lmao tumblr letting their users choose whether or not they want their likes to be public but then pulling a twitter 2.0 and showing your likes on your followers’ dashboards and specially saying who liked the posts in their new update, without the users’ consent or a way to turn it off, is actually pretty insane.
like how many times to we — the users — have to tell them we don’t want tumblr to be like any other social media platforms and that tumblr’s being different than twitter, instagram, tiktok is actually what makes us stay on this silly little site.
respectfully @staff you’re driving your users away. stop trying to “fix” things that are good and don’t need to be fixed. we want tumblr to be tumblr. we don’t want the site to be twitter or instagram 2.0
edit: so at first I was under the impression that you could turn off the “posts liked by blogs you follow” in your dashboard preferences, but couldn’t control how your own likes showed up on the dashboards of your followers, after I saw several posts claiming that this was the case. — however, now I think I might be wrong and it thankfully does look like as long as you have your likes set to private, they will stay private and will not be showing up in your followers’ dashboards. apologize for any misunderstanding this may have caused.
* from my understanding now, you can choose not to see other people’s likes by going to your dashboard preferences in the settings and turning off the “posts liked by blogs you follow” option, and if you have your own likes set to private, they won’t be showing up on your followers’ dashboards.
Look. I have literally no horse in this race when it comes to the WGA/SAG Hollywood strike. I do not watch enough TV or movies to be affected and I’m not a part of the industry. I really haven’t cared.
As a lawyer and orchardist, however, I am now utterly entranced by the fact that some Universal Studios exec thought it was a good idea to cut down city-owned trees in the middle of summer.
There is no way to get around the absolute clusterfuck they have brought down upon themselves.
It’s strange to see anyone surprised by Universal using a tactic as cruel as denying even shade to picket line members, in the heat-based hellscape that is Los Angeles. So let’s try to condense the explanation.
By and large, executives are people who already come from wealth and privilege, and have that wealth and privilege protected throughout their life as they’re escorted through whatever levels of education and then into employment.
Most of them have never received any kind of culture shock to make them aware of the struggles of ‘lessers’. Their parents and peers had a vested interest in keeping the then-children from mixing with 'those people’.
They are insulated enough from daily life that they no longer see anyone outside their immediate wealth and influence bracket as human.
So a strike, to them, is not “people who want enough money to live and work in health”, it’s “The machine that makes us money is broken, get those workers back into their jobs so we can keep making money.”
So the executives treat the strike like they would a broken machine or a disobedient pet. Hit it until it works, and replace it if it breaks.
And don’t doubt for one minute that this wasn’t at the advice of a Pinkerton or similar union-busting agency consultant. This is more than just petty; this is tactical cruely.
I don’t mean to sound like a dick, but writers tend to be smart and love what they do. But they can also think they’re the center of the fucking universe. I know this strike is personal for them. I get it, I’d feel the same way. But this is all just numbers for the studios. What’s the least amount we can get away with paying for everything?
Q: The WGA has released some charts comparing the amount of money each company or studio is losing during the strike, compared to what it would cost them just to agree to the union’s demands. What’s your take on that?
A: Again, it’s apples and oranges. It’s not that simple. Let’s say agreeing to every union demand would cost $40 million a year. That’s not a one-off $40 million cost. That’s at least $40 million a year forever. Because that now sets a higher minimum cost for everything and that expense will only increase in future negotiations.
But that contract also sets the bar for writers in other territories. Or encourages industries in some countries to unionize in order to make more money. It’s not so much the direct costs of the WGA deal. It’s all of the fallout costs across the company.
…I.e.: “pay the writers a decent wage and everybody’s going to want one.” … My gods, the sheer horror of it!!
Today’s #YearOfHours #BookOfHours is Ms. Codex 1063, produced in England, probably London, perhaps for a member of a religious confraternity or community. The musical notation in the Office of the Dead is unusual, as is the absence of the prayers Obsecro te and O intemerata.
