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Beboped

@beboped1

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Does anyone remember what happened to Radio Shack?

They started out selling niche electronics supplies. Capacitors and transformers and shit. This was never the most popular thing, but they had an audience, one that they had a real lock on. No one else was doing that, so all the electronics geeks had to go to them, back in the days before online ordering. They branched out into other electronics too, but kept doing the electronic components.

Eventually they realize that they are making more money selling cell phones and remote control cars than they were with those electronic components. After all, everyone needs a cellphone and some electronic toys, but how many people need a multimeter and some resistors?

So they pivoted, and started only selling that stuff. All cellphones, all remote control cars, stop wasting store space on this niche shit.

And then Walmart and Target and Circuit City and Best Buy ate their lunch. Those companies were already running big stores that sold cellphones and remote control cars, and they had more leverage to get lower prices and selling more stuff meant they had more reasons to go in there, and they couldn't compete. Without the niche electronics stuff that had been their core brand, there was no reason to go to their stores. Everything they sold, you could get elsewhere, and almost always for cheaper, and probably you could buy 5 other things you needed while you were there, stuff Radio Shack didn't sell.

And Radio Shack is gone now. They had a small but loyal customer base that they were never going to lose, but they decided to switch to a bigger but more fickle customer base, one that would go somewhere else for convenience or a bargain. Rather than stick with what they were great at (and only they could do), they switched to something they were only okay at... putting them in a bigger pond with a lot of bigger fish who promptly out-competed them.

If Radio Shack had stayed with their core audience, who knows what would have happened? Maybe they wouldn't have made a billion dollars, but maybe they would still be around, still serving that community, still getting by. They may have had a small audience, but they had basically no competition for that audience. But yeah, we only know for sure what would happen if they decided to attempt to go more mainstream: They fail and die. We know for sure because that's what they did.

I don't know why I keep thinking about the story of what happened to Radio Shack. It just keeps feeling relevant for some reason.

Carpe Jugulum

When I started this series, I knew I would find some of the series hadn't held up. But I was really hoping I'd find some which were better than I remembered - and here's one.

Carpe Jugulum

First Read: Post Grad-School

Verdict Then: Fine, but not particularly memorable. The witches books just aren't hitting as well as I expected

Verdict Now: A fun, propulsive, and allegorical ride, maybe my favorite of the witches books (not counting Tiffany Aching, who'll take over this subseries from here). Mightily Oats is a particular point of interest, especially in comparison to Brutha's journey.

Carpe Jugulum is perhaps the first Discworld book I've felt is underappreciated. It's not one that I hear talked about, Wikipedia says that it didn't hit the British "Big Read" list from 2003, and in general I feel like it's often forgotten. But hidden within that is just as interesting and scathing a satire as Hogfather, just with less overtly humorous window dressing. It's one of his least funny-haha books so far - not because his jokes don't land, but because they all have razor edges hidden just beneath the surface. He also leans into horror here in ways that he hasn't previously in the series.

Carpe Jugulum is a book about myth, morality, and religion, and the ways that those forces can be used to bind people or to free them. The vampyre antagonists have found a sort of freedom in directly contradicting the myths - but it's only freedom for themselves, while for everyone else it's a true horror. Mightily Oats is struggling and trying to find the truth hidden among all the tales and rules and morals that he grew up with. Granny Weatherwax confronts again the choice of light or dark, but here it has the tenor of deciding what myth she will embody. Nanny Ogg and Magrat all confront what the myths and stories of Witches really mean to them - are they bound by Maiden, Mother, and the other one, or is it a tool they can use? Agnes & Perdita get the character arc here they deserved in Maskerade, that classic adolescent story of deciding what path you will walk, and who you really want to be.

