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videogamepolls · 4 months ago

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Video Games Polls 9-Month Report

It's been 3 months since my last report and I've polled over 500 more games since then so I wanted to post an update on the top 10 games across each of the four options included in my polls, plus a couple other new categories.

🏆 Most Played

Games with the highest percentage of "Yes" votes:

The Dinosaur Game (2014, AKA Chrome Dino Game) - 93.9%

Pac-Man (1980) - 93.4%

Wii Sports (2006) - 87.7%

Tetris (1985) - 86.9%

Pokemon Go (2016) - 82.9%

Minecraft (2011) - 81.1%

Angry Birds (2009) - 80.1%

Stardew Valley (2016) - 79.3%

Space Invaders (1978) - 78.5%

Animal Crossing: New Horizons (2020) - 74.1%

🏆 Most Known but Not Played

Games with the highest percentage of "No" votes:

Raid: Shadow Legends (2018) - 85.8%

Final Fantasy XI (2002) - 82.1%

Halo Infinite (2021) - 77.6%

Baldur's Gate (1998) - 76.1%

Baldur's Gate II: Shadows of Amn (2000) - 75.8%

Call of Duty (2003) - 75.2%

Counter Strike 2 (2023) - 74.9%

Valorant (2020) - 74.7%

Donkey Kong 3 (1983) - 74.5%

The Last of Us: Part II (2020) - 74.4%

🏆 Most Watched

Games with the highest percentage of "I watched someone play it" votes:

Getting Over It with Bennett Foddy (2017) - 54.2%

I Am Bread (2015) - 51.3%

Octodad: Dadliest Catch (2014) - 47.0%

Five Nights at Freddy's: Security Breach (2021) - 45.6%

Phasmophobia (2020, Early Access) - 41.3%

P.T. (2014) - 41.0%

PowerWash Simulator (2022) - 40.4%

Slender: The Eight Pages (2012) - 38.4%

Raft (2022) - 38.3%

The Convenience Store (2020) - 38.1%

🏆 Most Obscure

Games with the highest percentage of "I've never heard of it" votes:

Just, Bearly (2018) - 96.9%

Anito: Defend a Land Enraged (2003) - 96.6%

That Damn Goat (2023) - 96.5%

Star Seeker in: The Secret of the Sorcerous Standoff (2020) - 96.4%

Mr. Robot and His Robot Factory (1983) - 96.1%

Quando Fuori Piove (2018) - 95.9%

Turovero: The Celestial Tower (2017) - 95.8%

I am Magicami (2020) - 95.8%

Weird and Unfortunate Things are Happening (2020) - 95.5%

The Unholy War (1998) - 95.2%

🏆 Most Balanced

Games with the most even spread of votes:

Human Fall Flat (2016) - 19.3% Yes | 28.5% No | 26.1% Watched | 26.1% Never Heard

Kerbal Space Program (2015) - 21.9% | 31.1% | 24.5% | 22.5%

The Henry Stickmin Collection (2020) - 19.3% | 29.2% | 22% | 29.5%

Ib (2012) - 24.1% | 26.8% | 19.2% | 29.9%

Superhot (2016) - 24.9% | 25.1% | 30.5% | 19.5%

Danganronpa: Trigger Happy Havoc (2010) - 25.8% | 31.1% | 20% | 23.2%

Limbo (2010) - 30.2% | 28.7% | 23.9% | 17.1%

Wobble Dogs (2022) - 18% | 25.4% | 25.2% | 31.3%

Slay the Princess (2023) - 30.2% | 27.4% | 26.1% | 16.4%

Baba Is You (2019) - 26% | 32.9% | 19% | 22.1%

🏆 Most Votes

Games with the most number of votes:

The Elder Scrolls V: Skyrim (2011) - 4,329

Flight Rising (2013) - 4,132

Vampire: The Masquerade - Bloodlines (2004) - 4,053

Final Fantasy XV (2016) - 3,056

Zero Escape: Nine Hours, Nine Persons, Nine Doors (2009) - 2,844

Dark Souls (2011) - 2,823

The Dinosaur Game (2014, AKA Chrome Dino Game) - 2,758

QWOP (2008) - 2,636

Dragon Age II (2011) - 2,576

The Elder Scrolls IV: Oblivion (2006) - 2,398

*I did not take most Pokémon games into consideration since I handle those polls a little differently.

Check out my results spreadsheet for an alphabetized list of all poll results plus some other stats.

#video games #gaming #video game polls #polls #tumblr polls #report

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mostlysignssomeportents · 8 months ago

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The new globalism is global labor

For the rest of May, my bestselling solarpunk utopian novel THE LOST CAUSE (2023) is available as a $2.99, DRM-free ebook!

Depending on how you look at it, I either grew up in the periphery of the labor movement, or atop it, or surrounded by it. For a kid, labor issues don't really hold a lot of urgency – in places with mature labor movements, kids don't really have jobs, and the part-time jobs I had as a kid (paper route, cleaning a dance studio) were pretty benign.

Ironically, one of the reasons that labor issues barely registered for me as a kid was that my parents were in great, strong unions: Ontario teachers' unions, which protected teachers from exploitative working conditions and from retaliation when they advocated for their students, striking for better schools as well as better working conditions.

Ontario teachers' unions were strong enough that they could take the lead on workplace organization, to the benefit of teachers at every part of their careers, as well as students and the system as a whole. Back in the early 1980s, Ontario schools faced a demographic crisis. After years of declining enrollment, the number of students entering the system was rapidly increasing.

That meant that each level of the system – primary, junior, secondary – was about to go through a whipsaw, in which low numbers of students would be followed by large numbers. For a unionized education workforce, this presented a crisis: normally, a severe contraction in student numbers would trigger layoffs, on a last-in, first-out basis. That meant that layoffs loomed for junior teachers, who would almost certainly end up retraining for another career. When student numbers picked up again, those teachers wouldn't be in the workforce anymore, and worse, a lot of the senior teachers who got priority during layoffs would be retiring, magnifying the crisis.

The teachers' unions were strong, and they cared about students and teachers, both those at the start of their careers and those who'd given many years of service. They came up with an amazing solution: "self-funded sabbaticals." Teachers with a set number of years of seniority could choose to take four years at 80% salary, and get a fifth year off at 80% salary (actually, they could take their year off any time from the third year on).

This allowed Ontario to increase its workforce by about 20%, for free. Senior teachers got a year off to spend with their families, or on continuing education, or for travel. Junior teachers' jobs were protected. Students coming into the system had adequate classroom staff, in a mix of both senior and junior teachers.

This worked great for everyone, including my family. My parents both took their four-over-five year in 1983/84. They rented out our house for six months, charging enough to cover the mortgage. We flew to London, took a ferry to France, and leased a little sedan. For the next six months, we drove around Europe, visiting fourteen countries while my parents homeschooled us on the long highway stretches and in laundromats. We stayed in youth hostels and took a train to Leningrad to visit my family there. We saw Christmas Midnight Mass at the Vatican and walked around the Parthenon. We saw Guernica at the Prado. We visited a computer lab in Paris and I learned to program Logo in French. We hung out with my parents' teacher pals who were civilian educators at a Canadian Forces Base in Baden-Baden. I bought an amazing hand-carved chess set in Seville with medieval motifs that sung to my D&D playing heart. It was amazing.

No, really, it was amazing. Unions and the social contract they bargained for transformed my family's life chances. My dad came to Canada as a refugee, the son of a teen mother who'd been deeply traumatized by her civil defense service as a child during the Siege of Leningrad. My mother was the eldest child of a man who, at thirteen, had dropped out of school to support his nine brothers and sisters after the death of his father. My parents grew up to not only own a home, but to be able to take their sons on a latter-day version of the Grand Tour that was once the exclusive province of weak-chinned toffs from the uppermost of crusts:

https://en.wikipedia.org/wiki/Grand_Tour

My parents were active in labor causes and in their unions, of course, but that was just part of their activist lives. My mother was a leader in the fight for legal abortion rights in Canada:

https://www.flickr.com/photos/doctorow/8882641733

My dad was active in party politics with the New Democratic Party, and both he and my mother were deeply involved with the fight against nuclear arms proliferation, a major issue in Canada, given our role in supplying radioisotopes to the US, building key components for ICBMs, testing cruise missiles over Labrador, and our participation in NORAD.

