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Dave Rubin wonders why ‘fake Indian’ Elizabeth Warren ‘is so interested in stopping a black Californian from becoming governor’ – twitchy.com

The impeachment election in California is one week from Tuesday, and Governor Gavin Newsom has already called Vice President Kamala Harris to help, and President Biden could appear as well. Senator Elizabeth Warren has also come forward to help Newsom:

Rick Grenell offered this take on Senator Warren’s attempt to save Newsom’s job:

Dave Rubin put it this way:

OOF! Perfect.


Andrew Benintendi hit and caught the Royals over the Orioles 3-2


BALTIMORE – Andrew Benintendi hit a lead single in the eighth, then reached over the left-field wall to knock off a possible tying homer in the ninth, sending the Kansas City Royals over the Baltimore Orioles 3-2 on Monday.

Anthony Santander opened the Orioles’ ninth inning with a fly ball that Benintendi caught, tossing the ball just over the fence.

“He hit it pretty high, so it gave me a lot of time to go back there and evaluate it,” Benintendi said. “The wind began to push it to the right and the center. So I just adjusted and tried to time it. I am happy to have done it “.

Benintendi trotted several steps into the warning court with his head down and his glove against his chest before throwing the ball to center fielder Michael A. Taylor.

“He has to start showing us before he has it in his glove,” Royals manager Mike Matheny said. “I know the delay is great for the opposition and the fans, but I like to know what I thought I saw. Great game “.

Hanser Alberto homered against his former team to help the Royals win on their first visit to Camden Yards since August 2019.

Salvador Perez tied at 2 with a bloop single in the eighth for the Royals. Benintendi provided the lead with an RBI hit by Cole Sulser (4-4).

Scott Barlow gave a two-out single to pinch hitter DJ Stewart in the ninth before striking out Jahmai Jones to earn his 11th save.

Royals deliver Domingo Tapia (2-0) got the win after throwing 1 2/3 hitless innings.

Cedric Mullins homered for the second day in a row and has a team record of 26 for the Orioles, who fell to 1-79 when trailing after eight innings.

Jorge Lopez relieved in the seventh for Baltimore and had to leave the game after facing a single batter when he injured his right ankle trying to cover first base with a soft roll. He was waiting for more tests to assess the extent of the injury.

The Orioles took a 1-0 lead in the first on an RBI single by Austin Hays off Royals starter Kris Bubic, the team’s 2018 first-round pick from Stanford University. Hays extended his hitting streak to a career-high 13 games and has nine RBIs in that stretch.

“I think my luck has increased a bit,” Hays said. “I’m going to drop some balls.”

Alberto, who played for Baltimore the past two seasons, went 1-all in the fifth with a towering home run in the Kansas City bullpen off Zac Lowther. Retired from Triple-A Norfolk earlier in the day.

“We needed it,” Matheny said. “He has been very successful at this stadium and we needed that little shake-up. It did not disappoint. “

Lowther allowed one run and three hits with two strikeouts and two walks in six innings in his second major league start.

“He threw the ball really well,” Orioles manager Brandon Hyde said. “I was very happy with the strikes. He worked ahead of the hitters. I liked the rhythm on the mound. “

Mullins responded with a two-out solo shot in the lower half that gave the Orioles the lead.


The Orioles traded RHP Dusten Knight to Triple-A Norfolk to make room for Lowther.


Orioles: SS Ramón Urías was left out of the lineup and is day to day with recurring pains in the upper part of his right leg. Urías left Sunday’s game against the Yankees. Urias is hitting .273 with seven home runs and 36 RBIs in 77 games.


Rays: Jackson Kowar (0-2, 9.82 ERA) will make his second start since being called up when the rosters expanded from 26 to 28 players. The rookie did not receive a decision Sept. 1 in a 5-3 loss to Cleveland after allowing two runs and five hits with six strikeouts in six innings.

Orioles: LZ Alexander Wells (1-2, 7.71 ERA) will make his first career appearance against Kansas City.

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Men seem to be quitting college – HotAir

There is an interesting story in today’s Wall Street Journal about the decline in male enrollment in 2- and 4-year colleges. This gender enrollment disparity is a trend that has been going on for some time, but at this point the divergence between men and women is growing. pretty dramatic.

At the close of the 2020-21 academic year, women made up 59.5% of college students, an all-time high, and men 40.5%, according to a Wall Street Journal analysis of National Student enrollment data. Clearinghouse, a nonprofit investigation. group. US colleges and universities had 1.5 million fewer students compared to five years ago, and men accounted for 71% of the decline, the Journal analysis found.

