I have seen and used "sink toilets" in Japan. I think it's a good idea that should be adopted more widely across the world.

@Renauda said in Speakes thou even English, brether?: @Aqua-Letifer I can remember as a kid when my grandfather and his brothers and sisters would get together and converse in their West Yorkshire dialects. All were born in the late 1800’s and grew I no England. My father could understand them but really couldn’t speak it with any real fluency. It was English but at the same time it wasn’t English - I understood very little other than few words and common expressions that my father would use from time to time. Theirs is the truer English. Pronunciation, vocabulary, grammar, word order—it's all a lot closer to Anglo-Saxon than what we consider modern English to be today. Speaking of which, it may interest @Jolly (if he doesn't know this already) that there are a handful of quirks of English in the American south that are unique with respect to the rest of the country, but are Old English holdovers. Couple of examples: "Reach" pronounced as usual, but "reached" pronounced "wretched". Or maybe "het" instead of "heated." These are strong verbs, in which the vowel sound changes depending on the tense. (Weak verbs, by contrast, just have an "ed" ending to indicate tense.) This is an Anglo-Saxon holdover that the Scots and Irish immigrants retained. Our language used to have more strong verbs than weak ones. Now it's the opposite. Thanks, Normans. "Stacked modals" like "might could" are seen as wrong today, because we let silly Latin fetishists write our grammar books. But this was a feature of the language, not a bug. Adding "a" before a verb, like "a-fixin' to" is a holdover from when prefixes would change their meaning. We still use plenty of these: overmuch, become, prevent, etc. It's just that there are a few more examples in the American South.

I am guessing that the conditions at the National Military Center go back more than 4 years. I am also guessing that the problems existed during President Trumps first term.

And both of us know the mercurial nature of data.

THe important things are the facts of the case and how they relate to the charges and the evidence, not the mens rea of one of the agents on the case.

There is something to what she says. It’s not the whole story, but things like going to a guy’s hotel room should be at least a bit of a red flag.

Has-been Leonard Maltin, desperately clinging to relevance with this review: Phrases like “game-changer” and “cutting-edge” can’t capture just how audacious and original Emilia Pérez is. I daresay it wouldn’t or couldn’t have been made, or even conceived, just ten years ago. (Maybe five…) I am determined to praise and discuss it without giving too much away. Here goes: Emilia Pérez is a crime thriller that boils over into melodrama, laced with violent action. It has been described as operatic, which makes particular sense when you learn that it is punctuated with a dozen musical numbers. I would love to have been a fly on the wall when filmmaker Jacques Audiard auditioned this idea for his backers. Zoe Saldaña gives an excellent performance as a lawyer who has become bored with her work, making her a perfect choice to take on a formidable and dangerous assignment: to help a brutal Mexican drug kingpin disappear from sight—even from his wife and two children—and live the rest of his life as a woman. Both iterations of that character are played by trans actress Karla Sofía Gascón, who gives the breakthrough performance of the year. The film utilizes songs to help define its characters and their emotional state as the unpredictable story unfolds: from a tender bedside recitation to an anthem of liberation set to Busby Berkeley-like choreography. Composers Camille Dalmas and Clement Ducol deserve credit for sheer versatility…as well as the ability to write lyrics in Spanish when they (like the director) are French. Audiard, whose notable work includes A Prophet, Rust and Bone, and The Beat My Heart Skipped, credits a novel by Boris Razon with the inspiration to make this one-of-a-kind picture, which he co-wrote with Thomas Bidegain, Léa Mysius, and Nicolas Livecchi. He has gone on record as saying he is not a fan of musicals, and he hasn’t paid attention to the genre’s conventions at all. His unique and compelling picture defies pigeonholing. And if the narrative has some lulls, well into its two-hour-plus running time, it’s a minor complaint given the exhilaration it provides overall. The cast wrings every drop of emotion from the screenplay, at reflective moments as well as sequences where every feeling is dramatically heightened, and always with purpose. Kudos to Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, and a late-arriving Édgar Ramírez for delivering on the promise of Audiard’s wild ideas. Emilia Pérez is a knockout.

@Doctor-Phibes said in Eleven years later...: @LuFins-Dad said in Eleven years later...: @Doctor-Phibes said in Eleven years later...: @LuFins-Dad said in Eleven years later...: So… How much of the $1.6 Billion the Obama administration guaranteed in loans for them are we on the hook for? I shouldn't worry about it too much. The debt is currently increasing by 6 billion a day, so this is about 6 hours worth spread out over 11 years. That’s like saying my mortgage interest is $20K per year so I shouldn’t worry about that $200 I just lost. Actually, more like $40, but I take your point. And considering that every penny was deficit sending, what does that translate to 20 years from now?

That guy is the curmudgeon of all curmudgeons. But he has a good point there.

Good. We’re all Americans. That’s it. The sooner we become a more homogenous society from an identity perspective, the better.

Love it!

I feel bad for Balto. What a piss poor ending.

Yeah, that's fucked up

You would not believe the security and compliance hoops we have to jump through to stand up any healthcare software. I see no reason biomed devices should be any different. I imagine they have at least as much, but maybe not to that level.

The SHOKZ OpenRun SE is on sale again in Costco. Now I am seeing it listed at $75 on Costco website.

@89th said in Chuck, you were no Tim Russert.: Chuck was best during his election night analysis, he never filled Tim’s shoes. This day and age I miss folks like Tim Russert on the weekends grilling the press and Congress. That's because Russert tried to be fair.

I wonder if Elon will call them out. Unlike the ejected folks, he actually seems serious about reducing the deficit. I mean like for real. https://x.com/elonmusk/status/1885574678737039823?s=46

Hahah awesome.