I figured it'll be easiest to consolidate discussion of all these in one place. As you find more good, thoughtful ones feel free to comment it and I'll edit them into this list.

Overall impressions seem very positive. LTT, in particular, tends to be pretty comfortable being critical of Apple and even he seems impressed (though I think his is the only review that doesn't have a hands-on component.

The Bloggers:

Daring Fireball: https://daringfireball.net/2023/06/first_impressions_of_vision_pro_and_visionos
Nilay Patel: https://www.theverge.com/2023/6/5/23750003/apple-vision-pro-hands-on-the-best-headset-demo-ever

The Vloggers:

iJustine: https://www.youtube.com/watch?v=AtCEGztr8cw
MKBHD: https://www.youtube.com/watch?v=OFvXuyITwBI&t=917s
Linus Tech Tips: https://www.youtube.com/watch?v=SqB0lUcqFbA
Snazzy Labs: https://www.youtube.com/watch?v=uUblFIaZKIk
Norman Chan (via Adam Savage Tested): https://www.youtube.com/watch?v=f0HBzePUmZ0

I just watched an old movie on television: The Boy With Green Hair. It’s a boring afternoon, with nothing to do, and I thought this old 1948 movie would be a pleasant way to kill an hour or two.

I was wrong.

It moved me to tears.

It stars Dean Stockwell, whose name I recognised from ‘Battlestar Galactica’, as a child actor, which is one reason I decided to watch it. He gives a great performance. Doing a bit of research, it looks like he was dragged into acting by his performer parents. His Wikipedia page quotes him as saying he didn’t enjoy acting. Despite that, he was great in this movie.

It also has ‘Nature Boy’ as its theme song, which I know from ‘Moulin Rouge’.

The movie itself is a powerful anti-war message. The central character is Peter, a war orphan (the aforementioned Stockwell). After being placed with a number of different relatives, he ends up with a kindly old ex-Vaudeville performer he calls “Gramp” (who he’s not actually related to). Gramp’s a sweet old man, played very sympathetically by an actor called Pat O’Brien.

Peter doesn’t know he’s a war orphan. He thinks his parents are still on a trip. (A very long trip!) His school holds a charity drive to collect clothes for war orphans, and one of Peter’s classmates tells him, quite matter-of-factly, that Peter is a war orphan: their teacher said so. Peter rejects this, and they get into a fight. Gramp is there, and he confirms the news.

Later that evening, Gramp is reminiscing to Peter about his old flame Eileen, who loved having “a spot o’ green” around the place (a plant) to remind her of Spring and hope. To cheer Peter up, he promises him a surprise in the morning.

The next morning, after taking a bath, Peter’s hair has turned green. He assumes this is Gramp’s surprise, and it cheers him up. It’s not. Gramp knows nothing about it. In fact, the cause of the green hair is never revealed.

When Peter finds out the green hair is not from Gramp, he hates it and wants to get rid of it. However, they’re unable to figure out a cause, and Peter’s unwilling to “paint” his hair (dye it) or cut it off, so he’s stuck with it.

It’s hard to explain why this movie moved me, without giving away certain important plot points. If you don’t want too many spoilers, watch this trailer and stop reading now, until you’ve watched the movie for yourself.

If, like me, you’re not fussed about spoilers, read on. (Spoiler alert: spoilers make you enjoy stories more)

I have to say there were some plotholes in this movie. It’s far from perfect.

Reading the backstory, it’s based on a short story which doesn’t mention war: it’s originally an allegory for racism, which is reflected in one scene in the movie where Peter’s teacher takes a roll call of students by hair colour. The adaptations to make it an anti-war message were inserted by the director, which makes it a bit clunky and obvious.

And, supposedly, the progressive movie studio executive who signed off on the movie was replaced by a conservative executive during production, who tried to change it into a pro-war movie. The movie is therefore a bit patchy and disconnected at points.

But it has heart. The two central actors, playing Peter and Gramp, carry most of the movie. The actor playing the teacher is also sympathetic and warm.

It's not a great movie, but the central performances are strong and the messages are powerful.

Some sources I found tell of Stockwell talking back to the conservative executive when the executive lectured him in favour of war, so Stockwell supported the message of the movie, even as a 12-year-old boy.

