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astridthevalkyrie · 27 days

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cw: afab reader + she/her pronouns, creepy stuff, yandere ig??, very very very brief and extremely mild use of phone as a vibrator, if you've seen gravity falls this is inspired by the soos and the real girl ep 💀

You pause and exit out of the app right as you open up the video call link, ignoring the twinge of guilt you feel at leaving during such a steamy scene. It's not real, you remind yourself, like you have a million times in the past month. A part of you wants to find the coziest corner of this library and play until you've leveled up all the memories you can and gone on all nine claw machine dates you're allowed to, but it's time to unplug.

Besides, you have an actual date.

"Hey!" your boyfriend greets as soon as the video loads up, grinning when he sees your face. "Are you in the library?"

"Yeah. Booked a room all for you," you tease, setting your phone down to focus on your laptop.

"Wow, I'm flattered. So what's been up lately?"

You sigh. "Nothing much. Same old boring stuff. What about you?"

He starts talking about his new job, the entire reason that you and he have been long-distance for the past few months. You're not going to lie to yourself—it's rough. It feels like torture, not being able to see him and hold him and kiss him. You've really, really missed him. That's probably why you've turned to dating sims of all things in the first place.

Your phone buzzes while he's talking, and your eyes flick over to the screen.

new text from alien boy <3

Your brows furrow in confusion. This app doesn't notify you about new texts, because they only come through while you're on the app itself. And you never just get texts, unless you've leveled up on affinity, which you haven't in the past half hour.

Whatever. Probably some new feature or event you don't know about yet. You turn your attention back to your boyfriend.

"—And my break will be in two weeks," he finishes his story, then smiles. "Which means in two weeks I'll be seeing you, pretty girl."

Eyes lighting up, you lean in so you can blow him a light kiss. "I can't wait. I already have the whole weekend planned out. We'll go to the park, the museum—I thought we could go canoeing if you wanted to—"

Once again, your phone buzzes.

alien boy <3: didn't we have plans that weekend?

Your stomach flips unpleasantly.

Huh?

"What is it?" your boyfriend asks, noticing your struck expression.

"N-nothing, just—this app I downloaded, it gave me a super weird notification. For a second, I thought it was, like, listening to me."

He chuckles. "Creepy. What app is it?"

"Nothing," you say quickly, not sure if you should even tell your boyfriend that you've found solace in fictional characters during his absence. "Just some stupid game."

This time when your phone buzzes, you jump a little in your seat.

It's not a text. Someone's calling you. Your shoulders almost sag until you notice there's no name on the caller id, just a small spaceship emoji.

"What the hell," you mutter under your breath, putting one finger up to the camera. Your boyfriend nods in understanding, leaning back and muting himself while you swipe and answer the call. "Hello?"

No answer.

"Hello-o-o?"

Still nothing. You almost hang up, until the barest of sounds makes your ears perk up. If you strain them and press the phone so close it's smushing your cheek, you can hear something. It sounds like someone whispering, but you can't make out anything.

"Hello? Um, your audio is super low, I can barely hear you. Hello? Can you hear me?"

With no change, you hang up, frustrated. It might be a prank call. You're in the library on a Friday night and there's barely anyone here, one of your friends might've thought it was hilarious to mess with you.

"Spam call." You shrug uneasily, slipping the phone down between your thighs this time instead of on the table. He nods in understanding, then starts saying something.

"You're still on mute, sweetheart, I can't hear you."

He makes an oh face, then leans forward a bit to use the mouse. After a few seconds, though, his eyes narrow in focus and he shakes his head. He looks up, mouthing can you hear me now?

"Nope. Can you still hear me?"

An affirmative nod. Weird. It's still showing that he's muted on your end. "What, is it not clicking?"

You see him look back up to the screen, whether to nod or shake his head, you don't find out, because the screen glitches out for a moment, and all you see is a door.

You shriek, clamping a hand over your mouth.

His face is back in front of you again, and you still can't hear him, but he clearly sees how freaked out you are, because he tilts his head up concernedly, as though to ask you what's wrong.

You didn't scream because of the glitch.

You screamed because you've visited your boyfriend at his new place before, and that door was his door.

"Can you hear me? Is your door locked?" He only looks more confused, shaking his head like you're the one who's muted now.

Your phone lights up before you can grab it and call him, and you gasp when it buzzes against your core and doesn't stop buzzing. It doesn't vibrate this much when you get a call, and there is no call on the home screen, nor text, nor any kind of notification. It feels like it presses itself into your skin more, and you grip the table with one hand at the brief jolt of pleasure before snatching it and unlocking the screen.

