#blog hosting platform

[wjmdigitaldesign]

WordPress.com vs WordPress.org: What’s the Difference and Which One Should You Choose?

If you’re thinking about launching a website or starting a blog, chances are you’ve come across WordPress. But there’s a common point of confusion: WordPress.com vs WordPress.org. At first glance, they sound like the same thing — but they’re actually quite different platforms with distinct features, pros, and cons.

In this blog post, we’ll break down the differences between the two, help you understand which one suits your needs, and guide you toward the best choice for your website goals.

What is WordPress.org?

WordPress.org is the self-hosted version of WordPress. It’s the open-source software that anyone can download for free and install on their own web hosting server. With WordPress.org, you have full control over your website.

Key Features:

Complete Customization: Install any theme or plugin, modify the code, and design your site exactly the way you want.

Ownership: You fully own your website and all its content.

Monetization Freedom: Use any ad network, sell products, offer memberships, or add affiliate links with no restrictions.

Advanced Functionality: Great for eCommerce (using plugins like WooCommerce), custom development, SEO tools, and more.

Pros:

Total control and flexibility

Thousands of free and premium plugins/themes

Full access to your site's backend and data

Ideal for business, large blogs, and complex websites

Cons:

Requires web hosting (usually $5–$15/month)

You handle security, backups, and updates (though plugins can automate much of this)

Slightly steeper learning curve for beginners

What is WordPress.com?

WordPress.com is a hosted platform created by Automattic (the company behind WordPress). It offers a simplified, all-in-one solution for building a website without worrying about hosting, maintenance, or technical tasks.

Key Features:

No Hosting Needed: Hosting is included. No need to buy a separate plan or domain (though custom domains are available on paid plans).

Easy to Start: Perfect for beginners who want a fast and simple setup.

Maintenance-Free: WordPress.com handles updates, security, and backups.

Pros:

Free basic plan available

No setup or maintenance required

User-friendly dashboard

Great for hobby blogs, personal websites, or simple portfolios

Cons:

Limited customization (especially on the free plan)

Cannot upload custom themes or plugins unless on Business or higher plan

Limited monetization options on lower-tier plans

WordPress.com branding unless you upgrade

WordPress.com vs WordPress.org: Quick Comparison Table

Feature

WordPress.com

WordPress.org

Hosting

Included

You provide (self-hosted)

Cost

Free with paid upgrades

Free software, hosting cost

Custom Themes & Plugins

Limited (paid plans only)

Unlimited

Monetization Freedom

Limited

Full control

eCommerce

Only on paid plans

Full eCommerce support

Maintenance

Handled for you

You manage it

Suitable For

Beginners, personal blogs

Businesses, pros, devs

Which One Should You Choose?

Choose WordPress.com if:

You want a hassle-free experience and don’t want to manage hosting or security.

You’re a beginner with no technical background.

You just need a simple blog or portfolio site.

You’re okay with limited flexibility or willing to pay for premium features.

Choose WordPress.org if:

You want full control and the ability to customize everything.

You’re building a business website, store, or scalable project.

You need to monetize your content freely.

You're comfortable (or willing to learn) about managing your own hosting.

Final Thoughts

Both WordPress.com and WordPress.org offer powerful tools for creating websites, but the right choice depends on your goals. If you’re starting out or want something easy and low-maintenance, WordPress.com is a solid option. If you're aiming for maximum control, customization, and scalability, WordPress.org is the way to go.

Still unsure? Start with WordPress.com to get your feet wet — and when you’re ready for more freedom, you can always migrate to WordPress.org.

Need help deciding or building your site? Contact WJM Digital Design for professional guidance, custom WordPress development, and support tailored to your goals. info@wjmdigitaldesign.com

[thunderlina]

In the wake of the TikTok ban and revival as a mouthpiece for fascist propaganda, as well as the downfall of Twitter and Facebook/Facebook-owned platforms to the same evils, I think now is a better time than ever to say LEARN HTML!!! FREE YOURSELVES FROM THE SHACKLES OF MAJOR SOCIAL MEDIA PLATFORMS AND EMBRACE THE INDIE WEB!!!

You can host a website on Neocities for free as long as it's under 1GB (which is a LOT more than it sounds like let me tell you) but if that's not enough you can get 50GB of space (and a variety of other perks) for only $5 a month.

And if you can't/don't want to pay for the extra space, sites like File Garden and Catbox let you host files for free that you can easily link into NeoCities pages (I do this to host videos on mine!) (It also lets you share files NeoCities wouldn't let you upload for free anyways, this is how I upload the .zip files for my 3DS themes on my site.)

Don't know how to write HTML/CSS? No problem. W3schools is an invaluable resource with free lessons on HTML, CSS, JavaScript, PHP, and a whole slew of other programming languages, both for web development and otherwise.

Want a more traditional social media experience? SpaceHey is a platform that mimics the experience of 2000s MySpace

Struggling to find independent web pages that cater to your interests via major search engines? I've got you covered. Marginalia and Wiby are search engines that specifically prioritize non-commercial content. Marginalia also has filters that let you search for more specific categories of website, like wikis, blogs, academia, forums, and vintage sites.

Maybe you wanna log off the modern internet landscape altogether and step back into the pre-social media web altogether, well, Protoweb lets you do just that. It's a proxy service for older browsers (or really just any browser that supports HTTP, but that's mostly old browsers now anyways) that lets you visit restored snapshots of vintage websites.

Protoweb has a lot of Geocities content archived, but if you're interested in that you can find even more old Geocities sites over on the Geocities Gallery

And really this is just general tip-of-the-iceberg stuff. If you dig a little deeper you can find loads more interesting stuff out there. The internet doesn't have to be a miserable place full of nothing but doomposting and targeted ads. The first step to making it less miserable is for YOU, yes YOU, to quit spending all your time on it looking at the handful of miserable websites big tech wants you to spend all your time on.

