It retroactively adds liability to products that were already sold. That definitely feels heavy to me.

If you are providing parts to an authorized service center you also have to provide parts for third party service centers. I think if your product isn't designed to be serviced then you're safe.

I had the same reaction, and had to go read the text of the law.

There's a problem in that the danger is in front but the exhaust noise goes out the back. I was once driving cross crunchy in a big truck with a trailer when I was startled by a loud motorcycle coming up beside me. He had been in danger the entire time he was next to me but I never heard him until he got right next to the cab. They should really point the loud exhaust forward but who wants to live with that noise?

Shame relies on personal connections that they want to keep. People turning to drugs are already losing those connections at a rapid rate. Trying to shame them as they walk out the door isn't going to do anything.

America already has an epidemic of loneliness. Chemical numbing is a symptom of this.

Online safety as a service. I like it!

You might see if a destination medical establishment like the Mayo Clinic or Cleveland Clinic could be more responsive. These kinds of places are setup so people can fly in, see a bunch of specialists, and get a bunch of tests in a single trip.

I wanted that with noise levels. I'm so very tired of hearing illegally modified exhausts. It seems like an I2S mic would give calibrated levels.

I find it interesting that he barely mentions the actors, costumers, set designers, etc. These are the "face" of the show.

I take this to mean that story trumps all in television. You have to know what your core product is.

In features, directors are the ultimate creative authority. But in a series, the showrunner is, and the showrunner is usually a writer --- most series have episodic directors (and often episodic writers, or at least a member of the writer's room credited for each episode), and because the showrunner has the top-down view of the whole series, the show bible, and has made all the decisions about tone and style that directors will rely on, they end up calling many of the shots a feature director would ordinarily call.

It's probably not really so much that television values story more than film than that the episodic structure of television lends itself to this kind of system.

I wouldn't read sweeping conclusions into it. I think it's more that most people's instincts suffice for dealing with those aspects, so he doesn't need to write about them as much; he hints at that in calling the "sexy" jobs a refuge from writing. Or just that story is more directly relevant to the part or stage of TV-making he's writing about.

The story and script are the blueprint. Everyone else can operate in a coordinated fashion off of a solid blueprint. The plumber, electrician, framers, etc. are all important and performed by specialized labor, but it's all within the context of a high level plan.

It's important to remember the difference between the old Google with ~1k people and today's Google with 100k+ people. Things were a lot more flexible back when gmail was a new thing. I started at G in 2005 when there were 6k engineers, but it was doubling every 9-12 months. You could watch the ossification in real time. My experience was definitely one of 120% time. Some people made 20% projects actually work, but that became more rare over time.

Yeah, I was there 2006-2009, and each year I got another layer of management above me:)

I'm sure there were area where 20% time was real, but in my department it was pretty much non existent.

I think Madeleine Albright's comments on this are interesting in general, but particularly relevant to how culture conditions women. https://www.thecut.com/2015/06/madeleine-albright-best-advic... "But you have to interrupt. At a certain stage you realize that it doesn’t matter what they call you. You have to overcome your personal qualms."