A masked afternoon at the theater

My general rule is that if an activity is dangerous enough to require wearing a mask then it is dangerous enough to avoid altogether. I wouldn’t go to a Broadway show, for example, because they’re telling me that it isn’t safe (masks are required as well as vaccine paper checks) and nothing stops me from staying home to watch Hamilton over and over and over and over again.

On April 23, 2022, however, my general policy was superseded by a directive from Extremely Senior Management (Mom, almost 88 years old). Off to the Round House Theater in Bethesda, Maryland, for a vaccine-and-mask-resistant SARS-CoV-2 variant spreading event. The show was “We declare you a terrorist…” concerning the Second Chechen War and jihadi takeover of a theater in Moscow. (In the best American tradition, the playwright Tim J. Lord who tackles this complex subject seems to have no background in Russian language, Russian culture, Islamic religion, history of Chechnya, etc.)

Anyone in Bethesda can tell you that checking photo ID for voters is racist. According to the Righteous, People of Color are too stupid to obtain photo IDs. Tending to confirm this theory, the Bethesda theater experience begins with an ID and vaccine paper check and there were no People of Color in the audience (unless Asians count).

Throughout the theater, there are numerous signs demanding mask-wearing:

As with the airlines in the Science-following pre-Mizelle era, COVID-19-suppression is enhanced by filling the lobby with unmasked people who are eating and drinking.

We acknowledge that we’re on land stolen from Native Americans, but we will neither give it back nor pay them rent:

No matter a person’s gender ID, he/she/ze/they will will find bathroom to suit him/her/zir/theirself:

Remember to fight COVID-19 by washing your hands:

This was made more challenging by the fact that the theater staff were too busy checking vaccine papers, photo IDs, and mask compliance to refill the soap dispensers.

I still can’t figure out why the people who printed up all of these signs and designed these protocols didn’t ask “Wouldn’t it make more epidemiological sense if we shut down our COVID-spreading theater altogether?”

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With 3D scanning and 3D printing, why can’t we get reproductions of any sculpture?

I visited the National Gallery of Art recently, trying to figure out when the Hunter Biden wing will open, and was impressed by the extensive collection of animal sculpture by Barye. I thought that it would be fun to get reproductions of the works that include crocodilians for the kids to enjoy back in Florida. Yet, in fact, these aren’t for sale. Now that we have 3D scanners and 3D printers, shouldn’t every sculpture in every museum be available at any size that a visitor wants? The 3D scan could be sent to some hard-working folks over in Asia where a mold would be printed and, eventually, a resin or bronze version shipped to the happy consumer (add a “replica” stamp underneath so that authenticity cannot be falsified). The profit would be shared by the craftspeople and the museum.

This doesn’t happen in the marketplace, so I know that the above idea is defective. But why? The Louvre offers a feeble 7 choices for replica Baryes and they have a huge collection.

This article makes it sound as though there is still a lot of work to be done by hand in making a bronze cast of a 3D-scanned object. So maybe the dream of on-demand replicas in any size is unrealistic with present technology, but surely there is a sufficient market for one or two sizes of each sculpture worthy of being displayed in a museum.

Museums already do this with 2D works. You can order custom prints of works from the Metropolitan Museum, for example (don’t forget to wear a mask if you go into the museum to place the order; they still require all visitors 2 years and up to wear masks). Why aren’t we ready to go 3D?

What can be purchased in the gift shop, you might wonder, if not reproduction alligator sculptures?

Suppose that we had to summarize that last book, What would Frida Kahlo do? How about “When trying to become successful in a career, have sex with a married much older guy who is already very successful in that career”?

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What’s a good introduction to Joe Rogan?

Who watched the Dave Chappelle special on Netflix? was about how I invested one hour to learn about someone identified as an Enemy of the Truth.

The latest Enemy of the Truth, a dangerous spreader of misinformation and hate, is Joe Rogan. I haven’t watched or listened to this guy, however, and I’ve heard dark tales of three-hour-long episodes. I don’t want to wade through 100 hours of content to figure out what is intolerable about this person.

