Sorry, English is not my first language, bit I thought the post is somewhat clear?

English is my first language and it was clear to me.

I already mentioned that there are edge cases. Edge cases do not discredit foundational frameworks that define reality.

But when you are trying to define or classify things it is the edge cases that are key. It is at the edges that we hope to find a clear divide between one set of things and another.

Unfortunately, with sex chromosomes, their impact on development and that effect on performance it feels like the more we know the less we understand.

International sporting bodies have huge resources and access to the best experts in the various fields and they can’t come up with a good way to classify male and female. I could, at least, see the logic in their going for testosterone exposure during puberty as being a useful guide, although it is complex and rather arbitrary, but there are counter-arguments to that which suggest it isn’t useful. So the sporting bodies seem to be falling back on chromosome testing, which is no guide at all to performance and seems to be favoured because it is easy to test for - like the drunk looking for his keys under a lamppost because the light was better there.

Can confirm. When we took over the running of feddit.uk migrating the images took forever as it was around 300GB.

I thought Use Boll might have stopped making films after they tightened the tax loophole his backers were exploiting. Unfortunately not.

My general advice is to pick a regional one or one based on one of your hobbies. That way you’ll have a relevant “local” feed and can dip in and out of “all”. On .world there isn’t much difference between “all” and “local”.

Oopsie

Or am I turning into Bizarro?

This is the way.

Part of the problem is these high brow indie films cost millions of dollars (6 for Anora, nearly 10 for The Brutalist) and they are just about breaking even.

Here in the UK, The Brutalist got a limited opening and it was only with the awards buzz that it got a wider release. I’m afraid, a three and a half hour film (with interval) about a man trying to exercise the demons of the death camps through architecture, was always going to be a hard sell, where Longlegs (made on a similar budget) took £127M. So nothing much yet off the back end and Corbet waived his fee for the film to keep it on budget, so he didn’t get any money on the front end.

Weirdly never even noticed there would be an issue.

Yep, we held a competition for the avatar and banner. That won the former.

Start here.

We discuss costs here.

As long as you shop around for a good hosting deal you don’t need everyone to donate to cover the costs.

Welcome aboard.

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It sounds like it’ll work for me, being a big Gunn fan, but this feels increasingly risky as the Gunniverse relies on this being a hit.

I made a list of them.

There’s a lot of reasons there:

• Oscar winning directors get too much of a free hand on budget and runtime - Mikey 17 was really good but with that budget it was doomed to, at best, break even.
• They get offered big projects they may be unsuited for - there was nothing about Nomadland that said Chloé Zhao was ready to direct a blockbuster Marvel movie and it just felt like a cynical exercise to get a bit of indie cred. I doubt she had much creative freedom on The Eternals and would be interested to hear her story about that project when enough time has passed.
• They decide it is a good time to get that passion project greenlit and out when it stood a better chance of finding an audience - I’m a big GdT fan but his Nightmare Alley didn’t do much for me. I like all.of his films but would rank that somewhere towards the bottom.

The ones who go against this trend have won for bigger budget films and then dial it back and make smaller, more personal films which can get done on a lower budget but will get extra eyeballs because of the Oscar win and so can turn a profit.

That said, the “curse” may be no bad thing. I suspect Bong knew Mickey 17 wouldn’t cover the costs but felt like this was his chance to get an expensive film made on the studio’s dime. He may even have enjoyed the idea of an anticapitalist film getting a great reception but costing a big American studio money. He’ll not have any problem getting future projects funded because of this, they may just have a more modest budget.

I’m looking forward to this but fear the trailer may have shown too much.

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