Entropy Arbitrage Newsletter, May 2025

Entropy Arbitrage Newsletter, May 2025

Jun 10, 2025

Today is Sitaday, 02 of Trogool 4118. [4118.03.02]

…assuming you follow the Common Calendar, of course, but I assume you probably do not. Or should. Ahem. Newsletter!

Entropy Arbitrage welcomed visitors from Argentina, Australia, Bangladesh, Belarus, Belgium, Brazil, Cambodia, Canada, Chile, Colombia, Czechia, Denmark, Finland, France, Germany, Greece, Hong Kong SAR China, Hungary, India, Indonesia, Ireland, Italy, Japan, Kazakhstan, Latvia, Malaysia, Mexico, Moldova, Morocco, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Puerto Rico, Romania, Russia, Senegal, Singapore, South Africa, Spain, Sudan, Sweden, Switzerland, Taiwan, Thailand, Türkiye, Ukraine, United Kingdom, and United States this month, which never fails to please me. Remember, all content is made available under the CC-BY-SA license, so if anybody needs to provide a translation, you don’t need my permission, provided that you comply with the terms of the license. However, feel free to ask for help or otherwise reach out, too.

May’s Idle Thoughts

Welcome to the fifty-ninth issue of the Entropy Arbitrage newsletter.

People Search Antics, May 2025

This went fairly smoothly, this time through, at least in terms of attention. Three sites have dropped off the Internet, so let’s celebrate that. More sites, however, have deployed those cookie-cutter animated sites trying to give the impression of an overworked clerk manually sifting through paper, rather than the server saying SELECT * FROM person WHERE name = 'John Colagioia'…

On the last, Check People seemed like the worst offender, constantly finding some additional step in its process, and stopping to ask if you really want to find out all sorts of dirty secrets. I suppose that we should thank them, since I don’t know about you, but I find it hard to believe that anybody wants my address—if it has it right—badly enough to wait at least five minutes while the site pats itself on the back.

Upshot, though, no legitimate entries on me, unless I look fantastic for an octogenarian.

AI Failure As a Service

Not that I believe that generative AI can ever do a good job at anything—if it did, then as I’ve said many times before, we’d have a working mathematical model of intelligence that we could implement with pencil and paper, which feels highly unlikely—but I increasingly wonder if the companies deliberately make them do a lousy job at everything.

We now know, for example, that Google sabotaged search quality to increase engagement so that users would see more ads. Now, AI chatbots don’t get money from advertising (yet), but they definitely still want engagement, because in the absence of an infinite Internet of human-generated content for them to scrape, they probably can’t find a more significant source of training data for their systems than user inputs.

We’ve all seen the responses seemingly designed to infuriate us. I’ve recorded some of them in blog posts, I believe. In addition to blatantly wrong answers that don’t really matter, we see reports of these systems claiming that they’ll work on something and get back to you later, producing fabricated citations, repeating wrong answers when asking for better options, ignoring criteria, avoiding questions, and so forth. We write it off as “amplified auto-complete,” but these systems definitely have some semantic analysis and the ability to stay on topic.

It makes much more sense, analogous to companies use customer service to prevent you from voicing your frustrations, for these AI companies to add this frustration, whether in the training data, directives, or algorithmic oversight, so that users will either try to “explain” the problem or curse out the chatbot, keeping the user actively shoveling in novel natural language for processing instead of getting their work done.

Project Previews

The renewed job search (alas) soaks up a lot of time that might have previously gone to side-projects, but I can still occasionally dig into weird ideas that might become something down the road…

The Light’s Edge

As I’ve probably mentioned, I have needed to rethink some of what I’ve written on this, not least because Donald Trump’s policies make it unlikely for a Black woman to run a major military base, tasked with protecting democracy and international overreach, named for United States Army General Philip Sheridan during the Civil War. Between blackouts and Signal scandals, he’d have had Hegseth rooting around in there, to nobody’s benefit.

And I also finally got a microphone working to record the introduction, but also need to overhaul the opening of the story, meaning that I want the introduction to flow better when spoken, rather than thinking of it as text to read.

