u/DJDoena

With "async all the way" as a major philosophy in backend services, it feels superfluous to name every single function that returns Task or Task<T> as DoSomethingAsync().

Or do you only do it when there's a sync counterpart?

Was it the last one shot in the season and then aired earlier? I mean we did see the paint simply everywhere. This must have been a huge PITA to actually clean up the set again.

At the dawn of the video internet I found this fan-made video that nowadays you could never upload to Youtube again because of all the copyright strikes. But I thought I share it with you because despite its age and low resolution I still find it a masterpiece of music and picture composition.

Were you thinking you just got Cousin Oliver'd? Did you think you missed something?

Almost every freak of the week aside maybe from Eric Summers or Tina Greer are one-off characters. People we've never heard from before, people we will never see again, despite some of them even being staff of The Torch.

Despite Buffy starting in 1997, Smallville starting in 2001 and them being basically the same genre, the casting directors and producers never made an effort to create a set of background actors (which should not be that hard in Vancouver seeing how many actors return for different roles*) from which then to pull the antagonist of the week. But even in season 5 after high school ended we still meet Torch staff we have never seen before.

*Heck, Lex has two different science guys in season 4 played by the same actor, there was no reason for the Onyx guy not being exactly the same one from Scare. After he already was Jodi Melville's dad in season 1.

Both characters were portrayed by actual German Jews and Werner Klemperer (Klink) insisted that his character may never get the upper hand or he would refuse to play him.

But in the grand scheme, while both Klink and and Schultz were the butt of the joke (and Klink the idiot of the play) both could have been portrayed and demeaned much more than they actually did. Neither one was actually aligned with the NSDAP, Klink saw himself as from the old Prussian tradition and Schultz was a toymaker before the army.

Why do you think these creative choices were made not even 20 years after the horrors of the Nazi Regime came to light?

I grew up with the conventional "wisdom" that a move needs to make at least twice it's production budget to break even at the box office. The argument was that studios only get 50% of the box office ticket price and hence when it costs $50m to make a movie, only after $100m BO it starts to turn a profit.

Other factors to be considered were that a movie could turn profitable after cinema life due to VHS and later DVD and Blu-ray sales. A different factor became the ever-increasing marketing budgets which supposedly exceeded $100m all by themselves for tent-pole summer blockbusters which means that an additional $200m needs to be made in tickets before black zero.

But now I've read that studios like Disney can demand up to 90% in the early weeks of release or else the cinema does not get to show the movie at all. This figure came up in the question as to why cinemas only make money with concessions like popcorn and soft drinks.

But that would drastically shift the break-even line downwards and make less movies to be considered a (financial) flop.

I mean, it still needs to make at least its budget back, there is no way around that.

Is the truth somewhere in between or is either the 50% or the 90% totally unrealistic?

Is there any lore on why the inventors of the grandfathers of RTS games decided to include a third faction / campaign? And what did they base them on?

Also Ossi-Kind bin ich ja gerne im SEZ gewesen, aber wenn man da in den letzten 20 Jahren vorbei gefahren ist, war das ja nur noch eine traurige Ruine.

War/wird das Ding jetzt abgerissen/saniert? Was is'n da der aktuelle Stand?

Führt der Zug eine normale Bremsung aus oder wirft der quasi sofort alle Anker aus und macht einen Notstop? Und wie weit hinter dem Signal fangen die Systeme an? Oder wissen die quasi schon vor dem roten Signal, dass der Zug nicht rechtzeitig zum Stillstand kommen kann und fangen schon vorher an zu bremsen?