Art tends to draw fringe personalities. Be they left-wing or right-wing, sexually liberated or restrictive, bearing funny ideas on everything from drugs to health care to the wearing of funny hats on Sundays, creative types usually have their ideas and stick to them. Usually, however, they manage to stay separate from the work, or if they're worked in, they're blended in a way that adds to the quality of the work or at least doesn't detract from the main thrill ride.
There are some cases, however, where a strange combination of the author's prestige, personal life, and political bent causes things to take a strong shift. Suddenly, you're cracking open the latest book in a rollicking fantasy series and there's a hundred page section on how people wearing funny hats on Sunday should be sentenced to death by firing squad. Where once there was flirting, things have gotten overtly lewd and even hideously porny. Where once there was fun military action, there are now long sections on the moral failings of the Clinton administration. Something has cracked, and the author has ended up firmly in Filibuster Freefall.
This may not always be a bad thing. In some cases, creators can find inspiration that was lacking before by diving into political, religious, and cultural issues that they are passionate about, and produce work that's interesting where it had once been growing dull, precisely because it is offering bold takes on these subjects.
The phenomenon was first noted by author James Nicoll on the rec.arts.sf newsgroup and dubbed "The Brain Eater" (not to be confused with the trope about eating brains) in relation to authors Poul Anderson and James P. Hogan. It is a certain form of Protection from Editors which allows the author to freely enter Author Tract territory or spout off on their views without fear of repercussion. For interest of clarification, it does not apply to authors such as China Miéville or Ayn Rand, who have always discoursed on their political positions in their works (socialism and Objectivism respectively). For Filibuster Freefall to apply, the author has to have started off writing in a neutral, if slightly charged, manner before reaching a point where the messages are obviously being shouted in your ear to the exclusion of all else. As this is no doubt a charged topic, poster discretion is advised.
If this is limited to one work or series rather than the author's entire body of work, the work has suffered Issue Drift. This may be the reason for Seasonal Rot. Franchise Original Sin is a related trope, in which various elements (including the plot turning into an Author Tract) that were manageable before start to take over a story to its detriment.
- This article from Seattle alt-weekly The Stranger seems to indicate that Gallagher (yes, he of the watermelon smashing) has fallen hard into this, with one of his recent shows focused on ranting against the French, women's lib, tattoos, and homosexuality (a lot in the latter case), with the show ending with Gallagher smashing a pie tin of something and screaming, "This is the China people and the queers!" Which makes one of the first steps in his decline from the public eye (a joke about burning flags, which "accidentally" came out as "fags") a lot Harsher in Hindsight.
- '90s stand-up comics Dennis Miller and Janeane Garofalo. As noted here by Bob Chipman, while their politics were on opposite ends of the spectrum (conservative/libertarian in Miller's case, liberal in Garofalo's), they both followed nearly identical paths into this trope until, by the mid-'00s, both of them had become political Talk Show hosts whose comedy work was unknown to anyone who hadn't grown up with it in the '90s. Miller's turn in particular happened due to a shift in his politics; he asserts that 9/11 had caused him to become more right-wing politically. Garofalo, meanwhile, was known to be a fairly staunch left-winger as far back as her brief stint on Saturday Night Live, having left that show due to what she felt was a sexist environment behind the scenes.
- Lest it be thought this phenomenon is exclusive to the Anglosphere, there is the case of French stand-up comedian Dieudonné M'bala M'bala. His skits had always included rather risky socio-political commentary and satire — being very critical of Israel's policies concerning Palestinians being only one among many, many other things — but his early career had him in a duo with Élie Semoun, a school friend of Jewish Moroccan origins, and their skits mainly mocked racist attitudes. However, his stance began to change in the early-mid-2000s, with his shows gradually but rapidly becoming antisemitic screeds and his politics moving from the left to the far-right, including friendships with both French extremist figures and Iranian President Mahmoud Ahmadinejad. These days, he's mostly associated with the French far-right and considered by most everyone else in France to be something of a national embarrassment, with his former collaborator Semoun more or less saying that That Man Is Dead when asked to describe the man he once considered a close friend.
- George Carlin's early comedy was fairly normal and goofy, and even in his middle years, when he started getting edgy and talking about "the Seven Dirty Words," it was still pretty standard (if sharp) comedy. In his later years, however, his comedy became increasingly nihilistic, and his performances became increasingly reliant on rants about how (in his view) everything in society is worthless, pointless and stupid. Of course, many would argue that in this case, as with The Daily Show further down, it's not necessarily a bad thing.
