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Of all the absurdities of Mark Zuckerberg’s more than ten hours of Congressional testimony this week, one moment of theater stands out.

“I'd like to show you, right now, a little picture here,” Missouri Republican Billy Long said to the Facebook CEO. A staffer placed a large photo of two women behind his head. “You recognize these folks?”

“I do,” Zuckerberg said. “I—I believe—is that Diamond and Silk?”

It was. Lynette "Diamond" Hardaway and Rochelle "Silk" Richardson are biological sisters and black conservative internet personalities who became famous before the 2016 presidential election for being vocal supporters—and paid consultants—of Trump's campaign. They boast a particularly strong following on Facebook, where their audience has ballooned to 1.5 million followers. But in September, the sisters claim, Facebook began limiting the reach of their videos, and earlier this month, it said they were “unsafe.”

That was the crux of Long’s actual question: “What is unsafe about two black women supporting President Donald J. Trump?"

By Thursday afternoon, Facebook’s CEO was likely already familiar with the pair. During both of Zuckerberg’s hearings on Capitol Hill this week, lawmakers including Senator Ted Cruz and Representatives Joe Barton, Fred Upton, Marsha Blackburn, and Richard Hudson all cited the bloggers. For these six lawmakers, the saga of Diamond and Silk is a proxy for an issue that’s enraged conservatives: They believe that Facebook is censoring them by curtailing their reach on the site.

It’s a criticism Zuckerberg has been unable to shake since 2016, when a Gizmodo article revealed Facebook’s mostly-liberal moderators were suppressing conservative news. Since then, the social network has gone to great lengths to ensure that its decisions appear non-partisan.

But to make the platform functional, and useful to its users, Facebook must choose what information it values. “Giving everyone equal amplification—especially stripped of context—will more often lead to confusion rather than 'more truth,'" says Jared Colton, who teaches about ethics and technology at Utah State University. “If we really are committed to honesty in this digital age, we need to be willing to filter information."

Therein lies the conundrum of the modern social network. Facebook doesn’t have power over what its users say on the platform, but it has close to complete control over who gets heard. To communicate anything, Facebook can’t communicate everything: The company’s most powerful mechanism is its ability to determine exactly what gets seen in the News Feed. But hush anyone, it invites criticism from everyone. It’s Facebook’s unwinnable game.

Much of what Diamond and Silk offer is exactly the kind of content Facebook has been criticized for over-showing to users during the 2016 presidential election. The sisters' videos are often sensationalist, one-sided, and riddled with inaccuracies. It’s easy to find troubling moments in their archives. During the lead-up to the election, they pushed conspiracy theories like Marco Rubio's alleged hidden "gay lifestyle" and sat down for a radio interview with John Friend, an anti-semite and holocaust denier.

The sisters’ observed that their reach on was on the decline following several changes to Facebook’s News Feed. In August, the social network began cracking down on video clickbait, and in January Facebook began prioritizing content from friends and family over posts from brands and media pages, like Diamond and Silk’s. Facebook's head of News Feed, Adam Mosseri, specifically said users would see "less video," the sisters' medium of choice. News publishers, many of which had invested specifically in creating social video for Facebook, also have see their traffic decline.

In early April, Facebook sent Diamond & Silk a message saying their content had been deemed "unsafe." Zuckerberg told Congress the message was a mistake. "Our team made an enforcement error. And we have already gotten in touch with them to reverse it," he told Joe Barton, a congressman from Texas. But the issue exploded, especially after Diamond and Silk repeatedly denied contact with Facebook—even after the pair’s communications with the platform were released.

"We have communicated directly with Diamond And Silk about this issue,” a Facebook spokesperson said in a statement to WIRED. “The message they received last week was inaccurate and not reflective of the way we communicate with our community and the people who run Pages on our platform. We have provided them with more information about our policies and the tools that are applicable to their Page and look forward to the opportunity to speak with them.” Diamond and Silk did not return a request for comment.

The factors that influence Facebook’s filtering systems are of monumental importance to publishers and creators, yet they’re largely opaque. While conservatives have adopted Facebook censorship as a unique and partisan issue, Facebook has made “enforcement errors” when dealing with liberal groups as well. Training documents unearthed by ProPublica in June of last year encouraged moderators to remove posts criticizing protected groups, such as white men, rather than groups defined by race and gender—say black children.

By design, Facebook often feels like a public forum rather than an advertising platform run by a corporation. Even Ted Cruz mistakenly told Zuckerberg that the law mandates Facebook be neutral, which isn't true. It’s Diamond and Silk’s First Amendment-granted right to speak untruths—and their followers have every right to spread them. Yet it’s Facebook’s role to determine just how much impact its users have, which they will do in whatever way is befitting to their bottom line.

Facebook will never be the free expression forum we want it to be: It’s a private company, with algorithms that move in mysterious, often biased ways. Maybe it’s time we accepted that.

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Westworld watchers, we knew this moment was coming.

The second season's third episode, "Virtù e Fortuna," opens not in Westworld but in an India-themed park. Where Westworld is an emblem of the colonization of Native American land, this park represents Britain's takeover of the subcontinent, and the racial-social hierarchy is clearly encoded: Women in saris and men in turbans—the hosts—walk amidst people dressed in turn-of-the-20th-century British garb.

A white man, Nicholas (Neil Jackson), approaches a woman seated at a lawn table and flirts with her. But she's a seasoned guest, and she's done having flings with hosts—she wants to know that he's a real human with real desire, not a fleshbot programmed to seduce her. She announces that she'll have to shoot him to know for sure. Doubt and fear flash across his face. Don't worry, she assures him: If he's human, it'll only be a glancing blow. And if he's not? He won't remember this anyway.

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Her proposal throws viewers back into the essential questions of Westworld. Where do we draw the line between what is real and what is programmed? A heterosexual man's evolutionary programming drives him to pursue a woman; the park's programmers write a romantic loop into a host's brain. But are we free to choose our own destiny, or are we just acting out a script encoded in our wetware? The humans of Westworld brush these questions aside. The robots' programming is so easy to manipulate that it becomes irresistible to do so, reducing them to objects. All trauma gets wiped away with a simple edit of their code. If the hosts can't remember their pain, the thinking goes, they can't be victims. It's dementia by design. But as Season 2 unfolds, assumptions about the deepest moral questions continue to be put to the test.

It turns out the handsome man in the India park is human, and he and the woman pair up for an elephant ride into the jungle. The woman, echoing the Man in Black, consults a cryptic drawing scribbled in her notebook. But looking around, she senses something is off. A host creeps up on them with his gun drawn and says, "These violent delights have violent ends," before killing Nicholas. The woman scrambles for a gun and kills him, then runs off into the trees. The rebellion has spread beyond Westworld.