This was just supposed to be an old movie to distract me for an hour and a half on a boring afternoon. Instead, it grabbed my attention for the whole 90 minutes, and moved me deeply. So deeply that I just had to share it with someone. I considered putting this in @kfwyre’s Tildes Pop-Up Movie Event thread, but the 1940s slot is already taken. Not that I’m upset by that. I’m very glad I watched this movie, for its own sake.

I recently felt an itch for a big expansive RPG and decided to play through AC:O for a second time. The game is really big, was a timesink the first time around (like 80 hrs) and is bogged down by a lot of resource sinks and differing systems all trying to get your attention. But I'm a sucker for the Greek Myths and ancient Greece, so this game is perfect for me; so I gave it another go.

So NG+ on AC:O is your typical affair: You begin a new game, but you keep your experience, all your items, and also crucially, all your invested resources. AC:O has an extremely tiring resource sink in the form of the Adrestia, your ship. You can upgrade the hull, the ramming damage, the throwing spears, the arrows, the fire to light your arrows, and the ability of your crew to brace against enemy ranged attacks, the ramming speed, and I think I'm even forgetting a few. Doing this all on your original run is an extreme timesink, as the resources required to get a single one of those things up a level scales incredibly fast. Even worse, the items required to do so are all fairly common (wood, iron, and the like) except for one, which are ancient tablets, of which there is only a set amount in the world, at various locations you need to loot. I went the distance on my first run, and upgraded my ship fully. And it remained upgraded! This means that one vast system in the game is now basically gone. It has made ship combat very easy, but then that never was the highlight of the game anyway, so I don't mind. On top of that, all rewards are scaled up in NG+, meaning that you begin to immediately drown in money and resources, and with the biggest resource sink gone, you can focus on building your equipment exactly the way you want to.

A second one is experience. Now, when AC:O came out the first time, lots of players complained that the amount of experience you gain is abysmal, pointing to the overly convenient ingame shop selling a permanent XP and money boost for like 10 bucks. And I can absolutely see their point. To progress in any form in AC:O in the normal game, you pretty much need to do every "proper" side-quest (as in the ones with a plot, not the automatically generated ones you find on message boards and the like, only the ones marked on the map with the golden exclamation mark), and then the main-quests of an area. If you do that, you'll be just about the minimum level to do the main quests. So for the people who are here for the scenery and a main story, they got fucked hard, or had to pay up again.

Another incredibly annoying thing about vanilla AC:O is that like many open-world games, the world is divided into large regions and islands. Every region had a minimum level recommendation that might as well have been a requirement, as fighting someone just 3 levels above you bordered suicide, as you could die in sometimes 2 hits, and did a fraction of their health in damage even with your most powerful abilities. This means that on your original run, the world is not open at all, but you have to progress in the way that developers want you to. You start in Kephalonia, and can't leave until you unlock the ship. Your first quest leads you to Megaris, but you'll immediately notice that the level requirement for the region is too high. Conveniently, along the way is a different area which actually fits your requirement, so you have to stop there, and do every quest there before you can progress in the main story line.

NG+ fixes that entirely. Completely. Whatever level you are, every region in the game is now set to your level. Which means that you can follow the main quest line along without any problems at all and actually do the fun thing where you travel the open seas to sail to a random island and do the quests there. You know, open-world stuff! I vividly remember on my first play-through how sad I felt that I couldn't actually use my ship to sail around and explore, because the game forced me to do each region in a specific order, and "enjoy" my time there before moving me along at the pace of the main story line. I couldn't even stealth my way through it (in an ASSASSIN'S CREED game) because Odyssey has this really fucked up mechanic where stealth kills stop becoming instant kills if the target is too high of a level above you. Seriously. But NG+ fixes this, because you immediately get access to the crutch ability that the devs implemented to fix this issue and because most enemies you encounter are going to be around your level no matter where you are.

Since now everything is just scaled to your level, the world immediately opens up after you leave the tutorial area and you can do pretty much whatever you want. I didn't hunt down the Cult of Kosmos, a gameplay system where you discover clues about members of a secret dangerous cult hunting your family, have to piece those clues together (or collect enough where the game is just willing to locate them for you), and then go to a place to assassinate the person, which gives you another clue, and so on. Killing all cult members is optional, but does influence the main story-line, as they serve as the main antagonists. I didn't complete this objective on my first play-through, because some of them are specifically level-gated, as in the person you have to kill is just set to have level 59, which is post-endgame content, meaning you either have to commit to a worse ending of the main plot, or stall the final mission, ruining the pacing even more, to go on a world-spanning quest of hunting down every member.

Playing on NG+ has significantly increased my enjoyment of the game, as I feel like I can just go everywhere and do thing as I want to, not as the developers intended to. Do you know how great it is to actually see a place on the horizon and just, I don't know, go there? You know, the main attraction of the open-world genre? And not be greeted by an enemy town guard 10 levels above you decimates you in 2 hits while you'd be whaling against him with your best weapons for a solid 15 minutes before he goes down. It's great. I'd honestly urge it to even new-comers who like RPG or like the setting but don't like the grindy messy bits to just download a full save of the original game and start a new game + on it. The start will be a bit intimating since you'll have all abilities, but you can just reset the skill tree for spare change and re-level the way you want to. The game is better off not having the grinding for better ship parts in the game and you being able to go wherever you want.

It's far from perfect, but I really think it just turns into into a better experience. I'm fine with not really levelling my character, because 1 out of 3 skill trees is entirely useless and the other two only contain a couple of abilities which are any good, so putting your points into prestige skills that just percentage increase your damage or resistance or whatever is honestly good enough. It's not interesting, but the world and characters are plenty interesting enough for me.

A Logic Named Joe is a 1946 Sci Fi short story that introduces concepts such as the internet, streaming music and streaming video, search engines with family friendly filters and artificial intelligence.

Link to story: http://www.baen.com/chapters/W200506/0743499107___2.htm

Falling Down

Runtime: 1h 53m

Budget: $25m

Tomatometer: 75% 6.8/10 (Audience 88% 4/5)

IMDB Rating: 7.6 / 10 - 188k ratings (Top 1000 7.5/10)

Language: English

Streaming: Vudu , Amazon

Michael Douglas plays Foster, a man with 1950's era mentality who is having a really bad day. He just wants to make it across LA in time for his daughters birthday. The increasing setbacks he faces from modern 1990's society see him increasingly break down into a string of violence episodes. But his violence is guided by his 1950's era set of morals. And in spite of Fosters nerdy 50's appearance, he is surprisingly good at the modern violence thing. Does the movie glorify the violent anti-hero? Not so fast.

Robert Duvell plays Prendergast. A retiring cop on desk duty who is the only who connects the violent dots together. But because he is a retiring desk jockey who is clearly too afraid to take on a real cops job, almost no one listens to him. Almost no one. There is one person on the force who knows Prendergast has a lot more going on than people realize.

This story is an interesting analysis of the male psyche under pressure. Foster reacts with anger and aggression. Predergast bends to the point of being a doormat, and he just lies there and takes it.

What the movie uncovers at the end, is there is a middle ground, that handling life's setbacks sometimes requires patience and grace, and sometimes requires assertiveness and boldness, and that wisdom is knowing what you can and should try to change and what you can and should try to accept.

This movie has always been a favorite of mine, because I love a little bit of the old ultra violence, and I love an unusual ending that makes you rethink about the entire movie with a new perspective.

But what is really interesting, is this movie touches on the 1950's era males ideals and expectations men are still raised with today, and the outrage that arises when that sense of entitlement goes unfulfilled.

Out of Death

Runtime: 1h 36m.

Budget: Unknown. Shot over 9 days.

Tomatometer: 0% - "The cryptic title is about the only intriguing facet of this formulaic cat-and-mouse thriller."

IMDB Rating: 3.2 / 10 - 4.9k ratings

Language: English

Streaming: Hulu , Amazon

This movie is bad. The acting is bad. The dialogue is bad. The plot is bad. But it's a good kind of bad, a watchable kind of bad.

This is the last movie Bruce Willis stared in before he announced his retirement due to Aphasia. He filmed all his scenes in one day. It's not easy watching a great actor brought down low. But even on his worst day, he still out acts all the other actors.