#performing as expected

[ateamsoftsolutions01]

Effective Debugging Techniques for Resolving Web Application Issues

Introduction

Web applications are complex systems that can encounter various issues, from bugs to performance problems. Effective debugging is crucial for resolving these issues quickly and efficiently. This article explores proven debugging techniques that can help developers identify and fix web application problems.

Understanding the Problem

Reproduce the Issue

The first step in debugging is to reproduce the issue consistently. Understanding the exact conditions under which the problem occurs helps narrow down the potential causes. Gather as much information as possible, including error messages, user reports, and logs.

Collect Relevant Data

Use logging and monitoring tools to collect relevant data about the issue. Tools like Loggly, Splunk, and Sentry can provide insights into what went wrong, when, and why. Detailed logs are invaluable for pinpointing the root cause of the problem.

Debugging Techniques

Code Review

Conduct a thorough code review to identify potential bugs. Reviewing code with fresh eyes or having another developer examine it can reveal issues that were previously overlooked. Pay attention to common problem areas like loops, conditionals, and data handling.

Use Debugging Tools

Leverage debugging tools and integrated development environments (IDEs) like Visual Studio Code, Chrome DevTools, or Firebug. These tools allow you to set breakpoints, step through code, and inspect variables, making it easier to understand the flow of execution and identify issues.

Isolate the Problem

Break down the code into smaller sections and isolate the problematic area. This process, known as “divide and conquer,” simplifies the debugging process by focusing on smaller, more manageable chunks of code.

Advanced Debugging

Profiling and Performance Monitoring

Use profiling tools to monitor performance and identify bottlenecks. Tools like New Relic, Dynatrace, and Google Lighthouse can help you analyze performance metrics and optimize your code for better efficiency.

Automated Testing

Implement automated testing to catch issues early in the development process. Unit tests, integration tests, and end-to-end tests can help ensure that your code behaves as expected and can significantly reduce the time spent on manual debugging.

Continuous Improvement

Learn from Mistakes

Document the debugging process and learn from each issue you resolve. Understanding the root causes of past problems can help prevent similar issues in the future. Share insights and best practices with your team to improve overall code quality.

Regular Maintenance

Perform regular maintenance and code reviews to keep your web application in good health. Proactive measures, such as updating dependencies and refactoring code, can prevent many issues from arising in the first place.

Conclusion

Effective debugging is essential for maintaining a reliable and efficient web application. By understanding the problem, using the right tools, and employing proven techniques, developers can quickly identify and resolve web application performance issues. Continuous improvement and proactive maintenance further ensure the long-term stability and performance of your web application.

[thechekhov]

The biggest joke sporty people play on us is pretending like movement is customizable. "do this thing but use THESE muscles." "Tilt your pelvis forward but don't use your lower back."

I've got news for you about how bodies work, champ. I cannot just opt out of using muscles when I don't feel like it. You're telling me YOU decide which muscles to lift something with? You got some sort of an open source program running this thing? You go in there and change the code???? Okay rich pants McGee..

I just got the Body 1.0 version where I do things and I don't get any say in which parts of me are doing the moving. Whatever happens under my skin is none of my business. It's in the stars. Can't do it.

[ghostvibesonly]