Granny gets some great monologues in during her journey with Mightily Oats, but it's really Oats's arc that I keep coming back to. In Small Gods, the Omnian church is cruel and broken, a force of evil in the world, but Brutha has the chance to change that, to show them how to be a force for good. But now, a few generations after Brutha, there are echoes of the same essential human failings recurring in the Omnian Church. An adherence to text, an evangelism that is still dehumanizing of its targets even if it's gentler now, and a constant conflict within and between the adherents of the church - all of these echo the failings of the church in Small Gods. The Omnians have gone from early Renaissance Catholics to mid-century Episcopalian/Church of England, but they're still an organized, evangelical religion. I wonder how much of the differences in Brutha's journey and Oats's journey are a reflection of Pratchett's own evolution - while Brutha was who I needed to see in high school, struggling with the Catholicism in which I was (happily, mostly) raised, but now, it's Oats's solution to the central conflicts of religion that rings most true. Find the wonder, awe, and holiness in everything - no god required. Listen to those who seem to be doing the most good in the world, not as a holy leader, but instead as a rough guide. Granny Weatherwax never tells Oats what to do. She's not a pastor. She's a Witch, a guide, a coach, an example, but never a shepherd.

This one really got under my skin. There were a few bits that didn't quite land - it's not as tight as Jingo - but overall, I do think this is a story I will want to revisit. Maybe even in a back-to-back with Small Gods, to really see the evolution of the thoughts on religion in stark relief. And in the end, that's always what the best Pratchett's do - get you to keep thinking long after the story has ended.

here's a random word generator--whatever word it gives you is now the thing you are the deity of

"quota"

am i in the fucking sales department

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im deity of accessible

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Top surgery’s on me boys!!

I got "disorder" first which was fucking hilarious but I accidentally clicked off before I could screenshot it. Went back and got this instead

I am the queen of the universe

EXCUSE ME

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now what exactly does this mean..

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Mine came up with "gems" which - for someone named Jules is just funny

"Crisis."

Yeah, that's... yeah.

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"Try" - I quite like that, actually.

Girl what the fuck is going on in tumblr offices right now to let the decisions they just dropped be made

To the executive who made the decision and the RND staff that told said exec to make that decision: the only reason you’re winning the race right now is because you’re the tortoise. Don’t be the fucking hare.

“Valley what the fuck are you talking about”

Today, tumblr staff posted a very long announcement on their blog, which you can find here.

It’s a long post that’s pretty hard to read, mostly because the entire thing reads like the writer was held at gunpoint by the zuck himself. (To the poor staff member who had to write this shitshow, I’m so sorry, may you get a raise for your efforts) Here are some of the main points:

  • Tumblr (the company) is concerned about gaining more users from outside sources, such as other social media sites
  • They’re planning on doing this by updating their advertising practices to the industry standard (basically, advertising tumblr the way Meta advertises Facebook, Instagram and Snapchat, or the way Twitter advertises itself)
  • They want to change how tumblr looks when you’re not logged in so that more people are convinced to sign up (they didn’t say how, exactly) but that’s not fully fleshed out yet
  • Gave a very interesting statistic that the average tumblr user scrolls though 25 posts a day and did not specify wether or not this is good or bad (most likely because it’s fucking wrong)
  • Plan to improve their “algorithmic ranking capabilities on all feeds” (which I don’t understand fully, but it sure fucking sounds like data mining)
  • Plan to change thread mechanics again, but this time they’re collapsible
  • Plan on putting new creators in the forefront by boosting their visibility on all dashes, and “improving the feedback loop for creators” (which once again I don’t understand fully)
  • Plan on implementing spam filters when posts make rounds
  • There’s a lot more RND on their end about to happen, regarding notifications, emails and staff-to-user communications
  • Want to make emails more personal per creator (??????????)
  • Backend stuff regarding site stability and performance on mobile

TL;DR: Tumblr is attempting to catch up with other social medias by becoming more like Twitter, even though the whole reason they had a massive influx of users recently was because of their lack of invasive, intrusive and vile business practices to sell themself.

Needless to say, people are fucking pissed. A lot of this is the exact opposite of what tumblr users want, and feels like the thing that’ll make this site finally crash and burn alongside the others. Which is terrifying!

So if staff are reading this, I’m gonna repeat my statement: the singular reason your site ended up being refuge in this time of dying socials is because the bar is in hell, and you barely jumped it by not having the bells and whistles that everyone’s tired of. Don’t trip while you’re still ahead.

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This is not at all what they're doing and spreading this panicked information is not helping.

