There are certain ways in which a corporation is clearly a person. A corporation can be party to a contract, for example. A corporation can own property. A corporation can be named in a lawsuit.

It's less the industrial past and more the combined-sewage-system present. Storm and waste sewage use the same pipes, which means we have to treat all of the runoff in Pittsburgh. When it rains heavily, the sewage treatment plant can't keep up, so we dump raw sewage into both rivers.

In his defense, I think that after the apocalypse, the roads will be better paved than they are in Pittsburgh. They recently fixed a major pothole on the residential end of Walnut St.- they put a cone in it. FIXED!

You're gonna go out there and you're gonna fuck 'em. (The best scene from the otherwise forgettable Suckers).

The Egg, in Albany, NY (found on GIS). It's like… half a Death Star.

Well, there is an element of randomness in the selection part. Let's say that I have a genetic flaw that means I instantly die, but only under a particular circumstance. Let's further say this circumstance is sufficiently rare that on any given day, I have a 0.0001% chance of encountering it. On average, this means I…

I'm frankly not a fan of the TNG era movies. The only one that hangs together as a movie is First Contact, but FC isn't a Star Trek movie. It's an action film with Star Trek branding. I actually have a lot of post-hate for the series- on the initial viewing, I actually liked all of the movies, and it's only on…

Nope. I watched it pretty much free of preconceptions, expecting it to be a decent finish to the mediocre run of TNG movies.

In prose, though, you can speed over how the key information is communicated. It can be as simple as, "Vladbar drew Harvag's attention to the west," or "Lt. Fles sent her display to Cmdr. Arrrrrrrfffff's screen." Or you just don't say anything at all, and assume the reader can fill in the gap.

There are a lot of good things about Nemesis: it ends, you can ignore its existence, if you take the right combination of hallucinogens you can trick yourself into thinking you're watching a good movie, I'm sure one of the grips used the pay check to feed his family, and it's not worse than cancer.

The first one had the benefit of being a complete surprise. Nobody expected the game to be that good. S2 is good, but it hasn't defied expectations in the same way. People talk about it less.

I object more to the FF being called superheroes. I dunno, they've always been more science/adventure characters to me. They're at their weakest when they're being superheroes, and at their best when they're exploring the unknown (which inevitably involves a giant monster, but whatever).

It's fun to recognize locations I know. I lived in Albany, NY for quite some time, which made some Vonnegut stories a treat. Interestingly, I don't think I've ever read a story set in Pittsburgh, my current home. I've definitely seen it mentioned in fiction, but never a serious location in the story.

I'm working on a card game that's sort of like if Street Fighter were based on 18th-19th century fencing duels. Ignore things like "state machine"- that's mechanical underpinnings of the game that the players don't really need to understand.

I feel like that sequence was also complete drudgery. At that point in the film, they definitely needed the action sequence that shows how the characters fail against the threat when they don't work together. The problem is that it feels like the script didn't really want to do it. The conflict that occurs in that…

"Come watch our movie! It's… probably okay!"

Oh, god, don't even get me started on pacing in The Avengers. That helicarrier fight makes me irrationally angry because it's so long, and fits into the script like an obligation ("In a team up movie, this is the part where the heroes fail to form a team and get beaten as a result, but not beaten too badly that they…

Coming from heavily Democratic Pittsburgh, we're going all in on Uber and Lyft (our mayor is battling the state over the issue). So the party lines really aren't clear- it's more a function of progress vs. establishment.

I'm currently designing a card game. The theme is that it's generically 18th/19th century duelists in a fighting tournament, and so mechanically, it plays out as a series of cards of moves and counter-moves and stance changes. The game requires fighters. The easy answer is that these characters should be European…

There was a lot to like in the pilot. The biggest weakness is Ms. FriendOurHeroCrushesOn. I could do without that. I think it needs to embrace the camp elements a little more strongly, but without veering into wink-and-nod territory.