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Why have Australian comedians disappeared?

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“Comedy is dead in Australia.”

“Australians aren’t actually that funny.”

“Australian comedians only know how to make other Australians laugh.”

After living here for a while, I feel reasonably qualified to say: bullshit.

Australians are some of the funniest people I have ever met. Sarcasm here is practically punctuation. Friends insult each other as a form of affection. A completely ordinary conversation at a pub can contain better timing, callbacks and character work than some professionally written sitcoms.

And Australia certainly doesn’t lack comedians. The 2025 Melbourne International Comedy Festival alone involved more than 1,000 performers, while more than 900 people entered RAW Comedy that year.

So perhaps I have been asking the wrong question.

Where did all the Australian comedians go?

They didn’t go anywhere.

The stranger question is: why does a country this funny seem to have so much trouble turning its comedians into globally visible cultural figures?

Carl Barron, still one of Australia’s biggest live touring comedians, is now 62. Of course there are younger names—Aaron Chen alone makes that claim difficult to sustain, and I’ll come back to him later. But compare Australia’s pipeline with the constant international circulation of comics from the US and UK, and something feels different.

Maybe Australia doesn’t have a comedian problem.

Maybe it has a pipeline problem.

The Australian comedy ecosystem is strangely lopsided.

At one end, there is an enormous live scene: festivals, pub rooms, fringe shows, open mics and touring comedians. At the other, there are occasional successful television series, streaming specials and international breakthroughs.

What feels thinner is everything in between.

That middle matters because comedians do not emerge fully formed from a Brunswick pub one Thursday night and wake up on Netflix on Friday.

Comedy needs repetition. A joke gets written, dies in front of 23 people, gets rewritten, works in front of 40 people, gets ruined again, becomes part of a character, gets turned into a sketch and eventually becomes something worth putting on screen.

Television comedy needs an equivalent ecosystem: writers’ rooms, sketch shows, panel shows, pilots, low-budget experiments and slightly stupid ideas that are allowed to fail.

Aunty Donna’s career makes this problem unusually visible.

Today, they’re one of Australia’s most recognisable alternative comedy groups. But before Aunty Donna’s Big Ol’ House of Fun, two attempts to develop television pilots in Australia failed to progress. Their first full series eventually came not from an Australian broadcaster but from Netflix US in 2020. The ABC later commissioned Aunty Donna’s Coffee Cafe in 2023.

And then something interesting happened.

Their production company now operates Grouse House, a home for Australian alternative comedy, and in 2026 Grouse House TV became its own subscription streaming platform. Its own description is wonderfully Aunty Donna: comedy “free of ads, censors and public shareholders”, with the ambition of eventually becoming bigger than Netflix and selling out for an enormous amount of money.

Funny line.

Slightly depressing industry diagnosis.

Aunty Donna have said younger Australian creatives increasingly have to cultivate their own audience while somehow also finding the money and time required to continually make content and pitch projects. Their aim with Grouse House is to give strange ideas somewhere to actually develop and reach an audience.

When one of your country’s most successful sketch groups effectively says “fine, we’ll build the channel ourselves,” perhaps the shortage isn’t talent.

I have complicated feelings about Fisk.

There are moments when its rhythms feel predictable to me, particularly once you understand how its world operates. But watching Kitty Flanagan work is also a useful reminder that being naturally funny and knowing how to construct comedy are not quite the same thing.

Her comedy often looks effortless because the mechanics are well hidden: escalation, pauses, character consistency, callbacks and the placement of reactions.

The joke feels casual.

The writing usually isn’t.

And Fisk complicates my argument in an important way.

It wasn’t originally a Netflix show, as I had first thought. It is an ABC comedy that later found a much larger international audience through Netflix. By 2024, it had reached Netflix’s Top 10 in ten countries, including the UK, US and South Africa; it had also won Best Comedy Series at France’s Series Mania.

That suggests Australian humour isn’t inherently “too Australian” to travel.

In fact, Fisk is extremely Australian. Its fluorescent suburban offices, bureaucratic irritations and social awkwardness have not been sanded down to make them globally acceptable.

What travels is the emotion underneath them.

Everyone has met someone who takes a minor workplace rule far too seriously. Everyone has been trapped in a conversation they desperately want to leave. Everyone knows somebody who can convert a two-minute administrative problem into a 45-minute administrative problem.

Local detail doesn’t prevent comedy from travelling. Sometimes it is precisely what makes it travel.

The important part is finding the universal tension underneath it.

There is another argument I hear occasionally: perhaps Australian comedy simply doesn’t fit the international market.

There is some truth buried in that.

A significant strand of Australian comedy has a taste for absurdity, anti-climax and deliberate stupidity. Aunty Donna might begin with three people running a café and end somewhere that requires several psychologists and possibly a priest.

But I don’t think weirdness is the problem.

Actually, it may be one of Australia’s competitive advantages.

Netflix itself categorises Big Ol’ House of Fun as “absurd” and “offbeat”, yet the show gave Aunty Donna access to a much larger international audience.

The commercial difficulty is that weirdness is harder to pitch.

“Observational stand-up about dating and getting older” fits comfortably into a commissioning document.

“Three Melbourne men progressively destroy the concept of reality for 22 minutes” is slightly more difficult.

This is where platforms, commissioners and creative culture start shaping comedy itself. When funding is scarce, safe ideas naturally become easier to defend. Experimental comedy needs permission to fail; a risk-averse system asks it to prove there is already an audience before it has been allowed to become good.

Aunty Donna’s Broden Kelly put the alternative more simply: Australia is particularly good at niche comedy, and perhaps it should embrace that rather than trying to erase it.

I’d go further.

Australian comedy doesn’t necessarily need to become more internationally normal. It needs better machinery for exporting its abnormality.

Then there is the identity trap.

Mention Australia internationally and a starter pack immediately appears:

Surfing. Kangaroos. Deadly spiders. The accent. “Mate.” People behaving suspiciously casually around animals capable of killing them.

These stereotypes aren’t useless. But comedy depends on surprise, and once the audience can predict the association before the comedian says it, the joke has already lost half its oxygen.

The same problem exists in ethnic comedy.

Asian parents.

Rice.

Academic expectations.

Disappointing your mother.

There is nothing inherently wrong with these subjects. They’re real experiences. But once identity becomes a ready-made punchline rather than a point of view, a comedian can slowly become trapped inside the audience’s expectations of them.

This is one reason I enjoy Sheng Wang.

His Netflix special Sweet & Juicy spends significant time discussing extremely glamorous subjects such as juicing vegetables, snoring and the existential implications of buying trousers at Costco. Netflix

He doesn’t become less Asian-American by talking about Costco pants.

His identity is embedded in who is observing, rather than constantly being what is observed.

That distinction matters.

Australian comedians face something similar when performing internationally. The goal isn’t to stop being Australian.

It’s to get beyond explaining Australia.

Eventually, the kangaroo has to leave the room.

There is one criticism from my original argument that I still want to keep, although I’d phrase it more carefully now.

Australia has an unusually strong culture of casual humour. That can create brilliant performers. It can also create a dangerous illusion: if you’re already funny, why study how funny works?

At live shows, I’ve sometimes watched performers with incredible presence, instincts and individual moments who haven’t yet found the structure capable of carrying those moments through an entire hour.

That isn’t uniquely Australian, obviously.

But personality cannot always substitute for writing.

Traditional comedy techniques—setup, misdirection, escalation, rule of three, callbacks, character logic—can sound horribly mechanical when you list them like this. Nobody wants to watch a comedian who looks as though they’re completing an Excel spreadsheet titled JOKE FINAL FINAL V7.

Yet craft doesn’t have to make comedy feel artificial.

The best craft makes the machinery disappear.

That’s what I admire about Kitty Flanagan. Her work frequently feels conversational while remaining structurally controlled. The audience doesn’t need to see the architecture.

The building simply doesn’t collapse.

Australia already has enormous comic instinct. Developing more pathways for comedians to learn screenwriting, collaborate, fail, rewrite and experiment would not make that instinct less authentic.

It would give it somewhere to go.

And here is where I have to argue against myself.

Aaron Chen exists.

