I'm with you, I'm having a blast, but I think the reactions are because of the idea that it would be a Skyrim type game and... It's not really even trying to be that. Like you said, it's an ARPG, the roleplaying is basically just dialogue and most of the game is really well done exploration and combat.

Ground level infrastructure meaning the ability to get people out to do anything from marching to rioting to picketing to canvassing to voting. The Civil Rights movement wouldn't have gotten anywhere if it hadn't actually mobilized people and thus made people aware of / afraid of organized resistance. The Black Panthers deserve a lot of credit as well for being the armed hard core of the movement.

We'd get a lot more of what we want peacefully if oligarchs were afraid we'd rally and fuck up their businesses bottom lines AND that they might get assassinated by radicals.

Sure, whatever. I just think the way shit is credited actually matters, e.g. "Run the Jewels" isn't a Killer Mike album even though he's on every track, just like "Kid A" isn't a Thom Yorke album. Shobaleader One's work is separate from Squarepusher even though it's literally the same person.

Artists make subtle choices when crediting their work, but yeah it's ultimately subjective so do you.

Discogs lists everything an artist has done ever, solo or as parts of other bands, even just feats. on other albums. "Aesop Rock and TOBACCO are Malibu Ken" is the full name of the album, but the artist of that album - on discogs even- is "Malibu Ken". For reference, Wikipedia doesn't list MK in Aesop's discography, correctly.

The way things are credited matters a lot. "Run the Jewels" is not a Killer Mike album just like "Kid A" isn't a Thom Yorke album. If they were credited as "Killer Mike with El-P" or "Thom Yorke with Radiohead" that would mean something different.

I know you think it's pedantic, it's just that the artist determines what is his personal work and what isn't. If you look up Aesop Rock's discography, Malibu Ken isn't on it, but Garbology is.

It's different because MK is a duo, where Garbology is an Aesop album that basically feats. Blockhead on every track.

Malibu Ken isn't an Aesop album it's a Malibu Ken album. TOBACCO should not be underestimated and is great on his own too.

In my experience that's a very appropriate boner.

I was sort of with you on the ocean stuff, swimming there isn't really a substitute for a lifejacket, but swimming being for the privileged is a weird take.

If you don't have access to a body of water for free, then public pools are usually cheaper than a movie ticket. You don't need any equipment, all you need is one person that kinda half way knows how to swim and is willing to point you in the right direction.

My kid bought me a Back to the Future DeLorean for my birthday, about 2000 pieces.

Initially I thought it was kind of a mis-gift, something they would enjoy more than me since I hadn't built a set since they were small and needed my help, but I made it a point to crack it open instead of letting it sit and it turned out to be quite enjoyable.

Yes? It's been renewed, and should premiere this year.

Sorry, I don't care what Kurtzman says about this (or an actor that is obliged to defend a project he was in) when it's justifying putting out schlock for mind share. If that's the best we can do, let it die - it doesn't make anything that exists any worse.

Trek needs a good show that stands alone and isn't aimed at us but a fresh audience. That means no cameos, limited references, not animated (that is a stigma as much as I love LD), and actually taking the time to get people invested.

Basically, they needed Discovery to not be garbage. I know non-Trekkies that were actually excited for a new sci-fi romp and got turned off almost immediately by the nonsense writing. Not the cast, or stupid out of universe concerns about being "woke" or some shit, just plain out "this makes no sense and isn't fun to watch" and it was hard to disagree.

Everything since then has lived in Discovery's shadow in terms of new audience and has mostly dealt with that by being aimed at fans of 90s Trek and nobody else. Prodigy may be an exception here, but that suffers from being oriented at kids.

Sisko looking like he's about to pick up an origami unicorn

I organize with Drafthouse in Austin and they did the same here a week or two ago. Just blatant union busting in the guise of layoffs.

They can't run a candidate that can win because that would require a platform that steps on too many donors' toes.

I used mutt back in the day, opening vim for message editing.

I wouldn't do a mailing list these days, but as someone who spent the early part of my career interacting with devs that preferred this method, it's actually pretty ergonomic by a 2005 standard. A message thread aware, text based email client that can turn messages into patches in a keystroke makes it actually pretty comparable to modern code review...

I think it's hard for younger devs to get this because they're used to email being stuck in a crappy, unthreaded browser interface or Outlook etc. (which are terrible for mailing lists) and most collaboration taking place in code review and chat platforms like Teams/Slack but for decades before these were feasible, email was the way...

In a certain way, it does feel close. We can't figure out how to go faster than light, but we could theoretically get to a significant fraction of c and 20 years isn't such a long time to plan for in terms of getting a probe there to start relaying messages that take 20 years to get back.

I mean, it's the span of a career, but people could conceivably work on the launch and live to see it return data.

GNOME 3 introduced the current shell paradigm where you don't really have a start menu but a variety of searches, integrated indicators, per-app desktops with a dock etc.

Before, it was far more conventional experience like Plasma/Windows/Cinnamon are now. GNOME 2 was forked to be the MATE desktop if you want to check it out.

These are such great episodes. The Enterprise one specifically is amazing. We so often see our valiant crew save Earth, but they almost never sacrifice their morals to do so.

For Archer, with practically all of humanity in the balance, how could he not fuck those guys over?

Well said. Especially agree on point one. I'm not a fan of the Discovery era characterization of Section 31, but ultimately there was no reason they had to be related to this movie at all. Georgiou had plenty of personal reasons to deal with this and to have a collection of ne'er-do-wells on hand without any involvement from Starfleet / S31.