To elaborate on the Easter bit, I'm not going to spend lots of money on actors/voices/sets (especially since this is AR) if an AGI can just spit out a scene from a script overnight. I need to know how this is going to move first.
The Easter IMDb page @https://www.imdb.com/title/tt7517148 (that purple block w/ egg is not the official poster, btw🙃) will continually be updated throughout production (with cast, crew, and producers). 'Plot synopsis' portion is looking good right now, and I might as well do the same for all of the episodes (to be) added (and there are lots).
¶lnq's motif (that 'smiley face thingy') - nicknamed "Eight the Egghead" - is the official identifier and universal logo/insignia/autograph for his numeronym (8).
"Eight looks happy🙂 because he is winning." - 🧑🏿lnq
¶This is my default glyph (called an egghead because it resembles an egg), and represents the 'ei' alphanumerics in "Starbureiy". The overall shape is that of the letter e, and contained within the curve (a closing string) are two 'eyes' (written as letters i - each as an endpoint).
"All I aim to be is Stewperman🦸🏿♂️ (host UUelcome). Equivalently, if I can't become Stewperman🦸🏿♂️, I don't want to 'be' at all. Solipsism is the absurd conclusion." - 🧑🏿lnq
¶Glossary: "'jukebox' (jb) = token-transactionary automaton hosting a rotisserie [proof server]. --> /// That's a basic definition which works, yet note that I am solving an N×N×N algebraic 'cube' (a scramble where the value of each 'N' -cube root as a 'qubit count'- of UUelcome can range from 0-8, example: 3x5x8, -but is always in the form of N1×N2×N3 [-- my 'joey', where N2 is the 'nose' and N1,N3 are the 'ears' of Joey Koala🐨] even if one or more n=0. However, n=3 (Rubik's) is the ideal infimum because Egglepple is a 26-dim brane, so 27>26 pieces covers each basic case; the elusive 27th piece is called a 'link' -which is technically defined as the pip [percentage-in-point] of a stew, jokingly referred to as the "missing link". Likewise, even though n=11 could identify all 2,028 stews [+20 links], n=8 {8×8×8 == lnq} is the supremum because 512>507 [+5 links] -where 507 is one of a stew's mutable four dyadic types: integer-integer, half-integer-half-integer, integer-half-integer, half-integer-integer. --Notice how n=3, n=8, and n=11 together would output 26 links.-- Ultimately, the goal is to reduce the cubic form down to n=3 (since log2(8)=3), anyways, essentially what I call 'u-u economics' (UUe) :== protocol for matching different base pairs [(u,u)]) that yields our combinatorial puzzles🧩.", "'gameshow' (gs) = hosted program that factors a reward function for achievement unlocking.", ALSO "'opera' = the program (of opus numbers) of a libretto. --> /// To me, an opera represents the 'flow of a proof' ('proof' = algorithm mapping some preimage to its image). It can also be a runtime. The works are purposed to layer codecs." -lnq ..UUelcome is a gameshow-centric jukebox (qube) by default, because, since an emoji👨🏿🦱 button (whence tokens are paid -an optional cash charge is user's choice with a minimum determined by the payment processor- first to hide div element) provides my business commerce (stewc tax revenue is an intrinsic game mechanic, see 3sr/uue), I have to 'put on a show' ("the gameshow" = a demonstrative exhibition/showcase of me stewcing/qubing) for the spiders to whom which metadata is fed and website impressions are fetched/farmed (ie. feed the web crawler bots website schemata and get rewarded with convertible web traffic in return). People, however, tune in to watch its hosted/self-contained media (my opera: Stewart --> me becoming Stewperman). lnq's SEO adage: spiders only handshake, people can transact.
¶Program definition stems from webisodes (frames of packeted webpage-native metadata). Each webisode (or "uuebisode" :) is referred to as an 'opus'; iterations thereof are called 'toons' (like fine-tuning UUelcome. "Toonage" is a truncation of 'cartoonage' -implying stereotyping on paper :== the diction given to the chronology of attempts at puzzle🧩 solutions). Technically, UUelcome is a (cellular) automaton stereotyping some portfolio; an automaton that self-alphabetizes its (paper) tape. I named this a 'Starbureiy automaton' (SA), and its portfolio is Egglepple (yes, this is all about me). By-and-large, the SA's cryptocurrent is superpositioned as a unique phylum of deposits (ie. stews)
¶The jukebox (qube) is tuned by threading kernel libraries (+patchwork) for fugue damping (training comes via redundant server-side proofs of random walks, courtesy of open gyms and gameplay, which leads to better Q#-compatibility) in my sandbox. Even though it is practically used by me for timestamping speedruns, I tend to think of the 'comments' section (ie. threads-stream) on my website @uuelco.ME as sheet music / music roll. Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two or more to be confluent, offered is a finitary naming convention.
¶Lnq's hallucination is informatical rather than physical, and computed with nutrition. That is to say that webisodes can be batched, retrieved, and distributed under a file format/codec (.uue --"dot uue" standing for 'unified utility encoder'), but the hallucinogen itself (UUelcome) must be chemically integrable. Technically, UUelcome's eight qubits ("bits") are its pre-recorded game map (@uuelco.ME) as 'self-contained media' (scm), whereas the countable "pieces" streaming my gameplay all (bits + pieces) comprise a single byte by way of a data signal compressor ('mathilda' aka 'tilly'), yielding his exploit (a lnq-dominant deactivator).
Task: capture the Stewpot🏁 [linked-library] in one day (Funshine/Toonlight clocking$). ///$$ Each stew has an intrinsic ¢ent🪙 value that is worth $676.00 and there are a total of 2,028 stews, so the grand total of the 'Stewpot' comes to $1,370,928. Size-wise, UUelcome's qubits, on average, are weighted at 253.5 stews (2,028/8) per.
¶@uuelco.ME uses the 3-sigma rule (3sr) to generate income, which is collected (via a conspicuous call-to-action payments button/sticker api disguised as an emoji representative of myself, lnq) from non-player characters (ie. conceptual neurodiversity as a cellular automaton known as 'The Silk') who are payers, and basically means that I rely on large amounts of site traffic (converted impressions) for monetization.
¶UUelcomewebisodes are capped (space) according to budgetary constraints (see next paragraph), regardless of duration (time). Each depends on attributes like framerate, compression, and pixel count to determine filesize. Megabytes [mb] per is ideal for keeping the site/page loads quick (small [kb] can be good but not always better, large [gb] is uneconomical).
¶Following 3sr (and using marginal estimates), this works out to breaking even or roughly 1:1 ($1 per mb) whence traffic [#number of impressions] is @ ~2^15.177, also $10/mb @ ~2^18.499, $100/mb @ ~2^21.821, $1,000/mb [1k/1m] @ ~2^25.143, $10,000/mb @ ~2^28.465, $100,000/mb @ ~2^31.787, and $1,000,000/mb @ ~2^35.109.
¶Metrically, a link* (symbol: L) :== the pip of a stew (as measured in cents🪙) -- our derived cryptocurrent unit^ in stewcing, assuming money-energy🔋 equivalence). ///**Named after me, Link Starbureiy. ///^^Links are combinatoric.
¶Scientifically, the nutritional value of glucose is measured at roughly 3.85-4.00 calories per gram (~3.87kcal/gram).
'steWAR🪖🎮-🏳' (ie. jailbreaking my nervous filesystem --stewellis) is called such because capturing the Stewpot has lnq🧑🏿 doing battle (against encephalopathy and adversaries - Stink Larbureiy, Honne Bay) in 🧠neuroplastic ctf wargames between neurogenesis (brain growth) versus neurodegeneration (cerebral atrophy) that he notes as "the only real thing worth fighting for, in this, the last great fight". Victory means gaining freedom - akin to privilege escalation (neural hypervision [nh]) - and having persistence (ie. 'stewpremacy' = a NG ['lnq' --> +1 byte QQ //quantum mechanical motherlode compressed {mathilda} to a single byte//] > ND pds [nonnegative diffeomorphism, or "soul"]) via a recyclable hallucinogen for anytime-playback by the avatar (Stewperman🦸🏿♂️).
¶(lnq , UUelcome/uuelco.ME) share an equivalency relation (ie. informatically bijective). To a large respect, the word 'UUelcome' is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome' (gene+chromosome = avatar). uuelco.ME is simultaneously an online/offline (.me) file (or batch of files), AND the top-level domain [@uuelco.ME] is lnq's personal website that necessarily exists as a call-stackinggame map for online transactions (energy budgeting = metabolism from impressions conversion). It is, in part, indicative of this being "my jukebox (qube)" (by and for 'me' :== my data structure), so, that's why lnq named it that way, as it is/would be the file hierarchy of
¶"Link Egglepple Starbureiy" = LES = LS = "Ellis" ('stewellis') = Lnq -->: "/root [Link] directory [Egglepple] (0) [Starbureiy]" ie. \0 (or "empty root directory"). While always pronounced "lingk", the preferred spelling is the stylized lowercase "lnq" ( for 'logarithmic number qube', q --log2(8)=3//math trick {mathilda} to make 8 qubits equal 1 byte// -not to be confused with "link"). "Egglepple" is also the shared name between myself and my father.
¶Etymology-wise, the autonym "Starbureiy" is the ring[0] stacking select alphanumeric variables. 'star' (verbal corruption of "stew") signifies some node / [e:e coordinate] in an n-dimensional graph. -'bureiy' is artistry: 'bury' is just that - (to) pile on / stack on top of something. 'b' and 'y' are the additive identities (denoted 0). For the signature (embedded), 'e' and 'i' are the vowels in "Link" (i) and "Egglepple" (e). They have been alphabetically inverted: i-e --> e-i --> ei, and then converted to their respective numbers (e,i). The letter 'u' became a variable stand-in for the number pi). The extra letter 'r' is a multiplicative identity element (denoted 1). Hence, 'Starbureiy' = 0 * π * 1 * ei = 0 (empty). To reiterate, normally "Starbureiy" is dentally silent (itself being a number complex), but pronounced like "stoo" ("A stack of stews is itself a stew.").