- Steve Allen got very cynical in his old age as well; by the time he wrote Dumbth he probably would have described Idiocracy as a documentary had it existed during his lifetime.
- One of the most famous examples in all of comics-dom, Cerebus the Aardvark. Starting as a look at the life of an aardvark hero and his brushes against society as a whole, the comic took a noticeable change in direction after author Dave Sim underwent a nasty divorce. From that point on, there was a lot of Abrahamic fiddling and angry rants about how anything with a vagina drains the warmth and creativity from the world.
- The idea behind Alan Moore's The League of Extraordinary Gentlemen is that he takes famous characters from popular culture, such as Professor Moriarty or Captain Nemo, and deconstructs them. Usually, it works out pretty well and you can see where he is coming from. For example, he's hardly the first person to portray James Bond not as The Casanova, but as a misogynistic jerk plagued with venereal diseases who's overly reliant on his gadgets. However, his take on Harry Potter embodies practically every stereotype about millennials there is, turns him into what amounts to a school shooter, and suggests him to be The Anti-Christ. Even some who don't even like Potter think that the characterization is so off that it can barely be considered a Deconstruction, and comes off as Moore's personal opinions leaking into his writing.
- B.C. started as a gag strip about cavemen. In 1984, however, creator Johnny Hart became born again, and he started incorporating increasingly heavy-handed (and, given the prehistoric setting, anachronistic) Christian themes, to the point where some newspapers pulled the strip or moved it to their religious sections. When he passed away in 2007, his grandchildren took a meat cleaver to the hardcore religious content and made it a gag strip again.
- This was pretty much Harold Gray's oeuvre:
- Though he had long been something of a populist (and the strip reflected it), the New Deal and the Roosevelt Administration prompted a change in his personal politics, and he began to include more and more lectures on the benefits of economic conservatism into his work, sometimes regardless of whether it seemed out of place or not. This reached a head when Daddy Warbucks melodramatically passed away following Roosevelt's election to fourth term, stating that he wasn't "wanted" anymore — the metaphor being that the New Deal was literally killing capitalism; after FDR himself died, Gray then wrote a series of widely criticized strips where Warbucks revealed he was back, saying he felt the "new climate" was much healthier for him.
- When Gray tried to apply for extra gas credits during WWII so he could tour the countryside scouting for new material and storylines, the O.P.A. clerk, a man named Flack, refused, and a hearing into the matter requested by Gray upheld Flack's ruling that his strip was not of vital importance to the war effort. The whole incident provoked an extended petty tirade in the strip against "bureaucratic restriction and waste" where Annie would cluck her tongue at "Fred Flack", a nepotistic, hypocritical official; the sequence got a lot of angry letters, and Gray stopped only because the real Flack threatened a lawsuit.
- Li'l Abner had always been in part a vehicle for social satire, but creator Al Capp slowly became more ultra-conservative in the 1960s until almost every strip was openly griping about hippies. While a lot of younger readers were turned off by this shift, other longtime fans complained that the feature's humor went downhill with it, and the strip had become much mean-spirited and unfunny; the "Peewee" arc, where Capp blasts Charles Schultz as an untalented neurotic◊, is seen as an all-time low.
- Percy Crosby's Skippy was originally a Peanuts-like strip, equally lighthearted and somber, about a little dead-end kid living in the city. After FDR's rise to power, Crosby — who had developed into a vocal anti-Communist after getting fired from a Socalist newspaper as a teenager — became increasingly paranoid that the U.S. government was being infiltrated or colluding with Stalin's Russia, and his deteriorating strips slowly gave way to the same Wall of Text essays he'd written elsewhere, but more rambling and jumbled. In 1948, with his strip gone, his alcoholism at his peak and his family nearly bankrupt from legal troubles with the peanut butter that appropriated the "Skippy" name, Crosby was finally admitted to Bellevue as a paranoid schizophrenic.
- Dick Tracy creator Chester Gould's work had always had somewhat right-wing leanings, but they weren't particularly strong during his first few decades writing the strip. However, starting in the early 1960s, Gould grew frustrated at court decisions regarding the rights of the accused, and his strip took an increasingly condemnatory tone regarding those decisions and the changes that resulted, with Tracy's efforts being frustrated by legal technicalities and characters going on lengthy speeches on how the legal system should operate. This would only stop with Gould's 1977 retirement.