Before you can click the phone app, Love&Deepspace opens. You groan in frustration, trying to swipe up to no avail. Did you accidentally click on it? It wasn't even in the list of apps on your main page.

Movement from your laptop catches your eye. Your boyfriend's looking forward, but not at the camera. He's looking at—at something, and he backs up in his chair, looking terrified all of a sudden.

"What is it?" you say as loud as you can, but even if he does hear you, he doesn't respond, and instead, his mouth falls open in a silent scream.

The screen goes black, and then so does the entire library.

"Holy shit, holy shit, holy shit." You look back down at your phone, ready to crack it if it doesn't swipe up and get out of this stupid app—

There's no one there.

Your heart stutters in its chest.

There's always someone in the Destiny Cafe.

There's no one there.

And on the little white armchair in the background, there's a dark streak of red dripping down and staining the cloth.

"What the fuck," you whisper, eyes wide. Your laptop screen flickers.

The facetime has been replaced by grey-blonde hair, that gently brushes against baby blue eyes with a soft, unassuming smile.

"You shouldn't pause me," he coos, "now, where were we?"

a/n: i hope no one tells me that people don't put their phones between their thighs while sitting bc i very much do. also. i'm talking to a guy on FT in the library tomorrow. hope i don't have gift of foresight. or maybe i hope i do muwahahaha. this is actually mad goofy and not scary at all

#love and deepspace #l&ds #lads #xavier fic #yandere xavier #xavier x reader #lads x reader #lads xavier #l&ds x reader #xavier #l&ds fic #xavier x you #xavier x mc #xavier x y/n #love and deepspace xavier #valkyrie stories

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thefloatingstone · 2 months

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Puff please tell me about Grunt I just saw a Tumblr post you reblogged that vaguely went into detail and I read a small bit of his wiki page but I want to hear it in your own words because it's like 10x more interesting with that filter. Fill my dash with grunt lore

GRUNT IS SHEPARD'S VERY LARGE SON

I don't know whether the designers originally created him with this thought in mind or not but it's really funny because by the time the DLC came out for ME2 you can see the games just fully embracing what was originally just a joke in the Mass Effect fandom.

I used to not be fully into it as a concept but as I'm busy replaying ME3 and having just played ME2 again... nah people were right. He's our son.

He was created in a lab to be an "ultimate krogan warrior" or whatever, but when Shepard cracked how out of his tube, he had did not have that "burning desire of revenge in the name of his species" the scientist who made him was obsessed by. Physically he was perfect, but psychologically, he just didn't understand why he should care about being a krogan. in ME2 when he's introduced, his story arc is helping him connect with what it means to be a krogan, and to help him find purpose as an individual. You essentially help raise this adolescent fully formed person out of apathy and teach him how to care about things, concepts and people, almost completely through actions and not so much through words.

As ME2 goes on, it becomes clear Grunt very much wants Shepard's approval about things, which is funny because at first he comes across as a cold, uncaring fully formed adult, but as you help him learn how to connect with being a member of his species, he'll sometimes want to talk to Shepard JUST to be like "Hey Shepard!! I thought about something to do with being Krogan I thought you'd approve of! listen to this!!"

In the DLC for ME2, you can read up on his internet search history as well as his online purchase history and I just.... think a lot of it explains SO MUCH about him as a character. So I'm just copy and pasting those here

SEARCH: krogan history SEARCH: great wars SEARCH: genofage / ERASED / krogan victories SEARCH: okeer/ ERASED / great generals SEARCH: toochanka/ ERASED / tuchanka SEARCH: urnot wrex SEARCH: battlemaster shepard/ MODIFIED/ commander shepard/MODIFIED/commander shepard normandy SEARCH: animal fights / MODIFIED / large predators SEARCH: tryrannsauros wrex/ ERASED / earth lizard wrex SEARCH: dinosaurs

SEARCH: battlemaster humans/ ERASED / earth humans SEARCH: human history SEARCH: earth wars // DOWNLOAD 6.1T NEWS FOOTAGE - HUMAN GENERAL HISTORICAL - CONFLICT // SEARCH: warrior humans // DOWNLOAD 2.1T DOCUMENTARY FOOTAGE - HUMAN GENERAL HISTORICAL- MAJOR MILITARY FIGURES // SEARCH: great humans/ MODIFIED / honored humans // DOWNLOAD 0.7T NEWSFOOTAGE [sic] - HUMAN ACHIEVEMENT- AWARDS // SEARCH: great storytellers human SEARCH: war stories // DOWNLOAD 0.67T LITERATURE - HUMAN WRITERS CONFLICT// SEARCH: human homer kipling hemmingway // DOWNLOAD 0.13T LITERATURE - HUMAN WRITERS – EARNEST HEMMINGWAY // // DOWNLOAD 0.06T AUDIO BOOKS // // THE SUN ALSO RISES // 14% COMPLETED // FOR WHOM THE BELL TOLLS // 100% COMPLETED // A FAREWELL TO ARMS // DELETED // THE OLD MAN AND THE SEA // 100% COMPLETED SEARCH: sharks

