being escorted out of town
The criminal has been apprehended
Grond! Grond! Grond! Grond!
GROND! GROND! GROND! GROND!
GROND‼️ GROND‼️ GROND‼️ GROND‼️
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@centrally-unplanned
being escorted out of town
The criminal has been apprehended
Grond! Grond! Grond! Grond!
GROND! GROND! GROND! GROND!
GROND‼️ GROND‼️ GROND‼️ GROND‼️

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probably Oshii Mamoru's greatest sequence in his animated film career. hypnotic. otherworldly. beautiful and filthy.
#GitS would be so good if it was good - but alas
Explaining the premise directly to the camera
I will always remember sitting in the movie theatre watching the elevator scene, a completely still image of the two leads, devoid of emotion, just describing plot minutia uninterrupted for like a full minute, and going, "oh, this is a *bad* movie, isn't it?" I understand you maybe ran out of budget here but come on! Deal with that better! And so on for so much of the film.
Half of the movie has incredible potential, for sure, but it is my go-to example of a work that is less than the sum of its parts.
IMO it's a milieu movie -- the point isn't the plot or characters, it's "hey look at this cool world" and "spend some time living in the world and appreciate its unique vibes" and "emerge with a new sense of wonder". I put James Cameron Avatar solidly in this bucket as well. Glad I watched this; does this well; etc..
I think there's a potential 50 minute cut of Ghost in the Shell that's an improvement on the original (with less talking).
I would agree with the 50 minute cut idea - its best parts absolutely are a mileau movie, the ~vibe of cyberpunk futures and hacker crime and "what is being human anyway" aesthetics. But alas the majority of the run time is spent on the non-mileau portions of the flat characters or boilerplate plots. It is a film that gets in the way of itself.
Angel's Egg is a great example of Oshii doing exactly this idea well - you don't care that the plot of the film is threadbare because it doesn't spend time on it. It is your fault if you care about it overmuch! GitS meanwhile tried to be too many things at once.
it’s almost like………. there’s a ghost of a better movie……. in there somewhere
probably Oshii Mamoru's greatest sequence in his animated film career. hypnotic. otherworldly. beautiful and filthy.
#GitS would be so good if it was good - but alas
Explaining the premise directly to the camera
I will always remember sitting in the movie theatre watching the elevator scene, a completely still image of the two leads, devoid of emotion, just describing plot minutia uninterrupted for like a full minute, and going, "oh, this is a *bad* movie, isn't it?" I understand you maybe ran out of budget here but come on! Deal with that better! And so on for so much of the film.
Half of the movie has incredible potential, for sure, but it is my go-to example of a work that is less than the sum of its parts.
IMO it's a milieu movie -- the point isn't the plot or characters, it's "hey look at this cool world" and "spend some time living in the world and appreciate its unique vibes" and "emerge with a new sense of wonder". I put James Cameron Avatar solidly in this bucket as well. Glad I watched this; does this well; etc..
I think there's a potential 50 minute cut of Ghost in the Shell that's an improvement on the original (with less talking).
I would agree with the 50 minute cut idea - its best parts absolutely are a mileau movie, the ~vibe of cyberpunk futures and hacker crime and "what is being human anyway" aesthetics. But alas the majority of the run time is spent on the non-mileau portions of the flat characters or boilerplate plots. It is a film that gets in the way of itself.
Angel's Egg is a great example of Oshii doing exactly this idea well - you don't care that the plot of the film is threadbare because it doesn't spend time on it. It is your fault if you care about it overmuch! GitS meanwhile tried to be too many things at once.
probably Oshii Mamoru's greatest sequence in his animated film career. hypnotic. otherworldly. beautiful and filthy.
#GitS would be so good if it was good - but alas
Explaining the premise directly to the camera
I will always remember sitting in the movie theatre watching the elevator scene, a completely still image of the two leads, devoid of emotion, just describing plot minutia uninterrupted for like a full minute, and going, "oh, this is a *bad* movie, isn't it?" I understand you maybe ran out of budget here but come on! Deal with that better! And so on for so much of the film.