- The Boondocks was always political, but it started out poking fun at a variety of subjects relating to black identity and culture in the US. Then around 2001, out of a belief that post-9/11 Patriotic Fervor was making people afraid to criticize the George W. Bush administration, the author Aaron McGruder used the comic to do pretty much nothing but criticize the Bush administration (except when John Kerry was running for President in 2004 and also deemed fair game for an inept campaign), something that really only required two members of the cast (the cynical would-be revolutionary Huey and his optimistic foil Caesar). The Boondocks is also an example of a work clawing its way back from this. Bush's falling approval ratings in his second term made the rest of media less fearful of the federal executive branch, while a much-unwanted invitation from the Green Party to run for President in 2004 (even though he was five years too young to do so) caused McGruder to realize that many people saw him as the political voice of young black America, a responsibility that he felt restricted him. Slowly, more of the comic strip's cast returned, new characters were introduced, and the original discussions of blackness found their way back, with a stated goal of the animated adaptation being to stick with "life, love, and lawnmowers".
- The trajectory of George A. Romero's career increasingly saw his films become vehicles for his breed of left-wing anti-authoritarian politics informed by the unrest of the late '60s and '70s. It was initially unintentional; the male lead Ben in Night of the Living Dead (1968) wasn't written as black, but casting the black actor Duane Jones in the role wound up adding subtext to the ending and his interactions with the rest of the cast. Romero's subsequent Living Dead films, Dawn of the Dead (1978) and Day of the Dead (1985), were far more cognizant of their messages, with Dawn satirizing consumerism and Day satirizing militarism, while The Crazies (1973) was likewise heavily informed by post-Vietnam distrust of the military-industrial complex. In these early cases, it was for the better, as Romero's shift to making his political leanings more overt wound up perfectly capturing the zeitgeist of the time, an era in which society's major institutions were seen as having lied to the American people and covered up institutional corruption, and made his films into classics of the Zombie Apocalypse genre. Things turned sour, however, when he returned to the zombie genre in the 2000s. Land of the Dead's Capitalism Is Bad message was noticeably more heavy-handed than before, while Diary of the Dead's diatribe against the media was outright fumbled, and by the time of his final film Survival of the Dead, Romero has descended into pure nihilism.
- While Clint Eastwood has always been open about his conservative politics, he still made it a point to have the characters in his films express multiple viewpoints due to his belief that ultimately Both Sides Have a Point. As he entered old age, his politics began to take precedence over everything else in his work, most notably with Sully portraying the NTSB as hopelessly corrupt and Richard Jewell portraying the FBI as a nest of traitors and real-life reporter Kathy Scruggs as an Immoral Journalist who sleeps with an FBI agent in order to obtain information that she can use against the titular security guard.
- Piers Anthony's works have always had some sexual content. Then he started writing books like Bio of a Space Tyrant and Firefly, where pre-pubescent girls knowingly consent to sex with adults. Concurrently, his Xanth books had an ongoing storyline of the Adult Conspiracy being weakened, allowing the younger characters in those books to have more sexual experiences. For some fans, it's been decidedly controversial.
- Dean Koontz used to have characters that had a wide variety of different opinions and viewpoints. Now, in recent works, all the protagonists will share Dean Koontz's (usually right-wing) opinions on things like bioethics, global warming, gun control, and evolution, while his villains will stand for things that Dean Koontz hates. The Taking is the most egregious as The Legions of Hell carry off everyone and everything Koontz finds personally offensive.
- Orson Scott Card started tracking this way with essays condemning gay marriage and homosexuals in general. Then came Empire, which was about liberal terrorists attacking conservative military interests. Empire, as well as his essays, has somewhat colored Card's works, to the point that there was a fight over Shadow Complex because Card wrote Empire as a tie-in novel that ended up coming out before the game (the game itself was written by noted comic book writer Peter David). Card actually did suggest the decidedly hyper-conservative ideology of the Restoration for the game... then proceeded to make them liberal in the novel anyway. His thoughts on homosexuality are possibly seeping into his other work, such as in Hamlet's Father, where all of Hamlet's issues can be traced back to getting molested by his father, who also then molested around half of the play's cast as children, and then sent Hamlet on a revenge spree so they could all join the father in Hell (Card, however, claims there are no gay characters in "Hamlet's Father"—only pedophiles and damaged adults, but whether that's the truth or after-the-fact backtracking is a case of YMMV).
