TwinIon

It seems they may have updated their mission statement from that draft: Make no mistake, in American politics in particular these guys are on the pretty far left, but from what I've seen of these Bernie Sanders type socialists is that they're not trying to put the state in control of everything . They're not trying to directly distribute the wealth of society or build towards any type of communist utopia. On their website they lay out their three primary goals as: Those are pretty general messages. The first two are talking points at Trump rallies. They obviously have very different visions of how to achieve those goals. Trump isn't going to run on a platform of weakening the power of corporations. And yes, anyone who talks about "restructuring society" is going to scare a few folks, but it's going to energize some people as well. You can't run a successful campaign avoiding making people on the other side uncomfortable.

On the one hand, I generally agree that Democrats are just not great at branding. The GOP has just generally been far better at making their positions sound more friendly and has been better at making their preferred terms stick. When it comes specifically to the DSA, I don't really have a big problem with using the word socialist. I think it's a fitting term, and while their platform is absolutely not Marxist, the people who will wrongly assume that they are probably aren't going to vote for them anyways.

Interesting that the DOJ's issues seem to be entirely focused on sports. I wonder if Disney would be ok with "new Fox" keep the sports stuff along with Fox news and the broadcast channel.

I've seen this complaint a few times, and I didn't find it quite so distracting. Yeah, it's kinda silly when Ellie walks right in front of an infected or something, but for the most part the pathing was fine. At least they didn't turn the entire game into an escort quest.

I doubt much will come of this. If anything does, then I expect it to be limited to Fortnight.

My first thought is that whoever wrote that learned to capitalize from Donald Trump. lol Did these guys even watch the movie they seem to hate so much? Luke sacrificed himself to save his sister and the rebellion. Han' death is obviously tearing Kylo apart. Honestly, if you watch Kylo in the throne room with Snoke and finish that scene deciding that Kylo is being perfectly honest and that killing his dad was no big deal, then you really are incapable of reading even he surface of the film. What in the world does this even mean? At this point I'm willing to file much of the TLJ hate under conspiracy theory as much as film criticism. Not that everyone that didn't like TLJ falls in this bucket, but if you really think that Disney has somehow decided to take perhaps the most valuable franchise on earth and use it primarily for some political agenda at the cost of financial success, well, then you really are lost.

97% on RT $42k opening weekend Westerns have a long tradition of being a medium for Americans to self mythologize and for others to explore that mythology. From the classics of John Wayne and Sergio Leone, to modern entries from the Coen Brothers and Denis Villeneuve, the best westerns use the American landscape to contrast the heights of our potential and idealism from the hardships and burdens of our reality. The Rider accomplishes both. Telling a distinctly American story, a story of self mythologization, set against the breathtaking great plains, it's also a story that doesn't veer away from the cruel and deeply unforgiving reality we've built. It's a film that comes from the last place you'd expect, but wields an indisputable authenticity. Powerful and beautiful, and it's one of the best films of the year. Chloé Zhao is not who anyone should rightfully expect to make a western. Born and raised in Bejing with very little exposure to western films, much less westerns in particular, she moved to South Dakota to tell stories. She became enraptured by a local cowboy, Brady Blackburn, who stars in The Rider as Brady Jandreau. Much of the film is like that; only slightly removed from reality, even bordering on documentary. Brady's real life family play his family on screen, his friends play his friends. His injuries in the film are real, and so are all his interactions with horses. Shot on South Dakota's Lakota-Sioux Pine Ridge Reservation, the poorest county in America, there is a realism here impossible to fake. Some of the film's authenticity does come at a cost. With virtually no professional actors in the cast, the acting can be pretty rough at times, even distractingly so. It's a small price to pay compared to the thrill of watching Brady tame an actual wild horse in real time, but it's part of the experience. For all it's realism, it's not a telling of the real Brady's story. Chloé Zhao took his life as a starting point and wrote a compelling narrative drama from those pieces. The Rider is a story of self reflection and a search for meaning. A study of a man desperate for agency and the forces that conspire against him. The story centers around Brady's head injury, and being told that he could no longer ride horses or compete in rodeos. As a talented rider he's being asked to give up the only thing he knows, his only opportunity to make something of himself. Thanks to the delicate touch of the director and the magnetism of the protagonist, The Rider is able to communicate all that with nuance and grace. It's small and it's slow, but most of all it's a touching film that I keep revisiting in my head, long after having seen it. The Rider is still in theaters, and I'd recommend seeking it out if you're lucky enough to have it playing in your area. If not the best info I could find is that it might hit VOD in mid August. If you're interested in The Rider or Chloé Zhao, I also recommend checking out this piece in Rolling Stone or her interview on The Treatment.

