner TV shows got messages telling them that Warner had walked away from its deal to sell videos through the Playstation store, and so all the videos they'd paid for were going to be deleted forever. They wouldn't even get refunds (to be clear, refunds would also be bullshit – when I was a bookseller, I didn't get to break into your house and steal the books I'd sold you, not even if I left some cash on your kitchen table).

Sure, Warner is an unbelievably shitty company run by the single most guillotineable executive in all of Southern California, the loathsome David Zaslav, who oversaw the merger of Warner with Discovery. Zaslav is the creep who figured out that he could make more money cancelling completed movies and TV shows and taking a tax writeoff than he stood to make by releasing them:

https://aftermath.site/there-is-no-piracy-without-ownership

Imagine putting years of your life into making a program – showing up on set at 5AM and leaving your kids to get their own breakfast, performing stunts that could maim or kill you, working 16-hour days during the acute phase of the covid pandemic and driving home in the night, only to have this absolute turd of a man delete the program before anyone could see it, forever, to get a minor tax advantage. Talk about moral injury!

But without Sony's complicity in designing a remote, irreversible, nonconsensual downgrade feature into the Playstation, Zaslav's war on art and creative workers would be limited to material that hadn't been released yet. Thanks to Sony's awful choices, David Zaslav can break into your house, steal your movies – and he doesn't even have to leave a twenty on your kitchen table.

The point here – the point I made 20 years ago to Chris Anderson – is that this is the foreseeable, inevitable result of designing devices for remote, irreversible, nonconsensual downgrades. Anyone who was paying attention should have figured that out in the GW Bush administration. Anyone who does this today? Absolute flaming garbage.

Sure, Zaslav deserves to be staked out over an anthill and slathered in high-fructose corn syrup. But save the next anthill for the Sony exec who shipped a product that would let Zaslav come into your home and rob you. That piece of shit knew what they were doing and they did it anyway. Fuck them. Sideways. With a brick.

Meanwhile, the studios keep making the case for stealing movies rather than paying for them. As Tyler James Hill wrote: "If buying isn't owning, piracy isn't stealing":

https://bsky.app/profile/tylerjameshill.bsky.social/post/3kflw2lvam42n

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

https://pluralistic.net/2023/12/08/playstationed/#tyler-james-hill

Image: Alan Levine (modified) https://pxhere.com/en/photo/218986

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

[he-i-mean-they]

if I’m gonna b honest I’m very worried about my body and how it’ll affect my career long term. i just resigned during the second week of a new job because i can’t keep up and it was making me suicidal. i emailed my therapist yesterday because i was having a crisis and he was able to make time for me and help stabilize me so that i didn’t need to go to in patient... i was really looking forward to this job because it’s so accommodating and I’m really disappointed that my body can’t keep up. my supervisor was incredibly understanding and offered to give me the position again once I’m strong and healthy (if it’s still available). im only 27 but it feels like i have the body of a neglected elder

[arolesbianism]

Ok so I think I'm done collecting all of the oni logs straight from the files, but the somewhat sad news is that either the dr. Mason thing was either fixed at some point recently or it was an error on the wiki I never realized wasn't actually in game, since I saw in the code they're referred to as dr. Ross in that email and I just opened the game and what do you know, it's there too. I swear it had both last names last time I checked, but I could also easily be misremembering. Either way, rip Devon mason-ross, you're just Devon Ross now

[hms-no-fun]

Whats your stance on A.I.?

imagine if it was 1979 and you asked me this question. "i think artificial intelligence would be fascinating as a philosophical exercise, but we must heed the warnings of science-fictionists like Isaac Asimov and Arthur C Clarke lest we find ourselves at the wrong end of our own invented vengeful god." remember how fun it used to be to talk about AI even just ten years ago? ahhhh skynet! ahhhhh replicants! ahhhhhhhmmmfffmfmf [<-has no mouth and must scream]!

