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Fandom Fires A Bunch Of People At Gamespot, 2026 Edition

recap — 07.10.26

Reporting on your own firing is an interesting experience. I’ve been a journalist for, god, like, twenty years at this point? This is a first. Not the first time I’ve written about an employer after we’ve broken up, or while we were together even.

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Reporting on your own firing is an interesting experience. I’ve been a journalist for, god, like, twenty years at this point? This is a first. Not the first time I’ve written about an employer after we’ve broken up, or while we were together even—no, my social media footprint, and that one time I had to explain to a joyless HR rep what “glup shitto” meant can attest to both of those. Every other time it’s been on my own terms more or less, or at least it hasn’t been the kind of news that gets reported in outlets I read. There was some kind of AI-generated article about me leaving WIRED a few years ago, but that doesn’t count.

So hey, what the fuck?

On Thursday morning, I got an auto-generated notification that the person managing my invoices had changed. I didn’t think much of it, I figured it was some internal change on which person is hitting “approved” on my invoices. Then I tried to message my editor’s boss and found that her account was deactivated. I’d been working with her because my editor was out on leave after having been struck by a bullet the week previous (long story, and yes, they fired him too). So, I checked the other slack channels, and found a message from her in the commerce newsroom channel laying it all out: Her and everyone else in the commerce/affiliate side of things at Fandom had been fired. I’m not going to say let go or laid off or any of the other euphemisms, they were fired. We were fired. Me and a handful of other freelancers are free to pitch other sections but the commerce/product/affiliate section we wrote for is gone and all the staff with it.

Given Fandom’s track record I can’t say it’s really surprising they’d gut—what is at most publications—a big part of the overall revenue strategy. Fandom, to its credit, is an innovator when it comes to creative self-immolation. They doused themselves in gasoline, lit a cigarette, and fired the bystanders for doing this awful thing to them.

How your favorite website makes money

If you’re unfamiliar, here’s a little primer on commerce and affiliate revenue. You know those buy links on product reviews, buying guides, gift guides, deal articles, that kind of thing? Every time you click one and buy something from whichever retailer it links you to (let’s be honest, it’s mostly Amazon), the publication gets a cut of that sale. The percentage varies from retailer to retailer, from publication to publication, all those things are negotiated between the business people at any given publisher. It’s not usually a big percentage, and only a small percentage of readers will click through and buy something, but those numbers add up over time.

That’s the whole game with affiliate revenue. Taking content out of the equation for a minute: Affiliate revenue is a numbers game. Small percentages of small percentages compounding across multiple articles and time periods. Done right, done well, a single buying guide (also called an evergreen article) can make anywhere from $10,000 to upwards of $80,000 in a 12-month period at a decent-sized publication. On the scale of multi-million dollar publications that’s not much, right? Per article, sure, yeah. But even a modest sized publication will have dozens of evergreens, hundreds of reviews, thousands of deal posts and gift guides. And they keep earning.

So a single evergreen updated four times a year can reasonably make $50,000-ish in that year. Multiply that times 24 and you have $1.2M. These are all ballpark figures, actual numbers are typically lower and higher, I’m just using medians to make a point here: Affiliate revenue can and should make a big publication like Gamespot an absolute motherfuck-ton of money. Millions, easy.

Let’s look at an example. A single evergreen article I managed at WIRED typically earned about $75K a year in commissions. Think about what WIRED typically covers. Consumer tech, TVs, headphones, cell phones, game consoles, computers, laptops, security, all that. Those are probably the main line coverage areas for WIRED. The areas that most people would associate with the brand. Those are the highest traffic areas, the categories that WIRED ranks highest in on Google search. That one article I mentioned? It was about coffee grinders. It was a subcategory of a subcategory and not at all a mainline vertical for WIRED as a publication and it still earned, what was at Fandom, an editor’s salary every year.

Machine gods old and new

While I was there, WIRED had maybe a dozen writers and a couple editors on the commerce team. Each of us, again ballpark, had at least a dozen evergreens we’d each maintain. The math does itself. A well-run commerce operation can make enough money to fund every writer’s salary on every section and desk publication-wide, and still produce authoritative reporting, rigorous testing, and voicey articles written with personality. This is a thing the MBA class cannot seem to grasp. If a reader trusts you, they might click a link and buy something you recommend. But that trust is fragile.

