“While history is often written about with great authority, the reality is that history by its nature is inherently anecdotal,” Weaver says. “We've had an opportunity to interview the people who actually created an entire industry, in their own words. Long after all of us are dead, the future of our industry is cemented in the words of the people who created it.”

Before we have sorted out who or what failed and why, many people have focused on restricting gun access. I will not blithely dismiss that discussion. There is simply no getting around the fact that America has a lot of guns, and it would not be intellectually honest to dispute that the mass availability of guns makes attacks like this easier to commit. Were there to be a wholesale gun confiscation in America, there would doubtless be fewer attacks like this.

The inability of society to properly monitor and manage people experiencing mental health crises is behind many problems, and is largely attributable to the well-intentioned but ultimately problematic choice to deinstitutionalize mental health care in favor of a model of community-based management.

I’m certainly not advocating for “re-institutionalization” but clearly something has to change, and the pendulum needs to swing back toward stronger interventions. Maine and the nation can design a better system that preserves humane treatment while simultaneously taking seriously the need to protect both society, and those like Card who desperately needed help and didn’t get it.

Wesleyan President Michael Roth called Basinger “a demanding and caring teacher, helping her students discover cinema as a way to see, to think and to feel, as an opportunity to explore the human experience.

Bridging the gap between James’ “The Turn of the Screw” and Flanagan’s “The Haunting of Bly Manor,” Alejandro Amenábar’s “The Others” remains one the greatest and most instructive movies of its kind because it shows that denial is the real ectoplasm that binds ghost stories together, and love just the most satisfying conduit through which it might be made flesh.

The great project of someone’s life might be the pursuit of a sustainable balance between doubt and conviction, or fear and security; most people will construct and/or cling to whatever answers might spare them from the mortal horror of being hounded by certain questions. To that end, it’s no coincidence that many of the most unsettling ghost stories ever told revolve around characters who refuse to accept that they’re in one to begin with, as no other genre is so fundamentally dependent upon the power of denial. Likewise, no other genre is so determined to erode it.

It's just a bit depressing to see how much it's all become a numbers game, whether those numbers are dollars in your pocket or followers on your Instagram. I'm probably saying nothing new to anybody who's been on the blogging scene for some time, but as a newcomer who's just here to write creatively and have fun, it was a stark reminder of how corporate the web has become. Why is that the end goal of blogging? Of writing? Just to make money and grow our followers? To increase our traffic so we can expose our visitors to 300 repetitive ads that take up their entire phone screen? To "convert" our readers into our customers, because them reading and enjoying what we have to say simply isn't enough? Personally, I want nothing to do with it. I'm sick of everything having to be a hustle now, even something personal like sharing our ramblings with strangers on the internet. I have little else to say other than that I hate how capitalism ruins everything fun it touches. I'll continue to write about things that make me feel passionate, not how to make money or gain followers.

It is funny to recognize a clear difference between businesses which used to game the Yellow Pages decades ago — with names like “A Aaaaa Bcalvy” — and those which are doing the same thing for Google today. If the former still exist, they have probably been around since a phone book was the first place you would look for services; it feels ironic that a bit of outdated trickery might be an indicator of long-time quality. Google says this strategy does not work, and my testing seems to confirm that. There is a chain of businesses in Calgary called “Towing Near Me”, but searching both Google and Google Maps for that exact phrase does not surface that business. Instead, I see towing companies with locations near my IP address in central Calgary, which is what I would expect.

Fundamentally, Diffusion Models work by destroying training data through the successive addition of Gaussian noise, and then learning to recover the data by reversing this noising process. After training, we can use the Diffusion Model to generate data by simply passing randomly sampled noise through the learned denoising process.

When Banks is able to establish sufficient shared vocabulary to ask why the aliens have come, they answer with a statement that could be translated as "offer weapon". China interprets this as "use weapon", prompting them to break off communications, and other nations follow. Banks argues that the symbol interpreted as "weapon" can be more abstractly related to the concepts of "means" or "tool"; China's translation likely results from interacting with the aliens using mahjong, a highly competitive game.

Quality software from independent makers is like quality food from the farmer’s market. A jar of handmade organic jam is not the same as mass-produced corn syrup-laden jam from the supermarket. Industrial fruit jam is filled with cheap ingredients and shelf stabilizers. Industrial software is filled with privacy-invasive trackers and proprietary formats. Google, Apple, and Microsoft make industrial software. Like industrial jam, industrial software has its benefits — it’s cheap, fairly reliable, widely available, and often gets the job done.

