Have a Good Trip Explores Psychedelic Celebrities

Have you ever wondered what it’s like to trip on LSD, magic mushrooms, peyote, or other hallucinogenic drugs? Have you ever wondered what it’s like for Sting to trip?

The new documentary Have a Good Trip: Adventures in Psychedelics, features the former Police frontman, Sarah Silverman, Carrie Fisher, Anthony Bourdain, Ben Stiller, and many other creative people talking about their good, bad, and ugly experiences with drugs such as LSD, magic mushrooms, peyote, and MDMA.

The film is hosted by Nick Offerman and includes commentary by UCLA’s Charles Grob, one of the world’s leading experts on growing efforts to use hallucinogens in therapeutic settings.

Director Donick Cary won an Emmy for his work as a writer on Late Night Night with David Letterman and has produced and written for shows such as The Simpsons, Silicon Valley, and Parks and Recreation.

In a wide-ranging conversation with Nick Gillespie, he talks about his own history with psychedelics and the need for serious, open, and well-informed conversations about substances that are routinely described as life-changing.

Have a Good Trip is a fascinating look at the past, present, and future of mind-expanding drugs and anyone interested in—or worried by—the neo-psychedelic movement can watch it now on Netflix.

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Has Demand For Oil Already Peaked?

Has Demand For Oil Already Peaked?

Authored by Nick Cunningham of Oilprice.com,

Oil prices continue to rise on the prospect of a rebound in fuel demand as economies begin to reopen.  But there is a large difference between oil demand rising from recent lows and actually growing relative to pre-COVID-19 trends. In other words, demand destruction on the order of nearly 30 million barrels per day (mb/d) may have been brief, but we are a long way from a 100-mb/d oil market. 

In fact, some are wondering whether the world will ever get back to 100 mb/d of oil demand. Even oil executives have their doubts. Royal Dutch Shell’s CEO Ben van Beurden recently suggested that a rebound is unlikely, even looking out beyond 2020. “We do not expect a recovery of oil prices or demand for our products in the medium term,” he said.

“We basically have a crisis of uncertainty. Uncertainty about demand, about prices,” van Beurden said in a video address when presenting first quarter results at the end of April.

“Maybe even uncertainty about the viability of some of our assets given all of the logistical issues we have.”

BP’s CEO Bernard Looney largely admitted the same thing. The COVID-19 pandemic could entrench certain societal changes – more teleworking, less commuting, less flying – that could permanently erode a portion of consumption. “It’s not going to make oil more in demand. It’s gotten more likely [oil will] be less in demand,” Looney said in an interview with the FT

“I don’t think we know how this is going to play out. I certainly don’t know,” Looney said.

“Could it be peak oil? Possibly. Possibly. I would not write that off.”

Not everyone agrees. ExxonMobil’s chief executive Darren Woods recently said that the long-term trends “have not changed.” 

A new study from IHS Markit also sees oil demand mostly returning to “normal” by the end of 2021. “It may be hard to comprehend now. But barring a second wave of the pandemic, nearly all pre-COVID demand could return by the second half of 2021,” Roger Diwan, vice president of financial services at IHS Markit, said in a statement. The firm sees oil demand rising to 96-98 percent of pre-coronavirus levels by the second half of next year. 

“If that transpires it could even lead to a market squeeze in the medium-term as supply destruction hinders the ability of supply to keep up with recovering demand,” Diwan added.

A separate report from the Oxford Institute for Energy Studies sees something similar. The report eyes a supply deficit as soon as the third quarter of 1.5 mb/d, on the back of severe supply curtailments and a rebound in demand. The report says the market could be undersupplied in 2021 by as much as 5 mb/d. But the inventory overhang means that Brent trades in the $40 to $50-per-barrel range for most of next year.

The Oxford report also sees demand mostly arriving back at pre-pandemic levels at the end of 2021. 

The problem with that notion is that a second wave of coronavirus infections is completely plausible, perhaps even likely (something both the IHS and the Oxford reports admit are big uncertainties). Time will tell. 

