Whether you’ve seen it or not, you at least know of the female Ghostbusters reboot that has hit theaters.  You probably also know about the divisiveness it’s created within the ranks of moviegoers.  Don’t worry though, this isn’t yet another review of the film, but a look at what it’s exposing in the social media landscape.

ghostbusters-2016-625x324After writing a negative review on Ghostbusters, Breitbart’s tech editor, Milo Yiannopoulos, kicked off a Twitter firestorm between himself and the film’s star, Leslie Jones.  After receiving a slew of messages from haters, Jones fought back, retweeting the comments and singling out the trolls.  It was then that Milo joined the feud, reminding Jones that everyone gets hate mail.  This spurred an argument between the two, which eventually resulted in Jones blocking Milo.  While Milo did throw some cheeky insults at Jones while defending his position, none of them compared to the death threats and racist remarks she received from the trolls.  Despite this, Milo was soon permanently banned on the grounds of violating Twitter’s abuse policy.  Since then, he’s been on the offensive, attacking the social platform for seemingly deporting him for no reason.

In a statement made on , Milo said, “Twitter is holding me responsible for the actions of fans and trolls, using the special pretzel logic of the left.  Where are the Twitter police when Justin Bieber’s fans cut themselves on his behalf?”

Milo’s outspoken “cultural libertarian” view, which opposes the idea of culture as a corrupting influence, has been challenged by many liberal groups, including feminists, whom Twitter favors, argues Milo.  He said: “With the cowardly suspension of my account, Twitter has confirmed itself as a safe space for Muslim terrorists and Black Lives Matter extremists, but a no-go zone for conservatives.”

silvalFI

The Scene from HBO’s Silicon Valley that Everyone Should be Talking about

Silicon Valley’s (the place, not the show) not-so dirty little secret got its moment under the Hollywood spotlight on this past Sunday’s penultimate episode of Silicon Valley’s (the show, not the place) third season.

Silicon Valley, created by Mike Judge, is perhaps the most honest portrayal of what work and life is like in California’s digital gold mining community.  And if the antics of Richard and team’s Pied Piper start-up company  seem sometimes a little far fetched, the final scene of this episode, titled “Daily Active Users,” represents an all too honest peak behind the curtain.  Audiences are finally brought face to face with human beings in a third world country (think Bangladesh or India) who wake up each day and go to work in a large office filled with dozens if not hundreds of others who do nothing all day but click on ads, download apps, log into sites, and various other tasks that real everyday users of the internet engage in purposefully.

Here is that final scene…

 

However, these people do it simply to get paid on average, the equivalent of $1 a day. Their “work” can be worth millions to their employers and sometimes billions to the tech companies of Silicon Valley like Twitter, Facebook, Snapchat, What’s App, etc..  Really, any company that bases its value to investors and potential buy-out suiters on a high DAU count. That’s Daily Active Users to us laymen.  In contrast, a company like Uber may not utilize these click farms because they are providing an actual real world service – connecting people with cars and nowhere to be, to people with no cars and somewhere to be.  So it’s kind of hard to fake actual people getting rides in actual cars.  Although I do admit to a possible future where people, or AI robots, could be paid to book Uber rides around town just to boost their DAU count.

Facebook, for instance, now claims that it has a . That’s one billion people everyday, logging into Facebook and engaging.  How many of them are actually using it for its intended purpose of connecting with friends and family, sharing stories, photos and life events? Well considering that over 1 billion of Facebook’s total 1.59 billion user accounts exist outside of Europe and North America, I imagine it is fair to say that a plethora of those accounts are are bogus.  Read this account published by Business Insider three years ago which details some of the fakery behind all those likes, views, and followers that social media giants rely on for their billion dollar evaluations.  Emphasis mine.

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Periscope

Periscope – The New Way to AMA and Connect

As I write this, screenwriter David H. Steinberg (Slackers, American Pie 2) is broadcasting from his own smartphone, answering questions from followers via the app Periscope.

While AMA (ask me anything) sessions are very popular on  for users when someone interesting pops on to answer questions about their career, life or any other topic, it’s limited in that it’s all done via a keyboard. With Periscope, all Steinberg had to do was bring up the app, connected through his twitter, and start broadcasting video and take questions via text on the app from his followers. A tweet went out and notified his fans that he was on and ready to talk screenwriting and the movie business or anything that comes up.

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Could an app be the future of publishing? A conversation with Connu Co-Founder

A new short-story publishing app is changing the way an entire industry does business

As of last count, I have 36 of apps on my Smartphone. Outside of Twitter, Yelp, and Uber, Connu is one of the most valuable. It’s been a particular life-saver during recent cross-country trips, and the audio version serves as a nice companion when I’m out for a walk.

Connu, an iOS and Android app, publishes (Monday through Friday) short stories written by up-and-coming writers who are recommended to the editors by already established writers.

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Oh. And it pays them.

In a publishing landscape dominated by websites routinely asking writers–historically not well-known as being a financially stable lot—for free content, it is rare to have an outlet that doesn’t buy into the myth that “exposure” is an even trade for one’s work. (Probably the most recent, brazen example of this is Entertainment Weekly.)

But this is certainly not a 21st century problem. Years ago, Ernest Hemingway counseled friends who were about to launch a new literary journal thusly:

One of the most important things I believe is to get the very best work that people are doing so you do not make the mistake the Double Dealer and such magazine made of printing 2nd rate stuff by 1st rate writers. I see by your prospectus that you are paying for [manuscripts] on acceptance and think that is the absolute secret of getting the first rate stuff. It is not a question of competing with the big money advertizing magazines but of giving the artist a definite return for his work. 

First off, the Double Dealer sounds horrible. Good riddance. But secondly, it seems unfortunate that Hemingway’s advice, given almost a hundred years ago when publishing magnates still roamed the earth, is still relevant. Enter Connu—a new, digitally relevant source full of procured, purchased material. If that sounds more like a publishing company than an app, well…that’s because it is.

I recently spoke with Susannah Luthi, co-founder of Connu, who was kind enough to indulge me in a conversation about her experience as a classics major, journalist, and MFA-graduate-cum-techie who decided to schlep herself and her copies of The Aeneid to the San Francisco Bay Area in order to develop Connu. To date, Connu has received recommendations from writers such as Sam Lipsyte, Joyce Carol Oates, Aimee Bender, David Sedaris, Janet Fitch, Wells Tower, and Lauren Groff.

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