On the heels of Domestic Violence Awareness Month, Jessica Jones confronts many themes of intimate partner violence.

We continue to arbitrarily trust the judgements of white, able-bodied, neurotypical cis dudes to define personhood in the digital world.

Makeathons and other similar events want to “do good” and “make the world a better place.” The people behind these events need to realize *how* they do them is as important as *why* they are doing them.

Anti-content control rhetoric supplants widely-available psychological and sociological facts for misinformed opinions that are not only insufficient for helping others manage their own mental state, but offer wholly inadequate solutions for online abuse.

We may be persuaded that “art is for everyone”; the Internet finally democratizing its creation, its distribution, and its valuation. And yet, the democratization of art argument is necessarily laced with issues of means, access and opportunity.

Technology companies today are increasingly colonial in their actions. This can be seen in the veneer of sovereignty they seek to cultivate, how they work across borders, their use of dominant culture as a weapon, and the clear belief that “superior” technology is a suitable excuse for lawlessness, exploitation and even violence.

For every SF utopia, there is an equal and opposite dystopia.

Legitimacy as a programmer universally requires a stamp of approval from institutions with power and privilege over marginalized groups.

Punishing and irrelevant interview processes seek to produce disciplined high-tech employees, jumping through arbitrary hoops at the whims of employers.

We are conditioned to reason about economic vulnerability in terms of individual merit, instead of as systemic failure.