Big tech companies have the ability to make their software cheap by subsidizing costs in a variety of ways:

Google sells highly profitable advertising and makes its apps free, but you are subjected to ads and privacy-invasive tracking. Apple sells highly profitable devices and makes its apps free, but locks you into a proprietary ecosystem. Microsoft sells highly profitable enterprise contracts using a bundling strategy, and makes its apps cheap, also locking you into a proprietary ecosystem.

I’m not saying these companies are evil. But their subsidies create the illusion that all software should be cheap or free.

Independent makers of quality software go out of their way to make apps that are better for you. They take a principled approach to making tools that don’t compromise your privacy, and don’t lock you in. Independent software makers are people you can talk to. Like quality jam from the farmer’s market, you might become friends with the person who made it — they’ll listen to your suggestions and your complaints.

Big tech companies earn hundreds of billions of dollars and employ hundreds of thousands of people. When they make a new app, they can market it to their billions of customers easily. They have unbeatable leverage over the cost of developing and maintaining their apps.

Textured with Williams’ usual grain and kept alive by his keen eye for detail, “The Sweet East” essentially sees America as a series of concentric cults. Lillian is like a teenage Virgil leading us on a tour through some kind of stupid new hell where anyone who believes in anything does so with an all-defining religiosity that demands to be mocked.

Everyone sees her as the perfect screen on which to project their own narrow view of the world. That’s true of the self-obsessed filmmakers who “discover” Lillian on the street (they’re played by Ayo Edebiri and Jeremy O. Harris, both very funny as hyper-talkative artists who assume that everyone sees the genius of their inane period piece). It’s true of the hunky movie star who turns her into the paparazzi’s latest cause célèbre (Jacob Elordi), and it’s true of the set PA Mohammed (Rish Shah), who’s convinced that he alone can “save” her.

She always was something, she never is something, and the movie around her seems unsure if that’s sustainable. On the one hand, Lillian is the only character who avoids the embarrassment that naturally attends sincerity, and there’s a palpable degree of wish fulfillment baked into a character who so convincingly doesn’t give a shit (even though everyone is obsessed with her). To paraphrase one of the people she encounters, Lillian is Teflon enough to defy a digital culture that force-feeds her a series of unworthy choices, and she emerges from every encounter unscathed… whereas other characters are liable to get their heads blown off. In a film that adopts a “South Park”-like approach to making fun of everyone, Lillian is never the butt of the joke.

On the other hand, there are a few fleeting moments in which “The Sweet East” confronts its heroine with something approaching self-awareness. Her wanton use of the word “retarded” — a slur that the Dimes Square crowd embarrassingly tried to reclaim as an expression of their freedom from liberal moralizing — feels at first like an unfortunate side effect of a movie that allegedly features appearances from Peter Vack and Betsey Brown (their names appear in the credits, but I never clocked them on screen). Later, however, someone coolly confronts Lillian about that habit, leaving her at a total loss for words. When another character snipes that they “don’t like being told things about myself,” it almost sounds like the movie is admitting to a posture of its own — that it’s recognizing that lack of belief as a belief system unto itself.

This is a fun — and sometimes very funny — movie that is virtually impossible to make fun of in return, and at the end of the day, that might be the only metric of success that matters to it.

Film geeks don't have a whole lot of tangible things to show for their passion and commitment to film. They just watch movies all the time. What they do have to show is a high regard for their own opinion. They've learned to break down a movie. They understand what they like and don't like about a film. And they feel that they're right. It's not open to discussion. When I got involved in the movie industry I was shocked at how little faith or trust people have in their own opinions. They read a script and they like it - then they hand it to three of their friends to see what they think about it. I couldn't believe it. There's an old expression that goes something like, He with the most point of view wins.

We are simultaneously woefully mired in legacy problems and yet poised for a big leap forward.

As filmmakers, a powerful step forward is merely to recognize that there exists a special skill set unique to a proper color scientist that has little to no overlap with the important but different expertise of a colorist, an on-set digital imaging technician, or a workstation engineer.

Today’s AI models display beyond-human capabilities on a growing list of tasks like impressionist painting, music composition and writing engaging prose. In this fast-paced class students will use generative AI models to paint, write, compose music, code and engage in fluent conversation with a machine.

It's not Just the same story seen from different point of views, it's the same story in which people act and behave every time with different attitudes according to Who Is watching and his or Her fears, feelings or expectations