If you want to check out what I had before deciding to do this, I started moving my drafts to a git repository. You can find the introduction—think of the Star Wars “crawl”—and effectively the first chapter that introduces our interim protagonist and his context, parts of which you may have seen before. In fact, if you’d like to help with revisions or see errors, by all means go through it. I have it hosted off on the relatively obscure Disroot to minimize prying eyes, until the parts become ready for release.

Tests for toys may also start soon. I’ve made some progress on getting from Make Human to printable parts, and now that the weather has started getting warm enough to leave windows open, the 3D printer will also get some use.

Octavo Caboodle

Pardon the placeholder name that may or may not grow on me.

This may come to nothing, in the end, but the recent article on Forth from Wired reminded me of something: Every few years, people re-discover Forth and, probably because it doesn’t look like the programming languages that they use, they feel like they’ve discovered some suppressed knowledge that they’ll use to change the computer industry. And I say that as somebody who likes Forth…

Regardless of that, it did lead me to read up on Collapse OS and Dusk OS, and I find them interesting if backed by an almost stereotypical Forth ethos. And while I can play with the latter on my desktop with its inbuilt emulator, I don’t have a handy computer to try Collapse OS itself, and…maybe I need one. I took digital electronics classes in school, and I think that, with some research, I could work out how to build an all-in-one, portable 8-bit computer.

I don’t have any plan, at this point, not even a target CPU. Looking at the Collapse OS page, the most expedient route involves a 6809 or 6502 microprocessor, since they already have builds for those systems, which can assemble and disassemble code—making the system more extensible and debuggable—but that doesn’t necessarily restrict the search. If I could get something that fits into a shell as an all-in-one personal computer (keyboard and screen), runs Collapse OS, and costs less than twenty dollars to make, I’d call it a huge success, given how little hardware work I’ve gotten to work on since the 1980s. I don’t know if I even still own a breadboard…

Granting, I only gave this a superficial search, but it looks suspiciously like microcontrollers—a microprocessor with memory and some input and output features on the chip—might come significantly cheaper than the bare microprocessor, less than a dollar versus around ten dollars per chip, so again, I don’t know where I want to go with this, erring on the side of price or repairability, but I do want to mark it on the horizon, in case I start treating this more seriously, or if any readers have useful insight on how to do this cheaply.

Oh, the name? I picked octavo (8º) after the book size and reference to eighths, and caboodle as not-a-kit when providing everything. Silly name, but it does at least gesture at the likely size, the 8-bit microprocessor target, and the everything-included concept.

Media

In no particular order, I present a list of some things that I finished watching, listening to, or reading in May.

No, I don’t remember when I started them, unless they didn’t take long. You can probably estimate that I watched about an episode of any given “archived” television show per day, though, if that helps. If you’d like to know what I finish watching as I finish it—sometimes I catch something during the narrow window when people can watch it free—you might consider becoming a member at Buy Me a Coffee.

  • I bailed on Gannibal Vol. 1 about a quarter of the way through. The first couple of pages telegraph most of the story, and it tries to camouflage that with juvenile humor.

  • The Wedding Planners made for an amusing diversion. I’ve started to come to the conclusion that I respect Michael Seater’s acting, but he lands the most irritating characters available…

  • The Bionic Woman has an unfortunate split-personality. I didn’t watch it when it aired—I didn’t, and still don’t, care about The Six Million Dollar Man—so this makes my first exposure to it. And when it actually does what it says on the label, we actually get a pretty great show for the time. The main cast can act, and the writing mostly works. However, it spends about half its time doubting that. In early episodes, they look for any excuse to cram Steve Austin into the story, where he drains all the momentum out of everything while soaking up all the attention. Later in the series, they keep trying to set up backdoor-pilots for the bionic dog, so almost anybody or anything can sideline Jaime to give a German shepherd an excuse to star every time they adjust his supporting cast. And sometimes they try to give her a boyfriend other than Steve, who looks and acts like Steve, because we apparently can’t trust a woman to lead a TV series…

  • Superman For All Seasons forced me to remember how little I enjoyed comic books back then, with the constant obsession with explaining characters to us and how they fit into their precious (until the next reboot in a couple of years) reboot, while “paying tribute to” every single version of that continuity that still interested them. In this case, it spends a lot of time trying to resurrect the 1980s John Byrne comics almost verbatim, while including nods to Lex Luthor’s green armor from the early 1980s and the then-current animated series. But mostly, I object to portraying Clark Kent as a hulking monstrosity visible from space, because the creators at the time apparently couldn’t grasp the idea that a superpowered being might have abilities that defy conventional mechanics.

