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Cake day: March 10th, 2026

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  • It’s certainly possible for it to be that if you dealt with people deemed verborten by the Republic that it could be frozen, or just transaction denied - so Watto perhaps risked losing all of it for his normal business practices… But I don’t think anything like that was ever mentioned in any of the Star Wars, and it is also a physical currency too (at least sometimes).



  • From historical precedent: yes.

    All people need to have something hold worth as currency is the knowledge that it can be used somewhere vaguely useful. A nearby interstellar state/society means that anyone who goes off world would use it, which in turn means anyone who lives/deal with a major settlement would be fine with it.

    Roman and Imperial Chinese coins ended up being used as currency half a continent away (and were all devalued well below face value or already fiat) at much of their given value throughout (and even after the fall of the Western Roman Empire).



  • It’s not that it’s more volatile, but that the volatility is coming closer to home (and 24 hour news amplifies it).

    South America is at its most peaceful in about 100 years, South East Asia currently only has 1 war ongoing, while slightly up from 0 in 2010, is still lower than most of the last 100 years.

    Africa is more stable overall and developing better for most people, with some exceptions.

    Although if you mean volatile as “the US is no longer sure it can curbstomp any likely military opposition”, then yes. That is now true due to other nations’ improvement, and changes to asymmetrical warfare capabilities.





  • Dragonfly - touching-harrowing tale of loneliness in modern Britain, touching on social care, foster systems, and classism.

    气球 - a film that manages to go from “oh, maybe Tibetan sexual ideas are more progressive than Han China” to “all traditional beliefs are patriarchal and harmful to women and should be overturned” in 100 minutes. Some great shots and use of reflection, and the near documentary style of cinematography makes for an interesting experience, and it’s nice to hear a lot of Tibetan. But the narrative, perhaps due to political concerns is ultimately more of a love letter to Chinese Modernity (set in the near past because the present is always as perfect as possible) than an exploration or ode to Tibetan culture/modernisation.