I’m therefore appealing to readers. Which Joe Rogan episodes and, preferably, at which in/out points, should be listened to be someone who has no experience with this form of hatred? (URLs pointing directly to these episodes would be most welcome)

Separately, I’m a little confused about Spotify’s new quota-based system for distributing $100 million:

In the latest installment of the Spotify-Rogan saga, CEO Daniel Ek sent out a company memo on Sunday addressing Joe Rogan’s use of harmful racial slurs in past episodes of his podcast. Over 70 of these past episodes have now been removed from Spotify. In the memo, which was published by The Hollywood Reporter, Ek declared that Spotify will invest $100 million in the licensing, development and marketing of music and audio content from historically marginalized groups. This is the same amount of money that Spotify paid to Joe Rogan for his exclusive content deal.

Tensions escalated recently when 270 medical professionals signed an open letter to Spotify urging the company to implement rules around misinformation after Rogan, who is one of the most-listened to podcasters in the industry, hosted Dr. Robert Malone, a virologist banned from Twitter for spreading misinformation about COVID-19. High-profile figures like Neil Young, Joni Mitchell and author Roxane Gay pulled their content from Spotify in protest of the company’s inaction against Rogan’s platforming of false public health information.

“One of the things I am thinking about is what additional steps we can take to further balance creator expression with user safety,” Ek wrote. “I’ve asked our teams to expand the number of outside experts we consult with on these efforts and look forward to sharing more details.”

Note that, according to the journalists, it is a fact that what Dr. Malone was saying (“give COVID-19 vaccines to old people, not to young people”) was wrong (“misinformation”). The Science is settled and there is no possibility that Malone will turn out to have been correct, e.g., if universal vaccination pressures SARS-CoV-2 to evolve in unwanted ways (see Marek’s disease). Also, users cannot feel or be safe without those 70 episodes having been removed (is there a samizdat server somewhere in a free speech country where the 70 banned episodes can be evaluated by users who don’t mind feeling/being unsafe?).

From a purely practical point of view, what is a “marginalized group”? Vietnam is not well-represented in hip hop currently, as far as I know. Will Spotify fund Vietnamese rappers rapping in Vietnamese?

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Movie suggestion: Black Death

Leaving HBO Max in a few days… Black Death, a 2010 film that is perfect for “these times.” I don’t want to spoil the movie, but one critical element is attempts by people whose understanding of The Science is imperfect to explain a geographical variation in death rate. At the very least, you’ll be grateful for central heat, indoor plumbing, and telecommunications.

One unusual aspect of the movie is that, though it is set in the Middle Ages, it is not about the nobility. We see the lives of ordinary folks who are typically ignored in books and movies.


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Encanto: Latinx migrants get a free house

The heart-warming story of the movie Encanto begins with Latinx migrants fleeing violence (in Colombia) and almost immediately getting a free house (created by a magic candle).

This was a hit with the elementary schoolers in our household, though it lacks a villain (there are no white non-Latinx characters and therefore nobody can be truly bad). Without a villain, a traditional element of drama is missing. The virtuous Latinx characters are essentially fighting with themselves.

It doesn’t seem as though anyone Colombian worked in a senior role on the film and therefore the work is solidly in the Hollywood tradition of cultural appropriation. Partial redemption for this sin is achieved by having the physically strongest character, able to lift an entire church due to a magic gift of strength, be someone who identifies as a young woman.

Students of zoology and geography will be pleased to see that one of the South American animals that is included in a menagerie is identified in the dialog as a “leopard” (i.e., not a jaguar). Loyal reader Toucan Sam will, no doubt, be willing to overlook this issue…

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Reminder that failure is an option

I stumbled on Closed for Storm in Amazon Prime (it is wedged into a corner of the app behind “Black voices” and “Hispanic & Latino voices” (no “Latinx voices” category?)). It covers Jazzland, which opened in 2000 and was converted into Six Flags New Orleans in 2003. Katrina hit in 2005.

I recommend this for anyone considering a business investment. It is a great reminder that failure is always an option.

Separately, it is unclear why the park couldn’t be reopened. The metro area population was about 1.34 million in 2000 and today is 1.27 million. Americans love theme parks. Why do they generate infinite money in Orlando, but are risky elsewhere?

