It was a genuine delight to see everyone post on their progress last week. I'm thrilled with the variety of projects people are attempting!

Weekly Task

This is the halfway point (ALREADY?!). Update us on your progress so far! What did/didn't you get done this week? Anything go according to plan? Anything go off the rails? Any successes or struggles to share?

Next Steps

Continue creating!

Timasomo FAQ

What have you been listening to this week? You don't need to do a 6000 word review if you don't want to, but please write something! If you've just picked up some music, please update on that as well, we'd love to see your hauls :)

Feel free to give recs or discuss anything about each others' listening habits.

You can make a chart if you use last.fm:

http://www.tapmusic.net/lastfm/

Remember that linking directly to your image will update with your future listening, make sure to reupload to somewhere like imgur if you'd like it to remain what you have at the time of posting.

Hi everyone, just a quick question!

It's been more than a year since it was released so I was wondering if those who own it and have played it can advise whether or not it's become better to play?

I reckon everyone here remembers all the drama and bugs in it, but I also recall seeing people saying that it was a fine game back when it released. So... Is it worth the while to give it a shot now? I was thinking that I would perhaps buy it as a christmas present for myself.

Edit: Not gonna lie, I actually forgot that I posted this! Thanks so much to everyone for your responses!

What have you been listening to this week? You don't need to do a 6000 word review if you don't want to, but please write something! If you've just picked up some music, please update on that as well, we'd love to see your hauls :)

Feel free to give recs or discuss anything about each others' listening habits.

You can make a chart if you use last.fm:

http://www.tapmusic.net/lastfm/

Remember that linking directly to your image will update with your future listening, make sure to reupload to somewhere like imgur if you'd like it to remain what you have at the time of posting.

What have you been watching and reading this week? You don't need to give us a whole essay if you don't want to, but please write something! Feel free to talk about something you saw that was cool, something that was bad, ask for recommendations, or anything else you can think of.

If you want to, feel free to find the thing you're talking about and link to its pages on Anilist, MAL, or any other database you use!

OK, well. Dune then. Sort of a live review, as I watch. Some more in-depth thoughts at the end. Mildly spoilery, but not if you know the story already.

Fair warning, I will not be judging this film on purely it's own merits. It exists in the world and also in the world are Lynch's film (for reference I consider the spicediver fanedit, Alternative Edition Redux, to be the canonical version of that), the Sci-Fi channel miniseries and obviously the books. Yes, even the prequels - the first of which is one of the worst books I've ever read and I've read The Davinci Code. Anyway, on to actually watching it...

Well, it's pretty. One problem is that no matter how good the design is - and the design is VERY good - it's just not as good as Tony Masters and David Lynch building on material from Mobius and HR Giger. This film is obviously heavily influenced by them though.

In my head Caladan is a lush, fertile, welcoming world. It's been colour graded to grey and desaturated. Feels wrong.

He's lifting both shots and dialogue from Lynch's film. That's good. My brain is filling in the missing bits of internal monologing.

Nice implementation of Chakobsa. I like that.

Hans Zimmer can just fuck off with that big stupid honking sound he shoehorns into everything. So annoying.

This film is missing Roger Deakins. I mean you can say that about a lot of films but this one especially. It is beautifully shot but Deakins would have taken it to another level.

Why are people whispering at each other over like ten metre distances? I hate that. Speak up, you're outside, it's windy and you're far apart! It's not moody if you obviously can't even hear each other. Yes, small thing, but things like that which upset your suspension of disbelief are jarring.

You can't put a crysknife away without it tasting blood. Pffft. That's just ignoring lore for the sake of it. Five seconds would be all it took to do that bit. We could have had one fewer lingering shots on the knife itself instead. As an aside, the Shadout Mapes as a means to explain bits of Arrakeen and Fremen lore to the Atredies (and us!) is horrendously under-used.

The ornithopters in this movie are badass. There is an in-universe reason for them that I can't remember.

I wonder how much of this works if you haven't seen Lynch's version (which has much more internal thoughts of characters) or read the books?

Stellan Skarsgard is channelling Apocalypse Now era Brando pretty hard and that is in no way a bad thing. His Baron is absolutely superb, probably the best part of the whole film. Piter de Vries is nowhere near weird/creepy/insane enough. Leaving out Feyd-Rautha is a mistake, he's the anti-Paul and even though Sting did a relatively terrible job in Lynch's film, that doesn't mean he's not important.

Zimmer teasing elements of Eno's original theme is a nice touch as well.

You know what's cool? What's cool is that at certain key moments I get lines from the book appearing in my head, from whichever scene is happening. That's a really good sign. I haven't read Dune for years.

So OK, overall, it's not as bad as I was expecting. It's pretty. It's stylish. It's annoyingly colour graded but what isn't these days? But this film doesn't add much to the telling of Dune over the Lynch's film or even, really, the Sci-Fi miniseries. Villeneuve is obviously a fan of both books and Lynch's movie and what he has made is good. A lot of what he's made is basically just a remake of what Lynch did, and I don't just mean because both films are based on the same book - there are multiple direct lifts straight from Lynch's film, and that is perfectly OK. But it's not about what is here, it's about what isn't.

Because it leaves a lot out - it's shallow where it should be deep, it's straightforward where it should be mystical, simple where it should be weird. It's 8-10 characters when it should be twice that and worst of all a lot of it seems to rely on viewers knowing the lore rather than having time to explain it: and all that is because film is the wrong medium for this story.

