Hey Guys! I made a tutorial a while back on making looping flipbooks from videos. the above GIF doesn’t really do it justice, you can watch it on my personal Telegram channel here and you can watch the tutorial on my Youtube Make Looping Flipbooks From Non-Loop Videos! cheers XD 1 post - 1 participant Read full topic

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Call of Duty: Black Ops 6 now shows you microtransaction ads when you swap weapons "Actively witnessing Call of Duty become the Krusty Krab." Image credit: Eurogamer / Activision / u/whambampl News by Vikki Blake Contributor Published on June 1, 2025 Eagle-eyed Call of Duty: Black Ops 6 players have spotted a new feature on the weapon selection menu. Right at the top there now sits advertisements promoting premium weapons and skins, so players get exposed to ads for microtransactions in-game. As some players point out, it's not an advert in the classic sense, and no one's trying to flog you a cheeseburger or a pair of jeans every time you swap a weapon. Nonetheless, it's a new and insidious addition that we haven't seen in Call of Duty games before. Call of Duty: Black Ops 6 Opening Scene and Gameplay (4K).Watch on YouTube "One of the unwelcome changes I’ve noticed with Season 4 is that they’ve now inserted a new ad spot at the top of the list of your weapon specifics builds," wrote one player. "So now every time you toggle between weapon builds you get to stare at ads for $20-$30 skins. I’m sure the Activision developer who suggested this terrible feature is very proud of themselves. "This change is especially unneeded because you could already toggle from Builds to Shop on any given weapon and apparently not being thrown directly in our faces didn’t make them enough money. Many of us payed [sic] $60-$100 for a feature game and don’t want to be bombarded with additional ads." "Actively witnessing Call of Duty become [SpongeBob SquarePants'] the Krusty Krab," replied another. Season 4 brings new ad spot in game for weapons byu/whambampl inblackops6 To see this content please enable targeting cookies. "Well guys looks like COD can suck a fat one," replied someone else. "This ad mess is ridiculous. They make huge bank already for them to even do this should be illegal. I've never been done with a COD this fast ever. But she's getting deleted. You can't scrounge people for money and not have a decent game. I'm not asking for a great game, just not a buggy game." In a separate thread that's been upvoted almost a thousand times, one player opined: "I wouldn't even be mad if this was just in warzone, a free game, but putting it in a pay-to-play premium title, with how expensive they're getting?" "Agree 100%, it really feels like one of those free cell phone games from a tiny indie studio begging you for money at every turn. Pathetic for a full price, stand alone game from a huge developer," replied another. Earlier this year, in a update shared on social media, developer Treyarch said it recognised cheaters "are frustrating and severely impact the experience for our community" but insisted it was addressing the issue, and will continue to do so "throughout 2025". At the same time, it confirmed 136,000 ranked play accounts were banned for cheating across both Call of Duty: Black Ops 6 and Warzone.

Silicon Valley nerds have been lonelier since Fry’s Electronics shut down in February 2021 in the midst of the pandemic. The electronics store chain was an embodiment of the valley’s tech roots. But Micro Center, an electronics retailer from Ohio, has opened its 29th store in Santa Clara, California. And so the nerd kingdom has returned. I see this as a big deal, following up on the opening of the Nintendo store — the second in the country after New York — in San Francisco earlier this month. After years of bad economic news, it’s nice to see signs that the Bay Area is coming back. No. To answer your question, nerds cannot live at the Micro Center store. But this isn’t just any store. It’s a symbol — a sign that shows tech still has a physical presence in Silicon Valley, in addition to places like the Buck’s Restaurant, the Denny’s where Nvidia started, the Intel Museum, the Computer History Museum, the California Academy of Sciences and the Tech Museum of Innovation. Other historic hangouts for techies like Walker’s Wagon Wheel, Atari’s headquarters, Lion & Compass — even Circuit City — have long since closed. But hey, we’ve got the Micro Center store, and the Apple spaceship is not that far away. The grand opening week has been going well and I got a tour of the superstore from Dan Ackerman, a veteran tech journalist who is editor-in-chief at Micro Center News. As I walked into the place, Ackerman was finishing a chat with iFixit, a tech repair publication which has its own space for podcasts inside the store. That was unexpected, as I’ve never seen a store embrace social media in such a way. Can you stump the geniuses at the Knowledge Bar at Micro Center? Nearby was the Knowledge Bar, where you can get all your tech questions answered — much like