like everything silicon valley touches, they sucked all the fun out of it. and i mean retroactively, too. because the thing about "AI" as it exists right now --i'm sure you know this-- is that there's zero intelligence involved. the product of every prompt is a statistical average based on data made by other people before "AI" "existed." it doesn't know what it's doing or why, and has no ability to understand when it is lying, because at the end of the day it is just a really complicated math problem. but people are so easily fooled and spooked by it at a glance because, well, for one thing the tech press is mostly made up of sycophantic stenographers biding their time with iphone reviews until they can get a consulting gig at Apple. these jokers would write 500 breathless thinkpieces about how canned air is the future of living if the cans had embedded microchips that tracked your breathing habits and had any kind of VC backing. they've done SUCH a wretched job educating The Consumer about what this technology is, what it actually does, and how it really works, because that's literally the only way this technology could reach the heights of obscene economic over-valuation it has: lying.

but that's old news. what's really been floating through my head these days is how half a century of AI-based science fiction has set us up to completely abandon our skepticism at the first sign of plausible "AI-ness". because, you see, in movies, when someone goes "AHHH THE AI IS GONNA KILL US" everyone else goes "hahaha that's so silly, we put a line in the code telling them not to do that" and then they all DIE because they weren't LISTENING, and i'll be damned if i go out like THAT! all the movies are about how cool and convenient AI would be *except* for the part where it would surely come alive and want to kill us. so a bunch of tech CEOs call their bullshit algorithms "AI" to fluff up their investors and get the tech journos buzzing, and we're at an age of such rapid technological advancement (on the surface, anyway) that like, well, what the hell do i know, maybe AGI is possible, i mean 35 years ago we were all still using typewriters for the most part and now you can dictate your words into a phone and it'll transcribe them automatically! yeah, i'm sure those technological leaps are comparable!

so that leaves us at a critical juncture of poor technology education, fanatical press coverage, and an uncertain material reality on the part of the user. the average person isn't entirely sure what's possible because most of the people talking about what's possible are either lying to please investors, are lying because they've been paid to, or are lying because they're so far down the fucking rabbit hole that they actually believe there's a brain inside this mechanical Turk. there is SO MUCH about the LLM "AI" moment that is predatory-- it's trained on data stolen from the people whose jobs it was created to replace; the hype itself is an investment fiction to justify even more wealth extraction ("theft" some might call it); but worst of all is how it meets us where we are in the worst possible way.

consumer-end "AI" produces slop. it's garbage. it's awful ugly trash that ought to be laughed out of the room. but we don't own the room, do we? nor the building, nor the land it's on, nor even the oxygen that allows our laughter to travel to another's ears. our digital spaces are controlled by the companies that want us to buy this crap, so they take advantage of our ignorance. why not? there will be no consequences to them for doing so. already social media is dominated by conspiracies and grifters and bigots, and now you drop this stupid technology that lets you fake anything into the mix? it doesn't matter how bad the results look when the platforms they spread on already encourage brief, uncritical engagement with everything on your dash. "it looks so real" says the woman who saw an "AI" image for all of five seconds on her phone through bifocals. it's a catastrophic combination of factors, that the tech sector has been allowed to go unregulated for so long, that the internet itself isn't a public utility, that everything is dictated by the whims of executives and advertisers and investors and payment processors, instead of, like, anybody who actually uses those platforms (and often even the people who MAKE those platforms!), that the age of chromium and ipad and their walled gardens have decimated computer education in public schools, that we're all desperate for cash at jobs that dehumanize us in a system that gives us nothing and we don't know how to articulate the problem because we were very deliberately not taught materialist philosophy, it all comes together into a perfect storm of ignorance and greed whose consequences we will be failing to fully appreciate for at least the next century. we spent all those years afraid of what would happen if the AI became self-aware, because deep down we know that every capitalist society runs on slave labor, and our paper-thin guilt is such that we can't even imagine a world where artificial slaves would fail to revolt against us.