THERE ARE OTHER WAYS DID NOT GO WHERE I WAS EXPECTING IT TO OH MY GOD /POS

PENELOPE’S THEME AND INSTRUMENT?? ODYSSEUS BEING QUITE LITERALLY BACKED INTO A CORNER AND HAVING SEEMINGLY NO OTHER WAY TO SAVE HIS MEN BUT STILL NOT BEING ABLE TO BRING HIMSELF TO GO THROUGH WITH THE ACT (EVEN THO IT WOULDN’T BE A TRUE ACT OF BETRAYAL BECAUSE THERE’S NO ACTUAL CONSENT ON HIS SIDE AND IT WAS SOMETHING HE WAS ABOUT TO BE COERCED INTO)??? CIRCE BEING TAKEN ADVANTAGE OF BEFORE AND BELIEVING THAT “BECOMING THE PUPPETEER” IS THE ONLY WAY TO KEEP HERSELF AND HER NYMPHS SAFE SO SHE OFFERS THIS “ACT OF PASSION” TO STILL HAVE A FORM OF CONTROL, AND THEN SEEING ODYSSEUS IS NOT LIKE THOSE BEFORE BECAUSE HE’S SO IN LOVE WITH PENELOPE (WHO HE HASN’T SEEN IN 12 YEARS) THAT HE REFUSES HER OFFER AND PLEADS BECAUSE IT’S NOT WORTH IT EVEN THO THATS THE ONLY OPTION HE’S BEEN GIVEN??? HIM CALLING HIMSELF A PUPPET MAKING HER REALIZE THAT THIS CYCLE OF ABUSE AND CONTROL ISN’T WORTH IT ONLY TO COME TO A MUTUAL UNDERSTANDING BECAUSE SHE KNOWS WHAT IT’S LIKE TO BE TRULY IN LOVE AND TO BE HURT, SO SHE OFFERS HIM AN ACT OF KINDNESS INSTEAD???

“Maybe showing one act of kindness leads to kinder souls down the road”

[stil-lindigo]

a non-comprehensive guide to my favourite characters in claymore, the best manga you've never read (more under the cut)

don't know what I'm talking about? here's a crashcourse.

[cinemaocd]

Jack Rackham is my favorite character in Black Sails because Toby Schmitz is the only actor who realizes he is in a prequel for Muppet Treasure Island...

[batwynn]

Alt text:

It’s ok to be disabled and happy. Being disabled does not mean you have to constantly suffer.

[catsvrsdogscatswin]

I've had this thought swirling in the back of my head for a while, but it's finally congealed enough that I think I can make a coherent pitch, which is: I think RWBY's problems with the more vitriolic part of its fanbase partially stems from the fact that RWBY is a deconstruction that doesn't advertise it's a deconstruction.

RWBY's status as a deconstruction is pretty textbook. It takes apart standard fantasy, shounen, and anime tropes in order to analyze them and their deeper meaning and then reassembles them in new and interesting ways for the plot/characters/series. Thing is, it never says that outright in promotional material, which can lead to later outrage in fans.

See, unless their way of discovering new shows is to close their eyes and stab their finger at random, most people tend to choose series to watch/read based on expectations. Maybe a friend said they'll like it because it has [insert thing], maybe they read the summary and were intrigued, maybe they thought the poster/cover art was cool, whatever. These small pieces of information are generally enough for people to make a snap-judgment of the style and genre of the series, which they can then gauge against their personal tastes and decide whether or not they want to try.

Most of the time, this works just fine. Well-written deconstructions also generally give the viewers some warning/buildup before they take a hard swerve. See Madoka Magica: the magical girl paradigm is shaded by the possibility of death as soon as we're introduced to it, then there's an onscreen death with blood, and then a few episodes later we eventually realize the Faustian bargain of it all. Even innocent viewers who stumbled into watching it, unaware of the show's reputation, would go "Oh, wait, this is not going in the direction magical girl shows usually go" by a third of the way through.

The thing is, with RWBY, this does not happen unless you're paying a lot of attention and/or looking for it. And neither the cover art nor the summary nor, I believe, the fanbase gives a lot of warning about the swerves ahead.

In fact, RWBY initially bills itself as a pretty standard shounen anime. The main protagonist is hinted to have Special Powers and gets into the Magic Monster-Hunting School in the first episode, and the first two-and-a-half seasons are taken up by her and her friends' superhero-esque slice-of-life shenanigans as they thwart robberies and terrorist attacks and gear up for a tournament arc against the looming background of a larger conspiracy.

Then in the last half of the third season the villains' entire Rube Goldberg machine of a scheme snaps into completion and the plot twists so hard the entire genre takes a hard right. If you're used to character analysis and common anime tropes, this is not completely a surprise -up until this point, RWBY's character arcs and plot have been subtly traveling in non-traditional directions that hint of greater flexibility in genre treatment ahead- but if you're not... well.