This educational gap, which persists in two- and four-year colleges, has been slowly widening for 40 years. Divergence increases upon graduation: After six years of college, 65% of women in the US who started a four-year college in 2012 received diplomas in 2018 compared to 59% of men during the same period, according to the US Department of Education.

In the next few years, two women will earn a college degree for every man, if the trend continues, said Douglas Shapiro, executive director of the National Student Clearinghouse’s research center.

The situation has gotten bad enough that some universities are already offering more places for children in an attempt to re-equalize enrollment. The WSJ says this is “the dirty little secret of higher education” – that is, schools are now practicing some kind of affirmative action for men.

There is a table included in the history that breaks down the admission of men and women by race and income. What the graph shows is that white men rank near the bottom in all income levels.

It takes a while to really understand this graph. Each horizontal line represents a different income level. Each color represents a race. The colored dots are men and the circles with white centers are women. So again, the solid red dots are near the bottom in all cases. Also, you’ll notice that Asian men and women outperform everyone else by far at all income levels (the middle blue dots on the far right). In fact, low-income Asian men are doing just as well as men of other races in the highest income category. Also, there is almost no gap between Asian men and women. Both groups are doing very well in college. This graphic is going to be bad news for people promoting the “model minority myth” nonsense. Clearly, Asians are doing something that other groups, especially whites, are not doing as well.

So what is the reason young people are lagging behind? The rest of the story offers several possibilities, including the impact of the pandemic and the feeling that men are really not sure what their career path should be. But part of the problem may also be that the idea of ​​helping men, particularly white men, is banned in most colleges and universities that are geared toward helping minority students. Men, especially whites, are considered privileged and therefore the least in need of help, even if the numbers above suggest that is not the case.

All of this makes me worry about the future. Getting CRT into public classrooms and emphasizing the idea of ​​white supremacy and male privilege at a point where white men are already struggling with education seems like a perfect storm of bad ideas. Based on the above data, we do not need to tell the boys to check their privileges from the moment they can read and write for the first time, we must help them to do as well as the girls. I wonder how many years it will take the teachers unions to figure this out.

PlayStation Now additions for September include Tekken 7

Sony Announced Today, new games will appear on its PlayStation Now cloud gaming service in September, which will include popular entries in long-running franchises, as well as indies on the go.

Starting Tuesday, September 7, PlayStation Now will add Tekken 7, Final Fantasy 7, Pathfinder: Kingmaker – Definitive Edition, Windbound, Moonlighter, and Killing Floor 2. It should be noted that Tekken 7 in particular was already available in certain territories and will leave the service on February 28, 2022, but that caveat aside, it’s a list of games that can only make the PlayStation Now service even more attractive. (Although when it comes to Killing Floor 2, there may be an even bigger caveat regarding the developer and publisher Tripwire.)

More importantly, the list shows how far the PlayStation brand has come since it started. Final Fantasy 7 was an industry defining game when it launched, but seeing it juxtaposed with today’s diverse selection of games (top-tier fighting games like Tekken 7, CRPG like Pathfinder: Kingmaker, indies like Moonlighter and Windbound) puts it all in perspective. Hopefully Sony can continue to improve the quality of the backend of its cloud gaming service.

PlayStation Now is Sony’s cloud gaming subscription service with hundreds of games throughout the history of PlayStation to PS4 games. You can get a subscription starting at $ 9.99 per month.

How the Marvel Cinematic Universe radically reshaped the Fast & Furious movies


Over the past decade, record-breaking box office grossing for Disney’s Marvel Cinematic Universe films has ensured that blockbuster cinema has become almost exclusively the domain of the superhero. All the big studios have tried to go the gold brick road: some outright, with superhero franchises of their own, like Warner’s DCEU and Sony’s. newly renamed SPUMC, and some tangentially, creating an interconnected universe of recurring characters to draw, or applying the Marvel format to movies that used to be ordinary action movies.

The heart of this format is the MCU’s bright, polished, and CGI-driven aesthetic, allowing for only the lightest flavors from the directors of each entry, while maintaining a smooth and consistent visual style supported by vivid color palettes, great settings that make full use of your characters. ‘super-state, and a direct approach to film time, cinematography, and editing. The heroes of the universe are attractive and confident, they do and survive things physically impossible for the average citizen, aided by all manner of futuristic technology and suitably altered physical laws. This brilliant, all-encompassing mode brings together marketing, merchandising, and everything on screen in a neat, easily digestible package, using simpler cinematic language that funnels features into a seamless flow of cinema without limits.