A RAW Comedy alumnus and familiar face from Fisk, Chen moved to New York in 2023 because, in his words, he wanted to “get better at comedy”. In 2026, Netflix released his stand-up special Funny Garden, built partly around his observations of living in the United States.

That matters because Chen represents precisely the generation I claimed I couldn’t see.

So maybe Australian comedians aren’t disappearing at all.

Some are developing internationally. Some are staying in the live circuit. Some are building their own platforms. Some are appearing on the ABC. Some are probably performing tonight in a room above a pub to fourteen people and somebody’s confused uncle.

Australia has the raw material.

What it still seems to be figuring out is how to build a continuous path between discovering someone funny and giving them enough resources, time and failure to become culturally significant.

Nowhere.

They’re here.

The deeper problem is that a thriving comedy culture cannot survive on a major festival, a handful of established names and the hope that Netflix eventually notices someone.

Comedians need places where they can fail cheaply, write repeatedly, develop strange ideas, meet collaborators and slowly become better before millions of people are expected to care.

Maybe the next internationally recognised Australian comic won’t look anything like Carl Barron or Kitty Flanagan.

I hope they don’t.

They might be absurd. Quiet. Asian-Australian. Indigenous. Queer. Extremely online. Horrible at TikTok. Obsessed with municipal bins. Perhaps they will invent a format we don’t yet have a name for.

The point isn’t to manufacture another internationally acceptable Australian comedian.

It is to create enough room for Australian comedians to become more specifically themselves, and then build enough infrastructure for the rest of the world to find them.

Because Australia does not have a shortage of funny people.

It has, at times, had a shortage of places willing to let funny people become something bigger.

And Kitty, I love you.

But I would still really like to meet the next ten of you.

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bluebec
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'We have found traces of peace, thousands of years old': Fragment of world's oldest known peace treaty…

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Archaeologists have discovered a 3,400-year-old fragment of the world's oldest known peace treaty, the Turkish Ministry of Culture and Tourism has announced.

The agreement, known as the Treaty of Kadesh, was signed around 1269 B.C. by Egyptian pharaoh Ramesses II and Hittite king Hattusili III. Other parts of the treaty have already been found, but the new fragment was unearthed during an excavation at Hattusha, in north-central Turkey.

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bluebec
9 days ago
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How Three Brothers Built an AI Slop Empire by Buying Legitimate News Sites and Turning Them Into Zombie Content Farms That They Say Get 50 Million Page Views per Month

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In September 2024, an entrepreneur named Justin Brown uploaded a YouTube video in which he argued that writers should be “scared right now” about the rise of AI.

“I think that one of the big dangers is that AI is going to take many people’s jobs,” Brown muses to the camera as he hikes through a national park in Australia. “This includes writers, by the way.”

What Justin didn’t mention in the video is that, along with his brothers Lachlan Brown and Brendan Brown, he runs a company called Brown Brothers Media — which, former insiders assure us, had just months earlier fired a stunning proportion of its own writers as it embraced generative AI.

Over the past few years, BBM has pioneered a remarkably cynical business model. First it buys online publications that have established themselves as offering a distinctive type of journalism, like coverage of space travel, parenting advice, or business news. Then it floods their websites with dizzying torrents of AI-generated content — many thousands of articles per month, by our count — in a bid to soak up as many readers as possible via Google and other platforms.

There are signs that this strategy has been extraordinarily successful, with BBM boasting in 2025 that its network of sites had surpassed 50 million page views per month. It’s difficult to verify a site’s traffic without access to its internal data, but the analytics service Similarweb corroborates the claim that BBM is pulling in vast audiences, estimating that over the past year its network of publications has attracted an average of 64.7 million visitors per month. According to a recent ranking, that would make it one of the 30 most trafficked English-language media enterprises on the web, with a total digital readership substantially higher than that of NPR, narrowly besting CBS News and Forbes, and just slightly behind the Washington Post.

A media organization like NPR or WaPo, though, employs hundreds or even thousands of journalists to gather and report news. BBM, as far as we can tell, has cut itself down to a skeleton crew of about a dozen employees, including its three founding brothers. To operate such a sprawling empire with such a tiny staff, former insiders told us, BBM uses AI to crank out content at a scale so immense that it’s difficult to comprehend.

Along the way, BBM has indulged in breathtaking acts of dishonesty — often in ways that seem specifically devised to manipulate platforms owned by Google, where Ahrefs data suggests that it sources the preponderance of its traffic. (Last year, BBM wrote in a press release that its enormous audience was “driven by organic reach through Google Discover and search.”)

One of BBM’s many unscrupulous practices, insiders confirmed to us, is that it has often invented entire fake personas for nonexistent writers — we found more than 50 spread across its dozens of sites — and published content under their names without revealing to readers that they weren’t real people.

In many cases, BBM has even outfitted these fictional writers with impressive-sounding bogus credentials as it uses their bylines to churn out AI-generated material.

The space news site Space Daily, for instance — one of BBM’s most successful publications, according to Similarweb data we reviewed, with an estimated average of 10 million page views per month over the past year — has published many articles under bylines it identified as scientists with distinguished résumés. There was “Dr. Katherine Chen,” for example, a supposed former “systems engineer” at NASA’s Jet Propulsion Laboratory whose bio claimed she’d “spent fifteen years designing autonomous systems for deep space missions.” Publishing alongside Chen was “Dr. James Whitfield,” who was said to be an “aerospace medicine researcher at the European Space Agency.”

Yet beyond Space Daily, neither Chen nor Whitfield actually exist — not on social media, nor in press releases, nor as coauthors on research they would have conducted at two of the world’s premier space agencies. NASA’s site doesn’t make a single mention of Chen, and the ESA’s site has never once referred to Whitfield. And though NASA declined to comment on grounds that it “does not verify past employment or affiliations with the agency,” the ESA confirmed that “Mr. James Whitfield is not currently employed by the European Space Agency, nor do our records indicate that he has ever worked here in the past.”

BBM’s fraudulent experts aren’t limited to space. A tech site owned by BBM, Direct Message News, has run many articles under the byline of “Rachel Vaughn” that provided intimate advice about mental health concerns. According to her bio on the site, Vaughn is a Dublin-based psychologist with an “MA in Applied Positive Psychology from Trinity College Dublin” who is a “Certified Mental-Health First Aider” and an “associate member of the British Psychological Society.” The bio adds that Vaughn “regularly delivers evidence-based resilience workshops for Irish mental-health NGOs.”

But there’s no trace of a practicing psychologist in Dublin by Vaughn’s name. When we reached out to the British Psychological Society, it confirmed that it had no record of a member named Rachel Vaughn. What’s more, “Applied Positive Psychology” isn’t a degree — or even a course — that exists at Trinity College Dublin, the university told us. A reverse-image search further found that Vaughn’s headshot is a stock photo.

The bio of "Rachel Vaughn," a fake psychologist and writer at the website DM News.

BBM has also created fake journalists, using them to commit bold acts of plagiarism and fabulism.

Consider an “investigation” about the recycling system in Los Angeles, attributed to another fake author named “Jordan Cooper” — depicted as a tattooed “pop-culture writer and vegan-snack reviewer with roots in music blogging” — and published this past February by VegOut, a vegan news and recipes site owned by BBM that pulls in an estimated 13.3 million page views per month.

In the piece, the Cooper persona claimed to have “bought a four-pack of Apple AirTags, super-glued them inside plastic containers, and sent them on their journey through America’s recycling system,” writing that “what I discovered over the next month made me question everything I thought I knew about those little triangular arrows.”

But the story included a purported photo of a plastic bottle containing an AirTag that featured a suspiciously garbled Apple logo — and numerous AI detectors flagged an overwhelming probability that the image was AI-generated.

As it turns out, the piece was a blatant ripoff of a 2024 story by a local San Diego TV station, CBS8. In that story, the station’s journalists describe a near-identical investigation in which they glued AirTags to four pieces of recyclable trash: a “water bottle, a yogurt container, an orange juice bottle, and a wipes container” — a list that Cooper’s piece seems to have lightly rephrased as a “water bottle, an orange juice jug, a yogurt container, and a cleaning product bottle.” (The Cooper piece never mentioned CBS8‘s work, instead framing the investigation as VegOut‘s original effort. An AI detector flagged BBM’s text as 100 percent AI-generated, with no sign of human involvement whatsoever.)

