An anonymous reader quotes a report from The Guardian: A former eBay executive pleaded guilty on Thursday to participating in a scheme to terrorize the creators of an online newsletter that included the delivery of live spiders and other disturbing items to their home. David Harville, eBay's former director of global resiliency, is the final onetime eBay employee charged in the case to plead guilty. Six others have admitted to their roles in the harassment campaign targeting a Massachusetts couple who publish the newsletter EcommerceBytes, which eBay executives viewed as critical of the company.

The scheme included sending items like a box of live cockroaches, a funeral wreath and books about surviving the loss of a spouse to the couple's home with the hopes of getting them to stop publishing negative articles about the company, prosecutors say. eBay employees also set up fake social media accounts to send threatening messages to the couple and posted the couple's home address online. Harville and others were charged in June 2020 over the plot, which authorities say was orchestrated by members of eBay's executive leadership team after the newsletter published an article about a lawsuit filed by eBay accusing Amazon of poaching its sellers, authorities said. Another former executive who pleaded guilty last month, James Baugh, held meetings to coordinate the harassment campaign and directed Harville to go with him to Boston to spy on the couple, prosecutors say.

"Comic book nerd Christmas has arrived," quips Mashable, noting this is the big 20th anniversary of Free Comic Book Day. Basically if you walk into your local comic book store on the first Saturday in May: they'll hand you some free comic books. Bleeding Cool points out that several stores are even having free signings from famous comic book artists and writers.

Although in 2017 NPR had this advice for visiting comics fans. "While you're there, buy something... The comics shops still have to pay for the 'free' FCBD books they stock, and they're counting on the increased foot traffic to lift sales."

The official site includes a comic-shop locator — but many of the comics are also available online as free downloads. (For example, as free ebooks in Amazon's Kindle store.) This year's free offerings include a special issue of a new Sleepy Hollow comic and a unique "yearbook" commemorating the 25th anniversary of Buffy the Vampire Slayer.

Other geek-friendly choices include:

• Doctor Who
• Avatar: the Last Airbender
• Sonic the Hedgehog
• Teenage Mutant Ninja Turtles
• The Three Stooges
• Stranger Things
• Spider-Man and Venom
• Avengers/X-Men/Eternals: Judgment Day
• DC League of Super-Pets and Dark Crisis: Special Edition
• Winchester Mystery House: The Hundred Year Curse
• A graphic novel called The Guardian of Fukushima
• Clementine ("the next big thing from Robert Kirkman's The Walking Dead")

And in addition — and perhaps inevitably.... "A new dawn of Archie is upon us!"

Following up on its earlier move to pull Audible audiobook purchases from its Play Store app, Amazon is also turning off Kindle digital book purchases on Android. Ars Technica reports: The Google Play purchasing crackdown is to blame, of course. Starting on June 1, Google will require all Play Store apps to use Google Play billing for digital purchases or face removal from the marketplace. Google Play billing technically has been in the rules for a while, but Google is ending a hands-off enforcement policy that effectively allowed companies to run their own billing systems. When you visit the Amazon app, you can still buy physical books, but digital purchases now show a "Why can't I buy on the app?" link instead of a purchase button. Amazon's link shows a popup that says, "To remain in compliance with the Google Play Store policies, you will no longer be able to buy new content from the app. You can build a reading list on the app and buy on [the] Amazon website from your browser."

Amazon Music purchases have also been shut down on the Google Play app. The move brings Amazon's Google Play app in line with the iOS app, which also doesn't allow digital purchases. On Android, Amazon is pushing users to the website, where they can still buy digital content or sign up for an unlimited subscription, which avoids the Play Store purchase lockdown. Google Play billing takes a percentage of in-app purchases (usually 30 percent, though media can be as low as 10 percent), and several big companies have responded to the rule change by removing purchases from their Android apps.

