Comment It's a matter of time (Score 1) 61
I don't find this reassuring at all. We will have that kind of power someday so Bitcoin will essentially become futile in the future. Or am I missing something?
Comment In theory can we use it to play SWF? (Score 1) 151
Can anyone share the browser?
Comment modern layout is generic (Score 5, Insightful) 27
I like that style, tho, makes it quite cozy. Please, don't support generic, frameworked layouts, those indeed suck.
Comment Re:wild ass guess (Score 1) 23
it's about power.
Comment its nothing (Score 1) 71
oh wow, another new planet that is habitable. amazing, never discovered before.
Submission + - What Happened To Cinema After 1999? (bbc.com)
dryriver writes: The BBC has an interesting story ( http://www.bbc.com/culture/sto... ) about how the quality of cinematic works went downhill steeply after 1999, arguably cinema's single greatest year according to many film critics. Notable films of 1999 are Fight Club, Magnolia, The Matrix, Eyes Wide Shut, Three Kings, The Sixth Sense, EXistenZ, Being John Malkovich, Man On The Moon, American Beauty, The Talented Mr. Rippley, Office Space, Boys Don't Cry, Election, Rushmore, Buena Vista Social Club, The Virgin Suicides, Sleepy Hollow, The Insider, Girl Interrupted, The Iron Giant and Toy Story 2. According to Nicholas Barber, 1999 also was the beginning of the end for quality cinema: 'The release of Star Wars: Episode I — The Phantom Menace proved that long-dormant series could be lucratively revived. Toy Story 2, the first ever Pixar sequel, proved that cartoon follow-ups needn’t be straight-to-video cheapies, but major, money-spinning phenomena. The Matrix proved that digitally-enhanced superhero action could attract audiences of all ages. And The Blair Witch Project proved that found-footage horror in particular, and microbudget horror in general, could be a gold mine. As wonderful as those films may have been – The Phantom Menace excepted, obviously – they taught Hollywood some toxic lessons. Instead of continuing to bet on young mavericks, studio executives twigged that there was a fortune to be made from superhero blockbusters, Disney sequels, merchandise-friendly franchises and cheapo horror movies. And that’s what we get in 2019, week after week. When someone asks what they should see at the cinema, it’s tempting to tell them to watch television instead. 1999 was the best of times, but it was the start of the worst of times, too.'