But the permanent changes in some behaviors, along with the ongoing market share gains for electric vehicles, go beyond oil market cycles. If demand does return, and boom follows bust, the shift to cleaner energy will only accelerate, and that’s before even considering any green stimulus measures now under consideration. 

One important issue that the Oxford report raises is how Saudi Arabia responds after the immediate crisis subsides. With the prospect of peak demand looming, there are “advantages” for Saudi Arabia if it pursues a high-volume/lower price strategy, the Oxford study says. That is, Saudi Arabia may want to ramp up production in the years ahead in order to monetize its remaining reserves as demand peaks and begins to decline. 

Cutting by too much in an effort to push prices to $50 per barrel or above would clear the way for a return of U.S. shale. Better to keep the market well supplied, capture more market share, and box out a rebound in shale drilling. 

Other analysts agree. “Will OPEC+ then hold on to production cuts in order to opt for price rather than volume once the oil price moves back to $50/bl thus once again chase the oil price to $60/bl and $70/bl by holding back supply?” Bjarne Schieldrop of SEB wrote in a report. “If so, this would again give preference to shale oil volume rebound in exchange for a higher oil price to OPEC+.”


Tyler Durden

Wed, 05/13/2020 – 14:59

via ZeroHedge News https://ift.tt/3fKZylc Tyler Durden

Unmasking The Unmaskers: Biden, Brennan, Clapper, & Powers Named In DNI Just-Released List

Unmasking The Unmaskers: Biden, Brennan, Clapper, & Powers Named In DNI Just-Released List

A list of Obama administration officials who participated in the ‘unmasking’ of former National Security Adviser Michael Flynn has been released by Sens. Ron Johnson and Chuck Grassley. The names include former FBI Director James Comey, former CIA Director John Brennan, former Director of National Intelligence James Clapper, and former Vice President Joe Biden.

The revelation comes after Biden was caught trying to lie about his knowledge of the Flynn investigation during a Tuesday morning interview – changing course after host George Stephanopoulos pointed out his documented attendance at a January 5 Oval Office meeting in which key members of the Obama administration discussed the ongoing investigation into Flynn’s intercepted contacts with the Russian ambassador.

As we have previously noted, “unmasking” is a term used when the identity of a U.S. citizen or lawful resident is revealed in classified intelligence reports. Normally, when government officials receive intelligence reports, the names of American citizens are redacted to protect their privacy. But officials can request that names, listed as “U.S. Person 1,” for example, be unmasked internally in order to give context about the potential value of the intelligence. Unmasking is justified for national security reasons but is governed by strict rules across the U.S. intelligence apparatus that make it illegal to pursue for political reasons or to leak classified information generated by the process.

Last week, Acting Director of National Intelligence Richard Grenell visited the Justice Department with the list of unmaskers, which the DOJ effectively said was up to him to release, according to a Fox News report.

After Obama National Security Adviser Susan Rice was outed as the ringleader of an unmasking campaign, the Wall Street Journal reported that she wasn’t the only administration official to participate in Flynn’s unmasking.

The new disclosure comes after the FBI was revealed to have attempted to ensnare Flynn in a perjury trap, despite the agency’s own DC field office suggesting that the case be closed.


Tyler Durden

Wed, 05/13/2020 – 14:46

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Will Breyer Side With Trump in Congressional Subpoena Fight?

The U.S. Supreme Court heard oral arguments yesterday in Trump v. Mazars, a case which asks whether the House Committee on Oversight and Reform overstepped its legal authority in 2019 when it subpoenaed Mazars USA, Donald Trump’s longtime accounting firm, demanding eight years of financial records pertaining to Trump and several of his business entities.

In Barenblatt v. United States (1959), the Supreme Court held that “Congress may only investigate into those areas in which it may potentially legislate or appropriate.” In Eastland v. U.S. Servicemen’s Fund (1975), the Court said that the congressional subpoena power may only be used for a “legitimate legislative purpose.”