the Genius Bars in Apple Stores. And there were repair tables out in the open. There are a lot of things for tech enthusiasts can like about Micro Center. First, it’s not as sprawling as Fry’s, which had zany themes like ancient Egypt and a weird mix of electronics goods as well as household appliances, cosmetics, magazines and tons of snack foods. (The Egyptian-themed Campbell, California Fry’s store that I drove by often was 156,000 square feet, and now it’s home to a pickleball court complex). Fry’s was a store that stereotyped nerds and Silicon Valley, which also had its own HBO television show that carried on the stereotypes. Nvidia’s latest RTX 50 Series GPUs were in stock at Micro Center. The Micro Center store, by contrast, is smaller at 40,000 square feet and stocked with many more practical nerd items. For the grand opening, this store had the very practical product of more than 4,000 graphics processing units (GPUs) in stock from Nvidia (which just launched its 50 Series GPUs) and AMD, Ackerman told me. Some of those graphics cards cost as much as $4,000. Not to be outdone. AMD has a row of GPUs at Micro Center too. “There were people waiting to get to the GPUs,” Ackerman said. On display was a gold-plated graphics card that was being auctioned off for charity. It was signed by Jensen Huang, Nvidia CEO. Nvidia CEO Jensen Huang signed this GPU being auctioned for charity at Micro Center. “I joke that whoever wins the bid should get a Jensen leather jacket as well,” said Ackerman. And this Micro Center store has a good location (5201 Stevens Creek Boulevard in Santa Clara) that is just a six-minute drive from Apple’s worldwide headquarters and (perhaps better yet) a one-minute walk from the Korean Hair Salon. Micro Center had a previous store in Silicon Valley, near Intel’s headquarters in Santa Clara. But that store close in 2012 because the company couldn’t negotiate better terms with the landlord. For its return to the Bay Area, Micro Center bided its time and came back at a time when many other retail chains were failing. It proves that the once proud region — the birthplace of electronics — still merits its own electronics store. You can buy dyes for liquid-cooled tubes at Micro Center. Sure, we have Target, Best Buy and Walmart selling lots of electronics gear. But there’s nothing like the Akihabara electronics district in Japan, which is full of multi-story electronics stores and gaming arcades. But this store is loaded with today’s modern top gear, like AI PCs, Ubiquity home networking gear, and dyes for multi-colored water-cooling systems. Vendors like Razer and Logitech had their own sections. Ackerman was pleased to show me the USB-C to USB-A adapter in stock, among many obscure items. And he showed me the inventory machine that could rotate its stock of 3D-printing filaments and give you the exact SKU that you scanned with a bar code. Tech hobbyists can find their love at Micro Center. “That’s super fun. I call it Mr. Filaments,” Ackerman said of the inventory robot. There’s a section for hobbyists who like single-board computing and DIY projects. There’s a set of video, audio and digital content creation tools for content creators. All told, there are more than 20,000 products and over 100 tech experts who can help. It even has the numbered cashier locations where you can check out — the same kind of checkout stands that Fry’s had. The Mr. Filaments robot inventory system at Micro Center. Customers can receive authorized computer service for brands like Apple, Dell, and HP, benefiting from same-day diagnostics and repairs, thanks to over 3,000 parts on hand through partnerships with leading OEMs. I only wish it had a help desk for Comcast. Micro Center has gear to entertain geeks. Micro Center started in 1979 in Columbus, Ohio. It’s a surprise there aren’t more nerd stores, given how ubiquitous tech is around the world these days. But Ackerman said, “These guys are really doing it right, picking and choosing, finding the right cities, finding the right locations. That’s why Charlotte is great. Miami is a big tech hub, especially for health tech. And we’re literally five minutes away from Apple headquarters and plenty of other places. People from HP and Nvidia and other companies are coming in today to hang out.” “Even though this store is big, the CEO (Richard Mershad) is really into curation, making sure it’s the right mix of stuff. He’s making sure it doesn’t go too far afield. So you’re not going to come in here and find, you know, hair dryers or lawncare equipment,” Ackerman said. “You’re going to find computer and home entertainment stuff, and DIY gear. There are components, just like in a Radio Shack, that hobbyists care about.” Dan Ackerman knows how to install a TV on your wall. As for the Micro Center News, Ackerman told me he has around 10 regular contributors and 20 more freelancers writing gadget reviews and other stories about tech gear. It is a kind of refuge for that vanishing breed of professional tech journalists. No wonder I was so nostalgic visiting Micro Center.