In another article, the Cooper character claimed to have “voted for Trump’s ‘America First’ promise,” but later regretted it because “that promise has been broken in just about every way imaginable.”

The bio of "Jordan Cooper," a fake music and food journalist at the website VegOut Magazine.

In addition to the fake domain matter experts and journalists, BBM provided many of its phony writers with elaborate backstories that made them seem like ordinary people, with identities that seem crafted to exploit the insecurities of readers struggling with loneliness and other life difficulties. It then used these relatable everyday personas to publish colossal numbers of emotionally manipulative personal essays in which the fake writers shared AI-generated anecdotes framed as deeply personal life experiences. 

On VegOut, for instance, a fake writer that BBM called “Marlene Martin” was identified as a “retired high school English teacher and longtime writer who draws on decades of lived experience to explore personal development, relationships, resilience, and finding purpose in life’s second act.”

“When she’s not at her laptop,” the bio continues, “she’s usually in the garden at dawn, baking Sunday bread, taking watercolor classes, playing piano, or volunteering at a local women’s shelter teaching life skills.”

BBM has used personas like Martin to pump out thousands of heartfelt personal essays that purport to draw on decades of memories and wisdom, often ruminating on topics like loneliness and lost feelings of purpose.

“When I retired at sixty-six after thirty-two years of teaching high school English, a colleague pulled me aside at my farewell party,” read an essay published under the Martin persona. “‘It must be bittersweet,’ she said, touching my arm gently. ‘All those years you could have been writing, traveling, pursuing your real passions. But you had to raise your kids instead.’ I smiled and nodded, not having the heart to correct her. The truth was more complicated, more beautiful, and took me decades to fully understand.”

In a bit of unintentional comedy, these AI-generated essayists have often bungled their own biographical details, resulting in bizarre continuity errors.

Remember that essay above, where Martin claimed she’d retired at age 66? In a different piece, she wrote that she’d stopped working at 64. In another, she said it was 61. 

Martin’s age is similarly inconsistent. In January of this year, she wrote that she was 68 years old. By February, she claimed she was “69 with two bad knees” — which would be possible if she’d had a birthday, except that by March she’d turned 71. By April, Martin was aging backwards, stating in a depressive essay about her loss of identity after the death of her beloved spouse — “my husband died and the caregiving that had consumed seven years ended overnight,” she lamented — that she was only 70.

The bio of "Marlene Martin," a fake elderly woman invented to byline content for VegOut Magazine.

These incoherent claims about writers’ life stories can be jarring. A fake “lead editor” and “clinical psychologist” identified as “Sarah Mitchell” at Silicon Canals — another BBM tech site, this one drawing an estimated 3.3 million page views per month, according to Similarweb data — published a sentimental essay earlier this year about how her baby’s first word was “Max,” the name of the family dog. Weeks later, she wrote in a piece about the psychology of dog owners that “I don’t have a dog.”

“I should probably admit that upfront,” the Mitchell persona conceded.

Martin wasn’t the only fake BBM writer whose confused narratives extended to deeply sensitive topics like grief and death. 

This past February, for instance, a VegOut author identified as “Adam Kelton” — his bio claimed he was a “writer and culinary professional with deep experience in luxury food and beverage” — published an essay complaining about his mother’s passive aggressive behavior regarding his vegan diet when they eat out at restaurants. In it, he writes about his mom in the present tense, describing a lunch with her as recently as the previous week.

Then, just two days later, Kelton bylined a piece about joining a “grief support group” to help him talk about his mother — who by then, he wrote, had been dead for nearly a year.

“My mother died eleven months ago. Pancreatic cancer. The last year and a half was a slow unraveling — her energy going first, then her independence, then her,” Kelton mourned. Later in the essay, Kelton adds: “I am thirty-six years old. I am a son who lost his mother. I am a former hospitality professional. I am a minimalist living in a bungalow in Austin who hosts dinner parties and reads novels and is still — somehow, after everything — the guy who once stood in front of a painting and forgot to check the time.”

Longtime readers of sites acquired by BBM have been appalled by the severe decline in quality after the transition.

“RIP Silicon Canals,” wrote a former fan of the BBM tech site in a LinkedIn post. “Never seen a brand destroyed this quickly. For years it was part of my morning routine… then Brown Brothers Media took over at the end of November 2025, and literally overnight the entire feed turned into pure AI slop.”

When BBM eviscerates a publication like this, it can be shocking to the community its human staff had built. After it bought VegOut last year, the site went from publishing reviews and food journalism to churning out formulaic pop psychology listicles and personal essays that often had no connection to plant-based eating. Readers quickly picked up on the shift, with one commenter fuming in a Reddit thread — titled “Anyone else tired of VegOut?” — that the site’s articles under BBM “reek of AI” being used to “pump out meaningless milquetoast garbage.”

“VegOut is clearly nothing more than [an] insipid content farm,” another angry reader chimed in, “that’s CLEARLY LOST ITS WAY!”

The VegOut transformation was so controversial that in May 2026, the magazine’s original founder, Maggie Ortlieb, took to social media to address it.

“If you’ve been in the vegan community for a while, you’ve probably heard of VegOut Magazine. It’s the company I founded when I was 24 years old. I ran it for about ten years and then sold it last summer,” Ortlieb said in a video, explaining that a combination of burnout and economic factors led to the sale. “Unfortunately, the new owners turned it into just another AI-written content website, so not really the direction I had in mind.”

What BBM has accomplished would be impressive if it wasn’t so dark. At a moment when legitimate news organizations are struggling to survive, it has raked in untold hundreds of millions of eyeballs — and likely formidable amounts of revenue via its advertisement-laden sites — by polluting the media ecosystem with noxious AI clickbait designed to do little else but trick Google’s algorithms. Every reader it steals in this way is prevented from supporting a real publication, and many may become turned off from engaging with the media in the future due to the abysmal quality of BBM’s work.

To help analyze BBM’s empire of spam, we reached out to Gisele Navarro, the managing editor of review site HouseFresh and an SEO specialist who has written extensively about the impacts that AI and changes made by Google have had on independent publishers.

Navarro told us that she was “shocked to see the growing number of websites in the network and the huge variety of the sites themselves — from cooking and space blogs, to small business and war news.” What surprised her the most, though, was how so many of the sites under BBM’s umbrella are effectively “indistinguishable from one another, publishing the same kind of first-person AI-generated stories around self-help topics aimed at people who are lonely.”

“Being an independent publisher in 2026 feels like an impossible task,” said Navarro, who helped us dissect BBM’s network and tactics. “We’re competing against our own content regurgitated by Google’s AI Overviews, having our information scraped without compensation by AI chatbots, battling with algorithms to reach our subscribers on social media platforms, and trying to build a relationship with an audience that is less likely to click and visit our websites.”

After we started reaching out to people connected to BBM this past May, the network abruptly deleted more than 50 fake writer profiles — and untold thousands of articles attributed to them — from across its many sites.

After months of ignoring our requests for comment, Justin Brown finally sent us a statement shortly before we published this story in September.

“Before May 2026, our publications used contributor bylines that did not identify real people, and some of those biographies included credentials that were not real,” the statement conceded. “That was wrong. In May, we stopped publishing under those bylines, began removing or correcting the older articles involved, and published network-wide and per-site editorial standards. That review is ongoing.”

What Brown’s statement didn’t mention: we kept digging after BBM’s massive deletion spree — and found that what it’s replaced the fake writers with has been, somehow, an even bleaker and more dishonest vision of the future of journalism than what it had been doing before.

***

The Brown brothers are Australian originally, but all three now live and work in Southeast Asia.

In a 2024 YouTube video, two of the brothers — Justin and Lachlan — enthuse about the region in a way that sounds strikingly extractive.

Vietnam was so “cheap” that it had been “essential while I was rebuilding the businesses,” Justin explained, adding that “there are a lot of economic opportunities in an emerging economy like Vietnam.”

“Saigon is an awesome place to come and reinvent yourself,” Lachlan cuts in, saying he had married a local woman after moving to Vietnam in the 2010s.

“There’s lots of opportunity here, especially if you want to make money, because of the developing economy,” Lachlan continues, encouraging others to set up shop in the area and “reap the rewards.” He adds that he’s been purchasing investment properties there that have “already risen in value.”

