Helpful prompt about what to do if the internet goes down due to a global cyberattack/AI swarm. This seems less insane with every passing day. I also bought myself the SAS Survival Guide, which is essentially a bush manual for almost every imaginable outcome. Money - Keep cash at home, about two to four weeks of essentials, in small bills. - Write down your bank, credit card and insurance account details and phone numbers on paper. Information and contacts - Print a contact list with family, close friends, neighbors, doctors and the kids’ school. - Agree on a family meeting point and plan in case phones are down, such as “if we can’t reach each other, meet at X by Y time.” - Export and print or save offline anything business-critical. - Download offline maps - Keep paper copies of passports, IDs, insurance cards and prescriptions. Communication - Get a battery or hand-crank AM/FM/NOAA radio, which will be your main news source. - Consider a pair of walkie-talkies or GMRS radios for the family. - Keep a landline-style backup in mind. Most “landlines” now run over the internet, so don’t count on yours. Power - Keep power banks charged, plus a solar charger or a larger portable power station. - Have flashlights, headlamps and spare batteries. Water and food (aim for 2 weeks) - Store about 1 gallon of water per person per day. In a high-rise this matters most, because building water pumps need electricity. - Stock shelf-stable food the kids will actually eat, plus a manual can opener. - Keep a camping stove with fuel for outdoor or ventilated use only, or no-cook foods. Health - Keep at least a 30-day supply of any prescriptions. - Have a first aid kit, OTC basics like pain relievers in children’s doses, and hygiene supplies. Home and offline life - Learn how to manually open anything electronic, such as smart locks and the building’s garage or entry. - Keep a paper copy of the building’s emergency procedures and super’s number. - Download offline entertainment and learning material for the kids: books, games, art supplies. - Get to know a few neighbors, since local community becomes your network fast. Digital hygiene (helps before and after) - Back up photos and documents to an external drive kept offline. - Use strong, unique passwords with 2FA, and keep printed recovery codes for key accounts.

Remember when Sarah Polley made Stories We Tell, supposedly about a paternity question in her family history, but it actually turned out to be a meta-documentary about truth, narrative, and subjectivity? Or when Banksy made Exit Through the Gift Shop, which at first seemed to be about street artist Thierry Guetta but in the end turned out to be a meta-documentary about truth, art, and subjectivity? Remember when Rodney Ascher made Room 237, nominally about hidden meanings in The Shining, but really about truth, narrative, and subjectivity? Would you believe me if I told you that You Can See Everything is only superficially about Elizabeth Holmes, that actually it's a meta-documentary about truth, narrative, and subjectivity? Let’s set aside the fact that Amanda Seyfried shows up to atone for her Hulu biopic and that her plotline is copied from The Act of Killing, which itself stole its main gimmick from some Cambodian guy’s movie about the Khmer Rouge. Here we have another postmodern prestige doc which either can't find something to say about its subject or thinks having a subject is gauche, so it throws up its hands and settles for a thematic focus on "unknowability" instead—not out of necessity, not because it’s about the Zodiac Killer and they can’t find him, but just because they think that kind of abstraction is high-minded. Every cliche is here: The filmmaker deliberately entangled with his subject, the film happily exposing its own artifice (because only dolts who believe in “objectivity” would try to hide that), the reflexive, flamboyantly meta structure which I guess is supposed to feel truth-coded, or remind you of truth and untruth in some way. Letterboxd users, who learned in college that truth is hopelessly mired in perspective, certainly appreciate these decisions and feel the movie is a “hall of mirrors,” but I found it boring and legible. I’ve already seen Capturing the Friedmans, Tabloid, F for Fake, Letter From Siberia, etc. I already know about “subjectivity.” I actually discovered it when I was a child and I began to experience the world. So yes, this is another The Ambiguity Is The Point movie. That’s why it's titled You Can See Everything—because you can’t. And that’s why some of the posters show Elizabeth Holmes but kind of blurry, because it’s about truth, which is also blurry. And if you think that’s mind-blowing then you will probably like the movie. Personally, I think the filmmakers are confusing an empirical problem with an epistemic one, so actually their theming doesn't line up, because a lot of their questions are in fact quite "knowable," but whatever

⛔️ AARP opposes any changes that cut Americans’ Social Security. 💪 It's money they’ve earned over a lifetime of hard work.

When cinema was still learning how to move, WINGS was already flying. With the camera gliding seamlessly across a crowded Paris café, this remarkable tracking shot from WINGS (1927) remains a striking example of the ambition and innovation of early filmmaking. Directed by William A. Wellman and starring Clara Bow, Charles “Buddy” Rogers, Richard Arlen and Gary Cooper, WINGS follows two young pilots whose friendship is tested amid the aerial battles of World War I. At the 1st Academy Awards, WINGS made history as the first film to win the Academy Award for Outstanding Picture, the category now known as Best Picture. The film also earned the Academy Award for Engineering Effects, awarded to Roy Pomeroy.

New words just dropped. ow.ly/q4pG50ZNRGE

this is, with zero hyperbole, the greatest video to ever exist

Do not let the clouds and rain fool you today, tomorrow will be extremely HOT and humid. Make plans now on how you and your loved ones will stay cool. #cawx

The Simpson's Odyssey - I remember when I was like five years old this was my introduction to The Odyssey