CATALOG ORDER: Ultra Black Ops Mega Catalog PURCHASE 2823- UG-652: Case Premium 54/ER Engine Oil VIDEO DOWNLOAD: The Madness of Sacrifice: The Unauthorized Biography of Warlord Okeer PURCHASE 2856- UG-122: Economy Box, Fishdog Food Factory "Tastee Bites" VIDEO DOWNLOAD: When Fauna Attacks! Volumes 1-10 PURCHASE 3254-UG-975: Batax's Hot Fish Spice VIDEO DOWNLOAD: Vaenia (this is a movie) VIDEO DOWNLOAD: Asari Confessions 26: True Blue (this is porn) PURCHASE 9683- UG-662: Fornax Special Spotlight: Krogan Edition (this is a human magazine focusing on interspecies sexual relations) PURCHASE 8856- UG-972: Captain Cosmic Action Figures: "Garr the Krogan Battlemaster" with real smash your enemies action!

By the time ME3 comes around, most of the rest of the squad is referring to Grunt in terms poking fun at the fact that Shepard is his mom. I think it's Joker who at one point comments "Our baby boy's all grown up" or something to that effect. I can't remember the exact dialogue. I think at one point Garrus also jokes about how "they grow up so fast" or something along those lines.

He also loves spicy ramen.

Grunt is a good boy.

#Mass Effect #Urdnot Grunt #I'm not saying much about ME3 to avoid spoilers for now

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toskarin · 22 days

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»GET://NOISE« WORKING WITH RI47 HEAVY INDUSTRIES FOR PROFIT AND UNPROFIT

so, I do feel like I should clarify my actual policy on using my tracks in projects. I do this every now and again, but to be fair, circumstances change pretty often

these aren't blanket licences or anything because honestly a few of these are like... complicated enough that it's literally easier to just talk to someone after the conditions are met and give them permission in writing. in nearly every single case, the first step is "contact me directly and we'll make things work"

if you're working on a project to raise money for Palestinian aid, I am especially interested in working with you. of course, I will be checking to make sure the money is actually going to help the people it's supposed to, as I'm unfortunately aware of how many people are trying to take advantage of these tragedies for their own benefit

a case-by-case reference with slightly more detail is included below

if you want to download Ri47 music to listen to but can't afford it... legally, I care that you pirate my music. personally, never tell me about it. I don't want to see that, I'm not signed to a label that seeks out uses of my music, and I understand that the international economy is in shambles. ideologically, I am pro-piracy. don't do anything that will legally force me to care (using my work in a commercial project without permission, for example) and we'll both keep on living our lives as we were

if you want to remix a Ri47 track and need stems… I don't have the stems either. I'm bad at recordkeeping, tune my samples by ear, and primarily do my own last pass of mixing in audacity. I might have some stems kicking around, but the odds are that I'm as empty-handed as you are. sorry about that lol

if you want to use a Ri47 song in your freeware (read: not for sale) project... that's probably fine. contact me first, not because I'm going to spring a fee on you, but because a few of my songs are already licensed out to projects that make it a little more challenging to hand them out. this is mostly applicable if you're making rpgmaker games you don't intend on selling

if you want to use a Ri47 song in your small-scale commercial project... if you're making a promo video for a stream, need music for a podcast, or anything like that, contact me first. in almost every case, as long as what you're making isn't a persistent standalone work (read: something you are selling directly, with my music as part of the package) the most I'll usually ask is that you buy one copy of the album

if you want to use a Ri47 song in a more serious commercial project... you can contact me directly to get a licence. I usually don't work on royalties unless you are selling a product that I'd consider "reselling" my work (read: an OST album or other primarily audio-based product) and I'm happy to work with people to find a deal that works for them

if you want to use a Ri47 song in a project that is intended to raise funds for a not-for-profit charity, especially in providing aid to Palestine… the freeware conditions apply. let me know about your plans beforehand, because I almost certainly want to be more directly involved, but there are very few cases where I would say no to this sort of thing

if you need original music or sound design done by Ri47... I'm booked out about a year or so in advance, so I can't promise I can actually join a team actively, but this is extremely contextual. if you need some UI sounds or a handful of piano pieces to feature in a project, I'm much more likely to find time for that

if you want me to feature on an album or compilation, whether that be contributing a song or remixing one that you provide… contact me and let's talk. this one's the most complicated conditions-wise, but I don't bite

the bottom line being... I work within all budgets and project scopes. even if you think the answer is no, drop me a line and you might be surprised. if you're unsure, I'll happily help you figure out what exactly you need. it's easier than taxes!