Photo: Marvel Studios / Disney

In this age of superheroes, some of the bravest franchise vehicles, like James Bond and Jason Bourne, have managed to maintain their unique style and sense of danger. Others, like the Mission: Impossible movies, whose characters fit comfortably into a world of superweapons, martial arts, and feats of inhuman resistance, have been adjusted accordingly. But where the Mission Impossible series has maintained strict internal consistency with its action and character abilities, the Fast & Furious franchise has grown loose and amorphous, going where no suburban Los Angeles street racer has gone before.

As the Fast & Furious series has developed over the past decade, Universal Studios, director Justin Lin, and producer and star Vin Diesel have imitated, challenged, and attempted to outperform Disney’s core franchise, all in the name of one day. unprecedented pay. Not only did the Fast series embrace Marvel’s approach to teaming and universe building, but it has been imbued with the dominant scale, style, ethics, and aesthetics of MCU cinema, making it almost indistinguishable from a superhero franchise. But in the process, it’s ended up awkward and episodic, and the trend toward physics-defying superhero actions and scenarios never quite rings true. Although 2021’s F9 It’s not the first example of Universal playing the Marvel game, its box office returns suggest it won’t be the last either.

The Fast franchise started 20 years ago with The fast and the furious, a testosterone and gasoline movie that follows underground street racer and notorious electronics thief Dominic Toretto (Vin Diesel), his crew, and Brian O’Conner (Paul Walker), the undercover LAPD officer trying to catch them. Sleek cars and low-stakes action thrills were the established template for early installments, with Brian returning alongside new faces Tej (Ludacris) and Roman (Tyrese Gibson) for 2003. 2 Fast 2 Furious – a film whose title alone earned its place in the pop culture canon, followed by the 2006 indie Tokyo drift, which brought Sean (Lucas Black) and Han (Sung Kang).

Vin Diesel and Paul Walker sit in a car together in 2001's The Fast and the Furious

Photo: Universal Pictures

After the critical and commercial failure of the third film, Universal had nothing to lose in a sick property, and left Tokyo drift director Justin Lin takes the helm again. By re-enlisting the original cast, Lin broke all-time records of that time for the highest-grossing spring opening weekend with 2009. Fast and Furious, which left the series open enough to admit a sequel, while also setting the stage for the gun-grade nonsense that followed.

At the same time, the MCU was gearing up with 2008 Iron Man and The incredible Hulk, From 2010 Iron Man 2and from 2011 Thor and Captain America the First Avenger, bringing together a universe designed to provide a solid foundation for the franchise’s fundamental image: 2012 the Avengers. While this release was planned from the beginning, promoting the largest film crew ever seen, 2011 Fast five beat it with your punch.

It’s largely regarded as the series’ transition film – Justin Lin used this entry to ditch auto racing and lean on the franchise’s more accessible action elements, with an all-star cast bringing Gisele back ( Gal Gadot), Han, Roman, Tej. and Vince (Matt Schulze) from the previous films. Fast five set new financial records for both franchises, and Lin even included a mid-credits stinger (Michelle Rodriguez’s resurrection of Letty), a device that the MCU movies had made a mainstay, starting with Nick Fury poking fun at the Avengers Initiative. on Iron Man.

Untethered from its roots as down-to-earth street racing films, Fast films now had free rein to give their core film competition a taste of their own medicine, bringing into focus that CGI-driven aesthetic with which the franchise had been flirting. Where F5 was an evolution, 2013’s Fast and Furious 6 started a separate species. Though his world was always neon lights and glistening skin, the Fast & Furious aesthetic turned brilliant to the core, his lavish and otherworldly settings, his nearly invincible characters now defined by their ability to defend themselves against army-trained supervillains. in every corner of the world. world, rather than by his skill with a tuner, a quarter mile, and a NOS boat.

The cast of Fast Five walking together in a promo image, which includes Vin Diesel, Dwayne Johnson, and Gal Gadot.

Photo: Universal Pictures

While the money and audience grew, the Fast series continued to contort with each new chapter, retcounting to suit the plot’s conveniences and connections, setting up catchphrases and executing gags, but relying on increasingly narrow narrative points. He had been late into the universe-building game, and several useless scenarios had already been etched in stone: Han’s death was the greatest of all. To please fans hungry to see their favorite characters on screen, the story had to be reworked, resulting in many less-than-ideal metaphysical predicaments. For instance, F6 happens before Tokyo drift, which means that the series allows the vehicles of the early 2010s and the already futuristic technology of 2013 to pre-date the car and folding phone models of the mid-2000s.