[itex-studios]

15 Best AdSense Niches for Publishers in 2024

Google AdSense continues to be one of the most effective ways for website owners and publishers to monetize their content. The earnings you make depend significantly on the niche you choose, as some niches tend to attract higher-paying ads due to the competition and potential customer value. In 2024, certain niches are expected to remain highly lucrative for AdSense, especially those that deal…

[mehmetyildizmelbourne-blog]

Substack Mastery Book: Chapter 11

Supercharge Your Substack Newsletters with Blogging on WordPress, Medium, or Other Platforms: Here’s What You Need to Know and How to Get Started Right Now I wrote this chapter because I gained significant benefits from blogging, especially within the last 12 months when I started intensifying my efforts on Substack. Until I deliberately blogged my content published on Substack or sent it…

[expertsgroupit]

Manage all your social media accounts from one place

Social Media Management, Simplified. Crowdfire helps you discover and schedule content, and manage all your social accounts from one place. Publish content from your own blogs and sites. Pre-schedule all of your content. Get tailored posts for every social network. Discover relevant content based on your topics of interest. NB: 19M + users from all over the world use Crowdfire. Click here to begin for free

[pissvortex]

It’s actually kind of incredible to combat the transphobia and misogyny accusations by tracking a single woman down across multiple websites and replying to her account with 1,000 followers with a list of her, I am assuming private pornography accounts that you accessed by way of being the CEO of a $7.5 Billion dollar tech platform that hosts her blogs

[hexiva]

Roleplay Is Not Dead Nor Doth It Sleep

There's a post going around about how text-based, freeform roleplay is dead, and I was typing up a huge response to this, with an accompanying guide on how to find roleplayer in 2024, when I realized it might have a bigger reach if I made it its own post. So here's that guide.

I hesitate to say that there isn't a problem with the new format of social media making roleplay more difficult to find, but in the desire to make that point, the OP of the original post has left people with the idea that there's no way for them to get into freeform text roleplay in 2024. Which just isn't true! Here, look at all the ways.

Forums

The link to RPG-Directory to find roleplaying forums is a good start. Once you've found a forum RPG, even if you don't join, there's usually an 'advertising' section on that forum where other forum RPGs post their ads - this may help you to find forums that don't advertise on RPG-D.

Another really good forum to find roleplay on is Barbermonger. Barbermonger is focused on connecting people for one-on-one roleplays.

This last one's going to be weird, but it turns out that there are still people seeking roleplay on the Gaia Online forums after all these years. I think this is delightfully retro and then crowd there seems a little older than average. No pre-existing knowledge of Gaia required.

Tumblr

You can also find forum roleplay groups (as well as tumblr and Discord groups) right here on Tumblr. Usually, the thing to do is to use the search function - search for "[genre] rp" or "[fandom] rp" and sort by "latest." (If you sort by Top, you are likely to find dead RPs.) For example, here's fantasy rp, historical rp, and marvel rp. You can also try jcink rp, as most roleplay forums are hosted on Jcink these days, or discord rp, depending on your favored platform.

There are also tumblr blogs specifically dedicated to advertising roleplays. I'm not super familiar with these nowadays, but just in the process of searching those tags above, I found these:

Jcink Tinder

RPG Adverts

RPings

There are more, I just don't know them off the top of my head.

Reddit

Listen, don't run away, I swear it's good now - I swear Reddit is good now -

Reddit is a good place to find Discord roleplays. It's a little heavier on smut-only roleplays than other platforms mentioned here, but it's not impossible to find sexless, plot-based roleplay here either. Most ads are for one on one RP, but you can find groups mixed in here too. The big subreddits for text-based freeform RP seem to be:

r/DiscordRP

r/RoleplayPartnerSearch

r/roleplaying

r/Roleplay

Some of these have weird rules about what you can put in your ad, and I don't remember which ones, so read carefully and don't get discouraged if your ad is initially removed.

Discord

In 2024, Discord is by far the biggest and most popular platform for roleplay, and it has its own native roleplay advertising hubs. Here are a bunch:

roleplay partner hub

Rockin Roleplay

The Roleplay Garden

roleplay help

the roleplay connection

RP Central

Roleplay Central

Roleplay Hub

Barbermonger also has a Discord server

Roleplay Meets: Reborn

RP Hub

The Scribes Guild

DM Rp Village

cherry blossom! roleplay hub

DM-RP

Roleplay Round Table (21+)

The Historical Syndicate (specifically for historical roleplay)

The Roleplayer's Directory

If you can't find the Discord roleplay you want on here, you can also try Discord hub websites, like Disboard. These work similar to tumblr tags - search for [genre] rp or [fandom] rp.

Other

The original post specifically mentions that 'all the old "omegle but for role play" type websites died out ages ago'. This is mostly true, but not quite! There's still Rolechat. It's a little janky, but what it needs more than anything is a bigger user base. Their Discord server is also a good place to find one on one discord roleplay. It is, of course, free, but if you want to support its development, they have a patreon.

Please reblog this post, and add your own tips on how to find roleplay!

[zoe-oneesama]

Chloe shows us that even if she was expelled from Paris like a villain, her influence remains strong, and people don't care what she did if she promises them a reward. Somehow, they managed to make it so that, even though she wasn't in the city, she was indirectly the driving force behind the whole situation. It's as if the series just needs her to make things happen when they run out of ideas to execute. Unexpected? Not at all. Disappointing? Definitely. Ridiculous? Absolutely.

What is your opinion about this?

I think people (viewers, not in universe) are putting more energy into this than is necessary. Chloe didn't actually do anything in this episode - she hosted an online contest and announced a winner. Those were her two scenes. It was Aurore who took it too far. Using Chloe like this is just a different spin on Aurore losing the Weather Girl contest. To me, this is a totally appropriate and clever use of Chloe.

Now, there IS something to be said about these "community" platforms that the show is introducing. We've seen two thanks to this episode - a "Bee" Community, and a "Ladybug" Community, where accounts choose hero icons to represent themselves when they like a post. The "Bee" is hosted by Chloe while the "Ladybug" host is currently unknown (though we know Marinette is a member).

In the "Bee" community, Aurore's passionate posts about weather phenomenon were basically ignored while she scaled to the Top 10 in mere hours for posting out of context photos and spreading rumors about Adrien and Marinette. But in the "Ladybug" community, the same post that would've been completely ignored immediately got multiple likes, even one from her Idol Claudie Kante.

To me, this makes sense. The "Bee" Community is hosted by Chloe and so attracts people like her, who enjoy gossip blogs over deep dives. Aurore is not exempt from this, she goes as far as copying the No.1 ranked creator instead of creating her own work and starts caring more about popularity than the prize itself. But she's accepted for who she is in the "Ladybug" Community.

Like people attract like minded people. This episode has something to say (though not very loud) about the kind of communities we attach ourselves to online, and how they effect and change us in the real world. It's important to curate your online experience and to be diligent of being too influenced by what we see and interact with online.

In the "Bee" Community, Chloe's Community, Aurore sunk low and became consumed with unimportant things, betraying her friends and caring more about being No.1 than being an authentic or even good person. And her actions got her akumatized. Even though she won the contest, she had nothing to show for it.