Tumblr is making their dashboard controls open source so that the community has full control over how their dash is curated and can develop tools to customize it how they want. This was announced DAYS ago, but has been getting zero attention compared to people who only want to read everything as bad faith as possible.

Twitter would *never* make a move like this in a million years because keeping their model proprietary is too important to them to the point that they're suing Meta over Threads.

Tumblr are also extremely against data mining and their stance against it has cost them money they could have been making in order to make up for the deficit this site costs Automattic annually. Tumblr Live doesn't even "data mine" like the popular rumor states, because if you check what they collect it's username, age, and IP. The only identifying bit of this is IP, and if you use a VPN it will render that part moot.

I have a longer post about all this that includes my sources if you check the Tumblr Live tag on my blog. Look, I want Tumblr to improve too but the misinformation needs to be dealt with or we are never ever going to be able to give a scrap of useful feedback. Because asking them to stop doing something they're already not doing is flooding out all the actually useful critique.

further points:

  • changing how tumblr looks when you’re not logged in is almost certainly about removing the “oooooops you’re not cleared to see that teehee! better sign up first!” they explicitly mention wanting people to actually see what tumblr is like before deciding to sign up. this is a good thing.
  • the statistic is 25 posts per SESSION not per DAY which is completely normal and expected. i don’t see more than 25 posts most times i open tumblr (unless i’ve been gone for a while) because i don’t get that much new content on my dash OR because i don’t have time for more than that. they did not say it was good or bad that 25 is number, just that the first 25 posts should be good because that’s mostly what people see when they open their dash. and when half of it is your own posts or your mutual all reblogging the same post that makes it not an awesome experience. which is what they’re trying to fix.
  • “algorithmic ranking” just means how well their algorithm uses the data it already has. you interact with x tag a lot so you would probably like more of x tag. tumblr is notoriously horrible about this rn because if you reblog one thing about that and then hop over to the for you tab it’s nothing but that thing. if they were going to mine more data they would be talking about gathering data. “algorithmic ranking” is literally just moving around cells in a spreadsheet of data they already have, there’s no conversation about gathering more data.
  • improving the feedback loop for creators means getting them more reblogs/comment when they post original art/writing/content so they feel like it’s worth it to post to tumblr. which is what creators want.

“tldr”ing this as “tumblr is trying to become like twitter!” is ragebait nonsense. nothing about these changes make it “more like twitter” and i don’t know where you got half the stuff in this post except by willful misreading. i get that the language isn’t familiar to you and that you don’t understand it, which yeah is not great messaging on tumblr’s part and i wondered at them posting it (though super appreciate the EXTREMELY TRANSPARENCY which no other social media site is doing). but please don’t try and speak authoritatively on something you don’t understand, and especially don’t put a tldr that is a completely inaccurate summary of what’s going on.

The Last Continent

A Rincewind book I don't dislike? Could it be so?

The Last Continent

First Read: Now!

Verdict: This book explained to me why I keep bouncing off Rincewind - a perfectly servicable travelogue of a book, with some good jokes and fun pastiche.

I was, honestly, worried going into Last Continent. Interesting Times was such a mess and a half of a book, and at this point, my "Rincewind is the worst character" bona fides should be well established. But Last Continent was fun! It's a pure parody pastiche, and there's no big lesson about humanity or deep impactful character arcs. But every book can't be a deep philosphical treatise - sometimes you just need a fun beach read.

The Last Continent parodies Australia and Australian movies (Mad Max, Priscilla, more I'm sure that I don't know), but more or less sidesteps the colonialism parts. There are a couple lampshades (like an exchange with the inevitable Dibbler over whether he's "indigenous") to let the reader know that he's intentionally not touching that topic, and while it won't win any diversity awards for that, I much, much prefer this to whatever he thought he was doing in Interesting Times.

Where normally I like to talk mostly about the overarching themes and characterization, there really isn't any here. Except maybe "Wow, there's some crazy weird shit out there, isn't there, Bruce." But instead, we get Rincewind doing a classic travelogue as the A plot, as he is wont to do, while the wizards get to just have fun being themselves and messing shit up for the B plot. It's fun, it's funny, and it's lighthearted. I'd guess after Hogfather & Jingo, Pratchett needed a palette cleanser, and so he went back to his least philosophical or serious character to do it.