- James P. Hogan's works started off with an anarcho-libertarian bend, but it eventually got to the point where he was writing entire stories supporting AIDS denialism, combined with a one-hundred-eighty-degree reversal of many of his previously strongly held viewpoints, mostly on quack science such as Velikovskiyan catastrophe theory and the integrity of the scientific establishment.
- The Anita Blake series is another famous example of this. Unlike the Merry Gentry series (which pretty much started off as porn), the Blake series initially started as the adventures of a professional necromancer who alternatively hunted and enjoyed sexual tension with the creatures of the night. Then around book six, the sexy times got ramped up to the point where they devoured the book, leaving little space for the actual plot. Many consider the breaking point to be author Laurel K. Hamilton's divorce from her husband.
- Terry Goodkind's Sword of Truth series began as a standard fantasy epic about a hero who's fighting his evil emperor father and other supernatural villains. While the first few held some hints of Objectivist themes, after several they had taken over, turning the series into an Author Tract supporting the philosophy. The villains soon all grew into thinly veiled caricatures of communists, socialists, liberals and pacifists, while the hero becomes an avatar of Objectivist beliefs. The shift in focus is emphasized when the protagonist occasionally has to explain why his new Objectivist beliefs contradict views he'd expressed earlier, before the free-fall.
- John Norman's Gor novels were originally Sword & Sorcery potboilers firmly in the style of Edgar Rice Burroughs, but then his male-supremacist views came to the fore and took over the series.
- It looks like Dan Simmons might have finally entered this territory. First came Olympos, where a Global Caliphate releases a virus to kill all Jews on Earth. A bit suspect, but no doubt a look at things spiraled out of control. Then came a short story posted on his website, wherein a time traveler came back from the future to warn Simmons about the creation of "Eurabia." That was more suspect, but hadn't made its way into his published works. And now there's Flashback, where among other dystopian themes, Europe has been taken over by a global caliphate and Islamic terror is widespread in the US, with the "Ground Zero mosque" seen as an impetus and most Americans engaging in "surrender tactics."
- Robert A. Heinlein got into this territory toward the end of his career. Since his novels always tended to have lectures in them, it was mostly the weirdness of the filibusters that changed.
- While John Ringo has never been shy about his militant libertarianism, the third Troy Rising novel, The Hot Gate, is basically a long condemnation of South American upper-class culture, and how they would rather risk death than do maintenance work on their shuttles (with a space battle at the end which proves the South Americans wrong about everything).
- Tom Clancy always had a large conservative, America Saves the Day bent. However, after Clinton's election in 1992 his villains took a staggering swing to the Strawman Political spectrum. Highlights include a heroin-addicted hippie who deliberately sabotages a POW rescue mission (Without Remorse), an Animal Wrongs Group that want to massacre all of humanity to stop pollution (Rainbow Six), and an Amoral Attorney who tries to prosecute an Army Ranger for killing an armed terrorist during a raid to catch an expy of Osama bin Laden (Dead Or Alive). Executive Orders contains the worst filibuster however, when the plot stops dead for multiple pages so Clancy can rant about the complexity of the US Tax Code. Notably, the filibusters themselves deteriorate in quality; the hippie in Without Remorse is portrayed at least as idealistic and manipulated by Russian spies, despite his stupidity and narcissism, whilst by the later books the other characters do what they do seemingly because they are just bastards who hate freedom.
- Most of John Grisham's novels after The Pelican Brief are notorious for this, sometimes taking it up to 11. Many critics have said that Grisham's extreme left-wing political commentary on legal matters often detracts significantly from the plot in his later novels, to the point where some of them have been dismissed as propaganda.
- Michael Crichton also suffered from this in his later books. It's most noticeable in State of Fear, where the plot takes a backseat to the frequent author filibusters in what is essentially a book-long denial of climate change. In fact, it literally ends with an essay where Crichton talks about his views directly, not even bothering to put them into the mouth of a character. His next book (and the final one published in his lifetime), Next, likewise ended with a section where he lectures about the laws regulating genetic engineering, and contained a passage featuring a Tuckerization of a journalist who wrote a negative review of State of Fear, portraying him as a baby-raping pedophile with a small penis.
- The fourth Maximum Ride novel takes a pretty sharp turn into environmentalism, with an Author Filibuster at the end that lasts several pages.