In the "Ladybug" Community, Aurore was embraced for being unapologetically herself and confronting her wrongs. And her actions got her recognition from the person she idolized the most.

Chloe didn't have to do anything, the community she curates (and the communities that real world people make) were all that was necessary for this akuma.

[tofupixel]

TofuPixel Links + FAQ - Commissions Open!

🌟 Building a game: @wishlings 🌠

🎨 My Portfolio

Support me: 💜 Tip Me 💜 Digital Store 💜 Print Store 💜 Game Assets 💜 Stickers + Merch

Socials: Bluesky | Cara | GameJolt | TikTok

Yes you can use / cross-stitch my work for personal use! <3

🎨 Pixel Art Beginner Guide

Hello, I'm Tofu, a pixel artist based in England. I work full-time doing pixel illustrations or game-art. I started learning in my early 20s, so no it's not too late for you!

I run a 7k+ member Discord server called Cafe Dot, where we host events like gesture drawing and portrait club.

I currently have Good Omens brainrot so expect some fanart on this blog. I also occasionally do/reblog horror art so be mindful of that!

Due to so much AI nonsense on every platform, all my public work will be filtered/edited with anti-AI scraping techniques. Supporters on my Ko-Fi can see unfiltered work and also download it.

🌸 Want to learn how to do pixel art? Check my tutorial tag!

Other tags:

tutorial (not pixel specific)

my art

follow (artists i recommend)

🌟Free Stuff!!!

❔FAQ

What app do you use? I use Aseprite on PC and occasionally Pixquare on iOS (use code tofu for 30% off Pixquare!! <3) Free alternative: Libresprite on PC

Why does your art look so crunchy / compressed? Glaze

How did you learn pixel art? I first started out watching MortMort and making tiny sprites. Then once I started getting interested in landscapes/environment art, I did many, many Studio Ghibli studies.

How can I also protect my art? You can use Glaze and Nightshade- Glaze protects against Img2Img style copying, and Nightshade poisons the data so the AI thinks it's the opposite of what it actually is. There is a lot of misinformation going around (likely from pro-AI groups) so do your own research too! If you're a pixel artist you can also tilt or blur your art after upscaling, which will make it near useless to AI models (or regular thieves) once downscaled again.

Feel free to send me an ask if there's anything you want to know! I am always happy to help beginners :--3

[mostlysignssomeportents]

Prime’s enshittified advertising

Prime's gonna add more ads. They brought in ads in January, and people didn't cancel their Prime subscriptions, so Amazon figures that they can make Prime even worse and make more money:

https://arstechnica.com/gadgets/2024/10/amazon-prime-video-is-getting-more-ads-next-year/

The cruelty isn't the point. Money is the point. Every ad that Amazon shows you shifts value away from you – your time, your attention – to the company's shareholders.

That's the crux of enshittification. Companies don't enshittify – making their once-useful products monotonically worse – because it amuses them to erode the quality of their offerings. They enshittify them because their products are zero-sum: the things that make them valuable to you (watching videos without ads) make things less valuable to them (because they can't monetize your attention).

This isn't new. The internet has always been dominated by intermediaries – platforms – because there are lots more people who want to use the internet than are capable of building the internet. There's more people who want to write blogs than can make a blogging app. There's more people who want to play and listen to music than can host a music streaming service. There's more people who want to write and read ebooks than want to operate an ebook store or sell an ebooks reader.

Despite all the early internet rhetoric about the glories of disintermediation, intermediaries are good, actually:

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

The problem isn't with intermediaries per se. The problem arises when intermediaries grow so powerful that they usurp the relationship between the parties they connect. The problem with Uber isn't the use of mobile phones to tell taxis that you're standing on a street somewhere and would like a cab, please. The problem is rampant worker misclassification, regulatory arbitrage, starvation wages, and price-gouging:

https://pluralistic.net/2024/02/29/geometry-hates-uber/#toronto-the-gullible

There's no problem with publishers, distributors, retailers, printers, and all the other parts of the bookselling ecosystem. While there are a few, rare authors who are capable of performing all of these functions – basically gnawing their books out of whole logs with their teeth – most writers can't, and even the ones who can, don't want to:

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

When early internet boosters spoke of disintermediation, what they mostly meant was that it would be harder for intermediaries to capture those relationships – between sellers and buyers, creators and audiences, workers and customers. As Rebecca Giblin and I wrote in our 2022 book Chokepoint Capitalism, intermediaries in every sector rely on chokepoints, narrows where they can erect tollbooths:

https://chokepointcapitalism.com/

When chokepoints exist, they multiply up and down the supply chain. In the golden age of physical, recorded music, you had several chokepoints that reinforced one another. Limited radio airwaves gave radio stations power over record labels, who had to secretly, illegally bid for prime airspace ("payola"). Retail consolidation – the growth of big record chains – drove consolidation in the distributors who sold to the chains, and the more concentrated distributors became, the more they could squeeze retailers, which drove even more consolidation in record stores. The bigger a label was, the more power it had to shove back against the muscle of the stores and the distributors (and the pressing plants, etc). Consolidation in labels also drove consolidation in talent agencies, whose large client rosters gave them power to resist the squeeze from the labels. Consolidation in venues drives consolidation in ticketing and promotion – and vice-versa.

But there's two parties to this supply chain who can't consolidate: musicians and their fans. With limits on "sectoral bargaining" (where unions can represent workers against all the companies in a sector), musicians' unions were limited in their power against key parts of the supply chain, so the creative workers who made the music were easy pickings for labels, talent reps, promoters, ticketers, venues, retailers, etc. Music fans are diffused and dispersed, and organized fan clubs were usually run by the labels, who weren't about to allow those clubs to be used against the labels.

This is a perfect case-study in the problems of powerful intermediaries, who move from facilitator to parasite, paying workers less while degrading their products, and then charge customers more for those enshittified products.

The excitement about "disintermediation" wasn't so much about eliminating intermediaries as it was about disciplining them. If there were lots of ways to market a product or service, sell it, collect payment for it, and deliver it, then the natural inclination of intermediaries to turn predator would be curbed by the difficulty of corralling their prey into chokepoints.

Now that we're a quarter century on from the Napster Wars, we can see how that worked out. Decades of failure to enforce antitrust law allowed a few companies to effectively capture the internet, buying out rivals who were willing to sell, and bankrupting those who wouldn't with illegal tactics like predatory pricing (think of Uber losing $31 billion by subsidizing $0.41 out of every dollar they charged for taxi rides for more than a decade).