Southeast Asia may have been fertile ground for the Brown brothers, but for workers they’ve hired in the region, their entrepreneurial activities have been a wrecking ball. 

Back before the advent of generative AI, BBM relied largely on human writers in the Philippines and other lower-income countries to produce content for its network. One former contractor told us that she had always dreamed of being a writer, so she was delighted to get a gig at the company in 2022 — before the global AI explosion that would later consume BBM — because it was an opportunity to be paid for doing what she loved.

“I think a part of me always felt a sense of instability when I was working for [BBM], because the writers who were working for them, I think most of us were Filipinos and were not under a formal contract,” recalled the writer, who like others in this story spoke under condition of anonymity due to fear of retaliation by the Brown brothers. “I was aware that they could let go of us any time they wanted.”

At first, it wasn’t clear what effect AI would have on the operation. After the release of OpenAI’s ChatGPT in November 2022, former workers told us, BBM prohibited them from using the tech, warning that it was employing tools to detect AI and plagiarism.

That soon changed. Internal records obtained by Futurism show that in 2023, BBM started testing what the company called “robot” content. The same writer eventually found herself assigned to BBM’s “robot team,” where she was instructed to “generate articles using AI, and then… edit it so it sounds human-written.”

“More and more writers became robot writers,” the former contractor said, “until it came to a point where everyone’s just a robot writer, essentially.”

At first, she told us, the robot writers were scrambling to “create our own prompts” to feed into ChatGPT, or were provided with prompts that the writer understood to have been created by the Brown brothers. By 2024, BBM was so invested in the tech that it rolled out its own internal AI tool. It was built into the company’s WordPress backend, the former writer told us, where it could generate entire articles straight into the content management system — with a series of options that let staff quickly specify what type of piece the AI should spit out.

“They started developing this AI tool that generates articles in a couple of minutes,” the former writer explained. “You just select the topic it belongs under (like zodiac, love and relationship advice, etc) and then you’d select the tone (friendly, informative, etc) and it generates an article for you.”

The Brown brothers, particularly Justin and Lachlan, have personally bylined prodigious numbers of articles for their publishing empire, where they typically strike a tone of chin-stroking wisdom about topics ranging from life and spirituality to psychology and society. But according to another former contractor and internal documentation obtained by Futurism, their articles are AI-generated as well, and the company’s AI tool includes a dropdown menu that lets users select the voice of the author in which to generate a piece — including the Brown brothers themselves. (AI detectors corroborate the claim that prior to BBM’s embrace of AI, articles attributed to the brothers were human-written, but are now entirely AI-generated.)

After embracing AI, BBM conducted a series of sweeping layoffs. Some staff were explicitly told they were being let go because of AI, while others were simply informed that the company was changing “strategy.” (We obtained multiple emails in which Justin terminated workers personally, but are opting not to quote them directly out of concern that doing so could allow BBM to identify which former workers shared them.)

An internal BBM spreadsheet obtained by Futurism charts the cullings in granular detail. As of December 2023, it shows that BBM had upwards of 60 active writers. By May 2024, that number was down to around 40 — and by August, it was cut to about 20. By December 2024, the document only listed 12 writers, all of whom it said were using AI to generate content. Only three of the 60 writers once listed on the sheet, in addition to one person it identified as an editor, are still involved with BBM, according to publicly-available information.

As she described her experience with BBM, one former writer began to choke up. “It’s just really difficult… I still really love writing,” she said through tears. “With the current economy, it’s just been really difficult.”

“People need to know that writers and artists are being replaced with AI,” she added.

Asked about the ethical implications of firing writers in the developing world and replacing them with a cornucopia of AI-generated personas that were overwhelmingly presented as white and living in Western countries, BBM didn’t respond.

“I mean, I’m from Southeast Asia,” said a former BBM writer in the Philippines. “I think them hiring from here was always a cost-cutting effort.”

But the firings were “still shocking,” a different Filipino writer added. “And of course, it felt a little dystopian, honestly, to have your writing used to train AI, and then to have that AI replace you.”

***

As BBM leaned full-throttle into AI while slashing its staff, its publishing empire grew dramatically. Records show that its portfolio mushroomed from fewer than a dozen sites in 2023, to around 17 in 2024, to at least 24 in 2025 as it acquired properties including VegOut, Silicon Canals, and Direct Message News. 

BBM has continued to purchase new sites throughout 2026, adding titles including The Law Dictionary, Science Blog, and the sprawling Space Media Network, through which it acquired Space Daily and more than 20 sister sites including Mars Daily, Solar Daily, and Nuclear Power Daily. (In yet another dubious editorial move, BBM republished many thousands of extremely old Space Media Network articles as if they were current events that had just happened, resulting in surreal headlines like “iPhone 5 Rollout Draws Big Crowds Worldwide,” posted in June of this past summer about an Apple product released in 2012.)

The Brown brothers also appear to be involved with several AI companies that have marketed AI “scaling” techniques as a service, using language suggesting that they may produce similar content for other media ventures.

Two of these startups, Mosquito Fleet and Tippa Fleet, have United Arab Emirates business addresses and claim on nearly–identical sites to “specialize in using artificial intelligence to improve and scale content production for our partner websites.”

Another company linked to the Brown brothers, Cognitive AI Systems Limited, is registered in the British Virgin Islands. A version of its site archived in February 2025 marketed “state-of-the-art AI technologies to scale content responsibly,” emphasizing that potential partners could “tailor AI capabilities to fit your content production needs, whether you publish daily or by the minute.” By earlier this year, however, that language was gone, with the site’s homepage instead declaring that “Cognitive AI Systems Limited owns a portfolio of digital publications operated by Brown Brothers Media.”

Currently, Cognitive AI Systems’ site seems to mainly serve as an enticement for people in the media business looking to sell a struggling news site.

“We buy specialist digital publications and hold them,” it reads. “If you are considering a sale, we are interested in sites with a defined audience, an editorial identity that still means something, and economics we can underwrite.”

“After close we favour continuity,” it continues. “The brand keeps its name and character. We invest in the next chapter rather than stripping the thing that made it valuable.”

Do you know anything about the Brown brothers’ business activities, including partnerships with other media companies? Reach out: tips@futurism.com. We can keep you anonymous.

***

In early May, shortly after we started reaching out to people connected to BBM to report this story, the company abruptly embarked on an awe-inspiring deletion spree, in what seemed like a clear effort to cover up evidence and avoid penalties from Google.

We watched as it suddenly scrubbed what appeared to be many thousands of articles, as well as the fake authors that had bylined them — including Katherine Chen, James Whitfield, Rachel Vaughn, Marlene Martin, Sarah Mitchell, and Adam Kelton.

In some cases, it even pulled down entire publications. Bible Scriptures, a site where BBM had published content attributed to a roster of fake Christian theologians, hosted an AI-powered Jesus, and sold a $97 e-book supposedly penned by a made-up Franciscan scholar clad in a traditional robe — a curious choice, given that Franciscans famously take vows of poverty — has been locked behind a password since May. (BBM sold several other e-books attributed to fake writers on its site Hack Spirit; those volumes are still being sold, but they’ve now been altered so that the author is listed as Lachlan.)

Even Justin’s YouTube video in which he discussed AI replacing the jobs of writers was delisted during the rushed erasure.

Any remotely credible media company would feel immediately compelled to explain such a titanic expunging of content and entire authors, but BBM issued no such justification as the material vanished.

It did make some changes to the editorial guidelines listed on its various sites, we noticed. In the new guidelines, the company claimed that while it does use AI to “assist with research, drafting, source discovery, and editorial review,” it doesn’t use the tech to “fabricate quotes, invent sources, or present AI-generated content as first-hand reporting from real individuals” — which is confusing, since it sounds exactly like what BBM was doing with its battalion of fake writers.

BBM also published an exceptionally strange blog post in the wake of the mass deletion, bylined by Justin and titled “How Brown Brothers Media works: our editorial framework.”

The document is full of head-scratching claims, and feels as though it was sculpted in an unconvincing attempt to explain away the exact types of concerns we’d been asking around about.

In it, Justin describes BBM’s AI process as supplemental, writing that “AI tools assist” with its editorial process and that “editors are responsible for final publication decisions.”