Venture capital returns have puked this year. The next dangerous stage is investor outflows. Financial Times: Back in the halcyon days of ... early 2021, it looked like venture capital was the hottest game in town. Hedge funds were piling in. Even private equity firms were getting involved in early-stage company investing. Investors loved the combination of fat returns and the lack of volatility in private markets. But the VC cycle now looks like it has hit a sudden stop. Refinitiv's venture capital index, which uses the performance of individual VC portfolios and listed stocks to mimic the performance of the broader industry, tanked another 24.2 per cent in April, taking its 2022 loss to a comically bad 45.8 per cent (NB, the Nasdaq is "only" down 19.7 per cent YTD).

That is comfortably its worst monthly performance since worst of the dotcom bust two decades ago. Of course, a lot of venture capital funds are unlikely to be marking down their books to anywhere near these levels. Some may just be doing better than others (performance persistence is higher in VC than in any other investment industry), but the advantage of private market accounting and negotiated and infrequent funding rounds means that valuations and returns can be massaged a little. There might even be a bit of schadenfreude at the pain suffered by Tiger Global lately, which many venture capitalists saw as an annoyingly uppity interloper-dilettante in Silicon Valley. But the reality is that the bottom has dropped out of tech stock valuations lately -- both public and private -- and anyone who is not marking down their positions heavily might actually unnerve investors more than assuage them.

In a potential blow to all the apps and websites that have popped up alongside the Amazon Kindle to streamline the process of converting EPUB ebook files to the e-reader's propriety file format, starting in "late 2022," the Kindle Personal Documents Service will finally support EPUB files, expanding where users can source their content. From a report: The Amazon Kindle's original AZW ebook file format was based on the MOBI format created for an e-reader app called Mobipocket, which was first released back in 2000 for a wide variety of PDAs and older mobile devices. Over the years it has evolved into the KF8/AZW3 format, and now the KFX format, which are all proprietary to the Kindle. For those who solely rely on Kindle e-readers and apps and only buy ebooks from Amazon, a proprietary file format isn't an issue, particularly when Amazon offers one of the largest selections of ebooks currently available, and a streamlined way to get the files onto its devices. But there are countless e-readers available on the market that offer better features than the Kindle does, including color E Ink screens, and all of them instead support the EPUB ebook file format (among others), which is the most popular format in the world. It's also a format that Amazon, to date, has refused to support. This has typically meant that someone looking to buy an ebook reader has had to either fully commit to the Amazon Kindle ecosystem, or choose one of the many alternatives and stick with their choice, because ebook files they'd purchased or downloaded weren't cross-compatible.

The Brooklyn Public Library (BPL) is counteracting a ban on certain books by letting anyone in the US aged 13 to 21 apply for a digital library card. This gives teens and young adults, regardless of their location in the United States, access to the library's entire ebook collection. From a report: The initiative, called Books Unbanned, is fighting what the BPL describes as an "increasingly coordinated and effective effort to remove books tackling a wide range of topics from library shelves." According to the American Library Association (ALA), a total of 729 books were challenged in 2021, meaning a person or group attempted to ban these titles from public libraries.

Librarians say Holocaust deniers, antivaxxers, and other conspiracy theorists are being featured in the catalogs of a popular ebook lending service. From a report: In February, a group of librarians in Massachusetts identified a number of Holocaust denial and anti-Semitic books on Hoopla, including titles like "Debating The Holocaust" and "A New Nobility of Blood and Soil" -- the latter referring to the infamous Nazi slogan for nationalist racial purity. After public outcry from library and information professionals, Hoopla removed a handful of titles from its digital collection.

In an email obtained by the Library Freedom Project last month, Hoopla CEO Jeff Jankowski explained that the titles came from the company's network of more than 18,000 publishers: "[The titles] were added within the most recent twelve months and, unfortunately, they made it through our protocols that include both human and system-driven reviews and screening." However, quick Hoopla keyword searches for ebooks about "homosexuality" and "abortion" turn up dozens of top results that contain largely self-published religious texts categorized as "nonfiction," including several titles like "Can Homosexuality Be Healed" which promote conversion therapy and anti-LGBTQ+ rhetoric. This prompted a group of librarians to start asking how these titles are appearing in public library catalogs and why they are ranked so high.

