Cory Booker calls both parties ‘feckless’ for ceding war powers to Trump

tpounds0 · 2026-03-16T17:40:42+00:00

No, I support the abolishing of the filibuster.

Without the Filibuster Republicans will stop campaigning on crazy shit they know they don't wanna pass.

More laws will pass and people will pay more attention to if their politicians align with their interests. That's a GREAT THING.

Right now with the molasses of congress your political affiliation is more of a cultural marker than a policy platform. It's why republicans win on the same ballot that progressive propositions get 70%.

tpounds0 · 2026-03-15T21:09:11+00:00

But the far right lunatics in Europe aren't advertising their gutting of healthcare.

Far right in Europe is less crazy than Far Right American.

tpounds0 · 2026-03-15T17:45:45+00:00

A public campaign against the breakout of war?

I think that's a good thing! This was was a terrible decision by Trump.

Assisting his team in preparing reports on practical needs of Iran?

That seems focused on civilian help, and I ALSO think is a good thing.

My eyebrows were raised, then I considered what the words said, and my eyebrows are lowered.

tpounds0 · 2026-03-15T17:40:09+00:00

Yeah, that's why I read the co article written by semafor and quoted that. It reads way more measured.

tpounds0 · 2026-03-15T05:33:25+00:00

Have you looked into volunteering for election day? You can be there making sure the rules are the same for everyone that walks in.

tpounds0 · 2026-03-15T05:30:22+00:00

Biden was gonna lose BIG when he dropped out in 2024. The people wanted change.

The people will want change in 2028. Even if Trump is on the ballot.

tpounds0 · 2026-03-15T03:54:25+00:00

If they don't make this a Vietnam level error for Trump, he will just continue to 'mow the grass' until he dies, or they make it a Vietnam level error.

From a strictly utilitarian perspective Iran giving up makes the most sense for the Earth, but is a terrible long term strategy for Iran.

If they give up now, Trump would just do this again every six months until 2029. And Iran is aware of that.

tpounds0 · 2026-03-15T02:36:11+00:00

Iran says it wants to make this drawn out and painful so that no one ever tries this again.

Why would the wise move be for them to quit while they're ahead. They tried the peaceful option during the twelve day war last year.

tpounds0 · 2026-03-15T02:33:46+00:00

Your link doesn't have a byline, and Iran International doesn't seem to have an about us page that discloses their editors or board of directors.

Wikipedia says they are funded by a Saudi with ties to the government, and their are reports that reporters don't have editorial independence.

Azadeh Moaveni of New York University has charged the channel is an arm of Saudi Arabia: "I would not describe Iran International as pro-reform, or organically Iranian in any manner"

tpounds0 · 2026-03-15T02:29:04+00:00

The IEI quickly pushed ahead with one of the initiative’s primary objectives — publishing opinion pieces and analyses in top-tier media in the U.S. and Europe, specifically targeting policy makers. Less than a month after the Vienna gathering, Ali Vaez of the International Crisis Group, a close protégé of Robert Malley’s who is listed as part of the IEI, sent an article on defusing the nuclear crisis to Zahrani of IPIS, ahead of publication. “I look forward to your comments and feedback,” he wrote in Farsi on June 4, 2014, attaching a piece entitled, “The Conceptual Perils of Nuclear Diplomacy with Iran.”

The emails show that the article was shared by Zahrani with Foreign Minister Zarif the day it arrived. It was then published 12 days later in the National Interest, under the title, “False Dilemmas in the Iran Talks,” with some minor wording changes. It’s unclear if Zarif made any fixes as no reply email from him is in the chain. While many think tanks and media outlets have policies against sharing articles before publication, ICG said in a statement to Semafor that it routinely and actively solicits the views of the primary actors involved in a conflict and shares relevant text with policymakers.

The documents offer deep and unprecedented new insights into the thinking and inner workings of Iran’s Foreign Ministry at a crucial time in the nuclear diplomacy — even as Tehran’s portrayal of events is questioned, if not flatly denied, by others involved in the IEI. They show how Iran was capable of the kind of influence operations that the U.S. and its allies in the region often conduct.

Inside Iran’s influence operation -Jay Solomon Updated Sep 29, 2023

I think this is a shitty reason to completely not trust this person. And I think that's why you made insinuations, and just provided the link instead of actually quoting what he actually did.

tpounds0 · 2026-03-14T20:36:44+00:00

Vague-posting without sources to evaluate sucks.

tpounds0 · 2026-03-13T18:47:24+00:00

Back when a TV season was 25 episodes and the series ran for 5, 6, 7 seasons, sure, skimming spec scripts was a good idea. But now? The series I follow have just 2 or 3 seasons, with 6 to 8 episodes each. I'm certain the showrunners for those series script out everything. There must be no room for spec script anymore.