  • Like Propaganda last month, I’ve had Rules for Radicals on my shelf forever intending to read it, only to mostly regret finding it more of an extended commercial (a memoir, more generously) for why you should pay Saul Alinsky to teach your people about organization than actually teaching. In particular, it devotes something like half the book to the story of using shareholder proxy votes to curb Kodak’s bad behavior. For all the right-wing shrieking about Hillary Clinton, international cabals of Those People™, Marxism, and whatever else, it mostly comes off as anodyne anecdotes about planning rent strikes against slumlords and the like.

  • By Any Means went way too far down the fascist road for me to care about the characters. They live in a black-and-white world with no moral nuance, making it fine for—in effect—secret police to commit all manner of crime in the service of getting forced confessions out of “the worst” criminals. They want us to cheer the team on as they steal, abduct, seduce, and hurt people, because we shouldn’t care about things like civil liberties for their targets. They even have an episode where they have added pressure because the courts put “good cops” on leave…after they systematically harassed their suspect. Oh, and it doesn’t even bother to make the schemes fun.

  • Maybe I didn’t pay it enough attention, but I found Six Four entirely opaque, and other than the top-line plot of a possible link between two abductions, I couldn’t tell you anything about it, even after reading the Wikipedia page…

  • Honestly, I also had trouble following Incredible Hulk Vol. 1: Age of Monsters. Should I have studied for this? Maybe, but that shouldn’t matter too much. However, it didn’t give me a reason to care about the characters, the stakes, or even the presumed Easter eggs in their choice of characters and monsters.

  • Night Court, season 3—maybe because I started watching the original series not too long ago and can compare the two—feels like it went out of its way to highlight the show’s problems. It doesn’t care about people (while the original looks like a prototype for Ted Lasso, for contrast), but it definitely cares about seeing the protagonist as “fun.” John Larroquette and Wendie Malick have characters who seem to get it (why I still watch this slop), so maybe they have different writers, but the rest of the cast and writing thinks that we tune in to hang out with neurotic, self-absorbed characters trying to look “fun.” The season finale really draws this into focus, with the runaway teens (the main plot of the original’s second episode, by the way) relegated to a subplot about telling “funny” marriage jokes than actually helping them; everybody brought before them, in fact, exists as part of a joke, rather than somebody in distress. Anyway, I’ve thought about this problem from the characters not quite fitting together, but seeing the original now makes me want to ask why anybody would bother with a forgotten trademark at all, if they didn’t care about the politics of the predecessor? (And I’ll tell you, the “it’s funny” production card at the end feels like insult added to the injury…)

  • American Fever doesn’t seem to ever enjoy itself, but it talks a lot about what a Pakistani American “looks like” well enough that I suspect most people can see their own lives somewhere in it. I can’t say that I enjoyed it, precisely, but I definitely appreciate it.

  • August at Akiko’s has a similar “more satisfying than fun” angle, but I’d recommend it.

  • Gods of Want feels like it goes in the “not for me” category. Most stories feel like they only want to play with how the author believes that children mishear things, such as (actual example) disappointment that a carpool doesn’t mean that they filled the car with water to swim. Stories that don’t do that, such as the stories about queer relationships, seem to want to disgust us with—I usually associate this with mainstream erotica written by men—clinical descriptions of sexual activities.