But I did get one thing out of it - I finally understand the core of why I dislike the Rincewind books so much. Rincewind is the character Pratchett uses to write in a very specific style, one focused on travel and location and environment rather than character and emotion. It's a classic "eternal hero" book - Rincewind never changes, just the set dressing. And that's just a style of writing that doesn't work for me - I don't want to see exotic locales, I want to explore the human condition. But Last Continent is certainly the best of the Rincewind books so far - with all his human condition and social commentary landing with other characters, he's able to focus Rincewind on a breezy, beach-read style adventure, and the book is much better for that focus.

Have you done a review of Pyramids Pyramids? It's up there with Small Gods for me.

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Yes! If you search the discworld tag on my blog you should find it - I've been reading through in chronological order and posting reviews as I finish books.

It is not my fault that I must bite. My loving spouse. Every day.

It is not my fault

that I must bite. My loving

spouse. Every day.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

“Nimona is still Nimona,” he says. “She could be a whale or a dragon or shark or a cat, and she’s still Nimona. Just as she could be a girl or a boy or a woman or a man or anything else. All of these other parts are all factions of her. None of them are the end-all be-all of who she is. So that is kind of how I think of my own gender now. There is still some of that monster girl that I still hold very close to my heart.”

while I’m here

If you watched the NIMONA movie, enjoyed it, and want to support it and other (gay) media like it, consider slamming that double-thumbs-up button on Netflix. I know what you’re thinking: Netflix has a double-thumbs-up button?! That’s what I said too. But I have it on good authority that this is a metric with serious weight for Netflix and it’s something they take into account when deciding whether to invest in other similar (gay) properties. So send Netflix a message and give that sucker the ol’

Jingo

Woo three-peat! Also, I'm writing this in a state of heightened anxiety while waiting for recording numbers, in case that shows. I'm trying to make this one better than Hogfather, which shows off my rust in these I think.

Jingo

First Read: High School

Verdict Then: Yessss, more Vimes! Also, this is the first book I recommended my mom in trying to get her into Pratchett (in retrospect, not the best one for her). It didn't work =(

Verdict Now: Wow, remember that rut? No? Me neither. What a huge, varied, and delightful book that just *works* so we'll.

Jingo proves that the rut is well and truly over, and that Pratchett has turned a corner in skill. He tackles here a set of subjects as big and bold as any he has or will: war, politics, racism, and limits on power. And yet he handles it all with such a deft hand - gone is the lingering confusion of Men at Arms, the straight up racism of Interesting Times, the bisection of Reaper Man. Everything has a purpose, every purpose is clear, and it all just hums along beautifully.

As to what he's saying on these topics, Pratchett's humanism comes through dirty and rugged. Not shining and bright, having never faced a foe, but beaten down, bedraggled, yet still in it at the end. People are people, not things, and every life matters and has value. It's Carrot's secret, that he applies this philosophy to everyone, without barrier. It's the main failing of everyone except Vetinari (who I'll get to in a bit).

Pratchett shows off the power of the parable to bring nuance to morality - because make no mistake, Jingo is a parable at its heart. Every character, at their best moments, shows that they can treat other people as fully human. But, every character also has their worst moments when they reveal or confront that their empathy has limits. No one is purely good or bad, even Rust & Cadram - they are doing evil things, but their motivations are oh so deeply human, and the difference between them and other characters is in the scale of their dehumanization, not that no one is human to them.

Nobby with women, Colon with Klatchians/foreigners, Vimes with criminals, Leonard with everyone - it's amazing the parallel and mirrored paths Pratchett weaves together here, without feeling repetitive or preachy.

Which brings me to Vetinari. At first look, his role in the book feels very functional - he's the plot moving through, ensuring that we get the exposition about Leshp and that someone's there to wrap it all up in the end and make Vimes a duke. But he fits into the parable perfectly, as an alternate universe Carrot. Vetinari doesn't need to learn how to treat others as human, he's perfectly aware and always does. But if Carrot is (hah) the treat, Vetinari is the stick. He openly and freely manipulates people and situations to suit himself. But, he's doing it from the same set of core morality, doing his utmost to ensure every person can live their truest life in the end. He fights dehumanization just as Carrot does, he just uses different methods.