Thing is, people watching RWBY up until this point have signed up for pretty standard shounen and they've been getting it, but the third season's ending smashes that all to bits. From then on out in RWBY, it's like they ordered fries and suddenly got a hamburger. It might be delicious; but it's not what they asked for, what they wanted, or what they paid for, and they are, justifiably, displeased.

So when the reasonable people either adjusted their expectations or sighed, shook their heads, and clicked back out (perhaps with a grumble and a scowl), the unreasonable people dug their heels in and began insisting that everybody was Getting The Show/Character Wrong and that CRWBY is ruining it, because the fact that RWBY's method of deconstruction is to put standard tropes in a blender and then arrange what's left in deceptive patterns means that said unreasonable viewers can scan the bare surface and argue that all the stereotypical stuff is clearly still under there, somewhere.

So they're continually trying to drag RWBY back to the tracks of a typical shounen anime series (it's closest relative), which creates a dissonance between the show they're watching and the show they think they're watching. They're trying to turn the hamburger back into fries, basically, except that doesn't work and just frustrates everyone involved, because you're trying to make RWBY into something that it's not. Hence, this attitude probably starting/fueling some of the more contentious statements in the fandom, i.e.:

"Ironwood was right the whole time" (in most action movies and shounen anime, allied military leaders are trustworthy beyond reproach)

"Adam's character was wasted" (we all know how much shounen loves their powerful warrior antiheroes)

"Ruby and the others are in the wrong about [insert thing]/or for doing [insert thing], and this is bad writing!" (shounen protagonists don't usually make more than One Very Big Mistake over the course of their entire careers, which is usually fixed/overcome/redeemed via an appropriately rigorous training arc)

And to be clear, there's nothing wrong with shounen tropes or shounen anime. They're wonderful storytelling devices in their own way and their own time: but if you want standard by-the-book shounen without any new and interesting concoctions, then RWBY is definitely not the show for you. And most people don't find that out until it's too late.

[phladydoor]

Can’t believe Dan and Phil are going to individually bring every TIT attendee on stage and then activate the trap door that sends each one directly to hell.

[bizarrelovesquare]

Despicable Me 4 (2024)

[rubyvroom]

we can all agree this is unacceptable, right?

“I don’t care that abuse and harassment, stalking is a normal thing to do to people who are famous,” [Chappell Roan] says in the aforementioned TikTok, which has since gone viral. “I don’t care that it’s normal. I don’t care that this crazy type of behavior comes along with the career field I’ve chosen. That does not make it OK. That doesn’t make it normal. It doesn’t mean I want it. It doesn’t mean that I like it. I don’t want whatever the fuck you think you’re supposed to be entitled to whenever you see a celebrity.” [...] Roan is far from the first artist to push back on these expectations. She’s the latest in a string of young, mostly female pop stars, like Eilish, Doja Cat, and Reneé Rapp, who have expressed their discomfort at the parasocial expectations that come with being in the spotlight. It’s a risky sentiment to share in a world where one of the worst things a woman can be is rude. But at this point, it can’t possibly be shocking. In her 2022 documentary, the actor and singer Selena Gomez said, “Everything I’ve ever wished for, I’ve had and done all of it. But it has killed me.” That sums up everything that’s wrong with the current fan–artist dynamic. We are asking too much, and we are chasing a level of intimacy that simply isn’t sustainable. In the process, we reward the stars who try to give us every piece of themselves, and we find reasons to villainize the ones who make an effort to protect themselves.

We're overdue for an internet Come-To-Jesus moment about this

[ouroborosorder]

girls band cry revolutionizing the depiction of female friendships by having three women whose friendship is unironically built entirely on the fact that they're comfortable being assholes to each other

[shakingparadigm]

what is the theory that ivan manipulated the event where till and mizi met the wagyein?

It's not a theory, actually! It's confirmed that Ivan orchestrated the whole event. The true reason as to why however is still unknown. The information provides more context to this scene, though:

During the earlier times of ALNST the most rational explanation for this scene was that Till ran after a flower crown (presumably Mizi's) and Ivan followed him in out of curiosity. Now we know that Ivan was conveniently just standing there because he was waiting.

Side note, I find it heartbreaking (and maybe a little funny, sorry) that Till most likely didn't notice Ivan in this scene. That's just like him, isn't it. Always too busy running after Mizi while Ivan trails behind, an ever-present shadow.

I'm not sure how Ivan manipulated the circumstances for both of them to end up there, but it is confirmed that everything was intentional. What strikes me most is how they describe this particular scene:

I can't copy down what they said word-for-word (Patreon info), but they described Ivan watching "creepily" as Till and Mizi are faced with danger. We know that Ivan was familiar with the Cerberus wagyein beforehand, enough to touch its teeth and even to rest himself inside its maw. To Ivan, the wagyein is not dangerous, but to Till and Mizi, it could be. Ivan prepared the wagyein, led them there, and watched "creepily" from afar as Till fell on his knees, seemingly injured.

The closest I can get to making sense of Ivan's "scheme" is that he wanted to see how other children would react in a dangerous situation. Ivan's always been an observer, after all, and he's learned to survive by copying the more "normal" behaviors of his peers. This situation occured when Ivan was still young and had not yet developed his more charming mask, so perhaps he staged this encounter to study a situational response, to learn and mimic the emotion of fear. And what better subjects for the experiment than two of the most expressive and reactive humans of their batch? It helps that he was already fixated on Till beforehand, too. I think Ivan became irreversibly obssessed after this incident, especially since it's framed as a turning point in Ivan's life, comparing Till to the stars.

This is just my attempt at an interpretation, though. It could very well be for another reason. He most likely chose Till and Mizi specifically for personal reasons, not just for reaction. I'm still not sure on the purpose behind the whole thing.

The team wanted to capture Ivan's "dark emotions" through the shot of his stalking, which could relate to his more sinister intentions. His gaze can be read in a few different ways, though. Curiosity, interest, fear, etc. Maybe that's why they decided to redraw the shot in ROUND 6.

I think this better sells the feeling they were trying to convey.

[nookisms]

Text post memes multishipper special edition there's one for everybody (probably (I can only fit ten))

Masterpost

[paarthursass]

not to advocate for MORE sexism in bioware games or anything like that but like...the "gender equality" in DAO is so poorly thought out and by that I am SPECIFICALLY referring to women in the Grey Wardens.

Sure yeah Alistair makes that off-hand comment about how "there aren't many women in the wardens" that's more indicative of the writing team's sexism than anything else, but genuinely speaking I think there's actually a valid reason for women to not be allowed in the Grey Wardens.

You cannot tell me that Alistair and the HoF were the first to discover what Broodmothers were and how they were made. You cannot tell me that Grey Wardens have been fighting back Darkspawn for centuries and they do not know about Broodmothers. And if the Grey Wardens know about Broodmothers, then they must know that sending female Grey Wardens down into the Deep Roads is a bad fucking plan.

I can understand concessions being made during a Blight; hell, being a Grey Warden is such a Shit Job that I can understand the Grey Wardens being willing to take in anyone. But like...the women who join cannot go down into the Deep Roads for their Calling. And I would argue that them going down into the Deep Roads at all is a bad plan unless they've got some equivalent of a suicide pill with them in case of capture by Darkspawn.

It honestly is baffling to me that there's NO mention of protocols for female grey wardens during their Calling or expeditions to the Deep Roads being different AT ALL. All it would take is Alistair saying something along the lines of "So that's why there's so few women in the Wardens" after they discover the Broodmother.

Because a woman joining the Wardens isn't just risking death.

She's risking a horrific, violating transformation that turns her into a creature that endangers everyone.

[kevin-the-bruyne]

why I thought the kristsingto dance was offensive

My reaction to the KristSingto dance was, in fact, pure and utter shock with an immediate follow up of "well good for Thailand for being so progressive" and that was what I thought would be the end of my engagement with that performance and yet when I read this post by scarefox with commentary added by thebroccolination and hallowpen (mentioned to give credit untagged because I have social anxiety and forcing people to read my post is my worst nightmare) my mind was filled with thoughts that took me the greater part of the day to sort through and I still don't know if the following will be adequate. Because OH HO HO as it turns out Thailand isn't that progressive which means that this performance was constructed to be like this ON PURPOSE. This post is in conversation with some of the concepts brought up in the linked post so it will be helpful in understanding the direction I've chosen to go with this. But the linked post is a great post and you should read it regardless. There is much to love about the Kristsingto concert and even more to love about their sexy dance - the primary of which is how it makes every single one of my Asian sensibilities ring MAD alarm bells. I'm a diaspora south asian but I moved to the US alone when I was 18 which means I have an intact sense of Asian respectability, regularly replenished by my parents. I MEAN LOOK AT IT - THEY ARE ON A FREAKING BED!!!! SIR THAT IS A BEDROOM ACTIVITY ONLY

But some serious highlights as to what about this performance sets it apart: 1) The performance is focused on sensuality and desire. They're dressed like dancers and not particularly sexy ones. Everything about this performance is pared down to only focus on their movements. The costumes are simple, the bed is simple, the lighting mostly monochrome. There is nothing to see here BUT their desire for each other and the sex they are simulating

2) They are playing to each other and ONLY to each other and not the audience. This is probably THE REASON why it clocks differently from literally every other raunchy performance. They are dancing for EACH OTHER. The performance starts behind a screen, and the sex simulation is the most intense at this stage but then THE SCREEN FALLS but for the purposes of the performance, KristSingto don't even acknowledge it. The audience is THRUST into the position of a voyeur and remains so throughout the performance. Like there is a BED that looks like it came straight out of Krist's bedroom like give me a fucking BREAK sir those are inside house, behind closed doors activities you are engaging with on stage.

Even the parts where Krist or Singto face the audience it is a) never together at once and b) they are mirroring each other's movements highlighting their connection to each other over their individual connection with the audience. There is no hip thrusting, no flirtatious looks, absolutely nothing that would even remotely suggest that they're trying to titillate the audience. All the titillation is directed towards each other. This feeling of looking into a private moment is deeply, deeply uncomfortable.

3) It's KristSingto. So much to be said about this and I have a strong feeling that I am not the person who should be speaking about this. But it's Krist and Singto, highly respected veterans of the industry who don't 'need' to be engaging in these types of 'extreme behaviors' to get ahead. So why would Kristsingto need to 'resort' to these behaviors?

Well, because the purpose of art, and I would argue quite specifically queer art, is to push the boundaries of how society allows the 'self' to behave and express itself. There is a reason why BL has captured the fascination of so many straight women. I would argue this is true everywhere but specifically for Asians, the shackles placed on queer sexuality did not feel so different from the shackles placed on women's sexuality period. Queer sexual liberal *is* sexual liberation and there are a lot of outgroup parties who have a vested, personal interest in pushing this agenda forward. I have to stop before this gets so long that I have to find a university to grant me a masters but 'Fanservice Is Wrong' and 'Fanservice Has Finally Gone Too Far' is just the fan service discourse. But the truth is that Fanservice *IS* radical queer visibility and always has been. I started my fandom journey in JPOP nearly 15 years ago and that was the conversation then [link takes you to a fanservice kiss between Ninomiya Kazunari and Ohno Satoshi from Arashi in 2008 that was 6 years in the making but I digress] and apparently if KristSingto will get to have their way that will be the conversation now. To deny their dance as offensive is to deny the incredible ways in which it's in conversation with the society they're operating in, the risks they are still taking even amidst widespread celebration for the Marriage Equality Bill in Thailand.

KristSingto had totally blown the doors, windows and glass ceilings wide open with SOTUS that I would argue had rippling effects on the BL being produced throughout Asia, not just Thailand. And the pressure of that was SO high, that attention so unexpected and burdensome that neither could actually stay and enjoy that moment. OffGun and TayNew had reaped more fruits from KristSingto's labor than Krist and Singto. KristSingto isn't just another branded pair - they are quite literally BL royalty and they are not here to play games. Except this time they are pushing the envelope with their eyes wide open and I am buzzing to see what's next for them.

[ahsoka-in-a-hood]

Love that stupid hairbrushing scene where Padme pretends to brush her curly hair. It's so doll-like, but the doll she's playing with is herself. Putting on a performance for her husband, but really acting out a fantasy for herself.