I like the new consolidated boards. Especially while things are going pretty slow.

I agree. I place the blame almost entirely on marketing. People didn't know the movie was coming out, and what they had seen of it didn't make them really care. Good marketing is the art of making people care about what they didn't before. Even if people might shrug at the idea of a Han Solo origin story, if they had trailers as good as the ones for Guardians and they'd pushed it earlier instead of waiting for TLJ to slow down, I have no doubt it could have been big. Solo sold eight million fewer tickets than Rogue One opening weekend. I'm very skeptical that any significant portion of those folks have any clue who Kathleen Kennedy is, knew anything about the turmoil surrounding the making of the movie, or were boycotting because of TLJ. The fact of the matter is that Disney put out a mediocre film that was poorly marketed and hoped that having Star Wars in the title would make it one of the biggest movies of the year., and that just wasn't the case. Also, I walked out of TLJ with a friend and we both loved it. My experience has been that most of my friends either loved or liked TLJ, with one person who really disliked it.

To me this paints a very poor picture for the future of media. Twentieth Century Fox is only selling because even as the ~4th largest studio in the world, they don't expect to be able to compete. The future of media seems to be that either you own such an enormous swath of media that you can't possibly fail (Disney), or you use media as a tool for alternative income streams like ads or internet access (Comcast, Verizon, AT&T, etc.). The final answer might even be 'both'. With the gloves off Comcast and AT&T's merger approved, we're about to see how those giants are able to use their media companies to drive profit in their access divisions while also building up their own ad networks. If that model proves successful, I'd expect to see Disney not far behind.

She looks great but I have no expectations that this will be any good.

Yeah, I'm hoping they continue to support it and I expect that they w. There are a lot of little quality of life changes that could make a big difference (like indicating where a building is violating the terrain or overlapping with something else), and there are a lot of big things like additional islands or challenge modes that could be fun as well.

Sotomayor calls out that double standard pretty hard in her dissent. (starting on page 89) If an act of government can be illegal for the reasoning behind it, then surely this case should have met that standard.

Hit me.

I agree completely. I loved going through as much as possible and reading each little bit that I would find. It's very much a linear game, but it was almost always open enough to not feel constrained. Even when things were going well enough for the protagonists, there was always some melancholy to be found in the wreckage of the world left behind. It's a incredibly well constructed game that is just so completely fleshed out.