Half of the movie has incredible potential, for sure, but it is my go-to example of a work that is less than the sum of its parts.
probably Oshii Mamoru's greatest sequence in his animated film career. hypnotic. otherworldly. beautiful and filthy.

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it's going to be fun to watch the declining birth rate and the increasing rate of labor automation fight it out to see who wins the 21st century.
Who Will Win the 21st Century?
Declining Birth Rate
Labor Automation
I think this poll has a version of the same fundamental lump-of-labor error that anti-immigrant people make? A larger population means more demand for goods and services, not just "more available labor", and in a shrinking population is the opposite is true. We might end up with all necessary labor performed thanks to automation, and still be poorer because aggregate demand has fallen.
something about that hypothetical sounds like a category error; reduced production is poverty, right? and aggregate demand falling only makes you poorer if it leads to less production? (or less production per capita)
The whole thing is pretty contextual imo - what is being automated? What resourcesa are scarce versus abundant? How is tech improving R&D, and are scientists totals going up or down as the economy and demographics shift?
If you get "true" labor automation, a fairly cheap universal worker bot that can cook, buid cars, and fly planes, you can envision radical increases in energy demands to power everyone's servant army such that lower populations are easier to service on limited resources. But there are a ton of more limited visions where there are still cost barriers and you benefit from economies of scale, etc.
(My own vote is labor automation will "win", because the fertility decline is a long term issue and R&D on automation is progressing steadily, even if nowhere near the universal robo-butler. But I have a lot of uncertainty around that bet)
Film, manga, home video releases, and other products in the franchise have achieved record sales in Japanese markets and strong sales in overseas markets, with related goods earning over ¥150 billion by 2007 and Evangelion pachinko machines generating ¥700 billion by 2015.
Never stops being funny that Eva is a slot machine franchise with an iconic anime on the side.
So, question to readers: have you ever stopped reading a book because it didn't hook you in the first line/paragraph?
Because that hook is an obsession of writers, writing advicemongers, editors, and publishers, but I'm not actually sure readers are that intolerant of a slow burn?
I've never dropped a book in the first paragraph because it was boring, but I have put it down at that point because the prose actively repelled me.
I will quit in the first paragraph if it is over a page long and so boring that I start reading without comprehension and have to go back and start over.
Most of the time I decide whether or not to continue to read the book in the first 2 or 3 pages.
Similar to you on this one - I have never dropped a book on the first line, or paragraph, outside of egregious style considerations. But I definitely don't need more than a page to make at least some form of "keep going" judgement.
For OP, I don't think anyone believes your first sentence needs to be a true banger, but the question is very contextual. Why am I picking up this book at all? Is it a lit fic memoir, where there isn't really a genre, and I need to be sold on the voice and feel of the story to "get it"? Is it an isekai light novel where I am here because I like the specific tropes and premise the book sold itself to me with, and so I don't need any preamble let's get to the concept already? And so on. Even ecosystem matters - if you are writing in the Serial Fiction Infinite Access Land that is Royal Road, then you are gonna need a better hook than if it is a hardcover library book. Books aren't really one thing such that one answer works.
Saw that recent Tyler Cowen post about the "AI speak" style of JFK's speeches, with quotes like:
“Ask not what your country can do for you—ask what you can do for your country.”
“Let us never negotiate out of fear. But let us never fear to negotiate.”
“United, there is little we cannot do… Divided, there is little we can do.”
“If a free society cannot help the many who are poor, it cannot save the few who are rich
Now contra Tyler Cowen, I don't think these quotes sound anything like AI - parallels, contrasts, and reversals are endemic to all speech after all. But we won't dwell on that - no longer allowed by law - and instead I will say that it did get me thinking about why these phrases don't seem like AI speak. What makes the "It's not X, it's Y" trope such a leading indicator, given that so many contrast structures aren't?