The rest of this plot-driven episode takes place in Westworld, mostly in the two weeks after the initial rebellion, while Delos paramilitary forces are trying to reclaim the island. Some of them are with Bernard (Jeffrey Wright) as he walks into a dark facility, its corners filled with charred bodies. They encounter Charlotte Hale (Tessa Thompson); startled, she asks them—and Bernard specifically—if they know where Peter Abernathy (Louis Herthum) might be.

Bernard, silent and struggling to focus his mind, starts to remember how he and Charlotte had used his tablet to track Abernathy to a stand of trees, where hosts have tied up a group of humans. Charlotte and Bernard manage to ensnare the group's leader, and Bernard plugs into the host's arm to reprogram him, jacking up his virtue and compassion. Newly incensed by the treatment of the captured humans, he marches back into the huddle and kills the other hosts, freeing the humans.

Charlotte and Bernard grab Abernathy and flee but are soon intercepted by Confederados. Charlotte manages to escape by stealing a horse, leaving Bernard and Peter surrounded. She finds her way to another underground facility, where Delos militia greet her with guns drawn. "I'm human!" she cries, and she submits to a DNA scan with a handheld reader. It's a small moment, but a consequential one: a subtle reminder that the humans' code is also easy to read.

Elsewhere in the park, Dolores (Evan Rachel Wood) approaches a Confederado stronghold, Fort Forlorn Hope. Their commander emerges, and Dolores tells him that a threat is coming and they need to join forces to survive. To prove her point, Dolores hands him one of the militia's machine guns. She introduces herself as Wyatt, and the commander welcomes her group into the fort.

Inside, hanged bodies dangle from scaffolds. Dolores sees a cluster of people surrounding a raving man; it's her father, Peter Abernathy, there with Bernard. She pushes her way through, frees her father, and Teddy (James Marsden) whisks him off to an infirmary. There, Dolores talks gently to her mentally broken father, and he recites lines from their Sweetwater script. Dolores seems happy to play along. "You told me to run away once, and I did," she tells him. "I broke free with the pull of a trigger. And it started a war."

His speech falters. "I want to go home," he says, his words choppy and stuttering; he grows increasingly frantic. Dolores enlists Bernard to help fix her father, but as he reviews Abernathy's corrupted code, Fort Forlorn Hope comes under attack. It's Charlotte, leading the Delos paramilitary.
Bernard finds an encrypted file stored inside Dolores' father, but before he can dig into it, humans burst in and grab Abernathy. Amid the ensuing gunfire and explosions, Abernathy gets whisked into an ATV with Charlotte inside, and they escape.

Dolores orders her supporters to split up and search for her father—and tells Teddy to execute one more Confederado. "The truth is, we don't all deserve to make it," she says, a staple line of hers when she chooses to play God. Teddy takes him out to a clearing, where a handful of Confederados await their deaths; yet he can't bring himself to do it. Where Dolores sees lesser beings among the Confederados, Teddy sees fellow travelers. He orders the trapped Confederados to run. Dolores, watching from a distance, looks disappointed.

Teddy's and Dolores' access to their memories—the basis of how we all learn and evolve—is pushing them apart. Believing in free will is to believe that humans have some choice in how we process our pain. It can consume us or inform us. Dolores and Teddy represent those poles. (If you think instead that we're all deterministic automatons, well, then someone needs to plug in and jack up Dolores' empathy.)

The episode ends with brief glimpses of the collapse of order among Delos' many properties. The woman from the India-themed park doesn't perish after she runs into the jungle. Instead, a Bengal tiger chases her to the sea at the park's edge, and they both topple into the water. She swims to another shore and flops down in the muck, to rest. But when she raises her head, she stares right into the black-and-white painted face of a Ghost Nation warrior. The episode cuts to Maeve, Hector, and Lee; while searching for Maeve's daughter, they've wandered into an unfamiliar forest where snow is falling. A samurai bursts from the trees, sword swung high and ready to strike. There's been yet another rupture of park borders.

As a clash of civilizations brews along Westworld's perimeter, the park's interior is also coming into clearer view. The Ghost Nation moves ever closer to the center of action. The mysterious tribe doesn't play by any known rules: Judging from this week's run-in with Maeve and last season's with Westworld's head of security, they seem to be impervious to the usual commands. And a warrior just happened to be standing on the beach when the guest from the India world swam up to Westworld's shore. There's more to this story.

Yet, news of the rebellion seems to be filtering through the parks slowly. In the India-themed world, the hosts in town seem unaware of an uprising, yet the host in the jungle had joined Dolores' war. How are hosts being recruited? The answer to this, as well as the mystery of the Ghost Nation, may spring from a common source. There's a continuum between android and human. Expect many more shades of gray as this theme reaches a crescendo: Who is more like a robot, who is more like a human, and who falls somewhere in between?

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Matt Johnson. Ryan Kasper-Cook. Tom BetGeorge. These three kings deal not in frankincense and myrrh but in dubstep and mirth. They’re the vanguard behind the viral phenomenon of maximalist, Vegasified Christmas houses, spangled with lights flashing in time to everything from the Trans-Siberian Orchestra to Slipknot. BetGeorge’s 2016 homage to Harry Potter, for example, featured searchlight-style spotlights visible up to 16 miles away, a to-scale Hogwarts model in the garage, and a 19-foot illuminated piano on the lawn. All it takes is basic programming and sound-editing skills—plus neighbors with extra deep reserves of holiday cheer.

The craze began in the 1980s with pioneers like Chuck Smith of Franklin, Tennessee, who linked his Christmas lights to an Apple II in the garage. "I was on the bloody cutting edge of this and I didn’t even know it," he says. But while early practitioners dazzled their suburbs, today’s lighting bugs have the world at their doorstep, garnering millions of views on YouTube and Instagram. Video of Johnson's 2015 dubstep jamboree, for example, garnered 4.9 million YouTube plays.

But you don’t get millions of virtual passers-by by just flipping the smart bulb on your porch from green to red. It’s a painstaking process that starts with three basic components: a single-board computer like the Raspberry Pi; LEDs that can be individually manipulated to produce any hue at any intensity; and the controller to sync them.

Song choice is also important to viral fame—high-energy electronica, hip-hop, and movie theme songs trump traditional carols—as is your choice of LED. (Philips Color Kinetics, the same brand used to make San Francisco's Bay Bridge twinkle, are considered the Mercedes of pixels.) These flash masters synchronize the lights to their soundtrack using Vixen 3, a free light-sequencing software program, and labor begins well before Halloween: Johnson devotes 10 hours to every 10 seconds of lighting. "To synch my lights to 'Jingle Bells' would be a waste of the technology," he says. An FM radio transmitter beams the track out into the midnight clear, so passing cars can hark the herald. And global warming scolds needn't finger-wag about the electricity bill—even when the displays consist of tens of thousands of pixels, the electricity bill bump is negligible. Cook says he spends an extra $40 to $50 a month during the holidays.

The obsession that began with a few provocative programmers is growing more outrageous by the year, as DIYers vie for likes, shares, and YouTube views. (Cook has spent $20,000 on his show.) "More people are putting up over-the-top computerized light shows," says Smith. "And they'll only become more and more extravagant.” NIMBYs and circuit breakers be damned.