71% on Metacritic Despite not being particularly fond of the recent installments, the Jurassic franchise is one that has always held a special place in my heart. I've also been known to fall prey to the allure of a few building simulators. Sim City 2000 was one of my first real gaming obsessions, and I put more than my fair share into roller coaster tycoon. So with even middling reviews, I jumped straight into Jurassic World Evolution, and while it's a game with some very notable flaws, I got my money's worth. If you have been known to fall prey to that "just one more turn" mentality, you'll be familiar with the kind of addiction that JWE tries to instill. There are a set of systems built into the game to insure that you're always working towards something. You always have very concrete goals that you're constantly working on, in addition to the general desire to build a bigger and better Jurassic Park. There are three different factions that you'll need to appease as you build your park: Security, Science, and Entertainment. Each faction will offer quick "contracts" that can be as simple as building a specific building or incubating a specific dinosaur, or slightly more general in needing to reach a particular park rating or guest count by any means. Each contract completed will raise your profile with that faction. Each faction will also have one mission with a set of more difficult requirements to fulfill. All of these systems mean there are constantly things to do. You're always working on multiple things at once. You can choose not to do contracts or missions, but there are various rewards for doing so, and they synergize into a very pleasant feedback loop that keeps you hooked in the game. The game isn't about building a single park either, but a series of them across different islands. Each time you start with different challenges and have new missions to complete. The island progression means there's a real sense of advancement in the game, beyond just building a better park with more dinosaurs. You'll want to get each park to five stars and complete the missions to unlock everything the game has to offer. While those gameplay loops are very satisfying and well done, the core gameplay of actually building the park is not quite as successful. There are limited options for types of buildings you can create, and their effect at times seems minimal. There aren't difficulty sliders as far as I could tell, and it's actually quite easy to appease the guests, even given the limited feedback you receive. I found that a lot of my optimization was unnecessary. At a certain point, I was building things better for myself, not because it seemed to affect my score in a meaningful way. As you build out your park, you'll undoubtedly come across the single most frustrating part of the game: dealing with the terrain restrictions. Each island is rather small and has more elevation changes than it often appears to have from a mostly top down viewpoint. Buildings have to be placed on mostly level ground, but it's often very unclear why a certain building can't go in a specific spot, even after leveling the terrain. It's very frustrating that it doesn't show you what part of the building is having trouble; the whole thing turns red, and you get a very general error. The other major frustration is the system of dinosaur comfort. When dinos are too uncomfortable, they'll break out. Give them too little green space or too little forest, too many or too few of their species or others, or not enough food or water and it's just a matter of time before they break out of their pen, no matter what fence you have. It's annoying that you can't see these limits before incubating a dino, so you might release a single one when it's only happy when in a group of 3 or 5. Getting just the right amount of space for larger dinos can also be a real pain. It seems to be a system of what the dino can "see", not what is available to them in their pen. So if you build a large enclosure with plenty of the forest they crave, but they are in a big open field, they might stay there and break out before wandering over to the forest. It's an opaque system that can really frustrate, especially when you run out of space. Aside from building the park, managing comfort, and researching new dinos, you'll spend a lot of your time sending out rangers to refill feeders. In the least satisfying busywork of the game, you're constantly told when a feeder runs out, and to tell a ranger to go refill it. There's a cost to refilling the feeder, but the rangers can't get hurt and they can't accidentally let a dino out, so there's not much thought that needs to go into it. You just have to select your rangers and tell them to replace the feeders. In a big park, this can become rather tiresome. You do have the ability to manually drive a ranger jeep, and some contracts will require you to. It can be a good bit of fun, even if the driving physics were clearly not at the top of the developer's priorities. You can also pilot a chopper that is used to tranquilize a dino when it needs to be moved. As I mentioned before, the game is rather easy. After you get a park off the ground, money is rarely a concern. The first hour or two of a new island you have to watch your budget carefully, but after that I almost never needed to think about my income. I quickly racked up a few million in reserve and couldn't spend it fast enough. Even after forgetting to let guests out of storm shelters or losing a few dozen guests to escaped raptors, my income would recover so quickly that those issues were hardly noticeable. That last bit of optimization to get a perfect 5 star rating can be a little illusive, but for the most part the game is firmly on the easy side. Overall I think it's a rather poor building simulator that is packaged in a compelling theme and visual package with a set of systems designed to keep you playing. For me, that was enough. I enjoyed moving through the parks, getting better at building and finding better strategies for park layouts. After about 40 hours I'd completed the primary missions and gotten five stars on all the islands, and I haven't felt any real need to go back and play in the sandbox mode, or even finish my plans for a few of the islands. Without concrete goals pushing me forward, the limitations and frustrations of the actual building sim take center stage, and even a game full of dinosaurs can't overcome that.