The market power that platforms gained through consolidation translated into political power. When a few companies dominate a sector, they're able to come to agreement on common strategies for dealing with their regulators, and they've got plenty of excess profits to spend on those strategies. First and foremost, platforms used their power to get more power, lobbying for even less antitrust enforcement. Additionally, platforms mobilized gigantic sums to secure the right to screw customers (for example, by making binding arbitration clauses in terms of service enforceable) and workers (think of the $225m Uber and Lyft spent on California's Prop 22, which formalized their worker misclassification swindle).

So big platforms were able to insulate themselves from the risk of competition ("five giant websites, filled with screenshots of the other four" – Tom Eastman), and from regulation. They were also able to expand and mobilize IP law to prevent anyone from breaking their chokepoints or undoing the abuses that these enabled. This is a good place to get specific about how Prime Video works.

There's two ways to get Prime videos: over an app, or in your browser. Both of these streams are encrypted, and that's really important here, because of a law – Section 1201 of the 1998 Digital Millennium Copyright Act – which makes it really illegal to break this kind of encryption (commonly called "Digital Rights Management" or "DRM"). Practically speaking, that means that if a company encrypts its videos, no one is allowed to do anything to those videos, even things that are legal, without the company's permission, because doing all those legal things requires breaking the DRM, and breaking the DRM is a felony (five years in prison, $500k fine, for a first offense).

Copyright law actually gives subscribers to services like Prime a lot of rights, and it empowers businesses that offer tools to exercise those rights. Back in 1976, Sony rolled out the Betamax, the first major home video recorder. After an eight-year court battle, the Supreme Court weighed in on VCRs and ruled that it was legal for all of us to record videos at home, both to watch them later, and to build a library of our favorite shows. They also ruled that it was legal for Sony – and by that time, every other electronics company – to make VHS systems, even if those systems could be used in ways that violated copyright because they were "capable of sustaining a substantial non-infringing use" (letting you tape shows off your TV).

Now, this was more than a decade before the DMCA – and its prohibition on breaking DRM – passed, but even after the DMCA came into effect, there was a lot of media that didn't have DRM, so a new generation of tech companies were able to make tools that were "capable of sustaining a substantial non-infringing use" and that didn't have to break any DRM to do it.

Think of the Ipod and Itunes, which, together, were sold as a way to rip CDs (which weren't encrypted), and play them back from both your desktop computer and a wildly successful pocket-sized portable device. Itunes even let you stream from one computer to another. The record industry hated this, but they couldn't do anything about it, thanks to the Supreme Court's Betamax ruling.

Indeed, they eventually swallowed their bile and started selling their products through the Itunes Music Store. These tracks had DRM and were thus permanently locked to Apple's ecosystem, and Apple immediately used that power to squeeze the labels, who decided they didn't like DRM after all, and licensed all those same tracks to Amazon's DRM-free MP3 store, whose slogan was "DRM: Don't Restrict Me":

https://memex.craphound.com/2008/02/01/amazons-anti-drm-tee/

Apple played a funny double role here. In marketing Itunes/Ipods ("Rip, Mix, Burn"), they were the world's biggest cheerleaders for all the things you were allowed to do with copyrighted works, even when the copyright holder objected. But with the Itunes Music Store and its mandatory DRM, the company was also one of the world's biggest cheerleaders for wrapping copyrighted works in a thin skin of IP that would allow copyright holders to shut down products like the Ipod and Itunes.

Microsoft, predictably enough, focused on the "lock everything to our platform" strategy. Then-CEO Steve Ballmer went on record calling every Ipod owner a "thief" and arguing that every record company should wrap music in Microsoft's Zune DRM, which would allow them to restrict anything they didn't like, even if copyright allowed it (and would also give Microsoft the same abusive leverage over labels that they famously exercised over Windows software companies):

https://web.archive.org/web/20050113051129/http://management.silicon.com/itpro/0,39024675,39124642,00.htm

In the end, Amazon's approach won. Apple dropped DRM, and Microsoft retired the Zune and shut down its DRM servers, screwing anyone who'd ever bought a Zune track by rendering that music permanently unplayable.

Around the same time as all this was going on, another company was making history by making uses of copyrighted works that the law allowed, but which the copyright holders hated. That company was Tivo, who products did for personal video recorders (PVRs) what Apple's Ipod did for digital portable music players. With a Tivo, you could record any show over cable (which was too expensive and complicated to encrypt) and terrestrial broadcast (which is illegal to encrypt, since those are the public's airwaves, on loan to the TV stations).

That meant that you could record any show, and keep it forever. What's more, you could very easily skip through ads (and rival players quickly emerged that did automatic ad-skipping). All of this was legal, but of course the cable companies and broadcasters hated it. Like Ballmer, TV execs called Tivo owners "thieves."

But Tivo didn't usher in the ad-supported TV apocalypse that furious, spittle-flecked industry reps insisted it would. Rather, it disciplined the TV and cable operators. Tivo owners actually sought out ads that were funny and well-made enough to go viral. Meanwhile, every time the industry decided to increase the amount of advertising in a show, they also increased the likelihood that their viewers would seek out a Tivo, or worse, one of those auto-ad-skipping PVRs.

Given all the stink that TV execs raised over PVRs, you'd think that these represented a novel threat. But in fact, the TV industry's appetite for ads had been disciplined by viewers' access to new technology since 1956, when the first TV remotes appeared on the market (executives declared that anyone who changed the channel during an ad-break was a thief). Then came the mute button. Then the wireless remote. Meanwhile, a common VCR use-case – raised in the Supreme Court case – was fast-forwarding ads.

At each stage, TV adapted. Ads in TV shows represented a kind of offer: "Will you watch this many of these ads in return for a free TV show?" And the remote, the mute button, the wireless remote, the VCR, the PVR, and the ad-skipping PVR all represented a counter-offer. As economists would put it, the ability of viewers to make these counteroffers "shifted the equilibrium." If viewers had no defensive technology, they might tolerate more ads, but once they were able to enforce their preferences with technology, the industry couldn't enshittify its product to the liminal cusp of "so many ads that the viewer is right on the brink of turning off the TV (but not quite)."

This is the same equilibrium-shifting dynamic that we see on the open web, where more than 50% of users have installed an ad-blocker. The industry says, "Will you allow this many 'sign up to our mailing list' interrupters, pop ups, pop unders, autoplaying videos and other stuff that users hate but shareholders benefit from" and the ad-blocker makes a counteroffer: "How about 'nah?'":

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

TV remotes, PVRs and ad-blockers are all examples of "adversarial interoperability" – a new product that plugs into an existing one, extending or modifying its functions without permission from (or even over the objections of) the original manufacturer:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Adversarial interop creates a powerful disciplining force on platform owners. Once a user grows so frustrated with a product's enshittification that they research, seek out, acquire and learn to use an adversarial interop tool, it's really game over. The printer owner who figures out where to get third-party ink is gone forever. Every time a company like HP raises its prices, they have to account for the number of customers who will finally figure out how to use generic ink and never, ever send another cent to HP.

