Paper, Scissors...No Rock

And when I looked up why that approach was abandoned, no longer considered the Way of the Future/High Tech way to build even modest homes, I found out it was because insulation technology also experienced advances during that time, meaning it also became possible to build a home that completely ignored the local climate yet offered reasonable comfort year round

And then I learned about vernacular architecture, which is the academic term for "stuff built without being designed by architects"--it's largely building practices that have been figured out by people in a region, using materials from that region, to deal with the climate of that region

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Then call again later until you reach a real person. If their phones are tied up for days? Try again for days. Large companies hope that backlash dies down over time, so it's important that you ensure they don't see an end in sight.

do not let up the pressure

now, instead of maintaining a comprehensive, nuanced, and human-maintained encyclopedia by which to check your document, they have switched to an AI that just compares what you’ve written to what other people write in, say, Google Docs, and use the most commonly used iteration.

ever have it change something like “all intents and purposes” to “all intensive purposes” or “should’ve” to “should of”? that’s why!

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.