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The Science in the movie Don’t Look Up

Don’t Look Up is a cautionary tale of what could happen if Trump-supporters were a majority in the U.S. It is an update, to some extent of the 2006 film Idiocracy, whose underlying message is that Nobel-winning transistor developer William Shockley was correct, i.e., that America’s destiny is a nation of low-skill people because means-tested welfare programs enable higher fertility for no-income and low-income Americans compared to middle-income Americans (Idiocracy did not cover low-skill immigration, but presumably it can be viewed as an argument against it). Fertility versus household income:

Don’t Look Up doesn’t address how Americans became stupid enough to vote for a Trump-like president, but reminds us of the terrible costs of denying Science (capitalized like “God”) and not trusting Scientists. The entire movie is a not-very-subtle mocking of the Trumpkins for their stupidity in not believing “the Science”.

Here’s a sample tweet from the writer/director, whose brief Twitter profile includes the phrase “Climate Emergency is NOW“.

Related Facebook posts from my friends who vote for Democrats:

  • It’s the most useful movie, because now you can explain how tech works, and journalism and politics, etc.
  • The movie is sexy and true. Yes, we had everything, and we blew it — in the movie and in real life. It’s a critique of our response to climate change, and Covid, and even has a dig at Trump (the president’s chief of staff played by Jonah Hill is her son)
  • … it’s [arguably] both the greatest and the most important movie ever made.

If this were a Michael Bay movie, it would make sense to ignore anything incompatible with Physics 101 under the rubric of “artistic license”. But Don’t Look Up is a political statement, not a work of art, and it is specifically about what could happen if don’t deport and/or suppress those who refuse to follow the science.

The Science delivered by this climate change expert-turned-screenwriter starts with a female-identifying astronomer finding a new comet from the Oort cloud. The movie is somewhat, um, retrograde in that she does not explicitly identify as “of color” or 2SLGBTQQIA+. She reports her observation to a male-identifying astronomy professor, played by climate change activist Leo DeCaprio. Within a day, he has calculated that the comet will strike the Earth in 6 months. The rest of the movie explores what would happen if the morons who deny the settled climate change models (and/or assume that some improved tech for dealing with climate change will be developed within the next 100 years, e.g., a solar-powered carbon vacuum) were also to deny orbital mechanics.

How does this compare to lowercase pre-2019 “science”? A 2014 article from the European Space Agency:

In movies about the impending end of the world due to a comet impact, one thing is certain: Detecting the comet and computing its orbit are dead easy. … Computer programs are started, and people frantically hack away at keyboards. In no time at all, they will have identified the fuzzy blob as a comet that is hurtling in from the frozen recesses of space. What’s more, in no time at all, they will have determined the comet’s trajectory and they can categorically state that it will hit Earth. A few more frantic calculations and they also know the date and time of impact – Quick, call Bruce Willis!

In actual fact, one single picture of a comet is just that: a single picture of a comet. … From one picture, you can’t tell where it’s heading; you don’t know how close it will get to the Sun, nor if or when a close encounter with any other planet is due. To find out these things, you need more observations – many more of images that were taken at different dates, ideally spanning a long time frame. … So you have to make an educated guess at the parameters that describe the comet’s trajectory, also known – unsurprisingly – as its ‘orbital parameters’. This initial guess (as even the mathematicians rather candidly refer to it) in all likelihood will be quite far off.

This procedure is known as ‘orbit determination’. It is very time-consuming and involves a lot of complicated and repetitive mathematical calculations, which is why nowadays we let a computer handle most of it. The entire process is known as ‘parametric optimisation’ and each step is referred to as an ‘iteration’. As the optimisation process goes on and many iterations have been performed, you will see that for the epochs at which the images were taken, the computed locations, based on the current estimate of the orbital parameters, will move quite close to what you can see in the actual images.

The article includes a chart showing that it took 450 days to determine the orbit for a 2013 comet:

Regarding the above chart:

In the diagram above, it took almost 200 days to find out that comet Siding Spring would not hit Mars. At that time, the uncertainty in the predicted encounter distance still ran into hundreds of thousands of kilometres. Though the most probable encounter distance was established fairly early, the uncertainty was still significant after more than a year of observation. It took 44 days of observation to achieve even a semblance of an orbit determination – one that was still all over the place, with a predicted mean Mars distance at flyby 900,000 km, with a high guess of 3.6 million!

