cerebralhawks

I'm old school, I just get the subs and integrate them with MkvToolNix. I was always super picky about my files, so I'd go in there and change around what the active/enabled/default streams were, give the streams better names (e.g. Stereo, Surround 5.1, whatever was appropriate — I never included the language, since the tag handled that). I'd even use en-us or en-gb if it was specifically one or the other (e.g. James Bond, Harry Potter for the latter). I even insisted my subtitles be in English for English movies, and American English for American English movies. So like, the word "honor" in a Harry Potter movie would not fly with me, it must say "honour" because... that's what the English specifically say. (Speaking of Harry Potter, no "Sorcerer's Stone" bullshit in my library, I have the "Philosopher's Stone" version because, of course I do. The first one was the only one with a regional title.)

So because of that, I can use Jellyfin and the subs work just fine.

I am familiar with Plex's auto sub downloader. Despite owning a lifetime Plex Pass, it would put ads in the subtitles. That may be on the site's end though, not Plex's.

Still a Plex user, and I'm on a Mac, but all this shit works whether you're a Windows user or a Mac user. Probably Linux, too. I tried Jellyfin recently. It's fine if your clients are running Android, but they are just not there on Apple devices yet. My computer (M2 Pro) is plenty powerful enough to run both servers (servers use very little resources when not serving) but I just don't see a need for Jellyfin in my rotation. I do root for the project though, I want it to succeed, so I'll try it every year or so.

I remember watching Prison Break and Teardrop hit. It's a trope in anime that when the OP (opening theme) hits mid-episode, shit is about to get real. And Teardrop was never Prison Break's OP, but the scene had similar energy.

BBC cop drama Luther tried the same trick, playing Sia's Breathe Me (what played over the epic Six Feet Under ending — widely considered the best ending of any TV show, ever) over the ending of an episode and it... kinda... fell flat. So it doesn't always work.

I expected Good Doctor to have a Teardrop scene. Maybe the earthquake. Maybe the scene when a certain major character left the show. Especially since it's made by David Shore, the guy who made House MD.

It's funny because Massive Attack is not my kinda band at all. I have enjoyed electronic bands (Japan's The Sixth Lie is considered one, and I love them) but generally don't follow them. I do love some Teardrop, though. Maybe because of House MD? It's just a cool song. Some of the electronic stuff in the Mortal Kombat (1995) soundtrack — KMFDM, and others — was cool, too.

Headline alone does beg the question though.

I do like the BBC and will click the link, though I admit to skimming and missing the first line. (Also not the person you replied to.) I just hate how it redirects .co.uk to .com based on my physical location. This is a UK thing but redirecting me to the US version of the site makes it seem like it's not a UK thing, silly as that may be. The article is mirrored, just let people read it on the .co.uk, since they had to load that page initially anyway.

EN: I believe DuckDuckGo uses Bing, though. Not Google.

DE (via Google Translate): Ich glaube allerdings, dass DuckDuckGo Bing verwendet, nicht Google.

And people will still pay it, just like people bought Switch 2s in record numbers and just like the ROG Ally X (Xbox handheld) will sell well.

I'm sure those who say they won't are telling the truth, but most of them were never planning on buying it. Those who were will roll over like they always do.

It's sad, but I'm somewhat rooting for $80-100 games and other BS like this, because I know at some point the frog will jump out of the water, we'll have another video game crash, and after a few years things will return to sanity. But unlike last time, we all have huge backlogs — it won't hurt gamers nearly as much as it will big publishers. I think it may even be good for indies.

What I'm really rooting for though: more indie games, more weird games, more dumb games that appeal to a niche and are loved by them for years to come that most people don't get. A shift away from platform exclusivity. A shift away from Windows to both Mac and Linux. Something like Proton (LInux tool for emulating Windows games) on Mac. I'm fine with gaming being fine on Windows and Xbox, but it should still be fine if you don't want to throw any money at Microsoft.

Are they speeding? Then they are committing crimes, ergo they are criminals by the definition of the word.

Even if you ethically limit crime to harmful behavior, the risk to pedestrians and other traffic still paints them as criminals.

There are reasons they aren't racing at a track, and part of it is the thrill of someone potentially getting hurt, or arrested. So even by your definition, they are criminals.

Now skateboarding is not a crime. Public nuisance, perhaps, at worst, but not a crime.

BioWare needs to do what the Castlevania creator did. Konami wouldn't give up the rights to Castlevania (or sell it — the Netflix deal was lucrative, after all) and just make their own studio "with blackjack and hookers." Sure, the studio behind Bloodstained was problematic when it came to delivering on certain promises to Kickstarter backers, and sure, the mobile ports were abandoned and the Switch port was (apparently) never fixed... but on PC and Xbox at least, the game was fine. The best of Symphony of the Night and Aria of Sorrow, it's the best Castlevania game not called Castlevania, and it's among the best Castlevania games, too. I'm not sure there is even one that is actually better at everything. They really took all the good parts of Castlevania and, instead of a gimmick like an inverted anti-castle or entering paintings, they just made the castle stupidly huge, almost unreasonably so. The architecture doesn't make sense, but it never did.

It happened with the developers behind Fallout as well. They became Obsidian, and I think InXile got some of those developers. Obsidian went on to make Pillars of Eternity and The Outer Worlds. InXile made a bunch of RPGs too, but I can't name any without looking them up.

BioWare needs to take its talent and go indie.

They were hot garbage before. They exist to make money from gamers. Nothing wrong with that in and of itself, but you basically have two kinds of game developers. Those who love gaming, and those who are tired of or burned out from gamers and just want to exploit gaming. Live long enough, you'll see a lot of companies go from the first camp to the second (Bethesda, Blizzard). Developers and publishers in the second camp are best avoided. Problem is, people keep buying their games. So you've gotta try to support the ones in the first group. And, sometimes people actually like games from trash developers. Some will tell you their games are not that bad or that they found something they love.

EA's been in the second group for a long time. I don't think they will get any better. I think I will go on ignoring their games.

Will their price increases cover that though?

I know MWAM but not Tricot, checking them out now — thanks!

Almost sounds like it belongs on a Hallmark card, but I can dig it. It's like that bumper sticker "your vibe attracts your tribe." It's cliche but some cliches are popular because there's some truth there.

I've found that, to most of my peers, I'm definitely the weird one. I often let others pick the music because, while most of my coworkers tend to play stuff I find agreeable, the stuff I listen to is too eccentric, weird, and downright alien to them. So we listen to hip-hop, country, R&B, or pop music at work. And I listen to Japanese rock in my car on the way home. So is the real me an eccentric, or someone who's accommodating of others? I don't think there's an easy answer. At least not one that fits on a greeting card.