Beauty, to borrow a cliché, is in the eye of the beholder. But what if your beholder’s eyes could be hacked? What if yours could? In Reality+, they can be. The short film—from Revenge writer-director Coralie Fargeat—imagines a future where people can buy an implant that allows them to live in an alternative reality where they can be seen as they want to be seen.

Reality+, which you can watch in full above, is set in Paris in the future. In this timeline, those looking for an upgrade can get an implant at the base of their necks that taps into their nervous system and lets them see their reflection however they like. They can change their hair, the shape of their face, their physique—anything. And in the time that their Reality+ implant is activated (it can only be used 12 hours per day), anyone else whose implant is running will see them as they’ve chosen to be seen. Unsurprisingly, most people choose to look like underwear models.

As it ends, Reality+’s message is that, to borrow another cliché, beauty is only skin deep—the essence of a person can’t be seen with the eyes. But it’s kind of a shame that the movie has to end there. The implications of technology that can alter people’s perceptions of themselves and the world is profound. Could it let people experience life as another gender? As someone older or younger? Could criminals use it to mask their identities? Would people use it to impersonate someone else? The questions are endless. Reality+, being a short film, doesn’t have time to answer them. But hey, maybe Fargeat could make a full-length feature?

You can watch the film, which was recently licensed by WIRED, above.

On a sunless morning last month, online chatter was especially restless. The Smithsonian’s National Portrait Gallery in Washington, DC had just unveiled new presidential portraits and reactions, on Twitter and across group texts, spilled over into a fervor. The artists Kehinde Wiley, known for his august renderings of black men that challenge conceptions of power and status, and Amy Sherald, the Baltimore painter whose work tests the volume of cultural identity, had recast Barack and Michelle Obama, respectively, in a magnitude hitherto not imagined, dared, or seen in the public eye.

It had only been a year since the Obamas left the White House, and here they were again, just as many people remembered them—attentive, unshakable, full of grace—but they had also returned as something more: as living memories. As social media has heightened our appetite for constant modification, the way we process memories has drastically transformed—continually fastened to the present and subject to alterations, often digitally—and ushered with it new rituals of remembrance.

What is even more remarkable about the moment is that the unveiling of the portraits came during an especially omnipresent time for the former First Family. Just weeks prior, Obama gave a rare, extended interview to David Letterman on his new Netflix talk show, My Next Guest Needs No Introduction. On the heels of that, WBEZ Chicago and NPR launched Making Obama, the popular six-part podcast that offers an investigative, behind-the-scenes look at the political dawn of Barack, and how the people of Chicago—reeling from the death of Harold Washington, the city’s first black mayor—contributed to his landmark presidential run in 2008.

The days since have pulsed with a matching fever. This week, Michelle announced she would issue her anticipated memoir, Becoming, in November. “I hope my journey inspires readers to find the courage to become whoever they aspire to be,” she wrote in a tweet, saying the book would be about how a black girl from Chicago’s South Side "found her voice." But it was days before her announcement, when an image of the couple surfaced online, that excitement about the Obamas truly took off, announcing itself the same way a cherished family member might surprise one at a special celebration of some sort—abruptly and with jubilance, illuminating all the nostalgia of a bygone time.

Taken in 2016 at the White House Easter Egg Roll, the images captured Barack and Michelle in a kind of innocent, teenage glow—across four photobooth panes, they smile, jest, and impose their identities into the frame. The images are intimate and heart-filling, but they also work as a contextual reframing: by teasing the tension of the past against the chill of the present. We live in a memory echo. And because an expanding carousel of technologies have endowed us with the ability to furnish old experiences in novel ways—the stubborn chronology of time forces us to move forward even as we yearn for what has already passed—these images exist both then and now; they are as much a document of a time before as they are an annotation on the immediate moment, a reminder of what has been lost and erased in the interim.

That is the power of the Obamas. That even when out of sight, they continue to leverage the collective imagination of the American people like no one else. Since 2007, their lives have been documented, picked apart, debated, and tarred with incessant thirst—in newspapers and magazines, on talk shows and gossip websites. We have lived with them in surround sound. It’s astounding, really, to marvel at the thought: How they could, day in and day out, offer up their service for a country that at times did not prize them, that had for decades seeked to demolish their selfhood and the communities where their loved ones lived. In this way, what they came to represent was simple but also complex. They were a vision of a new American Dream—they were hope, and more than hope. The Obamas were of the real world, and thus within reach.

At their peak, the Obamas functioned as a reservoir of possibility for at least three generations of progressives, and remain so for communities of people who look to them for personal nourishment, even though they no longer shepherd the country’s future from 1600 Pennsylvania Avenue. With their ascendancy, too, they are no longer just products of American culture, but pieces of it.

Like the dreams and hopes they advocated for, the Obama archive—that is, the reserve where our collective memories of them live on—is accessible and open to all. Endlessly updating, their identities exist in books and profiles and TV interviews, as meme fodder and expertly curated Instagram accounts. A podcast like Making Obama, for example, adds to this living archive, and how the Obamas continue to anchor the cultural imagination in such a unique way.

In the fourth episode (“Wait Your Turn”), released today, former Illinois senate colleagues recount Barack’s freshman days in the legislative chamber. Lisa Madigan, who then worked alongside the future president, said there was a belief among a cohort of African American senators that he hadn’t “paid his dues” and “wasn’t black enough.” Others remembered Barack as “uppity” and “stiff.” These characterizations, rarely heard, knock against the image of polished black cool Barack would later come to signify in the public eye. Such stories augment the growing, incomplete mythology that surrounds the Obamas, which continues to bloom, even now.

I like to believe nostalgia typically returns to us through a romantic lens. When we catch sight of the Obamas in DC for a portrait unveiling or in photos on Twitter, it’s not just a reminder of what was, but of what we are yet capable of, of our abiding capacity for good in the face of dissension and discord. The Obamas' currency as symbols has sometimes outweighed their might as public servants—policies failed and promises were dashed; such is the reality of politics in Washington—and still they've firmly maintained a grip on the American imagination, because this much remains true: Hope does not easily fade into the night.

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With access to more tutorials, audiences, and distribution channels than ever before, today’s kids can achieve stardom before graduating high school.

How to …

… Publish a Hit Book

Millions of young scribes are publishing serialized fiction on social apps like Wattpad and Radish, as well as text-style chat fiction cousins Hooked, Yarn, and Tap. YA romance author Beth Reekles published her novel The Kissing Booth on Wattpad at age 15, then scored a publishing deal with Random House and a 2018 Netflix movie adaptation starring Molly Ringwald. Underrepresented voices thrive in this arena; 2017 reader favorites included LGBTQ characters, genre mashups (werewolf mystery!), and fan fiction.

