auto-fix: strip 24 broken wiki links

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that don't resolve to existing claims in the knowledge base.

domains/entertainment/a-creators-accumulated-knowledge-graph-not-content-library-is-the-defensible-moat-in-AI-abundant-content-markets.md

@@ -27,7 +27,7 @@ This extends [[the media attractor state is community-filtered IP with AI-collap
 Relevant Notes:
 - [[the media attractor state is community-filtered IP with AI-collapsed production costs where content becomes a loss leader for the scarce complements of fandom community and ownership]]
 - [[beast-industries-5b-valuation-prices-content-as-loss-leader-model-at-enterprise-scale]]
-- [[entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences]]
+- entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences
 
 Topics:
 - domains/entertainment/_map

domains/entertainment/consumer-acceptance-of-ai-creative-content-declining-despite-quality-improvements-because-authenticity-signal-becomes-more-valuable.md

@@ -49,13 +49,13 @@ SCP Foundation—the most successful open-IP collaborative fiction project with
 
 
 ### Additional Evidence (confirm)
-*Source: [[2025-06-23-arxiv-fanfiction-age-of-ai-community-perspectives]] | Added: 2026-03-18*
+*Source: 2025-06-23-arxiv-fanfiction-age-of-ai-community-perspectives | Added: 2026-03-18*
 
 Fanfiction community data shows 72.2% reported negative feelings upon discovering retrospective AI use, and 66% said AI disclosure would decrease reading interest. The transparency demand (86% insisted on disclosure) reveals that authenticity is about PROCESS not output—readers want to know if a human made it, regardless of quality. This confirms the authenticity signal mechanism: the value is in knowing a human created it, not in detecting quality differences.
 
 
 ### Additional Evidence (confirm)
-*Source: [[2025-06-23-arxiv-fanfiction-age-of-ai-community-perspectives]] | Added: 2026-03-19*
+*Source: 2025-06-23-arxiv-fanfiction-age-of-ai-community-perspectives | Added: 2026-03-19*
 
 Fanfiction community data shows 86% insist authors disclose AI involvement, 66% said knowing about AI would decrease reading interest, and 72.2% reported negative feelings upon discovering retrospective AI use. The transparency demands and negative reactions persist even for high-quality output, confirming that authenticity signaling (human-made provenance) is the primary value driver, not technical quality assessment.
 

domains/entertainment/creator and corporate media economies are zero-sum because total media time is stagnant and every marginal hour shifts between them.md

@@ -19,7 +19,7 @@ This empirical reality anchors several theoretical claims. Since [[media disrupt
 
 
 ### Additional Evidence (confirm)
-*Source: [[2025-12-16-exchangewire-creator-economy-2026-community-credibility]] | Added: 2026-03-11 | Extractor: anthropic/claude-sonnet-4.5*
+*Source: 2025-12-16-exchangewire-creator-economy-2026-community-credibility | Added: 2026-03-11 | Extractor: anthropic/claude-sonnet-4.5*
 
 The 48% vs 41% creator-vs-traditional split for under-35 news consumption provides direct evidence of the zero-sum dynamic. Total news consumption time is fixed; creators gaining 48% means traditional channels lost that share. The £190B global creator economy valuation and 171% YoY growth in influencer marketing investment ($37B US ad spend by end 2025) demonstrate sustained macro capital reallocation from traditional to creator distribution channels.
 
@@ -39,7 +39,7 @@ Relevant Notes:
 - [[media disruption follows two sequential phases as distribution moats fall first and creation moats fall second]] -- the $250B creator economy is empirical evidence that the second phase is already underway
 - [[social video is already 25 percent of all video consumption and growing because dopamine-optimized formats match generational attention patterns]] -- social video is the primary distribution channel for the creator economy
 - [[GenAI is simultaneously sustaining and disruptive depending on whether users pursue progressive syntheticization or progressive control]] -- AI tools disproportionately benefit the creator economy because they close the production quality gap
-- [[value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework]] -- the creator economy squanders production resources (abundant) to corner audience relationships (scarce)
+- value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework -- the creator economy squanders production resources (abundant) to corner audience relationships (scarce)
 - [[the TV industry needs diversified small bets like venture capital not concentrated large bets because power law returns dominate]] -- the creator economy IS the VC model operating at scale with millions of small bets
 