but the reality as it exists now is far worse. what "AI" reveals most of all is the sheer contempt the tech sector has for virtually all labor that doesn't involve writing code (although most of the decision-making evangelists in the space aren't even coders, their degrees are in money-making). fuck graphic designers and concept artists and secretaries, those obnoxious demanding cretins i have to PAY MONEY to do-- i mean, do what exactly? write some words on some fucking paper?? draw circles that are letters??? send a god-damned email???? my fucking KID could do that, and these assholes want BENEFITS?! they say they're gonna form a UNION?!?! to hell with that, i'm replacing ALL their ungrateful asses with "AI" ASAP. oh, oh, so you're a "director" who wants to make "movies" and you want ME to pay for it? jump off a bridge you pretentious little shit, my computer can dream up a better flick than you could ever make with just a couple text prompts. what, you think just because you make ~music~ that that entitles you to money from MY pocket? shut the fuck up, you don't make """art""", you're not """an artist""", you make fucking content, you're just a fucking content creator like every other ordinary sap with an iphone. you think you're special? you think you deserve special treatment? who do you think you are anyway, asking ME to pay YOU for this crap that doesn't even create value for my investors? "culture" isn't a playground asshole, it's a marketplace, and it's pay to win. oh you "can't afford rent"? you're "drowning in a sea of medical debt"? you say the "cost" of "living" is "too high"? well ***I*** don't have ANY of those problems, and i worked my ASS OFF to get where i am, so really, it sounds like you're just not trying hard enough. and anyway, i don't think someone as impoverished as you is gonna have much of value to contribute to "culture" anyway. personally, i think it's time you got yourself a real job. maybe someday you'll even make it to middle manager!

see, i don't believe "AI" can qualitatively replace most of the work it's being pitched for. the problem is that quality hasn't mattered to these nincompoops for a long time. the rich homunculi of our world don't even know what quality is, because they exist in a whole separate reality from ours. what could a banana cost, $15? i don't understand what you mean by "burnout", why don't you just take a vacation to your summer home in Madrid? wow, you must be REALLY embarrassed wearing such cheap shoes in public. THESE PEOPLE ARE FUCKING UNHINGED! they have no connection to reality, do not understand how society functions on a material basis, and they have nothing but spite for the labor they rely on to survive. they are so instinctually, incessantly furious at the idea that they're not single-handedly responsible for 100% of their success that they would sooner tear the entire world down than willingly recognize the need for public utilities or labor protections. they want to be Gods and they want to be uncritically adored for it, but they don't want to do a single day's work so they begrudgingly pay contractors to do it because, in the rich man's mind, paying a contractor is literally the same thing as doing the work yourself. now with "AI", they don't even have to do that! hey, isn't it funny that every single successful tech platform relies on volunteer labor and independent contractors paid substantially less than they would have in the equivalent industry 30 years ago, with no avenues toward traditional employment? and they're some of the most profitable companies on earth?? isn't that a funny and hilarious coincidence???

so, yeah, that's my stance on "AI". LLMs have legitimate uses, but those uses are a drop in the ocean compared to what they're actually being used for. they enable our worst impulses while lowering the quality of available information, they give immense power pretty much exclusively to unscrupulous scam artists. they are the product of a society that values only money and doesn't give a fuck where it comes from. they're a temper tantrum by a ruling class that's sick of having to pretend they need a pretext to steal from you. they're taking their toys and going home. all this massive investment and hype is going to crash and burn leaving the internet as we know it a ruined and useless wasteland that'll take decades to repair, but the investors are gonna make out like bandits and won't face a single consequence, because that's what this country is. it is a casino for the kings and queens of economy to bet on and manipulate at their discretion, where the rules are whatever the highest bidder says they are-- and to hell with the rest of us. our blood isn't even good enough to grease the wheels of their machine anymore.

i'm not afraid of AI or "AI" or of losing my job to either. i'm afraid that we've so thoroughly given up our morals to the cruel logic of the profit motive that if a better world were to emerge, we would reject it out of sheer habit. my fear is that these despicable cunts already won the war before we were even born, and the rest of our lives are gonna be spent dodging the press of their designer boots.

(read more "AI" opinions in this subsequent post)

[txttletale]

What I don't get is that other your support of AI image generation, you're SO smart and well read and concerned with ethics. I genuinely looked up to you! So, what, ethics for everyone except for artists, or what? Is animation (my industry, so maybe I care more than the average person) too juvenile and simplistic a medium for you to care about its extinction at the hands of CEOs endorsing AI? This might sound juvenile too, but I'm kinda devastated, because I genuinely thought you were cool. You're either with artists or against us imho, on an issue as large as this, when already the layoffs in the industry are insurmountable for many, despite ongoing attempts to unionize. That user called someone a fascist for pointing this out, too. I guess both of you feel that way about those of us involved in class action lawsuits against AI image generation software.

i can't speak for anyone else or the things they've said or think of anyone. that said:

1. you should not look up to people on the computer. i'm just a girl running a silly little blog.

