Not buying it.

The product leadership, directors and executives who dreamed this nightmare up and believed in it enough to make it a reality are still there.

Never trust them again.

Here’s what that data looked like:

https://news.gallup.com/interactives/507569/presidential-job-approval-center.aspx

It depends on your level of expertise. It’s open source software that you download and run on hardware that you lease or own. So you need to know how to do that in order to use it. As those things go, it really isn’t difficult.

No, it’s not as easy as signing up for an account on some website. That’s the difference between third-party services (owned, operated and controlled by some random company your decide to trust) and software that YOU run, on hardware YOU control, with access that YOU decide upon, and no one who will gate it or take it away.

It’s a trade-off. Everyone must consider their wants vs needs and choose what’s most important to them.

What disappoints me is how quickly people are willing to throw up their hands and say IT’S TOO HARD without ever even trying.

Absolutely everybody here is sleeping on zulip.

You know, for kids!

If the mastodon instance never receives acknowledgement that the follow-request was approved, it’s probably not going to start fetching those messages. I’ve tried un-following and re-following; it still doesn’t work.

As I said intially, I think that qualifies the integration as only kinda-sorta working.

I did try that (following the community), but the mastodon account’s “request to follow” has been stuck in “awaiting approval” status. I run the Lemmy community that I’m trying to follow with my Mastodon account, but I don’t see how or where to approve these follow requests.

Are those requests gated by the mastodon admin perhaps?

Kinda sorta.

The specific mastadon instance I’m on (mefi.social) does show the existence of lemmy communities and users, but it doesn’t import their posts or replies. mastodon.social seems and some other larger implementations seem to work fine though. I’m not sure if this is a configuration issue or what.

Careful, that’s how you summon the ghost of old Jacob Marley.

Yeah, I really wanted to pick a different post title, but community rules say I need to go with the source’s headline. :(

No, but the ignorance of blindly believing the TV (when it says that aspartame and sugar-rich fruit juices are healthy beverage options for kids) sure is.

Same. The adults who raised me bought diet soda and always had a jug of fruit juice in the fridge for the kids.

Why yes, they did always vote Republican. How did you know?

The film marketplace this week and next were a desert …

Currently in theaters:

• The Moment (2026, dir Aidan Zamiri) - Rising pop sensation Charli xcx navigates fame and industry pressures while preparing for her arena tour debut, revealing the transformation of underground culture into mainstream success.
• The Voice of Hind Rajab (2025, dir Kaouther Ben Hania) - January 29, 2024. Red Crescent volunteers receive an emergency call. A 6-year old girl is trapped in a car under fire in Gaza, pleading for rescue. While trying to keep her on the line, they do everything they can to get an ambulance to her. Her name was Hind Rajab. Nominated for the 2025 Academy Award for Best International Film.
• Magellan (2025, dir Lav Diaz) - In the 16th century, Ferdinand Magellan (Gael García Bernal), a young and ambitious Portuguese navigator, rebels against the power of the King of Portugal, who doesn’t support his dream of discovering the world, and persuades the Spanish monarchy to fund his bold expedition to the fabled lands of the East.
• Arco (2025, dir Ugo Bienvenu) - Arco (Oscar Tresanini), 12 years old, lives in a far future. During his first flight in his rainbow suit, he looses control and falls in the past. Iris, a little girl his age from 2075, saw him fall. She rescues him and tries by all means to send him back to his era. Nominated for the 2025 Academy Award for Best Animated Film.

Desert my ass.

Moulin Rouge I guess? I understand there’s some sort of backlash to it being unabashedly noisy, tacky and twee, but the way it does those things makes me love it. 🤷‍♀️

They’ve been talking about it forever, but it looks like it’s actually finally happening now. There’s money to be made I suppose.

Having an army of rabid fans who are actively encouraged to hassle theater owners leads to box office success. Who knew?

¯_(ツ)_/¯

…his first Grammy win, received for producing the Music by John Williams doc that won the best music film category. […] …a Tony (for producing A Strange Loop)…

Not that any of this matters, but ‘producer’ credits shouldn’t count towards EGOT winner status.

As they say: there’s no accounting for taste.

Here’s the entire article text (speaking of people not having attention spans):

For years, audiences have groused that films are too long, and now, a number of film professors say their students are having trouble finishing films they are assigned to watch for class.

The Atlantic writer Rose Horowitch published a piece Friday based on surveying 20 film-studies professors who shared stories of students struggling to sit through films in class without checking their phones or answering basic questions about said films after watching them.

In an anecdote that gained attention on X, the University of Wisconsin Madison professor Jeff Smith recalled asking his students about the ending of the 1962 François Truffaut film Jules and Jim. Horowitch writes: “More than half of the class picked one of the wrong options, saying that characters hide from the Nazis (the film takes place during World War I) or get drunk with Ernest Hemingway (who does not appear in the movie).”

Professors report they have even resorted to asking students just to watch portions of films. It’s a phenomenon mirroring what is happening in high school English classes around the country, where students might just be assigned portions of books.

Though these are discouraging stories for cinephiles to hear, there’s evidence that members of Gen Z are embracing movie theaters and film culture. Some in Hollywood have dubbed them the Letterboxd generation, and they were credited with helping fuel unexpected hits last year.

As Northwestern professor Lynn Spigel told The Atlantic, “the ones who are really dedicated to learning film always were into it, and they still are.”

Precisely the sort of hot take I’d expect from The Atlantic, swirling the drain of stewardship by hiring David Brooks^.

But look, I get it. I’m a genuine film nerd today, and I kinda always have been. When I was little, I’d watch old movies and everything about them set my mind wandering. They were black and white, the pacing was stilted, shot compositions and lightning were static, the audio quality was equally too drab and too sharp at the same time. All the characters were old, boring adults who wore suits and were busy with… adult things to do. It felt like eating crusty week-old bologna. Everything about “contemporary” movies was great! Crisp colors, dynamic lightning, hyper-focused Robert McKee screenwriting that made sure your brain knew precisely what to be thinking at what moment and give you a right happy dopamine hit at the end. What’s not to love?

Bless my dad. I once told him that I thought all black and white movies were boring. I had to be something like 10 years old at the time. He told me to go to the video store up the street and rent an old black and white movie called ‘Fail Safe’ and watch that. I did. That movie left me absolutely floored. Shook. I didn’t know, couldn’t even imagine, that old movies could go so hard. That was where my interest in the medium really started.

It took a lot of time, discovery, honing of taste and learning the technical limitations of the decades to develop a palette that could appreciate classics.

I don’t fault younger people for having the same aversions I did. If I were developing film studies cirricula, I’d ensure that foundational education about expectations of the various cinematic eras was already complete before throwing students into Truffaut.

^ Who is David Brooks? This is David Brooks.