Seemingly in reference to the many fake writers, Justin claimed that BBM “sometimes” uses “pen names for contributor bylines,” which “might be a real member of our editorial team or a freelance contributor writing under a chosen name.” Or, he continues, a “pen name” might “be an editorial device for personal-essay format content where a consistent voice serves the piece. Where a pen name is used as an editorial device, the byline page says so plainly. We don’t present fabricated personas or attach false professional credentials to bylines.”

Those claims felt stridently dishonest, especially because of the fabricated personas we found that had clearly been outfitted with fraudulent credentials. We also couldn’t find a single instance in which BBM provided readers with a disclaimer explaining that a writer was using a pen name.

And even more fundamentally, inventing an entire artificial character — whether it be a NASA scientist or a senior citizen dealing with loneliness in retirement — isn’t a “pen name.” It’s manipulative fabulism, deployed in a tactical attempt to scale the production of inauthentic content, in what seems to have been a highly successful strategy to exploit Google and other online platforms for profit.

In the statement it provided as we were preparing to publish this story — the same one that admitted it had used fake writers, further contradicting Brown’s “editorial framework” — BBM told Futurism that “today, AI tools assist with research and drafting” and “human editors are responsible for reviewing and approving articles before publication.”

“Collective editorial work is published under the publication’s editorial-team byline,” the statement continued. “Named bylines identify real contributors who take responsibility for that work. We disclose our use of AI in our editorial policies and investigate and correct errors when they are identified.”

***

But the reality is that nothing substantive has changed about BBM’s operation after its deletion bender. 

Since the purge, it’s continued to post massive amounts of material that’s still clearly being produced by AI with minimal to no human oversight. Though AI detection technology isn’t perfect, we ran 30 recent BBM articles through Pangram, and every single one came back as 100 percent AI-generated, with zero signs of human editing — a near statistical guarantee that BBM’s publishing apparatus is still automated. As a reality check, we also tested ten stories bylined by Justin and Lachlan that were published between 2020 and 2021, before the release of ChatGPT; every single one came back as 100 percent human-written.

The only real change is that now, instead of publishing all this AI sludge under the names of fake writers, BBM’s strategy has shifted to be more dishonest and evasive than ever.

A lot of the dreck now appears under generalized bylines like “VegOut Editorial Team” and “Space Daily Editorial Team.” This can lead to BBM articles that read in a perplexing way, since these unspecified bylines have often been used to publish personal essays that were clearly written from the point of view of a fictional character.

“It happened at a dinner party,” reads a gloomy piece published under the “Space Daily Editorial Team” byline, which provides no hint as to who the person attending the supper was actually supposed to be. “Someone I’d just met asked me, the way people do when you’re a woman in your fifties without children, whether I’d ever wanted them.”

“For thirty-eight years I had been three things,” reads another somber authorless essay, this one run under the “VegOut Editorial Team” account. “A reliable employee. A dependable parent. A dutiful spouse. Each of those roles had a job description. Each one had clear expectations. Each one came with a set of tasks I was good at and that other people thanked me for.”

Even more egregiously than the general bylines, BBM has also started publishing large numbers of articles under the names of contributors who, as far as we can tell, are actual living humans. As with the general bylines, Pangram indicates that this material is entirely AI-generated. The implication is bleak: BBM appears to now be using these real people as the publishing version of “meat proxies” — affixing their names to fully AI-spun pieces not because they actually wrote them, but instead as a deceitful attempt at plausible deniability, presumably intended to bamboozle Google and other online platforms that discourage the scaled production of inauthentic content.

One such person who now publishes across multiple BBM sites does so under the name “Daniel Moran,” though a LinkedIn account previously linked in his BBM bio suggests that his actual name is Daniel Mabanta.

Regardless of his real name, Daniel is spectacularly prolific, grinding out articles for BBM publications ranging from Space News to the Scandinavian Standard, a publication formerly dedicated to news and culture in Northern Europe. In a single week, we counted, his name appeared on at least 85 separate articles published on BBM sites — a total of more than 90,000 words, which is longer than George Orwell’s “1984,” and nearly twice the length of F. Scott Fitzgerald’s “The Great Gatsby.” (The actual amount of material Daniel published that week was likely even higher, because large amounts of his work were inexplicably deleted from several BBM publications including VegOut before we could tally it.)

This isn’t just an inhuman number of words to produce, needless to say, but an impossible amount to effectively quality-control given BBM’s skeletal remaining staff.

Further undermining the notion that BBM is now conducting any type of meaningful scrutiny of its work, its “real” employees like Daniel have continued to publish articles with the same baffling continuity errors that the fake ones did. Back in May, Daniel claimed in a Silicon Canals piece that he was 11 years old in 1995, which would make him about 42 years old today. Yet he’s consistently claimed in other articles published this year that he’s currently 38. In another piece, he inexplicably referred to himself as a “daughter.”

Another writer whose name has frequently appeared on BBM articles since the mass deletion is Graeme Brown, the father of the Brown brothers. (Graeme is currently listed as the editor-in-chief of multiple BBM publications.)

Content bearing Graeme’s name has also contained BBM’s hallmark continuity flubs. On May 8, for example, Graeme bylined an article for Expert Editor — a BBM site pulling in an estimated 5.8 million page views per month — in which he declared that he was 77 years old. By May 11, however, he’d aged in reverse, repeatedly stating in another piece for the same site that he was 75. (These have since been deleted.)

Sometimes it appears that BBM has been so sloppy that it’s affixed the wrong name to a piece generated for a different author. Though Lachlan has written extensively about being married to a woman and having a young daughter, for example, the BBM cofounder recently bylined a May Expert Editor article — titled “10 Signs a Man Is Trustworthy and Has Good Intentions” — in which he mused that “in my personal experience, I knew my now-husband was a keeper when he bravely voiced his insecurities and fears about his career early into our relationship.”

At times, it’s difficult to believe that any human at BBM is taking a single look at drafts before they’re published, or even afterward. Another BBM property, Eluxe Magazine, seems to have accidentally published a pair of articles attributed to Lachlan this summer which consist of nothing more than a few lines of garbled computer code — where they remain pinned to the top of the publication’s home page at the time of this story’s publication.

The homepage of Eluxe Magazine, where strange broken links have been sitting for more than a month.

In another piece, BBM appears to have accidentally left AI copy in the final version that was written from the point of view of a chatbot generating the article.

“Now I have all the verified sources I need,” reads the first sentence of a Space Daily article attributed to Lachlan Brown, who is listed as that publication’s editor-in-chief. “Let me write the article with exactly 4-5 inline hyperlinks to real, verified URLs.”

***

BBM often uses its armada of staff bylines and meat proxies to pump out ceaseless variations on a single idea that are essentially copies of each other, drawn from no original reporting and with no time peg to a current event or any explanation of why the ancient news is now relevant again.

Since May, for example, BBM has published more than 100 articles dedicated to sentimental trivia about the Voyager spacecraft launched by NASA in the late 1970s. More than 40 of these dozens of articles have had no discernible thesis except to remind readers that the spacecraft are operational but very far away. Many more have endlessly rehashed various items onboard on the probes, including four separate pieces, published just weeks apart, about how they carry recordings of Carl Sagan’s wife Ann Druyan’s brainwaves (one is currently Google’s top result for the query “Ann Druyan’s brainwaves.”) Two pieces published the same exact day by Science Blog are virtually identical word soup about the well-established fact that Voyager 1’s plutonium power source will fail sometime in the 2030s.

Another evergreen topic at BBM is pop psychology. Endless washes of articles relitigate the psychology of over-apologizing, the psychology of people who are happiest in their 60s and 70s, the psychology of people who reach their 60s without close friends, the psychology of people who are “genuinely good” or “genuinely nice” but have “no close friends“; and how “psychology says the loneliest people in life aren’t the ones nobody likes — they’re the kind, helpful people everyone appreciates but nobody thinks to check on.”

Everywhere we looked, there were more niche topics on which BBM had published reworded but essentially identical articles ad nauseam — about tardigrades, the microscopic organisms that can survive in space, about people who replay conversations in their heads, about the Antikythera mechanism that divers found in a Roman-era shipwreck — and countless other highly specific keywords clearly designed to draw Google traffic.