The above quotes aren't "AI-like" to me because they are doing very different things, both stylistically and substantively. On the content, they are "calls to action", instructions on what to do or what can be done. AI is almost never doing that - it is a helper, explaining things to you, and sometimes fluffling you up. The "tropes" all come from that dynamic. "You are not just making a point—you are changing the entire conversation". In this way they are bland and add little value; you already knew the point your were making, and knowing the point is "changing the conversation" elucidates little. Meanwhile JFK's quotes above actually contain the substantive point. You can't remove them from the speeches without changing the meaning.
And the style is much more straightforward - "AI speak" doesn't do wordplay! These are not "Not X, but Y", these are "Not X, but f(X)". The cleverness of the quotes come from the fact that you can invert "what your country can do for you" into "what you can do for your country" and the contrast makes sense. That isn't always true! It is not good rhetoric for most sentences, actually - the skill comes in finding the right inversion. AI speak doesn't do that because it doesn't really care.
This of course isn't saying AI as a tool can't do wordplay - it definitively can. It just isn't the default mode of random AI text. That text is not just "generic" text, the average of all written words. It is a very specific style of writing, which is why you notice it - it is a kind of speech that you aren't used to encountering with such frequency. And it is kinda interesting to ask why it does that specific thing! I honestly want to know the answer to that mystery. I wouldn't hand waive that away with "all text is like this".

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So, when did humans first figure out hurricanes were shaped like that? They're too big for it to be obvious from the ground and I imagine the realization must have been quite a cool "ooohh..." moment.
The eye would be a known thing, right? "Sometimes the hurricane stops but you need to not stray too far from safety, because it can come back quick, and then it will last about as long again"
After that, a few people talk about whether they got the stop in the middle, and that the stop is near the worst of the wind, you can determine it's probably near the center
I think this one has a clear answer, fortunately! In 1831, William C. Redfield published the results of his study of the damage of an 1821 hurricane in Connecticut. He mapped out the directions that the trees fell, and the "lines" of damage that the storm had left, and proposed that the storm must be a cyclical vortex to account for it all. It was definitively a debated idea at the time, so there was no clear consensus on what hurricanes "were" before then; as more evidence piled up the circular model won out.
Not disputing ofc that some knowledge and ideas predated this moment - they clearly did, in particular sailors had been managing hurricane risk for centuries and had a bunch of applied knowledge. But a systematized understanding of the "shape of a hurricane" can I think be dated to that paper.
(At least in the Eurosphere, the evolution of the idea in other cultural groupings is beyond my knowledge)
the fact that we can simply see them from space now is wild
actually how good a view did terrestrial telescopes have of Jupiter’s red spot before satellites? did we see interplanetary cyclones before our own?
Extremely amusingly, the first uncontroversial observation of Jupiter's Great Red Spot is... also in 1831! By German astronomer Heinrich Schwabe. Real banger year for hurricanes.
I had to amend "uncontroversial" there though because there are observations of something-like-a-spot on Jupiter from the 1600's and so. But they disappear from the record for like a hundred years in the 18th century, and the locations of the spot on those earlier observations don't align, either with each other or modern observations. There was a recent paper I believe arguing that the Great Red Spot emerged only around the 19th century, and so those previous observations were of a different storm (or were things like artifacts from the shadows of Jupiter's moons and such). I haven't read the paper though, not sure where the consensus is now.
So, when did humans first figure out hurricanes were shaped like that? They're too big for it to be obvious from the ground and I imagine the realization must have been quite a cool "ooohh..." moment.
The eye would be a known thing, right? "Sometimes the hurricane stops but you need to not stray too far from safety, because it can come back quick, and then it will last about as long again"
After that, a few people talk about whether they got the stop in the middle, and that the stop is near the worst of the wind, you can determine it's probably near the center
I think this one has a clear answer, fortunately! In 1831, William C. Redfield published the results of his study of the damage of an 1821 hurricane in Connecticut. He mapped out the directions that the trees fell, and the "lines" of damage that the storm had left, and proposed that the storm must be a cyclical vortex to account for it all. It was definitively a debated idea at the time, so there was no clear consensus on what hurricanes "were" before then; as more evidence piled up the circular model won out.