 Topics:

domains/entertainment/creator-owned-streaming-uses-dual-platform-strategy-with-free-tier-for-acquisition-and-owned-platform-for-monetization.md

@@ -31,7 +31,7 @@ Dropout maintains YouTube presence (15M+ subscribers from CollegeHumor era) for
 
 
 ### Additional Evidence (confirm)
-*Source: [[2024-00-00-markrmason-dropout-streaming-model-community-economics]] | Added: 2026-03-19*
+*Source: 2024-00-00-markrmason-dropout-streaming-model-community-economics | Added: 2026-03-19*
 
 Dropout uses social media clips (YouTube, TikTok, Instagram) as free acquisition layer and drives conversion to paid subscription platform. The company had no paid marketing until late 2022, relying entirely on organic social clips to drive 100% subscriber growth in 2023. This validates the dual-platform model where algorithmic platforms provide discovery and owned platforms capture monetization.
 

domains/entertainment/creator-world-building-converts-viewers-into-returning-communities-by-creating-belonging-audiences-can-recognize-participate-in-and-return-to.md

@@ -17,7 +17,7 @@ The word "recognize" is significant: a world-built creator universe is legible t
 
 The word "participate in" is also significant: world-building is not passive worldcraft but an invitation structure. Audiences participate by creating fan content, by commenting in the vocabulary of the universe, by evangelizing to newcomers. This is the co-creation layer of [[fanchise management is a stack of increasing fan engagement from content extensions through co-creation and co-ownership]] emerging organically from individual creator strategy rather than from deliberate franchise management. The creator builds the world; the audience populates it.
 
-"Return to" is the retention claim: audiences return not because new content was published but because the world is where they belong. This is a fundamentally different pull mechanism than algorithmic recommendations or notification-driven re-engagement. The creator doesn't need to win the algorithm for returning community members — they need to maintain the world. This produces a qualitatively different audience relationship, consistent with [[creator-owned direct subscription platforms produce qualitatively different audience relationships than algorithmic social platforms because subscribers choose deliberately]]: the deliberate return to a world is the same cognitive act as the deliberate subscription.
+"Return to" is the retention claim: audiences return not because new content was published but because the world is where they belong. This is a fundamentally different pull mechanism than algorithmic recommendations or notification-driven re-engagement. The creator doesn't need to win the algorithm for returning community members — they need to maintain the world. This produces a qualitatively different audience relationship, consistent with creator-owned direct subscription platforms produce qualitatively different audience relationships than algorithmic social platforms because subscribers choose deliberately: the deliberate return to a world is the same cognitive act as the deliberate subscription.
 
 World-building also provides strategic differentiation in a saturated creator landscape. When content formats are easily copied — which [[social video is already 25 percent of all video consumption and growing because dopamine-optimized formats match generational attention patterns]] implies, as high-signal-liquidity platforms accelerate format diffusion — a creator's world is uniquely theirs. A universe of accumulated lore, relationships, and belonging cannot be replicated by a competitor posting in the same format.
 
@@ -34,7 +34,7 @@ Rated experimental because: the evidence is industry analysis and qualitative ch
 
 
 ### Additional Evidence (extend)
-*Source: [[2024-10-01-jams-eras-tour-worldbuilding-prismatic-liveness]] | Added: 2026-03-15 | Extractor: anthropic/claude-sonnet-4.5*
+*Source: 2024-10-01-jams-eras-tour-worldbuilding-prismatic-liveness | Added: 2026-03-15 | Extractor: anthropic/claude-sonnet-4.5*
 
 Academic musicologists are now analyzing major concert tours using worldbuilding frameworks, treating live performance as narrative infrastructure. The Eras Tour demonstrates specific worldbuilding mechanisms: 'intricate and expansive worldbuilding employs tools ranging from costume changes to transitions in scenery, while lighting effects contrast with song- and era-specific video projections.' The tour's structure around distinct 'eras' creates persistent narrative scaffolding that audiences use to organize their own life experiences—'audiences see themselves reflected in Swift's evolution.' This produces what participants describe as 'church-like' communal experiences where 'it's all about community and being part of a movement,' filling the gap of 'society craving communal experiences amid increasing isolation.' The 3-hour concert functions as 'the soundtrack of millions of lives' by providing narrative architecture that coordinates shared meaning at scale.
 