This is where DMCA 1201 comes into play. Once a product is skinned with DRM, its manufacturers gain the right to prevent you from doing legal things, and can use the public's courts and law-enforcement apparatus to punish you for trying. Take HP: as soon as they started adding DRM to their cartridges, they gained the legal power to shut down companies that cloned, refilled or remanufactured their cartridges, and started raising the price of ink – which today sits at more than $10,000/gallon:

https://pluralistic.net/2024/09/30/life-finds-a-way/#ink-stained-wretches

Using third party ink in your printer isn't illegal (it's your printer, right?). But making third party ink for your printer becomes illegal once you have to break DRM to do so, and so HP gets to transform tinted water into literally the most expensive fluid on Earth. The ink you use to print your kid's homework costs more than vintage Veuve Cliquot or sperm from a Kentucky Derby-winning thoroughbred.

Adversarial interoperability is a powerful tool for shifting the equilibrium between producers, intermediaries and buyers. DRM is an even more powerful way of wrenching that equilibrium back towards the intermediary, reducing the share that buyers and sellers are able to eke out of the transaction.

Prime Video, of course, is delivered via an app, which means it has DRM. That means that subscribers don't get to exercise the rights afforded to them by copyright – only the rights that Amazon permits them to have. There's no Tivo for Prime, because it would have to break the DRM to record the shows you stream from Prime. That allows Prime to pull all kinds of shady shit. For example, every year around this time, Amazon pulls popular Christmas movies from its free-to-watch tier and moves them into pay-per-view, only restoring them in the spring:

https://www.reddit.com/r/vudu/comments/1bpzanx/looks_like_amazon_removed_the_free_titles_from/

And of course, Prime sticks ads in its videos. You can't skip these ads – not because it's technically challenging to make a 30-second advance button for a video stream, and doing so wouldn't violate anyone's copyright – but because Amazon doesn't permit you to do so, and the fact that the video is wrapped in DRM makes it a felony to even try.

This means that Amazon gets to seek a different equilibrium than TV companies have had to accept since 1956 and the invention of the TV remote. Amazon doesn't have to limit the quantity, volume, and invasiveness of its ads to "less the amount that would drive our subscribers to install and use an ad-skipping plugin." Instead, they can shoot for the much more lucrative equilibrium of "so obnoxious that the viewer is almost ready to cancel their subscription (but not quite)."

That's pretty much exactly how Kelly Day, the Amazon exec in charge of Prime Video, put it to the Financial Times: they're increasing the number of ads because "we haven’t really seen a groundswell of people churning out or cancelling":

https://www.ft.com/content/f8112991-820c-4e09-bcf4-23b5e0f190a5

At this point, attentive readers might be asking themselves, "Doesn't Amazon have to worry about Prime viewers who watch in their browsers?" After all browsers are built on open standards, and anyone can make one, so there should be browsers that can auto-skip Prime ads, right?

Wrong, alas. Back in 2017, the W3C – the organization that makes the most important browser standards – caved to pressure from the entertainment industry and the largest browser companies and created "Encrypted Media Extensions" (EME), a "standard" for video DRM that blocks all adversarial interoperability:

https://www.eff.org/deeplinks/2017/09/open-letter-w3c-director-ceo-team-and-membership

This had the almost immediate effect of making it impossible to create an independent browser without licensing proprietary tech from Google – now a convicted monopolist! – who won't give you a license if you implement recording, ad-skipping, or any other legal (but dispreferred) feature:

https://blog.samuelmaddock.com/posts/the-end-of-indie-web-browsers/

This means that for Amazon, there's no way to shift value away from the platform to you. The company has locked you in, and has locked out anyone who might offer you a better deal. Companies that know you are technologically defenseless are endlessly inventive in finding ways to make things worse for you to make things better for them. Take Youtube, another DRM-video-serving platform that has jacked up the number of ads you have to sit through in order to watch a video – even as they slash payments to performers. They've got a new move: they're gonna start showing you ads while your video is paused:

https://www.usatoday.com/story/money/2024/09/20/youtube-pause-ads-rollout/75306204007/

That is the kind of fuckery you only come up with when your victory condition is "a service that's almost so bad our customers quit (but not quite)."

In Amazon's case, the math is even worse. After all, Youtube may have near-total market dominance over a certain segment of the video market, but Prime Video is bundled with Prime Delivery, which the vast majority of US households subscribe to. You have to give up a lot to cancel your Prime subscription – especially since Amazon's predatory pricing devastated the rest of the retail sector:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

Amazon's founding principle was "customer obsession." Ex-Amazoners tell me that this was more than an empty platitude: arguments over product design were won or lost based on whether they could satisfy the "customer obsession" litmus test. Now, everyone falls short of their ideals, but sticking to your ideals isn't merely a matter of internal discipline, of willpower. Living up to your ideals is a matter of external discipline, too. When Amazon no longer had to contend with competitors or regulators, when it was able to use DRM to control its customers and use the law to prevent them from using its products in legal ways, it lost those external sources of discipline.

Amazon suppliers have long complained of the company's high-handed treatment of the vendors who supplied it with goods. Its workers have complained bitterly and loudly about the dangerous and oppressive conditions in its warehouses and delivery vans. But Amazon's customers have consistently given Amazon high marks on quality and trustworthiness.

The reason Amazon treated its workers and suppliers badly and its customers well wasn't that it liked customers and hated workers and suppliers. Amazon was engaged in a cold-blooded calculus: it understood that treating customers well would give it control over those customers, and that this would translate market power to retain suppliers even as it ripped them off and screwed them over.

But now, Amazon has clearly concluded that it no longer needs to keep customers happy in order to retain them. Instead, it's shooting for "keeping customers so angry that they're almost ready to take their business elsewhere (but not quite)." You see this in the steady decline of Amazon product search, which preferences the products that pay the biggest bribes for search placement over the best matches:

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

And you see it in the steady enshittification of Prime Video. Amazon's character never changed. The company always had a predatory side. But now that monopoly and IP law have insulated it from consequences for its actions, there's no longer any reason to keep the predator in check.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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

https://pluralistic.net/2024/10/03/mother-may-i/#minmax

[traegorn]

Time to be Internet Cockroaches

So I am constantly in active rebellion of the centralized web. We're in a world where all of our online interactions happen on just a handful of sites (and this includes DIscord and Tumblr too).