CNN reports on "an ironic effect" of efforts to remove books from libraries in America. "The more certain books are singled out, the more people want to read them."

And for some U.S. teenagers, "banned book clubs, recent book banning attempts have been a springboard for wider discussions around censorship." The Banned Book Club at Firefly Bookstore [started by 8th grader Joslyn Diffenbaugh] read George Orwell's "Animal Farm" as its first pick. While the satirical novella, which makes a pointed critique of totalitarianism, isn't one of the books currently being challenged in the US, it was banned in the Soviet Union until its fall and was rejected for publication in the UK during its wartime alliance with the USSR. And it faced challenges in Florida in the '80s for being "pro-communist." That history made for some thought-provoking conversations. "It taught a lot because it had references to different forms of government that maybe some adults didn't like their kids reading about, even though it was run by pigs," Diffenbaugh said. "I really thought it shouldn't have been banned for those reasons, or at all."

Teenagers at the Common Ground Teen Center in Washington, Pennsylvania, formed a banned book club soon after a Tennessee school district voted to remove "Maus" from an eighth grade curriculum. But while the graphic novel about the Holocaust was the catalyst for the club, says director Mary Jo Podgurski, the first title they chose to read was, fittingly, "Fahrenheit 451" — the 1953 dystopian novel about government censorship that itself has been challenged over the years. "Obviously this whole idea of taking away books that they wanted to read or that they thought they should read sparked a nerve in them," said Podgurski, an educator and counselor who oversees the Common Ground Teen Center....

Since reading "Fahrenheit 451," the club has also discussed "Animal Farm" and "1984," which has been challenged for its political themes and sexual content. So far, the young readers at the Common Ground Teen Center have been puzzled as to why those books were once deemed inappropriate. "I often wonder, do adults understand what kids have in their phones?" Podgurski said. "They have access to everything. Saying 'don't read this book' shows that you're not understanding teen culture. Young people have access to much information. What they need is an adult to help them process it."

An anonymous reader quotes a report from Polygon: The parent company of Dungeons & Dragons developer Wizards of the Coast, Hasbro, announced Wednesday it is acquiring D&D Beyond, one of the franchise's most popular officially licensed digital toolsets and online storefronts. Wizards said on its official website it has "no plans to stop supporting D&D Beyond," and all purchases made by consumers will be honored going forward.

D&D Beyond is the creation of Curse, and launched in 2017. The platform is, at its core, a web application and mobile app that provides players and Dungeon Masters (DMs) with the tools they need to play D&D in person or online. Features include a character builder, a character sheet, and a digital dice-rolling function. For DMs, it allows users to purchase official campaign books and other materials digitally for use inside the app. Prices for D&D books are traditionally more or less the same on D&D Beyond as they are on Amazon, Barnes & Noble, and at your local game store. D&D Beyond was purchased by Fandom in 2018 and, according to Hasbro, the relationship has been very lucrative since that time.

"Over the last three years, the royalty paid to Hasbro by D&D Beyond has represented a significant contribution to the fastest growing source of revenue for Dungeons & Dragons," Hasbro said. That is undoubtedly true, as financial disclosures show that Wizards -- and its attached digital properties, including Magic: The Gathering Arena -- earned more than $1 billion for the first time in 2021. [...] Wizards' new president, Cynthia Williams, has bigger goals in mind. "The strategic acquisition of D&D Beyond will deliver a direct relationship with fans, providing valuable, data-driven insights to unlock opportunities for growth in new product development, live services and tools, and regional expansions," Williams said in a news release. "As part of Wizards, the brand's leadership will soon be able to drive a unified, player-centric vision of the world's greatest role-playing game on all platforms."