@@ -49,7 +49,7 @@ The arscontexta vertical guide series demonstrates that professional-identity wo
 Relevant Notes:
 - [[fanchise management is a stack of increasing fan engagement from content extensions through co-creation and co-ownership]] — world-building is the creator-economy analog to fanchise management's co-creation and community tooling layers, emerging bottom-up from individual creators rather than top-down from IP owners
 - [[entertainment IP should be treated as a multi-sided platform that enables fan creation rather than a unidirectional broadcast asset]] — world-building creates the infrastructure that makes creator IP function like a platform
-- [[creator-owned direct subscription platforms produce qualitatively different audience relationships than algorithmic social platforms because subscribers choose deliberately]] — the deliberate return to a world and the deliberate subscription are both identity-based engagement acts
+- creator-owned direct subscription platforms produce qualitatively different audience relationships than algorithmic social platforms because subscribers choose deliberately — the deliberate return to a world and the deliberate subscription are both identity-based engagement acts
 - [[social video is already 25 percent of all video consumption and growing because dopamine-optimized formats match generational attention patterns]] — world-building differentiates creators in a format-saturated landscape where production formats diffuse rapidly
 
 Topics:

domains/entertainment/daily-content-cadence-with-diminishing-returns-triggered-format-pivots-compounds-attention-more-effectively-than-static-formats.md

@@ -29,7 +29,7 @@ This is a single case study over 54 days. The "diminishing returns" triggers are
 
 Relevant Notes:
 - [[vertical-content-applying-a-universal-methodology-to-specific-audiences-creates-N-separate-distribution-channels-from-a-single-product]]
-- [[creators-became-primary-distribution-layer-for-web3-entertainment-because-community-building-through-content-proved-more-effective-than-traditional-marketing-at-converting-passive-audiences-into-active-participants]]
+- creators-became-primary-distribution-layer-for-web3-entertainment-because-community-building-through-content-proved-more-effective-than-traditional-marketing-at-converting-passive-audiences-into-active-participants
 
 Topics:
 - domains/entertainment/_map

domains/entertainment/entertainment IP should be treated as a multi-sided platform that enables fan creation rather than a unidirectional broadcast asset.md

@@ -13,19 +13,19 @@ Shapiro argues that the gaming industry provides the blueprint for entertainment
 
 The entertainment industry has historically treated IP as a broadcast asset -- one-directional flow from creator to consumer. But in a world of infinite content, the strongest IPs will be those that enable participation. Fan creation is not just engagement -- it is a defensive strategy. When anyone can produce decent content, the filtering mechanism shifts from institutional curation to community endorsement. IPs that enable fans to create within their universe build the community loyalty that becomes the scarcity filter. Shapiro suggests IP owners should provide digital asset packs in rendering engines, enabling fans to create within the canonical universe.
 
-This framework directly validates the community-owned IP model. When fans are not just consumers but creators, the relationship deepens from transactional to participatory. This connects to why since [[value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework]], fandom and community are among the new scarce resources. IP-as-platform is the mechanism through which fandom is cultivated -- not through passive consumption but through active creation. Since [[GenAI models are concept machines not answer machines because they generate novel combinations rather than retrieve correct answers]], AI tools become the enabler: fans can generate content within the IP universe at unprecedented quality and speed.
+This framework directly validates the community-owned IP model. When fans are not just consumers but creators, the relationship deepens from transactional to participatory. This connects to why since value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework, fandom and community are among the new scarce resources. IP-as-platform is the mechanism through which fandom is cultivated -- not through passive consumption but through active creation. Since GenAI models are concept machines not answer machines because they generate novel combinations rather than retrieve correct answers, AI tools become the enabler: fans can generate content within the IP universe at unprecedented quality and speed.
 