The House Committee on Oversight and Reform told the Supreme Court that its efforts to acquire Trump’s tax records easily satisfied the “legitimate legislative purpose” test. “The election of a President who has decided to maintain his ties to a broad array of business ventures raises questions about the adequacy of existing legislation concerning financial disclosures, government contracts with federal officeholders, and government ethics, more generally,” the committee argued. “Whether new legislation on these subjects is needed is a natural subject of Congressional inquiry.”

Trump and his lawyers told the Court that if the committee prevailed in this case, future congressional committees would be empowered to go on countless fishing expeditions into the private records of future presidents. “A congressional committee merely needs to say that it is considering legislation requiring presidents to disclose [financial] information of this type,” Trump’s legal team argued. “Given the temptation to investigate the personal lives of political rivals, legislative subpoenas targeting the private affairs of presidents will become routine in times of divided government.”

The Trump team’s warning seemed to resonate with several members of the Court during the oral arguments. Perhaps most worrisome for the Democratic-controlled House Committee on Oversight and Reform, the warning seemed to find a particularly receptive audience in Justice Stephen Breyer, a Democratic appointee and senior figure on the Court’s so-called liberal wing.

“The subpoenas that I’ve seen,” Breyer told Douglas Letter, the general counsel for the House of Representatives, “apply to 15 Trump-affiliated entities. They ask for all documents related to opening of accounts, due diligence, closing, requests for information by other parties, et cetera. Now that’s a lot of information, and some of it’s pretty vague.” And “my problem” with all of that, Breyer continued, is “the fact that what I hold today [in this case] will also apply to a future Senator McCarthy asking a future Franklin Roosevelt or Harry Truman exactly the same questions.” That, Breyer told the House’s lawyer, “bothers me.”

These statements do not necessarily mean that Breyer is going to rule in favor of Trump in this case. But they do suggest that the liberal justice is at least weighing the idea that Trump should win this round in order to protect the office of the presidency the next time around.

A decision in Trump v. Mazars is expected by June.

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Will Breyer Side With Trump in Congressional Subpoena Fight?

The U.S. Supreme Court heard oral arguments yesterday in Trump v. Mazars, a case which asks whether the House Committee on Oversight and Reform overstepped its legal authority in 2019 when it subpoenaed Mazars USA, Donald Trump’s longtime accounting firm, demanding eight years of financial records pertaining to Trump and several of his business entities.

In Barenblatt v. United States (1959), the Supreme Court held that “Congress may only investigate into those areas in which it may potentially legislate or appropriate.” In Eastland v. U.S. Servicemen’s Fund (1975), the Court said that the congressional subpoena power may only be used for a “legitimate legislative purpose.”

The House Committee on Oversight and Reform told the Supreme Court that its efforts to acquire Trump’s tax records easily satisfied the “legitimate legislative purpose” test. “The election of a President who has decided to maintain his ties to a broad array of business ventures raises questions about the adequacy of existing legislation concerning financial disclosures, government contracts with federal officeholders, and government ethics, more generally,” the committee argued. “Whether new legislation on these subjects is needed is a natural subject of Congressional inquiry.”

Trump and his lawyers told the Court that if the committee prevailed in this case, future congressional committees would be empowered to go on countless fishing expeditions into the private records of future presidents. “A congressional committee merely needs to say that it is considering legislation requiring presidents to disclose [financial] information of this type,” Trump’s legal team argued. “Given the temptation to investigate the personal lives of political rivals, legislative subpoenas targeting the private affairs of presidents will become routine in times of divided government.”

The Trump team’s warning seemed to resonate with several members of the Court during the oral arguments. Perhaps most worrisome for the Democratic-controlled House Committee on Oversight and Reform, the warning seemed to find a particularly receptive audience in Justice Stephen Breyer, a Democratic appointee and senior figure on the Court’s so-called liberal wing.

“The subpoenas that I’ve seen,” Breyer told Douglas Letter, the general counsel for the House of Representatives, “apply to 15 Trump-affiliated entities. They ask for all documents related to opening of accounts, due diligence, closing, requests for information by other parties, et cetera. Now that’s a lot of information, and some of it’s pretty vague.” And “my problem” with all of that, Breyer continued, is “the fact that what I hold today [in this case] will also apply to a future Senator McCarthy asking a future Franklin Roosevelt or Harry Truman exactly the same questions.” That, Breyer told the House’s lawyer, “bothers me.”

