Well what do you want when I’m paid a few grand?
I might have self interests that could well clash,
But overall I’m not in in it, just for the cash.
I will lead the people and fight the good fight,
It doesn’t matter if I’m from the left or the right.
When there’s an election and I want your vote,
It’s my opponents bad character that you should note.
You should know my opponent is just on the take,
And any bad news about me is just purely fake.
Then when I’m elected and have all the power,
All will be beautiful like a spring flower!
So then if you want to criticise me,
Realise you’re a loser; this advice is free!
Click here if you wanna buy a Lord Wuckfit or Wuckfit World t-shirt.Microsoft was using SolarWinds internally.  It's kind of like if somebody smashes a window and breaks into your house, the cops will come dust for fingerprints, but it's your problem to repair the window and resecure the house. This hack was so complex they're having to deconstruct it just to make sure they find all the broken windows.Cadbury’s recent decision to develop its own inhouse sustainability standard rather than continue to rely on Fairtrade International certification is a great step backwards for global cocoa sustainability.
The transition to an in-house sustainability standard will reduce the level of public oversight, thereby diluting and confusing the market for sustainable cocoa products. As a result, producers will face reduced market benefits and higher transaction costs with the advent of “yet another” standard toward which they must demonstrate compliance.<reponame>koesie10/AdventOfCode-Solutions-Kotlin<filename>2015/src/test/kotlin/com/koenv/adventofcode/Day10Test.kt
package com.koenv.adventofcode

import org.junit.Test
import kotlin.test.assertEquals

class Day10Test {
    @Test
    fun part1Example1() {
        assertEquals("11", Day10.lookAndSay("1"))
    }

    @Test
    fun part1Example2() {
        assertEquals("21", Day10.lookAndSay("11"))
    }

    @Test
    fun part1Example3() {
        assertEquals("1211", Day10.lookAndSay("21"))
    }

    @Test
    fun part1Example4() {
        assertEquals("111221", Day10.lookAndSay("1211"))
    }

    @Test
    fun part1Example5() {
        assertEquals("312211", Day10.lookAndSay("111221"))
    }

    @Test
    fun part1Real() {
        var result = "3113322113"
        for (i in 0..39) {
            result = Day10.lookAndSay(result)
        }
        assertEquals(329356, result.length)
    }

    @Test
    fun part2Real() {
        var result = "3113322113"
        for (i in 0..49) {
            result = Day10.lookAndSay(result)
        }
        assertEquals(4666278, result.length)
    }
}As I stated in my review, One Cut of the Dead is a whole bucket of fun… but it also spoke to me on an extremely personal level. Since it belongs to that rare breed of story that reinvents itself with every scene, its various twists and surprises are best experienced firsthand. Nevertheless, I feel compelled to further dissect its central themes, if only to better illuminate exactly why it resonated with me so deeply. Obviously, there will be SPOILERS below; please proceed with caution!
First thing’s first: the entire plot synopsis in my original review? Yeah, it’s a tiny bit misleading, covering just the first half of the narrative, which represents the film-within-the-film. That’s right, this a movie about people making a movie about people making a movie. It’s deliriously meta (and for an added layer, the third end credits sequence includes genuine behind-the-scenes footage), but that’s part of its inherent charm.
Amidst the quirky ensemble cast of egotistical thespians and vapid executive producers, a clear protagonist emerges: the director, played Takayuki Hamatsu. He’s the very definition of a journeyman, carving out a modest career in commercials, music videos, and dramatic reenactments—“deliver it fast, cheap, and average” is his philosophy. When the recently established Zombie Channel approaches him to helm its inaugural project—a horror flick shot in a single take and broadcast live—he’s taken aback, knowing the ambitious undertaking is far beyond his talents. Still, he accepts, primarily in an effort to impress his estranged daughter. She’s also an aspiring filmmaker, and once idolized him; now that the brutal realities of the industry have worn him down and made him complacent, however, she refuses to even speak to him, dismissing him as a pathetic sellout (judging by her collection of shirts and posters, she prefers such uncompromising auteurs as Martin Scorsese and Brian De Palma). Thus, this latest gig becomes his last shot at redeeming himself in her eyes.
As expected, disaster strikes the production almost immediately, forcing our mild-mannered hero to play the character of the psychopathic director himself. Despite his initial reservations, he soon loses himself in the role, relishing the opportunity to vent his frustrations: straying from the scripted lines, he berates his leading lady—a manufactured pop idol—for her vanity and artificiality, and literally slaps around her male costar—a “flavor of the month” heartthrob with an arrogant streak the size of Mt. Fuji—for being such a disagreeable prick all throughout the rehearsal process. Ironically, “acting” allows him to be more honest, lifting his polite, non-confrontational façade; even outside of his “performance,” he steadfastly refuses to cut the camera, meeting every mishap and setback with a quick, clever solution. The execution is rarely perfect, but he always manages to keep the runaway ship afloat by sheer willpower and determination.
And then, the unthinkable happens: the crane required to capture the film’s haunting final frame is irreparably damaged, and the end of the network’s allotted time slot is rapidly approaching. The director’s agent urges him to devise a simpler closing shot—after all, this is “just another job,” and nobody’s expecting anything spectacular from a craftsman of his caliber. He nearly relents, too, once again sacrificing his artistic integrity—until his daughter suggests a significantly more audacious workaround: a hastily assembled human pyramid.
Ridiculous? Yes—but oh-so-satisfying. Best of all, when the very same actor that’s done nothing but whine and complain since his introduction notices a P.A. struggling to maintain her balance, he wordlessly moves her aside and takes her place, acknowledging that he is her equal, rather than her superior. And he grins as he does so, proud to have played some small part in realizing his director’s vision. Like the character he portrays onscreen, he has been infected—not by a zombie virus, but by the spirit of creativity that inspires such admirable cooperation and collaboration.
That smile reminded me of why I got into the business of film production in the first place. And for that desperately needed reminder, I will forever cherish One Cut of the Dead.A new exploration and development iron ore mining player has emerged on the Northern Limb of the Bushveld Complex, having successfully listed on London’s AIM stock exchange.
On 16 August, newly formed Ironveld raised £3 million (R39.12 million) at £6.75 a share, following the successful initial public offering on London’s alternative stock market and a reverse takeover of another London entity, the Mercury Recycling Group.
The cash will be used to fund the exploration and development of iron ore projects within the mineral-rich Bushveld Complex.
The company has interests in prospecting rights in the Northern Limb specifically, with rights that cover a group of seven adjacent farms, measuring an area of 165 km2.
According to the company, the intention is to mine titanium-magnetite iron ore present across its properties as feedstock for its own pig iron plant.
“We intend to mine a magnetite resource of about 2.4 Mtpa, which in turn will supply feedstock for its plant, expected to produce 1 Mtpa of pig iron. There is also potential for vanadium and titanium by-products,” says CEO Peter Cox.
With 28 km of outcropping magnetite ore, and 12.8 km drilled to date, the company has a current resource of 11.46 Mt of iron from 6.8 km of strike. The total ore resource target is 40 Mt of iron.
With good infrastructure of roads and rail, and access to power and water, as well as a completed scoping exercise, the continuation of exploration and the preparation of a feasibility study is warranted.
The Ironveld board will see that the project is developed rapidly with the intention to commence production in 2015, subject to receipt of the appropriate mining rights and