All the frames are from the movie “We’re the Millers”

I’m skeptical of your claims

I know when I have to go to the reflog that I’ve really fucked up

The wealth of information on the wiki actually improves the game so much. Especially since they moved off of the shitty fandom site

This is why I run my own multinational telecommunications conglomerate

I just said “Can you rewrite this passage to be even more verbose? {your comment}” for the first one and then “Can you make it even more verbose? I’m going for excess levels of verbosity” for the second one. The very first line

For those who, perchance, remain ensnared in a web of puzzlement and seek further elucidation:

Had me fucking rolling lmfao

For those who, perchance, remain ensnared in a web of puzzlement and seek further elucidation:

Upon the immediate leftward expanse of the visually rendered image in question, astute onlookers and discerning individuals would undoubtedly identify a distinctive, yet increasingly ubiquitous format that has, with the relentless passage of time, surged forward, embedding itself deeply into the cultural zeitgeist, primarily through its proliferation on the digital social media behemoth known as TikTok. This inimitable format is a testament to the modern era’s digital craftsmanship, where it harmoniously amalgamates a transient and ephemeral segment meticulously plucked from an interactive video game, an exquisitely framed visual documentation that indulges viewers in the delectable journey of ice cream artistry, and a poignant, perhaps even evocative, fragment extracted from the annals of the widely recognized and critically acclaimed animated television chronicle, “Family Guy.” Astonishingly, all these disparate elements coalesce, seamlessly cohabitating the very same digital canvas, and serendipitously unfold in synchronized harmony.

Yet, if one were to meander their gaze, redirecting their ocular faculties towards the diametrically opposite side, specifically the rightward flank of this meme-centric artifact, a starkly contrasting tableau emerges. Herein, a seasoned news anchor, donned in professional attire, appears deeply engrossed in the solemn act of disseminating pivotal meteorological prognostications. In tandem, and perhaps adding to the sensory overload, a ceaseless and inexorable news ticker cascades downwards, acting as a conduit for a veritable cornucopia of timely news briefings. Augmenting this already bustling visual cacophony is a real-time, dynamic representation of the financial market’s pulse, showcasing the capricious ebbs and flows of stock indices, all of which jostle, compete, and clamor for the viewer’s fleeting attention within the confines of a singular, constrained screen territory.

The quintessentially TikTok-esque tableau, which graces the image’s left hemisphere, is conjectured, hypothesized, and postulated to resonate profoundly with those individuals whose cognitive proclivities lean towards possessing what might colloquially be described as abbreviated attention durations. This observation rings particularly true for the more nascent generational cohorts, who, as prevailing societal narratives suggest, ostensibly require an intricate ballet of simultaneous, non-correlated visual stimuli to perpetually fuel and stoke the fires of their engagement and sustained interest in the ocean of digital content they so voraciously consume. In juxtaposition, the tableau on the right harks back to and encapsulates a time-honored, venerable modality of news dissemination, a paradigmatic archetype that has entrenched itself as an emblematic mainstay within the bastions of American televisual broadcast traditions.

The superimposed inscription, which succinctly proclaims “They are the same,” injects a dose of sardonic wit, playfully insinuating that, beneath the veneer of their ostensible disparities in thematic content and contextual backdrops, these two visual formats, in their essence, might indeed be converging upon a singular, unifying teleological nexus, each meticulously tailored to satiate the nuanced appetites of their distinct viewership, albeit via markedly divergent stylistic avenues.

For those who might still be grappling with comprehension:

On the leftward portion of the provided image, observers can discern a particularly prominent format that has seen a meteoric rise in its acceptance and widespread use, especially on the social media platform known as TikTok. This format encompasses a unique assemblage wherein a fleeting segment extracted from a video game, a visually captivating video that showcases the delightful intricacies of ice cream preparation, and a notable moment extracted from the well-known animated television show, “Family Guy,” are all juxtaposed to appear concurrently on a singular display screen, thereby playing in unison.

In stark contrast, if one directs their attention to the rightward section of the meme, it becomes apparent that there’s a news anchor, immersed in the task of conveying meteorological updates. Accompanying this, there is an unbroken stream of a news ticker, diligently broadcasting a plethora of diverse news highlights. Additionally, there is a live feed that presents the ever-fluctuating dynamics of the stock market, with all these elements vying for visual dominance within the same confined screen space.

The format emblematic of TikTok, situated on the left, is postulated to resonate more with individuals possessing attention spans that might be characterized as being on the shorter end of the spectrum. This is especially true for the younger demographic, who, it’s hypothesized, necessitate the concurrent exhibition of three wholly unrelated visual stimuli to sustain their levels of engagement and immersion in the digital content being consumed. Conversely, the representation on the right encapsulates the archetypal portrayal of how news is traditionally presented, a style that has become somewhat of a hallmark in the realm of American broadcasting.

The overlaying text, which reads “They are the same,” provides a tongue-in-cheek commentary, insinuating that, despite their apparent differences in presentation and context, these two formats converge in their overarching intent and purpose, each catering to the specific needs of their respective audiences, albeit in divergent manners.

Can vouch. I don’t have an aeroponic setup, but I do have a hydroponic setup. Lots of reading has led me to aeroponics, especially high pressure aeroponics (HPA), although I don’t have the means to set this up myself at the moment. Reduced water and land use plus higher yield and if you grow indoors or in a greenhouse you get less pests. Seems like the best possible option for growing food sustainably

I think FNA and Monogame might be separate forks?

Why are you dragging hexbear in this comment section? You’re not even from either of these instances, are you just trying to stir shit? “Oh look someone from hexbear came to the comments to defend themselves, typical hexbear”

Windows is already on Apple products though? Bootcamp is an apple solution that is mostly used for running windows on mac os

https://support.apple.com/en-us/HT201468

gz

bump

It’s Brooklyn Belle

Lol that’s crazy, my sister and I used to play the shit out of that game the exact same way, through the demo. I haven’t thought about it in forever, maybe now I’ll have to go on a nostalgia trip

Chad GPT

What if I accidentally come home with $200 in snacks

MS only wants you using their apps to access it since they have some form of DRM on it. At least with games, even if you install them on your PC, you don’t have access to the folders that they are stored in. For example, you can’t mod Microsoft store games (easily), because you can’t access the actual game exe

There’s this utility for dumping uwp apps but idk how it works for shows

https://github.com/Wunkolo/UWPDumper

So accurate lmao