Al grito de, “No somos socios, somos trabajadores”, cientos de trabajadores de todo México que prestan servicios de transporte y reparto a través de las plataformas digitales realizaron un paro laboral de dos horas el 15 de mayo para exigir tarifas justas, un fin a las desconexiones injustificadas, y, en última instancia, un acuerdo colectivo de trabajo con gigantes de las aplicaciones como Uber, Didi y Rappi.
Chanting, “We are not partners, we are workers,” hundreds of workers across Mexico who provide rides and deliveries through apps held a two-hour work stoppage on May 15 demanding fair rates, an end to unjustified deactivations, and ultimately, a collective labor agreement with app giants like Uber, DiDi, and Rappi (two Uber Eats-style delivery platforms).
Modern horror media is always a revelation about the world that produced it, but few of our contemporary myths feel as precisely calibrated to the present moment as the Backrooms. The Backrooms are not a haunted house, nor an abandoned ruin, a cursed forest, or any of the traditional thresholds through which the uncanny once entered human life. Instead, they are a vision of horror stripped of enchantment: an endless, fluorescent purgatory assembled from the leftover materials of capitalism. In the Backrooms, the mystery is not supernatural but infrastructural: a place where the hidden architecture of modern life, from its storage spaces to its industrial offices, swallows the individual whole. It is a nightmare born from the aesthetics of contemporary capitalism’s logistics, a world in which even our terrors have been flattened into endlessly repeatable, industrial modularity.
Convenience, wider selection, and better product information are driving more consumers to buy everyday essentials online instead of.
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