Jingo has a couple rough spots - Nobby's turn as a woman is in a "good compared to the time" category, and he's definitely still evolving in his gender politics and humanism generally. There are places I wish he'd gone farther. But overall, as with Hogfather and Small Gods before it, Jingo is one of his best: a beautiful, wonderfully told parable with a simple message - "People are people, no more and no less".

If we don’t microdose delusion we won’t make it through this reality babe….

So I remember reading about this study in grad school where they have a bunch of clinically depressed people and a bunch of non-clinically-depressed people a game that was partially chance and partially skill, and asked them to estimate how much control they had over the outcome.

The depressed people were far more accurate in estimating how much influence their actions had on the outcome of the game compared to their nondepressed counterparts, who consistently overestimated the effects of their own choices on their chances of winning.

Then I remember this other study (CW animal testing) where they put rats in a bucket of water that they couldn’t get out of, so they’d have to swim. There was a fairly consistent point at which the swimming rat would falter, and stop swimming, fated to drown.

Except that that’s when the researchers would pull the rat out of the bucket, give it a nice rest warmth and a meal.

When those SAME rats who had been rescued before were put in the same situation again, they swam much LONGER than they had before.

Why? The risk was the same either way- drowning. You’d have thought that the fear of drowning would keep them swimming to their maximum length no matter what.

The researchers conclusion was that the rescued rats had something they hadn’t had the first time- they had more hope. A miraculous rescue could come, and that let them swim for longer, just in case.

I think we do microdose delusion because sometimes that little overestimation of our chances, of our luck, keeps us swimming that little bit longer, just in case something good happens. And sometimes, that little margin really does make the difference. 

“All right," said Susan. "I'm not stupid. You're saying humans need... fantasies to make life bearable."

REALLY? AS IF IT WAS SOME KIND OF PINK PILL? NO. HUMANS NEED FANTASY TO BE HUMAN. TO BE THE PLACE WHERE THE FALLING ANGEL MEETS THE RISING APE.

"Tooth fairies? Hogfathers? Little—"

YES. AS PRACTICE. YOU HAVE TO START OUT LEARNING TO BELIEVE THE LITTLE LIES.

"So we can believe the big ones?"

YES. JUSTICE. MERCY. DUTY. THAT SORT OF THING.

"They're not the same at all!"

YOU THINK SO? THEN TAKE THE UNIVERSE AND GRIND IT DOWN TO THE FINEST POWDER AND SIEVE IT THROUGH THE FINEST SIEVE AND THEN SHOW ME ONE ATOM OF JUSTICE, ONE MOLECULE OF MERCY. AND YET—Death waved a hand. AND YET YOU ACT AS IF THERE IS SOME IDEAL ORDER IN THE WORLD, AS IF THERE IS SOME...SOME RIGHTNESS IN THE UNIVERSE BY WHICH IT MAY BE JUDGED.

"Yes, but people have got to believe that, or what's the point—"

MY POINT EXACTLY.”

-Terry Pratchett, Hogfather.

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hey, don't just leave the quote there! the last line is what MAKES it!

"YOU NEED TO BELIEVE IN THINGS THAT AREN’T TRUE.  HOW ELSE CAN THEY BECOME?"

“YOU NEED TO BELIEVE

IN THINGS THAT AREN’T TRUE. HOW

ELSE CAN THEY BECOME?”

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

Hogfather

You're not really back until the second post, especially not with ADHD. Luckily, we're out of the rut!

Hogfather

First read: High School

Verdict then: Definitely one of his better ones, but it didn't connect with me as well as Vimes.

Verdict now: What a great jump out of the rut we've been in since Soul Music - not a return to form, but a true evolution of it. Susan continuing to grow is awesome, Death in one of his best forms, and the first truly great Pratchett Villain all lead into such a clear moral statement. The best art hits different but lesser as you move through life, and Hogfather fully stands up to that.

I really hoped that Hogfather was going to signal the end of the rut, and while it's still possible that we'll fall back into it, Hogfather itself was even better than I remembered it. The scaffolding has fallen into the background again, while the characters shine, the jokes land, and the philosophy is excellent.