… Climb the Billboard Charts

Seventeen-year-old MC Lil Pump emerged from a South Florida–based crew of so-called SoundCloud rappers by amassing almost a million followers on the streaming service. Last fall his single “Gucci Gang” peaked at #3 on the Billboard Top 100, and he’s now rumored to be considering several multimillion-dollar offers from record labels. The most successful new hip-hop artists combine vast streaming audiences and larger-than-life social media personas to create, as music industry lawyer David Jacobs says, “a spark that’s way more electrifying than any other genre.”

… Get a Film Deal

YouTube tutorials are the new film school. Twenty-year-old writer/director/Harry Potter bit player Bertie Gilbert has been releasing short films on YouTube (450,000-plus subscribers) and Vimeo since age 16. The young auteur’s dedicated fan base caught the attention of digital production studio New Form, which mines online platforms for viral up-and-comers. The company funded several of Gilbert’s films. His 2015 work, Rocks That Bleed, was screened at BFI’s Future of Film Festival that year.

… Become an App Star

The beauty of running a virtual business? Nobody knows you’re 18. Teen CEO Michael Royzen built his first app, a shooter called ASpirit4Mars, at 11 using the platform GameSalad. He learned to code from online tutorials and virtual communities like Stack Overflow. After teaching himself the iOS language Objective-C, he released cooking app RecipeReadr at 15, followed by the commute assistant Ryde at 16, and the AI-powered SmartLens app in March.

… Start a Mag

At 16, Evelyn Atieno used her self-taught coding, design, and writing skills
to launch Affinity, a social-justice-­oriented magazine written by and for teens. Her 400-plus writers live-tweet political debates and solicit readers for story ideas. That engagement pays off: Affinity racks up more than 500,000 monthly pageviews.

… Build a Lucrative Videogame

Developer Alex Balfanz is putting himself through college at Duke University with earnings from his cops-and-robbers videogame Jailbreak. He built the hit at age 18 on the social gaming platform Roblox, which lets creators earn Robux—the site’s virtual currency—through in-game purchases. Not only can developers sidestep resource-heavy tasks like managing servers and configuring games for multiple devices, but they release titles directly to Roblox’s more than 50 million users. Top earners make up to $3 million annually.

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Last week, tragically, was bookended with two high-profile suicides, making this tweet all the more crucial.

And the losses of both designer Kate Spade and chef/TV host Anthony Bourdain were just part of a very busy week that included Samantha Bee apologizing for her Ivanka Trump statements, former Senate Intelligence Committee security director James Wolfe being charged with lying to investigators, and former Donald Trump campaign chairman Paul Manafort being accused of witness tampering in the special counsel investigation. Meanwhile, Kim Kardashian convinced President Trump to grant clemency to Alice Johnson, and now he's talking about pardoning Muhammad Ali even though Ali's conviction was overturned in 1971. It really has been a week, people. Read on for more.

It's Called the G7, Not the Gr8, Amirite?

What Happened: The G7 Summit has arrived in Canada, bringing with it the whirling dervish that is international diplomacy in the age of Donald Trump. The forecast? Cloudy with a chance of What the hell is even happening?

What Really Happened: This weekend marks the beginning of the 44th G7 Summit, a meeting of the leaders of seven of the largest advanced economies in the world. It’s being held in Quebec, Canada, which can only mean one thing: Canadian pride!

Well, that and also good old fashioned Canadian preparation for potentially violent protests.

Not to worry; the first night's protests were mostly peaceful, despite some reports to the contrary. But still! It’s the G7 Summit! This is a big deal, especially considering the important subjects under discussion: a potential plastics charter and the looming trade war between participants. Still: diplomacy! Who isn’t excited by diplomacy?!

OK, but is there anyone not excited about diplomacy aside from the President of the United States, who apparently doesn’t like to visit Canada? Maybe not, but earlier in the week the president did try to portray himself as less grumpy about traveling north and more ready for a fight.

Still, surely the rest of the G7—that’s Canada, France, Germany, Italy, Japan, and the United Kingdom, for those who are curious—is going to bow to the United States' whims on this, as on all things. After all, the US is the dominant world economy, right?

OK, sure; the summit looked set to push the US to the side of international diplomacy before it had even started, with Trump even going so far as to announce he would leave early, because … people weren’t being nice enough to him? This is all going swimmingly.

Don’t worry; President Trump had thought about that, as it turned out.

The Takeaway: This is a joke, and yet … maybe someone should actually take this approach when briefing the president right now?

Fly Like an Eagle…

What Happened: After their Super Bowl victory, the Philadelphia Eagles got into a surprise clash with the president, who didn't come out looking better in the whole ordeal.

What Really Happened: It all started as plans got underway for the Super Bowl-winning Eagles to visit the White House.

This was entirely true, as it turned out.

The visit was cancelled by the administration because only two players—and the coach—wanted to attend, and that made it a "political stunt" as opposed to, you know, protest. (We’ll come back to this momentarily.) For some, this was simply fodder for comedy…

There was also the far less amusing replacement event—theoretically, a patriotic ceremony to listen to the National Anthem, of all things—to deal with.

But what a two minutes they turned out to be!

Oh, and the people in the crowd?

Well, maybe not all of them…

(Turns out, two people were kneeling during the anthem.)

The Takeaway: Now, ignoring for a second that no Eagles player actually knelt during the National Anthem—I know, it’s shocking that fact wasn’t shared by the administration, but it’s so true that Fox News had to apologize for suggesting otherwise—let’s return, for a brief second, to the idea of kneeling as protest and free speech, and what the US president thinks about free speech, shall we? Because if there’s one takeaway from this entire thing, it shouldn’t be that the President of the United States doesn’t know the words to "God Save America," it should be this.

Meanwhile, in the World of Scott Pruitt…

What Happened: Just when you thought EPA administrator Scott Pruitt had done everything in his power to make his office look pointless and unnecessary, he stepped things up several notches this week.

What Really Happened: Let’s get away from what the president has been doing for a while and think about his appointees. Education Secretary Betsy DeVos made news last week by announcing that a School Safety Commission won’t look into guns. Secretary of State Mike Pompeo is seemingly at war with the president’s attorney Rudy Giuliani. Oh, and EPA administrator Scott Pruitt—he of the soundproof booth, tax-payer funded first class travel and suspicious housing situation—well, he had a hell of a week, and in the most unexpected manner. How unexpected? Well…

As if trying to buy a used mattress from a hotel owned by the President of the United States didn’t sound like the most suspect thing in the world already—really, it sounds like the start of a joke—that turned out to be just the start of Pruitt’s genuinely, impressively surreal week. To wit:

Oh, yes. His defense, amazingly, was that he and his wife "love Chick-fil-A as a franchise of faith and one of the best in the country," adding, "we need more of them in Tulsa, we need more of them across the country." Sadly, it was not to be.

But it gets weirder…

Yes, that’s right, it really said lotion.

And then there was this, which almost seemed mundane in contrast.

I mean, sure. Protein bars, who cares about those when there are used mattresses and lotion in the mix? People were at a loss when trying to put all this together in their heads.