These statements do not necessarily mean that Breyer is going to rule in favor of Trump in this case. But they do suggest that the liberal justice is at least weighing the idea that Trump should win this round in order to protect the office of the presidency the next time around.

A decision in Trump v. Mazars is expected by June.

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Upload Builds an Amusing, Ethically Fraught World Around Virtual Heaven

Upload opens with what appears to be a timeshare sales pitch for a fancy resort surrounded by a lush forest and beautiful lake. “You did well. You deserve … Lake View (by Horizen),” a voiceover tells the viewer.

The sales pitch isn’t for a typical summer vacation. It’s for virtual heaven, a digital afterlife that serves as the setting for Upload‘s first season. Mixing sci-fi, satire, romance, and mystery, the Amazon Prime show depicts a near future in which we’ve finally developed the technological capacity to upload our full minds into virtual worlds. Heaven is a place on Earth—a server room with carefully controlled temperatures.

In the show’s beginning, it’s just a one-way trip (though attempts to reverse the process are a subplot). Uploading is presented and sold to consumers as an eternal vacation for those near death or simply no longer interested in living, assuming they can afford it.

Upload focuses on both sides of the mortal divide, advancing interesting ideas about the ethics of a manmade afterlife, who has access to it, and who controls it. We meet digital inhabitants as well as living relatives and customer service representatives. The mix of satire, intrigue, and mortality are at turns darkly funny, clever, gimmicky, and warm.

The 10-episode first season is available now for binge-watching and a second season has already been ordered. The show revolves primarily around Nathan Brown (Robbie Amell), a hot up-and-coming programmer who, after a self-driving car crash, uploads to Lake View in a darkly humorous scene that goes to shocking lengths to demonstrate the trip to “paradise” will be one way.

As he settles into “life” at Lake View, Nathan is introduced to his “angel,” Nora Antony (Andy Allo). Nora is actually a customer service representative for Horizen working as a drone in a brick warehouse office, where she spends all day at a computer monitoring and attending to the needs of Nathan and other Horizen clients. They are both young and attractive, and a romantic connection develops in violation of company regulations.

Complicating matters further is Nathan’s somewhat vapid, wealthy, still-very-much alive girlfriend Ingrid (Allegra Edwards), who is bankrolling Nathan’s stay at Lake View and therefore has complete power over his afterlife experience. This is played for both laughs and serves as a central conflict for the entire first season.

The friction between Ingrid and Nathan also speaks to a recurring ethical issue in Upload‘s presentation of a digital afterlife: Who, exactly, are these interpretations of heaven for and who are the actual customers? There are, of course, costs to maintaining a digital afterlife, and Horizen (and other companies and brands with competing services) require ongoing payments. Plenty of gimmicky jokes surround afterlife upselling and micropayments. Even in the afterlife, the hotel room minibar isn’t free, and Taco Bell still wants to try to sell you food. People who uploaded either saved money in advance, or their living loved ones are bearing the financial burdens.

When Nathan inevitably makes Ingrid angry, she makes his experience of digital heaven a little hellish. One of Nathan’s fellow afterlifers is a young boy who is stuck as a child not by his own choice, but because his surviving parents won’t allow him to upgrade into an “adult” avatar.

This is all played for humor and hijinks—one plot revolves around Nathan and Dylan accessing an afterlife “gray market” where Dylan attempts to hack his own avatar to grow up. But nobody finds it creepy, odd, or problematic that it’s Dylan’s parents and not Dylan who gets to decide what age he’ll be…possibly for all eternity. Another ongoing plot revolves around Nora attempting to convince her skeptical father to commit to uploading when he dies. Nora’s mom died before the advent of uploading, and her dad would rather die a conventional death and possibly be reunited with her in conventional heaven (which he believes actually exists) than upload. This prospect of losing both her mom and her dad fills Nora with despair.