It took seven years of additional observations to identify an object found with one of the world’s best telescopes as a (huge) comet (National Geographic).

One open question: even if you had the required 500 days of observations to make a reasonably accurate calculation of a comet’s orbit, could you ever know with certainty, six months in advance, that the comet would actually hit the Earth rather than whip around it? (See “Chaos and stability of the solar system” for example and, for laypeople, “Our Solar System’s Planetary Orbits Are Ultimately Chaotic, Says French Astronomer” (Forbes)) Paging Dr. Goldbum!

(I emailed a friend who has spent a few decades working with orbital mechanics. To the European Space Agency’s “take it slow” point of view, he added the following:

One problem is that comets, unlike asteroids, have significant non-gravitational forces acting on them: They outgas directionally, producing random small thrusts. Thus their orbits are not as precisely determinable as planets or even asteroids.


Another aspect of Science presented by the Trump-hating writer/director is that people sitting on Earth are able to figure out that the rock part of the comet is packed with $trillions in valuable minerals. They do this with a “spectrometer“, but that instrument would work only on the tail of a comet, not on the rocky core. Although Science could predict that Peru, Czech Republic, Slovenia, and Slovakia would escape COVID-19 deaths due to mask orders and lockdowns and Science plainly has no difficulty predicting Earth’s temperature 100 years from now, I am not aware of Science being able to determine, via remote sensing, the composition of a rock in space. NASA has (easily-found-with-Google) some concepts for doing this, but they involve physical contact with the comet or other space rock. There is no instrument that you can set up in your house to determine the composition of a rock in the neighbor’s yard, right? Why would you imagine that you can set up an instrument in the Atacama Desert and determine the composition of a rock in space?

[Update: see comments for a potential correction to the above from an astronomer.]

In other words, the screenwriter who purports to educate Americans on how stupid Republicans are was apparently unable to use Google to find these written-for-laypeople articles on orbital mechanics and comets. Nor was he/she/ze/they able to read a NASA org chart. All of the scientists at NASA work at the “Kennedy Space Center” (not at Goddard or JPL). They refer to each other as “Dr. X” and “Dr. Y” rather than by first name or first and last names.

One of the elite accusations about the Trumpkins is that only the elites understand that we share our beautiful planet with a veritable rainbow of other nations (though don’t wave that rainbow flag anywhere that it might interfere with elite profits!). Yet the movie makes sense only if we accept that the U.S. is the only country that can act to deflect an incoming comet. If Americans did not exist, the remaining 96 percent of the world’s population would take no action in response to scientifically proven impending species-ending doom. The people who invented rockets and who recently landed a robot on Mars wouldn’t do anything. The people who kicked off the Space Race and who currently operate their own satellite navigation system wouldn’t do anything. The Europeans wouldn’t dispatch any Ariane rockets (this last one is more believable since the EU seems to be 100% occupied with coronapanic!).

(Pravda reports that Russia actually has been working on asteroid deflection since at least 2009. China is a comparative newcomer to this specific area (LiveScience 2021). The Europeans have been working in this area since at least 2005 (ScienceDaily).)

Although the movie cannot be recommended as a tutorial on #Science, it does have some fun parts. Ariana Grande appears (and sings) in the role of pop singer whose romantic life is more interesting to a stupefied and stupid population than an impending extinction event. One of the greatest characters, played by English actor Mark Rylance, is kind of a cross between Steve Jobs and Mark Zuckerberg. The unwashed Science-deniers are also fun, e.g., with a range of beliefs from “the comet doesn’t exist” to “the orbital mechanics calculations handed down by Science are wrong.” They gather in huge rallies in support of their Trump-style president. Some of the comedy is provided by the screenwriter trying to figure out how non-elite Americans speak. For example, he/she/ze/they has a young skateboarder say, “Dr. Mindy, Can I be vulnerable in your car?” (Our apartment in Jupiter, Florida is right near a skateboard park and “vulnerable” is not one of the words we hear from the denizens.)