¶The number 64 has congruence with March 5 ['d8'], which is the 64th day of a non-leap calendar year. On this date, Egglepple and UUelcome were founded (March 5, 1991 and March 5, 1997, respectively). The number 8 is derived by totaling the following: square root(64 + 0) = 8 (from "Link (12+9+14+11=46 -->10 -->1) Egglepple (-->4) + Starbureiy (-->3)", ..143 --> 8). Also, March 5 (03/05) reduces to 8.
Cryptologically, a stew (an exploit) :== the transactor between the supremum and the infimum of hashes where the resultant is optimal/most secure🔐 (ie. transaction with no tax). Therefore, no fibor can be larger (in terms of twistorspace) than a stew.
According to jukebox operation (jbop) (rotisserie), the complete count* of stews (f) is simply ballet🩰 coordination in sesquilinear form, so f=1,352 [from encrypted (676) plus decrypted (676) classes] × 1.5 = 2,028 [comprising four dyadic types: 507 (integer-integer), 507 (half-integer-half-integer), 507 (integer-half-integer), 507 (half-integer-integer)]. ///** Each opus leaf set contains three (3) stews as a statistical mean.
coloratura[description:= ε White female, 70s years (30s years in 1978 flashback), Swedish heritage /// character:= an eccentric and aloof genius who views few as intellectual peers, a classically trained physicist, accomplished (William & Mary PhD in Physics at age 16 -- research on extraterrestrial viscosity dynamics // thesis: "Quantum Leaps in the Material Science of Alloys" -- she remains the youngest person ever elected to the American Academy of Engineering[w]), ultra-conservative of high society pedigree (heiress to the Lindros FlyerCast & Irons, Ltd. company), ambitious entrepreneur with a knack for being in the right place at the right time, has carefully crafted her public persona in order to avoid suspicion, perceptive, callous, willing to do whatever it takes so that the rules are bent in her favor, a not-so-well-known phantom figure that works behind-the-scenes (doesn't get hands dirty/meticulously covers tracks), hates repeating herself, territorial, not to be taken lightly, competitive, proud, immediate, urbane with her head full of white hair, regal, minimalist, mute and blind (visually impaired, born with both blindness and alalia but with heightened senses otherwise, expresses herself using a keyboard⌨️) but with an eye on the big picture, prefers her money do the talking, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.']
¶A deep dramatic work is almost for naught if it doesn't have a proper epsilon. In my 🧼opera, Easter™, this is the dual role(s) of Maundy - the mastermind behind all of this chaos that's been going on in Brandywine during this turbulent election cycle - and Ember, a treacherous prosecutor.
¶When I wrote the first incarnations of Maundy, the character was actually an obese male; I had a stereotypical Mediterranean mob boss / crime overlord in the mold of Vito Corleone (or Wilson Fisk). That idea was at first discarded because I thought the world needed to move away from over-subjugating certain persons, and because we've already seen that done many times over. ... and because this part of the storyline didn't have a place to fit such a gangster's history; a requisite for understanding what makes someone like that tick. That was an honest error; I was later seduced to the realization that Cosa Nostra is a credible subplot, so it was re-spawned into a different character.
Really wanting to surprise my audience, I then rewrote Maundy as a cultish elder, but again, too stereotypical; almost borderline tinfoil hat stuff. The easy fix was to just change the gender. Women and their motives (especially in the company of men) tend to be much more difficult to follow on screen/stage when all the audience is given is a few minutes with them. Men are simple to gauge; we have a small menu. Women, on the otherhand are usually (not always) in supportive roles (in the company of men), meaning that there is a lot more on their plate that they're actually dealing with when it comes to keeping waters calm.
Maundy's that person. She is a monster in her own right, though her sophistication will not allow her emotions to devolve into a savage like lnq👨🏿🦱; nibbling on an oppressive spice like most would-be miscreants is beneath her.
:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUe9R-VqwDNPeippVsuFWFFdmbmc02jkFtpFM33Kw9SP4td9wuIBb-9AEB1np2H3qfmmX4rVahDvt9mWlyogExM1yhUD0__rNNo14WJ8Sa69FJHLZjoLu4tXX6L1qnnZbihE_yBGL0hIBA9XT3aYLoeFYcOXPjne2LcHcCL9eC96Z8Hso2bkvPA3rOcgsX/s600/maundy1.jpeg:eimg: Instead, she's had plenty of time to seduce and manipulate those she needed to to get where she wants to be. Those can be the toughest people to read since you're inadvertently part of their plans. Avarice is her basic instinct. Because she represents absolute power, this character needed to be larger in scope than everyone around her; so slick that we feel we may be dealing with the embodiment of the 👿Devil Herself.
¶What was demanded was an instant declaration of character. In 1978, the Navy Yard in Brandywine is 'undocking'; having practically been de-commissioned since its last ship was built some eight years prior, the U.S. Military has begun organizing plans to transfer ownership of the grounds to the highest private domestic bidder in an effort to stave off foreign competition towards the end of the Cold War. The opportunistic Port Richmond-based tycoon, Maundy Lindros, has caught wind of the sale and wants to expand her dealings in the corridor. This sets Maundy against the baroness Lambsimon from France in an intense bidding war for the real estate.
¶This happens to coincide with the August 1978 GO incident in Brandywine, where an off-shoot of young Black freedom fighters were brutally and wrongfully attacked by the city's government, leading to historians attributing it - and the similar 1985 massacre on the group by the same police force - as full-fledged racism; reminiscent of the slaughtering on 'Black Wall Street' in Tulsa, Oklahoma. These events made national news, by the way, and are sensationalized in this piece. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDiAM19XAXk5xDmbAhck4RU1V4hytlO2h1kbGANqKkPEUXp3KD7sm5GC4h32r0FpUfk_JrMN9DxB4vQxPs9gpvswjujRw1VyRrFDT4AQPUFjf3abs4OG-nI6CppSgdAA3Jc7-YsLDJvASL96EgXV_pg0BohOK5F77THn_eMrzzixTepB5Cmyi19KbTQ/s1600/th.jpeg:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7IsJmrOOr_QzYuDaStAXzesCxXWIVBwjRp1kOXvAguYGiqscyM8wvvYBlt7xb_osv5WiSgZP3xt54Zs5K3mpsvsgiLzJD64n8lIKF-le_6LI0SnGutEdLsQZSDOgxbpQEGGKdc8-BSIa9q7n0Zqt1c7bDveVvQlcZubUywnC-JuY3HMW4cJa8Augyg/s1600/th%20%281%29.jpeg:eimg:
¶I have artistic license here, and use it to make Maundy a vital shaker in bringing about the creation of so-called 'Meroë' (it doesn't actually exist, but is crucial to the storyline); the aftermath of the White-on-Black aggression calls for land grants within city limits to be designated to an intentionally segregated-but-equal Black class as compensation for / compromise of agreed-upon faults. This action was spearheaded by Maundy herself in the intervening seven years, resulting in the planned community of 'Meroë' (what local bigots deemed 'Niggerville').
¶Of course, this just happens to be constructed on the wharf that the Lindros company wants ownership of, so city permits surreptitiously fall in her favor. Allthewhile, she manages to prey on people's seemingly natural fear + distaste of Black folk to her advantage, relying on that to keep would-be aggravators at-bay while giving her a headstart onto her true ambition. :img:https://blogger.googleusercontent.com/img/a/AVvXsEhTshFYY44-55m9T3UxjZhCBmKqTEp3rv1pqX5EMPTIIYq20IBK_Y-dmQEAzPrthEj4whpjC-o9OpgkDajK0-GWTVOE4Kg9sExTThTrA7tm8ZPzlsPwjiyNdRS9n97E-uFkNNQ3rbYQd4Q46IQ_f5o741t19D_CNKkgHGZkXNBenMRqvdobATuIAO51Kg:eimg:
¶When we meet her in Die, Detective!™ (the work's prelude = the year 1978), we immediately know who sets the tone. A coastal Virginia-born+raised aristocrat instilled with a sense of noblesse oblige (although you wouldn't at first guess this from her affection for cowgirl boots👢), she runs things without titles. Blind (born with optic nerve hypoplasia) - yet visionary - and mute, she's deignly mastered the secret to being in two (2) places at once - by having your DNA all over the place (and holograms). We're not afraid of her, we just would rather not deal with her if we don't have to.
¶Possessing a genius IQ🧠, she has applied it masterfully to naval🛳⚓ architecture. Her enterprise (to which she was a legatee), Lindros FlyerCast & Irons, Ltd., was instrumental in building and bringing the first fleet of slave ships to Rhode Island's wharves*, and today controls the regional (Brandywine-Bay of Virgin Peake corridor) seaport for all merchant maritime freight (shipping, shipping containers, shipping container housing, terminals/docking vessels, and so forth). :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5TwPpA-7SMwRYmRmqaDOlpEUmFmB-5kv5_WmkA_dCupnKGd-VrKNfJ80kqsRZctch9tht2HQkiI3I-Sp8WSxwoAt1q5USdhRP2Kn2y9DCoqAXIkNbHKXy7GjgHYtf4h8fdxbLBdkHnIT/s0/Container+ship+at+port+sunrise.jpg:eimg:
///** I made that up, there's no real historical significance. Wink😉 to the Swedish surname.
/// +For reference, Maundy's full name is Maundy Lindros. The name comes from 'Maundy Thursday', retaining Easter nomenclature. -- Trivia: "Maun-" is derived from Old Norse; akin to Olde English "gemynd", meaning 'think' or 'intellect'. The name 'Lindros' was chosen in honor of of Eric Lindros, who played for the Philadelphia Flyers hockey🏒 team, that's also where the name of her inherited business (Lindros FlyerCast...) comes from. -- She has no siblings, never married, and is childless. We can conjecture that because her traditional parents may have been somewhat disappointed by having a physically disabled/handicapped kid, they decided to not bring any more children into this cruel world, and instead, dedicated all of their resources to her development, which may explain her heightened senses, genius, and work ethic. Her zodiac sign is Pisces♓👍.