Justin Lin left the series in 2013 after Universal. insisted on speeding up the franchise, apparently to compete with Marvel, which dominated the box office as the only franchise to produce at least one movie per year. Unfazed by the series’ waning integrity, Universal moved on, retaining Vin Diesel as producer (a role he has held since 2009). By then, Diesel was playing Groot in Guardians of the galaxy, and having seen what was possible at Marvel’s camp, I was willing to follow suit. For Furious 7, the on-screen “family” was recruited by Mr. Nobody in the style of Nick Fury and sent in search of an Infinity Stone McGuffin named God’s Eye. With higher stakes than ever on and off the screen, Furious 7Box office grossings transcended to dizzying heights, surpassing all MCU films up to that point with a global box office of $ 1.51 billion.

With this film, the aesthetics of the series completed the transition from something slightly sexy and dangerous to something the whole family could see, based squarely on the MCU’s ethic of pairing team-level melodrama with global but ultimately narratively safe moral dilemmas. instance. Just as the MCU was never going to allow Ultron to wipe out humanity, there was no way supervillain Deckard Shaw (Jason Statham) would wield the Eye of God. In both series, viewers know at the box office that everything will be fine and that the few characters who die are not gone forever.

The notably excessive triumph of 2017 Fate of the Furious, which defeated the MCU releases of that year, and the 2019 spin-off that expands the universe Hobbs and Shaw, it meant that the money kept coming. But Universal’s thirst for Marvel success led to increasingly baffling on-screen results. Gone are the days of a small group of street racers rushing to buy a bigger engine, and here to stay are the super antics like Dom flying freely through an abyss to catch Letty in midair, Brian and Dom jumping. the Etihad Towers in Abu Dhabi. in the supercar of a billionaire prince, and agent Luke Hobbs (Dwayne Johnson) skates on ice with missiles while being chased by a nuclear submarine. Explicitly sci-fi elements are now expected, such as Idris Elba’s genetically enhanced villain in Hobbs and Shaw, and the texture and definition of movies, like Marvel’s, have become so fluid that it’s hard to separate one movie from the next, no matter who’s directing them.

Idris Elba in Hobbs & Shaw, shirtless and with blue electronic lights above and below his face

Photo: Universal Studios

On F9, Justin Lin’s return to the series, the vague details from previous entries are used as a lever in new amenities, including Han’s resurrection and the arrival of a super spy brother Toretto (John Cena). Like Marvel, the Fast family has now found full superhero status – there’s no fall they can’t survive, no explosion they can’t escape, and literally nowhere they can’t go, including the space, the last refuge of every lost franchise. . However, unlike Marvel, the franchise has failed to carry its narrative dilemmas through the movies. The stakes were lower in the early days of the Fast movies, but there were real-world consequences for the characters’ actions and moral choices: Brian sabotaging his career to save Dom; Sean sent to Tokyo to avoid prison; Jesse (Chad Lindberg), Han and Letty dying. And all of this seemed to mean something.

Phase Three of the MCU demonstrated the ultimate storytelling possibilities of the superhero age by bringing together 30 important heroes to Infinity war and Endgame, two overwhelmingly CGI-led features whose $ 4.83 billion box office has guaranteed a quick ending it will also be a two part story. These entries will undoubtedly make a killing: despite the shaky state of cinema attendance due to the COVID-19 pandemic, F9 He has already received more money than any of his first five siblings. But without a steady guiding hand, the borrowed Marvel mode has spiraled out of control. The fundamental qualities of the Fast series have been lost. And the studio and audience are now caught up in an ever-growing ourobolic cycle, with the box office of every previous film dictating the budget and thus the overblown, unsubstantiated, Super nonsense – of the following.

Equality activists seek equal prizes to become law


The campaign aims to introduce a bill ruling that for any NSW sports club or organization to be eligible for government funding, it must offer equal prizes for men and women competing in equivalent competitions.

Lucy Small claimed unequal prizes at a surf event in April.Credit:Janie Barrett

Rep. Jo Haylen agreed to sponsor the concept to be presented in state parliament if the petition reaches 20,000 signatures.

“This is something that is in other jurisdictions, but not in New South Wales,” Small said. “And after April [Curly Maljam competition] it was something that caught my attention. I thought that surely there is a way to make these clubs, which are applying for grants or funds, have gender equality and equity as part of their organization ”.