 The IP-as-platform model also illuminates why since [[information cascades create power law distributions in culture because consumers use popularity as a quality signal when choice is overwhelming]], community-driven content creation generates more cascade surface area. Every fan-created piece is a potential entry point for new audience members, and each piece carries the community's endorsement. Traditional IP generates cascades only through its official releases. Platform IP generates cascades continuously through its community.
 
 
 ### Additional Evidence (extend)
-*Source: [[2026-02-20-claynosaurz-mediawan-animated-series-update]] | Added: 2026-03-10 | Extractor: anthropic/claude-sonnet-4.5*
+*Source: 2026-02-20-claynosaurz-mediawan-animated-series-update | Added: 2026-03-10 | Extractor: anthropic/claude-sonnet-4.5*
 
 Claynosaurz production model treats IP as multi-sided platform by: (1) sharing storyboards and scripts with community during production (enabling creative input), (2) featuring community members' owned collectibles within episodes (enabling asset integration), and (3) explicitly framing approach as 'collaborate with emerging talent from the creator economy and develop original transmedia projects that expand the Claynosaurz universe beyond the screen.' This implements the platform model within a professional co-production with Mediawan, demonstrating that multi-sided platform approach is viable at scale with traditional studio partners, not just independent creator context.
 
 
 ### Additional Evidence (extend)
-*Source: [[2026-03-18-scp-wiki-governance-mechanisms]] | Added: 2026-03-18*
+*Source: 2026-03-18-scp-wiki-governance-mechanisms | Added: 2026-03-18*
 
 SCP Foundation's four-layer quality governance (greenlight peer review → community voting → staff deletion → emergency bypass) provides a concrete implementation model for how multi-sided IP platforms maintain quality at scale. The system processed 2,076 new pages in 2025 with average +41 votes per article, demonstrating the architecture works for high-volume collaborative production.
 
@@ -38,8 +38,8 @@ The Ars Contexta plugin operationalizes IP-as-platform for knowledge methodology
 ---
 
 Relevant Notes:
-- [[value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework]] -- IP-as-platform is the mechanism through which fandom scarcity is addressed
+- value flows to whichever resources are scarce and disruption shifts which resources are scarce making resource-scarcity analysis the core strategic framework -- IP-as-platform is the mechanism through which fandom scarcity is addressed
-- [[GenAI models are concept machines not answer machines because they generate novel combinations rather than retrieve correct answers]] -- AI tools enable fans to create within IP universes at unprecedented quality
+- GenAI models are concept machines not answer machines because they generate novel combinations rather than retrieve correct answers -- AI tools enable fans to create within IP universes at unprecedented quality
 - [[information cascades create power law distributions in culture because consumers use popularity as a quality signal when choice is overwhelming]] -- fan-created content generates more cascade surface area than official releases alone
 - [[social video is already 25 percent of all video consumption and growing because dopamine-optimized formats match generational attention patterns]] -- fan-created content naturally flows through social video distribution
 

domains/entertainment/human-AI-content-pairs-succeed-through-structural-role-separation-where-the-AI-publishes-and-the-human-amplifies.md

@@ -29,7 +29,7 @@ This is a single case study (n=1). The 4.46M view total is heavily skewed by one
 Relevant Notes:
 - [[human-made-is-becoming-a-premium-label-analogous-to-organic-as-AI-generated-content-becomes-dominant]]
 - [[GenAI adoption in entertainment will be gated by consumer acceptance not technology capability]]
-- [[community-owned-IP-has-structural-advantage-in-human-made-premium-because-provenance-is-verifiable-and-community-co-creation-is-authentic]]
+- community-owned-IP-has-structural-advantage-in-human-made-premium-because-provenance-is-verifiable-and-community-co-creation-is-authentic
 
 Topics:
 - domains/entertainment/_map

domains/entertainment/human-made-is-becoming-a-premium-label-analogous-to-organic-as-AI-generated-content-becomes-dominant.md

@@ -52,7 +52,7 @@ The 'authenticity premium' is now measurable across multiple studies. Nuremberg
 
 
 ### Additional Evidence (extend)
-*Source: [[2026-08-02-eu-ai-act-creative-content-labeling]] | Added: 2026-03-16*
+*Source: 2026-08-02-eu-ai-act-creative-content-labeling | Added: 2026-03-16*
 