Apple, looking to address criticism of its competitive practices by the European Union, developers and U.S. lawmakers, pointed to a report showing that third-party apps are thriving on the iPhone and other devices. From a report: In a study published by Analysis Group and touted by the iPhone maker, analysts said that Apple's own apps are infrequently the dominant option and only account for a small share of app usage. "We found that Apple's own apps, while used by many, are rarely the most popular of a given type and are eclipsed in popularity by third-party apps for nearly every country and app type we considered," the report said. In the U.S., the report found that Spotify is 1.6 times more popular than Apple Music, that Google Maps is used 1.5 times more than Apple Maps, and that Netflix is 17 times more popular than Apple's service. The Amazon Kindle service, meanwhile, was 4.5 times more popular than Apple's Books app.

An anonymous reader quotes a report from NPR: Book banning is not new -- in the U.S. alone the practice goes back to Puritan times, when Thomas Morton's book New English Caanan and others opposing this way of life were tossed from Massachusetts. But the American Library Association said Monday that this year there have been more challenges to books than they have seen since they started tracking it in 2000.

The ALA's Office for Intellectual Freedom counted 729 challenges to library, school, and university materials in 2021. It's a significant jump: Last year the group noted 156 challenges -- and in 2019, there were 377. Although the 2020 number was impacted by the pandemic, which forced schools and libraries to shut down, the ALA said they don't usually get more than 500 book challenges in any given year. And sometimes, those challenges contain more than one book title. The number of individual books challenged in 2021 totaled 1,597. In a press release, ALA President Patricia Wong said: "We support individual parents' choices concerning their child's reading and believe that parents should not have those choices dictated by others. Young people need to have access to a variety of books from which they can learn about different perspectives."

The organization is launching a nationwide initiative meant to empower readers to fight censorship.

Justin E. H. Smith is a professor of the history and philosophy of science. Princeton University Press has just published his new book — titled The Internet Is Not What You Think It Is. (Definite internet as "the part that we are glued to for most hours of our waking lives" which in its current usage "hinders the exercise of attention, which, indeed, in the book I try to argue is crucial to a thriving human life.")

Smith recently answered questions from the science editor at the Los Angeles Review of Books. Some radically condensed excerpts: [T]he "crisis moment" comes when the intrinsically neither-good-nor-bad algorithm comes to be applied for the resolution of problems, for logistical solutions, and so on in many new domains of human social life, and jumps the fence that contained it as focusing on relatively narrow questions to now structuring our social life together as a whole. That's when the crisis starts....

You identify as another contributing factor to our crisis moment the internet's addictive nature. How do algorithms play a role in addiction...?

[T]he reason why they abandoned the fire hose and started nudging us this way or that is because the social media companies are private for-profit companies, and the more they can nudge us to watch or to keep looking, to keep refreshing, the more money they're going to make. So that's not a philosophical problem. It's just a massively concerted effort to streamline and maximize our screen time..... [E]verything seems to be geared toward harnessing attention and exploiting attention on the designers' parts, rather than in cultivating attention on the user's part....

You could also ask, however, of social media... are you really conversing? Are you really debating? And I think the answer is, almost always, no. What's happening on social media is rather a simulation of discussion and debate. Or, as I like to put it, Twitter is a debate-themed video game, in the same way that, say, Grand Theft Auto is a stolen-car-chase-themed video game.... [S]ocial media [is] more like a false suffocation or a perversion of the thing it pretends to be.... [T]his is a real problem because there's no other game in town. At this point, if you have any lingering hope for the prospects of deliberative democracy, the idea that you need to find a neutral public space to pursue it in, it's just so obvious that the only possible setting is online. I mean, you can go print pamphlets in your basement if you want but that's not going to get your movement very far.

So we only have one choice as a public space, and it's a spurious one. It's one that can't be a public space because its raison d'être is something quite different....