Abortion rights and nuclear arms proliferation were my own entry into political activism. When I was 13, I organized a large contingent from my school to march on Queen's Park, the seat of the Provincial Parliament, to demand an end to Ontario's active and critical participation in the hastening of global nuclear conflagration:

https://www.flickr.com/photos/doctorow/53616011737/

When I got a little older, I started helping with clinic defense and counterprotests at the Morgentaler Clinic and other sites in Toronto that provided safe access to women's health, including abortions:

https://www.cbc.ca/news/canada/morgentaler-honoured-by-order-of-canada-federal-government-not-involved-1.716775

My teens were a period of deepening involvement in politics. It was hard work, but rewarding and fundamentally hopeful. There, in the shadow of imminent nuclear armageddon, there was a role for me to play, a way to be more than a passive passenger on a runaway train, to participate in the effort to pull the brake lever before we ran over the cliff.

In hindsight, though, I can see that even as my activism intensified, it also got harder. We struggled more to find places to meet, to find phones and computers to use, to find people who could explain how to get a permit for a demonstration or to get legal assistance for comrades in jail after a civil disobedience action.

What I couldn't see at the time was that all of this was provided by organized labor. The labor movement had the halls, the photocopiers, the lawyers, the experience – the infrastructure. Even for campaigns that were directly about labor rights – campaigns for abortion rights, or against nuclear annihilation – the labor movement was the material, tangible base for our activities.

Look, riding a bicycle around all night wheatpasting posters to telephone poles to turn out people for an upcoming demonstration is hard work, but it's much harder if you have to pay for xeroxing at Kinko's rather than getting it for free at the union hall. Worse, the demonstration turnout suffers more because the union phone-trees and newsletters stop bringing out the numbers they once brought out.

This was why the neoliberal project took such savage aim at labor: they understood that a strong labor movement was foundation of antiimperialist, antiracist, antisexist struggles for justice. By dismantling labor, the ruling class kicked the legs out from under all the other fights that mattered.

Every year, it got harder to fight for any kind of better world. We activist kids grew to our twenties and foundered, spending precious hours searching for a room to hold a meeting, leaving us with fewer hours to spend organizing the thing we were meeting for. But gradually, we rebuilt. We started to stand up our own fragile, brittle, nascent structures that stood in for the mature and solid labor foundation that we'd grown up with.

The first time I got an inkling of what was going on came in 1999, with the Battle of Seattle: the mass protests over the WTO. Yes, labor turned out in force for those mass demonstrations, but they weren't its leaders. The militancy, the leadership, and the organization came out of groups that could loosely be called "post-labor" – not in the sense that they no longer believed in labor causes, but in the sense that they were being organized outside of traditional labor.

Labor was in retreat. Five years earlier, organized labor had responded to NAFTA by organizing against Mexican workers, rather than the bosses who wanted to ship jobs to Mexico. It wasn't unusual to see cars in Ontario with CAW bumper stickers alongside xenophobic stickers taking aim at Mexicans, not bosses. Those were the only workers that organized labor saw as competitors for labor rights: this was also the heyday of "two-tier" contracts, which protected benefits for senior workers while leaving their junior comrades exposed to bosses' most sadistic practices, while still expecting junior workers to pay dues to a union that wouldn't protect them:

https://pluralistic.net/2021/11/25/strikesgiving/#shed-a-tier

Two-tier contracts were the opposite of the solidarity that my parents' teachers' union exhibited in the early 1980s; blaming Mexican workers for automakers' offshoring was the opposite of the solidarity that built transracial and international labor power in the early days of the union movement:

https://unionhall.aflcio.org/bloomington-normal-trades-and-labor-assembly/labor-culture/edge-anarchy-first-class-pullman-strike

As labor withered under a sustained, multi-decades-long assault on workers' rights, other movements started to recapitulate the evolution of early labor, shoring up fragile movements that lacked legal protections, weathering setbacks, and building a "progressive" coalition that encompassed numerous issues. And then that movement started to support a new wave of labor organizing, situating labor issues on a continuum of justice questions, from race to gender to predatory college lending.

Young workers from every sector joined ossified unions with corrupt, sellout leaders and helped engineer their ouster, turning these dying old unions into engines of successful labor militancy:

https://theintercept.com/2023/04/07/deconstructed-union-dhl-teamsters-uaw/

In other words, we're in the midst of a reversal of the historic role of labor and other social justice movements. Whereas once labor anchored a large collection of smaller, less unified social movements; today those social movements are helping bring back a weakened and fragmented labor movement.

One of the key organizing questions for today is whether these two movements can continue to co-evolve and, eventually, merge. For example: there can be no successful climate action without climate justice. The least paid workers in America are also the most racially disfavored. The gender pay-gap exists in all labor markets. For labor, integrating social justice questions isn't just morally sound, it's also tactically necessary.

One thing such a fusion can produce is a truly international labor movement. Today, social justice movements are transnational: the successful Irish campaign for abortion rights was closely linked to key abortion rights struggles in Argentina and Poland, and today, abortion rights organizers from all over the world are involved in mailing medication abortion pills to America.

A global labor movement is necessary, and not just to defeat the divide-and-rule tactics of the NAFTA fight. The WTO's legacy is a firmly global capitalism: workers all over the world are fighting the same corporations. The strong unions of one country are threatened by weak labor in other countries where their key corporations seek to shift manufacturing or service delivery. But those same strong unions are able to use their power to help their comrades abroad protect their labor rights, depriving their common adversary of an easily exploited workforce.

A key recent example is Mercedes, part of the Daimler global octopus. Mercedes' home turf is Germany, which boasts some of the strongest autoworker unions in the world. In the USA, Mercedes – like other German auto giants – preferentially manufactures its cars in the South, America's "onshore-offshore" crime havens, where labor laws are both virtually nonexistent and largely unenforced. This allows Mercedes to exploit and endanger a largely Black workforce in a "right to work" territory where unions are nearly impossible to form and sustain.

Mercedes just defeated a hard-fought union drive in Vance, Alabama. In part, this was due to admitted tactical blunders from the UAW, who have recently racked up unprecedented victories in Tennessee and North Carolina:

https://paydayreport.com/uaw-admits-digital-heavy-organizing-committee-light-approach-failed-them-in-alabama-at-mercedes/

But mostly, this was because Mercedes cheated. They flagrantly violated labor law to sabotage the union vote. That's where it gets interesting. German workers have successfully lobbied the German parliament for the Supply Chain Act, an anticorruption law that punishes German companies that violate labor law abroad. That means that even though the UAW just lost their election, they might inflict some serious pain on Mercedes, who face a fine of 2% of their global annual revenue, and a ban on selling cars to the German government:

https://pluralistic.net/2024/04/10/an-injury-to-one/#is-an-injury-to-all

This is another way reversal of the post-neoliberal era. Whereas once the US exported its most rapacious corporate practices all over the world, today, global labor stands a chance of exporting workers' rights from weak territories to strong ones.

Here's an American analogy: the US's two most populous states are California and Texas. The policies of these states ripple out over the whole country, and even beyond. When Texas requires textbooks that ban evolution, every pupil in the country is at risk of getting a textbook that embraces Young Earth Creationism. When California enacts strict emission standards, every car in the country gets cleaner tailpipes. The WTO was a Texas-style export: a race to the bottom, all around the world. The moment we're living through now, as global social movements fuse with global labor, are a California-style export, a race to the top.