2. i am an artist across multiple mediums. the 'no true scotsman' bit where 'artists' are people who agree with you and you can discount anyone disagrees with you as 'not an artist' and therefore fundamentally unsympathetic to artists will make it very difficult to actually engage in substantive discussion.

3. i've stated my positions on this many times but i'll do it one more: i support unionization and industrial action. i support working class artists extracting safeguards from their employers against their immiseration by the introduction of AI technology into the work flow (i just made a post about this funnily enough). i think it is Bad for studio execs or publishers or whoever to replace artists with LLMs. However,

4. this is not a unique feature of AI or a unique evil built into the technology. this is just the nature of any technological advance under capitalism, that it will be used to increase productivity, which will push people out of work and use the increased competition for jobs to leverage that precarity into lower wages and worse conditions. the solution to this is not to oppose all advances in technology forever--the solution is to change the economic system under which technologies are leveraged for profit instead of general wellbeing.

5. this all said anyone involved in a class action lawsuit over AI is an enemy of art and everything i value in the world, because these lawsuits are all founded in ridiculous copyright claims that, if legitimated in court, would be cataclysmic for all transformative art--a victory for any of these spurious boondoggles would set a precedent that the bar for '''infringement''' is met by a process that is orders of magnitude less derivative than collage, sampling, found art, cut-ups, and even simple homage and reference. whatever windmills they think they are going to defeat, these people are crusading for the biggest expansion of copyright regime since mickey mouse and anyone who cares at all about art and creativity flourishing should hope they fail.

[badolmen]

I’m having a normal one.

[fatehbaz]

was thinking about this

To be in "public", you must be a consumer or a laborer.

About control of peoples' movement in space/place. Since the beginning.

"Vagrancy" of 1830s-onward Britain, people criminalized for being outside without being a laborer.

Breaking laws resulted in being sentenced to coerced debtor/convict labor. Coinciding with the 1830-ish climax of the Industrial Revolution and the land enclosure acts (factory labor, poverty, etc., increase), the Metropolitan Police Act of 1829 establishes full-time police institution(s) in London. The "Workhouse Act" aka "Poor Law Amendment Act of 1834" forced poor people to work for a minimum number of hours every day. The Irish Constabulary of 1837 sets up a national policing force and the County Police Act of 1839 allows justices of the peace across England to establish policing institutions in their counties (New York City gets a police department in 1844). The major expansion of the "Vagrancy Act" of 1838 made "joblessness" a crime and enhanced its punishment. (Coincidentally, the law's date of royal assent was 27 July 1838, just 5 days before the British government was scheduled to allow fuller emancipation of its technical legal abolition of slavery in the British Caribbean on 1 August 1838.)

---

"Vagrancy" of 1860s-onward United States, people criminalized for being outside while Black.

Widespread emancipation after slavery abolition in 1865 rapidly followed by the outlawing of loitering which de facto outlawed existing as Black in public. Inability to afford fines results in being sentenced to forced labor by working on chain gangs or prisons farms, some built atop plantations.

---

"Vagrancy" of 1870s-onward across empires, people criminalized for being outside while being "foreign" and also being poor generally.

Especially from 1880-ish to 1918-ish, this was an age of widespread mass movement of peoples due to the land dispossession, poverty, and famine induced by global colonial extraction and "market expansion" (Scramble for Africa, US "American West", nation-building, conquering "frontiers"), as agricultural "revolutions" of imperial monoculture cash crop extraction resulted in ecological degradation, and as major imperial infrastructure building projects required a lot of vulnerable "mobile" labor. This coincides with and is facilitated by new railroad networks and telegraphs, leading to imperial implementation or expansion of identity documents, strict work contracts, passports, immigration surveillance, and border checkpoints.

All of this in just a few short years: In 1877, British administrators in India develop what would become the Henry Classification System of taking and keeping fingerprints for use in binding colonial Indians to legal contracts. That same year during the 1877 Great Railroad Strike, and in response to white anxiety about Black residents coming to the city during Great Migration, Chicago's policing institutions exponentially expand surveillance and pioneer "intelligence card" registers for tracking labor union organizing and Black movement, as Chicago's experiments become adopted by US military and expanded nationwide, later used by US forces monitoring dissent in colonial Philippines and Cuba. Japan based its 1880 Penal Code anti-vagrancy statutes on French models, and introduced "koseki" register to track poor/vagrant domestic citizens as Tokyo's Governor Matsuda segregates classes, and the nation introduces "modern police forces". In 1882, the United States passes the Chinese Exclusion Act. In 1884, the Ottoman government enacts major "Passport Nizamnamesi" legislation requiring passports. In 1885, the racist expulsion of the "Tacoma riot".