You know who agrees? Google. The machine god that decides which publications will succeed and fail has had a very simple mandate since the very beginning: Help people find stuff. That’s it, that’s all. That’s the whole thing. Every time there’s been an algorithm change that absolutely craters search traffic to a publication, there’s a reason. And let me tell you another secret: It’s never because your site’s articles need more keywords stuffed in the first paragraph. If an SEO consulting firm tries to sell you that, they’re fucking you (and they’re wrong).

Google, for all its many, many faults (and its role in devouring my industry and many others whole to feed its even newer machine god, Gemini), is an extremely transparent entity in this regard. Every time it changes its algorithm and sends your SEO consultants into apoplectic fits, there’s no mystery to it. There’s always a little note Google sends out. Here’s what we’re changing, here’s how it might affect you, here’s how to fix what we don’t like.

Guess what the most recent one was all about? Yep. De-ranking commerce/affiliate articles that appear to be slop and/or exist solely to make affiliate revenue and not serve its existing audience. Who the fuck reads CNN for advice on toasters? Exactly. So, how do you make sure your content doesn’t get de-ranked? Make it clear that you did hands-on testing, demonstrate expertise, sound like a human being. Yeah, all the things a well-run commerce operation would have been doing if not for business-side stakeholders telling them to do the exact opposite.

Horse-beating and stone-squeezing

The problem, even at WIRED (and its parent company Conde Nast) is the business-side stakeholders—actually let’s pause a second.

I hate that word. Stakeholders. They don’t have any stake in anything. Their jobs are never at risk when the line doesn’t go up enough in a fiscal quarter. They keep their jobs, they get shuffled around, their salaries increase year-after-year until they finally leave and end up in a higher paying position at a more prestigious company and on and on until their kids graduate from their elite boarding schools, go off to ivy-league colleges find out their parents were in the Epstein files and never talk to them again. (I bet that second home in the South-of-France was worth it though.)

Back to Conde Nast and the stakeholders who don’t actually have a stake in anything. The problem is, at every publication, the business-side people see commerce/affiliate revenue and want to squeeze all the blood out of that stone. And they will. They squeeze and squeeze and issue directives to the writing staff that they need to write more and sell more and fuck your ethics, fuck testing products, just quote Amazon reviews readers are idiots they don’t know any better. And then the writers do as they’re told and revenue plummets and Google search ranking takes a screaming nose dive off a cliff, and guess what happens next? The stakeholders lose their jobs for making the whole thing crash and burn right?

No of course not, they went to business school, and business school says if the line doesn’t go up you need grab a chainsaw and go to town. So they do. Writers and editors get fired. Sections get “restructured” to maximize revenue, and—seeing this happen so many times over the years was at first infuriating, then absurd, then just kind of concerning. Are the business people okay?

Short answer: No

I’ve never met an executive who wasn’t absolutely brilliant at taking something that worked well and just throwing the whole thing into the fucking fire and blaming someone else. That’s the real thing they teach in MBA programs. Here’s how you make a spreadsheet, and here’s how to make money and never get fired and fuck everyone else. I’d honestly have at least some respect for them if they’d ever just say that.

It’s the lying that really gets to me. I’d rather a cruel truth than a comforting lie. Journalism is a trade that teaches you how to spot bullshit. How to find the truth at the heart of a lie. So the mealymouthed “restructuring” “better for the company” “hard decision that had to be made” chingadera has never worked for me and just pisses me off. (Clearly. No way this screed ends up less than 2,000 words.)

If the Fandom execs who made the decision to cut the entire affiliate team just popped into Slack one day and laid it all out like “Hey so, I’m going to fire all of you because it will make me look better and keep me in my job, and buy me a new Cyber Truck. Hope that’s okay–actually I don’t. I kind of don’t care at all, because you’re not really people to me? I figured I’d be honest with you just to feel something for once in my life. And the thrill is making me a little hard. Anyway, get the fuck out of here.” Then I could at least say they treated us with some respect.