Much of Upload is about how unwilling humans might be to accept the finality of death in a world where they don’t have to. But while the living are drawn to the prospect of not dying, the uploaded dead are consigned to wondering whether virtual eternity sticks them in a pattern of existence that, despite its supposed luxury, mimics and pales in comparison to their former lives.

Upload also presents the virtual afterlife through the filters of class resentment and tech skepticism. People who can’t afford Horizen’s top options are relegated to stark, empty basement rooms on pay-as-you-go plans. Protesters in the real world picket with signs that insist that uploading should be treated as a human right. Horizen apparently treats and pays its workers poorly, though there’s little sign that Nora struggles all that much other than having to take mass transit, live in her NYC apartment with a roommate, and work for a terrible sitcom boss (Upload is created by The Office’s Greg Daniels, and that former show’s DNA is visible every time we visit Nora at work). To the extent there is a revolution brewing against this brave new world, it’s being plotted by the neo-Luddite “Luds,” who we likely won’t see much of until the second season.

While feeling vaguely anti-tech and “late-capitalist,” the vibe is more mundane evil than cruel. Lake View, scenes of which were shot in New York’s Shawangunk Mountains, is a complex technological undertaking and thus prone to glitching. Its a boutique vision of “heaven” only if you like the idea of spending eternity in an occasionally pixelated simulacrum of a midcentury Catskills resort. But we also learn that there are other options when Nathan explores where his digital self might reside if things with Ingrid get rocky.

Despite Lake View’s many deficiencies, Upload also asks the viewer to feel sad and angry that many people can’t afford to go there when they die. This is a recurring criticism dished by a certain type of tech critic: that newly introduced technologies—particularly medical technologies—are available first to only the wealthy. While history shows that the rich get new stuff faster, it also tells us that valuable technological developments scale up rapidly and come down in price. We pay the same amounts for computers and televisions as we did two decades ago and yet get so much more value. There are indications in Upload that similar advancements are taking place in the afterlife tech sector, and that people may one day be able to design their own afterlives. I don’t know about you, but I want a heaven designed by Wizards of the Coast, thanks.

Where will Upload take this conflict? The Good Place similarly explored the ethics of the afterlife and what people “deserve” when they die, and viewers concerned about social and economic disparities determining a person’s quality of afterlife likely enjoyed how The Good Place tackled those questions. If Upload‘s later seasons also wallow in class resentment, the show will miss interesting storytelling opportunities. Hopefully, Greg Daniels et al. resist the temptation to give us a bloodless comedy version of Westworld or Altered Carbon and instead focus on how people communicate between the physical life and the virtual afterlife, and whether technological innovation can flatten inequilaity—not by stacking everybody in a bland version of “rich people heaven,” but by giving people the tools to define their own personal heavens.

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A Third Of Americans Will Remain In Quarantine Even If Instructed To Get Back To Normal Life And Work

A Third Of Americans Will Remain In Quarantine Even If Instructed To Get Back To Normal Life And Work

Last week we pointed out perhaps the most critical distinction as the US begins the long and arduous process of recovery from the coronavirus pandemic: that voluntary lockdowns are worse than official ones as they can’t be turned off by fiat, because as Rabobank’s Michael Every put it, “if people stay at home anyway, the economy will not recover as hoped.”

Adding to the complexity, in recent days we have observed that this distinction has increasingly fallen along party lines, with democratic states refusing to reopen or happy to wait (and in the case of California warning it may be shut for another 3 months), while mostly Republican states already pursuing a partial or full reopening.

This particular distinction was featured front and center in the latest CivicScience survey, which found that 69% of respondents would not resume all normal activities after states lift stay-at-home orders, while nearly a third of Americans, or 31%, would remain under quarantine even if local governments issued a notice to go back to normal day-to-day activities in order to prevent an economic collapse.

While we won’t discuss the political affiliation of these 31%, the data above underscores the nature of the crisis: until the virus is under control, and until the reopening is viewed as a political issue – especially if continued state shutdowns help cripple the Trump economy ahead of the November election – there will be a very substantial speed limit on the economic recovery, especially as Democratic states do everything in their power to delay reopening for as long as possible.