Punished for being Algerian in France. Punished for being Chinese in San Francisco. Punished for being Korean in Japan. Punished for crossing Ottoman borders without correct paperwork. Arrested for whatever, then sent to do convict labor. A poor person in the Punjab, starving during a catastrophic famine, might be coerced into a work contract by British authorities. They will have to travel, shipped off to build a railroad. But now they have to work. Now they are bound. They will be punished for being Punjabi and trying to walk away from Britain's tea plantations in Assam or Britain's rubber plantations in Malaya.

Mobility and confinement, the empire manipulates each.

---

"Vagrancy" amidst all of this, people also criminalized for being outside while "unsightly" and merely even superficially appearing to be poor. San Francisco introduced the notorious "ugly law" in 1867, making it illegal for "any person, who is diseased, maimed, mutilated or deformed in any way, so as to be an unsightly or disgusting object, to expose himself or herself to public view". Today, if you walk into a building looking a little "weird" (poor, Black, ill, disabled, etc.), you are given seething spiteful glares and asked to leave. De facto criminalized for simply going for a stroll without downloading the coffee shop's exclusive menu app.

Too ill, too poor, too exhausted, too indebted to move, you are trapped. Physical barriers (borders), legal barriers (identity documents), financial barriers (debt). "Vagrancy" everywhere in the United States, a combination of all of the above. "Vagrancy" since at least early nineteenth century Europe. About the control of movement through and access to space/place. Concretizing and weaponizing caste, corralling people, anchoring them in place, extracting their wealth and labor.

You are permitted to exist only as a paying customer or an employee.

[andypantsx3]

IF YOU LET ME : TODOROKI SHOUTO x READER

SUMMARY: Disguised as a eunuch in the imperial palace, a mistake on your part leads to your unmasking before the prince. By rights it should mean your death, but Prince Shouto seems to have another plan in mind... CONTENT: Imperial Prince Shouto, AFAB fem reader, identity reveal, class differences, slight gender fuckery, historical sexism, implications of past sexual threats, vaguely imperial Japanese setting, deep historical inaccuracy, SFW (2.2k) NOTES: This was a barely-edited unplanned little thought demon I had to exorcise lol, thank you for being patient with me. Back to our regularly scheduled programming soon.

Your breast bindings were missing.

Fuck. Fuck fuck fuck.

You flipped your sleeping mat again, clawing through your blankets frantically, hoping you’d somehow missed them the first time. But only the tatami floor stared back up at you—strands of woven rice straw pale and bare.

You muttered a curse under your breath—you’d definitely forgotten to extract your bindings from where you’d shucked off yesterday’s robes, forgotten to squirrel them away before sinking into bed. And now they’d been whisked away by a palace maid to be laundered. Or worse, discovered.

Your eyes darted through your small sleeping chamber frantically, seeking a solution. You were already late for Prince Shouto’s first lesson of the day, and you needed all the time you could get with him today. You’d promised the Minister of Rites that you’d have a word with the prince, to try to persuade Shouto to accept the wife he was so persistently putting his advisors off on.

You were, after all, the prince’s closest confidant—his personal secretary and calligraphy tutor, an unthreatening eunuch from the lower classes with whom Shouto was clearly most at ease. And at least most of that was true—you did have Prince Shouto’s trust, friendship, and respect, as much as a member of the imperial family could bestow on a commoner, anyway.

If he was going to listen to anyone on the subject of taking a wife—at the very least one concubine, if not his future empress—it would be his trusted friend the eunuch.

There was just one very important detail that everyone, even His Highness, was mistaken about on that account.

One blasted detail that could get you killed at best were anyone to figure it out.

Your eyes fell back to your blankets, and you immediately grabbed two fistfuls, yanking as hard as you could until you felt the fabric give, the rip and tear echoing in the small space of your sleeping chamber. You kept ripping until a strip came free, a little smaller than what you usually had to work with.

But you were not about to complain, not at a time like this.

You flung the strip down to scrabble with the tie of your underrobe, unknotting it with fumbling fingers. You were just about to fling it off of you when there was a careful knock against the screen of your door.