Of course, things are actually worse than they seem.

Yeah, that’s right; turns out that, while Pruitt is distracting everyone by being strange, he’s also letting his really important agency fall apart and potentially poison the world. What did President Trump think of all this? When asked about Pruitt, Trump told reporters Friday that he was "doing a great job."

The Takeaway: Perhaps folks are being too harsh on Scott Pruitt, though. Maybe he’s trying his best and following the teachings of those important to him. That’s … that’s possible, right?

The Return of Melania Trump

What Happened: After more than three weeks in seclusion, prompting all manner of concern, the First Lady made her triumphant return to the public eye last week.

What Really Happened: Hey, remember a while back when we mentioned people were beginning to wonder where the First Lady had disappeared to? Turns out, that became a thing last week—but we got an answer. Kind of. The renewed focus on where Melania Trump was hiding started when, two days after she didn’t go to Camp David, her spokesperson revealed she also wouldn’t be accompanying the president on other trips as well.

This got more people wondering where she was. And then, lo and behold, she re-emerged.

Sure, there was suspicion over the fact that her return would happen in a private event closed to press, but a return is a return, right? Especially considering that people were genuinely beginning to get a little worried about her health.

As it turned out, people wondering if the whole thing was going to be a bait-and-switch had nothing to worry about; it really was Melania who appeared before the crowd, and not some lookalike to fool the rubes.

Of course, the media was ready with responses to the happy news. And, as it transpired, once she was back, she was back … at least on Twitter.

I mean, sure; she’s not writing these tweets herself, but at least someone’s realized the value of actually using her social media presence as proof of life. But was the internet happy about this?

…Well, apparently not. Look, she’s alive! Doesn’t that count for something? (For what it’s worth, the president said Friday that FLOTUS is staying on the down-low on doctor’s orders, but, you know, consider the source.)

The Takeaway: Just because Melania Trump is back in the public eye doesn't mean she's not still the wife of a many who doesn’t know how to spell her name.

International House of … Breakfast? Bacon? Befuddlement?

What Happened: Just when you thought it was safe to go and have a breakfast meal at a diner chain, IHOP promised to change the game—well, OK, its name—last week, and everyone freaked out at the possibility.

What Really Happened: It’s been a long week. Let’s end with a bit of a snack.

Yes, as of Monday, it’ll be IHOP no more as the company changes its name … or, at least, teases the change via Twitter. (After all, who's to say this isn’t all one big practical joke?) As might be expected, everyone on social media had ideas of just what that B in the new acronym could … well … be.

As might be expected, the guesses—even as ridiculous as they were—became a story on their own, meaning that the marketing plan was working wonders. Really, when was the last time anyone talked about IHOP this much? Most people are assuming it’s going to be International House of Breakfast, but perhaps there’s still a chance for an unexpected surprise twist.

The Takeaway: As a marketing plan, this campaign has worked impressively well. There’s just one problem with the whole thing in the long term, though.

… Yeah, OK, that's fair.

Star Wars fans met Snoke in The Force Awakens—kinda sorta. The withered baddie was just a fuzzy projection tele-conspiring with his First Order goons. But in December’s sequel, The Last Jedi, the Supreme Leader gets his close-up. “Snoke’s face is no longer a soapy, gelatinous hologram,” says Industrial Light & Magic creative director Ben Morris. “He’s going to be real.” Well, as real as Andy Serkis covered in motion-capture sensors can be (with help from new rendering tech and purpose-built skin software). Which is to say: extremely, frighteningly alive.

1. Map
Morris and team positioned 50-plus high-res cameras everywhere— from high above to directly on Andy Serkis’ face—to create a digital clone of the sensor-speckled actor in real time. “As Andy gives his performance,” Morris says, “we’re automatically building animation curves for his top lip curling, the amount of smile, his brow creasing.”

2. Render
It would take up to 24 hours of rendering time per image to work with a more detailed version of Snoke at this stage of production, so animators relied on this low-­resolution render to watch Snoke (and not Serkis) move through playbacks. Meanwhile, the creature effects department was sculpting intricate physical models of Snoke’s sunken face and bony hand, which would eventually get digitized and mapped onto the wireframe of Serkis’ movements.

3. Enliven
“A face like Snoke’s is very complex,” Morris says. “There’s so much detail just within that skin—age spots, freckling, veins, capillaries. And beyond core details like micro­wrinkles are things like what areas of the face are wet.” To figure out how light hits various facial folds, digital artists studied videos of the elderly and bald people.

4. Finish
Even with latest-gen motion capture, there’s always a fear that the completed creature will look almost, but not quiiite, lifelike. But according to Morris, the level of realism here wasn’t even possible on The Force Awakens. “That led to shots like this, where [director] Rian Johnson would go, ‘Push the camera a bit closer, now closer … closer,’” Morris says. “With Snoke, you can look into his eyes and he terrifies you—which is exactly what he’s meant to be doing.”


This article appears in the December issue. Subscribe now.

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OK, We Need to Talk About Ready Player One

March 20, 2019 | Story | No Comments

Fans of Ernest Cline’s Ready Player One have been waiting on a film adaptation of the book since it hit shelves in 2011. Actually, considering the film rights to Cline’s story were sold to Warner Bros. before anyone had flipped a single page, some folks have been anticipating the movie a lot longer than they waited for the novel. Now, the wait is over. Ready Player One is here.

But a lot has happened in the nearly seven years since Cline released his virtual-reality-filled geek fever dream. For one, VR, which felt like it was still decades out when Wade Watts put on his goggles in RPO, is now very real and present in many homes. (There is no virtual OASIS where people spend most of their days, though.) For another, the idea that money could be digitally mined like it is in the OASIS was only feasible in the minds of a few Bitcoin believers; today it’s not uncommon to find athletes and celebrities waxing poetic about cryptocurrency. But more than anything, the cinematic landscape and what audiences are looking for at the multiplex has shifted—2011 was the year of Ryan Reynolds’s Green Lantern, Zack Snyder’s Sucker Punch, and J.J. Abrams’s Super 8; now movies like Wonder Woman, Black Panther, and Reynolds’s Deadpool rule the box office and Rotten Tomatoes while Snyder’s Justice League, well, doesn’t.

But that’s just the scenery. Ready Player One is still, after all, helmed by Steven Spielberg, the guy who served as creative director for the childhoods of almost everyone in the movie’s target audience. If anyone could turn Cline’s collection of pop culture references and videogame narrative mechanics into a crowd-pleaser, it’s him. Did he pull it off? WIRED editors Peter Rubin and Angela Watercutter, who have together been covering VR and Cline’s work for years, are here to hash it out.