We may earn a commission from links on this page.Purchasing a full set of individual dumbbell pairs between five and 60 pounds can cost well over $1,500, not to mention how much space you'd have to dedicate to storing them. That's why I'm a huge fan of adjustable dumbbells like the REP QuickDraws or Nüobells, which I reviewed here and here, respectively. If you know you want to be able to up to 60 pounds at five-pound increments, effectively combining 30 weights into one compact set, then adjustables like the REP QuickDraws are how you can save significant money and space in your home gym equipment setup. But let's say your strength progresses beyond your adjustable dumbbells' capacity. First of all: Nice work. Secondly: What do you do now? I've seen users on Reddit directly asking "what's stopping me from adding more plates to keep going heavier?" Adding extra weight plates seems like a logical solution, as opposed to spending all that money on an entirely new set for just a few pounds beyond the recommended capacity. So, let's take a look at what is stopping you—and what's not. Here's what you should know about using add-on weights to your adjustable dumbbells, from what is officially considered unsafe to why it gets impractical even aside from that. How to add weight to your adjustable dumbbellsFirst off, not all adjustable dumbbells allow for this type of modification. Selector pin systems (like PowerBlocks) generally don't allow for unofficial weight additions due to their enclosed design. Dial systems (like my favorite, the Nüobells) have security features specifically preventing modifications outside the cradle. Then you have spin-lock dumbbells, like the QuickDraws, which allow for customization and additional weight outside the cradle. For this reason, I'll be speaking to the REP QuickDraws specifically, as opposed to Nüobells or Powerblocks.Still, adding weight beyond the manufacturer's specifications will almost certainly void your warranty. REP Fitness designed these dumbbells for specific weight ranges and cannot guarantee safety beyond those limits. I spoke with a REP representative (REP-resentative?) who informed me, "internal testing was not conducted beyond the 60 pound maximum, so REP cannot guarantee the safety of additional weight beyond that."Outside of your warranty, there are safety concerns. The handles, locking mechanisms, and materials are engineered for specific maximum loads. Exceeding these limits risks equipment failure and potential injury. Even if the dumbbells can technically handle the additional plates, the result might be bulky and awkward, affecting your form and increasing injury risk.All that being said, it still is entirely feasible to bend the rules and take your 60-pound dumbbells up to 70 pounds. Assuming you play it safe and only add a few plates to each side, here's what you should know:Only add compatible plates: The QuickDraw system uses standard plate dimensions that can be supplemented with additional compatible plates.Manual addition required: You'll need to add these plates manually outside the cradle system, as the selection mechanism only works within the advertised weight range. This pretty much negates the whole "quick draw" appeal.Secure them properly: Ensure the additional plates are secured with the locking mechanism to prevent dangerous slippage during exercises.Manual tracking required: The dial indicator becomes inaccurate once you exceed the designed range. You'll need to manually calculate and track the added weight.Can you (and should you) add more weight to REP QuickDraw Dumbbells?The short answer: Yes, technically you can add additional weight plates to REP QuickDraw dumbbells beyond their advertised maximum. The long answer: Just because something is possible doesn't mean you should make a habit of it. Sure, it's fully above-board to order add-on weights in five-pound increments (which, side-note, I love so much more than a 10-pound jump). However, going beyond 60 pounds isn't sanctioned by REP. For this reason, I naturally had my boyfriend test my DIY super-QuickDraws creation. In the image below, you can see how I manually added weights outside of the cradle. With the spin-locks, you can keep adding weights outside the cradle without any resistance. Just slide the weights on and flip the lock switch.I snapped a picture of it in its lopsided form, so you can see just how far outside the cradle the five-pound add-ons will go—and how precarious it starts to look right off the bat. Behold, my DIY super-QuickDraws creation. Credit: Meredith Dietz As we steadily increased the weight from 65, to 70, to 85 pounds, he noted growing concerns with how much the dumbbells could handle while still feeling safe. The all-steel design gives these guys a premium feel during standard use. But when you go beyond the sanctioned weight capacity, there's a sense that the dumbbells wouldn't bend or snag, but simply snap. And again, you'll need to manually keep track of how much weight you're adding, since the individual plates are not labeled, and you're exceeding the labels of the cradle. That mental math might not be a deterrent for you, but it's something to note.The bottom lineIn most cases, the hassle and safety concerns outweigh the benefits. The primary advantage of the QuickDraws—quick, convenient weight changes—is totally undermined when manually adding plates.Investing in a higher-capacity adjustable dumbbell set (like 80- to 90-pound models) or supplementing with specific heavier fixed dumbbells for certain exercises might be safer and more practical. For serious lifters approaching the upper limits of their adjustable dumbbells, I'd recommend supplementing with individual heavier dumbbells.

Women weren’t allowed to officially serve in combat jobs when Emelie Vanasse started her ROTC program at George Washington University. Instead, she used her biology degree to serve as a medical officer — but it still bothered Vanasse to be shut out of something just because she was a woman. “I always felt like, who really has the audacity to tell me that I can’t be in combat arms? I’m resilient, I am tough, I can make decisions in stressful environments,” Vanasse said.By 2015, the Obama administration opened all combat jobs to women, despite a plea from senior leaders in the Marine Corps to keep certain frontline units male only. Then-Defense Secretary Ash Carter told reporters that, “We cannot afford to cut ourselves off from half the country’s talents and skills.”The policy change meant that women could attend Ranger school, the training ground for the Army Rangers, an elite special operations infantry unit. When Capt. Kristen Griest and 1st Lt. Shaye Haver became the first women to graduate from the school in 2015, Vanasse taped their photos to her desk and swore she would be next, no matter what it took. She went on to become one of the first women to serve as an Army infantry officer and graduated from Ranger