The strategy is clear: flood the zone with regurgitations of the same piece — and when something hits, just keep churning out more.

BBM didn’t respond to specific questions about this tactic. But after we asked about the practice, it quietly altered the headlines of many of these stories.

The implications for the health of the media ecosystem are grim. Navarro, the SEO expert and managing editor of HouseFresh, pointed out that BBM has often purchased older publications with “domains registered in the 90s or the early 00s” — properties that already have a strong, established foothold with Google, in other words — before replacing their handcrafted human content with page after page of AI-generated dross.

BBM buys “old, established websites with real audiences only to replace most (or all) of their content with AI slop before plastering the sites with ads,” Navarro said. “The same articles are republished across websites, moving through cycles where hundreds of pages are taken down from one site only to appear in another soon after.”

“This makes it all the more disheartening to see content farms luring millions of readers with AI slop,” she added. “How many people will be put off from clicking on new stories surfaced by Google Discover or Google News after landing on ad-ridden slop sites like these?”

***

Google’s response to BBM’s empire of schlock doesn’t inspire confidence for its future as a steward of the media ecosystem.

In theory, the tech giant prohibits site owners from engaging in what it calls “scaled content abuse,” which it describes as “when many pages are generated for the primary purpose of manipulating search rankings and not helping users.”

Examples of scaled content abuse, according to Google’s guidelines, include “using generative AI tools or other similar tools to generate many pages without adding value for users,” as well as “creating multiple sites with the intent of hiding the scaled nature of the content” and “creating many pages where the content makes little or no sense to a reader but contains search keywords.”

In other words, if what BBM is doing — using the corpses of reliable publications to create a twisted, AI-powered imitation of a conventional media company, built on fake writers and redundant or incoherent content that appears to be garnering more traffic than many actual journalism enterprises — doesn’t count as scaled content abuse, it’s hard to imagine what would.

“Based on what I’ve seen, many of the websites acquired by Brown Brothers Media can rank on Google Discover and Google News,” Navarro told us. “This, combined with their capacity to quickly generate and publish dozens of pages about trendy topics, has allowed them to drive thousands of people to their AI-generated, ad-packed articles. They have now scaled this operation across multiple websites, some of which have been seen to publish hundreds of articles per week.”

“If this isn’t scaled content abuse,” she added, “I don’t know what is.”

But Google hasn’t taken any lasting action against BBM. After we sent detailed questions about this story, the tech giant initially deindexed several BBM sites, including VegOut and Silicon Canals. Weeks later, they appeared back in its search results.

“Our policies for Google Search and News are clear: we prohibit producing low-value content at scale to game ranking,” Google told us in a statement back in May. “While we generally don’t comment on individual sites, we act on policy violations to keep 99 percent of Search visits spam-free.”

As of when we published this story, articles by BBM are still appearing prominently on Google’s platforms. Reached with multiple followup questions about BBM’s vast scale, its presence in Google News and Discover, and the manipulative tactics it continues to employ, Google didn’t respond.

***

Earlier this week, we pressed BBM on its editorial practices in a detailed followup message, including specific questions about its failure to inform readers about the nature of its mass deletion.

“We use AI tools in our editorial work, and disclose that use in our published editorial standards. Under our current process, members of our editorial staff review and approve articles before publication, and Brown Brothers Media retains editorial responsibility for what we publish,” the company said in an additional statement. “When we identify errors or work that falls short of our guidelines, we correct it or withdraw it from publication. We believe AI tools can be used responsibly under human editorial judgment. We stand behind the editorial standards now in place and the work published under them.” (The company also updated the “editorial framework” it had first issued amid the mass deletion to echo that language.)

With the publication of our story now imminent, BBM issued a wave of scattershot corrections.

Most striking was a Direct Message News piece bearing the name of Justin Brown — currently listed as the site’s editor-in-chief — that was replaced by a retraction notice admitting, in disarmingly euphemistic terms, that its reporting had been fabricated.

“DMNews has withdrawn this article,” it reads. “Published in April 2025 under Justin Brown’s byline, it presented interview anecdotes and quotations as original reporting that could not be substantiated. A correction on 15 September 2026 removed that material; on further review we concluded the article should be withdrawn rather than corrected, consistent with how we treat unsupported first-person reporting elsewhere in the network. The article text has been removed. We regret that it did not meet our editorial standards, which are set out in our editorial policy.”

At any normal publication, the implications would be stupifying. Imagine if the chief editor of Business Insider or Axios — both publications, according to data we reviewed, that draw far less traffic than BBM — had published an article under their own byline in which they claimed to have conducted extensive interviews, and then subsequently retracted the piece while admitting that its first-person descriptions of conversations with sources “could not be substantiated.” If the reaction to Stephen Glass at the New Republic or Jayson Blair at the New York Times is any indication, it would be one of the most explosive journalism scandals of all time.

But BBM isn’t the New Republic or the New York Times. Justin’s brain-melting retraction notice doesn’t seem to have drawn any attention online, both because BBM didn’t publicize it and, more fundamentally, because BBM is a media organization that’s carefully designed to look robust and trustworthy, but is only a façade — a reality that quickly becomes apparent the more time you spent digging through its vast archives of meaninglessness.

***

It’s hard to know what to make of the Brown brothers. We asked if they’d be willing to sit for an interview, but Justin repeatedly declined the offer when he sent the company’s statements.

Perhaps the brothers have been operating their blundering AI empire for years without even reading what they publish, ignorantly believing in their own vacuous promises about their company’s “commitment to high editorial standards” and “honest information.” 

But the more likely explanation — especially after watching their machinations to hide their journalistic sins and remain in Google’s good graces by deleting content and employing human shields to byline AI-generated content — is that they know exactly what they’re doing and just don’t care.

Their trainwreck-laden funhouse mirror of a respectable media company has masqueraded as a purveyor of genuine news and information, enjoying enormous success at capturing reader eyes and attention through platforms that actual journalism relies on — while publishing oceans of trash that would get a real journalist fired immediately, and responding to questions with empty and contradictory platitudes about transparency, accountability, and responsible AI use.

In any case, BBM’s zombie content mill flounders onward. It recently started promoting a new site called Sentient Blogs, which positions itself as a publication dedicated to human authorship in an era of shoddy AI content.

“A platform dedicated to supporting and promoting the work of human bloggers that create human generated content, not AI,” reads its about page, with its FAQ further promising that “we are confident that between our amazing authors who are writing on this platform because they share the same initiative and our [quality assurance] measures, the likelihood of AI content is very very low.”

To kick it off, Lachlan bylined a piece about his touchingly human experiences with fatherhood, writing that a “thousand dinners become a family culture. Repeated school runs become the background of a child’s childhood. Years of quiet effort become a marriage, a friendship, a body of work or a sense of being useful to other people.”

A disclaimer at the bottom, dissonantly, says it was “produced with AI assistance.” According to Pangram, it was 100 percent AI-generated.

More on AI: Meet AdVon, the AI-Powered Content Monster Infecting the Media Industry

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Emotional abuse predicts self-loathing more strongly than other childhood traumas

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A new psychological investigation suggests that emotional abuse in childhood serves as the primary driver for a debilitating form of personality pathology characterized by chronic shame and self-criticism. While various forms of mistreatment can leave lasting scars, this specific type of belittlement appears to predict a person’s tendency to view themselves with contempt more strongly than other trauma types.

The research further identifies a distinct pattern in men, for whom physical abuse also plays a major role in shaping this negative self-image. These findings were published in the Journal of Family Trauma, Child Custody & Child Development.

For decades, mental health professionals organized personality problems into distinct categories. A patient might receive a diagnosis of depressive personality disorder or narcissistic personality disorder. However, the field is currently undergoing a shift toward a dimensional model. In this newer framework, psychologists view personality issues as broad spectrums of dysfunction that can overlap. One such dimension is known as malignant self-regard.

Malignant self-regard represents a core component of several personality disorders. It describes a person who struggles with pervasive feelings of inadequacy, guilt, and depression. Individuals with high levels of this trait often possess an overly harsh inner critic. They may feel a deep sense of shame about who they are. This dimension is thought to underpin conditions such as vulnerable narcissism, where a person oscillates between feeling special and feeling worthless. It is also central to depressive and masochistic personality patterns.