+The first ban on slavery anywhere in the American (New England) colonies was passed on May 18, 1652 in the territory of what is now Rhode Island. Since this is fiction, anyway, we may assume, for good measure, that the Lindros family - perhaps upon Quaker conversion after its Pennsylvania settlement - may have had something to do with the passing of that code.
¶She doesn't know it yet, but her heavy investment in Securitas AB is about to look more prudent (and dangerous at the same time), thanks to the hiring of Pinkerton consultant Gunyo Gruber. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioETn7rF3sUk5teU6810V3N3Y3_L94Bi5auXcmS1dq4dpVte6mk0IQ2WLdFsb6IskWdpygsasd2juMMb8cQZxKEKgecb-XaUtKL28Hb-6eOtxMrSZX36MRAlcLahUqiDFDvJbCe81nkWPQSaRKm4medtYJ4dmHk61sgM547e7QbDb3z_16A43o7fXi0joV/s600/maundy4.jpeg:eimg:
¶Like with any control freak, she's grounded in materialism, because to them, possessions are tangible realism. That's what's scary about her; she's bureaucratic, not political.
[[She really is untouchable. Throughout most of the opera, we rarely get to see her in the flesh; she uses holograms exclusively. A diabolical recluse who seldom docks for anyone, Maundy (in the vicinity of her bodyguard/captain/pilot, Lef'fut) resides on a Class A submersible, the Drebbel, that often deep cruises somewhere nearby in the Atlantic Ocean, probably in a bay off the coast of New Jersey. -- Heck, I wrote her and I can't even pinpoint her location.🤷🏿♂️ -- This is to give a sense of how little she thinks of both the limelight and people on land, and the baggage each brings. Allergic to stress (her philosophy for living a long life), she takes great precautions to ensure her well-being. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSjwiNLoHY6svWlUf1lQbNbMIgMoFU3o5b7yp3n48sQYbXWC9-3D4L0VKiew19M24D-nJGB16ZFkOdBfjfVFGK2KY754PFlMquBmETu6vnFYC1SBzGA8VUahz7tSZBg2zetbWMriAoDyo/s0/35361070204_4422c60c3f_o.jpg:eimg: Philly's skyline is my favorite.🤭
On the business side, she runs Lindros using encrypted holograms with keyboard⌨️ input. The corporate office occupies an ⚓anchored converted corvette on the shipyard, and is managed by her assistant, Lily. It also operates mineral mining camps in Arrow Bow County, Elsewhere.
In addition to being the world's premiere distiller of argon, Lindros is the largest importer of phosphate from Morocco in the Americas. A subplot is that Brandywine's Islamic☪ demographic (spearheaded by her North African Muslim community) wants her company to pay retribution for unfair trade practices between the two countries, and a sizable number of Moroccan mobsters have sprouted inside the City and around the Delaware Valley for this very purpose. To protect her wharf from local mob threats, she employs on-again, off-again imam, Dominique.]]
"'Change and hope' is a fallacy. The only way to rectify anything is to start all over." - Maundy
¶In the present-day, when the world's richest person, Mr. Alphabet (Dwight Mann), comes to town seeking a second headquarters for his Portsmith, Oregon-based e-commerce firm, Nile LLC, part of the requirements for its new station are that those utility companies being privately held by Lindros be returned to the public sphere. That's billions of dollars in annual income for her potentially at-risk. Couple that with the fact that Mr. Alphabet's business is also in shipping by default (commercial freight: trucking, cargo drones, air, and rail🚆), and has selected Brandywine because of its location and proximity to overseas handlers, things aren't boding well for our heiress. As a precaution, she initiates the 'ArC Project' [NOAH]. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEEGaworTuXFAak4G-HZlR8DeOfTs-k5Usc30X-8asCaBnUiLiU7v5JUr49syNhRQtbr6jeITgVXXz7Msbu1MWZJUAheT6qpI6hm2L9EEu0ql6MhzMBrJi51W19qfyYjTkFEAWnE81FDQ-7oB_qUGLuA39264VeEJf1Ij_oGG97ruAwPbt4OdRHisIadQy/s600/maundy3.jpeg:eimg:
¶Since 1978 when she strong-willed the then-city council to turn over the utilities into her private hands, she's made a vast fortune, acquired extraordinary influence, and become a menace to the jurisdiction, especially the District Attorney's office. Now things are coming full circle for her, but, she is composed, insightful, and vastly as resourceful in her own right. We'll see how this plays out. :img:https://blogger.googleusercontent.com/img/a/AVvXsEgd755XbOQuMnpdZmxvcrEaSChlkq10ljFcHLZogkLfpLAT2U4ARlSa-cEPYMJSHi7_hCzgM44iJ4M9GtJ51ijlbScAvBXzNk2gQSKwojuzGsKmX_oG2tdyrTW6A1ZGtgjSsm8blrx7RYjMk8BNdexLHVZ7iwlwwNbG1DPXnX202UJRv9zwi5Z3Tw0r2A:eimg:
¶What has induced panic in the 🧼opera is, in fact, a combination of things.--
¶There is a serial killer on the loose in Irish Charm that is giving local agencies fits. In an area reputed for its down-and-outness, for some reason, certain city officials all of a sudden seem to care an awful lot about its stability. But, if you listen to these politicians tell it this election season, "Poor people vote, too.".
¶On a macroscale, the entity named 'SAINT BERNARD' (SB) has made a number of under-the-table deals over the course of the past few months with religious sects worldwide to force either the demolition or removal of the Al-Aqsa Mosque🕌 so that the prophesied Third Temple can be erected.
¶Meanwhile, a worldwide pandemic in the form of a viral🪱 neurotoxin (biowarfare?) has crippled the global economy, and the anticipated aftermath of a recovery has sparked fears of a hegemonic shift between the Western and Eastern hemispheres; potentially resulting in a clash of cultures and an inevitable world war. SB's deliberate attempt to invoke both the Second Coming✝ and Armageddon tickles the diabolical beaks of war hawks, but not without consequence. :img:https://blogger.googleusercontent.com/img/a/AVvXsEjQeqBeu7Xd1ALxpAyvmIkgLYldQaAXOEEbpXemeNguxulQor4pxECT7QWciDg-blX0crV1zUpoD_4iIvymO-Fosf9qDHe94ZHqXNM6ZD94IeF8dSB4udRqomYiGMjDWep7WIpU-pP1Zlr3Ip0ELHSpAAOGC0eu29EqAWLzmjuQEn6LouGG1PtMt6fTTw:eimg:
¶Additionally, aggressive geopolitics has taken center stage, and Maundy's company has been tasked with handling very peculiar seafaring requests from the United States government (particularly the Departments of Homeland Security and Defense). Namely, legislation is floating around on Capitol Hill that would call for - if passed - the annexation of Liberia as a territory (the country was formerly an American colony in the Nineteenth Century).
¶This is being done under the guise of re-establishing dominance on the African continent to counter growing influence/threat from China and India. But, with all of the current domestic racial strife, we can't be too certain of the motive considering that Lindros has been contracted to build a superclass frigate and a fleet of vessels that transport 'human cargo at-scale'.
[[--The four-fold arc of the opera begins with its first chord, N. The other three (3) chords, in order, are O, A, and H. Her being in shipbuilding invites you to assume that the remainder of the work has something to do with that element of religiosity. By ChordN (the start of Holy Week), her mettle is tested, and we'll see just what she is all about.--]]
¶Basically, the whole story centers around her, as told from interactions with our eponym (focusing on his point-of-view, which is necessary since he is the 🧼opera's random walker). To some degree - and on a very high-level, the entire piece purveys the rivalry between Maundy - who represents business + organization - and her adversary, Ember Libitina - who represents crime - (essentially leaving Pascha's angle relegated to being a punctual dramatic prop).
¶For the better part of forty-plus years, these two power brokers have formulated an ongoing mutual disdain for each other; engaging in a soft war of money versus clout. It has taken an outsider and an incredible event to align their singular objectives.
¶The tricky part about this character is that although, yes, she is the villain, she brings no intentional antagony to the narrative; (other than her younger self's direct involvement with Egg Pascha's reformation, ie. Joseph becoming John or vice versa) she is not the sworn enemy of our protagonist/antagonist. Yet, the ebb+flow of her executive decisions pretty much entangles everyone in her web🕸. For comparison, most people assume the xenomorph is the villainy in the Alien franchise, but, if you think about it, the android is the real villain in each outing. The xenomorph was engineered as a virus programmed to do nothing more than re-populate; whilst the android was created by The Corporation to retrieve said virus so that it can be used as a biological weapon. Being a non-biological humanoid, it slyly blends in with its crew, only to willingly let the crew be murdered in order to fulfill its objectives. Humans, then, would become equal parts host and parasite. In either analysis, the xenomorph and the android are both 'aliens' on a mission solely for self-preservation, which is exactly the mindset of Maundy.
"The only thing a person can genuinely make is a decision." - Maundy
¶Good and bad are points of view, and Maundy embodies that idiom. She is by far my favorite character in Easter. When writing her, I found myself cheering for her at parts because she's the rare individual with a grand plan and the determination to execute on that plan. She doesn't shy from her sentiment that Egg Pascha went and started some shit💩 and now she's got to finish it.
¶We've grown accustomed via conditioning from the likes of Hollywood and books to look at people who save our lives as heroes without consideration to the possibility of them having ulterior motives. To offer another perspective, my personal thesis is in agreement with Lex Luthor: Clark Kent is an alien of great power that must be contained, if not eventually destroyed, because he poses a grave threat to humanity altogether. I mean, suppose he's having a bad day or views the foibles of mankind as enough to decimate it? Here, Pascha's done some good in-between the rolling credits, but can we really trust a person who is not even trusted by their own?