Dalton said she was inspired to join the fight around government sports grants after seeing the change that can come from the power of the people after her successful Paralympic campaign.


Dalton was unable to compete in the Tokyo Olympics due to injury, but he said that watching Scott Morrison announce an equal award for the Australian Paralympians was as satisfying as winning a gold medal.

“Seeing that happen was pretty mind-boggling,” he said. “When you try to spread a message for equality, you often don’t get a response like that. The fact that such a big change has been made in such a short time gives me hope that when people come together and talk about something that is not right, changes can be made. “

Dalton and Small will join forces with GWS star Alicia Eva, Hockey NSW and Netball NSW, who have already given their support to the campaign.

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Microsoft Flight Simulator Fenix ​​Airbus A320, Boeing 757 and 727, Pilatus Porter, Dash-8, Valencia and Prague airports Get new screenshots and videos


Third-party developers have released new assets related to upcoming aircraft and airports coming to Microsoft Flight Simulator.

Like every day, third-party developers have released new assets related to the upcoming aircraft and airports coming to Microsoft Flight Simulator.

We started with the Fenix ​​simulations, which released new screenshots of its upcoming Airbus A320, including classic Northwest Airlines livery.

All screenshots below were shared on the developer own Discord server where you can follow the development.

We also get new renders from the Dev Digital team, who shared new details of the 3D modeling work in progress for their Boeing 757-300, which will be free.

You can track Dev Digital’s progress on your own Discord server.

Another free software aircraft comes from FLT Designs, which has been working on its Boeing 727-200.

For this one too, you can track the progress in the developer’s Discord server.

Below are more in-progress images of the Pilatus Porter PC-6, this time showing a fairly long test flight.

About him official forums, The developer also shared two images showing details of the flight deck.

Another small video clip comes from Skyline Simulations, showing the animations of your upcoming Bombardier Dash-8 100, 200, and 300.

Beautiful model of the world too revealed more screenshots of Valencia Airport (LEVC).

As is customary with this developer, the airport will not be sold separately, but will be included in the one-time payment required to access all of its airports, including Venice, Genoa, and many more.

Last but not least, a little new look from Václav Havel Prague Airport (LKPR) in the Czech Republic from Tailstrike Designs.

This time, we take a look at the land area. We also received confirmation that the airport is coming to the Xbox version, but it will be slightly less verbose due to hardware limitations.

We recently posted our massive interview with Microsoft Flight Simulator boss Jorg Neumann, focusing on the Xbox version and the short- and long-term plans for the simulator (on both platforms).

If you want to read more about Microsoft Flight Simulator plugins, you can enjoy our recent reviews of Amami Airport, Bristol Airport, Marrakech Menara Airport, Great Britain Central, Tehran Imam Khomeini Airport, Moscow Sheremetyevo Airport, Shanghai Pudong Airport, Krakow Airport, Fukuoka City and Airport, Fort Lauderdale Airport, Chongqing City and Airport, Manila Airport, Santiago Airport, Frankfurt City Pack, Key West Airport, Okavango Delta, Bali Airport, London Oxford Airport, Berlin Airport Brandenburg, CRJ 550/700, PA-28R Arrow III, Kristiansand Airport, Macau City and Airport, Bonaire Flamingo Airport, Milano Linate Airport, Singapore City Package, Tokyo Narita, Yao Airport, F-15 Eagle, Paris City Package, Greater Moncton Airport, Tweed New Haven Airport, Santorini Airport, Aer or Sydney Airport, Helsinki-Vantaa Airport, Reggio Calabria Airport, Bastia Poretta Airport, Munich Airport, Paris Orly Airport, Newcastle International Airport, Sankt Johann Airfield d, Dublin International Airport and Seoul City Wow. We also have a beta preview of Singapore Changi Airport.

If you want to learn more about the game itself, you can read our review which will tell you everything you need to know about the game from Asobo Studio.

Microsoft Flight Simulator is now available for Windows 10 and Steam, and Xbox Series X | S.

Social Security Predicts a Pandemic Birth Problem, Not a Birth Shortage


The COVID-19 pandemic has dramatically reduced fertility rates to their lowest point in U.S. history. Still, experts from the Social Security Administration, who are deeply interested in the issue, say that the decline is just a passage and women are simply putting children off for later years.

The total fertility rate, a measure of the births a woman is expected to give throughout her life, will drop to 1.54 this year and remain low at 1.64 next year. But Social Security trustees said in a report last week that they expect the rate to “be fully offset by higher rates” in subsequent years.