school in 2017. After the Pentagon integrated women into combat jobs, the services developed specific fitness standards for jobs like infantry and armor with equal standards for men and women. Special operations and other highly specialized units require additional qualification courses that are also gender-neutral. To continue past the first day of Ranger school, candidates must pass the Ranger Physical Fitness test, for which there is only one standard. Only the semi-annual fitness tests that service members take, which vary by branch, are scaled for age and gender.Despite that, Defense Secretary Pete Hegseth has continued to insist that the standards were lowered for combat roles. In a podcast interview in November, Hegseth said, “We’ve changed the standards in putting [women in combat], which means you’ve changed the capability of that unit.” (Despite Hegseth’s remark, many women worked alongside male infantry units in Iraq and Afghanistan, facing the same dangerous conditions.)In the same interview, Hegseth said that he didn’t believe women should serve in combat roles.In March, Hegseth ordered the military services to make the basic fitness standards for all combat jobs gender-neutral. The Army is the first service to comply: Beginning June 1, most combat specialties will require women to meet the male standard for basic physical fitness, something most women serving in active-duty combat roles are already able to do.Vanasse told Noel King on Today, Explained what it was like to attend Ranger School at a time when some men didn’t want to see a woman in the ranks. What is Ranger School?I went to Ranger School on January 1, 2017. I woke up at 3 am that day in Fort Benning, Georgia, shaved my head, a quarter-inch all the way around, just like the men. Took my last hot shower, choked down some French toast, and then I drove to Camp Rogers, and I remember being very acutely aware of the pain that the school would inflict, both physically and mentally. I was also very aware that there was kind of half of this population of objective graders that just kind of hated my guts for even showing up. They hated you for showing up because you’re a woman?Back in 2016 and 2017, it was so new to have women in Ranger School. I used to think, I don’t have to just be good, I have to be lucky. I have to get a grader who is willing to let a woman pass. I had dark times at that school. I tasted real failure. I sat under a poncho in torrential rain and I shivered so hard my whole body cramped. I put on a ruck that weighed 130 pounds and I crawled up a mountain on my hands and knees. I hallucinated a donut shop in the middle of the Appalachian Mountains and I cried one morning when someone told me I had to get out of my sleeping bag. But I think all of those experiences are quintessential Ranger School experiences. They’re what everyone goes through there. And I think the point of the school is that failure, that suffering, it’s not inherently bad, right? In a way, I like to think Ranger School was the most simplistic form of gender integration that ever could have happened because if I was contributing to the team, there was no individual out there that really had the luxury of disliking or excluding me. When you wanted to give up, what did you tell yourself? What was going through your head? I don’t think I ever considered quitting Ranger School. I just knew that it was something that I could get through and had the confidence to continue. I had a thought going in of What could be so bad that would make me quit? and the answer that I found throughout the school was, Nothing. Did you ever feel like they had lowered the standards for you compared to the men who were alongside you?No. Never. I did the same thing that the men did. I did the same Ranger physical fitness test that all the men took. I ran five miles in 40 minutes. I did 49 pushups, 59 situps, six pullups. I rucked 12 miles in three hours with a 45-pound ruck. I climbed the same mountains. I carried the same stuff. I carried the same exact packing list they did, plus 250 tampons for some reason. At no point were the standards lowered for me. Whose idea was it for you to carry 250 tampons? It was not mine! It was a misguided effort to have everyone very prepared for the first women coming through Ranger School.In Ranger School, there’s only one standard for the fitness test. Everybody has to meet it, and that allows you to get out of Ranger School and say, “Look, fellas, I took the same test as the men and I passed.” Secretary of Defense Pete Hegseth is saying that Army combat jobs should only have one standard of fitness for both men and women. And there’s part of me that thinks: Doesn’t that allow the women who meet the standards to be like, look, We met the same standards as the men. Nothing suspicious here, guys. I think gender-neutral standards for combat arms are very important. It should not be discounted how important physical fitness is for combat arms. I think there’s nuance in determining what is a standard that is useful for combat arms, right? But it’s an important thing. And there have been gender-neutral standards for combat arms. In things like Infantry Basic Officer Leader Course, which is the initial basic training for officers going into the infantry, there are gender-neutral standards that you have to meet: You have to run five miles in 40 minutes, you have to do a 12-mile ruck. All of those standards have remained the same. Pete Hegseth is specifically referring to the Army Combat Physical Fitness test, and to a certain extent I agree, it should be gender-neutral for combat arms. But I think there’s nuance in determining what exactly combat arms entails physically.Secretary Hegseth has a lot to say about women, and sometimes he says it directly and sometimes he alludes to it. What he often does is he talks about lethality as something that is critically important for the military. He says the Army in particular needs more of it, but he never really defines what he means by lethality. What is the definition as you understand it? There’s a component of lethality that is physical fitness and it should not be discounted. But lethality extends far beyond that, right? It’s tactical skills, it’s decision-making, it’s leadership, it’s grit, it’s the ability to build trust and instill purpose and a group of people. It’s how quick a fire team in my platoon can react to contact. How well my SAW [Squad Automatic Weapon] gunner can shoot, how quickly I can employ and integrate combat assets, how fast I can maneuver a squad. All of those things take physical fitness, but they certainly take more than just physical fitness. There’s more to lethality than just how fast you can run and how many pushups you can do.To an average civilian like myself, I hear lethality and I think of the dictionary definition, the ability to kill. Does this definition of lethality involve the ability, physically and emotionally and