Tyler Durden

Wed, 05/13/2020 – 14:35

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Sorting Fact From Fiction Amid The Infodemic

Sorting Fact From Fiction Amid The Infodemic

Authored by Sharyl Attkisson via JustTheNews.com,

As health officials and the public have worked hard to sort fact from fiction during an emerging and new health crisis, it has become clear that they — and we — do not always have accurate information at hand.

There are three big reasons for this.

The first one is not that anybody is necessarily trying to mislead. But the nature of health information, not to mention information in general, is that it frequently changes as we learn more.

What we think we know today will often change tomorrow. The government recommended against the general public wearing a masks — before it recommended they do so. Predictions of coronavirus deaths, how many, when, and where were wildly off the mark compared to the ultimate result (to date). It could be that the models were wrong or that we managed to change our fate. In any event, what we thought we knew at one point in time proved later to be untrue.

The second reason we do not always have accurate information at hand is a bit more sinister. It is because certain corporate or political interests are working hard — often spending a lot of money on their efforts — to control a certain narrative.

They liaison with the media, quasi-news media, health officials, government, and politicians. They publicize “studies” or “scientific reports” that are little more than slanted works designed to convince the public to believe something.

The final reason why factual information is often out of our reach is because it is simply censored, hidden or disappeared.

The influences who seek to control narratives in order to gain power or make money can reach with their tentacles into Facebook and make sure certain facts are labelled “false” and removed. They can do the same with Twitter, YouTube, and Wikipedia. They can commission a misleading “fact check” from any of a number of “fact checking” groups, designed to controversialize a set of true facts, the scientists unearthing them, or journalists reporting them.

For all of these reasons, it has become increasingly difficult to rely firmly on what we read and hear. And those controlling the narratives pretend it is we who are off base when we ask questions or address this reality. The wise information consumer knows better. 

For more, listen to The Sharyl Attkisson Podcast: How Information Manipulation Could Be Destroying Our Health:


Tyler Durden

Wed, 05/13/2020 – 14:20

via ZeroHedge News https://ift.tt/2LrO8Vy Tyler Durden

Are Mysterious Call Option Purchases Forcing Tesla Stock Higher?

Are Mysterious Call Option Purchases Forcing Tesla Stock Higher?

One topic that is occasionally brought up by Tesla skeptics, but rarely examined in depth, has been a litany of out of the money call buying in the name that appears to be occurring, relatively aggressively, on a weekly basis.

While the buying could be attributed to normal market forces, a new article by Dan Stringer looks into the specifics of one such trade that took place last week, where it appeared that over $2.5 million was deployed in a very short term, very out of the money options buy.

In his piece, he looks at the accumulation of Tesla $850 weekly call options, expiring May 8, 2020, which occurred on both May 7 and May 8 (the date of expiration). With the equity trading around $770 on May 7, more than 35,800 $850 strike calls were bought. Then, on May 8, 12,600 more of these calls went off. 

Between these two days, 48,400 call option contracts were entered into for a strike price of $850 within a day of expiration. For context, Tesla shares were trading at around $770 per share on May 7, more than $80 out-of-the-money for these options. Rational expectations would assume that something fairly material would need occur for these to pay out. These were trading at roughly $0.50 per share on the Thursday and traded up to $0.60 per share early on Friday, which would make the total cost of this position $1.79 million for the first 35,800, and a further $756k for the next 12,600 on Friday morning, bringing the total cost of the position to $2.55 million.

(Charts by @EVDefender)

As the piece notes, this is a substantial bet for a “very unlikely” event to occur – namely, Tesla would have to rise by almost 10% over the course of just one day for the options to be in the money.

“The notional value of this trade becomes even more as it represents $3.7 billion worth of Tesla stock at the trading price of $770, where the stock was trading at the close of Thursday, May 7, 2020,” the piece says.