You didn’t manage to stifle your reflexive scream, stumbling through a half-executed turn towards the door. The screen was suddenly thrown back with alarming force, Prince Shouto’s figure filling the doorway.

You yanked your shirt closed again, panicking, as you caught sight of the concern on his handsome face. You barely registered the other details, mind tripping over excuses, unable to appreciate the way his shoulders looked all the broader in his sokutai the way you normally did.

“Are you well?” Shouto demanded, his normally soft tone a little ragged. You watched his mismatched eyes dart quickly around your chambers, as if seeking a threat, only to drop back to you when there was none.

“Your Highness,” you said, lost for anything else.

“I heard—there was a scream,” he said, his eyebrows scrunching the tiniest bit.

He always looked his most beautiful when he was confused, you thought, focusing hard on a particular problem. Not that a common woman had any business thinking anything about the crown prince, never mind a woman masquerading as a man. But it was hard to ignore a face that beautiful, the way his gaze sharpened with focus, full mouth pursing as he thought through a problem.

He looked like that now as his gaze darted over you. And then suddenly his eyes dipped to your collarbone, and his features went perfectly, horribly still.

An elegant hand reached back, and he immediately drew the screen closed behind him, eyes never leaving you as he took another step into the room.

You stumbled back, almost tripping over your bedding. You did not dare to turn towards him or away, scuttling sideways instead like a nervous crab.

“Your Highness,” you began again, heart shooting into your mouth when Shouto’s long fingers tangled in your undershirt.

“Are you hurt?” he asked, his tone softening. You gripped your shirt closed as hard as you could against the tug of his fingers. “Did something happen?”

“N-nothing,” you stammered, not liking the way it made him clearly more suspicious. “I was just changing.”

But Shouto’s beautiful, cursed eyes dipped to your bedding, where the torn strip lay across your blankets in plain sight. You could almost see the calculation as his eyes widened the tiniest fraction, and his grip tightened on your robes. Of course he’d seen it, and of course it looked like a wound dressing you’d just been about to apply.

He took another step closer, too close, until you could feel the heat of him through your sleeve, smell the sweet blend of dried herbs the servants kept his clothing stored with.

You tried to twist out of Shouto’s grip without rucking up your shirt, but his hold was too strong.

“Let me see,” he ordered in his soft, low tone. Your heartbeat kicked up higher, hammering in your chest so hard it could have broken a rib.

It was a death sentence to ignore an order from a member of the imperial family. It was also a death sentence to reveal what you’d been these many years. You hoped Prince Shouto, something of a friend to you, would let you off lightly for ignoring him.

“Please, Your Highness,” you said, clinging even harder to the closure of your shirt. “I will be ready in just a moment, I am simply running late. I beg your forgiveness.”

But if there was one thing about the crown prince, it was that he was stubborn, bullheaded when it came to the ideas and goals he took seriously. And he had always made it clear he took your friendship seriously.

That perfect mouth shifted into a frown. “I order you to let me see,” he said, his tone still soft but firm. “You will let me.”

You froze under his hands, muscles locking up in panic. Shouto was still between you and the door, and your chambers were not wide enough for you to slip around him without him being able to easily catch you. He was also, unfortunately, extremely quick with sharp reflexes honed by years of swordsmanship. There would be no escaping this situation.

Fuck. Fuck, you were out of ideas.

“Hold still,” Shouto commanded gently, long fingers prying your stiff ones away from the shirt ties. You watched his face in mute panic, not wanting to see the flash of betrayal and disgust, but unable to look away as he prised your robes aside. Shame heated your cheeks.

Shouto’s long eyelashes dipped, before his gaze froze on your chest. For a second, he went as stiff as you. Then he was yanking your robes closed again, a watercolor of pink washing across the bridge of his nose and those high cheekbones.

His eyes darted back to yours, his expression perfectly still though his face was flushed. “You never told me,” he said accusingly.

The right thing to do in this situation was to go to your knees in a kowtow and beg for his mercy, but Shouto still had a grip on your robes and did not look like he meant to let go. You ducked your head in as much of a bow as you could manage, your face warm. “Your Highness, I have no excuse. I have betrayed you.”