Watching the trailers at E3 this year reminded me that I never actually played through The Last of Us. I somehow missed it entirely on the PS3, and it was one of the first games I bought on the PS4. I played it up to a certain point and then lost track of it. I think it said my last save was November of 2014. Turns out, it's a pretty good game. It's impressive how well a game that is essentially from 2013 holds up in every respect. I had no doubt the story would be powerful and well told, and that those would stand the test of time. I was more skeptical that the game mechanics would feel sufficiently "modern," but it turns out that not a lot has changed in the last 5 years. There really wasn't anything that struck me as feeling particularly old fashioned in the way that some trail-blazing games do in retrospect. The progression and crafting systems are simplistic, but perfectly functional for the type of game it is. The graphics too, still look pretty good. They're notably not the best around anymore, but by and large this is still a very good looking game that is littered with astounding detail. Sure, you can see where some models could use a few more polygons or another pass or two of texture, but it's still perfectly capable of instilling the necessary empathy and horror. If there are any of you that, like me, somehow missed out on The Last of Us, it's still very much worth a play through.

I've heard nothing but good things about this one. Looking forward to seeing it.

I like the new Xbox theme, and I'm not sure if I'm alone, but I don't like the font. It feels too light to me, making it hard to read.

I thought she said paleo-veterinarian, but I could be wrong.

Sticking with the same avatar.

Trade wars are good and easy to win.

Even thought I'm not a fan of 12, I can at least understand why people love it. It's a deconstruction of the heist genre and a meta commentary on making sequels in general. It doubles down on the more esoteric aspects of the genre and actively rebels against what made 11 work so well. It's an audacious thing to do, and I'll give Soderbergh credit for trying, even if I didn't love the result. Ocean's 8 is not that. It's much more like 13 in that it obviously wants to re-create each beat and success of 11, but consistently fails to do so, and fails much worse than 13 did on almost every level.

Incredibles 2 is going to be a real beast. If a $150M opening weekend can't slow it down, I don't expect anything else to either.

50% on RT $150M opening weekend Just as the dinosaurs themselves were reverse engineered from bits of left behind DNA, Jurassic World: Fallen Kingdom feels reverse engineered from a trailer. It's a film that moves breathlessly from action set piece to action set piece, but seemingly without thought or reason. The driving force for it's two hour run time is never narrative or character, but a brash and brainless commercialism, focused almost entirely on creating brief, trailer worthy moments. If you've seen the marketing for this fifth installment, you've likely seen some of these shots: A T-Rex standing triumphantly on another carnivore, volcano exploding in the background, Chris Pratt's Owen Grady staring down any number of dinosaurs or jumping through the open mouth of another T-Rex. These shots are often impressive, well framed and scored, and for the briefest of moments, reminiscent of the awe this series is constantly chasing. The failure then, is everything that must precede and follow those moments. At virtually no point in this film does a character make a critical decision that feels identifiably human. The villains are transparent and necessarily insidious. It's not enough that their hubris and greed be their downfall, they have to go out of their way to kill innocent people and imprison little girls. The heroes though, are even worse. Save the volcano at the beginning, every disaster that we witness throughout Jurassic World 2 is directly the fault of our heroes. They put themselves in ridiculous positions without any clear motivation, they actively make every situation more dangerous for themselves and everyone around them, and when things get out of control they do nothing to neutralize the situation, preferring instead to make disasters into catastrophes. With Jurassic World, the long mishandled series had a clear idea for a compelling premise. Even though I will always bemoan the execution of that film, I can credit it for that. With Fallen Kingdom, the franchise reverts back to the issues that plagued the first two sequels to Jurassic Park; lacking any worthwhile ideas for where to take the series next. Fallen Kingdom then compounds this with a complete lack of character drama, the thinnest possible motivations, and the worst plotting this series has yet seen. Fallen Kingdom is certainly in the running for the worst in a franchise with more than a couple terrible entries.