¶A lot of people dream of something and want it to happen - their hubris even leaves them with the expectation of it happening, and then there are the very few that actually make it happen. In that regard, I liken her to a particular former American Vice President. Maundy made bold bets in her youth that paid dividends; she trusts her instinct and is usually always right (to paraphrase Donald Trump: successful people tend to only listen to themselves). Our girl is a boss; a gangster's gangster.
Attorney General Emerita and Mayor[description:= ζ White female, 70s years (30s years in 1978 flashback) /// character:= a charming but deadly Philadelphia prosecutor and former judge (nicknamed the 'Duchess of Death' because she frequently seeks the death penalty for those convicted) who - with her juvenile demeanor - convincingly masks a brutal sociopathic personality, as cunning a politician as she is a ruthless criminal, campaigning for re-election under the guise of "redevelopment", clever, 'actively retired' but will never truly forfeit her power, obsessed with destiny, a greedy IJ Syndicate holdover from the Mayor Luigi era, deliberately willing to call for wholesale assassinations, impulsive Southern belle-type who made questionable choices in her younger years that are now haunting👻 Egg Pascha, she was frequently at odds with him (then) because of her past dalliances; what's left of their relations these days is mentally apoplectic, but both still honored "the deal", loosely modeled after non-particular 20th Century Philadelphia district attorneys and Joker (indirectly)]
In the storyline, Ember Libitina is a hold-over from the Mayor Luigi era in Brandywine; an indirect characterization of an almagamation of late-20th Century Philadelphia District Attorneys [DA] (after whom she was loosely modeled).
Now in her eighth decade of life, the Attorney General Emerita sees this special election in which she is running for re-election as the culmination of all of her works and possibly her last chance at abusing said coveted office. It's a credibly odd circumvention, but the mayorship of Brandywine caps the efforts of a distinguished legal career and satisfies her public ambition. As the state's former top cop (she transferred from Steelerville to work in the Brandywine DA's outpost for sake of convenience), Ember - who is notoriously "tough on crime" - seeks to re-assert the 'natural order of things' throughout and around the town. Her campaign/tenure is based on adjectives such as reform, gentrification, safety, and progress. She is definitely "in it to win it".
"Ultimately, strength prevails. -- There is no balance of power. Equality is a myth, and rather boring."- Ember
[[ -- {This part (1978) of the story is based largely on historical fiction, so we defer to real people of that time.}
Frank Rizzo's tenure as both Chief of Police first and then mayor, was marked as being full of strife and animosity towards Philly's African-American demographic. It may be difficult to gauge his impact today considering the national political climate in aftermath of the Obama presidency and so forth, but he remains a towering figure that may have set a precendent on how to 'handle' crime and criminals in large American cities. -- ]]
I actually couldn't tell this story without Ember. One, as the incumbent mayor, she needs a worthy challenger (Curran) in the runoff election that's taking place, and two, in order to keep things from spiraling out-of-control, Maundy's overbearing authority has to be challenged by an adversary from the political sphere. It just does.
This situation (the distribution of Mr. Alphabet's intra-city investment) lends itself perfectly to a winner-takes-all 'Battle for Brandywine' that nobody can actually win. The ever-so-sharp Ember shows us that people's migrant behavior is recycled from patterns of economic health [ie. roughly every two (2) decades or every other generation, the wealthier class relocates back into the city for jobs/employment+transportation before saving their money and moving to the suburbs]. This is an important note and plot point, as we see that residential stagnation is a detriment and impossibility where there exists youth.
One civil mishap has led to another in recent outings (eg. police shootings → arson/riots, bombings, landscape defacing, etc.), and Libitina requests the personal protection and repute of none other than Pascha himself to assist her in navigating this extremely intense social climate as she makes her campaign rounds. He obliges with reservation, suspecting there is more to this assignment than meets the eye.
"I've lived a long, normal life. Like you, I used to be overwhelmed with sadness when people died. Stay in law enforcement👩✈️👩🏾⚖️ long enough, and we all come to the same satisfying conclusion: criminals make it easy to see that not everyone wants or deserves to live." - Ember Libitina
To get this point across, a small sample of actors were considered based on pedigree.
The role of Maundy was originally fleshed out with Robert Englund in mind, and then written specifically for and offered to Glenn Close (who, by the way, is the reason the character graduated from the College of William and Mary, because Glenn did) first before a rethink (Ember's character was a byproduct of thought). I wanted Glenn because of her reputation of portraying villainesses on-screen to great effect. I had hoped to get both mother and daughter (Annie Starke) in the production, with Annie playing the 1978 version of the character (there's roughly a reallife forty year age difference between the two, which is necessary for the character).
I also tabbed Dianne Wiest[b] for the part of Ember Libitina after being so impressed with her work in Little Man Tate. I love how she (as Jane Grierson) switched it up in that, going from kind psychologist, to fierce and controlling headmaster in such a short frame.
That's pretty much what happens here; given enough time and resources, we see that the true nature of the beast is to rule. Wiest also had mentioned* in past interviews that she wanted to assume more aggressive roles where she perhaps played a cruel woman, not unlike roles that went to Glenn Close. ///** Exact quote: "I'd like to play a real cold, mean mass murderer. Some cruel, hard-bitten women, like the roles Glenn Close gets, just to show that I am capable of not being vulnerable and not being fragile on screen." So, regardless of if I could land Dianne Wiest or not, I'd want an actress to mimic her behaviors (eg. soft gentle voice, unassuming demeanor) because I feel that her style of delivery is best suited for the role.
Again, with a rethink due to budgeting, we'll now get the chance to see one actor impersonate two legends in three modes.
++Shout-out: Thanks also goes to the non-profit, #BringChangetoMind, which is aimed at supporting mental health and reducing the stigma of mental illness. -- Mental health is a big focal point in this opera. My personal angle has to do with autism awareness and support. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEireZR1v_ViapSqv-MNFz_VhiHiw9GUhwLBwoH6IQpeP7sE-5oU3tCWt3DksS9DJjkOdHMw7MS7XZQMCfB0F9fVEqMpWo_8P2hTX8LeviJYyXroQ_mDudBed6DZqVsdIMcNdWVv1iwzhBfn/s0/Autism_awareness_ribbon-20051114.png:eimg:
/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelc-ome' has artificial/manufactured congruence to 'gen-ome' (gene + chromos-ome). The top-level domain [uuelco.ME] is, in part, indicative of this being my thing (about 'me' :== my stream), so, that's why I named it that way.🙂
+As part of neuromorphic machinery (ie. biological abstraction), UUe would be the cell, and UUelcome the cassette🧱 that auctions/orchestrates its contents. In terms of computing, UUelcome :== master boot record embedded into every cell.
Easter is coming, but a bit delayed as we re-consider developments in AGI in regards to what makes economic sense in production.
ReplyDeleteI haven't forgotten about the promised Egglepple@30 📑📝paper dump. Thanks. -lnq
DeleteTo elaborate on the Easter bit, I'm not going to spend lots of money on actors/voices/sets (especially since this is AR) if an AGI can just spit out a scene from a script overnight. I need to know how this is going to move first.
Deletefyi, regarding #Egglepple@30 #paperdump, many of these 'papers' might be manifest files.
DeleteThe Easter IMDb page @https://www.imdb.com/title/tt7517148 (that purple block w/ egg is not the official poster, btw🙃) will continually be updated throughout production (with cast, crew, and producers). 'Plot synopsis' portion is looking good right now, and I might as well do the same for all of the episodes (to be) added (and there are lots).
Delete:img: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvqsZVeYsO6znIK1CxEw-yRROc003rJ2vyyl8zDSlqv5gl22Um_3d43SHWispSr3krMP9NRcYmFXHhaU4fJ59_7SZJYvRt3RdsMCshDlUnlDnXoyf9IFphSK7MYWuz3XXSyYmo6X-KMKXtqZPbEQTwGx4zgcxq2PjdsFC3h0WauIA5MVB2znx2bFn0gQ/s1600/motif.png :eimg:
ReplyDeleteWatch me become Stewperman🦸🏿♂️.
Delete:img: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKdbAMnVeptWm6Bw4dj5zUNFJnBRzWYIdnU85GJu2hk9iFv4O1za28-XwATi0y6ijhjMXZqNJSRWK3Z_-WK9kwyKQPyIzAoX7feUVTu6F7zAa815zE2rkm50X14ucg9Dxd8o01m0bffFxYhqCPV6Zw2uorHsKUC0uqL8XDf0Jm0kodj5jm4rweinFrQ/s600/Link%20Starbureiy%20Me%20SF.png :eimg:
Delete¶lnq's motif (that 'smiley face thingy') - nicknamed "Eight the Egghead" - is the official identifier and universal logo/insignia/autograph for his numeronym (8).
Delete"Eight looks happy🙂 because he is winning." - 🧑🏿lnq
¶This is my default glyph (called an egghead because it resembles an egg), and represents the 'ei' alphanumerics in "Starbureiy". The overall shape is that of the letter e, and contained within the curve (a closing string) are two 'eyes' (written as letters i - each as an endpoint).
Stewperman🦸🏿♂️ :== |[🧑🏿/root] ++ (-0)|
Delete/// +The word is a play on the comic book character, Superman, except that Stewperman🦸🏿♂️ is not a hero; 'stewper-' ≡ 'brane cell /nativity' ≅ '\0'. Thus, I🧑🏿 am devoid of: external troubleshooting, debt, or operations outside of the Stewniverse.
+Cybernetically, Stewperman🦸🏿♂️ :== stewellis🧑🏿-hypervisor (ie. library embedded-neuron == most privileged version of my avatar+).