“In other words, the pandemic will cause several women to postpone motherhood from 2021-22 to 2024-26,” the trustees concluded.

Birth rates are among the closely watched markers of the pandemic. Combined with morbidity rates, they are among the most important in the long term. A lasting birth shortage means fewer workers to support retirees in the second half of the century.

Social Security trustees have an optimistic view. In fact, they predict that rates will roar back even beyond the lows and highs of the pandemic and its immediate aftermath. The fertility rate should reach 2 per woman by the mid-2050s, the trustees said. That rate hasn’t been reached since 2009, when the United States was mired in the Great Recession.

Stephen C. Goss, chief actuary for Social Security, said the rate for the past decade was probably an aberration, and women on average say they want to have at least two children.

Others are more pessimistic.

The Congressional Budget Office sees a lasting birth shortage, with 130,000 fewer births each year this decade and 160,000 fewer births each year in the next two decades.

That means hundreds of thousands fewer people in the workforce to support retirees by the end of the century.

In its long-term budget outlook released in March, the CBO said that the total fertility rate will rise for the rest of this decade, once the pandemic is over, to 1.85 births per woman in 2029 and will remain there for the next few months. next decades.

If the CBO is right, the big social safety net programs will be in trouble.

Chuck Blahous, a former Social Security public trustee, said there is reason to be skeptical that birth rates will roar back as the trustees project.

“We haven’t had it at that level for the last decade,” he said in an online briefing about the trustees’ report at George Mason University’s Mercatus Center. “I was a bit surprised, and if I had to bet on whether things were going to be better or worse than projected in this report, I would probably bet they would be worse.”

He said the trustees’ report was bad even with optimistic birth rates.

The trustees projected that Social Security trust funds will be depleted in 2034. Under the law, the program will only be able to pay what it generates from taxes. It’s projected to be just 78 cents for every dollar in promised benefits and a few cents less in later decades.

Birth rates are at the center of the calculations.

Mister. Goss said that if women continued to have children at past rates, then there would be many workers available to support Social Security recipients.

“Our big change in the cost of Social Security in the long run is due to the change associated with birth rates,” he said at the Mercatus Center briefing.

It unfolds in a big way.

From 1990 to 2008, Social Security benefits amounted to approximately 4.2% of gross domestic product. Given current benefits and the expected workforce, the number will increase to around 6% and then stabilize towards the end of this century.

Goss said it boils down to simple math: Do Americans want to pay taxes to fund that higher rate, cut benefits to bring the rate back to 4%, or combine tax increases and benefit cuts to find a middle ground?

The 2021 trustees’ report is the first to take into account the COVID-19 pandemic. Mr. Goss said the Social Security Administration will watch fertility rates closely to see if they rebound as he projects.

He said the pandemic has also hit the other end of the demographic curve, with increased death rates.

Among those over 15 years of age, the rate for 2020 increased by 16.4%. By 2021, it will be 15% higher than previously thought. Projections improve after that, with death rates only 4% higher next year and 1% higher in 2023.

Among those under 14 years of age, death rates are falling. Social Security predicts a decrease of 14% in 2020, 10% this year and 2% next.

That translates into an overall increase. Mortality rates have been stable at just over 800 per 100,000 people over the past decade. The number reached 925 last year and was expected to be 900 per 100,000 residents this year.

Projections improve for 2023, with a rate falling below 800 deaths per 100,000 people.

That’s good news and bad news.

“As good as it is for everyone to live longer, it is bad for Social Security finances or any pension,” Goss said.

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Archbishop of Pelosi: You can’t be a ‘good Catholic’ and support abortion

Bishop Salvatore Cordileone in 2011 (Marcus Donner / Reuters)

The Archbishop of San Francisco, Salvatore Cordileone, shared a message Sunday with Catholics such as President Joe Biden and Speaker of the House of Representatives Nancy Pelosi, who have condemned the new Texas abortion law: “You cannot be a good Catholic and support the expansion of a government-approved right to kill innocent human beings. “

Cordileone’s comment arrived in a rehearsal for him Washington Post days after a new law that prohibits abortion after a fetal heartbeat can be detected it went into effect in Texas. After the Supreme Court issued a 5-4 decision refusing to accept a challenge to the law last week, Biden and Pelosi issued statements criticizing the ruling and the law.

Both Democrats are Catholic; Pelosi is one of the most famous parishioners in the Archdiocese of San Francisco.