It's easy to compare it to Soul Music as the structure is very similar - Death is doing something strange, and Susan has to deal with the consequences. But everything here is elevated - from the incisiveness of the parody to the truth of the characters to the existence of a villain.

And oh, that villain. Pratchett's villains are some of my favorite parts of his books, but to this point in the series, they've been largely forgettable. Men-at-Arms & Feet of Clay were the closest, but still, they didn't hit the height. Teatime is the first example of a true Pratchett villain to me. Everything about him is deeply screwed up, deeply horrible, and deeply human. If you've never met anyone like Teatime, count your blessings. And the way everyone reacts to him too, so true to their natures and so purely human.

Every character is so well drawn here. We've moved on from Death as his own protagonist to Death as an inciting incident/guide, and Pratchett nails that balance here in a way Mort and Soul Music just didn't. Susan, in her uncertain 20s, has a different set of existential problems to face, but also more tools with which to do so. The Wizards are really coming into their own as a unit too - the way in which they are both many characters and one character here is fascinating, and often hilarious.

Hogfather has perhaps my favorite description of humanity - "Where the falling angel meets the rising ape", and the demonstration of the value of that contradiction is the heart of the novel. Like all his best works so far, Hogfather is laser-focused on the exploration of dreams and reality. Of the small lies and the big ones. In High School, on my first read, I was too innocent to really understand how rare, and how essential to leading a good life, the lessons in this book are. But reading Death's final monologue, I had tears in my eyes this time, because, well, he really gets it. Pratchett so clearly articulates both the core of one of humanity's most fundamental existential crises, and outlines a beautiful solution all at once.

Hogfather has definitely risen up my personal favorite list, and I think I'll be chewing on the philosophies at the heart of it for a while longer, as well as the ways in which the whole is so much better than the parts. HO HO HO.

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I generally consider myself a fairly grounded person, but when I manage to biff a dice roll with an 85% chance of success seven times in a row, I can't help but start to wonder.

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Like, rationally I know it's just because I'm making a huge number of rolls, and the questions "what are the odds of flipping a coin five times and getting five heads?" and "given a thousand sequential coin flips, what are the odds that a run of five consecutive heads appears somewhere in the resulting sequence?" have very different answers, but in the moment the second one feels a whole lot like the first!

OP are you making a million dice rolls? This is super unlucky. I’m blanking on how many rolls you’d need to have even odds of that happening - back in a day or so -

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Funnily enough, owing to the tracking features of the dice-rolling software I'm using I can actually give you an exact answer to that: at the time of this posting, I have made that specific 85%-chance-of-success roll 14 987 times.

(I could probably come up with the formula for the odds of a run of seven consecutive failures appearing in 14 987 rolls, but ultimately I'm not sufficiently invested in the answer to feel like working for it.)

I don't know if there's a simple formula. Having thought for a few hours on this, all I can come up with is to do it recursively.

I'm going to model it as a coin that's 85% heads and 15% tails, and you've flipped tails 7 times in a row. Say H=0.85 and T=0.15. The chance of just straight flipping 7 tails in a row is T^7, and out of 15000 flips it could be flips 1 through 7, or 2 through 8, etc. . . but you can't just add up T^7 a bunch of times. That's overcounting - it's possible that you get it on flips 1 through 7 and 2 through 8, and adding separately counts that outcome twice. Or, for that matter, you could get a 10-streak of 1 through 10, or you might get five separate streaks of 7. . . .

(You probably already know all this - this wordy background is for anyone who finds it helpful!)

I think it's easier to calculate the chance of doing 15000 flips and not getting 7 tails in a row. And this is. . . still not straightforward, but I think it can be done recursively.

Math notation ahoy! P(n) will be the chance of not getting 7 tails in a row in n flips.

  • P(1) through P(6) are all 1: you have a 100% of not getting 7 tails if you have 6 or fewer flips.
  • P(7) is everything except the chance of getting TTTTTTT (all tails), in other words, 1 - T^7.
  • P(8) is everything except HTTTTTTT, TTTTTTTH, and TTTTTTTT, in other words, 1 - H*T^7 - T^7*H - T^8.