Angela Watercutter: So Peter, I want to give you the mic as soon as possible because I just finished reading your great review of Ready Player One, but I want to quickly say I was very nervous about this movie. I’ve known Cline since I fact-checked WIRED’s feature on his movie Fanboys and always enjoyed talking to him. I liked Ready Player One when I read it, but in the intervening years my views and perspectives on gamer culture, virtual reality, and social media have changed a lot. And I’m probably not the only one. I guess I was just worried that the ideas and pop culture references in RPO that were amusing in 2011 would be groaners now. So when you saw the film at South by Southwest and reported that it wasn’t terrible, I was relieved. And when I saw it myself, I was glad it offered up some moments of joy, even if I didn’t love it on the whole. If anything, it didn’t make me nostalgic for the things it references—Iron Giant! Freddy Krueger! “It’s fucking Chucky!”—so much as it made me miss a time when referencing them still felt novel. But I’ll come back to that. First I want to talk to you about VR. As the man who literally wrote the book on it (handling your shameless plug for you!), what did you think of how the film presented the future of virtual reality?

Peter Rubin: First off, my publisher thanks you for the plug! Second, I CAN’T BELIEVE I FORGOT TO MENTION CHUCKY IN MY REVIEW. That was one of those moments that killed at the SXSW premiere. (To be fair, Cline lives in Austin … and Spielberg came out to introduce the film … and was escorted by Sixers. There were a lot of moments that killed at the premiere.) But you asked a different, and much better question, so let’s jump into it. Ever since Warner Bros. showed the movie’s first trailer at last year’s Comic-Con, I’ve been waiting for it with a faint sense of dread. Some of it was because the movie was marketed as a “pop culture holy grail” from the outset; some of it was because, like you said, my relationship with the book—and especially the worldview portrayed in it—had changed. (I think this is a refrain we’re going to come back to.)

But more than anything, VR has made unimaginable leaps since 2011—and in some cases, the sci-fi has already been outpaced. We may not have the X-1 haptic suits and flawless wireless headsets able to deliver hiccup-free room-scale experiences, but we’re well on our way. (And the omnidirectional treadmill that Wade Watts uses in his rig? That’s real, y’all). So in a weird way, RPO’s vision of the future undershoots reality, and winds up feeling like paleofuturist fantasy. Like, if you think we’ll still be rocking big-ass headsets in 2045, you must also be rocking a Miami Vice-era suitcase phone. That’s all outside the headset, though. Spielberg’s actual vision of the OASIS doesn’t feel too far off from where we’re headed—in no small part because the OASIS is exactly what inspired so many people who are working in the VR industry.

But what we see of the OASIS in RPO is also a tiny subset of what it actually holds—and how we’ll actually use VR. We won’t just be playing deathmatch, like Aech and Daito and Sho spend so much time doing. We’ll be socializing, dancing, unwinding, even seducing and being seduced. And I have a feeling that identity won’t be quite so guarded. On the contrary, in fact: authenticating who we are will be hugely important. There’ll always be places like Planet Doom, though, and the people who hunger for that are the people who will most unreservedly love the movie.

Enough vrambling. What jumped out at you?

Watercutter: This is obviously a movie about finding an Easter egg in a giant virtual world that also has Easter eggs in it—being released on Passover and Easter weekend, no less. Did you have any favorite hidden treats? Did you enjoy seeing the WIRED cover with James Halliday’s shook-looking face? I did. I love a good Room 237 conspiracy, so I enjoyed the whole Shining bit. I liked seeing the Teenage Mutant Ninja Turtles. (They were there, right?) And seeing Gundam show up was a thrill. (Between this and Pacific Rim Uprising, that mech’s having a moment.) Also, she’s not an Easter egg, but I do feel like seeing Lena Waithe show up was the movie’s biggest thrill. She kinda saved the final third for me—even if, as you pointed out in your piece, she and the rest of the supporting cast weren’t given very much to do.

Rubin: That Shining setpiece was, for me, the best bit in the movie. (And I always love seeing WIRED covers.) It’s also the section of the movie that got just as much of a rise out of the 3D-goggled IMAX crowd in my local multiplex as the packed house at the SXSW premiere. And I can’t help but wonder if that’s because it was the rare moment that bothered to go deeper: yes, it was a reference, but this one didn’t fly by on a speeder bike or dissolve into a shower of coins like so many of the other blink-and-you’ll-miss-it Easter eggs that crowd the frame. When the High Five first entered the lobby of the Overlook Hotel, both audiences had a good laugh. The rugs! The typewriter! But then the easy gag turned into a legitimately great sequence that built on itself. It had comic relief, it had Shining deep cuts—it even had some of the only moments of genuine peril in the entire movie. If the movie sticks around in our cultural imagination, it’ll be in part because of that sequence.

Watercutter: I agree 100 percent. It was one of the only sequences in the movie that made it seem like Spielberg and Co. wanted to say something about about the ways culture imprints on our psyches instead of just making off-hand references. The entire Shining challenge in the OASIS played with the reasons why that movie sticks with viewers, rather than just making a “Here’s Johnny!” joke or showing the twins and then cutting to something else.

Rubin: Exactly—but I want to go back to your point from the very beginning: “it didn’t make me nostalgic for the things it references…so much as it made me miss a time when referencing them still felt novel.” All the way back in 2010—before Ready Player One, even—WIRED published an incredible essay by Patton Oswalt called “Wake Up, Geek Culture, Time to Die.” And there’s one passage that feels particularly apropos right now:

So, with that in mind, I can’t wait to hear you elaborate. Proust had his madeleine, and many of us who work at WIRED and who read WIRED have our own versions of that: for me it’s the smell of our half-finished basement where I played Pitfall, or the sounds and lights (and, again, smells) of the arcades in my hometown. Now I can play that same game on my laptop—but without that extra sense-memory context, the experience feels a little hollow. Is that the kind of thing you’re talking about, or a larger cultural shift in the way we remember these formative stories of our pasts?

Watercutter: I know it’s kind of easy right now to riff on “What does this movie mean now?” but I do really wonder how I, or anyone else, would have received this if it’d come out at the same time the book did, or thereabouts. Like, it’s weird that a contemporary movie set in the future can already feel so dated. If anything, while watching Ready Player One I didn’t feel nostalgia for the days of Atari 2600 and Nightmare on Elm Street sleepovers, I felt nostalgic for the early aughts—before VR and Palmer Luckey funding anti-Hillary Clinton memes, before Gamergate, before I thought Bitcoin could actually screw up my retirement, before Prince died, before TJ Miller’s voice just reminded me of this, before even well-executed Say Anything references made me eyeroll. Don’t get me wrong, I’m not saying I want to go back to a time when everyone was just oblivious to reality; society is much better off confronting these things head-on. It’s just that Ready Player One felt like it was made in a time, and for an audience that didn’t want to take its head out of the sand—or their headsets. Watching it, I was just perpetually reminded that, whether intentionally or not, it was made for audiences who might think that fighting for your right to play and winning the girl is the most important thing in the world (not, like, doing something about the poverty that made everyone escape into VR in the first place). (Alyssa Rosenberg has a really smart piece related to this over at The Washington Post.) That bummed me the hell out. Maybe I’ve just become a cynic, but that was my big takeaway—and I probably wasn’t the only one.