This is a weird upside to global monopoly capitalism. It's how antitrust regulators all over the world are taking on corporations whose power rivals global superpowers like the USA and China: because they're all fighting the same corporations, they can share tactics and even recycle evidence from one-another's antitrust cases:

https://www.eff.org/deeplinks/2024/05/big-tech-eu-drop-dead

Look, the UAW messed up in Alabama. A successful union vote is won before the first ballot is cast. If your ground game isn't strong enough to know the outcome of the vote before the ballot box opens, you need more organizing, not a vote:

https://pluralistic.net/2023/04/23/a-collective-bargain/

But thanks to global labor – and its enemy, global capitalism – the UAW gets another chance. Global capitalism is rich and powerful, but it has key weaknesses. Its drive to "efficiency" makes it terribly vulnerable, and a disruption anywhere in its supply chain can bring the whole global empire to its knees:

https://pluralistic.net/2023/09/21/eight-and-skate/#strike-to-rule

American workers – especially swing-state workers who swung for Trump and are leaning his way again – overwhelmingly support a pro-labor agenda. They are furious over "price gouging and outrageous corporate profits…wealthy corporate CEOs and billionaires [not] paying what they should in taxes and the top 1% gaming the system":

https://www.americanfamilyvoices.org/_files/ugd/d4d64f_6c3dff0c3da74098b07ed3f086705af2.pdf

They support universal healthcare, and value Medicare and Social Security, and trust the Democrats to manage both better than Republicans will. They support "abortion rights, affordable child care, and even forgiving student loans":

https://prospect.org/politics/2024-05-20-bidens-working-class-slump/

The problem is that these blue-collar voters are atomized. They no longer meet in union halls – they belong to gun clubs affiliated with the NRA. There are enough people who are a) undecided and b) union members in these swing states to defeat Trump. This is why labor power matters, and why a fusion of American labor and social justice movements matters – and why an international fusion of a labor-social justice coalition is our best hope for a habitable planet and a decent lives for our families.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/20/a-common-foe/#the-multinational-playbook

#pluralistic #mercedes #germany #trustbusting #apple #eu #south korea #japan #uk #competition and markets authority #dma #dsa #germany supply chain act #alabama #bafa

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astrronomemes · 3 months ago

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THE SHINING: STARTERS

a collection of quotes, phrases, and sayings from the 1980 film, The Shining. change & alter as needed.

"Well, I'm looking for a change."

"That is quite a story."

"Obviously, some people can be put off by the idea of staying alone in a place where something like that actually happened."

"Look, I'm at [place], and I still have an awful lot to go through. I don't think I can get home before nine or ten."

"It's a beautiful place. You and [name] are gonna love it."

"This whole place is such an enormous maze, I feel like I'll have to leave a trail of breadcrumbs every time I come in."

"By five o'clock tonight, you'll never know anybody was ever here."

"You probably thought you was the only one. But there are other folks, though mostly they don't know it, or don't believe it."

"You ain't got no business going in there, anyway, so stay out! You understand? Stay out!"

"I love it. I really do. I've never been this happy or comfortable anywhere."

"I'm not being grouchy. I just want to finish my work."

"When I'm in here, that means I'm working. That means don't come in. Now, do you think you can handle that?"

"It's just like pictures in a book, [name]. It isn't real."

"I wish we could stay here forever and ever and ever."

"I love you, [name]. I love you more than anything else in the whole world, and I'd never do anything to hurt you. Never."

"I had the most terrible nightmare I've ever had. It's the most horrible dream I've ever had."

"Oh, my god! [Name], what happened to your neck?"

"God, I'd give anything for a drink — my goddamn soul, just for a glass of beer."

"I like you, [name]. I've always liked you. You were always the best of them."

"Things could be better, [name]. Things could be a whole lot better."

"I did hurt him once, okay? It was an accident! Completely unintentional! It could've happened to anybody!"

"Are you out of your fucking mind?"

"No, it's the truth, really! I swear it!"

"It is so fucking typical of you to create a problem like this when I finally have the chance to accomplish something!"

"[Name], I have let you fuck up my life so far, but I'm not going to let you fuck this up!"

"I'm the kind of man likes to know who's buying their drinks, [name]."

"Come on, hon, wake up. You just had a bad dream. Everything is okay."

"I think we should discuss what should be done with him. What should be done with him?"

"You think maybe he should be taken to a doctor?"

"Has it ever occurred to you what would happen to my future if I were to fail to live up to my responsibilities? Has it ever occurred to you? Has it?!"

"You've had your whole fucking life to think things over! What good is a few more minutes going to do you now?"

"I said I'm not going to hurt you... I'm just going to bash your brains in! I'm going to bash them right the fuck in!"

"[Name], listen. Let me out of here, and I'll forget the whole goddamn thing. It'll be just like nothing ever happened."

"No need to rub it in, [name]. I'll deal with that situation as soon as I get out of here."

"Your heart is not in this. You haven't the belly for it."

"I fear that you will have to deal with this matter in the harshest possible way, [name]. I fear that is the only thing to do."

#it's october which means it's horror movie marathon month which means rewatching the shining 💖#rp meme #roleplay meme #roleplay memes #rp memes #roleplay starters #rp starters #dialogue starters #dialogue prompts #dialogue memes #inbox memes #askbox memes #sentence memes #sentence prompts #sentence starters

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mybeingthere · 4 months ago

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Mary Delany (1700 - 1788), an English artist known for her "paper-mosaics" and her lively correspondence, created 950 works of botanical decoupage.

"With the plant specimen set before her she cut minute particles of coloured paper to represent the petals, stamens, calyx, leaves, veins, stalk and other parts of the plant, and, using lighter and darker paper to form the shading, she stuck them on a black background. By placing one piece of paper upon another she sometimes built up several layers and in a complete picture there might be hundreds of pieces to form one plant. It is thought she first dissected each plant so that she might examine it carefully for accurate portrayal..."

- from Mrs. Delany: her Life and her Flowers, by Ruth Hayden, 1980/2000. (The author was a descendant of Delany's sister Anne.)

Born the daughter of Colonel Bernard Granville, she was a niece of George Granville, 1st Baron Lansdowne. She was coerced into an unhappy marriage with the sixty-year-old Tory MP Alexander Pendarves when she was still only seventeen; her husband died in his sleep seven years later, making her a widow at the age of twenty-four. With little means and no home of her own, she spent time living with various relatives and friends. But having the social freedom allowed by her widowhood, she was able to indulge her artistic and scientific interests.

At the age of forty-three, she married again, to Dr. Patrick Delany, an Irish clergyman. A year later they moved to Dublin, where Dr. Delany had a home. Both husband and wife were very interested in botany and gardening. After twenty-five years of marriage, most of it spent in Ireland, her husband died, leaving her a widow again at the sixty-eight. She had always been an artist, but during her second marriage she had had the time to hone her skills, not only as a gardener, but with her needlework, drawing, and painting.

It was only in her second widowhood, though, when she was in her early seventies, that she began to assemble detailed and botanically accurate depictions of plants in decoupage, using tissue paper and hand coloration. She created nine-hundred and eighty-five of these works, calling them her "Paper Mosaics." She continued making them until her sight began to fail in the last year of her life. She died a month before her eighty-eighth birthday. The ten volumes of her Flora Delanica were eventually bequeathed to the British Museum.

(From the blog of artist and writer Stephen O’Donnell. He is married to writer and graphic designer Gigi Little, with whom he sometimes performs. Their book, The Untold Gaze – a collection of Stephen’s paintings paired with short fiction by 33 authors – was published in October of 2018.)

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shockyhorror · 3 months ago

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Crazymad, For Me is the sophomore album of Irish singer-songwriter CMAT, released October 2023.

The title is a line from Sheena Easton's 1980 single Morning Train (Nine to Five)

"...She was like 19 and it was the early 1980s. And the whole premise of that song is that she’s a woman who’s just got married and she just sits at home all day waiting for her husband to come home because she loves him so much." "If you read it today, that’s a horror story [...] so I thought it was a really good analogy for the whole album because the record is about a relationship that I was in when I was 19. And at the time, I thought 'This is so romantic, amazing, beautiful, perfect, and wonderful.' And now I’m 27, and I look back on it like 'What the fuck was that? That was terrible.'"