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mostlysignssomeportents · 2 years

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Kickstarting the "Chokepoint Capitalism" audiobook

My next book is Chokepoint Capitalism, co-written with the brilliant copyright expert Rebecca Giblin: it’s an action-oriented investigation into how tech and entertainment monopolies have destroyed creators’ livelihoods, with detailed, shovel-ready plans to unrig creative labor markets and get artists paid.

http://www.beacon.org/Chokepoint-Capitalism-P1856.aspx

Ironically, the very phenomenon this book describes — “chokepoint capitalism” — is endemic to book publishing, and in audiobook publishing, it’s in its terminal phase. There’s no way to market an audiobook to a mass audience without getting trapped in a chokepoint, which is why we’re kickstarting a direct-to-listener edition:

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

What is “chokepoint capitalism?” It’s when a multinational monopolist (or cartel) locks up audiences inside a system that they control, and uses that control to gouge artists, creating toll booths between creators and their audiences.

For example, take Audible: the Amazon division controls the vast majority of audiobook sales in the world — in some genres, they have a 90%+ market-share. Audible requires every seller — big publishers and self-publishers alike — to use their proprietary DRM as a condition of selling on the platform.

That’s a huge deal. DRM is useless at preventing copyright infringement (all of Audible’s titles can be downloaded for free from various shady corners of the internet), but it is wildly effective at locking in audiences and seizing power over creators. Under laws like the USA’s Digital Millennium Copyright Act, giving someone a tool to remove DRM is a felony, punishable by 5 years in prison and a $500k fine.

This means that when you sell your audiobooks on Audible, you lock them to Audible’s platform…forever. If another company offers you a better deal for your creative work and you switch, your audience can’t follow you to the new company without giving up all the audiobooks they’ve bought to date. That’s a lot to ask of listeners!

Amazon knows this: as their power over creators and publishers has grown, the company has turned the screw on them, starting with the most powerless group, the independent creators who rely on Amazon’s self-serve ACX system to publish their work.

In late 2020, a group of ACX authors discovered that Amazon had been systematically stealing their wages, to the tune of an estimated $100,000,000. The resulting Audiblegate scandal has only gotten worse since, and while the affected authors are fighting back, they’re hamstrung by Amazon’s other unfair practices, like forcing creators to accept binding arbitration waivers on their way through the chokepoint:

https://pluralistic.net/2020/11/03/somebody-will/#acx

I have always had a no-DRM policy for my ebooks and audiobooks. Amazon’s Kindle store — another wildly dominant part of the books ecosystem — has always allowed authors to choose whether or not to apply DRM, but in Audible — where Amazon had a commanding lead from the start, thanks to their anti-competitive acquisition of the formerly independent Audible company — it is mandatory.

Because Audible won’t carry my DRM-free audiobooks, audiobook publishers won’t pay for them. I don’t blame them — being locked out of the market where 90%+ of audiobooks are sold is a pretty severe limitation. For a decade now, I’ve produced my own audiobooks, using amazing narrators like @wilwheaton, Amber Benson and @neil-gaiman.

These had sold modestly-but-well, recouping my cash outlays to fairly compensate the readers, directors and engineers involved, but they were still niche products, sold at independent outlets like Libro.fm, Downpour, and my own online storefront:

https://craphound.com/shop

But that all changed in 2020, with the publication of Attack Surface, an adult standalone novel set in the world of my bestselling YA series Little Brother. That time, I decided to use Kickstarter to pre-sell the audio- and ebooks and see if my readers would help me show other creators that we could stand up to Audible’s bullying.

Holy shit, did it ever work. The Kickstarter for the Attack Surface audiobook turned into the most successful audiobook crowdfunding campaign in world history, grossing over $267,000:

https://www.kickstarter.com/projects/doctorow/attack-surface-audiobook-for-the-third-little-brother-book

Which brings me to today, and our new Kickstarter for Chokepoint Capitalism. We produced an independent audiobook, tapping the incomparable Stefan Rudnicki (winner of uncountable awards, narrator of 1000+ books, including Ender’s Game) to read it.