  • Miss Fisher’s Murder Mysteries baffles me a bit, as if it has some sort of identity crisis. It has a few excellent episodes scattered around, showing what it can do. But many episodes feel like…do you remember that run of films based on comic books, where the directors all thought that they invented the idea of staging scenes to look like comic book panels? Think that, but 1920s illustrations, where star Essie Davis doesn’t so much act as pose. Either that, or the episode focuses on the mousy, wet blanket of a sidekick, as she constantly whines about not getting her way, people not seeing her as feminine enough, or that the world includes things that she believes Catholicism doesn’t allow. Also, why—in an Australian production set in Australia—do more people in their Australia have horrendous American accents than Australian?

  • Legion of Honor: Deserter kind of lost me in the first couple of scenes. An establishing title explains how the French colonists lived peacefully alongside the Algerians for decades until (paraphrasing) those darn Arabs started making trouble and agitating for independence, and…I’d bet that the native Algerians didn’t see it that way. Looking it up, it seems like they adapted the story from the protagonist’s autobiography, which probably explains a lot.

  • Next to Normal (Great Performances) does a fairly good job with its topic, I think, though focusing on the husband trying to manage his family annoys me, because it makes somebody else’s illness about him. But if you want a show with a lot of intense music about bipolar disorder and attendant problems, it should work. And if the songs sound familiar (they did for me, so I looked it up), Riverdale featured it at some point.

  • Saul at Night has a clever conceit, but feels maybe a bit too artsy for its own good. It keeps reminding us to feel sad about the situation, while acting like they’ve set up some impenetrable riddle that doesn’t seem at all mysterious. I didn’t dislike it, but it mostly felt like real people on the production side had about as much fun as the characters, even though I doubt that. Actually, in retrospect, let’s consider one critical point: If you lived in a functionally abandoned world with no responsibilities, and met a second person in your situation who didn’t speak your language, why would you not prioritize learning that language instead of your silly shadow-society projects?

  • The Partition both impressed and disappointed me. For the former, I enjoyed the writing, which moves fast and carries emotion along well. For the latter, though, it often feels more like a catalog of injustices that Asian Americans still face than a story. In that sense, it doesn’t feel like it contributes anything to the conversation, unless you’ve never had any friends with Asian ancestry…

  • Grosse Pointe Garden Society feels like the out-of-order retelling came from editing rather than writing, but it has a solid cast and some fun moments.

  • Go watch Yellow Face (Great Performances). It has enough truth in it that people my age and older will remember many of the referenced incidents, and…I can only really describe it as a tragedy woven from jokes. I can only really complain that they looped more polite terms into the audio, instead of presenting the show as written and acted, meaning that the video sometimes looks like something went wrong, and a few scenes don’t land the way that I imagine they would have in the theater. But given that you can no longer see the show at the Roundabout, you won’t get a better opportunity.

  • Asian Americans doesn’t have many surprises if you have a sense of American history as it relates to Asian Americans, and it might even pull its punches at strange times. But it covers the history in an engaging way, and includes footage that I’ve never seen before.

  • Tosca (Great Performances) looks and sounds great. To my chagrin, though, unlike the rest of the world, the United States persists in not translating opera, so either prepare yourself to split attention between the music and subtitles or skim the Wikipedia page before diving in.

  • I enjoyed Hunger, though as an anthology of short stories, I don’t know that I can say much of use about it.

  • Fate & Fabled takes a fairly engaging look at mythology, though I wish that it had some sort of agenda beyond enjoying the material. Zarka and McTier both do clearly love the material, though, and have solid chemistry with each other, so I can quickly forget the disjointed nature of the show.

  • Miss Austen makes me slightly uncomfortable in that portrays real people, the Austen family, for a highly speculative story to resolve the (real-world) mystery of why Cassandra Austen destroyed Jane’s letters. However, the cast and bringing Jane Austen to life—I gather extrapolated from what little of her correspondence remains, where she writes about how she would speak to Cassandra if the sat together—and a great cast makes it fun, even if probably not accurate.