On Sunday, Cordileone wrote about the duty of Catholics to challenge Catholic politicians who support abortion.

“This summer, we caused a ruckus over what is discussed whether public officials who support abortion should receive the sacrament of the Eucharist ”, Cordileone wrote. “We were accused of inappropriately injecting religion into politics, of getting where we didn’t belong.”

“I see things differently,” he said. “As I consider the duties that Catholic bishops have towards prominent lay people in public life who openly oppose the church’s teachings on abortion, I seek inspiration on how we should respond to the last great human rights movement in this country. , which is still in my living memory.

Cordileone recounted how former New Orleans Archbishop Joseph Rummel admitted black students to the seminary, ordered an end to segregation throughout the Archdiocese of New Orleans, and the removal of “colored” signs from churches. Rummel also closed a church over its refusal to accept a black priest and excommunicated several people who supported segregation.

“Rummel didn’t ‘stay in his lane,'” Cordileone said. Unlike other bishops throughout the history of this country, he did not prioritize keeping parishioners and the public happy over promoting racial justice. Instead, he began a long and patient campaign of moral suasion to change the views of white Catholics in favor of segregation. “

He points out that Rummel’s excommunication of the segregationists was not bad nor was it an example of “turning the Eucharist into a weapon” because Rummel “recognized that the prominent and high-profile public promotion of racism was outrageous: it violated fundamental Catholic teachings and basic principles of justice, and it also led others to sin. “

Cordileone said that abortion “kills a unique and irreplaceable human being” and that anyone who defends, finances or presents abortion as a legitimate option “participates in great moral evil.”

“The answer to crisis pregnancies is not violence, but love, for both mother and child,” she said. “This is not inappropriate for a pastor to say. In any case, the response of Catholic political leaders to the situation in Texas highlights the need for us to say it louder. “

Cordileone’s essay comes months after the archbishop said that priests must deny communion to pro-abortion Catholic public figures who “are unwilling or unable to abandon” their “defense of abortion.”

“If you find that you are unwilling or unable to abandon your defense of abortion, you should not show up to receive Holy Communion,” the archbishop told Catholic public figures at the time. “To publicly affirm the Catholic faith and at the same time publicly reject one of its most fundamental teachings is simply dishonest.”

“If your pastors do not directly address your involvement in the evil of abortion, this may lead Catholics (and others) to assume that the Catholic Church’s moral teaching on the inviolable sanctity of human life is not taken seriously.” Cordileone said. . “The constant teaching of the Catholic Church since its inception, the repeated exhortations of each Pope in recent times up to and including Pope Francis, the frequent statements of the bishops of the United States, everything makes it clear what the teaching of Catholics is. The Church is in when it comes to abortion. “

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Technical localization challenges and how to solve them


Stranger of Sword City Revisited (SoSCR) and Saviors of Sapphire Wings (SoSW) are two dungeon crawling JRPGs that have had previous releases for PlayStation Vita, in 2016 and 2019 respectively.

In late 2019, NIS America reached out to us to discuss the portability of these two games to Nintendo Switch and PC. This article describes the technical localization challenges that were encountered in the two games and how we approached their solution. It does not cover the actual translation of the text found in both games, which was handled by NIS America.

The original situation

The original SoSCR version of Vita was already an English localized version, so you might be wondering how difficult it was to create the English localized versions for new platforms.

Well, the Japanese release and the English release of this game were two completely separate SKUs, with only the Japanese or English text and no in-game option to switch between the two languages. This was something that had to be implemented for a global release.

As for SoSW, the original game had only had a Japanese release with the name 蒼 き 翼 の シ ュ バ リ エ (Aoki Tsubasa no Chevalier), there was no English text or release of any kind.

Japanese text encoding

One thing that applies to most Japanese games is that text and source code tend to be encoded using Shift-JIS encoding rather than the UTF-8 encoding that is much more commonly used in software. This can cause syntax errors when the compiler interprets the source code as other encoding and encounters unexpected characters. Our solution to this was to create a script that converts the source code to UTF-8.

However, there is a catch to doing this. If the source code contains encoded strings, they will also be converted, causing problems when these strings are passed to systems still waiting for Shift-JIS encoding. Fortunately for us, SoSCR and SoSW had neither.

Misinterpreted text appears as seemingly random characters.  Note that the Latin characters remain the same as the two encodings overlap for those characters

Misinterpreted text appears as seemingly random characters. Note that the Latin characters remain the same as the two encodings overlap for those characters

Asset text data

In both games, the text displayed to the player was spread across several different files and file types. The spacing is determined by content creation tools that determine which function or screen ends up displaying the text in the game.