In different government/enterprise meshes in different systems throughout the world, including the United States, but also significantly, China, we're seeing one and the same thing slowly emerge, again, under very different legal systems in very different cultures with different historical legacies. And that is, namely, a system in which algorithms constrain and define and limit our identities rather than enabling us to cultivate our freedoms.
The interview (and the book) re-visit 17th-century German philosopher/early modern polymath Gottfried Leibniz — who built a gear-and-wheel-driven "reckoning engine" — as the first incarnation for the tech utopian dream of outsourcing our reasoning.

"[I]t goes from the mid-1670s to precisely the mid-2010s, by which point it became painfully obvious that such outsourcing of reason was actually causing problems even as it was solving old problems. It was certainly not the path to world peace and stability that one might have hoped for in an earlier generation."

"I've been teaching college English for more than 30 years," writes Elisabeth Gruner, a professor of English at the University of Richmond. "Four years ago, I stopped putting grades on written work, and it has transformed my teaching and my students' learning. My only regret is that I didn't do it sooner."

The practice she's adopted is called "ungrading," where students are given formative rather than summative feedback. "At the end of the semester they submit a portfolio of revised work, along with an essay reflecting on and evaluating their learning," writes Gruner. "Like most people who ungrade, I reserve the right to change the grade that students assign themselves in that evaluation. But I rarely do, and when I do, I raise grades almost as often as I lower them." Here's here reasoning (via The Conversation): I stopped putting grades on written work for three related reasons -- all of which other professors have also cited as concerns. First, I wanted my students to focus on the feedback I provided on their writing. I had a sense, since backed up by research, that when I put a grade on a piece of writing, students focused solely on that. Removing the grade forced students to pay attention to my comments.

Second, I was concerned with equity. For almost 10 years I have been studying inclusive pedagogy, which focuses on ensuring that all students have the resources they need to learn. My studies confirmed my sense that sometimes what I was really grading was a student's background. Students with educational privilege came into my classroom already prepared to write A or B papers, while others often had not had the instruction that would enable them to do so. The 14 weeks they spent in my class could not make up for the years of educational privilege their peers had enjoyed.

Third, and I admit this is selfish: I hate grading. I love teaching, though, and giving students feedback is teaching. I am happy to do it. Freed from the tyranny of determining a grade, I wrote meaningful comments, suggested improvements, asked questions and entered into a dialogue with my students that felt more productive -- that felt, in short, more like an extension of the classroom.

In 1983 the annual revenue at the electronics chain Crazy Eddie was roughly $134 million (or about $372 million today), remembers The Hustle. The next year they'd sold $44 million just in computers and games — and eventually grew to 43 stores. The company's stock ticker symbol was CRZY.

"There was just one major problem," the article notes. "Crazy Eddie had been lying about its numbers since its inception — and the higher the stock soared the further founder Eddie Antar went to maintain the illusion."

It's a colorful story from the early days of home PC sales. Antar's uncle hid up to $3.5 million in cash in a false ceiling at Antar's father's house, according to The Hustle. "Eddie Antar kept close tabs, usually calling his uncle twice a day to see how much money they were skimming.... The skimming strategy allowed Antar to not only hoard cash but also evade sales taxes. His employees were also paid off the books so Crazy Eddie could avoid payroll taxes." "Money was always in the house," said Debbie Rosen Antar, Antar's first wife, to investigators in the late 1980s. "And if I needed it and I asked him, he would say, 'Go underneath the bed and take what you need....'"

Why would a company built on a family fraud go public? Somebody told Antar he could keep making millions skimming cash, but he could make tens of millions if the company traded on the stock market. Strangely, Crazy Eddie's fraudulent history gave it an advantage. To provide the illusion of quickly increasing profits ahead of the IPO, the Antars simply reduced the amount of cash they were skimming. With millions more on the ledger instead of in the family's pockets, the company's profits looked more impressive.

As a public company, Crazy Eddie then made up for its inability to skim cash by initiating new fraud streams.