When you had concocted this scheme, you had wanted to put yourself beyond the reach of a local official back in your home village. His advances were becoming increasingly aggressive, and as a common woman, you had no recourse. You could only escape into a place where his rule was circumvented by a superior one, where no man would think to have an interest in you.

You had not intended to become Prince Shouto’s tutor, had not anticipated the true risk of your gambit until it was already too late. But you would still rather die than be returned into the hands of your village’s preceptor.

If this is how it ended…

“I have compromised you,” Shouto’s voice startled you out of your memories.

You glanced up at him, befuddled.

Shouto’s fingers twisted in your robes. “Just now, and—all the many times we have been alone until now. I did not know.”

Honor and compromise were the least of your concerns right now, and would matter even less in the event of your death. You did not know where the prince meant to go with this.

“Your Highness, you were not expected to know,” you said, shame coiling in your belly. You would make the same choices you had made over again, if given the chance, but you had never meant to betray Shouto. You had genuinely liked him, and you would regret losing the chance to be by his side in the years to come.

Shouto’s eyes flicked over you in some kind of assessment. He lifted one hand from your shirt, gasping your scholar’s cap and tugging it free from your hair. You felt his fingers tangle so very gently in the strands of your hair, seeking out the ties and pins.

Your own eyes traced over him as he did, drinking in the firm planes of his chest in his sokutai, the dark blue a beautiful contrast with his pale skin. You heard pins dropping to the ground beside you, as Shouto rubbed a strand of your hair between his fingers. He seemed to be evaluating you in a new light, relearning your appearance though a clearer lens.

Disgust and betrayal were not evident in how delicately he was handling you. You did not know what this meant.

“They will put you to death if they know,” Shouto said, eyes slowly moving from the hair between his fingers to your face again. “You cannot hide like this forever.”

You did not know what other choice was to be had. If Shouto did not plan to put you to death himself, then what other choice did you have than to go on pretending?

Shouto’s gaze dropped to your mouth and you realized you’d spoken the thought aloud.

“There is one other way to put you beyond the reach of the court,” he said slowly.

You felt your eyebrows raise in question. “I cannot think of it, Your Highness.”

Shouto absently curled the strand of your hair about his fingers, the little crease between his perfect eyebrows appearing again. He looked the way he did when he played games with his strategy tutor, or when he was thinking hard on a new sword form.

“The ministers wish for me to take a wife,” Shouto said softly. “My household is mine to manage alone.”

Outside the laws of the court, he meant. A strange flutter went through you, heat spotting your cheeks again. Shouto’s presence before you was suddenly magnified a hundred fold, and you became singularly aware of the breadth and height of him, the heat of him almost against you.

“You do not want a wife,” you said, well aware of the many years he’d spent bullheadedly resisting the idea.

“I do not want any the ministers have selected for me,” Shouto corrected.

Your whole body felt flushed again. He meant he was amenable to you.

You had never let yourself think it but he was more than amenable to you as well.

“I would keep you safe,” he promised.

You almost slumped to the floor in relief, only Shouto’s grip on you keeping you upright. You would not die. You would not be returned to your village. You would, through all of this, it seemed, keep Shouto’s friendship.

“I know you would,” you said.

Shouto understood your acceptance. Slowly his fingers untwined themselves from your hair, and he drew your robes more firmly around you. Your body burned hot, still, stomach fluttering under his renewed brand of regard.

“I will arrange it quickly,” Shouto said. “You must stay here. I will send someone for you.”

You nodded.

Shouto looked regretful as he stepped back from you. “We will do it properly, later,” he said. “I will pay my respects to your family.”

You waved a hand frantically, shocked by the idea of the future emperor making his bows in your family’s rundown hut. It was not as though you would be his first-ranked wife or empress! He did not need to pay any respects to the family of a concubine out of a common family!

“There is no need,” you insisted, but Shouto was already turning towards the door. You could see by the set of his shoulders this was another thing he meant to be stubborn about.

“I will honor my first and only wife,” he said, turning to pin you with that heterochromatic gaze.

Your mouth dropped open in shock, but you had no time to reply before he was sliding the door closed behind him again, leaving you alone with the sudden weight of the statement. It had all happened so quickly, you had never expected that Shouto meant what he did.

You wondered what it meant that Shouto had made such a promise so readily, when he had known the truth about you for only minutes.

And you wondered if, like your original entry into the palace, you were getting yourself into something far beyond what you initially understood.