So if you ever find yourself working on game portability, never assume you’ve found all of the text once you’ve come across the largest file that contains text data. A best practice is to search all files with a text editor or custom script to find common words and phrases. This will help you discover all the files that contain text in the project. Just be sure to check the binaries too!

Never assume you’ve found all the text once you’ve stumbled across the largest file that contains text data.

For this project, the text was divided into:

  • Text that is only displayed in the user interface.
  • Text that the characters say.
  • Text associated with objects, generally referred to as “type data” (items, spells, quests, etc.).
  • Text shown in a game manual.

The source of these different types of text was Excel spreadsheets. These Excel spreadsheets were then used as input for a number of custom tools, generating different files such as C ++ headers, plain text files, or custom binary formats. We had to take into account all these different sources of text data when we worked on the location systems to port the games.

The tutorial text for both games is contained in a separate file

The tutorial text for both games is contained in a separate file

Localization solutions for SoSCR

For SoSCR, an English and Japanese version of these texts already existed and the solution to make the game support both languages ​​at the same time was to create the compiled resources for both languages ​​and load the correct file based on the language settings. So for example, before we had a single file “dialog.dat” and then we would have two files called “dialog_en.dat” and “dialog_jp.dat”.

This was not the only solution to the problem: there was also the option to collate both languages ​​in the same file. This option will end up costing less space on the hard drive since there is only one file, but it requires tools that generate the file to change and the code that loads it. We found this to be the less ideal solution, since JRPGs like SoSCR have many different types of data; the amount of code that needed to be adapted was simply too great a risk. So in the end we opted for the first solution.

One case where this split file approach didn’t work was with the custom script file used for the dialog. This file contained the text spoken by the characters, as well as game-specific commands, such as giving the party a key item or starting a new mission. It was because of this that the file could not be reloaded while in-game. Attempting to do so would invalidate references to internal data structures and cause the game to crash. The tool that created this custom script file allows you to choose whether to use the English or Japanese text in the generated file. It then uses the text IDs from the script source files to include which line of text to insert into the output file.

The solution we used here was to decouple the language substitution that the script tool performs on text files. So now the custom script file only contains the text IDs and does not insert the final text, instead the game performs this search on the text of the dialog in English or Japanese depending on the language setting.

One of the most common forms of type data in RPGs is elements

One of the most common forms of type data in RPGs is elements

Location solutions for SoSW

In the case of SoSW, making a version in two languages ​​was more complicated. It also has a custom script file like SoSCR, but unlike the first game, the tool that generates the custom script file does not perform text substitution using text IDs. All spoken text is present directly in the source files of the custom script file.

Obviously, files like this cannot be delivered to a localization team, as they contain lines of code that are used to select the required text. So the problem we faced was the need to extract these strings into an excel sheet so that the workflow would be the same as that of SoSCR.

To do this, we created a Python script that would iterate over the custom script file, gathering all the text together while replacing that text with an ID so that it could be used to look up a string in English or Japanese at run time.

Because English text generally takes up more space than Japanese, some UI elements need to be resized

Another text source that caused problems was the type data text. These tend to have short names for identification, and since Japanese requires fewer characters for these words, the members of the associated type data structures were not long enough to fit into the English text.

At first, we tried to increase the byte size of these fields both in the game and in the tool that compiled the type data assets. Unfortunately, the tool turned out to be very fragile. So we ended up avoiding the problem by exporting the English data text to a completely new file and referring to it from the game only if the language was set to English. Although this is not an ideal solution, it does not have any drawbacks for the game itself, so we were happy with it.

One of the last issues we addressed was that because English text generally takes up more space than Japanese, some UI elements had to be resized to fit. Shrinking text is also an option here, but it tends to look pretty bad, especially in cases where there are multiple of the same type of text on the screen, such as in a list.

Lastly, there were also some images with text and videos with text. The solution here was to just use the multiple files approach again and load them based on language.

The location name background had to be changed to fit all location names correctly.

The location name background had to be changed to fit all location names correctly.

In the end, each project is a learning opportunity with its own challenges to overcome. This was the first time we’ve brought a dungeon crawling RPG to modern platforms and we’ve learned a lot from it.

Thomas Jongman was one of the protagonists of Codeglue’s Stranger of Sword City Revisited / Saviors of Sapphire Wings project and has been a game programmer at the company since 2019.