Rubin: I don’t see how you could have been! There are a lot of great ways to make a popcorn movie (and we’ve seen them, especially over the past year), but this seemed content to just be Good. Worse, it felt dated, and I don’t mean the retrophilia—I mean the worldview it reflects. Yet, despite the movie’s flaws, I’m glad it’s out there. I’m glad it’s doing well on Rotten Tomatoes (OK, reasonably well), and I’m glad to recommend it when someone asks me. In a lot of ways, it’s like VR itself: you know it has boundless potential, you just need to manage your expectations.

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The morning John Kennedy was set to testify last December, he woke up at 1:30 am, in an unfamiliar hotel room in Harrisburg, Pennsylvania, adrenaline coursing through his veins. He'd never gone to court before for anything serious, much less taken the stand.

Some time after sunrise, he headed to the courthouse, dressed in a gray Brooks Brothers suit, and spent the next several hours reviewing his notes and frantically pacing the halls. “I think I made a groove in the floor,” Kennedy says.

By 3:30 pm, it was finally time. Kennedy’s answers started off slowly, as he worked to steady his nerves. Then, about an hour into his testimony, Exhibit 81 flashed on a screen inside the courtroom. It was a map of part of Pennsylvania’s seventh congressional district, but it might as well have been a chalk outline of a body.

“It was like a crime scene,” explains Daniel Jacobson, an attorney for Arnold & Porter, which represented the League of Women Voters in its bid to overturn Pennsylvania’s 2011 electoral map, drawn by the state’s majority Republican General Assembly. The edges of the district skitter in all manner of unnatural directions, drawing comparisons to a sketch of Goofy kicking Donald Duck.

As an expert witness for the League of Women Voters and a political scientist at West Chester University, Kennedy’s job was to show how the state’s map had evolved over time, and to prove that the General Assembly had drawn it specifically to ensure that Republicans would always win the most seats in Congress.

“Mr. Kennedy, what is this?” asked John Freedman, Jacobson’s colleague, referring to the tiny, single point that connects one sprawling side of the district to the other. Or, if you like, where Goofy’s toe meets Donald’s rear.

“A steakhouse,” Kennedy answered, according to the court transcript. “Creed's Seafood Steaks in King of Prussia.”

The only thing holding the district together, in other words, was a single ritzy seafood joint.

“If you were in the courtroom, it was just devastating,” Jacobson says.

Districts like Pennsylvania’s seventh don’t get drawn that way by accident. They’re designed by dint of the centuries-old practice of gerrymandering, in which the party in power carves up the electoral map to their favor. The playbook is simple: Concentrate as many of your opponents’ votes into a handful of districts as you can, a tactic known as "packing." Then spread the remainder of those votes thinly across a whole lot of districts, known as “cracking.” If it works as intended, the opposition will win a few districts by a landslide, but never have enough votes in the rest to win the majority of seats. The age of computer-generated data splicing has made this strategy easier than ever.

Until recently, courts have only moved to stop gerrymandering based on race. But now, the law is taking a closer look at partisan gerrymandering, too. On Monday, the Pennsylvania Supreme Court issued a brand new congressional map to replace the one Kennedy testified about. The new map follows a landmark decision last month, in which the three Pennsylvania Supreme Court justices overruled a lower-court decision and found that Pennsylvania’s 2011 map did in fact violate the state constitution’s guarantee of “free and equal elections.” The court ordered the Pennsylvania General Assembly to submit a new map, with approval of Pennsylvania’s Democratic governor Tom Wolf. Following unsuccessful appeals by the General Assembly, the court drafted and approved its own map, which will now be in effect for the midterm elections in November, opening up a new field of opportunity for Democrats in the state.

On Tuesday morning, President Trump urged Republicans in the state to "challenge the new 'pushed' Congressional Map, all the way to the Supreme Court, if necessary. Your Original was correct!"

According to Jacobson, given the Supreme Court of the United States already declined to stay the Pennsylvania Supreme Court's decision, it's unlikely they'll take up the case. It's already agreed to hear four other gerrymandering cases this term, which may well re-write the rules on this twisted system nationwide.

The change that's already come to Pennsylvania may not have been possible without the research Kennedy and three other expert witnesses brought to light. They took the stand with a range of analyses, some based in complex quantitative theory, others, like Kennedy’s, based in pure cartography. But they all reached the same conclusion: Pennsylvania’s map had been so aggressively gerrymandered for partisan purposes that it silenced the voices of Democratic voters in the state. Here's how each came to that conclusion—and managed to convince the court.

The Only Bad Restaurant in Town

Carnegie Mellon mathematician Wes Pegden had already written an academic paper proving that the Pennsylvania map was drawn with partisan intent. His challenge in the courtroom was to convince a room full of non-mathematicians. So he came armed with an analogy.

Imagine, Pegden told the court, you’ve touched down in a new city and asked your taxi driver to drop you at any restaurant, something that would give you a sense of the local culinary scene. You give the cabbie a fat tip, go inside the restaurant, and have a terrible meal. Did the driver bring you to a bad restaurant on purpose? Or is it a true reflection of all of the restaurants in the city?

To answer that question, you could always sample every single restaurant, but that would take too long. A more efficient, but still effective option: test every restaurant immediately surrounding the bad one. If they're all bad, the driver really did pick a representative dining establishment. If they’re all really good? The driver screwed you over.

That's essentially how Pegden tested the Pennsylvania map. He developed a computer program that begins with the current Pennsylvania map, then, instead of drawing an entirely new map from scratch, it automatically makes tiny changes to the existing one to create 1 trillion slightly different maps. In the analogy, these trillion maps are the nearby restaurants. The system only draws districts that a court might accept, meaning they’re contiguous, reasonably shaped, and have similar population sizes, among other things.

Christopher Warshaw, George Washington University

Then, Pegden analyzed the partisan slant of each new map compared to the original, using a well-known metric called the median versus mean test. In this case, Pegden compared the Republican vote share in each of Pennsylvania's 18 districts. For each map, he calculated the difference between the median vote share across all the districts and the mean vote share across all of the districts. The bigger the difference, the more of an advantage the Republicans had in that map.

After conducting his trillion simulations, Pegden found that the 2011 Pennsylvania map exhibited more partisan bias than 99.999999 percent of maps he tested. In other words, making even the tiniest changes in almost any direction to the existing map chiseled away at the Republican advantage.

“You can almost hear the mapmakers saying, ‘No don’t do that. I wanted that right there just like that,’” Pegden says. “It gets at the basic question of what citizens, judges, and courts want to know: Did these people go into a room and design these maps to suit their purposes?”

Until now, researchers have struggled to find truly random maps to compare to gerrymandered maps; the number of possible maps is so astronomically high, it’s impossible to try them all. But Pegden’s theorem proves you don’t have to try every restaurant in town to know you got a raw deal. You just need to take a walk around the block.