Delete"All I aim to be is Stewperman🦸🏿♂️ (host UUelcome). Equivalently, if I can't become Stewperman🦸🏿♂️, I don't want to 'be' at all. Solipsism is the absurd conclusion." - 🧑🏿lnq
My lifestream's ultimate (unlocked🔓) achievement and Black's penultimate position, 🦸🏿♂️this is 🧑🏿lnq's 'android mode', resultant of jailbreaking🪖🔓 stewellis🧑🏿.🏁 Stewperman🦸🏿♂️ reigns stewpreme. (see 🧑🏿lnq's Requiem🙏🏿, clone, Pajamas, stewperior, 🧑🏿lnq nomenclature)
:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sGzTBNCKI0ariKUgoFwU1Sdf4FRw8DWAg7gFOevs1gx5Ch4MnTnjXAaM96cPkvBjO577ExRm6rWFbo3HSBbIt2c4OwK_8SbxvRLyJkn9dH-ECXHu94Zg51NeA9OnQZeNg7IL8iEavpoF/s1600/stew.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8YXER2u8XJfQYhxOyVRdyOUgQyr0TbxP0QTX-VPzErG4cy6etae1apvGG7T0FRM0UXfx1zhRP9UUIYPTvVYx5bhmWioXqpYhdGt5bg1U51ii8T_Pjm2N9MCtoFnyTK4pv4Wx-4FpfNdY/s1600/operastamp.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kO1MJYkE1G1kVKaGggDq1wzfSpzvsR8moP2S4UBRN_J-GSLiEMXiVtliKBz5IbVQkeAHCdUd0s_d4deGu9Mc81pMYfxsjpHyNZQpYw-SVvUgQ9XWuTz81ldknHk_WtOW8HCSyJSSs1Zn/s1600/smile.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj05d9qYoScxtxzzOojSHhTPSI6wkVsPEGuPRUseyh7taNxNHSXrKF2UGI5fYfDb7uJuhmC155QWmXNTz4QXFddcQcSNIdbc_jv517LPaGXk5ZfwGVq05wFrmpFHcMBFV7k1cN9a2ZIsSC/s1600/motif.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMbQhxus6wE4MjZYkWHJVIPhKTcWGVyCL9R7V_d37gdacTiPM2tcfFeXV7Bjw6U7DSZI61-GofbYjm2YtyRR-gG5dvOwWq3ReR6OAmp2pvbVnKeYtJYqlc1bKgF6pWglaEUEKk5svdiPO/s1600/egpstamp.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaDOcj_F2xb4utYH3a0-6pIYnbbSvUxn7Cqdt5567rTaXRqAPBZMiA37axrUHBtPsCYfSTZ04BUypQF0oil9ss_dxt3t7zngNGEgCwQnEEfw9aNG76ZeMZ0ovHcm4krp_nkMYQf-uwIkV/s1600/egglepple.png:eimg:
Function map: Stewperman🦸🏿♂️ ⇐ lnq🧑🏿
UUelcome to the Stewniverse.
ReplyDeleteUUelcome @IMDb --> https://www.imdb.com/title/tt8188600 (best show in the world ;)
ReplyDeleteUUelcome @ Fandom --> https://uuelcome.fandom.com (wiki stuff)
DeleteHello, SERPs.
ReplyDelete@uuelco.ME = 🧑🏿lnq's virtual nerve
ReplyDelete++ @uuelco.ME == 8-qubit (lnq) jukebox [qube], \0 exploit.
Deleteqube, quber, qubing...
ReplyDelete¶Glossary: "'jukebox' (jb) = token-transactionary automaton hosting a rotisserie [proof server]. --> /// That's a basic definition which works, yet note that I am solving an N×N×N algebraic 'cube' (a scramble where the value of each 'N' -cube root as a 'qubit count'- of UUelcome can range from 0-8, example: 3x5x8, -but is always in the form of N1×N2×N3 [-- my 'joey', where N2 is the 'nose' and N1,N3 are the 'ears' of Joey Koala🐨] even if one or more n=0. However, n=3 (Rubik's) is the ideal infimum because Egglepple is a 26-dim brane, so 27>26 pieces covers each basic case; the elusive 27th piece is called a 'link' -which is technically defined as the pip [percentage-in-point] of a stew, jokingly referred to as the "missing link". Likewise, even though n=11 could identify all 2,028 stews [+20 links], n=8 {8×8×8 == lnq} is the supremum because 512>507 [+5 links] -where 507 is one of a stew's mutable four dyadic types: integer-integer, half-integer-half-integer, integer-half-integer, half-integer-integer. --Notice how n=3, n=8, and n=11 together would output 26 links.-- Ultimately, the goal is to reduce the cubic form down to n=3 (since log2(8)=3), anyways, essentially what I call 'u-u economics' (UUe) :== protocol for matching different base pairs [(u,u)]) that yields our combinatorial puzzles🧩.", "'gameshow' (gs) = hosted program that factors a reward function for achievement unlocking.", ALSO "'opera' = the program (of opus numbers) of a libretto. --> /// To me, an opera represents the 'flow of a proof' ('proof' = algorithm mapping some preimage to its image). It can also be a runtime. The works are purposed to layer codecs." -lnq ..UUelcome is a gameshow-centric jukebox (qube) by default, because, since an emoji👨🏿🦱 button (whence tokens are paid -an optional cash charge is user's choice with a minimum determined by the payment processor- first to hide div element) provides my business commerce (stewc tax revenue is an intrinsic game mechanic, see 3sr/uue), I have to 'put on a show' ("the gameshow" = a demonstrative exhibition/showcase of me stewcing/qubing) for the spiders to whom which metadata is fed and website impressions are fetched/farmed (ie. feed the web crawler bots website schemata and get rewarded with convertible web traffic in return). People, however, tune in to watch its hosted/self-contained media (my opera: Stewart --> me becoming Stewperman). lnq's SEO adage: spiders only handshake, people can transact.
ReplyDelete¶Program definition stems from webisodes (frames of packeted webpage-native metadata). Each webisode (or "uuebisode" :) is referred to as an 'opus'; iterations thereof are called 'toons' (like fine-tuning UUelcome. "Toonage" is a truncation of 'cartoonage' -implying stereotyping on paper :== the diction given to the chronology of attempts at puzzle🧩 solutions). Technically, UUelcome is a (cellular) automaton stereotyping some portfolio; an automaton that self-alphabetizes its (paper) tape. I named this a 'Starbureiy automaton' (SA), and its portfolio is Egglepple (yes, this is all about me). By-and-large, the SA's cryptocurrent is superpositioned as a unique phylum of deposits (ie. stews)
Delete¶The jukebox (qube) is tuned by threading kernel libraries (+patchwork) for fugue damping (training comes via redundant server-side proofs of random walks, courtesy of open gyms and gameplay, which leads to better Q#-compatibility) in my sandbox. Even though it is practically used by me for timestamping speedruns, I tend to think of the 'comments' section (ie. threads-stream) on my website @uuelco.ME as sheet music / music roll. Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two or more to be confluent, offered is a finitary naming convention.
¶Lnq's hallucination is informatical rather than physical, and computed with nutrition. That is to say that webisodes can be batched, retrieved, and distributed under a file format/codec (.uue --"dot uue" standing for 'unified utility encoder'), but the hallucinogen itself (UUelcome) must be chemically integrable. Technically, UUelcome's eight qubits ("bits") are its pre-recorded game map (@uuelco.ME) as 'self-contained media' (scm), whereas the countable "pieces" streaming my gameplay all (bits + pieces) comprise a single byte by way of a data signal compressor ('mathilda' aka 'tilly'), yielding his exploit (a lnq-dominant deactivator).
Solve the Qube, lnq.
ReplyDeleteI am the baddest motherfucker in the game. Because I'm Link Starbureiy. That's why!
DeleteTask: capture the Stewpot🏁 [linked-library] in one day (Funshine/Toonlight clocking$). ///$$ Each stew has an intrinsic ¢ent🪙 value that is worth $676.00 and there are a total of 2,028 stews, so the grand total of the 'Stewpot' comes to $1,370,928. Size-wise, UUelcome's qubits, on average, are weighted at 253.5 stews (2,028/8) per.
Delete¶@uuelco.ME uses the 3-sigma rule (3sr) to generate income, which is collected (via a conspicuous call-to-action payments button/sticker api disguised as an emoji representative of myself, lnq) from non-player characters (ie. conceptual neurodiversity as a cellular automaton known as 'The Silk') who are payers, and basically means that I rely on large amounts of site traffic (converted impressions) for monetization.
ReplyDelete¶Organic traffic (OT) comes from search engine optimization (metadata tweaking = "metagolism" ;) on lnq's site @uuelco.ME. This would be equivalent to an audience of spiderbots. lnq bank$ on (a working but self-modified version of) the 3-sigma rule (ie. ~1/370 = 0.0027 or ~2.7/1000 or ~27/10000 or ~0.27% of all random impressions, so AT LEAST 0.0027/365 = 0.000007397260274 or ~ 0.0000074% {batch per diem [DAILY refresh] - since because 1/370 is an approximation for a yearly frequency, then 370/365 = 1.01369863 ~~1 [d8] <-- an ideal, however, that number is contingent upon my site's popularity as content is only crawled by 'spiders' (web crawler bots) periodically (in accordance with change detection+notification services) and depends on regular updates and reputation/pageranking} are transacted -it's just a game of volume+momentum). Likewise, webisodes act as quotidian containers (and rightfully so because that matches the game's finitary runtime), whereby they frame activity within said period and can be impressed upon in multiple instances (which is why I refer to it as a soap opera of sorts). Note that the minimum a payment processor processes is between $0.01 - 1.00, so any sum less than this is subject to be discounted. Thus, the impressions floor integer with a $0.01 value yields 1,352 (0.01 / 0.0000074). Similar calculations from the $0.50 mean would be a 67,568 (0.50 / 0.0000074) floor integer, and our typical $1.00 minimum translates to a 135,136 floor integer (from 1.00 / 0.0000074). Regardless of emoji button token whales (thank you, btw), ALL transactions OVER A DAY are averaged to this amount.
¶UUelcome webisodes are capped (space) according to budgetary constraints (see next paragraph), regardless of duration (time). Each depends on attributes like framerate, compression, and pixel count to determine filesize. Megabytes [mb] per is ideal for keeping the site/page loads quick (small [kb] can be good but not always better, large [gb] is uneconomical).