(Charts by @EVDefender)

The author then lays out that OCC rules dictate that the clearing house must have a certain percentage of this stock on hand to deal with the calls should they move into the money. He estimates a 20% ratio:

The broker-dealers need to have some margin level (per Rule 601 of the OCC rules); this can vary by broker-dealer and is subject to calculations with these rules. I have heard a typical ratio is roughly 20% on hand, so for the purpose of this exercise, I will use that.

From there, he determines that the options buy would trigger a purchase of 716,000 Tesla shares to cover the trade. He also notes the timing of the transaction, pointing out that “broker-dealer margin requirements are sent out by 10:00 am EST, or within the first ½ hour of trading” and arguing that this could cause a spike at the cash open.

This would create a potential spike in buying at the open, causing shares to spike. The following 12,800 options would then require a further 256,000 shares to be purchased using the same margin requirement methodology.

And sure enough, Tesla spiked first thing Friday morning, Stringer shows:

Chart

 

Finally, he concludes that while the options trade was still a loser, its cost could be offset by a purchase in Tesla shares. A long position of 63,750 shares would have offset the cost of the options trade, since Tesla finished up about $40 on Friday, the author notes.

The author concludes by stating that the options buy could be a “relatively inexpensive” way to generate some forced buying in Tesla.

For a large-cap company like Tesla with the volume of shares that have been trading over the last several months, this option position would be a relatively in expensive cost to generate some forced buying, at a cost of just 5% of the open position.

Recall, the topic of strange call buying was also brought up in a podcast with well known Tesla skeptic, @TeslaCharts, last week. Though the buys were discussed, neither the host nor the guest could speculate as to why these buys might be taking place. Thanks to Dan Stringer’s article, they may be on their way to an answer. 


Tyler Durden

Wed, 05/13/2020 – 14:05

via ZeroHedge News https://ift.tt/3buuC5w Tyler Durden

Upload Builds an Amusing, Ethically Fraught World Around Virtual Heaven

Upload opens with what appears to be a timeshare sales pitch for a fancy resort surrounded by a lush forest and beautiful lake. “You did well. You deserve … Lake View (by Horizen),” a voiceover tells the viewer.

The sales pitch isn’t for a typical summer vacation. It’s for virtual heaven, a digital afterlife that serves as the setting for Upload‘s first season. Mixing sci-fi, satire, romance, and mystery, the Amazon Prime show depicts a near future in which we’ve finally developed the technological capacity to upload our full minds into virtual worlds. Heaven is a place on Earth—a server room with carefully controlled temperatures.

In the show’s beginning, it’s just a one-way trip (though attempts to reverse the process are a subplot). Uploading is presented and sold to consumers as an eternal vacation for those near death or simply no longer interested in living, assuming they can afford it.

Upload focuses on both sides of the mortal divide, advancing interesting ideas about the ethics of a manmade afterlife, who has access to it, and who controls it. We meet digital inhabitants as well as living relatives and customer service representatives. The mix of satire, intrigue, and mortality are at turns darkly funny, clever, gimmicky, and warm.

The 10-episode first season is available now for binge-watching and a second season has already been ordered. The show revolves primarily around Nathan Brown (Robbie Amell), a hot up-and-coming programmer who, after a self-driving car crash, uploads to Lake View in a darkly humorous scene that goes to shocking lengths to demonstrate the trip to “paradise” will be one way.

As he settles into “life” at Lake View, Nathan is introduced to his “angel,” Nora Antony (Andy Allo). Nora is actually a customer service representative for Horizen working as a drone in a brick warehouse office, where she spends all day at a computer monitoring and attending to the needs of Nathan and other Horizen clients. They are both young and attractive, and a romantic connection develops in violation of company regulations.

Complicating matters further is Nathan’s somewhat vapid, wealthy, still-very-much alive girlfriend Ingrid (Allegra Edwards), who is bankrolling Nathan’s stay at Lake View and therefore has complete power over his afterlife experience. This is played for both laughs and serves as a central conflict for the entire first season.