  • Watson finally gets Sherlock Holmes out of the way—setting the show between the character’s intended death in The Final Problem and Doyle’s reluctant return to the character in The Adventure of the Empty House—to take the law enforcement angle out of the detective concept. And at least in the broad strokes, it works well. They saddled it, though, with “perpetual surly teen” Eve Harlow playing almost literally the same character she played in the final season of Star Trek: Discovery, and stereotypical “twins with opposite personalities” played by the same performer. (Also, apparently Pluto TV works as a way to keep up with shows on CBS.)

  • All Eyes bored me, frankly. Wet blanket characters hunt a monster by sitting out in a field saying banal things, and I already don’t enjoy horror. If they had produced this as a podcast, it might’ve gone better, where you can mine boredom for comedy by spoofing the NPR-style first-person narratives that feature knocking on doors while nobody answers. As-is, though, I couldn’t bring myself to care.

  • 400 Days stars a surprisingly large fraction of the defunct Arrowverse cast. Dane Cook feels like a waste of time. It has a fairly clever idea, though, and I mostly enjoyed seeing the performers in different roles.

  • I lost track of Space Milkshake fairly quickly. It has a reasonably good cast, but somehow (incorrectly) thinks that we’ll absolutely love the captain’s clueless misogyny. A shame, because off in the background, though bobbing to the surface in the second half where they rush it, like the laziest Star Trek episodes, it has a B-plot that would’ve made for a much more interesting and funnier film.

  • I didn’t care for Girl from the North Country at all, but I’ve never cared much for “jukebox musicals” or—I know, heresy—Bob Dylan.

  • I mostly enjoyed Ms. Fisher’s Modern Murder Mysteries, though it relies on a surprising amount of romantic tension with characters who have no chemistry with anybody; the detective, in particular, has absolutely no discernible life in him. Also, for a show that wants to constantly remind us that the characters (and writers) accept gay folks, they go really far out of their ways to repeatedly show us every main character’s not-gay credentials. And how did we get through a dozen episodes of this without taking down the openly corrupt police chief?

  • A Walk in the Sun felt overly long and tedious. It already started “in the hole” as a war film, but it also didn’t do much to improve on that foundation. The characters all feel particularly flat, as they zoom in on members of the cast so somebody else can recite some pablum or an unseen crooner can sing something while everybody stares into the middle-distance.

  • Wrapping up the franchise at least for now, Miss Fisher and the Crypt of Tears feels a lot like what we should have gotten for the two shows. The characters feel vibrant. They sideline the sidekicks so that we only endure a minute or so of Dot whining about the existence of abortions. The story actually makes use of the era. They take them out of Australia so that we don’t need to question the accents. And it actually has some fun. I suppose that everybody needs to move on after a decade (since the series ended), but they almost certainly could’ve brought the show back under this team.

  • A Quest for Heroes feels like the absolute laziest fantasy movie that I’ve seen, half an hour of mindless brutality, followed by a paint-by-numbers Dungeons & Dragons riff, where they “need” certain kinds of characters—as in, literally, a magic-user, fighter, thief, and cleric, often using those terms—to form their “party of adventurers.”

  • The Roundup: No Way Out entertained me more than I really expected. The goofy dubbed voices didn’t give me much confidence, but—ignoring that I find myself once again needing to watch cops—the story has a lot in it, and I found the cast charming.

  • We Two Alone, as expected from a collection of short stories, provides a mixed bag, but the stories entertain or provide some interesting insight more than they don’t.

  • New Tricks has its moments, largely due to Amanda Redman’s presence, but a lot of it also feels like filler, and it sometimes wants us to cheer on the combination of older “what civil liberties?” style of law enforcement with the modern surveillance state, and…no, thank you. In fact, it also doesn’t seem to know where its politics lie, other than the telling excessive whiteness of London—the show starts with a Black character in the supporting cast, but he vanishes fairly quickly—lurching from getting leverage over suspects through their involvement with “illegals” in one episode to not seeing why a lesbian couple would have fled town a few decades ago earlier in another.