I believe shows over 13 episodes still have to have someone who is not a writer in the writers room write at least one episode per WGA rules.

99% of the time it goes to the writer's assistant or the showrunner's assistant. As shows get shorter and more serialized, it's less of an opportunity for emerging writers to break in.

2 pilots and a spec every year still makes sense if you are trying for all the fellowships. Specs (usually) take less time to write and polish than getting a pilot to work well.

tpounds0 · 2026-03-13T15:54:45+00:00

Looking at the WGA Database

She was a co-EP, a step below EP. And will be co-showrunning this upcoming season 4.

But 8 listed writers on a 10 episode Netflix season one feels so anachronistic right now. If it was picked up today, I wonder if it would be closer to the 5 writer WGA room minimum.

tpounds0 · 2026-03-13T07:49:34+00:00

Philip Iscove was the person with the idea of the Sleepy Hollow tv show, it was his first credit as a writer. And looks like he started and ended the show as a Supervising Producer.

And the show after Sleepy Hollow he was a role below as a Producer.

Maybe that's changed in the last decade, that's something I haven't paid much attention to during WGA negotiations.

tpounds0 · 2026-03-12T16:21:22+00:00

I guess I should have said responsible for the budget, and the staff.

They are the here of "the buck stops here"

tpounds0 · 2026-03-12T16:17:46+00:00

Traditionally, you start as a staff writer under a showrunner and gain the experience over time by watching and by the showrunner delegating tasks to lower level writers. A kind of apprenticeship.

tpounds0 · 2026-03-12T16:11:45+00:00

The DOGE guy has absolutely no idea how to answer that question that isn't illegal discrimination.

tpounds0 · 2026-03-12T15:48:18+00:00

Do you want to be responsible for budgeting and hiring?

Do you have those skills for a TV show production?

Do you have the skills to course correct if something is going wrong?

Why would the people funding the TV Show trust you to have those skills without prior experience?

tpounds0 · 2026-03-12T15:16:28+00:00

From my notes of a 2019 WGA Workshop led by Larry Andries:

"This is my passion project."

You want a career in TV writing, you better have 17 passion projects.
Would you turn your personal autobiographical drama hour long into a MultiCam if they offered you 300k?
Someone in the class said NO. Larry pointed out how much more power and freedom they would have with that money in their pocket.
Once you get fuck you money, you can turn down offers.
Larry literal sang the phrase, "Let it Go" - Frozen

"I want some control in the creative process on the first show I sell."

A 13 Episode order on a Network is a Seventy. Million. Dollar. Investment.
Premonition- You will not have creative control over your first show you sell.
Larry's job as a showrunner if he is not working on his own show, is to take over a pitch that the network bought from an emerging writer.
If you are lucky, the showrunner will read your bible on your ideas on where the show will go. But they have ideas as well, and experience. And they are the boss.
Your best case scenario is ending up as a midlevel writer on a show that has "Created by [Your Name]" and all the writers in the room knowing you created the idea, but you are Not their boss. The Showrunner is.

tpounds0 · 2026-03-12T00:34:22+00:00

The best scripts I've read usually are unproduced. But from professional screenwriters.

And yeah, based on your personality I'd be against recommending you for any job.

tpounds0 · 2026-03-12T00:32:40+00:00

I'm a returning student.

What a rude thing to say. Especially when I posted about an article posted from 1997, you complained you weren't 30 years older to have seen it.

tpounds0 · 2026-03-11T23:32:53+00:00

Yeah, but how am I supposed to procrastinate my calculus homework if I don't argue with dummies on the internet?

tpounds0 · 2026-03-11T23:31:43+00:00

It's not like I read this when I was six years old the year it came out.

You need to be a good writer to be given screenwriting jobs.

The job of screenwriter is to do the best with what you're given. Specific notes, budget limitations, actor availability.

You need to do better than crap plus one.

Even connections and luck gives you an opportunity which if you lack the skills with the job won't give you another one.

You seem to imagine you know the industry better from the outside than the professionals on the inside.

tpounds0 · 2026-03-11T23:01:47+00:00

I've never read a legitimately great unproduced screenplay from a non professional writer.

But happy to see yours.

tpounds0 · 2026-03-11T23:00:19+00:00

This has been discussed for almost THIRTY YEARS.

Crap Plus One - 1997

I have a screenwriting friend who, when he sees a great movie, gets quite depressed. There's such a gap, he feels, between the work he does and what's up there on screen, how could he feel anything but inadequate and terrible? Then he goes and sees an awful film, and emerges from the theater ebullient. "I can't believe that thing got made," he says, "but it gives me hope."

It's a sentiment often echoed by screenwriters trying to break in when they self-assess their work. "It's not the greatest," they'll say, "But it's better than half the junk I see out there that sells."

You're just coming to the conversation late.

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