- The company embellished its inventories by millions of dollars to appear better-stocked and better positioned for profits.

- The Antar family laundered profits it had previously skimmed — and deposited in foreign bank accounts — back into the company to inflate revenues....

In November 1987, a hostile investment group led by Houston entrepreneur Elias Zinn pounced, purchasing Crazy Eddie. As Antar's cousin later recounted, Antar thought the sale would at least give them an opportunity to pin the fraud on the new owners. But Zinn immediately discovered $45 million of listed inventory was missing. Stores soon closed, and the company went bankrupt in 1989.
Two disgruntled ex-employees then brought fraud allegations to America's stock-regulating agency, the article reports, while the FBI "started sniffing around, too." Crazy Eddie fled the country, using forged passports to escape to Tel Aviv, Zurich, São Paulo, and the Cayman Islands. But he was eventually arrested in Israel, sentenced to 12.5 years in prison, and ordered to repay investors $121 million (though he apparently served only seven).

But Crazy Eddie also became a cultural phenomenon -- sort of. In the 1984 movie Splash, Darryl Hannah's character even watches a Crazy Eddie TV ad. The Hustle's article also includes photos of a Crazy Eddie stock certificate — and an actual "Wanted" poster issued the next year by the U.S. Marshalls office.

Yet just four years before his death in 2016, Antar — a high school dropout — was telling an interviewer from The Record that "I changed the business...."

A new essay from The Baffler suggests burnout is "a personal malady that indexes a broken labor system," rather than a trendy term that "resonates with affluent professionals who fetishize overwork."

And then the essay turns to Jonathan Malesic's new book The End of Burnout: He casts a critical eye on burnout discourse, in which the term is used loosely and self-flatteringly. Journalistic treatments of burnout — such as Anne Helen Petersen's widely read 2019 essay — tend to emphasize the heroic exertions of the burned-out worker, who presses on and gets her work done, no matter what. Such accounts have significantly raised burnout's prestige, Malesic argues, by aligning the disorder with "the American ideal of constant work." But they give, at best, a partial view of what burnout is. The psychologist Christina Maslach, a foundational figure in burnout research — the Maslach Burnout Inventory is the standard burnout assessment — sees burnout as having three components: exhaustion; cynicism or depersonalization (detectable in doctors, for example, who see their patients as "problems" to be solved, rather than people to be treated); and a sense of ineffectiveness or futility.... Accounts of the desperate worker as labor-hero ignore the important fact that burnout impairs your ability to do your job. A "precise diagnostic checklist" for burnout, Malesic writes, would curtail loose claims of fashionable exhaustion, while helping people who suffer from burnout seek medical treatment.

Malesic, however, is interested in more than tracing burnout's clinical history. A scholar of religion, he diagnoses burnout as an ailment of the soul. It arises, he contends, from a gap between our ideals about work and our reality of work. Americans have powerful fantasies about what work can provide: happiness, esteem, identity, community. The reality is much shoddier. Across many sectors of the economy, labor conditions have only worsened since the 1970s. As our economy grows steadily more unequal and unforgiving, many of us have doubled down on our fantasies, hoping that in ceaseless toil, we will find whatever it is we are looking for, become whoever we yearn to become. This, Malesic says, is a false promise.... [The book] is an attack on the cruel idea that work confers dignity and therefore that people who don't work — the old, the disabled — lack value. On the contrary, dignity is intrinsic to all human beings, and in designing a work regime rigged for the profit of the few and the exhaustion of the many, we have failed to honor one another's humanity.... William Morris, in his famous essay "Useful Work Versus Useless Toil," dreamed of a political transformation in which all work would be made pleasurable. Malesic thinks, instead, that work should not be the center of our lives at all....

Burnout is an indicator that something has gone wrong in the way we organize our work. But as a concept it remains lodged in an old paradigm — a work ethic that was already dubious in America's industrial period, and now, in a period of extreme inequality and increasing precarity across once-stable professions, is even harder to credit.... The top 1 percent of the income distribution is composed largely of executives, financiers, consultants, lawyers, and specialist doctors who report extremely long work hours, sometimes more than seventy a week....