¶Following 3sr (and using marginal estimates), this works out to breaking even or roughly 1:1 ($1 per mb) whence traffic [#number of impressions] is @ ~2^15.177, also $10/mb @ ~2^18.499, $100/mb @ ~2^21.821, $1,000/mb [1k/1m] @ ~2^25.143, $10,000/mb @ ~2^28.465, $100,000/mb @ ~2^31.787, and $1,000,000/mb @ ~2^35.109.
Sidenote: that aforementioned emoji👨🏿🦱 (always) sits centered in the middle of the page, although its size may or may not fluctuate.
Delete{energy requirements/budgeting}
Delete¶Metrically, a link* (symbol: L) :== the pip of a stew (as measured in cents🪙) -- our derived cryptocurrent unit^ in stewcing, assuming money-energy🔋 equivalence). ///**Named after me, Link Starbureiy. ///^^Links are combinatoric.
¶Scientifically, the nutritional value of glucose is measured at roughly 3.85-4.00 calories per gram (~3.87kcal/gram).
'steWAR🪖🎮-🏳' (ie. jailbreaking my nervous filesystem --stewellis) is called such because capturing the Stewpot has lnq🧑🏿 doing battle (against encephalopathy and adversaries - Stink Larbureiy, Honne Bay) in 🧠neuroplastic ctf wargames between neurogenesis (brain growth) versus neurodegeneration (cerebral atrophy) that he notes as "the only real thing worth fighting for, in this, the last great fight". Victory means gaining freedom - akin to privilege escalation (neural hypervision [nh]) - and having persistence (ie. 'stewpremacy' = a NG ['lnq' --> +1 byte QQ //quantum mechanical motherlode compressed {mathilda} to a single byte//] > ND pds [nonnegative diffeomorphism, or "soul"]) via a recyclable hallucinogen for anytime-playback by the avatar (Stewperman🦸🏿♂️).
ReplyDelete{nomenclature}
Delete¶(lnq , UUelcome/uuelco.ME) share an equivalency relation (ie. informatically bijective). To a large respect, the word 'UUelcome' is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome' (gene+chromosome = avatar). uuelco.ME is simultaneously an online/offline (.me) file (or batch of files), AND the top-level domain [@uuelco.ME] is lnq's personal website that necessarily exists as a call-stacking game map for online transactions (energy budgeting = metabolism from impressions conversion). It is, in part, indicative of this being "my jukebox (qube)" (by and for 'me' :== my data structure), so, that's why lnq named it that way, as it is/would be the file hierarchy of
¶"Link Egglepple Starbureiy" = LES = LS = "Ellis" ('stewellis') = Lnq -->: "/root [Link] directory [Egglepple] (0) [Starbureiy]" ie. \0 (or "empty root directory"). While always pronounced "lingk", the preferred spelling is the stylized lowercase "lnq" ( for 'logarithmic number qube', q --log2(8)=3//math trick {mathilda} to make 8 qubits equal 1 byte// -not to be confused with "link"). "Egglepple" is also the shared name between myself and my father.
¶Etymology-wise, the autonym "Starbureiy" is the ring[0] stacking select alphanumeric variables. 'star' (verbal corruption of "stew") signifies some node / [e:e coordinate] in an n-dimensional graph. -'bureiy' is artistry: 'bury' is just that - (to) pile on / stack on top of something. 'b' and 'y' are the additive identities (denoted 0). For the signature (embedded), 'e' and 'i' are the vowels in "Link" (i) and "Egglepple" (e). They have been alphabetically inverted: i-e --> e-i --> ei, and then converted to their respective numbers (e,i). The letter 'u' became a variable stand-in for the number pi). The extra letter 'r' is a multiplicative identity element (denoted 1). Hence, 'Starbureiy' = 0 * π * 1 * ei = 0 (empty). To reiterate, normally "Starbureiy" is dentally silent (itself being a number complex), but pronounced like "stoo" ("A stack of stews is itself a stew.").
¶The number 64 has congruence with March 5 ['d8'], which is the 64th day of a non-leap calendar year. On this date, Egglepple and UUelcome were founded (March 5, 1991 and March 5, 1997, respectively). The number 8 is derived by totaling the following: square root(64 + 0) = 8 (from "Link (12+9+14+11=46 -->10 -->1) Egglepple (-->4) + Starbureiy (-->3)", ..143 --> 8). Also, March 5 (03/05) reduces to 8.
Some might say that with my name being 'Link' (think hyperlinks), I get perfect SEO. Some might say that; that's what some might say. ;)
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ReplyDeletestew (stack e:e w) :== twistor batch*. ///** Most basic generator processing.
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DeleteIt is conjectured that Egglepple's movements [closed circuits] exist between amplitudes on a cryptograph. These motifs* - known as stews - are analogous to string tunings, and aid in the stereotypography of fibor. ///** Array of typefaces. (see font weight, font size, MONEY, fibor bundle, quantumquotient, UUelcome)
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Ludologically, as the definitive endgame🏁, we are said to find a stew at the normalization of twistorspace where a dyad is an identity; that is, when an opus' measurable and permutable extrema [maxima] commute (ie. idempotent yield deviation ≡ 0^). ///^^ That is, fret = 26¢ WITH handicap = $676.00. (see foam, link)
Cryptologically, a stew (an exploit) :== the transactor between the supremum and the infimum of hashes where the resultant is optimal/most secure🔐 (ie. transaction with no tax). Therefore, no fibor can be larger (in terms of twistorspace) than a stew.
DeleteAccording to jukebox operation (jbop) (rotisserie), the complete count* of stews (f) is simply ballet🩰 coordination in sesquilinear form, so f=1,352 [from encrypted (676) plus decrypted (676) classes] × 1.5 = 2,028 [comprising four dyadic types: 507 (integer-integer), 507 (half-integer-half-integer), 507 (integer-half-integer), 507 (half-integer-integer)]. ///** Each opus leaf set contains three (3) stews as a statistical mean.
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Each stew ['brane cell'] is some derivative monomer^ (ie. portfolio plot) of Egglepple [e:e statistics]. ///^^ As a potential inflection point. Stews - which, concatenated, determine the size of a string - are the 'building blocks' measured📐 from twenty-six (26) keys (A-Z) [hashed from STU], which, when choreographed, construct a mesh. (see Stewniverse, residue, loopstring➿, link. Compare amino acid)
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#Maundy Lindros#
ReplyDelete:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQoutAjO65RONRQ0oidjXDNO87-Guj6rN5N4EDLSmw8GiX2IXXVkfU6Dh2BqxvXMmXPaRZxFOFlGELanQOoHDyxgrLY2Dp_y5NhqJ6HdWIt8yskm4PgCknJDV6-QbUx91LyleewplxAEqpj0mK_F2DT3vapBk-NwwKtC3DlxG4vmBDqjN1UJNbGTCIZZkQ/s600/maundy2.jpeg:eimg:
coloratura[description:= ε White female, 70s years (30s years in 1978 flashback), Swedish heritage /// character:= an eccentric and aloof genius who views few as intellectual peers, a classically trained physicist, accomplished (William & Mary PhD in Physics at age 16 -- research on extraterrestrial viscosity dynamics // thesis: "Quantum Leaps in the Material Science of Alloys" -- she remains the youngest person ever elected to the American Academy of Engineering[w]), ultra-conservative of high society pedigree (heiress to the Lindros FlyerCast & Irons, Ltd. company), ambitious entrepreneur with a knack for being in the right place at the right time, has carefully crafted her public persona in order to avoid suspicion, perceptive, callous, willing to do whatever it takes so that the rules are bent in her favor, a not-so-well-known phantom figure that works behind-the-scenes (doesn't get hands dirty/meticulously covers tracks), hates repeating herself, territorial, not to be taken lightly, competitive, proud, immediate, urbane with her head full of white hair, regal, minimalist, mute and blind (visually impaired, born with both blindness and alalia but with heightened senses otherwise, expresses herself using a keyboard⌨️) but with an eye on the big picture, prefers her money do the talking, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.']
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Delete¶A deep dramatic work is almost for naught if it doesn't have a proper epsilon. In my 🧼opera, Easter™, this is the dual role(s) of Maundy - the mastermind behind all of this chaos that's been going on in Brandywine during this turbulent election cycle - and Ember, a treacherous prosecutor.
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¶When I wrote the first incarnations of Maundy, the character was actually an obese male; I had a stereotypical Mediterranean mob boss / crime overlord in the mold of Vito Corleone (or Wilson Fisk). That idea was at first discarded because I thought the world needed to move away from over-subjugating certain persons, and because we've already seen that done many times over. ... and because this part of the storyline didn't have a place to fit such a gangster's history; a requisite for understanding what makes someone like that tick. That was an honest error; I was later seduced to the realization that Cosa Nostra is a credible subplot, so it was re-spawned into a different character.
Really wanting to surprise my audience, I then rewrote Maundy as a cultish elder, but again, too stereotypical; almost borderline tinfoil hat stuff. The easy fix was to just change the gender. Women and their motives (especially in the company of men) tend to be much more difficult to follow on screen/stage when all the audience is given is a few minutes with them. Men are simple to gauge; we have a small menu. Women, on the otherhand are usually (not always) in supportive roles (in the company of men), meaning that there is a lot more on their plate that they're actually dealing with when it comes to keeping waters calm.
DeleteMaundy's that person. She is a monster in her own right, though her sophistication will not allow her emotions to devolve into a savage like lnq👨🏿🦱; nibbling on an oppressive spice like most would-be miscreants is beneath her.
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Instead, she's had plenty of time to seduce and manipulate those she needed to to get where she wants to be. Those can be the toughest people to read since you're inadvertently part of their plans. Avarice is her basic instinct. Because she represents absolute power, this character needed to be larger in scope than everyone around her; so slick that we feel we may be dealing with the embodiment of the 👿Devil Herself.