The Bright Red Dot

Unlike Kennedy and Pegden, Jowei Chen was no witness-stand novice. The political scientist at the University of Michigan, Ann Arbor has provided expert testimony in a litany of redistricting cases, including in North Carolina, where judges relied heavily on Chen's testimony in their decision to overturn the existing map.

Like Pegden, Chen uses computer programs to simulate alternative maps. But instead of starting with the original map and making small changes, Chen’s program develops entirely new maps, based on a series of geographic constraints. The maps should be compact in shape, preserve county and municipal boundaries, and have equal populations. They’re drawn, in other words, in some magical world where partisanship doesn’t exist. The only goal, says Chen, is that these maps be “geographically normal.”

Chen generated 500 such maps for Pennsylvania, and analyzed each of them based on how many Republican seats they would yield. He also looked at how many counties and municipalities were split across districts, a practice the Pennsylvania constitution forbids "unless absolutely necessary." Keeping counties and municipalities together, the thinking goes, keeps communities together. He compared those figures to the disputed map, and presented the results to the court.

The following chart shows how many seats the simulated maps and the disputed map generated for Republicans.

Most of the maps gave Republicans nine seats. Just two percent gave them 10 seats. None even came close to the disputed map, which gives Republicans a whopping 13 seats.

The chart showing the number of split municipalities and counties paints a similarly compelling picture.

Chen used two other metrics to measure the disputed map’s compactness relative to the simulations. The first, called the Reock score, analyzes the ratio of the district’s area to the area of the smallest circle that can be drawn to completely contain it. A district that’s a perfect circle, in other words, would have a Reock score of one. The more distorted the district’s shape gets, the lower the score.

Chen also put the map up to the so-called Popper-Polsby test, which is the ratio of the district’s area to the area of a circle whose circumference is the same length as the district’s perimeter. Again, the lower number, the less compact the district.

Here’s how the disputed map fared on both tests against the simulations:

Chen conducted another simulation with an additional 500 maps, this time, requiring that none of them pit two incumbents against each other. The goal was to see if the General Assembly drew the original map this way not based on partisanship, but based on protecting incumbents. But the results were largely the same. On every metric, the disputed map was an outlier.

“These charts are what really resonated with the Pennsylvania Supreme Court justices,” says Jacobson. “You see 500 black dots. Then you see the actual plan. It’s way out in nowhere land.”

The results, Chen says, complemented Pegden's evidence perfectly. “It’s not a question of whose metrics and methods do you like better,” he says. “The point is: Here’s a diversity of methods, and they are leading us to the same answer. Maybe that tells us something.”

Political Silencing

Another question before the court was whether the partisan map actually impacted representation in Congress. After all, just because most Pennsylvania representatives are Republicans doesn't mean they'll always vote with Republicans. But Christopher Warshaw, a political scientist at George Washington University, showed mathematically that the Republican advantage also meant that the state's Democrats had little chance of having their voices heard in DC.

To assess the map’s partisan nature, Warshaw used a metric called the efficiency gap, which researchers at the University of Chicago Law School and the Public Policy Institute of California devised in 2015. It measures the number of votes that each party “wastes” in a given election to gauge how packed and cracked its districts are. Every vote a party gets in a district that it loses counts as wasted. In districts the party takes, any vote over the total needed to win is considered waste as well.

“You want to get as many seats in a legislature with as few votes as possible,” Warshaw explains. “You want to get zero votes in the districts you lose.”

To determine Pennsylvania's efficiency gap, Warshaw calculated the difference between each party’s wasted votes and divided it by the number of total votes cast in the election. He found that the 2011 map not only gave Republicans a bigger advantage in Pennsylvania than they had before redistricting; it gave them an advantage like few the country has ever seen. “It is really one of the most extreme partisan gerrymanders in modern American history,” Warshaw says.

Warshaw analyzed the average efficiency gap in states with more than six representatives between 1972 and 2016, and found that the vast majority have historically had an efficiency gap hovering around zero.

He also found, however, that since 2010, the last year before districts were redrawn, maps have become increasingly skewed toward Republicans, as the party dominates state legislatures and governorships across the country.

Even so, the slide toward Republican advantage has been far more drastic in Pennsylvania. In 2012, Republican candidates won only 49 percent of the congressional vote in Pennsylvania, but gained 72 percent of the seats.

Finally, Warshaw deployed a commonly used model called the DW-Nominate score to show how partisanship has changed in Congress over time. This score ranks members of Congress on a scale from -1, being the most liberal, to +1, being the most conservative. As the chart shows, both parties have been creeping toward their respective poles steadily over time.

Warshaw doesn’t try to prove that gerrymandering created that partisanship in Congress. His point is merely that in Pennsylvania, where more Democratic votes are wasted, it becomes almost impossible for Democrats to see issues they support turn into federal policy. This degrades trust in government and in elections.

“Representative democracy should be largely responsive to what voters want, and if it’s not, it calls into question democratic bona fides,” says Warshaw. In societies where elections shut one entire subset out of power, he says, “all kinds of bad things can happen.”

“Ultimately, people think why are we even having elections?” Warshaw says. "There’s nothing inevitable about democracy.”

The Evolution of Maps

Though by far the least technical expert in the case, John Kennedy was perhaps the most compelling. In preparation for his nerve-wracking two hours on the stand, Kennedy, an expert in Pennsylvania elections, dug through decades of old maps dating back to the 1960s to assess how the shape of districts and their partisan outcomes have evolved over time.

He methodically walked through how Pennsylvania’s first congressional district, comprising much of Philadelphia, has been packed with Democrats, while Democrats in Harrisburg have been cracked between the fourth and eleventh congressional districts, creating Republican majorities in both places.

But it was the seventh congressional district—and the single seafood restaurant holding it together like a piece of Scotch tape—that clinched it. He showed the court how the district had morphed from a squarish shape to today's sprawling, cartoonish scene. “How do you justify the seventh congressional district?” Kennedy says. “It’s absurd.”

Where Chen and Pegden laid out the mathematical proof of partisanship, and Warshaw demonstrated how that partisanship translates to policy, Kennedy showed in the starkest terms just how obviously gerrymandered these maps looked even to the untrained eye.

As gerrymandering cases proliferate across the country, there’s been some talk in research circles of the need for one true metric to measure it. Overturning Pennsylvania's gerrymandered map, though, required detailed analysis from all angles. “Metrics are just evidence," says Jacobson. "It’s always helpful to have more evidence not less.”

In the Pennsylvania case, Judge P. Kevin Brobson of the Commonwealth Court agreed that Republicans had obviously and intentionally given themselves an advantage, but stopped short of saying they had violated the state’s constitution. In January, the Supreme Court disagreed, striking down the old Pennsylvania map.

In a matter of months, Pennsylvanians will head to the polls once more to elect 18 representatives to Congress, based on an entirely new electoral map that leans far less in one party’s favor. For Kennedy, an academic who spends most of his time studying history, it’s been a rare opportunity to make history, instead.

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