Researchers have previously established a general link between childhood maltreatment and adult personality issues. Yet, the specific origins of malignant self-regard have remained less clear. Emily R. Barbera, a doctoral student at Palo Alto University, led a study to untangle these connections. She worked alongside Matthew M. Yalch, an associate professor of psychology at the same institution, and colleagues. The team sought to determine which specific forms of childhood adversity most accurately predict the development of this self-destructive worldview.

To conduct the study, the researchers recruited 278 adults through an online platform. The participants completed a battery of validated psychological assessments. One survey measured the presence and severity of malignant self-regard. It asked participants to rate their agreement with statements regarding feelings of pessimism, shame, and sensitivity to rejection.

Another survey assessed the participants’ history of childhood maltreatment. This tool broke down adverse experiences into five specific categories. These included physical abuse, emotional abuse, and sexual abuse. The measure also assessed physical neglect, such as not having enough to eat, and emotional neglect, such as feeling unloved or unimportant. Additionally, the researchers measured cumulative trauma exposure to account for other life-threatening events, such as natural disasters or accidents.

The researchers implemented strict quality control measures to ensure the data was reliable. They embedded attention-check questions, such as asking participants to solve simple math problems like “seven plus two.” Respondents who answered incorrectly were removed from the study. The team also used a scale designed to detect random or careless answering patterns. This rigorous screening process resulted in the exclusion of over one hundred initial participants, leaving a final sample of individuals who provided consistent and attentive responses.

The research team analyzed the data using a statistical method known as Bayesian regression. This approach allows scientists to estimate the probability that certain factors are related. It provides a more nuanced picture than traditional methods, especially when dealing with complex variables like human behavior and trauma. The analysis controlled for the overlap between different types of abuse to isolate the unique impact of each one.

The results revealed that trauma exposure in general explains a large amount of the variation in malignant self-regard. Among the different types of maltreatment, emotional abuse stood out as the strongest predictor. This association held true even when the researchers accounted for the effects of sexual abuse, physical neglect, and total lifetime trauma. The data suggests that the experience of being verbally degraded or humiliated by caregivers leaves a specific imprint on a developing personality. This imprint manifests later as the internalized self-hatred that defines malignant self-regard.

When the researchers separated the data by biological sex, they found that the link between emotional abuse and malignant self-regard was consistent for both men and women. However, a divergence appeared regarding physical abuse. For the male participants, childhood physical abuse emerged as a strong additional predictor of the condition. This correlation was not observed in the female participants. For men, being the victim of physical violence in the home appears to contribute to the development of shame and self-criticism in a way that it does not for women.

The authors offer several interpretations for why emotional abuse appears so potent. Malignant self-regard essentially involves a person repeating a toxic narrative to themselves. If a child is constantly told they are stupid, lazy, or unwanted, they may internalize these messages. In adulthood, the voice of the abusive caregiver becomes the person’s own inner voice. This creates a cycle of shame that is difficult to break. The researchers note that emotional abuse attacks the core of the self, which may explain why it is so closely tied to personality pathology.

The specific findings regarding men and physical abuse also prompt interesting theories. The researchers suggest that physical abuse may threaten a boy’s developing sense of masculinity and physical prowess. Men may also be more likely to perceive physical abuse as something they should have been able to withstand. This can lead to increased self-blame. If a man believes he was at fault for the abuse or was “weak” for suffering it, this could fuel the feelings of inadequacy central to malignant self-regard.

There are limitations to the study that provide context for the findings. The sample was predominantly White and recruited from the United States. This means the results may not fully represent the experiences of people from other racial or cultural backgrounds. Additionally, the participants were recruited from Amazon’s Mechanical Turk platform. Previous research indicates that samples from this source often report higher rates of trauma than the general community. While this provided a large number of people with relevant experiences for the study, it may not reflect the average population.

Another limitation involves the method of data collection. The study relied entirely on self-report surveys. People with personality pathology often have distorted perceptions of themselves and others. Their current state of mind can influence how they recall childhood events. Future research could benefit from using additional sources of information. Interviews with family members or clinical evaluations by professionals could provide a more objective perspective.

The researchers also note that the majority of research on malignant self-regard has been conducted by a single research group. While this study helps build a foundation, replication by other independent teams is necessary to confirm the validity of the concept. Expanding the research to include international samples would also help determine if these patterns hold true across different cultures.

Despite these caveats, the study offers practical implications for mental health treatment. The strong link between trauma and malignant self-regard suggests that therapy should focus on processing past abuse. Psychodynamic therapy, which explores how past relationships shape current behavior, is the primary treatment for this condition. The authors suggest that integrating trauma-focused techniques into this therapy could prove beneficial. Helping patients understand that their harsh self-criticism is a remnant of past emotional abuse may be a key step toward recovery.

The study, “Influence of childhood maltreatment on malignant self-regard,” was authored by Emily R. Barbera, Dominic B. Ceroni, Wilma Peters, and Matthew M. Yalch.

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Billionaires hoarding wealth while the rest of us struggle need to ask themselves: what would Dolly do? | Rebecca Shaw

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Since the moment the news broke that the great Dolly Parton had died, we have been inundated with all manner of Feelings. The internet is flooded with tributes to Dolly by people from all walks of life, who knew her personally or only from afar. There seems no end to the sharing of stories and thoughts about her, and in what feels like a miracle in this divided world, it has only been positive. Even on social media, where people tear down nice things like it’s their full-time job, I’ve seen nothing but adoration. She is not only beloved for her musical genius, but also for her generosity, her sense of humour, her support for other artists, her active care for marginalised communities, her attitude to living, her truly kind spirit.

I am one of these enthusiasts, of course. I have loved Dolly since I was a kid. I remember going to the Nashville country music museum in my 20s and seeing her handwritten lyrics for Jolene. A shiver went down my spine at the thought of 27-year-old Dolly writing that song, not knowing how far she would go, and the great good she would do for the world.

But after she died, and after a few days of reading every tribute with tears in my eyes, and both fists pumping, I decided that there was actually one important Feeling that has been missing from the discussion. That feeling is shame – and it is the shame that other millionaires, billionaires and (excuse me while I vomit a little in my mouth) trillionaires should be feeling.

We live in a world where the gulf between the rich and the poor has never been greater. We understand that the Earth and the majority of people on it are suffering more and more while an enormous amount of wealth and power is concentrated in the hands of a tiny elite. The wealthiest 10% of the global population owns 75% of all wealth. The poorest 50% holds only 2%. The individuals at the top could use tiny portions of their own fortunes to make the world so much better for everyone, and overwhelmingly they choose not to.

Dolly Parton’s life as a self-made millionaire was the antithesis of this. She has shown them all up with the power of her legacy. Every story about her kindness and generosity is an indictment on people who hoard their wealth. Those who use their resources to accelerate environmental destruction, escalate nonsensical culture wars, and invest in actual wars. Those who do everything they can to get richer with no consideration for the rest of humanity.

I suspect that a lot of Dolly’s desire to make life better for others came from the fact that she grew up in poverty. That experience provides perspective that you can’t have if you are born into wealth. She had a deeply ingrained understanding that there are more important things than watching your bank balance grow. She knew that money is the means, not the end. I can’t help but wonder if those who value profits over people saw this global outpouring of love for Dolly and thought about how they themselves might be remembered. I wonder if any had a brief moment of reflection, thinking about who would mourn their loss, or whether they had ever used their own privilege for good.

I know the answer is no. I know that you generally don’t become a billionaire by caring that much about other people. I’ve seen people say that Dolly didn’t hate anyone, and wouldn’t judge others like this. That she would keep her heart open to them. Well, I’m not Dolly Parton. Nobody is, but definitely not me. I do judge these people, and I think we all should. Dolly has shown us what is possible. She has shown us that humanity and grace and generosity can be real priorities for wealthy people.

Dolly had enough money to do whatever she wanted in life. She didn’t need more. This is true for all of the richest people on the planet. But Dolly saw the needs of others, and she responded. There are people who have enough to literally change huge aspects of society for the better, to make our world an easier place to live for everyone. But they don’t. If they don’t feel shame about that, we need to make them feel shame. We must not let them luxuriate in apathy as the world burns. We must demand more. The people hoarding wealth and resources need to start asking themselves: what would Dolly do?

