> Could also argue that the scam ad that won the slot for 10 cents would have gone for 9 cents without the scam and Meta's marginal revenue was only 1 cent.
They're probably taking that into account in their 10% of profit coming from ads estimate.
I can recall one time I got feedback from Google that an ad had indeed been taken down, that was an Ukrainian women dating ad in Gmail which was not subtle at all about offering trafficked women. But that's some time ago.
That's at least something. Last I was on a streaming service, they were very fastidious about not revealing who was behind a spammer's rotating "music labels", despite them by law having some kind of payment details for them.
> There are more ads going out then can be reviewed, so they would rather have people report them, then they automatically reject the report until enough people report it, then an actual person may review it.
If only there was a technology which could automate this... But we all know, AI is only used on users, not customers - and users get the two line perl script "AI" which says "We have reviewed your claim and decided to ignore it".
Can't spell classical without "class". If you like classical music and don't find at least parts of the culture obnoxious and elitist, I'd worry for you.
I think you miss the point of this book. Karl had tuberculosis, Jonathan died saving him from a fire despite knowing Karl would soon die (which he did). No suicide there, only tragedy. Then they had an "afterlife" which is full of the adventure they wished they had when they were alive - which also means that there's some serious darkness there to fight, so not heaven by any means. In the end, Karl gets to do for Jonathan essentially what he did for him, and they're ready to move on. They didn't commit suicide, they were already dead. I don't think a single Swedish kid killed themselves over misunderstanding this book, they didn't miss the part that the brothers really treasured life and it was a tragedy that they died in the first chapter.
Very odd. I've used DeepSeek heavily for some weeks, and haven't seen a single Chinese character either in its replies or its thinking. Are you using a quantified model or a different provider by any chance?
Remember that Astrid Lindgren was born in 1907, got pregnant at 18 and had to give up her son to a foster home for the first few years. She grew up in a completely different world, and it's no coincidence that a lot of her stories are basically about consoling traumatized children.
Also, back then in 1925 infant mortality was probably ~10x worse [0], which adds to how we (today) might underestimate the prevalence of parent-child traumas.
I don't know why you are down voted. Death was so much more present in kids lives back then. Death from diseases and injuries so common. Kids having dead siblings entirely normal.
I am familiar with her background she was sadly later projecting into many/most of her books. I am pretty sure vast majority of Swedish kids was growing back then in complete families without dead mother/father, same as they do nowadays regardless of marriage or divorce status.
Emil of Lönneberga and The Six Bullerby Children are great books, the rest about traumatized kids/orphans not so much as kid books.
As a Swede, I can't read the Emil books because of fremdscham for the parents from those scenes where Emil feels the need to run to the carpentry shed.
The farmer class could actually be like this, before we banned it, even though she tries to write about it in a comical way, but it was always a low class thing to punish ones children and to read stories where it happens is basically intolerable at least to me.
Astrid Lindgren probably knew this though. She isn't some idiot who puts this in as comic relief, it's comic but there's a serious and intolerable feel to it too. She knows she's portraying something bad and she intends for us readers to sit with the dissonance-- the low class going-to-punish-his-children aspect, the family's love for Emil, that book in which his mother writes down what he does, that Emil is well-meaning, that everything goes well in the end and that the adult Emil becomes a nämndeman, etc.
Astrid Lindgren is one of the scariest Swedish authors because of her deliberate careful and nuanced use of moral dissonance. She's scarier than Willem Fredrik Hermans.
according google in 1925 85% Swedish kids were born to married parents
and
"Long-term cohort studies tracking historical Swedish registry data from the early-to-mid 1900s indicate that approximately 2.3% to 3.6% of children experienced the death of a biological parent before reaching adulthood (under 15 to 18 years of age)"
so less than 4% of the kids experienced parental death, absolute majority was born into regular complete families, my point was like half of the Lindgren characters are missing parent for whatever reason, not one in 20 books main characters, she was clearly projecting something unhealthy unrealistic into her books, if she was following reality it would be rare in her books and not that many if not majority of her characters are from incomplete families
it is not that much, it means if she had 25 (4% is 1 in 25, not 1 in 20) main characters, one of them should have dead parent if she would reflect the reality and didn't have some orphan/death fetish with significant number (way way more than 1 in 25 or even 1 in 10) of her characters being orphans/foster/neglected kids
The "if you show a minority in your book, their number must not exceed their exact demographic share" rule would make it impossible to write about any minority.
> if she would reflect the reality and didn't have some orphan/death fetish
The aggressive hostility toward writing about non-majority is super weird.
Yes, and it's a problem procedural space games have in particular. Because the planets usually don't interact at all in any meaningful way - what's on one planet (or indeed in one zone on a planet) has no impact outside it. Maybe you can get random quests on planet A to find some landmark on planet B, but it doesn't feel like that was because anything on planet A had anything to do with what was on planet B. For all its improvements over the years (and they are many, and OK in their own way) this is a thing which has not changed in No Man's Sky.
This I think is a core challenge with procedural generation. You can have procgen countries with procgen cities with procgen citizens, but if none of those citizens have an aunt in another city - who you can actually visit, in a new world from the same seed, and learn that she has a nephew in the first city - then it feels empty, fake.
Hierarchial procgen is easy. But you need cross-interactions like that to make it feel alive, and that's hard.
They're probably taking that into account in their 10% of profit coming from ads estimate.
reply