A pour-over style coffee pouch used to create a bitter brew. The students at Raya Lucaria’s Royal Academy consumed this enchanted elixir to aid their studies. But at what cost?
Temporarily increases Mind and (bowel) movement speed.
In middle school biology, we did an experiment. We were given yams, which we would sprout in cups of water. We then had to make hypotheses about how the yams would grow, based on descriptions of yam plants in our books, and make notes of our observations as they grew.
Here’s what was supposed to happen: we were supposed to see that the actual growth of the plant did not resemble our hypotheses. We were then supposed to figure out that these were, in fact, sweet potatoes.
What actually happened was that every single student in every single class lied in their notes so that their observations perfectly matched their hypotheses. See, everyone assumed the mismatch meant they had done something wrong in the process of growing the plant or that they had misunderstood the dichotomous key or the plant identification terminology. And, thanks to the wonders of a public school education, everyone assumed the wrong results would get us a failing grade. We were trying to pass. We didn’t want to get bitched out by the teacher. Curiosity, learning, science - that had nothing to do with why we were sitting in that classroom. So we all lied.
The teacher was furious. She tried to fail every student, but the administration stepped in and told her she wasn’t allowed to because a 100% fail rate is recognized as a failure of the teacher, not the class. It wasn’t even her fault, really, though her being a notorious hard-ass didn’t help. It was a failure of the entire educational system.
So whenever I see crap like Elizabeth Holmes’s blood test scam or pharmaceutical trials which are unable to be replicated or industry-funded research that reaches wildly unscientific conclusions, I just remember those fucking sweet potatoes. I remember that curiosity dies when people are just trying to give their superiors the “right” answers, so they can get the grade, get the job, get the paycheck. It’s not about truth when it’s about paying rent. There’s no scientific integrity if you can’t control for human desperation.
Track 1 on every modern metal album has to be called something like “Limerence of the Infinite”, is 90 seconds of synth pads, wet guitars playing a minor 2nd, and it’s only purpose is an unnecessarily slow and overlong build to track 2. I’m gonna skip that shit on every subsequent play-through.
Cassandra Cain... batgirl 2000.... Unstoppable force and immovable object. She can kill like others breathe but she will never kill again. A knife can have more than one use. If she can change then maybe anyone can but not everyone will. She knows change cannot not free her. One life lost is a life too many and she has blood on her hands. She wants to die, but she has so much work left to do.
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:
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:
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:
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:
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:
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:
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:
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:
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:
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":
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:
look, I know I've talked about this essay (?) before but like,
If you ever needed a good demonstration of the quote "Any sufficiently advanced technology is indistinguishable from magic", have I got an exercise for you.
Somebody made a small article explaining the basics of atomic theory but it's written in Anglish. Anglish is basically a made-up version of English where they remove any elements (words, prefixes, etc) that were originally borrowed from romance languages like french and latin, as well as greek and other foreign loanwords, keeping only those of germanic origin.
What happens is an english which is for the most part intelligible, but since a lot everyday english, and especially the scientific vocabulary, has has heavy latin and greek influence, they have to make up new words from the existing germanic-english vocabulary. For me it kind of reads super viking-ey.
Anyway when you read this article on atomic theory, in Anglish called Uncleftish Beholding, you get this text which kind of reads like a fantasy novel. Like in my mind it feels like it recontextualizes advanced scientific concepts to explain it to a viking audience from ancient times.
Even though you're familiar with the scientific ideas, because it bypasses the normal language we use for these concepts, you get a chance to examine these ideas as if you were a visitor from another civilization - and guess what, it does feel like it's about magic. It has a mythical quality to it, like it feels like a book about magic written during viking times. For me this has the same vibe as reading deep magic lore from a Robert Jordan book.
The kids on TikTok think that just because he was a classic country singer, Johnny Cash was conservative??? My babies he covered a Nine Inch Nails song in his seventies.
Classic country singers (the majority of which came from poor roots) were always talking about how much The Man sucked because they were taking money from poor rural folk. You’re gonna tell me that’s conservative?? Get outta here.
And somehow on the opposite side of the scale with the same exact opinion the conservative kids say “I like the old country music, because there’s no politics to it” Woodie Guthrie’s got a “this machine kills fascists” sticker on his guitar? You think there’s no politics in 9 to 5 or Folsom Prison Blues?!
For anyone confused there was a sudden and dramatic shift in the country music genre. It used to be a genre fixated on the experiences of people. Lived or common experiences that resonated with the common people. It was music that you listened to and it thrummed in tune to your soul because you had lived it yourself. And a lot of that was about ordinary people getting ground up in the gears of society.
The hyper patriotism, beer, and trucks chimera we have now didn't show up until after 9/11 and the world is lesser for it
Allow me to post the entire lyrics to the Johnny Cash song "Man in Black", released in nineteen goddamn seventy-one and written about why he always wore black onstage:
Well, you wonder why I always dress in black
Why you never see bright colors on my back
And why does my appearance seem to have a somber tone
Well, there's a reason for the things that I have on
I wear the black for the poor and the beaten down
Livin' in the hopeless, hungry side of town
I wear it for the prisoner who has long paid for his crime
But is there because he's a victim of the times
I wear the black for those who've never read
Or listened to the words that Jesus said
About the road to happiness through love and charity
Why, you'd think He's talking straight to you and me
Well, we're doin' mighty fine, I do suppose
In our streak of lightnin' cars and fancy clothes
But just so we're reminded of the ones who are held back
Up front there ought to be a man in black
I wear it for the sick and lonely old
For the reckless ones whose bad trip left them cold
I wear the black in mournin' for the lives that could have been
Each week we lose a hundred fine young men
And I wear it for the thousands who have died
Believin' that the Lord was on their side
I wear it for another hundred-thousand who have died
Believin' that we all were on their side
Well, there's things that never will be right, I know
And things need changin' everywhere you go
But 'til we start to make a move to make a few things right
You'll never see me wear a suit of white
Ah, I'd love to wear a rainbow every day
And tell the world that everything's okay
But I'll try to carry off a little darkness on my back
'Til things are brighter, I'm the man in black
That right there is an anti-war, anti-bigot, anti-mass-incarceration, anti-war-on-drugs (Cash was an addict in various stages of recovery who was pissed as hell about how this country treats people with substance issues), eat-the-rich protest song. And it was arguably his signature song, his personal manifesto. Notice that even the Jesus reference, which today would be a signal that the song is about to drop some racist dogwhistles, segues immediately into a line about "the road to happiness through love and charity". As in "Motherfucker, our shared god said love thy neighbor and care for the poor and the outsider, and we both know he didn't fucking stutter." He's throwing shade at self-described Christians who use his religion as a cudgel to beat people with.
Johnny Cash wasn't a conservative. I'm pretty sure if he were alive and in reasonably good health today, he'd knock Jason Aldean's teeth out (or, failing that, write a song so devastatingly memetic about how much Aldean sucks that Aldean would never work in music again).
Johnny Cash was punk rock. He just happened to be punk rock in the body of a country singer.
As I was reading those lyrics I was literally thinking “If you shouted this into a mic over some power chords it would absolutely be a hardcore punk song and probably clock in around 00 :47.
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