It misses out on exploring much about any of the characters simply because nobody has enough screentime to go into their motivations, which are generally multifaceted and complex - I do appreciate Villeneuve not wanting to have characters stand around expositioning at each other (MCU, looking at you), or doing a voiceover of character's thoughts like Lynch did, but that means you really need to spend time with them so they can show us what they're thinking, not tell us. "Show don't tell" is good filmmaking but it takes time.

For example, Paul and Jessica get most of the screen time but we don't really learn much about them. Because you need a lot of lore to contextualise their motivations - Jessica's actions and desires need to be placed in the wider context of her relationship to Leto and the Bene Gesserit and their plans and while Villeneueve does try to do that a bit, it's one or two lines with Leto and one rushed (literally, they're doing a walk-and-talk) conversation in which Helen Moahim mentions the Kwisatz Haderach and little more.

The Guild are barely even mentioned. You see some lower level navigators but you don't know who they are if you don't already know who they are. The Guild's influence is so important to so much of what happens in Dune but if you didn't know they existed already I'm not sure you'd leave this film knowing there was a spacing guild at all. Same goes for the Emperor and the Landsraad, they hardly come up at all. The thing about Dune is that it's not just about Paul. Paul is important but he's really just the pointy end of a lot of long-game players and systems and their interactions. That doesn't really come over in Villeneuve's film. Also it's not really a structural issue but I'd have loved to have seen more of the Heighliners. A Navigation sequence would have been fun too.

The thing is, Dune deserves a TV series. A high budget one like Game of Thrones. I want an hour on Caladan, learning about the Atredies. I want an hour on Kaitain learning about the Padishah Emperors and the Bene Gesserit. Same with the Harkkonens. I want to be 3 or 4 episodes in before I even see Arrakis. Movies are great for telling short stories, maybe novellas at best. But big, long, complicated books need to be on TV where they can spread out, take their time, develop characters and fill in backstory and motivations.

Overall, 7/10 and I really hope the second movie gets funded because stopping here would be even worse. It's worth watching but don't expect a great deal underpinning what is still a very beautiful film. I could have written that same sentence about Bladerunner 2049, thinking about it.

The distinction between Hard and Soft paywalls used to be clear:

Hard paywall sites only allowed paying subscribers to view their contents;
Soft paywall sites typically used a metered approach that limited non-subscribers to a certain number of free article views per month.

This made tagging paywalled submission here on Tildes, as either paywall.hard or paywall.soft, pretty easy to do, and doing so provided tangible benefits. They let submitters know when to consider providing a summary of the article, or even mirror/alternative links, so non-subscribers weren't left out. It allowed users to easily avoid or filter-out hard paywall submissions entirely, if they so chose. And also indicated when a paywall was soft, and easier to get around (e.g. by clearing browser cache, or viewing in private-browsing mode), so the article could still be read.

However in recent years the distinction between Hard and Soft paywalls has become increasingly blurry. And with all the new, constantly evolving, often opaque, paywall mechanics now in play, it has become more difficult to identify and keep track of what type of paywall a site has. E.g.

Some sites have begun adding article sharing mechanics as a perk for their subscribers (NYT). Some with hard paywalls now allow certain articles of "public interest" to be viewed by everyone (Financial Times). Some still hard paywall their print articles but allow the rest to be viewed for free (Forbes). Some have hard paywalls for recent articles but older ones are free (Boston Globe). Some decide on a case-by-case basis whether or not to paywall each individual article, based on editorial board decisions and other unspecified metrics (Business Insider). And apparently some now even switch from Soft to Hard paywalls depending on where in the world the traffic is coming from (WaPo?).

And as a result of all this, accurately tagging paywalled articles here has become increasingly difficult too, especially since there is no easy way to update all previously applied tags on older articles when a site's paywall type changes.

So, the question is, what should we do about this?
Should we simply stop trying to distinguish between hard/soft paywalls in the tags?
Should we add another "hybrid" category?
Should we just do away with the paywall tag entirely?
Or is there a better solution to this problem?

p.s. I started a "Hard vs Soft Paywalls" wiki entry to try to keep track of all the paywall types, as well as the various new mechanics I have been able to identify, for the sites commonly submitted to Tildes.

The Cowboy Bebop live-action adaptation caught the attention of many users here, so I'll link some of the reviews I could find. The show is not yet available to the audience, but entertainment websites clearly had access to it.

AV Club: Netflix’s Cowboy Bebop is a bloodless substitute for the real thing.

EW: A colorful, campy attempt at live-action anime doesn't justify itself.

The Verge: Netflix's Cowboy Bebop has heart, style, and some rough edges.

Indie Wire: Netflix’s Live-Action Riff on Everyone’s Favorite Anime Is a Cosmic Disaster

Games Radar: A Stellar Remix That Hits All the Right Notes

Polygon: Cowboy Bebop turns a classic anime into a Saturday morning cartoon

IGN: mixed

Slate: Cowboy Bebop Is Netflix’s Latest Live-Action Anime Mistake

Hollywood Reporter: negative

Rolling Stones: The Live-Action ‘Cowboy Bebop’ Takes an Anime Classic Into the Stratosphere

The Atlantic: What’s Lost When a Classic Anime Is Adapted by Netflix

RogerEbert.com: Cowboy Bebop Fails to Find a Rhythm

Time: Netflix's Live-Action Cowboy Bebop Misunderstands What Made the Original a Classic

Vulture: Cowboy Bebop’s New Shine Can’t Replace Its Old Soul

Collider: Netflix's Live-Action Show Is a Colorless, Soulless Copy of a Landmark Anime Series

Vanity Fair: Netflix’s Cowboy Bebop Is the Rare Remake That Works

Rotten Tomatoes: currently 41%

Metacritic: currently 40, Mixed or average reviewsbased on 18 Critic Reviews