We’re preselling the audiobook ($20), ebook ($15), hardcover ($27), and bundles mixing and matching all three (there’s also bulk discounts). There’s also the option to buy copies that we’ll donate to libraries on your behalf. We’ve got pins and stickers — and, for five lucky high-rollers, we’ve got a very special artwork called: “The Annotated Robert Bork.”

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

Robert Bork was the far-right extremist who convinced Ronald Reagan to dismantle antitrust protection in America, and then exported the idea to the rest of the world (Reagan tried to reward him with a Supreme Court seat, but Bork’s had been Nixon’s Solicitor General and his complicity in Nixon’s crimes cost him the confirmation).

Bork’s dangerous antitrust nonsense destroyed the world as we knew it, giving us the monopolies that have wrecked the climate, labor protections and political integrity. These monopolies have captured every sector of the economy — from beer and pro-wrestling to health insurance and finance:

https://www.openmarketsinstitute.org/learn/monopoly-by-the-numbers

“The Annotated Robert Bork” is a series of five shadow-boxes containing two-page spreads excised from Bork’s 1978 pro-monopoly manifesto

The Antitrust Paradox

, which we have mounted on stiff card and hand-annotated with our red pens. The resulting package is a marvel of museum glass and snark.

[Image ID: A prototype of ‘The Annotated Robert Bork]

Bork’s legacy is monopolistic markets in every sector of the world’s economy, including the creative industries. Chokepoint Capitalism systematically explores how tech and entertainment giants have rigged music streaming, newspapers, book publishing, the film industry, TV, video streaming, and others, steadily eroding creators’ wages even as their work generated more money for the monopolists’ shareholders.

But just as importantly, our book proposes things we can do right now to unrig creative labor markets. Drawing on both existing, successful projects and promising new experiments, we set out shovel-ready ideas for creators, artists’ groups, fans, technologists, startups, and local, regional and national governments.

Artists aren’t in this struggle alone. As we write in the book, chokepoint capitalism is the final stage of high-tech capitalism, which atomizes workers and locks in customers and then fleeces workers as a condition of reaching their audiences. It’s a form of exploitation that is practiced wherever industries concentrate, which is why creators can’t succeed by rooting for Big Tech against Big Content or vice-versa.

It’s also why creative workers should be in solidarity with all workers — squint a little at Audible’s chokepoint shakedown and you’ll recognize the silhouette of the gig economy, from Uber to Doordash to the poultry and meat-packing industries.

40 years of official pro-monopoly policy has brought the world to the brink of collapse, as monopoly profits and concentrated power allowed an ever-decreasing minority of the ultra-rich to extract ever-increasing fortunes from ever-more-precarious workers. It’s a flywheel: more monopoly creates more profits creates more power creates more monopoly.

The solutions we propose in Chokepoint Capitalism are specific to creative labor, but they’re also examples of the kinds of tactics that we can use in every industry, to brake the monopolists’ flywheel and start a new world.

I hope you’ll consider backing the Kickstarter if you can afford to — and if you can’t, I hope you’ll check out one of the copies our backers have donated to libraries around the world:

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

[Image ID: An image of a mobile phone playing the Chokepoint Capitalism audiobook, along with the title and subtitle of the book: 'Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We'll Win Them Back.']

[Image ID: Are you a writer, a musician, an artist? Is Big Tech eating your brain and sucking your financial blood? Cory Doctorow and Rebecca Giblin’s new book, Chokepoint Capitalism’, tells us how the vampires crashed the party and provides protective garlic. Your brain must remain your own concern, however.’ — Margaret Atwood, author of The Handmaid’s Tale]

[Image ID: I loved this book. It brings a clear and rigorous vision of the chokepoint controls that are breaking our spirit and an equally clear path forward. It speaks directly to creators, would-be artists, writers, and musicians, and all who want a free society alive with culture, dissent, creativity. It helps us all see the locks and chains, and the ways to chisel through them.’ — Zephyr Teachout, law professor and author of Corruption in America and Break ’Em Up]

[Image ID: Creators are being ground up by the modern culture industries, with little choice but to participate in markets that weaken their power and economic return. In this brilliant and wide-ranging work, Giblin and Doctorow show why, and offer a range of powerful strategies for fighting back.’ — Lawrence Lessig, Roy L. Furman Professor of Law and Leadership, Harvard Law School]

