So are we still more upset about Diverse, but qualified, yet presumed unqualified hires, than DUI hires?
(Asking for anyone who cares about US National Security)
Pete Hegseth needs to go for the safety of the United States & the allies that we still have.
Of course advance information on US combat operations is classified. Pretending otherwise is an insult to our troops, who all know this.
The Secretary is unfit to lead.
You always own your intellectual property, mailing list, and subscriber payments. With full editorial control and no gatekeepers, you can do the work you most believe in.
I’m going to say something that shouldn’t be controversial but will be. If you are a Christian, you can support border control and immigration being legal vs illegal. You CANNOT celebrate deportations and get off on the cruelty, and be a real Christ follower. Period
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I don't know if JD Vance killed the Pope, but I think we should deport him to El Salvador just in case.
> This upfront investment is what copyright is made to reimburse so if it decreases, copyright shouldn’t reimburse as much.
No. Copyright exists for the effects of the works that would not have been created, not to 'reimburse upfront investments'. If that was the purpose of copyright, J. K. Rowling would have made a few hundred thousand pounds (the cost of a UK woman living at welfare level for a decade or two) and that would be it. And if that was the purpose of copyright, authors would not need to receive royalties at all nor control the rights; did no one buy it? That's fine, the point was to reimburse you and you get a check for whatever receipts you held onto while writing. There, you've been reimbursed for your upfront costs: Mission Accomplished?
Obviously, neither of those is the case nor should they be the case. The upfront investment has little to do with the optimal regime, and so rises or falls in it do not affect copyright much. It has to do with the tradeoff between the deadweight loss of no one but the author being able to use a work, the value of the counterfactual works to a global public (including the compound long-term returns), and the elasticity of creator response to stronger/weaker copyrights.
