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If you were to combine the two rankings, the 20 highest-paid actors in the world would include two Ryans, two Toms and just three women (two of whom, as it happens, are named Jennifer). Stone, Hollywood's highest-paid woman, would barely crack the top 15.
Joining forces with an enchanted but seriously no-nonsense monkey (a terrific Charlize Theron) and a joke-cracking giant samurai beetle (an equally terrific Matthew McConaughey), Kubo embarks on a quest to discover what became of his parents while learning a lesson about the importance of keeping memories alive.
Who are Arbi and Fallah you ask? Excellent question. The Moroccan-born team are responsible for Black, a Romeo & Juliet-type drama set in the world of organized crime in Belgium (haven't seen, so can't comment*). They also stepped behind the camera for a few episodes of Snowfall, John Singleton's FX series about the rise of crack cocaine during the '80s**.
**Stranger yet: I haven't watched Snowfall, which is disappointing on a personal level. A John Singleton produced series about the crack epidemic in LA circa '83 feels distinctly like "a thing Jacob Knight would like". I have failed you all.
Audiences showed no interest in paying to see the new WikiLeaks movieThe Fifth Estate. The Disney releaseopened poorly to $1.7M from 1,769 locations for a miserable $946 average.Rarely do wide openers fail to crack an average of $1,000 per locationand this R-rated drama about Julian Assange and his web site for whistleblowershad no subject matter that could draw in moviegoers. Bad reviews hurt andthe cast lacked any stars that could pull in business, although lead BenedictCumberbatch did win praise for his performance. Competition for sophisticatedadult audiences crushed it too. Openings in Spain and the U.K. have alsobeen weak. Estate won the high-profileopening night slot of last month's Toronto International Film Festival,but attracted negative buzz once more critics and industry people saw thefilm.
Traditionally, Populist Death Matches feature the poors exploited by the rich. But as their frequency has increased over time, a new version has emerged. In 2022, three new Populist Death Matches\u2014Glass Onion, The Menu, and Triangle of Sadness\u2014made elites themselves contestants in the game of death. No longer were the rich pulling the strings, watching from behind a two-way mirror as they do so exquisitely in Squid Game (in my opinion the best of the genre). Now the rich are in the arena, either with the poors (Triangle of Sadness), by themselves at the behest of the rich (Glass Onion), or by themselves at the behest of the poor (The Menu).
I see the rise in populist allegory films not as cope, but as a genuine vibe shift, a crack in the facade of the globalist media complex, owned as it is by only four or five giant corporations. Populist critique means globalist critique, and so far the globalist ruling class has demonstrated near zero tolerance for criticism or opposing viewpoints. If you question the regime, you\u2019re walled off\u2014dubbed racist, sexist, anti-vaxx, whatever\u2019s needed to protect the masses from your ideas. The problem for the global elites, however, is that as long as free speech exists, there are going to be artists that make fun of the powerful. In fact, they\u2019re our favorite.
I don't think so.DRM is about removing control. More specifically, it's about removing the consumer's control such that they can't do profit-reducing things like format or time shifting -- instead, they'll be forced to buy the content again and again.In theory, the control removal prevents piracy (by making it harder to copy illicitly than just to buy the content in the first place), but in practice that's not true either, as the ease of electronic distribution means that the consumer doesn't have to be the one cracking the DRM. They just need to find a site or P2P program with the content and click "Download".DRM is great in a world that's not connected, and where cracks, rips, and other pirated content is not trivially available.Thankfully that's not the world in which we live. RMS is right. Again. Posted May 8, 2013 15:54 UTC (Wed) by geofft (subscriber, #59789) [Link]
XBox360 was actually cracked quickly - both DVD drive and the body, but Microsoft quickly patched the vulnerabilities in Firmware which meant that you always needed about half-year-to-year old XBox360 to actually unlock it (to run Linux, for example) while DVD needed new firmware to play new games just as frequently.
How pirates coped? Usually by offering previous generation of consoles (PS3 was released in 2006, but PS2 was discontinues only in 2012), some even offered clones of PS2 in a case similar to PS3 - but this does not mean DRM was cracked or somehow didn't work. It did. This is not a new trend, too: unofficial clones of NES were offered in PlayStation-style case shortly after introduction of original PlayStation - similarly to how today there are lots of fake iPhones which run Android but copy all attributes of the iPhone (they even have fake Lightning connector which duplicates the shape but is, of course, incompatible with the original).
To pirate movie. Singular. Yes, there are big difference when we are talking about the world with one single coveted movie and one single coveted PS3 game. But in real world with thousands of PS3 games and millions of movies (if you'll include serials in the list) difference is not as big as you want to portray. Difference in complexity of cracking a single movie is compensated to a large degree by the difference in scale.
What you want to do in Linux is to use different version strings for different versions of libraries (especially for the libraries like boost which are changing ABI often), but sadly only few standard libraries do that - everyone else pray to "our distribution makers will just rebuild the whole world to keep everything compatible". Kind of ironic to see that once upon time FSF promoted technologies which are good mostly for "nonfree" programs. 2ff7e9595c
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