ryanm

Wayne's World, but I'm not sure which one "I think we should go now"

Bernthal has an incredible knack for making me viscerally uncomfortable, whether it be from an extremely convincing performance of fragile volatility (e.g.: this, Fury, etc), or just appearing in scenes where some bad shit is imminent (Wind River). I'd be intrigued to see him in a light-hearted rom-com or something.

We can expect nothing less from Whoopi "rape-rape" Goldberg

Check out the personal use/iii section of https://boredapeyachtclub.com/#/terms

I think I'd agree with zok that NFTs as they are currently implemented do not cause artificial scarcity. The concerns about the issue stem from looking at the terms of service for some of these schemes and seeing that the intention is very much to introduce artifical scarcity. For example, skittles is currently breaking the terms of service of his monkey avatar by using it here - per the terms he's only allowed to use it on websites that validate ownership to foil those dastardly right-clickers.

Ah. It seems like there's a significant difference between our understandings of the last few posts. At the risk of delving deeper into this semantic gap, what did I write that you understood as an apology, and what do you think I'm apologising for?

Yes, NFTs have successfully replicated some of the worst aspects of the art market. Hip, hip, hoo-fucking-ray.

It's perhaps unfortunate, then, that it's so difficult to distinguish the NFT buyers that want to support that artist from those that couldn't give two tiny fucks about the art, and are just after an speculative investment.

This matches my understanding too. I'd add that the believability of the first scenario is significantly weakened by the ability to re-sell your NFT. If it was all about patronage and supporting the artist, why would you want to be able to sell it? Patreon exists if you want to support artists.

That guy was security, McLane makes a point of noticing him. Even so, the pyrotechnics do seem extraneous as he's completely gormless.

The cameras operate on infrared light, so you can buy IR lighting that will allow tracking while not being visible to your actual eyes.

This is a well-considered adaptation. I noticed two omissions from the book that in retrospect don't really matter at all. 5 brutalist ziggurats out of 5.

If ever a game was limited by the technology of its time, it was G-Police. Let's have that again, but this time with a draw distance of further than 6 feet.

This might be the most fragile tinderbox of a villain's lair since Quantum of Solace. We can only surmise that Kurleyenko's presence makes systems engineers come over all giddy.

It's the direct entertainment descendent of cat-burning

While I can only applaud the straightforward injection of Adrian Pimento into The Matrix's story, the end result is pretty sterile. There's an interesting concept here, which I imagine accounts for Ejiofor's presence, but there's a smothering layer of glossy teen-boy wish fulfilment and Marky Mark is again wildly unlikeable.

You know who the real heroes of this masterpiece is? It's the steel band, who have clearly been chained to their instruments and dosed to the eyeballs with powerful amphetamines to maintain this level of activity.

William Gibson's Peripheral explores some stuff in this area. In that the time travel is purely data rather than physical (telepresence thus plays a part) but you still get the interesting moral question of how separate timelines treat each other.

Complete conjecture: causality forked when the time travelers arrived. Our future is now safe as we can trivially avoid the invasion thanks to the advance warning, but that still leaves the traveler's reality needing help. People are getting drafted into that fight on the basis of humanitarian concerns (future humans are still human right?) and maybe a convenient lie that we're still on the same timeline, but really it's about harvesting sweet alien technology for Weyland-Yutani.

This was absolutely turgid. It must set a record for the greatest distance from the source material for a "based on" derivative work. The only recognisable bits are: * The man's name * That the man becomes sad when he fails to protect a woman * The sad man pretends to be drunk in the street one time * The sad man doesn't drown at the end One wonders how much the film rights to these unbelievable gems of creative genius cost.

Ah, that makes sense. I wonder if the ethical and moral issues around the use of poorly-regulated private military contractors will be explored.

I'm a little puzzled at Sam's line about the new Captain America being hamstrung by restrictive ROE and admin because he's working for the government. Aren't they both working for the government? Whose plane is Sam jumping out of all the time? Where did his military liaison guy come from? Has the military just ceded their ownership of his wings?

You know what, I bet you're right! Zack must be kicking himself at missing the opportunity for a half-hour slow-motion scene charting the manufacture, sourcing, logistics and integration of the bomb components. It's high time that I, Pencil received a full cinematic exploration!

It's fun to learn that alien doom-tech emplaced weapons, grown out of nothing but the inscrutable evil of the whotsit-rhomboids, have obviously-human-made seven-segment LED displays to show when they're about to explosively overload.