Trash Gnomes Anonymous

1. The court holds Google responsible for statements made by its AI, considering them Google's statements (search engines have limited liability for results in their engine as they're the words of other sites/companies/people), meaning when their AI lies/hallucinates they're liable for the defamation/harm resulting from those statements.

2. Google's defense that customers are generally aware of the lack of reliability and are responsible for fact checking was dismissed. As the court pointed out, that would "significantly diminish" AI Search's stated purpose and it can't be distinguished from Google's business practices/statements as a search tool.

3. Studies have found about 91% of Google's everyday AI responses are accurate, leaving millions of searches per HOUR with potential liability for falsehoods. 56% of correct responses weren't supported by the sources the AI listed. Both of which mean Google is now liable for a LOT more AI "errors."

4. Google was held liable for 80% of court costs in this case and this precedent is expected to reverberate around the world. This is a massive shift from the 3rd-party search provider role Google has previously played and it comes right as they've tied ALL searches to their AI search.

Here are two things I believe about Steven Universe:

First, Steven Universe has a lot of high-concept science fiction worldbuilding concepts that it is not really interested in engaging with, because it is not what the show is about. These include:

The radical alternate history of the world, including the changed division of the states, the fact world war 2 possibly didn’t happen, the absence of Russia, the cultural fallout of California (somehow!) being flyover the way the Midwest is often treated as in real life. All of these are, like, hugely interesting, and totally ancillary to what the show wants to do, so they’re exclusively used for one of gags. 

The presence of “Roadside picnic”- style depots of abandoned alien technology all over the planet, including in places that teens are capable of casually accessing in some cases, as well as the presence of wandering inhuman monsters that have coexisted with humanity for as long as there’s been agriculture. This is the kind of thing that should have a much larger impact on the shape of culture than it was shown to, and the main reason it doesn’t is because the show is thematically about Steven acting as a bridge between the two mostly siloed worlds- but the world is implicitly big enough that stuff should be happening without him and around him! And yet you never get anyone remotely curious about any of it who don’t use Steven as an entry point.

The occurrence of a massive extraterrestrial war in the show’s backstory, with thousands of superpowered aliens fighting an ideological rebellion against their totalitarian homeworld, culminating in a giant not-qute-but-arguably-worse-than-a-massacre, and including ideological infighting among the “heroic” side about how far is too far. All issues famously better unpacked in a show for adults.

The biology and society of the gems themselves. Generally examined in broad strokes as needed to make the story work, but many of my favorite SU fan works are the ones that do deep headcanon dives into the how and why of the gems- what are gems, how did their culture come to be, what does the day-to-day look like, why do they all have weapons by default, what was their militarization for, what are the mechanics of fusion, why do fusions always have a coherent aesthetic concept if cross-gem fusions aren’t supposed to happen, what are the implications of a society where “wall decoration” is a job that a sentient being is custom-engineered to fill, often digging even further into the horrifying implications of their society than the show itself could get away with.

However.

Steven Universe has a number of emotional arcs, character arcs and trope examinations that work so well specifically because Steven Universe is unironically a show aimed at children. One one level, this is because you have to adapt really mature themes and arcs so that kids will get them and so the suits will let you; on another level you have to pull it off with the constraint of 11-minute episodes, you have to work with the strengths and weaknesses of animation, you have to throw in the flashy stuff that kids watch cartoons for. And that leads to some beats that, in terms of pure craft, are interesting in terms of how they’re executed in the specific context of a kids show.

Rose’s arc, particularly the fact that her death is suicide-coded as all-get-out, and her behaviors are allowed to ripple forward, benefit and damage her survivors in a consistent way in a way that I’ve never seen- in a children’s show.

Pearl’s abandonment issues, rampant projection, complicated feelings regarding Steven and Greg, her treatment of Connie, her difficulty forming an independent identity and the ways in which that hurts the people around her- in a children’s show.

Amethyst’s arc, her guilt simply for being born (and what that’s a metaphor for), everything that’s implied about her dynamic with Greg and Rose in Maximum Capacity, her identity problems and lack of cultural context, all unpacked over the course of dozens of episodes of a children’s show.

Lapis’s bumpy, non-linear recovery arc, including her toxic relationship with Jasper and an excellent approximation of an emotionally abusive relationship with Peridot, all- and I cannot beat this drum enough- in a children’s show. Similarly, Sadie and Lars’s whole thing and how that was given space to breathe and play out.

And of course, Steven himself. Steven’s long term arc is normally something you would find in a show like The Venture Brothers, something that’s willing to play off the tropes of the kid hero while being very much aimed at an older audience, with a level of detached parodic irony baked into the execution (since they’re often unpacking specific characters via expies.) Steven Universe is literally the only children’s thing I’ve seen on TV that, even as it does all the unironically fun adventures and misadventures, also does the work to examine how much being an archetypical wholesome Saturday-morning cartoon kid hero would screw you up, and we watch it happen in real time, and there’s a whole season fully highlighting the damage his status as a kid hero has done to his identity.  And I can’t stress enough the degree to which the impact would be lost if this arc hadn’t been done “in house;” if Steven Universe Future had been done twenty years from now as a deconstructive parody of a nostalgia property, it would suck. It wouldn’t land.

Steven Universe is a show that taught me to meet a story where it’s at, and judge it’s success and failures in terms of what it chose to prioritize, and not what I would have wanted to prioritize had I been writing it. Because at the end of the day, it’s fine to let the high-concept nerdbait setting elements fall by the wayside in favor of prioritizing the character-driven thematic stuff and genre analysis stuff. 

That was the exact thought process