- In The Amber Spyglass (Philip Pullman's third His Dark Materials book), the series's atheist bent becomes...less than subtle, to say the least.
- H.G. Wells underwent this. As time went on, his works became more didactic and focused on anvilicious themes about socialism and futurism. G. K. Chesterton famously described it as Wells having "sold his birthright for a pot of message."
- Thomas Ligotti's works have always had a strong philosophical pessimist/anti-natalist subtext; from late nineties on, as he was suffering from major physical and mental health problems, it increasingly becomes the text of his stories, culminating in The Conspiracy Against the Human Race where he makes a comprehensive case for humanity to stop reproducing.
- C. S. Lewis's Christian beliefs had a strong influence on The Chronicles of Narnia, but the later books became much more explicit about their themes, often featuring straw characters with secular and anti-Christian beliefs designed to be proven wrong. Probably the most heavy-handed is The Last Battle, i.e. the final of the series, which features a number of dwarves as flat earth atheists who reject Aslan's existence even while he's in front of them.
- The Daily Show during the tenure of Jon Stewart is often regarded as a positive example of this. Starting out as a basic News Parody program, the show took a turn towards political commentary in the wake of the 2000 US Presidential election and especially after 9/11. Far from derailing the show, this shift is often cited as when it came into its own, transforming from lighthearted fluff into a stinging satire of American politics and culture, one that helped make Stewart into a household name and the show into a destination where politicians and pundits would engage in actual (albeit still comedic) policy debate.
- Played straight with the whole late night/semi-mock news genre as a whole. Daily Show alums Stephen Colbert, Samantha Bee, and John Oliver's programs The Late Show with Stephen Colbert, Full Frontal with Samantha Bee, and Last Week Tonight with John Oliver, in addition to Late Night with Seth Meyers and the Daily Show's continuation with Trevor Noah, have all settled into the late night comedy news with a liberal bent niche once occupied only by Stewart and certain incarnations of Saturday Night Live. Moreover, the tone of these shows has become considerably less wacky and more confrontational, essentially pulling them into the straight news cycle. Ironically, Real Time with Bill Maher, which precedes almost all of of these shows as a standard-bearer for the political left, has now become the most centrist by comparison.
- Last Man Standing started out as a Spiritual Successor to Tim Allen's previous sitcom Home Improvement, albeit with the twist of Allen's manly-man sitcom dad living in a household that was otherwise all-female. Midway through the first season, however, the original Show Runner Jack Burditt left due to a family tragedy, and new show runner Tim Doyle, together with Allen, retooled the show around the start of the second season to focus the humor on the political divide between Allen's vocally conservative lead character (an Author Avatar for Allen himself) and his liberal wife and daughters. Again, this helped the show hit its stride creatively, quickly coming to be seen as a Spiritual Successor to All in the Family more than anything else, and helped it build its fandom.
- Better Days was a Furry Comic that started off as a story about the constant struggles of a family of anthropomorphic cats. While it did have some rather out there, strange themes (including an incest storyline), it was all Played for Drama and dealt with the fallout. Then, author Jay Naylor's Objectivist viewpoints took over the comic partway through, and main character Fisk Black went straight into God-Mode Sue territory as the one who acted as Naylor's mouthpiece. When the comic ended, Naylor created a Sequel Series called Original Life, which he promised would be Lighter and Softer compared to Better Days, but it went straight into the Objectivist themes again almost immediately (most notably during the infamous "Muffin Arc"), along with doses of the author's anti-religious viewpoints.
- Sinfest shifted rather abruptly from adult-oriented gag-a-day humor (which nevertheless commented on a variety of political and social issues) to a hard-core second-wave feminist theme. The strip's creator Tatsuya Ishida also being a poster boy for Reclusive Artist, the reason for this change remains unknown.
- David Willis in many of his later works like Shortpacked or Dumbing of Age included a lot more heavy handed themes about gender, sexuality, and the dangers of reactionary right-wing thinking (drawing heavily from his own fundamentalist upbringing). It can range from "changing characters who were straight to LGBT in order to include more people" to "mocking fan-artists who draw with a religious bent". His penchant for Dear Negative Reader only furthers the divide.