psychologically, to kill another person? Absolutely. And so when Secretary Hegseth casts doubt on the ability of women to be as lethal as men, do you think there’s some stuff baked in there that maybe gets to his idea of what women are willing and able to do?Yes, possibly. I think the [secretary’s] message is pretty clear. According to him, the women in combat arms achieved success because the standards were lowered for them. We were never accommodated and the standards were never lowered.What’s your response, then, to hearing the Secretary of Defense say women don’t belong in combat? It makes me irate, to be honest. Like, it’s just a complete discounting of all of the accomplishments of the women that came before us. Do you think that if Secretary Hegseth could take a look at what you did in Ranger School, and he could hear from you that there were no second chances, there were no excuses, there was no babying, the men didn’t treat you nicer just because you were a woman, do you think he’d change his mind about women serving in combat? I’d like to think he would, but I’ve met plenty of people whose minds couldn’t be changed by reality. I’d love it if he went to Ranger School. He has a lot of opinions about Ranger School for someone who does not have his Ranger tab.What is a Ranger tab, for civilians? A Ranger tab is what you receive upon graduating Ranger School, which means you have passed all three phases and you are now Ranger-qualified in the military.You have that. And the Secretary of Defense doesn’t. He does not, though he has a lot of opinions about Ranger School.See More:

Let's make this simple: You want to know if there are any post- or mid-credits scenes in Karate Kid: Legends. The answer is yes!Well, what do you call it when a movie ends, they cut to a title card, but then they immediately cut to another scene? Let’s call it a starts-credit scene. It would be hard to miss, but if you had to pee and were thinking of leaping out of your seat the second it seemed the movie was over, well, you shouldn’t. Full spoilers for the entire movie follow!The prophecy of six movies and six seasons of a TV show – wait, was that a thing? – has been fulfilled, as the Karate Kid franchise returns to theaters in Karate Kid: Legends. Though it is opening just a few months after the conclusion of the hit Netflix series Cobra Kai, the filmmakers have stressed this is a standalone story and that while Daniel LaRusso (Ralph Macchio) is in both, fans shouldn’t expect the film to continue Cobra Kai storylines, as we shift focus to a new Karate Kid, Li Fong (Ben Wang). Still, it was hard not to wonder if there would be any overt connections between the two beyond Daniel’s presence - or if fans should actually worry that the film would outright contradict the series in any way. Ultimately, while the movie sticks to that standalone promise pretty strongly, and Daniel actually has a relatively small role, there are two scenes that touch upon other aspects of the larger Karate Kid franchise - specifically tied to The Karate Kid Part II and, yes, Cobra Kai. Ranking the Karate Kid MoviesThe Karate Kid Part II Connection (and Continuity Error)Karate Kid: Legends has been marketed as a movie where Li Fong gets trained by two legends from Karate Kid history - Daniel LaRusso and Jackie Chan’s Mr. Han. This is pretty notable because Mr. Han’s only appearance prior to this was alongside Jaden Smith in 2010’s The Karate Kid, a film that was intended at the time to be an outright remake of the 1984 original. And while it changed the character names and locations, it used nearly every notable story beat from the 1984 film. All of which makes it pretty funny that it’s now been retconned to be part of the larger Karate Kid/Cobra Kai universe, since it means we just have to accept Mr. Han and Mr. Miyagi had remarkably similar experiences as widowed handymen who were secretly martial arts masters that ended up mentoring and befriending a bullied young boy who moved into the building they worked in… And then entered them in a tournament where they could face their bully… And one night drunkenly broke down and spoke about their dead family to the kid they were training... And so on…But hey, the universe works in mysterious ways, and I guess maybe it’s even more cosmic that Han and Miyagi lived such similar lives since it turns out they were really good friends whose families had been bonded together for literal centuries! Legends reveals that the two were longtime pals and we even get a photoshopped image of Pat Morita and Jackie Chan in the mid-1980s together to prove it. Legends opens with a flashback scene pulled from The Karate Kid Part II to dive into the bond between the Miyagi and Han families.“Legends actually opens with a flashback scene pulled from The Karate Kid Part II to dive into the bond between the Miyagi and Han families. In Part II, when Daniel traveled with Miyagi to Okinawa, Miyagi explained to him how in the year 1625, his ancestor, fisherman Shimpo Miyagi, got drunk on his boat and woke up to find himself off the coast of China. He would return to Okinawa a decade later with a Chinese wife and two children, also now knowing the secret of Miyagi family karate, bringing karate to Okinawa for the first time in the process. However, Legends transitions from this scene between Daniel and Miyagi into animation accompanied by a soundalike for the late Pat Morita (is it an actual human or AI? Who can say these days?) that goes into specifics we didn’t hear in The Karate Kid Part II. Here, Miyagi says that it was the kung fu experts in the Han family who Shimpo encountered and learned from, and that is what forged a bond that has lasted to the present day between the two families. Oh, and a side note fanboy rant: Karate Kid: Legends literally begins with this flashback scene, alongside onscreen text that says “Okinawa, 1986.” 1986 is the year The Karate Kid Part II was released, yes, but that’s not the year that movie took place in! The Karate Kid Part II is set the summer after Daniel won the All-Valley in December 1984 in the first movie. Hence, it’s the summer of 1985. They make sure to get this right on Cobra Kai when referencing Part II’s events (and hell, when referencing The Karate Kid Part III as well, which takes place later in 1985), so it is odd and annoying that no one noticed this error in the entire process of completing this film, when plenty of Karate Kid/Cobra Kai fans can spot it instantly. Sigh… End rant. PlayLi’s Three Dads (Can Fight)Karate Kid: Legends is actually rather misleading in terms of marketing, because yes, Li ends up being trained by Mr. Han and Daniel together for this film’s big tournament, the New York-based 5 Boroughs. But none of that happens – and we don’t even see Daniel outside of that old Part II footage – until the second half of the movie. The first half follows Li moving to New York with his mom (Ming-Na Wen) where, at first, he’s having the traditional Karate Kid new kid in town path of falling for a friendly cute girl he meets (Sadie Stanley as Mia) whose ex-boyfriend (Aramis Knight as Connor) turns out to be a bullying a-hole who’s also a seemingly unbeatable karate champion. But one big difference this time is that Li actually is a rather formidable kung fu fighter already, thanks to the training he received back in China from Mr. Han - he’s just not ready for someone as skilled as Connor yet. But the other big difference is that the film then takes a huge detour from other Karate Kid films for quite awhile when Li bonds with Mia’s dad, Victor (Joshua Jackson), an ex-boxer turned pizza place owner who’s attempting a boxing comeback in order to quickly make money he needs to pay back a loan from the dangerous O’Shea (Tim Rozon). O’Shea is also the guy who runs the Demolition karate school that trains Connor, so basically think of him as Kreese from the original Karate Kid… if he also had a side hustle as a mobster/loan shark type.      