But the strange work ethic the rich have devised seems highly relevant for our understanding of burnout as a cultural phenomenon, especially as it spreads beyond its traditional victims — doctors, nurses, teachers, social workers, anti-poverty lawyers — and courses through the ranks of knowledge workers more generally."

An anonymous reader shares a report: Last year, the Google TV app user interface was completely redesigned and transformed into a hub for browsing movies and shows from your favorite streaming apps all in one place. It now appears that more changes are coming to the platform as Google has announced that in May 2022, movies or TV shows will no longer be available in the Google Play store. Instead, the Google TV app will be the official home for buying, renting, and watching movies and shows on your Android device. Other apps, games, and books will continue to live on the store. On Google TV, the experience of using Google Play Movies & TV will still be the same and users will get access to the latest new releases, rentals, and deals. When taking a look at the new Google TV app, customers will see a Shop tab where they can find all the titles that the tech giant offers.

Variety takes a long look at Halo, the new nine-episode TV show on Paramount+ adapting "Microsoft's crown jewel Xbox franchise": When the show premieres on March 24, it will be the culmination of 17 years of false starts and dogged striving, including a Peter Jackson-produced feature film that fell apart in the 2000s, more than six years of development by Amblin Television in the 2010s, and a pandemic-split production in Hungary for the nine-episode first season that lasted nearly two years....

On June 6, 2005, in a stunt that instantly became the stuff of Hollywood legend, Microsoft sent a small platoon of actors dressed in full Master Chief armor to the major film studios (other than Sony Pictures, naturally). They were armed with a "Halo" screenplay written by Alex Garland and take-it-or-leave-it deal terms heavily weighted in the company's favor. The result was a movie co-financed by Universal and 20th Century Fox and produced by Peter Jackson, who hired up-and-coming director Neill Blomkamp to make his feature debut with the film. According to Jamie Russell's book "Generation Xbox: How Video Games Invaded Hollywood," Microsoft was an uneasy and at times overbearing creative partner, and the project ultimately fell apart in October 2006. (Blomkamp and Jackson instead made 2009's "District 9," which was nominated for four Oscars, including best picture.)

By 2011, Microsoft had parted ways with Halo's original developer, Bungie, and created an in-house studio, 343 Industries, to keep the franchise alive. As part of that effort, veteran Microsoft executive Kiki Wolfkill began exploring anew how to expand the game into a live-action adaptation — or, in Wolfkill's words, "linear entertainment...." Don Mattrick, then the head of Microsoft's Xbox unit, called his friend Steven Spielberg, himself a passionate gamer and a Halo fan. Soon after, 343's executives found themselves pitching Amblin Television presidents Justin Falvey and Darryl Frank. "They asked for permission to get in before we came into the room, and they covered a large conference table with the canon of Halo," says Falvey. That canon — a vast science fiction saga that spans hundreds of millennia and involves ancient aliens who created colossal, ring-shaped structures called the Halo Array — comes as much from dozens of tie-in novels, comic books and exhaustive guides and encyclopedias as from the games themselves. "It was aisles deep," Falvey recalls. "It was incredible."

Everyone who spoke with Variety, actually, cited Halo's expansive mythology as the factor that differentiated the series from other video game fare and made it so attractive as source material for event-size television.... [W]hen Kyle Killen ("Lone Star") came on board as showrunner in 2018, he hit upon a shrewd narrative path that embraces the video game DNA: Master Chief starts as a complete cypher, engineered to be so devoid of individuality that he literally has no sense of taste, and the rest of the season slowly fills out the void. "We're going to tell a story about a man discovering his own humanity," says Kane, who joined the show as co-showrunner in 2019. "In so doing, he's invited the audience to discover that guy's humanity too."