[Image ID: This compellingly readable indictment shows how ‘consumer welfare’ regulatory theory has allowed Big Tech to choke creators and diminish choice. Giblin and Doctorow demonstrate that the goal to lower consumer costs means ‘you get what you pay for’: paying less for cultural goods leads to getting fewer creative outputs and enterprises. Chokepoint Capitalism couples its legal-economic critique with provocative, sometimes utopian, prescriptions for fairly remunerating authors and performers.’ — Jane C. Ginsburg, Morton L. Janklow Professor of Literary and Artistic Property Law, Columbia University School of Law]

[Image ID: The great myth of the American economy is that it rewards creators and producers. But Chokepoint Capitalism dares to tell the real story of how it actually rewards the all-powerful middlemen fleecing both workers and consumers. This book is an absolute must-read for anyone who senses that the predominant economic mythology is a lie, who wants to know what’s really happening in this economy — and who is ready to finally start fixing the problem.’ — David Sirota, writer of Don’t Look Up and founder of The Lever]

[Image ID: We all know something is wrong about every click, stream, and purchase we make — unfairly depriving value creators of their worth, while enriching the wealthiest and most extractive entities in human history. Instead of just complaining about the corporate stranglehold over production and exchange, Giblin and Doctorow show us why this happened, how it works, and what we can do about it. An infuriating yet inspiring call to collective action.’ — Douglas Rushkoff, author of Throwing Rocks at the Google Bus and Survival of the Richest]

[Image ID: Twenty years of internet copyright wars got us nowhere — creators are still getting the shaft. Giblin and Doctorow persuasively argue that copyright can’t unrig a rigged market — for that you need worker power, antitrust, and solidarity.’ — Jimmy Wales, cofounder of Wikipedia]

[Image ID: Capitalism doesn’t work without competition. Giblin and Doctorow impressively show the extent to which that’s been lost throughout the creative industries, and how this pattern threatens every other worker. There’s still time to do something about it, but the time to act is now.’ — Craig Newmark, founder of Craigslist]

[Image ID: Chokepoint Capitalism really is a tome for the times. It’s comforting to feel validated and terrifying to realize I was right all along! And now, to action! The revolution will not be spotified!’ — Christopher Coe, artist and cofounder of Awesome Soundwave]

[Image ID: If you have ever wondered why the web feels increasingly stale, Chokepoint Capitalism outlines in great detail how it is being denied fresh air. Over the past two decades, we have seen an immense consolidation of power, depriving us of fresh visions for what the web could be and contorting art and culture to flatter the objectives of a few platforms. This book does a remarkable job of identifying the blockages and surfacing ideas on the margins that could reroute us. I’m grateful it exists!’ — Mat Dryhurst, artist and researcher, NYU’s Clive Davis Institute of Recorded Music]

[Image ID: Chokepoint Capitalism is more than a clarion call for a new, necessary form of trustbusting. It’s a grand unified theory of a decades-long, corporate-led hollowing out of creative culture. It will make you angry, and it should.’ — Andy Greenberg, writer for WIRED and author of Sandworm and Tracers in the Dark]

[Image ID: If you’re halfway through this book and aren’t boiling mad over the way contemporary capitalism has deformed and crippled culture, get your head checked. Chokepoint Capitalism is a Why We Fight for a long-overdue uprising. Rebecca Giblin and Cory Doctorow lay out their case in plain and powerful prose, offering a grand tour of the blighted cultural landscape and how our arts and artists have been chickenized, choked, and cheated. But it’s more than just a call to arms; it also provides a plan of battle with inspired strategy and actual tactics — ways that we can all channel that anger and make real change.’ — Kaiser Kuo, host and cofounder of The Sinica Podcast]

[Image ID: The story of how a few giant corporations are strangling the life out of our media ecosystem is one of the most important of the decade, and Giblin and Doctorow tell it better than anyone. Searing, essential, and incredibly readable.’ — Adam Conover, comedian and host of The G-Word]

[Image ID: Chokepoint Capitalism is not just a fascinating tour of the hidden mechanics of the platform era, from Spotify playlists to Prince’s name change, but a compelling agenda to break Big Tech’s hold. It presents a clear new way to think about corporate power — and a path to taking that power back for cultural creators and all of us.’ — Eli Pariser, author of The Filter Bubble and cofounder of Avaaz]