After Li helps Victor fight off some of O’Shea’s goons, Victor is amazed at his fighting prowess and asks the kid to help him train to get back into fighting shape - and pass on some of his kung fu techniques for punching and dodging. Li accepts, and for a surprising amount of the first half of its run time Karate Kid: Legends does a fun twist on the usual underdog story, with the young teen character mentoring the older character on how to fight. However, in Victor’s big comeback fight, his opponent goes for some brutal sucker punches at O’Shea’s orders, sending Victor to the hospital. With Connor still harassing Li and Li now wanting to help Victor and Mia get the money they still need to pay off Victor’s debt, he is convinced by Mr. Han – who comes from China to see him – to enter the 5 Boroughs tournament, which comes with a snazzy $50,000 prize for the winner. Mr. Han will of course help train him, but he can’t do it alone, because the 5 Boroughs is a karate tournament, not kung fu. So it’s off to Los Angeles and to Mr. Miyagi’s house (AKA Miyagi-Do Karate Dojo to Cobra Kai fans) to recruit a reluctant Daniel LaRusso to help, with Han explaining his friendship with Miyagi - though you’d think Daniel might already know about him?Karate Kid: Legends Ending ExplainedSoon enough, as Han predicts, Daniel does come to New York and he and Han team up to get Li ready for the tournament in just a few days time, using his foundation of kung fu to build upon to teach him Miyagi karate. Daniel also gives Li a headband he found among Miyagi’s belongings that he believes is connected to the bond between the Hans and the Miyagis and the idea of “two branches, one tree.” And then Li gets his ass kicked in the tournament and loses to Connor! Li beats Connor, and it being a Karate Kid movie, he does it using a special move he’d practiced earlier, of course.“Just kidding, Li beats Connor, and it being a Karate Kid movie, he does it using a special move he’d practiced earlier, of course - this one a fancy kick his late brother taught him, with an added second slide move suggested by Daniel, since Connor already has seen and countered that kick on its own in a previous skirmish the two had.Does Karate Kid: Legends Have a Mid- or Post-Credits Scene?As mentioned above, Karate Kid: Legends does have an additional scene – two, actually – though they appear almost immediately after the film appears to end, rather than true “mid-credits” scenes, since no credits actually run before they appear. After Li wins, Victor holds him up triumphantly to the cheering crowd and we get the traditional Karate Kid freeze frame on Li and then cut to the movie’s logo filling the screen… Except then, instead of the closing credits beginning, we get the two back-to-back scenes that actually wrap up the story. In the first scene, Victor is opening a new second location for his pizza place, with Li and Mia assisting. Han is there too alongside Li’s mom, though he mentions he will be returning to China soon, while Li says something about a pizza delivery to a notably far address. William Zabka (center) does show up as Johnny Lawrence in the "mid-credits" scene!We then cut to Los Angeles and a knock at the door of Mr. Miyagi’s home. Daniel answers and is confused to see it’s a pizza, saying he didn’t order one. However, when he opens the box, alongside the pizza (which we only glimpse, but it does appear to be freeze-dried, thankfully) is a note from Li, thanking Daniel for his help. Daniel walks inside with the pizza and up to… Johnny Lawrence! Yes, William Zabka does make a cameo in this movie as Johnny, in the one moment at my press screening of Karate Kid: Legends that got a big cheer from the crowd. The scene is an amusing comedic one, as Johnny first mocks the New York pizza Daniel received, insisting the best pizza is in the Valley’s own Encino. He then suggests to Daniel they open their own pizza place, which he has the perfect name for - Miyagi-Dough. An exasperated Daniel tells Johnny that’s offensive and walks off as Johnny begins brainstorming slogans like “Slice hard, slice fast.”So Is That It for Cobra Kai Connections in Karate Kid: Legends? Pretty much. And obviously the Johnny appearance is not an “important” scene, in that it doesn’t overtly set up anything for the future (unless we get a Miyagi-Dough Netflix series), but it does acknowledge Cobra Kai for the first time in the film. Prior to that, at no point does Daniel mention his wife or kids or that he runs a car dealership and an active dojo or really anything about the characters and events from the series, who we can presume are all simply living their lives off screen. But Johnny finally showing up, as Daniel’s pal, does at least let us know they are reinforcing where the show left off as far as where Daniel is in his life. If you’re searching for possible connections beyond that, there are a couple of slight/tenuous ones. When Li is explaining how vicious Connor fights, they end up describing him like he’s a tiger, with Daniel suggesting they just need to bait him. He mentions having fought opponents like that before, though it’s up to the viewer to determine if he means Johnny, Chozen, Mike Barnes, Kreese, Terry Silver, some combination of those guys, or someone else entirely. Then there’s the headband that Daniel says he found among Miyagi’s belongings. Was this something Daniel has had in his possession since Miyagi died or did he find it more recently? The final season of Cobra Kai had Daniel discover a trunk Miyagi had hidden away, containing artifacts from his past, including his headband from the brutal Sekai Taikai tournament. Was this second headband in there too and we just didn’t see it on the show or did Daniel already have it? That’s probably not a question we’ll ever get an answer to on screen, so the answer may be whichever you’d like it to be.But what did you think of Legends? Let’s discuss in the comments!