Eventually, Levine says, "we got the script to the place where we said, 'You know, this is a deep dive into character. What are the costs of turning human beings into killing machines...?'"

Kane estimates he wrote upwards of 265 drafts of the first nine episodes, balancing everything from the needs of the expansive production to story notes from 343 and Spielberg to the desire to fold in as much from the Halo mythology as possible.
The article calls the show the strong argument yet from Paramount+ "that it belongs at the big kids table with Netflix, Disney Plus, Amazon Prime Video and HBO Max."

The article notes Paramount+ already has five ongoing Star Trek series (including Discovery and Picard). And Variety also reported earlier that South Park will stream exclusively on Paramount+ starting in 2025, joining the streaming service's 14 exclusive South Park "specials" (hour-long episodes like 2021's "South Park: Post COVID").

Christopher Alexander, a British-American architect and design theorist that affected fields including software and sociology, died on Thursday, March 17, after a long illness. He was 86. Christopher Newport University reports: Christopher Alexander, a towering figure in architecture and urbanism -- one of the biggest influences on the New Urbanism movement -- died on Thursday, March 17, after a long illness, it was reported by Michael Mehaffy, a long-time collaborator and protege. Alexander was the author or principal author of many books, including A Pattern Language, one of the best-selling architectural books of all time. He is considered to be the father of the pattern language movement in software, which is the idea behind Wikipedia. In 2006, he was one of the first two recipients, along with Leon Krier, of CNU's Athena Medal, which honors those who laid the groundwork for The New Urbanism movement.

In 1965, Alexander wrote a much-cited essay, A City Is Not a Tree, one of the earliest and most trenchant critiques of the dendritic, sprawl pattern of city planning and development. Other works include The Timeless Way of Building and A New Theory of Urban Design. Alexander was more than a theorist: In 2006, when he was awarded the Athena, it was reported he had designed and built more than 200 buildings around the world. In 2012, his The Battle for the Life and Beauty of the Earth, tells the story of a school campus in Japan that was designed and built using the principles that he articulated (see photo at top).

Chris Freeland, a librarian and Director of the Internet Archive's Open Libraries program, writes: The disturbing trend of school boards and lawmakers banning books from libraries and public schools is accelerating across the country. In response, Jason Perlow made a strong case last week for what he calls a "Freedom Archive," a digital repository of banned books. Such an archive is the right antidote to book banning because, he contended, "You can't burn a digital book." The trouble is, you can.

A few days ago, Penguin Random House, the publisher of Maus, Art Spiegelman's Pulitzer Prize-winning graphic novel about the Holocaust, demanded that the Internet Archive remove the book from our lending library. Why? Because, in their words, "consumer interest in 'Maus' has soared" as the result of a Tennessee school board's decision to ban teaching the book. By its own admission, to maximize profits, a Goliath of the publishing industry is forbidding our non-profit library from lending a banned book to our patrons: a real live digital book-burning.

We are the library of last resort, where anyone can get access to books that may be controversial wherever they happen to live -- an existing version of Perlow's proposed "Freedom Archive." Today, the Internet Archive lends a large selection of other banned books, including Animal Farm, Winnie the Pooh, The Call of the Wild, and the Junie B. Jones and Goosebumps children's book series. But all of these books are also in danger of being destroyed.

Amazon's physical retail business is suffering a major blow as the company today confirmed it will close 68 brick-and-mortar retail stores across the U.S. and U.K. From a report: This includes its Amazon Books bookstores, its pop-up shops in various markets, and its 4-star stores where customers could shop popular and highly-rated products across Amazon.com. The retailer, which began its life as an online bookseller, launched its first physical bookstore in Seattle back in 2015, then steadily expanded its brick-and-mortar footprint to include more locations across the U.S. and abroad, including in U.S. states like Arizona, California, Colorado, D.C., Illinois, Maryland, Massachusetts, New Jersey, New York, Oregan, Tennessee, Texas, and of course, its home state of Washington.