#cmat #crazymad for me #have fun #california #whatever's inconvenient #where are your kids tonight #stay for something #2023 #music video #mine

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citizenscreen · 10 months ago

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I haven’t seen this in quite a while. #TCM’s #WomenAtWork brings you NINE TO FIVE (1980) tonight. Directed by Colin Higgins, it’s a hoot.

#lily tomlin #jane fonda #dolly parton

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the-torchwood-archive · 1 year ago

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Owen's Age

In Martha's medical log, she states that Owen is 27 during the events of Reset. We're going to talk about why we should stop accepting that as canon and start referring to Owen as being 34 during Reset.

His birthday of February 14th is always constant and isn't something I dispute. We are given two dates for his year of birth, 1974 or 1980.

1980 is on screen in Reset and I believe Exit Wounds, as well as in text published after season two. The fact that this is well documented makes it hard to argue with, and yet I will.

1974 is only ever mentioned once, in an email that was written and published on the TW website alongside Dead Man Walking. Keep in mind that this would have been written before DMW aired, which suggests that 1980 wasn't in the script that the writers were given. A few days after airing, the date in the email was changed to 1980 to match what we saw on TV.

Let's take a quick look at a Owen timeline.

Born either 1974 or 1980.

Began training as a doctor in 1994. He would either be 14 or 20.

Late 2000/early 2001 he walked out on his college girlfriend in London. He would be either 20 or 26.

In March 2001, Owen is a qualified Doctor in Cardiff. He would be either 21 or 27.

Owen was employed by Cardiff General between at least 2000 and 2002. He would have been either 20-22 or 26-28.

Lucy Marmer is brought to Owen's attention in September 2001, six months after Owen qualified. Owen would be either 21 or 27.

Katie dies in 2005, which would make Owen either 25 or 31.

Owen is hired by Torchwood in 2006, making him either 26 or 32.

Reset is set after June 2008, making Owen either 28 or 34.

Having Owen be born in 1974 puts his timeline into some form of sense. It makes him a year older than Tosh, four years older than Gwen, and nine years older than Ianto, which sits well with the dynamics. He in no way feels five years younger than Tosh, two years younger than Gwen, and three years older than Ianto.

In addition, Burn himself is born in 1974 and I frankly don't think he looks six years younger than he actually is.

I will now take questions from the audience.

#torchwood #owen harper #meta

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pomegranate · 8 days ago

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THANK YOU to both @amrv-5 and @hawkesque for tagging me to ask for my list of

9 of my favourite films that I watched for the first time this year!

I’ve seen 49 new (to me) movies this year - and I will be watching at least one more new one before tomorrow at midnight to cap it off at 50 - and there were a lot of really great ones overall, but these ones get the honour of being named my favourites.

(after making this list I realized 4 of them take place during periods of sweltering heat lmao. INTERESTING)

- Past Lives (2023, dir. Celine Song): I talked about this one a bit in that end of the year ask meme but I really didn’t know what to expect going into this one and came out deeply affected in a way I’ve not been able to put into words. I can’t believe this is Celine Song’s directorial and screenwriting debut?!?! It feels so well-crafted and extremely deserving of the praise it’s received. I think this description from a Looper listicle sums it up beautifully: "a master class in the art of subtlety while evoking complex human emotions. The minimalist love story is like no other in how it expertly captures the slow-burn nature of fate. It's a bittersweet experience that'll leave you aching for all of life's "what-ifs.""

- Asteroid City (2023, dir. Wes Anderson): I really enjoy some Wes Anderson films but a few of his more recent ones missed the mark for me, so I wasn’t sure how I’d feel about this one. Happily, I had an absolutely fantastic time watching this with friends - it’s funny and inventive in a way that really tickled me, and the heartbreaking romance woven into the “background” of the story (quotation marks bc it’s not really the background) really stuck with me.

- High and Low (1963, dir. Akira Kurosawa): I’ll admit I wanted to see this after Ayo Edebiri included it in her Criterion Closet video bc I have a massive crush on her and I admire her taste, and BOY it did not disappoint! It’s just under 2 and a half hours long but I was so wrapped up in the tension and drama that the time absolutely flew by. My first Kurosawa film but definitely not my last!

- Nine To Five (1980, dir. Colin Higgins): I did not expect to have so much fun watching this but I should’ve known a movie starring Jane Fonda, Lily Tomlin and Dolly Parton would have me clapping my hands and stomping my feet with delight. Dabney Coleman is also SO great as their disgusting boss and a special shout out to him for how funny he was in each of their little fantasy sequences. God, if only real life was as satisfying as the ending of this film.

- Roman Holiday (1953, dir. William Wyler): I’ve had this on DVD for years but only got around to watching it this past August and OH what a beautiful movie! It’s wild to me that this was Audrey Hepburn’s first film; she’s totally captivating and I can’t take my eyes off her the entire time. Definitely one I’ll be returning to again and again.

- Moonlight (2016, dir. Barry Jenkins): I’m embarrassed it took me this long to watch this film but unsurprisingly, it’s as magnificent as everyone has always said. Chiron’s story is told so beautifully and the way it all comes together in the end is simply perfect. Every performance felt vivid and authentic and each actor who played Chiron made him feel like a real person I was watching grow up on my screen. Quite possibly one of the best movies of all time.

- Dog Day Afternoon (1975, dir. Sidney Lumet): I challenged myself to only include one Al Pacino movie on this list and since this is the one that kicked off my Pacino era (despite me having watched Cruising earlier this year), it’s gotta be here. Watching it a second time also highlighted how well made it is as a film - Al is magnetic in his performance as a desperate man pushed to the brink to take care of the person he loves. The rest of the cast is fantastic as well, especially the tellers, led by Penelope Allen. And now that I’ve seen the 2nd Godfather installment, my love for John Cazale has blossomed fully. I love the deeply disturbed Sal sooooo much. GOD I haven’t even touched on Lumet’s insanely masterful direction and the fact that this movie swings from unbearable tension to being hysterically funny within moments is BEYOND incredible. MOVIE OF ALL TIME!!!!!!!!

- Rear Window (1954, dir. Alfred Hitchcock): Another one that I’m embarrassed I hadn’t seen until this year, despite recognizing many references to it through pop culture (most notably the Simpsons ep where Bart thinks Flanders has murdered his wife). It lives up to the hype, with a murder mystery so well-crafted that even if you KNOW where the story is going, you’re still not entirely sure what’s going to happen next. I’m also so fascinated by Hitchcock’s use of cameras (both Jeff’s and the actual camera filming the movie) to show us the range of humanity on display within a fairly confined area and how Jeff’s voyeurism is contrasted with our voyeurism as the audience. I need to watch this again bc I know I wasn’t fully appreciating that storytelling device the first time.

- Do The Right Thing (1989, dir. Spike Lee): I said this in my other post from the end of the year meme, but I had absolutely no idea what to expect going into this movie and it floored me. I was immediately drawn into the vibrant community where I’d be spending the next couple of hours, with Lee’s distinctive directing style making me feel like I was right there in Brooklyn with the characters as the heat and tension simultaneously reached a boiling point. The explosion that we see kick off with about half an hour left to go in the runtime is inevitable but still felt like a punch in the stomach. God. I think my heart rate is climbing just thinking about it. One of the most powerful cinematic experiences I’ve had in a long time.

Honourable mentions that didn’t make this list include Bottoms (2023), Charade (1963), Some Like It Hot (1959), Gentlemen Prefer Blondes (1953), Hundreds Of Beavers (2022), Scream (1996), …And Justice For All (1979), The Godfather Part II (1974), Fancy Dance (2023), and The Holdovers (2023).