There are very few philosophers who become part of popular culture, and often, if their ideas become influential, people don’t know where they came from.Niccolò Machiavelli, the great 16th-century diplomat and writer, is an exception.I don’t know how many people have actually read Machiavelli, but almost everyone knows the name, and almost everyone thinks they know what the word “Machiavellian” means. It’s someone who’s cunning and shrewd and manipulative. Or as one famous philosopher called him, “the teacher of evil.”But is this fair to Machiavelli, or has he been misunderstood? And if he has been, what are we missing in his work?Erica Benner is a political philosopher and the author of numerous books about Machiavelli including my favorite, Be Like the Fox, which offers a different interpretation of Machiavelli’s most famous work, The Prince.For centuries, The Prince has been popularly viewed as a how-to manual for tyrants. But Benner disagrees. She says it’s actually a veiled, almost satirical critique of authoritarian power. And she argues that Machiavelli is more timely than you might imagine. He wrote about why democracies get sick and die, about the dangers of inequality and partisanship, and even about why appearance and perception matter far more than truth and facts.In another of his seminal works, Discourses on Livy, Machiavelli is also distinctly not authoritarian. In fact, he espouses a deep belief in republicanism (the lowercase-r kind, which affirms representative government).I invited Benner onto The Gray Area to talk about what Machiavelli was up to and why he’s very much a philosopher for our times. As always, there’s much more in the full podcast, so listen and follow The Gray Area on Apple Podcasts, Spotify, Pandora, or wherever you find podcasts. New episodes drop every Monday.This interview has been edited for length and clarity. The popular view of Machiavelli is that he wanted to draw this neat line between morality and politics and that he celebrated ruthless pragmatism. What’s incomplete or wrong about that view?What is true is that he often criticizes the hyper-Christian morality that puts moral judgments into the hands of priests and popes and some abstract kind of God that he may or may not believe in, but in any case doesn’t think is something we can access as humans. If we want to think about morality both on a personal level and in politics, we’ve got to go back to basics. What is the behavior of human beings? What is human nature? What are the drives that propel human beings to do the stuff that we call good or bad? He wants to say that we should see human beings not as fundamentally good or evil. We shouldn’t think that human beings can ever be angels, and we shouldn’t see them as devils when they behave badly.But the basic point is if you want to develop a human morality, you study yourself, you study other humans, you don’t put yourself above other humans because you’re one, too. And then you ask, What kind of politics is going to make such people coexist?I take it you think his most famous book, The Prince, is not well understood?I used to have to teach Machiavelli and I would just say, It’s a handbook for tyrants. But he wrote the Discourses, which is a very, very republican book. So that’s the first thing that sets people off and makes you think, How could he have switched so quickly from writing The Prince to being a super-republican writing the Discourses? So that’s a warning sign. When I started seeing some of the earliest readers of Machiavelli and the earliest comments you get from republican authors, they all see Machiavelli as an ally and they say it. They say he’s a moral writer. Rousseau says, “He has only had superficial and corrupt readers until now.” If you ever pick up The Prince and you read the first four chapters, and most people don’t read them that carefully because they’re kind of boring, the exciting ones are the ones in the middle about morality and immorality and then you come to chapter five, which is about freedom.And up to chapter four, it sounds like a pretty cruel, cold analysis of what you should do. Then you get to chapter five and it’s like, Wow! It’s about how republics fight back, and the whole tone changes. Suddenly republics are fighting back and the prince has to be on his toes because he’s probably not going to survive the wrath of these fiery republics that do not give up.So who is he talking to in the book? Is he counseling future princes or warning future citizens?It’s complicated. You have to remember that he was kicked out of his job and had a big family to support. He had a lot of kids. And he loved his job and was passionate about the republic. He was tortured. He doesn’t know what’s going to happen next. He’s absolutely gutted that Florence’s republican experiment has failed and he can’t speak freely. So what does a guy with a history of writing dramas and satire do to make himself feel better? It’s taking the piss out of the people who have made you and a lot of your friends very miserable, in a low-key way because you can’t be too brutally satirical about it. But I think he’s really writing to expose the ways of tyrants.Would you say that Machiavelli has something like an ideology or is he just a clear-eyed pragmatist?He’s a republican. And again, this is something that, if you just read The Prince, you’re not going to get. But if you read the Discourses, which was written around the same time as The Prince, it’s very, very similar in almost every way except that it praises republics and criticizes tyrants very openly. Whereas The Prince never once uses the words “tyrant” or “tyranny.” So if there’s a guiding political view, whether you call it “ideology” or not, it’s republicanism. And that’s an ideology