Not disputing ofc that some knowledge and ideas predated this moment - they clearly did, in particular sailors had been managing hurricane risk for centuries and had a bunch of applied knowledge. But a systematized understanding of the "shape of a hurricane" can I think be dated to that paper.
(At least in the Eurosphere, the evolution of the idea in other cultural groupings is beyond my knowledge)
Anon asked (cut for length):
How does [Rhaenyra] make her sons *socially* legitimate through Westerosi eyes? Assuming the Dance doesn't happen for whatever reason, and that Rhaenyra inherits the throne through her father, how could Rhaenyra shore up her Jacaerys' socio-political position to ensure that he can not just *inherit* the throne but *keep it* after she's gone, that her oldest sons don't have to struggle against the double jeopardy impairment of "bloodline + right to rule as Targaryens derived through their mother"+ "very visually Obviously bastards and sons of a *common born* father"?
Anon also asked the question assuming Rhaenyra had already rolled the dice on having kids with her preferred partner, too. (And as usual, this is a book-focused answer.)
I would say, having rolled those dice and the dice having come up non-Targaryen-appearing, she has to adjust her expectations about what's possible for her and for her kids. Sometimes you don't get everything and sometimes that's because of bad fucking luck. Things would have been different had the kids looked different. But they don't. They look like their biological father instead.
It's a lot of assumptions, but honestly, if and if and if, the best way for Rhaenyra to manage is to keep her head as far down as possible and focus on being a boring monarch with a solid faction (who can all see material benefits of her rule, of course). Her kids might have to do the same. She cannot guarantee her sons won't have to deal with the double impairment any more than Viserys could ensure Rhaenyra herself wouldn't struggle as a ruler because of how misogynistic Westeros is.
So what this means in practice? No public ripping out of tongues, just dull building a solid intelligence apparatus to head off any need to rip out tongues publicly, and coping with any slights that aren't outright threats. No controversial second husbands. Just an insanely difficult balancing act, day after day, year after year. Time and exposure and straight competence are what can gain Rhaenyra and her kids acceptance on the throne, until they represent a very boring "this is just how it is and it's not so bad". Even then, anything bad happens, there are some obvious lines of political opposition.
Rhaenyra's in a bad position because of how her kids look, on top of the disadvantage of being a woman on the throne. Her options are limited. In that case, survival's the proof of a job well done - not expansion or shows of royal power. Survival might even be the best she can aim for.
Marriage also seems like the biggest "play" to make - Rhaenyra's kids needs to marry true-blue, completely-uncontested Targaryens. Helaena is the obvious choice of course, though the politics/practicality there all depends on what kind of alt history this is. But they have other options (the canonical engagement to Baela, and the whole rest of the Velaryon wing come to mind). Ideally you wrap the line of succession back around, so even if someone were trying to depose Jacaerys, they would be deposing him for the person who was gonna inherit anyway so why bother. And at minimum, you make sure everyone can treat the current reign as a "blip" and be assured that everything will go back to normal without any positive action on their parts.
Certainly far from foolproof, and it has a price; but I think without it the odds of surviving get really rough.
Now that everyone has pretty-much given up on Winds of Winter/Dream of Spring ever being released, something like this recent Robert's Rebellion stage play adaptation just gets ripped to shreds by the fandom as a source for dubiously canonical information, stuff that isn't going to be released any other way. It is like ancient historians dealing with sources like Livy: oh sure, its 50% bullshit, but it is all you are gonna get and maybe if you analyze it just the right way...
The Mad King play does gives us some fun facts to play with - spoilers ahead! I definitely like Aerys being much more "aware" of everything going on around him, straight-up throwing Rhaegar's conspiracies to dethrone him in his face and daring him to do it as a power play move. One of the biggest gaps in the story of Robert's Rebellion as it appears in the books is that it is a bit mysterious why Aerys wasn't overthrown sooner. He was clearly unfit for rule and dangerous to everyone around him. Certainly, it could just be a handwaived backstory detail, it isn't that important after all. Aerys & Rhaegar having very direct drama around said conspiracy though, where Rhaegar just balks at killing his father, is a very logical explanation of how the whole thing essentially dragged its heels until it was too late. Aerys giving a young Robert a "model" shipwreck of his own parent's death is incredible, that reaches Emperor Palpatine levels of being evil for the sake of the game.
