Only if he’s from Britain, anywhere else and he’s just “sparkling self-satisfied”

Fighting fire with fire, they’ll never see it coming

Any non-dummies out there willing to dummy this down for me?

If I’m picking up what was being put down, websites typically reserve a small amount of space on a hard drive for any given website to install scripts they need to function. This is done as a matter of course, and is largely the modern Internet working as intended (for better or worse). However, in this case, a compromised website could instruct my browser to reserve a gig or more of space to deploy or install this FROST script. This reports back to the attacker what programs are competing for resources on my computer, including my individual browser tabs and what sites those tabs contain. It can do this despite the location where browsers let websites install/run scripts being nominally sandboxed away from the rest of the drive. It does this by measuring the latency of certain I/O operations occurring on the drive, and feeding that information through some sort of neural network.

Assuming that is generally correct from a layman’s POV, how exactly is that latency information sufficient to determine what programs or websites I have open? Wouldn’t different models of SSD (or even different SSDs of the same type) have minor variations in performance which would make this impossible? Hell, how does the script even know that it is installed on an SSD and not an HDD?

Not saying it untrue, because obviously the folks that discovered this know a touch more about computers than me, but, if this explanation were trotted out in a thriller movie (“well, President Ryan, we know the location of the terrorists’ hideout because we were able to measure the latency of their hard drive, which revealed they were placing an Amazon order in the other tab”), I’d chalk it up to techno-babble nonsense.

From what I understand, there’s an argument to be made that Red Sonja started not holding up at its own premiere haha.

That being said, I can lightly recommend the Red Sonja remake from last year. I did a double feature of that and Deathstalker 2025 awhile back, and had a really good time. It’s kind of wild that we had two revivals of non-Conan barbarian properties released right around one another. Like an even schlockier version of Deep Impact vs Armageddon haha. Admittedly, I think Red Sonja 2025 benefitted from having watched Deathstalker 2025 first. Like the reviewer in the article, I only started to have a good time with the latter film once I A) learned its budget was barely $100K and B) came to terms with its comedic tone. Therefore, Red Sonja’s somewhat po-faced earnestness and modest budget ($17 million-ish) felt like a breath of fresh air by comparison.

Fascinating. My godfather is a mathematician at a local university, I’ll ask him whether this is something he runs into. I’ve heard him grumble about formatting his work in the past, but usually in the context of using Latex, which I gather is something else entirely.

I hate to hit you with such a tangentially related query to your main point, but what is “formalizing a proof”, and why is there such a discrepancy between the time it might take an expert (weeks if not months) vs an LLM?

(It probably goes without saying, but my college career was spent in the Humanities, where there was not much emphasis on proofs, formal or informal, so I’m curious how the other half lives.)

I’ll be honest, I’ve no idea if that’s a codemnation or an endorsement lol.

I like Trek just fine, but it almost entirely stems from catching TNG episodes on daytime TV growing up, as well as the memes. My understanding was that TNG didn’t start to get gud until Roddenberry had largely been sidelined.

What, within the text of the film, indicates to you that there is some sort of consensual power-play happening between those two characters (who are on, what, their third ever meeting?) during that scene?

Like sure, slap-slap/kiss-kiss isn’t inherently assault in every context, but, in the film’s context, I find it difficult to read it any other way. Even taking the physical coercion out of it, like blocking her attempts to leave, if we take the movie at face value, Deckard is a 40 something alcoholic who “falls in love” with a woman A) he knows is artificial, B) lacks any real experience with the world, and C) is going to be hunted by men like him. The sum effect of which is to paint Rachel as someone who would be completely and utterly dependent upon him if they ran away together. That, in combination with his physical actions leading up to their sex scene, paints Deckard as an abuser, in my opinion.

I’m sure that wasn’t necessarily the intent. Rather, they were just playing with the same film noir tropes that festoon the rest of the movie, but, still, that dynamic really puts a sour taste in my mouth. Not enough to prevent me from enjoying everything else about the movie, but it bears mentioning.