SO I WANT TO REMIND FOLKS -- YOU CAN BUILD YOUR OWN STUFF, AND WHEN YOUR FRIENDS DO IT YOU SHOULD USE IT.

Now I know not everyone can pay for their own webhosting and setup their own stuff, but for those of us who can -- we should. When every major platform is at risk, we should be splintering out across the web and decentralizing as much as we can.

I host the Nerd & Tie [dot] Social forums for my friends and my stuff for instance.

It's a "slow forum" right now, but it can support a lot more -- and works well on mobile. But, like, on a lot of webhosts setting up a Flarum forum like that takes almost zero technical skill.

And you can set up your own blog on a self hosted server. Like Wordpress is incredibly easy to set up on your own site, We run the main Nerd & Tie site -- and we use it to serve up our podcasts. I also use it to power my webcomics like Peregrine Lake.

My personal website comes from the old internet, so my blog is literally run from a hand coded piece of software I hacked together originally back in like 2001.

And you might be asking yourself "How do I follow blogs that are independently run" and the answer is simple -- RSS feeds.

RSS is an XML format that breaks down items in a standard way that can be interpreted by an RSS reader. You probably already use something that touches RSS feeds -- Podcasts run entirely on RSS feeds. I don't know if it still works, but even Tumblr blogs have RSS feeds at the url [username].tumblr.com/rss.

Now I use Thunderbird for email, which has a built in RSS reader to monitor certain blogs to watch for import updates.

Is it harder to discover people to follow in this model? Absolutely. The onus is on the reader to seek out the folks they want to read and interact with. But it's safer. We see with congress's attempts to constantly ban TikTok and Musk's destruction of Twitter that centralized platforms have deep vulnerabilities. By moving across the web to multiple datacenters on multiple hosts we ensure that we're much harder to get rid of.

Time to be the cockroach.

[spread-the-influence]

OH COOL ! A MASTERPOST !

a horror-comedy fan comic based on The Amazing Digital Circus where ragatha's the host of a parasitical virus and it becomes everyone's problem ! neat-o beans !

* this is also a VERY buttonblossom / pomni x ragatha-centric AU so if you don't enjoy that ship i don't recommend engaging with this sorry

[DISCLAIMER!] while this comic is mostly lighthearted in tone , this comic and au will contain topics that could disturb sensitive readers ! this includes ; graphic violence , depictions and discussions of emotional abuse , depictions of mental health issues , self-harm implications and imagery , obsession , and discussions of suicide . any more specifics will be tagged in the pages , but these are the ones that encompass the Entire comic basically !

( also i hope it's a given that i'm not romanticizing the toxic yuri in this au , )

if any of these topics make you uncomfortable , it's alright to click away or block the #tadc influence au tag .

!! if you want to support this comic , try sharing and talking about it in other platforms OR throw some money at my ko-fi page ! it'll be radical either way !!

LINKS

>> READ THE BEGINNING !

or , if you prefer ...

* TABLE OF CONTENTS ( returning reader or just someone who's not up for scrolling through the tags ? here's the table of contents ! contains links to the comic pages all in one place , any extras , and possible relevant posts in the >>info; tag ! )

* FREQUENTLY ASKED QUESTIONS ! ( questions that i have constantly been asked ! )

* AU POST ! ( for those who have read the comic and are curious about the au — and people that want to spoil the first half of the comic for themselves . i don't judge ! )

** OFFICE LORE POST ( not a necessary read , but would be cool to read if you're interested in the backstory for ... some reason ! )

* INFO CARDS ! ( info cards for the characters , just for funsies ! will contain blank templates for any ocs (: )

TAGS

[ highlighted are those of relevance + may be interesting ! ]

>>COMIC; - the comic ( be warned things will be out of order )

>>INFO; - specific asks about the au answered !

>>ASK; - old roleplay posts if you want to see em

>>MISC; - answered asks / non-comic stuff

WARNING: ESSAY - mod rambles

>>DOODLES; - doodles from yours truly

>>PRE-FLUENCE; - stuff before the horrors

>>POST-FLUENCE; - stuff after the horrors

>>ANIMATIONS; - ... animations

>>OFFICE LORE; - pre-circus

>>REBLOGS; - ... reblogs !

>>EXTRAS; - some extras or ' ambiguously canon ' comics !

GUIDELINES & BOUNDARIES

READ THE FAQ , PLEASE ! there are some questions that are , well , frequently asked ! so please read the faq and only send an ask if the question's not there

this is NOT an ask blog ! i will sometimes play along with ask blog-esque asks , but that's only just once in a while — so just please only ask me , the mod , for anything about the au !

you can call me mod bee . i go by she/her in this account

keep it impersonal please ! i would prefer if the asks are related to the au , my art , or tadc . i'm fine with being asked about my interests or what i think of something but otherwise , i appreciate if you do not ask about my life or what timezone i'm in .

my art is free to use ! feel free to use it as an icon , in an edit — anything really as long as you don't sell it or it's not used to spread hateful messages ! my only condition really is to credit me

reposts are fine ! just please make it clear that you did NOT create the art and LINK the account . i gave the free rein to repost the art , all i'm asking is to please respect these conditions !

please do not dm me . i do not like dms . any form of communication is only through the ask box .

this is not a tadc art requests blog so please don't send me any , i am Not going to draw your ship or draw ragatha as that animal . any requests should be about the au itself , or if you want me to draw a particular character .

i am uncomfortable with nsfw asks so please don't send them . i am fine with suggestive humor , though

remember to spread the influence.

[user211201]

My favorites stories (of 2024)

Looking for table of contents? Click here

Hi all, another year is almost over.

I wanted to take a moment to revisit some of my new favorites stories posted this year as well as some old-but-gold posts posted over the last couple years!

First, I want to put into spotlight some stories but out by authors that started out this year:

Catch! (βΓΦ) by @johnbrand

The Witch's Transformation part 1 and part 2 by @keozrb

Spare Parts by @yellowjestertfs

Personal Muscle, Uniform Included by @mrrharper

Miserable Nerd by @alphajocklover

Revenge: Jock Bro Style by @czascornertfs

The Jockrooms by @jockbroski34 (technically started in December of 2023, but...)

Some other reasonable mentions from seasoned authors this year would be:

The Silent Sentinel by @axeeglitter

Reversal Agents II: Going Back, the 2024 sequel to The Reversal Agents by @misctf

Immersive Mode™ by @artificial-transmutations

Be Kind Rewind (Fan title) by @salmonskinrolltf

americanalphajockbro.mp3 by @transform4u

3TH93USA by dumb-and-jocked (thank you for all your stories!)