As for tagging other people, I’m going to leave it blank for now bc I’ve been sitting in a chilly vehicle writing this but I may come back later, not sure! I don’t want to pressure anyone who doesn’t feel like doing it but PLEASE do it if you want to & tag me in your lists bc I would love to read them!!!

#films #tag meme #tag game #2024 recap

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doyoulikethissong-poll · 4 months ago

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ABBA - Waterloo 1974

"Waterloo" is a song by Swedish pop group ABBA, with music composed by Benny Andersson and Björn Ulvaeus and lyrics written by Stikkan Anderson. It is first single of the group's second studio album of the same name, and their first under the Atlantic label in the US. This was also the first single to be credited to the group performing under the name ABBA. The title and lyrics reference the 1815 Battle of Waterloo, and use it as a metaphor for a romantic relationship.

In 1974, "Waterloo" represented Sweden in the 19th edition of the Eurovision Song Contest held in Brighton, winning the contest and beginning ABBA's path to worldwide fame. The song differed from the standard "dramatic ballad" tradition at the contest by its flavour and rhythm, as well as by its performance. ABBA gave the audience something that had rarely been seen before in Eurovision: flashy costumes (including silver platform boots), a catchy uptempo song and simple choreography. It was the first winning entry in a language other than that of their home country; prior to 1973, all Eurovision singers had been required to sing in their country's native tongue, a restriction that was lifted briefly for the contests between 1973 and 1976 (thus allowing "Waterloo" to be sung in English), then reinstated before ultimately being removed again in 1999. Watch the performance in Swedish here. Sveriges Radio released a promo video for "Waterloo" that was directed by film director Lasse Hallström, whose first notable English-language film success was What's Eating Gilbert Grape in 1993. ABBA recorded the German and French versions of "Waterloo" in March and April 1974; the French version was adapted by Alain Boublil, who would later go on to co-write the 1980 musical Les Misérables.

The song shot to number 1 in the UK and stayed there for two weeks, becoming the first of the band's nine UK number 1's, and the 16th biggest selling single of the year in the UK. It also topped the charts in Belgium, Denmark, Finland, West Germany, Ireland, Norway, and Switzerland, while reaching the Top 3 in Austria, France, the Netherlands, Spain, and Sweden. Unlike other Eurovision-winning tunes, the song's appeal transcended Europe: "Waterloo" also topped the charts in South Africa, and reached the Top 10 in Australia, Canada, New Zealand, Rhodesia, and the US (peaking at number 6, their third-highest-charting US hit after number 1 "Dancing Queen" and number 3 "Take a Chance on Me"). In 2005, at Eurovision fiftieth anniversary competition Congratulations: 50 Years of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the contest's history.

"Waterloo" is featured in the encore of the musical Mamma Mia!. The song does not have a context or a meaning. It is just performed as a musical number in which members of the audience are encouraged to get up off their seats and sing, dance and clap along. The song is performed by the cast over the closing credits of the film Mamma Mia!, but is not featured on the official soundtrack. It is also performed as part of the story in the sequel, Mamma Mia! Here We Go Again, by Hugh Skinner and Lily James.

The Australian film Muriel's Wedding (1994), features "Waterloo" in a pivotal scene in which lead Toni Collette bonds with the character played by Rachel Griffiths. The film's soundtrack, featuring five ABBA tracks, is widely regarded as having helped to fuel the revival of popular interest in ABBA's music in the mid-1990s. "Waterloo" features prominently in the 2015 science-fiction film The Martian. The song plays as the film's lead, played by Matt Damon, works to ready his launch vehicle for a last-chance escape from Mars. In "Mother Simpson", the eighth episode of the seventh season of The Simpsons, Mr. Burns plays "Ride of the Valkyries" from a tank about to storm the Simpson home, but the song is cut-off and "Waterloo" is played, to which Smithers apologizes, advising he "must have accidentally taped over that".

"Waterloo" received a total of 89% yes votes!

youtube

(the video is posted by ABBA's own account, not Eurovision's = safe to watch)

#finished #sweblr #high yes #high reblog #low no #70s #o1 #o1 sweep #lo4 #abba #english #eurovision

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astoundingbeyondbelief · 1 year ago

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Kaiju Week in Review (December 31, 2023-January 6, 2024)

Episode 9 of Monarch: Legacy of Monsters was a huge one, wrapping up the flashback storyline with gut punch after gut punch and dropping half the cast into a new realm of the Hollow Earth, Axis Mundi. I'm being vague because there's a very big twist at the end. Chomping at the bit for the finale.

youtube

@quazies has graced us with another animated Godzilla short, this one focusing on Rodan and wringing surprising emotion out of the daffy bird. And I continue to get a kick of out this Animal Crossing-esque Monster Island. This is their fourth Godzilla video; if you're unfamiliar with them, correct this immediately.

The new issue of TotalFilm has a sizable article on Godzilla x Kong: The New Empire. My notes:

Trapper (Dan Stevens) is a sort of Titan veterinarian.

Emphasis on filming in real places; the Hollow Earth is a mixture of Greenland, Iceland, Hawaii, and Australia. Also mentions some sort of physical Kong prop and another full-sized HEAV.

Apex isn't in this story "in a literal way," but Monarch seems to have copped some of their tech; Kong's B.E.A.S.T. Glove is implied to be one example. Sort of disappointing that the Monsterverse continues to avoid having a recurring human villain, but then it would've been hard to keep Apex in the picture, between the Mechagodzilla scandal and all their key members dying.

Rome is mentioned as a location in the film, which was reinforced this week with a Japanese trailer showing Godzilla astride the Colosseum prior to his evolution. As a half-Italian, I'm thrilled.

Wingard is aiming for late-Showa Godzilla vibes. Not possible on a nine-figure budget, says I, but I'm curious to see what he comes up with. Adds that he "wanted the color palette of the film to resemble the experience of what it was like to walk down a toy aisle in the 1980s[.]"

Wingard on Skar King: "[He's], in a way, the closest that the human threat has ever been juxtaposed onto a titan itself. The Skar King almost represents an upscaled version of the worst parts of humanity, just as Kong represents some of the best parts of humanity."

Now, about that cover... they're doing the bisexual lighting on purpose at this point, right?

The new Godzilla Battle Line units are Orga and Kiryu Kai (Heavy Arms Type). Orga's pretty fun, dropped into the arena by the Millennian UFO and respawning with half health once defeated. The new Kiryu is a major addition, dealing 30% more damage to units that cost 7 energy or more.

youtube

This is my first Kaiju Week in Review covering 2024; for a look back on all that happened in 2023 in kaiju film, television, and video games, I'll refer you to this excellent video by @zagorudan. @vintagehenshin has one out on indie tokusatsu as well.

This is a year ending in "4", so a lot of Godzilla movies have big anniversaries on the way. The biggest, of course, is Godzilla vs. Mechagodzilla, turning 50 on March 21. Toho wasn't celebrating golden anniversaries in earnest when the other non-Godzilla members of the Big Five reaches theirs, so expect a Full Weapon Strike of merch, comics, and short films. We already know Mechagodzilla's in the next Godzilla Rivals issue, though not top-billed. Ultraman Leo, ESPY, Evil of Dracula, and Prophecies of Nostradamus also turn 50 this year.

#kaiju week in review #monarch legacy of monsters #godzilla x kong the new empire #godzilla vs. mechagodzilla #godzilla #kaiju

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dd-is-my-guiltypleasure · 1 year ago

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A LIFE IN THE DAY

David Duchovny: ‘Love can happen at any age, right?

The actor, 63, on The X Files, songwriting and snacking

EKATERINA GERBY

Interview by Helen Cullen

Wednesday January 17 2024, 12.01am GMT, The Sunday Time

Duchovny was born in New York City. He studied English at Princeton University and Yale, before breaking into acting in the late 1980s, starting in TV adverts and working his way up. In 1993 he began playing the role of the FBI agent Fox Mulder in The X Files, which ran for nine years. He later played Hank Moody in Californication. He has also released three folk-rock albums and published five novels — last year he directed a film adaptation of one of these, Bucky F***ing Dent. Duchovny has two grown-up children from his former marriage to the actress Téa Leoni. He lives in California, with his girlfriend, Monique Pendleberry, and his two dogs, Brick and Rookie.