He’s One of the Good Ones ™️

“How many hot dogs a day? Well, gosh, I don’t know. Some days it’s just two. Other days…it could be up to, and I’m just ball parking here you understand, it could be…up to seven?”

“So…seven hot dogs a day.”

“Yeah, probably safe.”

Indeed. I understand the algorithm hate round here, and if someone decides that they don’t want any recommendations from Google at all that’s their business, but I do appreciate some of what they send my way. Recently, whether due to a tweak on the back end or a quirk of my recent watch history, I’ve found I’ve been getting a fair number of very small channels filtering into my recommendations. Without those recs, I’m never gonna find someone’s 712 view video from 3 years ago about scratch building an original spaceship design, so I’m happy to have a space where those can show up in addition to my personally curated subscription feed.

Well this is exciting! I watched The Lair of the White Worm last week after picking it up out of a bargain bin. It was my first Ken Russell and was totally unknown to me going in. I had an absolute gas watching it. A friend recommended checking out The Devils, but maybe I’ll hold off until I can see it in the theater. If it’s anything like what he did in the later movie, I want to see it on the biggest screen imaginable, with the least possible idea of what it’s about going in haha

In OP’s defense, I checked out both movies’ Letterboxd ratings, and Blade 1 is rated at 3.5 out of 5, and Blade 2 is sitting at 3.3, so maybe it is just an echo chamber thing. That being said, I really believe this was not the case 10, 15 years ago.

Having sat with it for awhile now, I’m kind of coming around on the notion. I’d have to do a back to back viewing to confirm, but my current hypothesis is that Blade 1 is an excellent urban action-horror picture. It does everything you’d expect it to do pretty well. Blade 2, being a product of Guillermo’s interests, has this weird, quasi-Shakespearian family drama between Nomac, lady vampire, and the patriarch serving as the emotional spine of the picture. It’s fine, but I remember a lot more about their dynamics than I remember about Blade’s arc, which is maybe not what you want from a Blade movie. Plus, all the extra vampire lore and whatnot makes the picture feel less like urban action-horror and more like a fantasy film, which just so happens to have guns and the occasional unwitting human. Not bad, but it does feel like a dry run for ideas Guillermo would do better in other movies.

I was gonna say, how is this entire thread skipping over the take that Blade 2 is a step down from the first? It’s not the craziest movie take I’ve read on here, but it definitely flies in the face of what I understood to be popular opinion.

Ah, so you’re familiar with British culinary principles then…

looks over at the copy of The Terror that I’ve just started

Uh-oh

I tend to agree with you about the art style. While I know HoMM3 is the fan-favorite, HoMM2 was my jam growing up, and it’s distinctive “80s-fantasy-paperback-cover” style is firmly embedded in my mind as the essence of HoMM. While that definitely speaks more to my nostalgia than any rational critique, I do find the current direction to be lacking in character. It’s all fine, but it could belong to any modern fantasy IP.

My hangups about the art notwithstanding, the game seems to be rock solid. I spent 6+ hours in the demo in a single sitting. When I came to my senses, it was well into the wee hours of the morning. If that’s not the hallmark of a good HoMM experience, idk what else would be. Additionally, the actual game map tends to look pretty good, and there are graphical touches that I quite enjoy (like different troop variants having entirely different models, rather than simple pallete swaps). Finally, as a HoMM3 fan, you might even enjoy certain aspects more. When I wrote about this a few months back, someone in the comments mentioned that they felt like there was a fair amount of HoMM3 DNA in the art (which, as a HoMM2 head, I wouldn’t have clocked).

All of which is to say, give the demo a shot if you haven’t. While my bugaboos with the art style never entirely went away, they were easily relegated to the background by the rest of the game’s strengths.

They’ve got a demo available! Worth checking out if you want to whet your appetite.

I’m not saying it’s a brilliant name. Im arguing it is an inconsequential detail that does not matter in the context of the story, and it should be treated as such. You called it “possibly the stupidest artistic choice in cinematic history”. I guess I just find that to be at least as ridiculous as “unobtanium”, if not moreso.