AL:IV Everycop by @occamstfs

Next up are my old-but-gold favorites. Some of these authors have written dozens of stories and it was hard for me to pick just one favorite to recommend, but alas I can't make the post too long!

New Surf Instructor by @amalianetwork

Pledging the Frat by @agmsye

Mermaid Sire by @fafnir19

Construction Crew Recruitment by @bluecollarmcandtf

Well on your way (Fan title) by @bodriversblog

The Long Game by @captainmalewriter

Himbo Haunted House by @cinaedefuri2

Pills and Cubes by @deviantknight25

Rogue Muscle Drone by @dougtfs

Kristian by @fullfriendnerdpurse

Veni, vidi, vici by @guytransformedforever

Chess Rivals (Fan Title) by @hyphyphurray

Midnight Snack by @inanimatetffantasies

Pool Table by @jakelandry

Sentenced to Grow by @jd07201990

End of Shift by @joshslater (Phenomenal story, cruel and dystopian but super hot)

Making Todd by @joyfullovepirate

Get Digitized by @just-a-jock (Such a cool theme to write about. Would love to see more digitization-related stories!)

Replacing His Shirt by @mrcavanaughtf

Listen Up: Swimmer by newyoutf

The Box by @omnitf (and their many other excellent stories!)

Genieus Barber by @rakurairagnarok (Fellow Dutchie 🇳🇱)

Boxered into a promotion by @rozza22365 (I must admit it was hard to pick a favorite, haha)

Doctor's Orders by @king-craftsman

Magic Hoop by @the-tfstation

Career Day by @thetfchangingroom (One of my all-time favorites)

Oliver, the handyman by @the-volunteer-host

Terminal Boredom by @transformhim

Model Job by @octuscle

I also want to highlight that there are other good sites that also host great stories, here's some I'd recommend:

Thank me later, bro (Fan Title) by @adonker811

My Roommate Gives Me Nicknames by Derek Williams (From the good old NCMC days...)

Brothers in Arms by @idesofrevolution

Fantasy Models by Lusty Stallion

Permanent Vacation by Nameless

Won't let them change me by realhankmccoy

The Pred Policeman by RotherhamMan

Tailgating by TheBurdenBorne (originally posted on DeviantArt)

Swimming Confidence by ZacharyEverlust

If at this point you are still reading this post, thank you. Not too get too sappy but I really wanted to shine on a light on just how many amazing authors there are, some of which even still actively write stories today! Surely, there are some authors I may have forgotten but I think this is a good start!

I also want to quickly say thanks to blogs like @imsrtman, @bratboy197 for liking, reblogging, and archiving posts for everyone to keep reading. In this corner small corner of the internet where stories get taken down, authors move to different platforms, and some disappear into thin air it's nice to know not all stories are lost!

Furthermore, I want to give a special thanks @mrrharper for the good company and his tremendous help with proofreading some of my stories. As well as others in the community I have chatted with or helped archive more old stories!

Lastly, I hope this post motivates you to read and heart some of these great stories or perhaps inspire you to start writing your own!

-user2112001

[cheezitofthevalley]

a guide to internet graphics and my blog

I'll try to make this entertaining, but we have a lot to cover!

Q: Sooo... What are blinkies? Or buttons?

A: Blinkies are a type of graphic that was popular 15+ years ago on personal blogs, often on a web host called Geocities.

Geocities no longer exists, but lovers of the indie/old web use other platforms, such as the new Neocities, to make their own old web-inspired blogs. They often decorate these with collectible graphics.

Q: You haven't really answered my question. What's the difference between all of these graphics?

A: Well, there are a lot of different kinds of graphics. For the sake of time, I'll only talk about the ones I post.

Blinkies are usually 150x20 pixels, but many creators like to improve their quality by making them 300x40, or even larger. There are also some oddly-sized blinkies, like this one:

However, most blinkies adhere to the standard dimensions. Most of them also have "blinking" borders, and usually feature text.

Let's talk about buttons. Buttons are, well, buttons. This button specifically is 88x31. This seemingly random size was the standard for Geocities users back in the day, who used these buttons as a portal/advertisement to their website, as well as a way to say pretty much whatever they wanted. Lot's of companies used them as well. Here are some examples:

Not all buttons share this standard dimension, though. Here are some other possibilities:

There are variations of these, too. Some buttons look pretty weird:

...and there are blinkies called "chain blinkies" that look like something else entirely:

Q: Ok, cool. What about stamps?

A: Stamps are a bit different. They're a slighter newer thing, and were made popular on Deviantart in the early 2010's. They are traditionally 99x56 pixels, and can be used to decorate any blog or website. Here are some examples:

as you can see, they can be made with a variety of borders.

I would love to continue, but I think this is enough for today. I'll have a part two up within a couple days! Stay tuned for explanations and examples of dividers, favicons, fanlistings, web etiquette, and more!

part two!

[ellipsus-writes]

Each week (or so), we'll highlight the relevant (and sometimes rage-inducing) news adjacent to writing and freedom of expression. (Find it on the blog too!) This week:

Censorship watch: Somehow, KOSA returned

It’s official: The Kids Online Safety Act (KOSA) is back from the dead. After failing to pass last year, the bipartisan bill has returned with fresh momentum and the same old baggage—namely, vague language that could endanger hosting platforms, transformative work, and implicitly target LGBTQ+ content under the guise of “protecting kids.”

… But wait, it gets better (worse). Republican Senator Mike Lee has introduced a new bill that makes other attempts to censor the internet look tame: the Interstate Obscenity Definition Act (IODA)—basically KOSA on bath salts. Lee’s third attempt since 2022, the bill would redefine what counts as “obscene” content on the internet, and ban it nationwide—with “its peddlers prosecuted.”

Whether IODA gains traction in Congress is still up in the air. But free speech advocates are already raising alarm bells over its implications.

The bill aims to gut the long-standing legal definition of “obscenity” established by the 1973 Miller v. California ruling, which currently protects most speech under the First Amendment unless it fails a three-part test. Under the Miller test, content is only considered legally obscene if it 1: appeals to prurient interests, 2: violates “contemporary community standards,” and 3: is patently offensive in how it depicts sexual acts.

IODA would throw out key parts of that test—specifically the bits about “community standards”—making it vastly easier to prosecute anything with sexual content, from films and photos, to novels and fanfic.