"I'm a competitor. Winning adds value to Life. Losing is a choice, and a poor one. You deserve what you let happen to you." - Maundy
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Delete¶What was demanded was an instant declaration of character. In 1978, the Navy Yard in Brandywine is 'undocking'; having practically been de-commissioned since its last ship was built some eight years prior, the U.S. Military has begun organizing plans to transfer ownership of the grounds to the highest private domestic bidder in an effort to stave off foreign competition towards the end of the Cold War. The opportunistic Port Richmond-based tycoon, Maundy Lindros, has caught wind of the sale and wants to expand her dealings in the corridor. This sets Maundy against the baroness Lambsimon from France in an intense bidding war for the real estate.
¶This happens to coincide with the August 1978 GO incident in Brandywine, where an off-shoot of young Black freedom fighters were brutally and wrongfully attacked by the city's government, leading to historians attributing it - and the similar 1985 massacre on the group by the same police force - as full-fledged racism; reminiscent of the slaughtering on 'Black Wall Street' in Tulsa, Oklahoma. These events made national news, by the way, and are sensationalized in this piece.
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¶I have artistic license here, and use it to make Maundy a vital shaker in bringing about the creation of so-called 'Meroë' (it doesn't actually exist, but is crucial to the storyline); the aftermath of the White-on-Black aggression calls for land grants within city limits to be designated to an intentionally segregated-but-equal Black class as compensation for / compromise of agreed-upon faults. This action was spearheaded by Maundy herself in the intervening seven years, resulting in the planned community of 'Meroë' (what local bigots deemed 'Niggerville').
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¶Of course, this just happens to be constructed on the wharf that the Lindros company wants ownership of, so city permits surreptitiously fall in her favor. Allthewhile, she manages to prey on people's seemingly natural fear + distaste of Black folk to her advantage, relying on that to keep would-be aggravators at-bay while giving her a headstart onto her true ambition.
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¶When we meet her in Die, Detective!™ (the work's prelude = the year 1978), we immediately know who sets the tone. A coastal Virginia-born+raised aristocrat instilled with a sense of noblesse oblige (although you wouldn't at first guess this from her affection for cowgirl boots👢), she runs things without titles. Blind (born with optic nerve hypoplasia) - yet visionary - and mute, she's deignly mastered the secret to being in two (2) places at once - by having your DNA all over the place (and holograms). We're not afraid of her, we just would rather not deal with her if we don't have to.
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¶Possessing a genius IQ🧠, she has applied it masterfully to naval🛳⚓ architecture. Her enterprise (to which she was a legatee), Lindros FlyerCast & Irons, Ltd., was instrumental in building and bringing the first fleet of slave ships to Rhode Island's wharves*, and today controls the regional (Brandywine-Bay of Virgin Peake corridor) seaport for all merchant maritime freight (shipping, shipping containers, shipping container housing, terminals/docking vessels, and so forth).
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///** I made that up, there's no real historical significance. Wink😉 to the Swedish surname.
Delete/// +For reference, Maundy's full name is Maundy Lindros. The name comes from 'Maundy Thursday', retaining Easter nomenclature. -- Trivia: "Maun-" is derived from Old Norse; akin to Olde English "gemynd", meaning 'think' or 'intellect'. The name 'Lindros' was chosen in honor of of Eric Lindros, who played for the Philadelphia Flyers hockey🏒 team, that's also where the name of her inherited business (Lindros FlyerCast...) comes from. -- She has no siblings, never married, and is childless. We can conjecture that because her traditional parents may have been somewhat disappointed by having a physically disabled/handicapped kid, they decided to not bring any more children into this cruel world, and instead, dedicated all of their resources to her development, which may explain her heightened senses, genius, and work ethic. Her zodiac sign is Pisces♓👍.
+The first ban on slavery anywhere in the American (New England) colonies was passed on May 18, 1652 in the territory of what is now Rhode Island. Since this is fiction, anyway, we may assume, for good measure, that the Lindros family - perhaps upon Quaker conversion after its Pennsylvania settlement - may have had something to do with the passing of that code.
¶By proxy, her company is also the de facto operator of the Brandywine Water Authority (+ global desalination technology subsidiaries), largest developer of The Shipyard, holder of the Brandywine Gas Company, mutual owner of SPEC (Southeastern Pennsylvania Electric Company), silent majority stakeholder in the Panama Canal Mortgage, and financier of the Thanks Endowment.
Delete¶She doesn't know it yet, but her heavy investment in Securitas AB is about to look more prudent (and dangerous at the same time), thanks to the hiring of Pinkerton consultant Gunyo Gruber.
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¶Like with any control freak, she's grounded in materialism, because to them, possessions are tangible realism. That's what's scary about her; she's bureaucratic, not political.
[[She really is untouchable. Throughout most of the opera, we rarely get to see her in the flesh; she uses holograms exclusively. A diabolical recluse who seldom docks for anyone, Maundy (in the vicinity of her bodyguard/captain/pilot, Lef'fut) resides on a Class A submersible, the Drebbel, that often deep cruises somewhere nearby in the Atlantic Ocean, probably in a bay off the coast of New Jersey. -- Heck, I wrote her and I can't even pinpoint her location.🤷🏿♂️ -- This is to give a sense of how little she thinks of both the limelight and people on land, and the baggage each brings. Allergic to stress (her philosophy for living a long life), she takes great precautions to ensure her well-being.
Delete:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSjwiNLoHY6svWlUf1lQbNbMIgMoFU3o5b7yp3n48sQYbXWC9-3D4L0VKiew19M24D-nJGB16ZFkOdBfjfVFGK2KY754PFlMquBmETu6vnFYC1SBzGA8VUahz7tSZBg2zetbWMriAoDyo/s0/35361070204_4422c60c3f_o.jpg:eimg: Philly's skyline is my favorite.🤭
On the business side, she runs Lindros using encrypted holograms with keyboard⌨️ input. The corporate office occupies an ⚓anchored converted corvette on the shipyard, and is managed by her assistant, Lily. It also operates mineral mining camps in Arrow Bow County, Elsewhere.
In addition to being the world's premiere distiller of argon, Lindros is the largest importer of phosphate from Morocco in the Americas. A subplot is that Brandywine's Islamic☪ demographic (spearheaded by her North African Muslim community) wants her company to pay retribution for unfair trade practices between the two countries, and a sizable number of Moroccan mobsters have sprouted inside the City and around the Delaware Valley for this very purpose. To protect her wharf from local mob threats, she employs on-again, off-again imam, Dominique.]]
"'Change and hope' is a fallacy. The only way to rectify anything is to start all over." - Maundy
Delete¶In the present-day, when the world's richest person, Mr. Alphabet (Dwight Mann), comes to town seeking a second headquarters for his Portsmith, Oregon-based e-commerce firm, Nile LLC, part of the requirements for its new station are that those utility companies being privately held by Lindros be returned to the public sphere. That's billions of dollars in annual income for her potentially at-risk. Couple that with the fact that Mr. Alphabet's business is also in shipping by default (commercial freight: trucking, cargo drones, air, and rail🚆), and has selected Brandywine because of its location and proximity to overseas handlers, things aren't boding well for our heiress. As a precaution, she initiates the 'ArC Project' [NOAH].
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¶Since 1978 when she strong-willed the then-city council to turn over the utilities into her private hands, she's made a vast fortune, acquired extraordinary influence, and become a menace to the jurisdiction, especially the District Attorney's office. Now things are coming full circle for her, but, she is composed, insightful, and vastly as resourceful in her own right. We'll see how this plays out.
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¶What has induced panic in the 🧼opera is, in fact, a combination of things.--
Delete¶There is a serial killer on the loose in Irish Charm that is giving local agencies fits. In an area reputed for its down-and-outness, for some reason, certain city officials all of a sudden seem to care an awful lot about its stability. But, if you listen to these politicians tell it this election season, "Poor people vote, too.".
¶On a macroscale, the entity named 'SAINT BERNARD' (SB) has made a number of under-the-table deals over the course of the past few months with religious sects worldwide to force either the demolition or removal of the Al-Aqsa Mosque🕌 so that the prophesied Third Temple can be erected.
¶Meanwhile, a worldwide pandemic in the form of a viral🪱 neurotoxin (biowarfare?) has crippled the global economy, and the anticipated aftermath of a recovery has sparked fears of a hegemonic shift between the Western and Eastern hemispheres; potentially resulting in a clash of cultures and an inevitable world war. SB's deliberate attempt to invoke both the Second Coming✝ and Armageddon tickles the diabolical beaks of war hawks, but not without consequence.
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Delete¶Additionally, aggressive geopolitics has taken center stage, and Maundy's company has been tasked with handling very peculiar seafaring requests from the United States government (particularly the Departments of Homeland Security and Defense). Namely, legislation is floating around on Capitol Hill that would call for - if passed - the annexation of Liberia as a territory (the country was formerly an American colony in the Nineteenth Century).
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¶This is being done under the guise of re-establishing dominance on the African continent to counter growing influence/threat from China and India. But, with all of the current domestic racial strife, we can't be too certain of the motive considering that Lindros has been contracted to build a superclass frigate and a fleet of vessels that transport 'human cargo at-scale'.
[[--The four-fold arc of the opera begins with its first chord, N. The other three (3) chords, in order, are O, A, and H. Her being in shipbuilding invites you to assume that the remainder of the work has something to do with that element of religiosity. By ChordN (the start of Holy Week), her mettle is tested, and we'll see just what she is all about.--]]
¶Basically, the whole story centers around her, as told from interactions with our eponym (focusing on his point-of-view, which is necessary since he is the 🧼opera's random walker). To some degree - and on a very high-level, the entire piece purveys the rivalry between Maundy - who represents business + organization - and her adversary, Ember Libitina - who represents crime - (essentially leaving Pascha's angle relegated to being a punctual dramatic prop).