  • Rebecca Shaw is a writer based in Sydney

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Polyamory in Young Adult Speculative Fiction

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Young Women at Odds Against Unjust Worlds

Nicole Field

There is a relative dearth of polyamorous representation when it comes to media in general, and speculative fiction in particular. Yet, like anyone belonging to a minority, I’ve craved that representation. With the modest upswell of it in recent speculative fiction, I’ve begun to wonder whether polyamory can stand on its own, or whether its very presence in the narrative gives rise to commentary?

Polyamory — falling neatly under the umbrella term of LGBTQIA2S+— should itself be acknowledged as an umbrella term. Throughout this essay, my use of the term indicates relationships in which consensual non-monogamy is observed. Across the available speculative titles that center polyamory, it’s impossible to deny that there are reasons that narrative choice has been made. This reason might originate as no more than an attempt to fill a noticeable gap, or to see one’s own experience on the page. It might also be chosen to challenge the dominant monogamous narrative upon which many romantic arcs are built.

Whether or not it’s right to critique the presence of polyamory in speculative fiction is another question also worthy of being raised, given that such representation is still so scarce. Valid though a proper exploration of that question may be in the future, it falls sadly outside the scope of this essay.

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Twenty years later, I still remember the quiet, disbelieving joy I felt at first reading Palimpsest (Bantam Spectra, 2009), of watching the character November fall in love with both the character of Casimira and also the house, who forms the third part of that polyamorous relationship.

“Your love is a terrible thing,” November says. “It sits heavy. It stings. It cuts.”

She shrugs. “I am Casimira.”

“I don’t know if I can bear it.”

“I would not have chosen you if you could not. You will get stronger. You will grow calluses.”

The house crawls over to her, his eyes bright blue and as dashing as he can make them. “I will like your babies alive, I promise,” he says. The love of this one, this small thing inside a big thing, that she can bear.

Many years ago, I was the awkward teenager at a Worldcon event who bailed up the lovely Catherynne M. Valente for no better reason than that she was one of the only writers of speculative polyamorous characters in the 2000s. (This list is a small one, also containing Stieg Larsson, Laurell K. Hamilton, and Robert Jordan, for better and worse.)

Like many queer stories, several early narratives to depict polyamory also offered an unchallenged cautionary tale or punishment against the person who “chose that lifestyle.” It can even be argued that Palimpsest offers such a narrative for the character of November. Yet, what I most enjoyed about November’s story was that Palimpsest offered no narrative punishment to her specifically that wasn’t also the inciting incident that attached itself to every other member in Palimpsest’s ensemble cast.

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Fast forwarding to the early 2020s, polyamorous speculative fiction has become more prevalent, though notably not quite so much as representation from the majority of the rest of the LGBTQIA2S+ acronym. It was, therefore, very validating when, in 2021, Xiran Jay Zhao’s Iron Widow (Penguin Teen) spent approximately forty weeks on the New York Times Best Seller list.

Iron Widow is a young adult (YA) science fiction/mecha fusion that reimagines the rise of the single female emperor to rule in China. It follows the story of Wu Zetian from humble beginnings as the daughter of a poor family in an outlying village in the fictional Huaxia to a heroine who pilots her own Chrysalis. This is notable not only because women are established as lesser in the nation of Huaxia, but also because it’s the men who pilot these Chrysalises in the ongoing battle against alien creatures called Hunduns. Even women elevated to the position of concubines and co-pilots are considered expendable, such as Zetian’s sister, whose death at the beginning of Iron Widow sets in motion the events in the narrative.

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It is also a novel where the main character, Zetian, engages in an unapologetic polyamorous relationship.

Through the narrative’s invention of the One True Match or Balanced Match, Iron Widow first creates an allegory for monogamous relationships being established as the norm, then goes on to subvert it through Zetian’s story. Given Zetian is a character already set up to be punished by the nature of her gender, the fact that she enters into a polyamorous relationship with Gao Yizhi and Li Shimin, in addition, seems as though it can hardly worsen the fate that Huaxia already has in mind for her.

Zetian finds herself in two distinct situations where she is forced to choose between the forming polyamorous relationship with Yizhi and Shimin or the good of humanity. In the first of these, the One True Match established between Zetian and Shimin forces all three of them into the situation where Zetian must very declare herself to Shimin “Under witness of Heaven, Earth, and our ancestors,” a metaphor for a wedding. During this time, Yizhi is forced to stand in the literal shadows.

Sadly, Yizhi’s feelings in this particular metaphor remain unexplored in either Iron Widow or its sequel, Heavenly Tyrant (Tundra Books, 2024), though it is worth noting that, in the world of Iron Widow, the strict standards of monogamy placed on Zetian are not also expected of Shimin, or any other male pilots.

The second instance of Zetian having to choose between lovers or the safety of her world and people results in what is presumed to be the death of Shimin, which can, for obvious reasons, be seen as the plot punishing Zetian for having the audacity to engage in multiple relationships. Yet, Iron Widow’s and Heavenly Tyrant’s joint critique of monogamy can be read together as an attempt at reframing the bounds of a good relationship. Especially considering the offensive relationship Zetian is forced into with Qin Zheng following Shimin’s death.

Viewed in this way, Shimin’s death — and Zetian’s marriage to Zheng — is not the natural restoration of monogamy. This marriage brought about by force, followed by Zheng’s subsequent abusive behavior against Zetian, both form a challenge to the established norm of monogamy that couldn’t be sufficiently answered solely through the allegory of the One True Match.

The narratives in Iron Widow and Heavenly Tyrant, therefore, combine to provide a new way of considering the way polyamorous stories might be told.

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In the same year as Iron Widow, A. M. Strickland released the YA dark fantasy, In the Ravenous Dark (Hodder & Stroughton, 2021). Like both titles by Zhao, which bring polyamory into the center of a strict and mononormative world, this title centers on a young woman jaded by the fight she’s already begun in the face of an unjust world.

Instead of mecha and an alien force, In the Ravenous Dark involves an underworld and magic that the main character, Rovan, is forced to keep secret. In both of these worlds, the presence of polyamory offers to the narrative far more than the expected contrast to monogamy. In both cases, polyamory observably demonstrates an additional layer of commentary in worlds that value conformity above all else, topped with a protagonist who does not, or will not, fit into the pre-determined mold she’s been given.

In such narratives, polyamory doesn’t form a challenge only to monogamy. It also challenges the cultural and societal structures at the very center of these speculative titles. In so doing, these narratives don’t merely reject ideas that their protagonists should be punished for engaging in plural relationships; they include monogamy among the list of prevalent structures that must not continue to go unquestioned. I would also argue Rosiee Thor’s Tarnished Are the Stars (Scholastic Press, 2019) — a YA space opera that more closely resembles consensual non-monogamy in its relationships between queerplatonic, aspec, and sapphic characters — offers similar commentary.

Academic research frequently positions YA at the forefront of emerging genres and conventions. The earliest example of polyamory explicitly featured in YA can be traced back to Melissa Marr’s Ink Exchange (HarperTeen, 2008) and the popularity of the more recent Iron Widow indicates an undeniable interest in polyamorous fiction, from within its modern YA readership at the very least.

That interest can be argued as one that’s already resulted in the release of several YA speculative titles — outside of those already discussed — appearing on shelves between 2024–2026. Most notably, these include:

· Death’s Country by R. M. Romero (Peachtree Teen, 2024)
· This Fatal Kiss by Alicia Jasinka (Peachtree Teen, 2024)
· Infinity Alchemist by Jacen Callendar (Tor Teen, 2024)
· Tenderly, I Am Devoured by Lyndall Clipstone (Henry Holt and Co, 2025)
· A Wild Radiance by Maria Ingrande Mora (Peachtree Teen, 2026)

I, for one, cannot wait for polyamory in media to explode from YA spaces and into adult speculative fiction.

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Interstellar Flight Magazine publishes essays on what’s new in the world of speculative genres. In the words of Ursula K. Le Guin, we need “writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope.” Visit our Patreon to join our fan community on Discord. Follow us on Twitter, Facebook, or Instagram.

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