If you loved how QualityLand lampoons TheShop’s “we know you better than you do” algorithms and Peter Jobless’s farcical battle to return that pink dolphin gadget, you’ll click with Jennifer Government. Barry dials the same humor and outrage at brands-run-amok into a world where loyalty programs decide lives and marketing literally kills for market share. It has that wink-nudge tone and sharp punchlines you enjoyed around Level scores, drone deliveries, and the AI-driven presidential spectacle.

You were hooked by QualityLand’s dystopian edges—the Level system stratifying citizens, purchase drones hovering at your door, and an AI candidate shaping politics. The Warehouse channels that same unease into a single all-powerful retailer that runs housing, work, even the weather in its facilities. If TheShop’s grip on Peter Jobless’s choices made you grind your teeth and laugh darkly, Hart’s mega-fulfillment empire will feel chillingly familiar.

Part of the fun in QualityLand is the cut-ins: pushy ads, auto-generated news blurbs, and T&C bits that nudge the plot while roasting the system hounding Peter Jobless. Super Sad True Love Story plays a similar game with diary entries and social-media streams that interrupt and comment on the action. If those mock commercials and algorithmic headlines were your jam, you’ll enjoy how Shteyngart’s docs and feeds deepen the satire while telling a tender (and very funny) near-future tale.

If the Level-based pecking order in QualityLand—where Peter Jobless’s status dictates everything from dating prospects to discounts—stuck with you, The Space Merchants is a classic that hits the same nerve. Ad men literally engineer society, selling colonization like a product while workers get squeezed. It’s that blend of outrageous salesmanship and structural inequality you saw in TheShop’s world, delivered with vintage bite and wit.

Beyond the laughs, QualityLand raises questions about algorithms running governments and lives—the AI presidential run, automated decisions that outvote human choice, and Peter’s fight to assert agency. Autonomous tackles that same territory through patent-enforcement thugs, a self-aware military bot, and the messy ethics of who gets to be considered a person. If you enjoyed the way QualityLand’s machines nudge (and sometimes steamroll) humans, you’ll appreciate the smart, human-centered lens Newitz brings to similar dilemmas.