I also like Lyanna being, essentially, a total mystic getting in over her head with her obsession with prophecy and visions. She is one of the least fleshed out characters in canon, and her having something of her own agenda about the whole thing is the right way to do her story. As a bonus, it lets her serve as something of a foil for Rhaegar, a guy wanting to live in the world of dreams but forced to live in the world of politics. She is in a way who he wishes he could be.
Elia serves as the other side of that coin of course, and her being fully aware and actively engaged in the conspiracy and prophecies is, to me, one of the least "spoiler" parts of the new info. She had to be that way, the characterization and actions of the Martells & Rhaegar just don't make sense otherwise. The extent can be debated, I bet the play is hamming it up vis a vis canon - but the direction is clearly correct. And her having her own paramour is probably the best way to make the nature of their marriage clear, and why she would be chill about Lyanna (conceptually).
That paramour being Ashara Dayne is hilarious; if you weren't there you have no idea how much ink has been spilled on fandom theorizing about her character and mysterious suicide, and that was not a popular take. I like this addition, because the previous explanations of "the death of Brandon" etc, all seemed a bit flighty (she did not know him that well in the end) - but losing her entire de facto family once Elia and her children are killed, on top of all the rest, really locks in her despair. Ashara's tragedy is a story I always felt the pathos of, and I think it deserves depth like this.
The one area where I have some big disagreement is Rheagar essentially trying to "sit out the war" at the Tower of Joy, and having to be convinced to return to the conflict? This doesn't make sense. If his side loses the war, he will be hunted down like a dog and murdered! He simply has to know that. I have only read summaries of the play to be clear, maybe there is more to this part of the story - but I think this won't really be canon. Rhaegar is naive but not to this extent.
Also Rhaegar actually beating Robert and then having his killing blow be interrupted by a fucking Dragon Dream is fanfic levels of stupid, absolutely no way that happened lmao. They did that so they could put some incredible dragon puppet dances on stage. No hate at all, for a play that is a great reason. But it didn't happen.
Those are my big takeaways I think! I take the whole thing as probably being "75%" canon - I hope GRRM never says a word about it. Let us wonder, debate, and pick and choose. Maybe we will learn otherwise in Winds...
in my little pony universe youd go to a job interview and theyd be like so how does your cutiemark reflect your dedication to this position. And every time youd have to spew some bullshit about how your cutiemark of two tennis rackets actually means youre a team player and good at multitasking and view the market like a playing field. or whatever. and you wouldnt even get the job
Thanks to Equestria v Sugar Sprinkle, cutie mark interview questions are considered hiring discrimination, so if anypony asks you any cutiemark related questions or even alludes to any questions about your cutiemark such as "In your own words, describe your life purpose" you can and should refuse to answer. Know your rights, ponies.
Equestrian case-law on this is pretty spotty though. Most decisions like Equestria vs Sugar Sprinkle, or Belle vs Glimmer, are slapdash additions to the legal code after the Saddle Arabian Oil Crisis ushered in the collapse of the command economy. Constitutional law clearly had no provisions for "cutie mark discrimination" given that the previous economic order was literally propping up empty nightclubs with subsidies just to generate jobs for all the ponies whose "true calling" was being a fucking DJ! And while the "Invisible Hoof" Faction did their best to throw together a series of bills to saddle the rough ride into a free market economy, it was absolutely a "results over proper procedure" affair. And they *certainly* never had the supermajority of the High Council they would have needed to enshrine any of those bills in the constitution!
Now that we are ~30 years out from those heady days, and "maintain the social order at all costs" is no longer the name of the game, do you really wanna be the poster child for the Discord Faction's brand new Celestia's Court petition to overturn precedent? Push this too far and we are gonna be back to the days of firing Earth Ponies from white collar jobs for "lacking cultural fit". Nopony wants that!
Keep it chill out there if it isn't egregious, is all I am saying.

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a ruler is very useful if you want to draw a line of succession