I like to get up at dawn because those are my best thinking and writing hours. I love the sunrise but it also means I can get some work done before the sun gets too much. That’s the best time of day for me. I have a coffee that makes me think I’m brilliant for ten minutes and that’s all I need to get going.

Food to me is just fuel and I don’t have very advanced taste buds. I think everything kind of tastes OK, which people react to with suspicion. For breakfast I like oatmeal — what my Scottish mother called porridge.

If I’m filming I still like an early start, but I shot my recent film What Happens Later, with Meg Ryan, all through the night because we filmed in a regional airport after it closed at 9pm. That’s a bit of a nightmare for me as a morning person, but we developed a great camaraderie from working while the world was asleep. My daughter, West, thought it was great to see a romantic comedy film with people my age, but I don’t think of myself as any age, so I hadn’t thought about that. Love can happen at any age, right?

Everybody wants me to have a hobby, but I’m blessed because I love my work. I’ve been able to branch out into music, writing and directing. With songwriting I can pick up the guitar at any time. If you wait for inspiration to hit, you’ll be sitting on your ass for ever.

I knock off for lunch about 12pm. That’s when I have the one big meal of the day that would be recognisable to other humans as a proper meal — vegetables and a protein such as fish. The rest of the time I snack.

In the afternoon I work out. I love the games I played when I was younger — boxing, tennis and basketball — but as I get older I tend to get hurt doing those, so I’ve found Pilates is best for me. It’s still super hard but the least dangerous.

I live in Malibu and the height of my fame has passed, so it’s not difficult for me to move around any more. It’s a different era now because everybody has a phone, so paparazzi are more a thing of the past. I tend to go to the same places where people are bored of seeing me.

There are always different reasons why fans might stop me — it could be still because of The X Files or Californication. I am very proud of The X Files. I can’t think of another show like it in terms of cultural impact and longevity. I just thought we were making good, goofy TV but Chris Carter, the creator and director, saw what was coming in terms of the culture of conspiracy theories. Gillian Anderson [his co-star] and I went from being unknown to globally recognised in a couple of years. We don’t get to see each other that much as she lives in London, but there’s no one else I can share that with.

West is an actor now too. It wasn’t something that I would have charted out for her because I know how difficult it is, even more so for a woman, but I want her to do something she’s passionate about. There are still dark corners in Hollywood but the pitfalls and dangers are much more upfront.

I do enjoy a party, but I’d rather spend time with friends in the evening. Because I like to get up so early, I go to bed early also. I feel electric light has really f***ed with our sense of mind and body, and that we were made to hide in the cave at night from predators and wake up with the sun, so I try to do that. Constitutionally, I feel like that works for me.

Words of wisdom

Best advice I was given

It doesn’t matter if people laugh; it matters if it feels funny to you

Advice I’d give

There’s no such thing as good advice — you have to come to it on your own

What I wish I’d known

Take a moment to appreciate what you’ve done before worrying about the next thing

What Happens Later is in cinemas now and available to stream in spring. The Reservoir by David Duchovny is out now (Akashic Books £19.95)

#david duchovny #2024 #what happens later #txf #meg ryan #mo #malibu #his life now #west duchovny

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aesethewitch · 1 year ago

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Shufflemancy 101: A Brief History & Analysis

Hey! If you like my work and want to support me in my quest for divination theory, digital tools, algorithmic quandries, and research into niche divination tools, consider throwing dollars at my Ko-Fi tip jar! Every contribution helps me keep making posts like this one. (You can also read this post over on Ko-Fi!)

The difficulty with researching something like shufflemancy is that it's a relatively modern phenomenon. I haven't yet found anyone (online or in a book) specifically talking about the origins of shufflemancy as a term or where it might've come from.

So, we start from square one.

What is Shufflemancy?

According to Wikipedia, shufflemancy is divination "by the use of an electronic media player such as an electronic playlist, iPod, or other medium wherein one skips a certain number of songs and the lyrics and/or tune of the song is the answer to the divinatory question."

Simple enough. Use an electronic collection of music that's been shuffled to divine.

This did lead me to the question: What counts as shufflemancy? Does tuning into a radio station count?

It's my opinion that radio divination does not count. There's no shuffle function. Yes, it has an element of chance, and that's what makes it divination. It certainly falls under the wider umbrella of divination via music, too. But it isn't shufflemancy if it doesn't make use of a shuffle function.

So, to make things simple, for something to be shufflemancy, it must:

Use an electronic medium

Involve a randomized shuffle function

Be something the shufflemancer can interpret to answer a question (pretty much anything)

Early Shufflemancy

The earliest form of shufflemancy as we understand it today, using the above requirements, would probably be tape players capable of shuffling music. With the nature of tape, it would take a while for the thing to wind and rewind to find the cue on the tape which signaled the start or end of a song, but it'd work.

With that said, shuffling as we understand and recognize it today would've started with CDs in the 1980s. There were CD players that could hold three to five disks at a time. They could shuffle songs between all disks held in the player, creating a random mix of tunes for listeners to enjoy.

Using either of these methods for divination would work, technically. The results would be somewhat limited, but that doesn't mean it's a bad method to use. Especially if your CD player could hold 5 disks, you could easily put in 5 albums from different artists with all different vibes for a wider variety of outputs.

I certainly remember using my little blue radio that held two CDs at once like this. I'd put in two albums and hit shuffle, and the first song that played would be my vibe and advice for the day. It was divination -- some of the earliest I'd ever done consciously, at the young age of nine. And when I got the bigger one that held three CDs? Game changer.

So this puts shufflemancy's origins somewhere around the mid-to-late 1980s, when Sony put out the first CD player with shuffle. As we moved into the 1990s, CDs became more popular and cassettes faced obsolescence.

The Shuffle Revolution & Early Modern Shufflemancy

In 2005, Apple changed the game again. It had already debuted the iPod in 2001, providing an easy, pocket-sized music experience as a direct challenge to the CD's cultural domination. On January 11, 2005, nearly 20 years ago, Apple announced the iPod Shuffle.

And oh, boy, did it change everything.

I could talk forever about the iPod's impact on the music industry, the death of the in-order album, and the eventual rise of music streaming services. But others have done that to death, so I'll focus in on our topic of shufflemancy.

This is where we start seeing shuffling music as it is now, in the modern day. In my digging, I found mentions of the term "shufflemancy" as early as 2007 -- just two years after the iPod Shuffle was announced. Someone proposed the concept and terminology of "shufflemancy" as we understand it today on a Halfbakery Forum "Idea" post on October 3, 2007.

It's difficult to say whether this is the first instance of the term. In reality, shufflemancy seems to have emerged as a natural by-product of the evolution of music technology. Where there is innovation, witches and diviners will mold it to their purposes. We're a resourceful bunch like that. It grew organically as we moved from buying albums to buying singles to streaming music without buying at all.

People were offering public shufflemancy readings as early as 2009 in places like TarotForum.net. It's spoken about during this era as a "silly" and "new" form of divination that people were trying out. There aren't any dates in that link, but according to the website's data, the first post in the thread was published on June 16, 2009.

From there, shufflemancy saw a gradual rise in popularity. It evolved from using iPods to iTunes, Napster, and eventually Spotify as these new applications emerged.

Shufflemancy Now

If you look up "shufflemancy" using Spotify's search function, you'll receive dozens of results. Many of the top playlists are public ones curated by shufflemancers for themselves and others to use. Options range from general playlists to "mega mixes" containing upwards of 200 hours of music from all different genres, artists, and eras. There are some with a paltry five hours of music, while one that I've seen goes up over the 600 hour mark. (If I can find that one again, I'll reblog it, because... damn.)