[Image ID: Chokepoint Capitalism is a masterwork. Rebecca Giblin and Cory Doctorow lay out in chilling detail how the deck is stacked against artists, the relentless corporate drives to control production and distribution through technology and deregulation, and how oligopolies deprive gifted artists of fair compensation by eliminating true competition. But they don’t stop there: this is also a useful handbook to take on that power structure. Giblin and Doctorow remind us that when individuals understand the value of their work, they can create the necessary leverage to challenge the status quo and retake what is rightfully theirs. Both frightening and uplifting, it’s a necessary read for any artist in the entertainment industry.’ — David A. Goodman, writer, executive producer of The Orville, and former president of the WGA Wes]

[Image ID: Anyone who cares about culture can see that something is deeply amiss in the ‘creator economy’ that today’s artists are obligated to participate in. Rather than simply lamenting the problem or falling back on clichés about starving artists, what Rebecca Giblin and Cory Doctorow do in Chokepoint Capitalism is to make clear the overall pattern that drives the exploitation of artists, from music to gaming to film to books. And they lay out a credible, actionable vision for a better, more collaborative future where artists get their fair due. Every creator will find inspiration here.’ — Anil Dash, CEO of Glitch]

#pluralistic #labor #creative labor markets #chokepoint capitalism #audible #monopolies #audiobooks #amazon #monopsonies #solidarity #crowdfunding #kickstarter #drm

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consanguinitatum · 4 months

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David as Benedick in Much Ado About Nothing (the first time he did it, that is!)

David Tennant fans are aware of 2011's brilliant Much Ado About Nothing, in which DT starred as Benedick, alongside Catherine Tate as Beatrice. Filmed at the Wyndham's Theatre in London and directed by Josie Rourke, the production was recorded and offered on Digital Theatre.

But did you know David had played Benedick before?

Yep - he sure has!

It was in 2001, a full decade before his production with Catherine.

Beginning in 1999, BBC Radio 3 launched Shakespeare For The Millennium, an ambitious project to dramatize seventeen Shakespeare productions in four years.

The project was done in collaboration with BBC Worldwide, which emphasized it wanted to take a contemporary, innovative approach to the Bard. It launched on 12 September 1999 with a Shakespeare discussion panel, and a new production of Hamlet -- starring none other than Michael Sheen as the Dane!

On 23 September 2001, BBC Radio 3 broadcast a new production of Much Ado About Nothing as the Sunday Play, with David in the lead role as Benedick and Samantha Spiro as Beatrice. Adapted by Sally Avens, it featured an introduction (as had all the previous productions in the Shakespeare For The Millennium series) by Richard Eyre, the former Director of the Royal National Theatre.

The production also starred a few other recognizable names. There was Chiwetel Ejiofor as Claudio, Emilia Fox as Hero, David Swift as Leonato, Julian Rhind-Tutt as Don John, and David Haig as Dogberry.

All original music was composed and performed by Simon Oakes and Adam Wolters.

Radio listings and announcements, and promo photos of David and Samantha Spiro

Here's a review of the prodcuction!

Much Ado About Nothing was commercially released by BBC Worldwide as part of the BBC Radio collection series in 2001.

The sleeve notes of cassettes and CDs of the production include a scene-by-scene synopsis, a full character analysis, and an essay on interpretation from the director Sally Avens.

Almost four years later, in November 2005, BBC One broadcast a television series called ShakespeaRe-Told, a set of four adaptations of Shakespeare's plays. Each play was adapted by a different writer, and all were relocated to the present day.

The first to be broadcast - on 7 November 2005 - was a modern-day version of Much Ado About Nothing starring Sarah Parrish and Damien Lewis...and Billie Piper and Nina Sosanya and Olivia Colman!

You can watch it here:

youtube

Six days after this television broadcast - on 13 November 2005 at 7:15 pm - BBC Radio 3 re-broadcast the audio version starring David and Samantha in its 'Drama On 3' slot.

Fast forward to August 2020.

The BBC released a set of four BBC Radio Shakespeare collections: Histories, Comedies, Tragedies, and Roman Plays. Much Ado About Nothing was included in the collection of Comedies, and became available as an Audible digital download.

If you want to listen, you can find this collection a lot of places. It might be at your local library or on Overdrive, on Google Play, or as an Amazon Audible book.

Or, ya know, just go here:

#DavidTennant #ObscureDavidTennantPerformances #DavidTennantAudios #MuchAdoAboutNothing #Youtube

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lostcauses-noregrets · 2 months

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Lostcauses Fic: Sealskin [Podfic]

Erwin's sketch book by @seitsen-sarvi.

Erwin is an environmental scientist, a driven man on a mission to save the world. His research does not normally involve fieldwork, and it certainly does not normally involve spending six months of the year at the university’s field station on a remote island in the North Atlantic, with only seals for company. But the solitude of the island and a chance encounter with a curious stranger bring a profound revelation.