Instead it’s always couched in legally defensible language that never says quite enough but somehow says just enough to send you and your coworkers to the unemployment line together. Unless you’re a contractor then you’re well and truly fucked. Sometimes you’re allowed to beg for work from other parts of the publication at least. But sorry budgets are tight right now because of the restructuring so we can’t really pay you what we should, lo siento muchacha.

For the love of fans

Which brings us back to the beginning. I’m fired and not fired. The budget for my work on a week-to-week basis is gone with all the people who would’ve approved my invoices. Technically I can pitch other desks at Gamespot but that was always true. So, I’m not sure what’s next for me.

I’ll probably do what I always do in this situation: update my resume and start applying for positions a thousand of my colleagues are also applying for and restart the cycle anew. You get in the door, you build the machine that makes money and provides value to readers until a Patrick (or Patricia) Bateman thinks they can squeeze an extra few dollars out of your team by burning the reader trust you spent months or years earning. You can fight it, sometimes for years, but eventually they will crush the fight out of you, and kill everything you loved about your job. Again.

I suppose I could always go back to sex work? Maybe that’s the cruel truth inside this comforting lie—that my body has always been more valuable than my words.

Fandom Fires A Bunch Of People At Gamespot, 2026 Edition
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What I'm listening to today

liner_notes — 07.09.26

I did get fired today, so I'm trying to keep my spirits up by listening to bouncy neoperreo music. There's nothing particularly deep about why I love this song--it's about butts. That's the long and short of it.

I did get fired today, so I'm trying to keep my spirits up by listening to bouncy neoperreo music. There's nothing particularly deep about why I love this song--it's about butts. That's the long and short of it.

What I'm listening to today
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‘Mixtape’ is three hours of white noise

review — 06.17.26

I was honestly a little hopeful for Mixtape. After all, it pulled on the right strings to seem compelling, promising a story in the era I grew up in, even in the general region* I grew up in. So, I tried to approach it with an open mind even though coming-of-age stories aren't really my thing.

I was honestly a little hopeful for Mixtape. After all, it pulled on the right strings to seem compelling, promising a story in the era I grew up in, even in the general region* I grew up in. So, I tried to approach it with an open mind even though coming-of-age stories aren't really my thing. An adolescence with a tidy three-act structure and bittersweet step into adulthood isn't an experience I really recognize.

Right out of the gate, Mixtape falls into that familiar trap. Coming-of-age media as a genre overwhelmingly centers heteronormative, white, and affluent stories in a way that always feels deliberate. These stories belong to people buffered enough by class, race, gender conformity, or family stability to experience adolescence as a period of relatively safe self-discovery. It’s safe for the characters because stakes are ultimately low, and safe for the audience because it’s not challenging. That's exactly the kind of story Mixtape tells. Choosing to tell stories about this kind of adolescence is a judgment on what kinds of youth are acceptable to narrativize. Which kids are worth telling stories about.

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[alt: the three main characters of Mixtape, Cassandra, Rockford, and Slater standing shoulder-to-shoulder]

Don’t get me wrong, I didn’t need Mixtape to be gritty or representative of exactly my teenage experience for me to enjoy it. I didn’t install this game expecting to see anyone bloody their knees sucking dick on a gravel parking lot outside a punk bar. There doesn’t need to be violence and sex and trauma for it to be real. I just wish it had some kind of presence. Specificity. Risk. The sense that someone actually metabolized an experience into a meaningful story instead of reproducing the aesthetics of experiences they saw in reruns of John Hughes movies. That’s my biggest problem with this game. Mixtape isn’t authored. It’s assembled.

But I’m A (Heterosexual) Cheerleader

There’s something cowardly about that. The way it gestures at meaning without actually saying anything. For instance, we’re told these characters are delinquents, or at least they’re seen that way by local cops. They drink. They sneak out. They do acts of petty vandalism. We’re even told they smoke weed. The characters make a few references to weed, but we never see anyone smoke on-screen. Every time Mixtape comes close to risky behavior, it pulls back.

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[alt: Cassandra in the foreground, looking sad and guilty. Rockford in the background looking upset with Cassandra.]

There’s an easy, if cynical, explanation for that: depicting teens drinking is one thing, but depicting them doing drugs becomes complicated when you’re marketing a game to a worldwide audience – or relying on content creators to be a part of the marketing engine for your game. On-screen drug use is a good way to get your channel a community guidelines violation, or at the very least de-monetized.