of shared power. It’s all the people in a city, all the male people in this case. Machiavelli was quite egalitarian. He clearly wanted as broad of a section of the male population to be citizens as possible. He says very clearly, The key to stabilizing your power is to change the constitution and to give everyone their share. Everyone has to have their share. You might want to speak a little bit more for yourself and the rich guys, but in the end, everyone’s got to have a share.Should we treat Machiavelli like a democratic theorist? Do you think of him as someone who would defend what we call democracy today?If you think the main principle of democracy is that power should be shared equally, which is how I understand democracy, then yes. He’d totally agree with that. What kind of institutions would he say a democracy has to have? He’s pretty clear in the Discourses. He says you don’t want a long-term executive. You need to always check power. I realize we exist in a very different world than Machiavelli, but is he a useful guide to understanding contemporary politics, particularly American politics?This is a really Machiavellian moment. If you read The Prince and look not just for those provocative quotes but for the criticisms, and sometimes they’re very subtle, you start to see that he’s exposing a lot of the stuff that we’re seeing today. Chapter nine of The Prince is where he talks about how you can rise to be the ruler of a republic and how much resistance you might face, and he says that people might be quite passive at first and not do very much. But at some point, when they see you start to attack the courts and the magistrates, that’s when you’re going to clash. And he says, That’s when you as a leader — and he’s playing like he’s on the leader’s side — that’s when you’ve got to decide if you’re going to get really, really tough, or are you going to have to find other ways to soften things up a bit?What would he make of Trump?He would put Trump in two categories. He’s got different classifications of princes. He’s got the prince of fortune, somebody who relies on wealth and money and big impressions to get ahead. He would say that Trump has a lot of those qualities, but he’d also call him this word “astutia” — astuteness, which doesn’t really translate in English because we think of that as a good quality, but he means calculating shrewdness. Somebody whose great talent is being able to shrewdly manipulate and find little holes where he can exploit people’s weaknesses and dissatisfactions.This is what he thought the Medici were good at. And his analysis of that is that it can cover you for a long time. People will see the good appearances and hope that you can deliver, but in the long run, people who do that don’t know how to build a solid state. That’s what he would say on a domestic front. I think there’s an unsophisticated way to look at Trump as Machiavellian. There are these lines in The Prince about knowing how to deploy cruelty and knowing when to be ruthless. But to your deeper point, I don’t think Machiavelli ever endorses cruelty for cruelty’s sake, and with Trump — and this is my personal opinion — cruelty is often the point, and that’s not really Machiavellian.Exactly. I wouldn’t say Trump is Machiavellian. Quite honestly, since the beginning of the Trump administration, I’ve often felt like he’s getting advice from people who haven’t really read Machiavelli or put Machiavelli into ChatGPT and got all the wrong pointers, because the ones that they’re picking out are just so crude. But they sound Machiavellian. You’re absolutely right, though. Machiavelli is very, very clear in The Prince that cruelty is not going to get you anywhere in the long term. You’re going to get pure hate. So if you think it’s ever instrumentally useful to be super cruel, think again.This obviously isn’t an endorsement of Trump, but I will say that something I hear often from people is that the system is so broken that we need someone to smash it up in order to save it. We need political dynamite. I bring that up because Machiavelli says repeatedly that politics requires flexibility and maybe even a little practical ruthlessness in order to preserve the republic. Do you think he would say that there’s real danger in clinging to procedural purity if you reach a point where the system seems to have failed?This is a great question. And again, this is one he does address in the Discourses quite a lot. He talks about how the Romans, when their republic started slipping, had “great men” coming up and saying, “I’ll save you,” and there were a lot before Julius Caesar finally “saved” them and then it all went to hell. And Machiavelli says that there are procedures that have to sometimes be wiped out — you have to reform institutions and add new ones. The Romans added new ones, they subtracted some, they changed the terms. He was very, very keen on shortening the terms of various excessively long offices. He also wanted to create emergency institutions where, if you really faced an emergency, that institution gives somebody more power to take executive action to solve the problem. But that institution, the dictatorship as it was called in Rome, it wasn’t as though a random person could come along and do whatever he wanted. The idea was that this dictator would have special executive powers, but he is under strict oversight, very strict oversight, by the Senate and the plebians, so that if he takes one wrong step, there would be serious punishment. So he was very adamant about punishing leaders who took these responsibilities and then abused them.Listen to the rest of the conversation and be sure to follow The Gray Area on Apple Podcasts, Spotify, Pandora, or wherever you listen to podcasts.See More: