Fuzzround

The ABSOLUTE truth... this is grief.

645AM: “Dad, wake up! Will you make me pancakes before school?” ME INTERNALLY: “Noooooooo!” ME EXTERNALLY: “Of course, big dog.” I was tired and wanted to sleep. But today I got one more breakfast w/my son before he’s grown up. *80-year-old me watching me make that choice* 👇

Philip K. Dick’s Legendary 1977 Metz Monologue: “If You Find This World Bad, You Should See Some of the Others” This stunning 90-minute monologue he delivered as guest of honor at the Second Metz International Science Fiction Festival in France. He didn’t talk about DeLoreans or machines. Instead, PKD laid out his mind-bending theory of orthogonal time a right-angle “sideways” axis running perpendicular to normal linear time. In fact moving back and far forward in time is the same as all time happened all at once. Like being caught on the inner layer of an onion, the are other layers of this infinite onion representing forward and back time in one holographic whole onion. Along the lateral axis, he said, parallel realities constantly branch off whenever a cosmic “Programmer” (a divine or simulation-like force) tweaks a variable in the past. Déjà vu? He called it a literal glitch, a residual memory from the previous timeline that just got overwritten. Reality, he argued, is like a programmable simulation or a divine chess game, constantly being edited into better versions. Pure 1977 prophecy that feels like it predicted simulation theory decades early. This is the same visionary genius whose stories became some of the greatest sci-fi movies ever made: 
• Blade Runner (from Do Androids Dream of Electric Sheep? — questioning what is “real”) 
• Total Recall (from “We Can Remember It for You Wholesale” — false memories and alternate lives) 
• Minority Report (precognition and changing what “will” happen) 
• A Scanner Darkly (layers of fractured identity and perception) 
• The Adjustment Bureau (fate manipulation across branching possibilities)

In the late 1990s, I remember seeing the OG found footage film “The Blair Witch Project”, thinking “How could a woman be pursued through the woods by a spook and still have time to point the camera at herself to record monologues?” In hindsight, this might be the most realistic aspect of the entire film.

When you’re so good at your job that you accidentally become everyone’s source of happiness

It’s nice to know that over 145 years ago people were taking silly pictures of their pets, 1875

So wholesome

Bro's street name is Ctrl-Z

Grandma takes you to a baseball game and something happens that you will remember for the rest of your life ❤️

Watergate was fake. WMD’s were fake. J6 was fake. Charlottesville was fake. Almost every Boomer benchmark of reality is fake.

Animal shelter security footage captured a scared dog with a large St Bernard. I had a St Bernard and this is exactly how loving they are❣️ I’d adopt them both!

When we win we are banning LEDs

The shootout in Michael Mann's HEAT [1995] was filmed on the streets of downtown Los Angeles, around Persier Avenue near the 2nd Street tunnel. The scale of street closures, city cooperation, and police assistance for production hasn't been surpassed since. The sound design is arguably the scene's most lasting legacy. Mann and sound designer Per Hallberg recorded the gunfire live on location with minimal post-processing, letting the acoustics of the urban canyon — the hard concrete, glass, and narrow corridors — do the work. The result was a crack-and-echo effect that had never quite been heard in a film before. The actors fired blank-adapted weapons on location, and rehearsed choreography for weeks so the camera could follow the action fluidly without cutting away to hide confusion. Mann wanted the audience to track spatial relationships at all times. Mann made the deliberate choice to strip the scene of any musical score. The only sound is gunfire, glass breaking, and ambient noise. This was unusual for a major studio action sequence and contributed enormously to the documentary-like tension. The sequence runs roughly 12 minutes — extraordinarily long for a sustained gunfight — and involves hundreds of extras, law enforcement coordination for street closures, and multiple camera setups over several days of shooting. The scene has been studied at West Point and by law enforcement agencies as an example of realistic urban small-unit tactics, which is a strange and singular distinction for a Hollywood production.

A thoughtful dog who, seeing his friend lying on the ground, went and brought him his bed

As crazy as it looks that cat loves him!