Through that lens, it makes sense that Mixtape leaves the sexuality of its characters pointedly undeclared. We get a few hints that Cassandra and Rockford might have feelings for each other, but the game never dares anything but implication. We get a minigame where Rockford tongue-kisses a boy she doesn’t really like, but the story bends over backwards to avoid on-screen confirmation that she’s queer. She shares longing gazes with her girl-best-friend, they hold hands, they’re physically affectionate, and even have interpersonal conflict that feels romantic in nature — jealousy about Cassandra’s friendship with another girl. But right when you might expect that story to confirm those feelings and give some kind of meaning to the last two hours and fifty five minutes, Cassandra is swept out of the narrative. In 2026, that feels like a calculated choice.

Stand By Me While We Don’t Go Look At A Dead Body

There’s more to say about Mixtape’s music choices, the overwhelming whiteness of its eponymous playlist, how the gameplay itself is lackluster and uninteresting, but it’s not really worth further discussion. It was never specific enough to matter. At its heart, Mixtape is an empty experience. It says nothing, it ventures nothing, it has no opinions. It does nothing unique or new or thought-provoking with its medium. We’re only talking about it because it was carefully calibrated with just the right kind of prestige-nostalgia that games criticism is structurally predisposed to reward. There’s no conspiracy there. It’s just narrative SEO. And that’s all this game is. It could’ve been more, but at every opportunity it chose not to be.

*I will now and always contend that Northern California is not the Pacific Northwest, an assertion I see repeated over and over again in reviews of this game.

P.S.: No Bikini Kill? Not one song from the Cramps? No Tracy Chapman or Hole? Come the fuck on.


the three main characters of Mixtape, Cassandra, Rockford, and Slater standing shoulder-to-shoulder
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Xbox Game Studios head Craig Duncan steps down

news — 06.14.26

>10:08am: 14-year Rare veteran Craig Duncan resigned just three days after Microsoft CEO Satya Nadella told the NYT that Xbox has been an unsustainable money pit for 25 years. The gaming division made $24B in 2025, its most profitable year to date. [the game business]

>10:08am: 14-year Rare veteran Craig Duncan resigned just three days after Microsoft CEO Satya Nadella told the NYT that Xbox has been an unsustainable money pit for 25 years. The gaming division made $24B in 2025, its most profitable year to date. [the game business]

Xbox Game Studios head Craig Duncan steps down
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Microsoft aims to shutter Compulsion Games

news — 06.14.26

>12:31pm: Microsoft is making moves to shutter Compulsion Games (makers of peabody-award-winning South of Midnight). Between this and the below, Microsoft is set to continue its near-quarterly tradition of taking the gaming division out to the woodshed. [kotaku]

>12:31pm: Microsoft is making moves to shutter Compulsion Games (makers of peabody-award-winning South of Midnight). Between this and the below, Microsoft is set to continue its near-quarterly tradition of taking the gaming division out to the woodshed. [kotaku]

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'Alien: Earth' is Terrified of its Own Queerness

recap — 06.09.26

I wasn’t sure if I wanted to write about Alien: Earth one episode at a time or just wait until the season wrapped. But four episodes in—halfway through its eight-episode run—the show finally planted its feet. It’s still a chaotic mess, sure, but there’s enough mess to dig into.

I wasn’t sure if I wanted to write about Alien: Earth one episode at a time or just wait until the season wrapped. But four episodes in—halfway through its eight-episode run—the show finally planted its feet. It’s still a chaotic mess, sure, but there’s enough mess to dig into.

Here’s the thing about the Alien franchise: I’ll watch pretty much anything in this universe. I’ve enjoyed its best work (AlienAlien: Isolation) and found things to love in its worst (PrometheusCovenant, even the grimy industrial meat grinder that is Alien 3). I even liked Romulus, despite the fact that you can practically hear Fede Álvarez cranking his hog every time someone gets facehugger’d. These stories don’t need to be good for me to like ‘em—they just need to be weird, sticky, and wet.

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Alien: Earth clears that bar, but it’s also as overstuffed and unwieldy as most Alien prequels tend to be. It covers a lot of ground in its first four episodes, and it has a habit of skimming right past its most interesting ideas. The Peter Pan stuff gets a lot of screen time. The sexless, sanitized transhumanism gets even more. And yet, it feels like no one in the writers’ room actually knows what kind of story they’re telling.

Transition with a capital T

The core premise is built on classic cyberpunk tropes: no governments, just mega-corps. Five of them, all chasing immortality tech. The world is full of cyborgs and synthetics, but a new kind of being—hybrids, which are synthetic bodies loaded up with human minds—are on the horizon. They’re the new (super secret) hotness. They’re terminally ill kids whose minds have been uploaded into grownup robot bodies.

The main plot follows Wendy, the first hybrid: a 9-year-old girl, now in a grown woman’s body. She’s not alone. There’s a whole cohort of hybrid children, all uploaded into adult bodies. This process is called transition.

And look, I’m not asking for subtlety here. This is a series founded on an allegory for sexual assault so on the nose its eponymous monster literally has a giant phallus for a head. I just wanted someone to acknowledge the weight of that word. To look to camera and wink.

Characters say it casually, clinically, like it’s just a medical term. But in 2025, speaking the word transition in the same sentence as child is inherently political. Trans medical care for minors is literally an issue fascists are rallying around to justify the extermination of people like me. Alien: Earth really uses the word transition to describe a life-saving procedure that drops a child into a new body but does so seemingly by accident. I wasn’t looking for much, just some recognition that the choice of transition was a meaningful one.

Alien: Earth is preoccupied with philosophical questions we’ve seen come up in the alien series before: what it means to be human, mortality. But there’s no exploration of embodiment. None of the hybrids discuss whether they feel right in their new form. We get an off hand comment about boobs, and later a disturbed hybrid is convinced she’s pregnant, but that’s it. Nobody even gets put in a body that differs in any meaningful way from the one they were born in. The word “transition” is used constantly—and yet the story avoids the actual transness of its own premise like it’s scared to touch it. It doesn’t just feel like a missed opportunity, it feels like cowardice.

Mr. Morrow and the body problem

If there’s one character who almost lands on something trans-coded, it’s Mr. Morrow—the company cyborg who survives the xenomorph outbreak and crash-lands back on Earth. He has this moment where he says he wishes he were more synthetic, and laments that he’s “the worst parts of a man.” (I mean same.)

It’s tossed off. A one-liner, really. But it lingers. It hints that Morrow’s caught between states, part machine, part meat, and his discomfort in that liminal body feels like the closest the show comes to touching something real. That in-between-ness, that estrangement from your own physical form? C’mon that’s trans as fuck. And Alien: Earth just leaves it hanging.

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Sci-fi has always been the best genre for talking about identity sideways. The Alien franchise, in particular, has flirted with gender, the complexity of having a human body, and reproduction in ways that are often gross, sometimes brilliant. Alien: Earth clearly wants to join that tradition but it doesn’t seem willing to commit to any of its ideas.

We get transhumanism with no gender. Body horror with no point. A story about transition with no commentary on what gets transitioned, and why. It wants to gesture at themes—immortality, youth, bodily autonomy—but not actually explore them. It’s a show full of bodies that don’t fit, but that’s not the story we’re telling apparently.

And when it does try to root itself in metaphor, it leans on Peter Pan. It does it so often it almost feels like a bit. The Lost Boys. The bedtime stories. Mr. Morrow as Captain Hook. The xenomorph as the crocodile. It’s like the show doesn’t trust us to get it unless it looks straight into camera and says “hey isn’t this kinda Peter Pan story kinda like Peter Pan?” If you stripped all that away, the metaphor would still be legible and wouldn’t bog down the rest of the story and setting.

Booting into Safe Mode

There are two perfect Alien stories: Alien and Alien: Isolation. The rest only really work if you’re willing to ignore some glaring flaws, and that’s fine. I like my sci-fi messy. But Alien: Earth is frustrating because it feels afraid of itself. It flinches.
I’ve seen Legion and Fargo. I know Noah Hawley can take big swings and land them. Legion didn’t pull its punches—it was weird and bold and had a climactic fight scene that was essentially a psychic guitar solo duel. Hawley is capable of defying expectation in exciting ways. But Alien: Earth feels either confused or scared of its own ideas. And I can’t decide which is worse.