Under Lee’s definition (which—omg shocking can you believe this coincidence—mirrors that of the Heritage Foundation), even the most mild content with the affect of possible “titillation” could be included. (According to the Woodhull Freedom Foundation, the proposed definition is so broad it could rope in media on the level of Game of Thrones—or, generally, anything that depicts or describes human sexuality.) And while obscenity prosecutions are quite rare these days, that could change if IODA passes—and the collateral damage and criminalization (especially applied to creative freedoms and LGBT+ content creators) could be massive.

And while Lee’s last two obscenity reboots failed, the current political climate is... let’s say, cloudy with a chance of fascism.

Sound a little like Project 2025? Ding ding ding! In fact, Russell Vought, P2025’s architect, was just quietly appointed to take over DOGE from Elon Musk (the agency on a chainsaw crusade against federal programs, culture, and reality in general).

So. One bill revives vague moral panic, another wants to legally redefine it and prosecute creators, and the man who helped write the authoritarian playbook—with, surprise, the intent to criminalize LGBT+ content and individuals—just gained control of the purse strings.

Cool cool cool.

AO3 works targeted in latest (massive) AI scraping

Rewind to last month—In the latest “wait, they did what now?” moment for AI, a Hugging Face user going by nyuuzyou uploaded a massive dataset made up of roughly 12.6 million fanworks scraped from AO3—full text, metadata, tags, and all. (Info from r/AO3: If your works’ ID numbers between 1 and 63,200,000, and has public access, the work has been scraped.)

And it didn’t stop at AO3. Art and writing communities like PaperDemon and Artfol, among others, also found their content had been quietly scraped and posted to machine learning hubs without consent.

This is yet another attempt in a long line of more “official” scraping of creative work, and the complete disregard shown by the purveyors of GenAI for copyright law and basic consent. (Even the Pope agrees.)

AO3 filed a DMCA takedown, and Hugging Face initially complied—temporarily. But nyuuzyou responded with a counterclaim and re-uploaded the dataset to their personal website and other platforms, including ModelScope and DataFish—sites based in China and Russia, the same locations reportedly linked to Meta’s own AI training dataset, LibGen.

Some writers are locking their works. Others are filing individual DMCAs. But as long as bad actors and platforms like Hugging Face allow users to upload massive datasets scraped from creative communities with minimal oversight, it’s a circuitous game of whack-a-mole. (As others have recommended, we also suggest locking your works for registered users only.)

After disavowing AI copyright, leadership purge hits U.S. cultural institutions

In news that should give us all a brief flicker of hope, the U.S. Copyright Office officially confirmed: if your “creative” work was generated entirely by AI, it’s not eligible for copyright.

A recently released report laid it out plainly—human authorship is non-negotiable under current U.S. law, a stance meant to protect the concept of authorship itself from getting swallowed by generative sludge. The report is explicit in noting that generative AI draws “on massive troves of data, including copyrighted works,” and asks: “Do any of the acts involved require the copyright owners’ consent or compensation?” (Spoiler: yes.) It’s a “straight ticket loss for the AI companies” no matter how many techbros’ pitch decks claim otherwise (sorry, Inkitt).

“The Copyright Office (with a few exceptions) doesn’t have the power to issue binding interpretations of copyright law, but courts often cite to its expertise as persuasive,” tech law professor Blake. E Reid wrote on Bluesky.As the push to normalize AI-generated content continues (followed by lawsuits), without meaningful human contribution—actual creative labor—the output is not entitled to protection.

… And then there’s the timing.

The report dropped just before the abrupt firing of Copyright Office director Shira Perlmutter, who has been vocally skeptical of AI’s entitlement to creative work.

It's yet another culture war firing—one that also conveniently clears the way for fewer barriers to AI exploitation of creative work. And given that Elon Musk’s pals have their hands all over current federal leadership and GenAI tulip fever… the overlap of censorship politics and AI deregulation is looking less like coincidence and more like strategy.

Also ousted (via email)—Librarian of Congress Carla Hayden. According to White House press secretary and general ghoul Karoline Leavitt, Dr. Hayden was dismissed for “quite concerning things that she had done… in the pursuit of DEI, and putting inappropriate books in the library for children.” (Translation: books featuring queer people and POC.)

Dr. Hayden, who made history as the first Black woman to hold the position, spent the last eight years modernizing the Library of Congress, expanding digital access, and turning the institution into something more inclusive, accessible, and, well, public. So of course, she had to go. ¯\_(ツ)_/¯

The American Library Association condemned the firing immediately, calling it an “unjust dismissal” and praising Dr. Hayden for her visionary leadership. And who, oh who might be the White House’s answer to the LoC’s demanding and (historically) independent role?

The White House named Todd Blanche—AKA Trump’s personal lawyer turned Deputy Attorney General—as acting Librarian of Congress.

That’s not just sus, it’s likely illegal—the Library is part of the legislative branch, and its leadership is supposed to be confirmed by Congress. (You know, separation of powers and all that.)

But, plot twist: In a bold stand, Library of Congress staff are resisting the administration's attempts to install new leadership without congressional approval.

If this is part of the broader Project 2025 playbook, it’s pretty clear: Gut cultural institutions, replace leadership with stunningly unqualified loyalists, and quietly centralize control over everything from copyright to the nation’s archives.

Because when you can’t ban the books fast enough, you just take over the library.

Rebellions are built on hope

Over the past few years (read: eternity), a whole ecosystem of reactionary grifters has sprung up around Star Wars—with self-styled CoNtEnT CrEaTorS turning outrage to revenue by endlessly trashing the fandom. It’s all part of the same cynical playbook that radicalized the fallout of Gamergate, with more lightsabers and worse thumbnails. Even the worst people you know weighed in on May the Fourth (while Prequel reassessment is totally valid—we’re not giving J.D. Vance a win).

But one thing that shouldn't be up for debate is this: Andor, which wrapped its phenomenal two-season run this week, is probably the best Star Wars project of our time—maybe any time. It’s a masterclass in what it means to work within a beloved mythos and transform it, deepen it, and make it feel urgent again. (Sound familiar? Fanfic knows.)

Radicalization, revolution, resistance. The banality of evil. The power of propaganda. Colonialism, occupation, genocide—and still, in the midst of it all, the stubborn, defiant belief in a better world (or Galaxy).

Even if you’re not a lifelong SW nerd (couldn’t be us), you should give it a watch. It’s a nice reminder that amidst all the scraping, deregulation, censorship, enshittification—stories matter. Hope matters.

And we’re still writing.

Let us know if you find something other writers should know about, or join our Discord and share it there!

- The Ellipsus Team xo