- Tales of the Questor is an interesting example where this happened to a spin-off comic while surprisingly not touching the core comic. Tales of the Questor is a fantasy comic with Christian themes, but relatively light ones, an agenda promoting science over mere occultism, rational thinking, and a focus on a star who is heavily flawed. Quentyn Quinn, Space Ranger has a relatively flawless protagonist, though still with a comical air, whose worst mistakes were caused by either ignorance, or just being put in a bad situation. That said, his biggest screw-up is one that he still loses sleep over. However, it also has as antagonists deconstructions of various concepts, moving from Star Trek, to The Cold Equations, to Space Pirates, to Warhammer. The third strip, the Probability Bomb, has, as an enemy, a Mad Scientist who wants to prove evolution, since everyone knows Intelligent Design is the only option, that the Universe is clearly young, that Earth is only 6,000 years old... and includes a plan solved by libertarian economics.
- Kimchi Cuddles, around strip #500, went from following the lives of a group of polyamorous friends to those poly friends giving Author Filibusters to unnamed listeners.
- While the Silent Hill video games haven't gone through this, their main fandom wiki experienced a particularly embarrassing case of it. Sometime in late 2015, the administrator of the wiki, known as AlexShepard (after the protagonist in Silent Hill: Homecoming), developed an obsession with circumcision, viewing it as part of a Satanic/Illuminati plot and the games as having been devoted to exposing this great evil in society. As such, he started rewriting articles to add his Epileptic Trees, presenting them as though they were the canonical interpretations of the games. Since he was the admin, the other users and moderators couldn't do a thing about it without seeing their edits reverted and the pages protected, with AlexShepard lashing out at anybody who protested by claiming that they had been brainwashed by The Illuminati. As news of the meltdown spread across the internet, it threatened to stain the reputation of the entire franchise. The rest of the wiki eventually had to appeal to the administration at Wikia (where the wiki was hosted) in order to get them to strip AlexShepard of his admin powers and permanently ban him from the site.
- On AlternateHistory.com, the story New Deal Coalition Retained started out as a What If? about the political coalitions of the post-World War II eranote surviving into The Present Day. The story seemed to have a generally conservative political lean, but it still tried to be plausible in showing the different development of the various ideologies at its core. Eyebrows were raised, however, when the story started to get into the '70s and '80s, as historical far-right figures like Gerhard Freynote , George Lincoln Rockwellnote , George Wallacenote and Yukio Mishima became prominent political figures and pundits in their countries, often with only a Hand Wave about how they had been reformed from their far-right pasts, while dictators like Augusto Pinochet instead became democratically elected leaders of their respective countries. The tipping point for many readers was when it culminated in a conventional, non-nuclear World War III being fought in the late '80s, one where Frey brought a notorious Nazi soldier and war criminal out of retirement to lead the West German forces. The ensuing controversy surrounding the story made it into a magnet for moderator actions, and eventually caused its author to end it.
- South Park's creators Trey Parker and Matt Stone have always been known as fairly staunch libertarians politically and philosophically, but sometime in the '10s, political commentary began to take over the show. The tipping point for many viewers was season 19, which was built around a season-long Story Arc about Political Correctness Gone Mad (personified by the school's new principal) taking over the town, and which split the fanbase right down the middle. On top of the debates over whether or not the switch to a story arc (versus previous seasons' Negative Continuity and gag-a-day humor) was a good or a bad thing, some fans declared that Stone and Parker, after years of being the countercultural voice of Generation X, had finally 'gotten old' and were doing little more than ranting at the politics of the millennial generation, while other fans loved season 19 for precisely that reason. Parker and Stone themselves would eventually conclude that the greater focus on political humor had sent the show astray, with season 21 notably containing far less on it.
- Parodied and Invoked in the Rick and Morty episode "Never Ricking Morty", in which Rick and Morty are trapped in a device that will extract all of their "storytelling potential". As the duo is trapped in a hypothetical "final episode", they escape by getting on their knees and praying to Jesus, turning their show into a Christian Author Tract and dramatically dropping its appeal, ruining Story Lord's plot, and allowing them to escape.
- Eric S. Raymond, one of the pioneers of the open source software movement, is now arguably more (in)famous for the hard rightward swing he took in his politics after 9/11. A new version of his "Jargon File" (a repository of hacker culture that he helped write in the '70s and '80s) published in 2003 contained numerous changes to bring it more in line with Raymond's views, while his "Anti-Idiotarian Manifesto" that same year bashed all critics of the invasion of Iraq as being useful idiots for al-Qaeda. Between that and the increasingly flagrant sexism, bigotry, and crank views on science that showed up on his blog, much of the open source movement has come to view him as someone who's long since stopped having anything useful to say.