The real story is right there, just out of reach. Children controlled, shaped, and sacrificed by systems that say they know best. The parallels to gender, transition, autonomy, and selfhood aren’t subtle—they’re screaming. And yet instead of engaging with any of it, Alien: Earth retreats to the safest question sci-fi can ask: “Can a machine really be a person?” I dunno man I’m tired.

'Alien: Earth' is Terrified of its Own Queerness
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'Girl in a Bottle' Is Anna of The North's Synth-Pop Breakup Album

review — 06.08.26

It’s Anna of the North’s fourth studio album and it’s unnervingly intimate—you feel like you’re being let into someone’s confidence and stripped bare all at once. Each track feels like gently pressing on a bruise until the pain starts to feel like comfort.

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It’s Anna of the North’s fourth studio album and it’s unnervingly intimate—you feel like you’re being let into someone’s confidence and stripped bare all at once. Each track feels like gently pressing on a bruise until the pain starts to feel like comfort.

Since 2014, she’s carved out her own corner of the Scandinavian synth-pop world—wistful, melancholic beats with haunting vocals. The sound of her early work leaned heavily on airy pads, bright top-end synths, and rhythmic minimalism while Anna’s vocals function more as texture than as emotional anchor. That changes on Girl in a Bottle.


Girl in a Bottle isn’t a dramatic reinvention, as much as it’s an assertion of presence. It’s been three years since Anna of the North’s last album. The dreamy synths are still here, but they’re punchier.  Anna doesn’t disappear into the mix like on Lovers or Dream Girl. Now, she’s right up in your ear—breathy and warm. The emotional center of every track. The lyrics are elegantly crafted, pared back to their sharpest edges. Where Crazy Life’s swingy dreampop shimmered and danced around pain, this album dives straight into the deep end.

This is a breakup album

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Like Mitski’s Be the CowboyGirl in a Bottle tells its story from inside the heartbreak. But while Mitski’s record is taut, cold, and deliberately withheld, Anna Lotterud’s vulnerability is warmer, even when it hurts. Her voice doesn’t describe the heartbreak—it is the heartbreak. She delivers lyrics like “My back against your body while you’re sleeping / I know we’ve grown apart but I still like to hear you breathing,” with careful restraint. Tempering vulnerability with tension.

Instead of guiding us through the topography of heartbreak, Girl in a Bottle avoids a linear progression. Songs like “Sunday My Heart Hurts” feel urgent, present-tense, like it was scribbled in a notebook as the days stretched toward the inevitable. While songs like “No One Knows You Better,” are reflective, howling from the ruins after everything’s fallen apart.

In today’s alt-pop lineup, Anna of the North sits comfortably alongside artists like Ethel Cain and Japanese Breakfast. But where Cain leans into Southern gothic sprawl and Michelle Zauner layers grief into kaleidoscopic indie rock, Anna works in soft-focus hues. Her synth-pop is cool-toned and crystalline—emotionally direct, but never overwrought.

Girl in a Bottle doesn't unfold, it spirals

Anna dashes from moment to moment as she swings wildly from longing to rage and back again. The emotional whiplash as you move between tracks roots the story in unease. The distance between these two people stretches and tears across the runtime—until you’re wrung-out and exhausted. Raw and exposed. All this harrowing emotional terrain is contained within glassy synth beats so catchy it’s easy to forget what you’re listening to.

Anna isn’t reaching for fireworks. This isn’t the raw-boned keening of Florence + The Machine’s Everybody Scream. Listeners looking for catharsis may find Girl in a Bottle too gentle, too danceable. But that’s what makes it powerful. It’s an album for those of us who hold it in until it hurts. People who say we’re fine no matter how not-fine we really are. Anna doesn’t scream for us—she unravels. And in coming undone, she offers company instead of comfort.

Girl in a Bottle gives shape to the heart-rending intimacy that persists even after a relationship is half over. It’s not about a dramatic explosion—it’s about a slow-motion wreck, the kind that leaves you shattered like safety glass: still intact from a distance, but broken in a thousand places up close.

'Girl in a Bottle' Is Anna of The North's Synth-Pop Breakup Album