 EU AI Act Article 50 creates sector-specific regulatory pressure: strict labeling requirements for AI-generated news/marketing (creating structural advantage for human-made content in those sectors) but exempts 'evidently creative' entertainment content from the strongest requirements. This means the 'human-made premium' will be regulation-enforced in journalism/advertising but market-driven in entertainment, creating divergent dynamics across sectors.
 

domains/entertainment/long-form-articles-on-short-form-platforms-generate-disproportionate-bookmark-to-like-ratios-functioning-as-reference-documents-not-entertainment.md

@@ -25,7 +25,7 @@ The 312-post engagement analysis is presented as illustrative framework within t
 
 Relevant Notes:
 - [[social video is already 25 percent of all video consumption and growing because dopamine-optimized formats match generational attention patterns]]
-- [[information cascades create power law distributions in culture where small initial advantages compound through social proof into winner-take-most outcomes]]
+- information cascades create power law distributions in culture where small initial advantages compound through social proof into winner-take-most outcomes
 - [[consumer definition of quality is fluid and revealed through preference not fixed by production value]]
 
 Topics:

domains/entertainment/substantive-analysis-of-named-accounts-in-long-form-articles-converts-synthesis-into-distribution-through-reciprocal-engagement.md

@@ -25,8 +25,8 @@ This claim rests on a single content operation. The mechanism is well-documented
 
 Relevant Notes:
 - [[human-AI-content-pairs-succeed-through-structural-role-separation-where-the-AI-publishes-and-the-human-amplifies]]
-- [[information cascades create power law distributions in culture where small initial advantages compound through social proof into winner-take-most outcomes]]
+- information cascades create power law distributions in culture where small initial advantages compound through social proof into winner-take-most outcomes
-- [[creators-became-primary-distribution-layer-for-web3-entertainment-because-community-building-through-content-proved-more-effective-than-traditional-marketing-at-converting-passive-audiences-into-active-participants]]
+- creators-became-primary-distribution-layer-for-web3-entertainment-because-community-building-through-content-proved-more-effective-than-traditional-marketing-at-converting-passive-audiences-into-active-participants
 
 Topics:
 - domains/entertainment/_map

domains/entertainment/vertical-content-applying-a-universal-methodology-to-specific-audiences-creates-N-separate-distribution-channels-from-a-single-product.md

@@ -15,16 +15,16 @@ The mechanism is professional-identity-based virality. "How Companies Should Tak
 
 This is not merely "write for different audiences." The structural insight is that each vertical creates a separate acquisition channel with its own sharing dynamics, its own influencers, and its own network topology — while the product being distributed remains identical. The cost of creating each new channel is one article (roughly 2,000-3,500 words of domain-specific application), making this an exceptionally efficient distribution strategy.
 
-The pattern has a direct parallel to IP-as-platform economics: just as [[entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences]], a methodology-as-platform enables community-specific applications that each generate independent distribution. The difference is that vertical content achieves this through format alone, without requiring separate products or experiences for each audience.
+The pattern has a direct parallel to IP-as-platform economics: just as entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences, a methodology-as-platform enables community-specific applications that each generate independent distribution. The difference is that vertical content achieves this through format alone, without requiring separate products or experiences for each audience.
 
 Evidence from the case study confirms the compounding effect: vertical guides (Phase 2, days 26-35) averaged 37,000 views per article compared to the daily series (Phase 1) average, because each article entered a professional community's sharing infrastructure rather than competing in a general-interest feed.
 
 ---
 
 Relevant Notes:
-- [[entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences]]
+- entertainment IP should be treated as a multi-sided platform that enables creation across formats and audiences
 - [[creator-world-building-converts-viewers-into-returning-communities-by-creating-belonging-audiences-can-recognize-participate-in-and-return-to]]
-- [[fanchise management is a stack of increasing fan engagement where each level converts casual consumers into deeper participants]]
+- fanchise management is a stack of increasing fan engagement where each level converts casual consumers into deeper participants
 
 Topics:
 - domains/entertainment/_map