  • The Irish Connection felt like a paint-by-numbers, with “surprises” like clowns falling flat because somebody definitely added the idea to the script later in hopes of fixing this mess. The lead character has potential, but who would do that when creating another female secret agent takes less effort…

  • American Songbook at NJPAC presented some good and some not-so-good, probably unavoidably. I’ve spent time on worse, at any rate, and can only really complain that a season only has six episodes to it…

  • All Aboard for Love has another paint-by-numbers story, but unlike (for example) The Irish Connection, I suppose that you go (or get pushed) to these sorts of films for the cast, not the innovative story, and I did enjoy most of the cast.

  • The Good Asian, volume 1 spends a bit too much time trying to shock and (maybe) exploit, but at heart, I can’t fault a historical thriller that has done careful research on its era.

  • System Error seems like a cute idea—think The Wild Robot, but in a post-apocalyptic London—but it takes its time to the point where I have no idea if continuing the series would lead anywhere.

  • Marie and Worrywart: Comics About Anxiety resonates in that it sounds like how other people who have anxiety describe it, but also doesn’t feel like much more than that.

  • Sammy J and Randy in Rickett’s Lane Felt like most American sitcoms based on the act of some comedian, having some occasional funny lines, but disjointed and more reliant on “getting way with” putting things into the script than trying to make the situations comedic. And having a puppet as one of the comedians—apparently a normal part of the Australian comedy circuit—doesn’t improve it much.

  • Torpedo 1972 #1 felt like every cynical cliché mixed with every mob cliché. It somehow doesn’t have anything like kindness or joy in the pages, and I know that some people love that, but I definitely don’t.

  • Another Happy Day feels real, but never gets so bogged down in the stress that it turned me off.

  • I hated Offerings, bluntly. It has a surface-story that might have caught my interest, but it interleaves it with this inane story from a child’s perspective that combines the most racist stereotypes with random search results if you look for weird English phrases, producing rambling that seems designed to reinforce the myth of Asians as perpetual outsiders.

  • For Bouncer Vol.1: A Diamond for the Beyond, you could probably get away with grabbing whatever I said for Torpedo 1972, but exchange the mafia for ex-Confederate soldiers. But it somehow both capitalizes on making them vile and forgets that Black people exist, so that we don’t need to talk about icky things like slavery. I actually gave up about a third of the way through, and paged through the rest, not my favorite way of ending a month. Maybe we can squeeze something else in?

  • I don’t think that I’ve ever seen the full version of Kiss Me, Kate, weirdly. You can find the non-musical version of the play widely enough that I assume that everybody knows it—a former married couple needs to put on a production of The Taming of the Shrew—and I’ve heard some of the musical numbers, but never as one piece. And…I feel torn. I like every element of the show, but the music doesn’t feel like it goes together. I have that complaint with many more modern musicals, though, so maybe they blazed a trail…

You might (rightly) question my use of Tubi, given that the Fox Corporation owns it. However, I…didn’t watch any of it on Tubi, since those particular shows don’t have DRM on them, and I assume that they don’t get any ad revenue for people snagging the M3U8 streams.

Blog Posts for May 2025

In case you missed one and don’t like RSS readers, here’s a round-up of the past month’s worth of posts.

I also revisited and updated some older posts, for various reasons.

Significant changes to the text come with clear and dated markings. Changing the wording or correcting a typo is more routine, but it indicates that I’ve at least been looking at the post. Longer changes probably have a brief write-up in this very newsletter.

The most popular posts on the blog have been Copyright Searches, Recutils — Small Technology Notes, Free Culture Book Club — Pilogy, part 3, and Asian Women in Fiction for the month.

Articles I’ve Been Reading

You’ve seen some of these already in Friday posts, but here’s more from the sources in my RSS reader that I thought were worth reading.

Web Pages That Caught My Attention

These are pages I bookmarked, basically. They might be old articles, non-articles, fiction, or any number of other possibilities. You’ve seen the web. You know what it’s like out there. And you also know that half the titles are probably bogus, because people are terrible at setting their page titles to something useful.

That’s it for this month. Stop by the blog and leave comments or contact me however else you see fit.

—John

Enjoy this post?

Buy John Colagioia a book

More from John Colagioia

PrivacyTermsReport