The friction between Ingrid and Nathan also speaks to a recurring ethical issue in Upload‘s presentation of a digital afterlife: Who, exactly, are these interpretations of heaven for and who are the actual customers? There are, of course, costs to maintaining a digital afterlife, and Horizen (and other companies and brands with competing services) require ongoing payments. Plenty of gimmicky jokes surround afterlife upselling and micropayments. Even in the afterlife, the hotel room minibar isn’t free, and Taco Bell still wants to try to sell you food. People who uploaded either saved money in advance, or their living loved ones are bearing the financial burdens.

When Nathan inevitably makes Ingrid angry, she makes his experience of digital heaven a little hellish. One of Nathan’s fellow afterlifers is a young boy who is stuck as a child not by his own choice, but because his surviving parents won’t allow him to upgrade into an “adult” avatar.

This is all played for humor and hijinks—one plot revolves around Nathan and Dylan accessing an afterlife “gray market” where Dylan attempts to hack his own avatar to grow up. But nobody finds it creepy, odd, or problematic that it’s Dylan’s parents and not Dylan who gets to decide what age he’ll be…possibly for all eternity. Another ongoing plot revolves around Nora attempting to convince her skeptical father to commit to uploading when he dies. Nora’s mom died before the advent of uploading, and her dad would rather die a conventional death and possibly be reunited with her in conventional heaven (which he believes actually exists) than upload. This prospect of losing both her mom and her dad fills Nora with despair.

Much of Upload is about how unwilling humans might be to accept the finality of death in a world where they don’t have to. But while the living are drawn to the prospect of not dying, the uploaded dead are consigned to wondering whether virtual eternity sticks them in a pattern of existence that, despite its supposed luxury, mimics and pales in comparison to their former lives.

Upload also presents the virtual afterlife through the filters of class resentment and tech skepticism. People who can’t afford Horizen’s top options are relegated to stark, empty basement rooms on pay-as-you-go plans. Protesters in the real world picket with signs that insist that uploading should be treated as a human right. Horizen apparently treats and pays its workers poorly, though there’s little sign that Nora struggles all that much other than having to take mass transit, live in her NYC apartment with a roommate, and work for a terrible sitcom boss (Upload is created by The Office’s Greg Daniels, and that former show’s DNA is visible every time we visit Nora at work). To the extent there is a revolution brewing against this brave new world, it’s being plotted by the neo-Luddite “Luds,” who we likely won’t see much of until the second season.

While feeling vaguely anti-tech and “late-capitalist,” the vibe is more mundane evil than cruel. Lake View, scenes of which were shot in New York’s Shawangunk Mountains, is a complex technological undertaking and thus prone to glitching. Its a boutique vision of “heaven” only if you like the idea of spending eternity in an occasionally pixelated simulacrum of a midcentury Catskills resort. But we also learn that there are other options when Nathan explores where his digital self might reside if things with Ingrid get rocky.

Despite Lake View’s many deficiencies, Upload also asks the viewer to feel sad and angry that many people can’t afford to go there when they die. This is a recurring criticism dished by a certain type of tech critic: that newly introduced technologies—particularly medical technologies—are available first to only the wealthy. While history shows that the rich get new stuff faster, it also tells us that valuable technological developments scale up rapidly and come down in price. We pay the same amounts for computers and televisions as we did two decades ago and yet get so much more value. There are indications in Upload that similar advancements are taking place in the afterlife tech sector, and that people may one day be able to design their own afterlives. I don’t know about you, but I want a heaven designed by Wizards of the Coast, thanks.

Where will Upload take this conflict? The Good Place similarly explored the ethics of the afterlife and what people “deserve” when they die, and viewers concerned about social and economic disparities determining a person’s quality of afterlife likely enjoyed how The Good Place tackled those questions. If Upload‘s later seasons also wallow in class resentment, the show will miss interesting storytelling opportunities. Hopefully, Greg Daniels et al. resist the temptation to give us a bloodless comedy version of Westworld or Altered Carbon and instead focus on how people communicate between the physical life and the virtual afterlife, and whether technological innovation can flatten inequilaity—not by stacking everybody in a bland version of “rich people heaven,” but by giving people the tools to define their own personal heavens.

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