Select a "messages from your guides" option from the search or curate your own -- the choice is yours. For one-time shufflemancers, using a pre-made option may be the best, most economical choice. But dedicated shufflemancers sometimes boast multiple hundred-hour playlists for different purposes, all personally curated.

Clearly, it's popular. There are shufflemancers on Tumblr and Etsy offering free and paid services using their specially curated playlists. A quick search is all you need to find someone receiving a divinatory reading via song lyrics, meanings, and vibes. And it seems to work -- sellers on Etsy boast hundreds of positive reviews. Some even offer playlist curation services for personal shufflemancy or messages from deities and/or spirits.

It all begs the question, how does shufflemancy work?

Shufflemancy Methodology

Finding this is significantly easier than pinning down the history of shufflemancy. This post from Tumblr user orriculum, sums it up fairly well. So does this one by the-daily-diviner.

To do shufflemancy, the basic steps are:

Create or find a playlist of songs. A large collection seems to be the most favorable option for a wide spread of possibilities.

Ask a question. Divination 101 -- figure out what you want to know and ask it. Simple enough.

Pick a number. Choose any number and shuffle that many times or skip that many songs.

Listen to the song. Write down lyrics that stick out, messages that come through, and anything else that seems relevant (genre, tempo, vibe, etc.)

Interpret. Take the information gathered during the song and use it to draw conclusions, just like any other form of divination.

Simple enough. Shufflemancy is the sort of method that requires a high level of intuitive thinking. It's very mutable and suits a good amount of personalization.

This is both good and bad, I think. It would be incredibly easy to create a bias in your shufflemancy playlists by selecting songs with primarily one genre, artist, album, emotion, or through-line. The ideal playlist really does have a wide variety of music, and this means selecting songs that the shufflemancer doesn't necessarily like. We all have a genre or artist we hate; excluding an entire genre skews results. Impartial selections of music are critical to the success of good divination. Otherwise, we risk interfering with the outcome.

And speaking of interfering...

The Algorithm Problem

(Note: I'm focusing in on Spotify since it's very commonly used and because it's accessible to me. Shufflemancy can be (and is!) done with plenty of other apps like Apple Music.)

When Spotify was originally launched, it used a version of the Fisher-Yates Shuffle to perform its shuffling of music. In essence, this algorithm takes a finite sequence of data, picks an option from that selection of data, and removes it from the pool. Then, it picks another and another until no more options remain.

At first glance, this seems great! It creates a fairly random output. But as is the nature of randomness, there were clusters. The same artist would play four or five times in a row from a large playlist, and Spotify users complained. It was random, but it didn't feel that way.

The human brain is wired to find connections and patterns. When the same artist plays over and over again despite a playlist being on shuffle mode, it creates a pattern that the brain recognizes. Therefore, the "true" randomness of clustering outputs was unsatisfactory.

So, in 2014, Spotify updated it. Their new algorithm would detect and remember the song it just played and, in shuffling, account for the artist and album to provide a more random-feeling result. The new algorithm detects what's already played and selects accordingly to prevent the same artist from playing twice in a row, just as it prevents the same song from playing twice. It spreads artists out evenly (though not perfectly, to maintain the illusion of randomness) to provide an enhanced listening experience.

What does this mean for shufflemancy, then? If Spotify's algorithm is interfering in the output provided from a playlist, does that mean it's not a reliable form of divination?

At first, I wasn't so sure. I adjusted my thinking -- if a tarot app was preventing certain cards from being drawn (or from being drawn in a particular order) because I'd already drawn them that day or week, would that render the app unreliable? And the answer was yes. It would! It removes the random element from the method, therefore making it not true divination by my definition.

So shufflemancy with Spotify isn't (good) divination, then. Right?

My Opinion & Theory

In thinking about this further, I think it comes down to personal opinion. People certainly have success with shufflemancy via Spotify, or else they wouldn't do it. They definitely wouldn't offer their services (free or otherwise) if they weren't confident in the results it provides.

Thinking that way, I believe there's a way to off-set the algorithm's interference. With enough songs in a playlist, the random element is enhanced despite the algorithm. Not by having the same song multiple times (Spotify would surely detect this and prevent it from playing), but perhaps the same song covered by different artists. Songs with the same vibe, the same meaning, similar lyrics... AND songs from a wide variety of artists and genres, regardless of whether the shufflemancer likes the songs or not.

The person with that 600+ hour playlist for shufflemancy has it right, I think. That's the key. Variety and volume to make up for Spotify's algorithmic shuffler.

Additionally, in listening to my many, many Spotify playlists, I noticed something. If I'm listening to a playlist on shuffle and decide I want a specific song, I can choose to play it immediately. Afterwards, songs I've already heard might play. It seems as though doing this resets the shuffling algorithm in some way. Doing this in combination with a large and varied playlist might be the key to making shufflemancy in Spotify truly, fully reliable.

My Next Steps

Obviously, scholarly research only goes so far in situations like this. In order to properly gauge the accuracy of shufflemancy, I'll have to do it myself.

First, I'll need a playlist. I have a handful of playlists that sit in the hundred-hour range, but they're curated with friends for specific vibes. They're not really suitable for shufflemancy. So making one for myself is step one. I'll use premade playlists as a springboard for ideas, but the end result will be my own. For transparency, I'll make the playlist public and share it as part of the next edition in this series of posts.

The next step is to just... do it. Do the divinations, and do them regularly. Instead of a daily tarot card, I'll do a daily shuffle. I'll form "spreads" and put together a more in-depth methodology that fits my style as it develops.

Then, finally, maybe public ones? For reviews and feedback, obviously. It's one thing to do divination for myself -- confirmation bias and all -- but to do it for others and to be open for immediate feedback is entirely different.

Last, it's a matter of compiling my findings into a coherent document. Easier said than done, but done it must be.

Resources

I pulled from a lot of places for this one. Massive thanks to the Crossroads Discord for listening to me yell about divination for the last several weeks. It will continue.

In any case, here are all the resources I referenced for this leg of research:

Wikipedia - The Fisher-Yates Shuffle

Wikipedia - Methods of Divination

Wikipedia - The iPod Shuffle

PopSci - History of Shuffling Music

Engineering at Spotify - How to Shuffle?

The Verge - The Mixed-Up History of the Shuffle Button

Auntie PanPan (YouTube) - Shufflemancy - What IS It?!?

Halfbakery - Shufflemancy Idea Post

Fox and Faith Wordpress - Radio Divination and Intentional Living in Your Day to Day

Scientific American - How Randomness Rules Our World and Why We Cannot See It

PC World - The CD Player Turns 30

Make Use Of - How Spotify's Shuffle Feature Really Works

Orriculum on Tumblr - Post on shufflemancy technique

The-Daily-Divinre on Tumblr - Post on shufflemancy technique

Empirical Zeal - What Does Randomness Look Like?

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legionnaireslover · 8 months ago

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New Interview with BC in The Times!

Stephen Armstrong

Sunday May 19 2024, 12.01am BST, The Sunday Times

When did Benedict Cumberbatch go from aspiring actor to a star with the world at his feet? For some it was Sherlock, which started in 2010 and won him an ardent following of “Cumberbitches”. For others it was his Marvel films, including Doctor Strange, which was when the money started to roll in. But for his father, also an actor, it was a play his son did while at Manchester University.

“After Dad saw me in Amadeus at university, he put his arm around me and said, ‘You’re better at this than I ever was. I cannot wait to support your career. I’m so proud of you,’” Cumberbatch tells me. There’s a pause as he gathers himself, touched by the memory. “For a man to say that to his son is absolutely huge.” He grins. “And it’s not necessarily true … But the generosity to go, ‘Your turn now.’”