Delete¶For the better part of forty-plus years, these two power brokers have formulated an ongoing mutual disdain for each other; engaging in a soft war of money versus clout. It has taken an outsider and an incredible event to align their singular objectives.
¶The tricky part about this character is that although, yes, she is the villain, she brings no intentional antagony to the narrative; (other than her younger self's direct involvement with Egg Pascha's reformation, ie. Joseph becoming John or vice versa) she is not the sworn enemy of our protagonist/antagonist. Yet, the ebb+flow of her executive decisions pretty much entangles everyone in her web🕸. For comparison, most people assume the xenomorph is the villainy in the Alien franchise, but, if you think about it, the android is the real villain in each outing. The xenomorph was engineered as a virus programmed to do nothing more than re-populate; whilst the android was created by The Corporation to retrieve said virus so that it can be used as a biological weapon. Being a non-biological humanoid, it slyly blends in with its crew, only to willingly let the crew be murdered in order to fulfill its objectives. Humans, then, would become equal parts host and parasite. In either analysis, the xenomorph and the android are both 'aliens' on a mission solely for self-preservation, which is exactly the mindset of Maundy.
"The only thing a person can genuinely make is a decision." - Maundy
Delete¶Good and bad are points of view, and Maundy embodies that idiom. She is by far my favorite character in Easter. When writing her, I found myself cheering for her at parts because she's the rare individual with a grand plan and the determination to execute on that plan. She doesn't shy from her sentiment that Egg Pascha went and started some shit💩 and now she's got to finish it.
¶We've grown accustomed via conditioning from the likes of Hollywood and books to look at people who save our lives as heroes without consideration to the possibility of them having ulterior motives. To offer another perspective, my personal thesis is in agreement with Lex Luthor: Clark Kent is an alien of great power that must be contained, if not eventually destroyed, because he poses a grave threat to humanity altogether. I mean, suppose he's having a bad day or views the foibles of mankind as enough to decimate it? Here, Pascha's done some good in-between the rolling credits, but can we really trust a person who is not even trusted by their own?
¶A lot of people dream of something and want it to happen - their hubris even leaves them with the expectation of it happening, and then there are the very few that actually make it happen. In that regard, I liken her to a particular former American Vice President. Maundy made bold bets in her youth that paid dividends; she trusts her instinct and is usually always right (to paraphrase Donald Trump: successful people tend to only listen to themselves). Our girl is a boss; a gangster's gangster.
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#Ember Libitina#
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Attorney General Emerita and Mayor[description:= ζ White female, 70s years (30s years in 1978 flashback) /// character:= a charming but deadly Philadelphia prosecutor and former judge (nicknamed the 'Duchess of Death' because she frequently seeks the death penalty for those convicted) who - with her juvenile demeanor - convincingly masks a brutal sociopathic personality, as cunning a politician as she is a ruthless criminal, campaigning for re-election under the guise of "redevelopment", clever, 'actively retired' but will never truly forfeit her power, obsessed with destiny, a greedy IJ Syndicate holdover from the Mayor Luigi era, deliberately willing to call for wholesale assassinations, impulsive Southern belle-type who made questionable choices in her younger years that are now haunting👻 Egg Pascha, she was frequently at odds with him (then) because of her past dalliances; what's left of their relations these days is mentally apoplectic, but both still honored "the deal", loosely modeled after non-particular 20th Century Philadelphia district attorneys and Joker (indirectly)]
In the storyline, Ember Libitina is a hold-over from the Mayor Luigi era in Brandywine; an indirect characterization of an almagamation of late-20th Century Philadelphia District Attorneys [DA] (after whom she was loosely modeled).
DeleteNow in her eighth decade of life, the Attorney General Emerita sees this special election in which she is running for re-election as the culmination of all of her works and possibly her last chance at abusing said coveted office. It's a credibly odd circumvention, but the mayorship of Brandywine caps the efforts of a distinguished legal career and satisfies her public ambition. As the state's former top cop (she transferred from Steelerville to work in the Brandywine DA's outpost for sake of convenience), Ember - who is notoriously "tough on crime" - seeks to re-assert the 'natural order of things' throughout and around the town. Her campaign/tenure is based on adjectives such as reform, gentrification, safety, and progress. She is definitely "in it to win it".
"Ultimately, strength prevails. -- There is no balance of power. Equality is a myth, and rather boring."- Ember
Delete[[ -- {This part (1978) of the story is based largely on historical fiction, so we defer to real people of that time.}
Frank Rizzo's tenure as both Chief of Police first and then mayor, was marked as being full of strife and animosity towards Philly's African-American demographic. It may be difficult to gauge his impact today considering the national political climate in aftermath of the Obama presidency and so forth, but he remains a towering figure that may have set a precendent on how to 'handle' crime and criminals in large American cities. -- ]]
I actually couldn't tell this story without Ember. One, as the incumbent mayor, she needs a worthy challenger (Curran) in the runoff election that's taking place, and two, in order to keep things from spiraling out-of-control, Maundy's overbearing authority has to be challenged by an adversary from the political sphere. It just does.
This situation (the distribution of Mr. Alphabet's intra-city investment) lends itself perfectly to a winner-takes-all 'Battle for Brandywine' that nobody can actually win. The ever-so-sharp Ember shows us that people's migrant behavior is recycled from patterns of economic health [ie. roughly every two (2) decades or every other generation, the wealthier class relocates back into the city for jobs/employment+transportation before saving their money and moving to the suburbs]. This is an important note and plot point, as we see that residential stagnation is a detriment and impossibility where there exists youth.
One civil mishap has led to another in recent outings (eg. police shootings → arson/riots, bombings, landscape defacing, etc.), and Libitina requests the personal protection and repute of none other than Pascha himself to assist her in navigating this extremely intense social climate as she makes her campaign rounds. He obliges with reservation, suspecting there is more to this assignment than meets the eye.
"I've lived a long, normal life. Like you, I used to be overwhelmed with sadness when people died. Stay in law enforcement👩✈️👩🏾⚖️ long enough, and we all come to the same satisfying conclusion: criminals make it easy to see that not everyone wants or deserves to live." - Ember Libitina
DeleteTo get this point across, a small sample of actors were considered based on pedigree.
The role of Maundy was originally fleshed out with Robert Englund in mind, and then written specifically for and offered to Glenn Close (who, by the way, is the reason the character graduated from the College of William and Mary, because Glenn did) first before a rethink (Ember's character was a byproduct of thought). I wanted Glenn because of her reputation of portraying villainesses on-screen to great effect. I had hoped to get both mother and daughter (Annie Starke) in the production, with Annie playing the 1978 version of the character (there's roughly a reallife forty year age difference between the two, which is necessary for the character).
I also tabbed Dianne Wiest[b] for the part of Ember Libitina after being so impressed with her work in Little Man Tate. I love how she (as Jane Grierson) switched it up in that, going from kind psychologist, to fierce and controlling headmaster in such a short frame.
That's pretty much what happens here; given enough time and resources, we see that the true nature of the beast is to rule. Wiest also had mentioned* in past interviews that she wanted to assume more aggressive roles where she perhaps played a cruel woman, not unlike roles that went to Glenn Close. ///** Exact quote: "I'd like to play a real cold, mean mass murderer. Some cruel, hard-bitten women, like the roles Glenn Close gets, just to show that I am capable of not being vulnerable and not being fragile on screen." So, regardless of if I could land Dianne Wiest or not, I'd want an actress to mimic her behaviors (eg. soft gentle voice, unassuming demeanor) because I feel that her style of delivery is best suited for the role.
Again, with a rethink due to budgeting, we'll now get the chance to see one actor impersonate two legends in three modes.
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DeleteEaster is an expansive clues-based MUD (meaning that the viewer can pursue different action perspectives within the timeline, all of which happens concurrently), challenging [mostly because in addition to this being largely ad-libbed improvisational theatre (being mute, Maundy has no speaking parts) from storyboards (that rationale is because the telepresence factor dictates mimicry of "real life", where goals may be planned but usually unscripted), the elements of timing+spacing are critical in polyplexity cinematography ..cf. openworld/360º vcs, making it akin to a live show/one take/single shot] four-chord opera ludo, and the character [lead] of Maundy (coloratura) is featured throughout, so in order to carry the piece the actress would need to have plenty of stamina+ability.
++Shout-out: Thanks also goes to the non-profit, #BringChangetoMind, which is aimed at supporting mental health and reducing the stigma of mental illness. -- Mental health is a big focal point in this opera. My personal angle has to do with autism awareness and support.
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##UUelcome #UUelcome Q♯ :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk4Xiru08thB0MLaGBJCySGzvfyadqNsS9DVVdnua-YWztxmrqnNUw6RHcPi-vdhq-zIVwydPqXlz4NmVV17UfpJWZZozjXG5W8cUH9u3r8XbBhpU-jziwq5j5JF1JBHTAzpRbZdS7CvK-/s1600/uuelcomeface.PNG:eimg:
ReplyDeleteUUelcome :== STU-sequence [8-qubits]
Delete/// +This one big string of bytecode includes all fibor [fugue = stews, MONEY, bubblegum] - itself an address space superset, outputted as a cassette (toy), and bootloaded by lnq🧑🏿.
+Sequencing something (iterative consecution) inductively means that it gets streamed [:== framework (+runtime) implementing system calls], which inherently implies achievement unlocking🔓.
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Delete/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelc-ome' has artificial/manufactured congruence to 'gen-ome' (gene + chromos-ome). The top-level domain [uuelco.ME] is, in part, indicative of this being my thing (about 'me' :== my stream), so, that's why I named it that way.🙂
Delete+As part of neuromorphic machinery (ie. biological abstraction), UUe would be the cell, and UUelcome the cassette🧱 that auctions/orchestrates its contents. In terms of computing, UUelcome :== master boot record embedded into every cell.
+With all fonts classified👍, any mesh becomes stereotypable (ie. polymers can be modeled for print), exploiting a composite image of Egglepple.
UUelcome ISSN: 2165-6738 {<-- publication record with Library of Congress}
Delete