Ok! Now we're going to figure out P(n+1) based on P(n) and below. In other words, let's say we've recorded 100 coin flips, and got no streaks of 7 tails in a row. Can we use this to figure out P(101)?

This part is a bit fuzzy - I may have some errors in here (please correct me if you find some!) I think that there are two cases that are important:

  1. Your first 100 flips do not end in TTTTTT (6 tails), and so the 101st flip can be either heads or tails, and either way is fine.
  2. Your first 100 flips do end in TTTTTT, and so the last flip must be H.

In case 2, the last flips actually need to be HTTTTTT (1 head followed by 6 tails), or it would not be part of P(100) which represents getting to 100 without getting 7 tails in a row. So the probability of case 2 coming up is P(93)*H*T^6. Since the 94th flip is H, I believe the first 93 flips can be anything (so long as they don't have 7 tails in a row).

In case 1. . . that's the rest of P(100). It's all the ways of getting to 100 flips that aren't in case 2, so the probability of case 1 coming up is P(100) - P(93)*H*T^6.

Time to put the full answer together. All we're missing is the last flip. In case 1, the last flip can be anything, and in case 2, the last flip has to be H. So, all together!

P(101) = (case1 * 1) + (case2 * H) = [ P(100) - P(93)*H*T^6 ] + [ P(93)*H*T^6 * H] = P(100) - (1-H)*P(93)*H*T^6.

One last step. This is the probability of never having 7 tails, so the probability of getting a streak of 7 tails in 101 flips is 1 - P(101).

I believe the general step is the same as the 101st step, so P(n+1) = P(n) - (1-H)*P(n-7)*H*T^6.

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I messily wrote up this formula in https://www.online-python.com/:

You can just barely see me calling the function with a value of 15000, representing 15000 coin flips. And it came out as:

If my math is right, your chance of getting 7 tails in a row within 15000 flips is a bit over 2%. Fairly unlucky still, but not vanishingly unlikely!

How many flips would it take to have a 50-50 chance of getting 7 tails in a row at some point? I plugged in random values until the output was about 0.5, and 480000 flips is close.

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Reblogging this one for being the only attempt that shows its work and doesn't fall into the naïve solution's overcounting trap. Congrats!

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What a lovely example of proof by induction - this is the best website.

Maskerade

It's been a few months - I realized I needed a break, that the books were starting to run together and feel samey. Then things exploded for a while, but now I'm back! I'll probably be slower than last time, but I'm hoping to find a sustainable pace to get through the whole set.

Maskerade

First Read: I honestly don't remember. Probably after grad school.

Verdict then: Fun but not super memorable. The twist ending is mostly what stuck

Verdict now: Some great lines, and Weatherwax/Ogg is always delightful. It's better than Moving Pictures, but Pratchett still hadn't quite nailed the balance between homage, parody, and core story. Plus, while admittedly good for its time, the fat jokes are still pretty gross.

I dropped out about 2/3 of the way through, after struggling for a couple weeks to get that far, and 9 months later, restarted and blasted through in two weekdays. I'd definitely been getting too used to Pratchett's style and jokes, making them less likely to land, and the break fixed that. But this book still felt almost standard - hitting many of the same kinds of jokes and same kinds of parody/homage/story beats as Moving Pictures, Witches Abroad, and Wyrd Sisters did.

As someone familiar with, but not enamored with Opera (did season tickets for about 4 years, but stopped after that), the jokes mostly landed, especially the ones which crossed over with modern theater. Pratchett does construct this book in a pretty clever way, intending for the book itself to stand as an example of how all those "silly" operatic tropes can still create emotion and story and wonder. But he's ultimately just not quite a good enough writer yet to pull it all off - the meta-structure of the book is too transparent, the twist too easily predictable (even given the meta structure), the binding to Phantom of the Opera in particular too tight. Where Moving Pictures' weakness came from the broadness of its focus, Maskerade was too focused - it's not a parody/homage of opera, it's a parody/homage of Phantom of the Opera.

Weatherwax is also too good in this book - after the complexity and struggles of Witches Abroad and Lords & Ladies, it's a little sad to return to a version of Weatherwax that's more Wyrd Sisters or Equal Rites, where Granny is too clever and too strong for anything to really bother her. I feel like the book takes her side against Nanny Ogg too often also - while their relationship has a lot of good-natured catfighting in it, many of the exchanges in this book crossed the line into cruelty for me. Ogg herself is wonderful though - I do love the way her way is constrasted to Granny's mostly without making it seem lesser.

That brings us to Agnes/Perdita. Pratchett is trying, oh, he's trying. And for the 90s, he's doing better than a lot of people - hell, he's still probably better than many today. But, man, the way he described Agnes' body, and Basilica/Slugg's, and even Ogg got a few jabs, was just shitty. Tie that to the Agnes/Perdita split, which may have resonated more with me when I was younger, I'll admit, but which now just felt...like not enough. Pratchett, while he was ultimately trying to treat his fat characters with some compassion, as he does everyone, still didn't question so much of the bullshit around weight that's hanging around in society. The complete acceptance of the standard cultural framing around weight meant that he could only be so compassionate, so understanding of Agnes. And that lack of connection, of understanding, meant the whole character fell flat to me in the end. Even her arc, a classic "coming to accept yourself" bit, didn't really work for me.

So, in the end, Maskerade is perfectly serviceable, and it's a long way from the mess of Interesting Times, but I'm not surprised I'd forgotten most of it - in the end, it just doesn't stand out. I was really hoping this rut I was seeing was just me getting burned out - but no, Maskerade still falls prey to many of the same things Soul Music and Feet of Clay did.

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Bad: Spending hundreds of pages carefully explaining your meticulously planned worldbuilding.

Also bad: Doing no worldbuilding at all.

Good: Putting in the work of doing the worldbuilding, then refusing to explain or justify any of it, simply mentioning pertinent details briefly and in passing, allowing the reader to glimpse the outline of something vast gliding beneath their narrative point of view's tiny boat.

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If one pixel-art precision puzzle platformer starring a red-haired woman who can air-dash wasn't enough, might I suggest.

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it's funny how many of these are metroidvanias when celeste wasn't one at all. the main thing i can imagine celeste concepts contributing to a metroidvania is the idea of a diverse moveset derived from minimal controls through increasingly precise timings, which would actually be really cool to see explored

Part of it is that this isn't really anything new to the metroidvanias as a genre. Metroidvanias have always had a great deal of precision puzzle platformer in their DNA; Super Metroid, often cited as as one of the prototypes of the genre, explicitly uses movement tech which is only tutorialised long after it's initially acquired as part of its progression schema, which is why it's so open to sequence breaking – using advanced movement tech before the game actually teaches it to you on subsequent runs is part of the intended experience.

It's less that this sort of thing has historically been absent from the genre, and more that it's been downplayed in recent years due to the popularity of more combat-heavy "soulsvania" subgenre. The present shift in emphasis toward the precision puzzle platformer side of the equation in current and forthcoming titles is largely a return to form – though it will be interesting to see how far the pendulum swings. We may well end up with a generation of metroidvanias with an even stonger puzzle-platforming focus than the classics.

(The other part of it, of course, is that every indie game designer wants to do a metroidvania as their first major project. It's one of the classic blunders. Maddy Thorson got her inaugural metroidvania out of her system fifteen years ago with An Untitled Story, so Celeste was free to explore other genres!)

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Crowdfunded tabletop RPG: *has whimsical visual direction*

Me: Okay, you have my attention.

Crowdfunded tabletop RPG: *is clearly a very slightly modified version of Dungeons & Dragons with a sales pitch talking up tiny changes as revolutionary developments in tabletop gaming*

Me: Well, maybe some of those tiny changes will be legitimately novel – I've been surprised before.

Crowdfunded tabletop RPG: *uses the word 'dice' in the singular*

Me: No sale.

Monty Python and the Holy Grail (1975), dir. Terry Gilliam, Terry Jones

Ah, forever and ever one of the greatest bits ever put to film.

Needs the first part!  It was where I, as a wee lad of 16,  first heard the words “Anarchosyndicalist Commune”

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Not even queueing this, making SURE it’s posted for coronation day.

Not even queueing this,

making SURE it’s posted for

coronation day.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.