In previous interviews, for Sherlock and his Sky drama Patrick Melrose, I found Cumberbatch chatty, amusing and curious. Today, wearing a T-shirt, grey hoodie and cream cords, he is in a more sombre mood. He is prone to embarking on long trains of thought that sound as if he’s debating his answer as he delivers it. Perhaps it’s because he’s very tired, he says. When we last met, in 2018, his second son was barely a year old. Now he is a 47-year-old father of three boys, aged eight to four, with his wife, the theatre and opera director Sophie Hunter.

In his new television series, Eric, he plays Vincent, a dad in 1980s New York who loses his son, aged nine, near a dodgy disco with a history of child prostitution. He wasn’t sure about taking the job at first — filming was in Budapest and he worried about time away from his family, but he found the script compelling so flew back and forth.

Lucy Forbes, the director of Eric, says Cumberbatch drew on his own experience of fatherhood for the role. “We were filming a scene where he’s standing outside the school, he’s been drinking, and a single tear falls from his eye,” she says. “Five minutes before that he’d been kicking a football around. He stepped on set and wept. I said, ‘How did you manage that?’ He said, ‘Because I have three boys.’”

I relay this to Cumberbatch and he stirs uneasily. “I think drama can teach you an awful lot about yourself. If they knew where my mind was going in that scene, good luck, because even I don’t know. And I don’t need to play a bad father to realise my shortcomings as a dad.” He gives a brief laugh and shrugs. “I can’t escape myself completely. There’s always going to be elements of me at play.”

This may be why he loved the puppet work he had to do in Eric. His character is a puppeteer who runs a Sesame Street-style show called Good Morning Sunshine and Cumberbatch performs song and dance numbers with the aid of a marionette (he can sing well). “Puppets are like masks, they say the things that we can’t,” he explains. “They’re like jesters in a medieval court able to expose truths, lies, hypocrisies and idiocies. And they can risk things that we can’t.”

Cumberbatch is guarded about his family — “and this is where we come to my privacy”, he says to deflect any questions about his personal life. It’s something he has been careful about since becoming a father, and with good reason. He has been the subject of intense attention since he broke through as Sherlock Holmes — the former chef Jack Bissell was given a three-year restraining order in 2023 after he attacked and vandalised the Cumberbatch home while the family were inside.

Stephen Moffat, the co-creator of Sherlock, says Cumberbatch has always been conflicted about stardom and the attention that comes with it. “Stars need talent, appearance, the right role at the right age but also ambition,” Stephen Moffat, who was a writer on Sherlock, explains over the phone. “Benedict is not ruthless — but he wanted it. He was getting impatient. Everyone was saying he was the coming man in his mid-thirties. At the time we cast him, Martin Freeman was the show’s big name. And [Benedict] became a star in one night. He was on a motorcycle coming over to my house as the first episode went out and by the time he arrived he was a celebrity. Our phones were jumping off the table.”

Cumberbatch’s mid-thirties impatience was understandable. He’s from a family of actors — his father, Timothy Carlton, has a long career on stage and small screen while his mother, Wanda Ventham, converted early roles in Carry On films into regular comedy work in Minder and Only Fools and Horses. They played his parents in the third series of Sherlock.

Since Sherlock, however, his career has outstripped his parents’. He’s played Doctor Strange in six Marvel films, voiced Smaug and the Necromancer in three Hobbit movies, the Grinch in two and Shere Khan in Mowgli: Legend of the Jungle. He was never entirely of that blockbuster world, though, also playing Dominic Cummings in Brexit: The Uncivil War and Henry Sugar in Wes Anderson’s version of Roald Dahl’s story. As the superhero franchise world falters, his Eric performance delivers with the intensity of The Power of the Dog or Patrick Melrose, his 2018 drama about a posh Englishman struggling with addiction after his father abused him.

Eric is an emotional thriller written by the screenwriter and playwright Abi Morgan, whose previous work includes The Split and Suffragette. She was inspired by her time as a teenage nanny in New York and wrote it with just one actor in mind. “I thought [Cumberbatch] has got to be an asshole,” she says. “The surprise for me was that he genuinely wasn’t.” It co-stars Gaby Hoffmann (who played Adam’s sister Caroline in Girls), superb as Vincent’s increasingly estranged wife, and McKinley Belcher III as Detective Ledroit, a gay cop in a homophobic force investigating the boy’s disappearance.

The longer his son is missing, the more Vincent loses his hold on reality. He conjures up an imaginary giant puppet, Eric, to help him to find his son. Cumberbatch provides the voice for the beast and there’s rich, dark comedy in his battles with the plodding fluff monster, who trails him through the city offering dumb plans or mean critiques.

The New York we see is beset by problems, grappling with the Aids epidemic and widespread homelessness, which Cumberbatch got his teeth into.

“Mental health, homelessness, racism, sexism and a host of prejudices.” He ticks them off on his fingers. “We’re always told to arc away from that, or pivot is the term, I think, in PR talk. But drama should always have relevance, however sad.

“It has to speak to the world and have resonance. It doesn’t have to be worthy, but it has to be worthwhile.

“We may not have an Aids pandemic today, but we’ve had Covid, which created fear, it created isolation and created intolerance,” he points out, noting the battles over masks and vaccines. What’s unique to the here and now is the disconnect between us all as people welded to our phones, says Cumberbatch, who has said he subscribes to Buddhist philosophy. He sighs as he speaks about “the electric babysitter we carry around in our hands, which feeds a disconnect through the promise of connection. I mean, that’s a whole other conversation.”

Morgan based the show on her time as a teenage nanny in the city when New York looked just like it did in the movies — and the production captures that era’s look with precision. She wrote her story of “two little boys lost in the city” with just one actor in mind.

“We were pretty far down the line in terms of the scripts, and I knew Benedict had range,” she says. “He can do Doctor Strange, The Imitation Game, The Power of the Dog, Patrick Melrose. But I thought he has got to be an asshole, hasn’t he? The surprise for me is that he genuinely wasn’t. I suddenly understood why those actors get the big bucks they do because they get on stage or camera and there’s an alchemy.”

Cumberbatch has his pick of parts but says, “You gravitate towards things that mean something to you or the zeitgeist. It has to speak to the world and have resonance. It doesn’t have to be worthy, but it has to be worthwhile.”

He adds, “If there is a choice …” but he’s at that rare stage in an actor’s career where he can not only pick the roles he wants, but studios will wait for him. The Doctor Strange director Scott Derrickson recently revealed that Marvel postponed the movie’s release date from the profitable summer to the less bankable autumn to ensure they could cast Cumberbatch as the eponymous lead.

Eric shows Cumberbatch slowly collapsing from arrogant artist to hopeless bum in a grinding, catastrophic arc. He passes through so many states in the six episodes — does Vincent encompass themes from his entire career?

There’s the New York heroin addict of Melrose, homelessness as in Stuart: A Life Backwards (2007), where he plays a writer creating a memoir of a homeless alcoholic, and with the complex and unlikely solving of clues from a map scrawled on a wall, Vincent even resembles Sherlock Holmes.

“I see where you’re going,” he says. “But look, at one point I was the clever outsider scientist with problems communicating. The next, I was the know-it-all arrogant lead. Next, men wrestling with homosexuality, then posh people. Around the Oscar campaign for The Power of the Dog I was giving an interview at a film festival and somebody said, ‘You’ve played over a hundred characters on film alone.’ I was like, ‘Bloody hell!’ So there’s bound to be crossover.”

Many of his roles — including Vincent — are also troubled men with unsupportive parents, but he’s keen to stress his loving upbringing.

He muses for a moment and concludes: “I suppose that’s one of the best things about my career … I love that I make my parents proud.”

Eric is on Netflix from May 30

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The Haters aren't going to like this one little bit. BC as a father and a husband (as well as many more things) is heavily featured in this article. There are DIRECT QUOTES from BC and the director of Eric referencing his sons.

It's a Haters' nightmare!

#benedict cumberbatch #sophie hunter cumberbatch #cumberfamily #haters #haters just can’t stand to see bc happy!#haters are liars!#morons the lot of them

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