A podfic written and read by LostCauses, loosely based on Maurice Lindsay's 1946 short story Sealskin Trousers.

Listen and download at eruri.org/sealskin.

With enormous thanks to @seitsen-sarvi for the beautiful art and @momtaku for whatever the audio equivalent of beta is ♡

#i've wanted to record a podfic of sealskin for years #huge thanks to marie & momtaku for helping to make this a reality #lostcauses fic #eruri #erwin smith #levi ackerman #selkies #shape shifter #modern au #content warning: implied/referenced suicide #snk

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gallifreyanhotfive · 5 months

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Do you have any recommendations on Dr. Who books/audio format things? I haven't watched the show in a bit because Moffat wasn't my thing and I can't seem to find the old stuff. (If you have any advice on where to find that too I would be very grateful) Following your blog has been a nice reminder of why I liked the show so much. Hope you have a good day!

Aw thank you! Depending on your location, you can find classic who episodes either on BBC iPlayer or Tubi (with ads).

As for books/audios, I'll try to keep this brief as I could write an essay on this.

For books, my favorite author is Kate Orman. Orman writes wonderfully, and my personal favorite is The Year of the Intelligent Tigers. I also really liked Goth Opera, Camera Obscure, History 101, Autumn Mist, Lungbarrow, Divided Loyalties, Somewhere Never etc etc etc etc (so many more but I'm forcing myself to stop here). You can often find free versions of basically every novel (at least all I've looked for) on the internet either as pdfs or epubs or whatever. The Internet Archive is particularly useful. Some examples:

And now for the audios! I personally have sold my soul to Big Finish. I have literally hundreds of recommendations. They do have some audios for free, such as those that came from the Paul Spragg Memorial Competition. You can also find a lot of them (up until Zagreus I think) for free on Spotify. There is also almost always a killer sale going on on the website on top of that too.

As for my recommendations, it's pretty dependent on what Doctor or companion you want to listen to. They even have series centered on UNIT, Romana's Gallifrey, Benny Summerfield, and a ton of other things (including a Masterful special that just had a bunch of Masters fucking around and finding out). I'll put in some of my favorites, one for each Doctor, from what I own (which is far from everything, but I do my best).

One: The Sontarans. It was the first time the Doctor had ever encountered the Sontarans, so he was unfamiliar with them. It takes place during Dalek Master Plan, so Steven and Sara are there.

Two: Lords of the Red Planet! It's a good Ice Warrior origin story and has Jamie and Zoe in it. :)

Three: Terror of the Master. I had pre-ordered it as soon as I heard about it. Three....Delgado Master....what more do you want from an audio? It's narrated by Jon Culshaw.

Four: The Wrath of the Iceni. It was a brilliant historical with Four and Leela and Boudica. Leela gets quite a lesson in this one, first being mad at Four for not helping Boudica and then at Boudica for being cruel.

Okay now we are getting into my favorite Doctors (5-8), so these decisions are going to get difficult.

Five: The Kingmaker! Shakespeare spikes Five's drink to get him absolutely wasted to sneak on the TARDIS, the TARDIS gets hiccups as a result, leading to Peri and Erimem being separated from the Doctor. Shenanigans ensue.

Six: Doctor Who and the Pirates. Six and Evelyn have a really meaningful discussion with one of her depressed students. The third part is a musical!

Seven: The Shadow of the Scourge. Benny Ace and Seven against 8th dimensional eldritch abominations. Seven gets turned into one of these insectoids, and body horror ensues.

Eight: Oh dear I can't choose. At the moment, probably the Great War from Dark Eyes 1. Eight meets Molly and is still grieving here. He is very much doomed by the narrative.

War: The Neverwhen. Lots of the War Doctor is good if you like Time War horror, but this one has a lot of time-as-a-weapon and is well written.

Nine: Battle Scars. A nice short story about that one family Nine saved from the Titanic mentioned in the episode Rose. Has a really fantastic girl in it and a Nine dripping in PTSD.

Ten: The Time Reaver. Ten and Donna! There's this gun that basically slows down time for a single person, so that a few minutes for everyone else is centuries for them. Ten is a self sacrificing dope.

Eleven: The Geronimo boxset is the best in my opinion, but I haven't been able to listen to many of these yet.

Twelve: Another one I haven't managed to buy a lot of yet, but Dead Media is amazing. It's written to sound like a podcast with adverts and everything and is set during his time at St. Luke's. And I cried at the end.

Anyway, I'll shut up now. This was so much fun! Thank you!

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