Don’t Look Up is definitely worth watching if you’re already a Netflix subscriber, mostly to see just how wrong someone can get all of the science while making a movie about the dangers of letting people who don’t understand and respect science vote.


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Should supermarkets have live music?

On a recent trip to Naples, Florida, we discovered that the Seed to Table supermarket (across the main road from our Marriott TownePlace Suites hotel; we explained to the kids that this was a double lie because the rooms are not suites and the hotel is not in town) has live music in the evenings. Example:

The first two years of 14 days to flatten the curve have been terrible for musicians, with venues closed by order of Covidcrats, people with money fleeing urban areas, events canceled, etc.

What if other supermarkets adopted the Seed to Table idea, though? Except for the extremely COVID-concerned, people are still going to supermarkets. It is easier to do in Florida because the ceilings are usually so high (the music at Seed to Table happens about 30′ above the main floor), but why not a guitarist in the produce section to encourage people to linger and thereby maximize public health with increased vegetable sales? If I can take over as public health dictator, I will mandate an opera singer performing Wagner in the chips section to discourage sales of Cheetos and Ruffles (also ration coupons for chips and anything including sugar, of course, since obesity is contagious and is an intolerable health risk in the age of COVID).

Readers: dumb idea as usual?

Separately, Seed to Table made the news back in February 2021, e.g., with “Florida grocery store bucks mask mandate; owner says Covid death toll is ‘hogwash'” (NBC):

A video that was taken at a South Florida grocery store shows nearly every customer and employee without a mask.

The footage was filmed this week at Oakes Farms Seed to Table Market in Naples, about 42 miles south of Fort Myers. In it, not a mask is in sight and social distancing is not being followed.

The Centers for Disease Control and Prevention has repeatedly stated that masks and social distancing can help slow the spread of the coronavirus.

Note that Florida state law eventually came around to the owner’s point of view, i.e., that local officials cannot order masks (see “Florida governor signs law preempting local COVID edicts” (AP, May 3, 2021)).

What does the market look like inside? (produce from local farms in abundance; good restaurants, coffee, and an ice cream parlor; wine shop; not the place to go for cleaning supplies and the other non-food stuff that supermarkets carry)

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Art Basel Miami 2021

As we remember the day that the Japanese bombed Pearl Harbor, we can look at a recent attack on our shores by the Omicron variant of COVID, arriving inside the bodies of rich art world people from around the globe. Of course, I’m talking about Art Basel Miami, previously covered here in

My journey began at an Art Basel Week party in a Miami Beach house. The host is a refugee from the disorder and filth of San Francisco (wife insisted on a move due to worthy locals shooting up heroin in the driveway of the $10 million house). By the time the party was in full swing, the street looked like the aftermath of flash mobs robbing Ferrari and Mercedes dealers. The dessert table and dock (yacht on order, but delayed due to “supply chain” issues at Volvo for the engines):

I migrated from the party to the vaccine papers check tent, as previously discussed, and then entered the convention center:

In 2018, sponsor UBS was celebrating women. Not this year, however. It is unclear if this is because the term “women” is undefined in our 2SLGBTQQIA+ world, if the “imbalance” that needed rectifying in 2018 was fully addressed, or what. From 2018:

Monica Bonvicini gets my vote for maximum prescience with this 2019 work, titled “Hy$teria” (13′ wide):

John Giorno (1936-2019) should get some credit for this letter from CO2-emitting humans to our beloved Mother Earth (“You Got to Burn to Shine”; also a good tutorial on black-body radiation?):

Speaking of artwork by deceased artists selling for hundreds of thousands of dollars… The gallery owner calls the artist and says “I’ve got some good news and bad news.” Artist: “What’s the good news?” Gallerist: “A collector just came in and bought all of your paintings at list price.” Artist: “That’s fantastic. What could possibly be bad then?” Gallerist: “The collector is your oncologist.

Christine Wang can’t get credit for prescience, but this 60×60″ 2021 painting would be nice to hang right next to an original Hunter Biden.

Fair to say that this artist has never been to Walmart?

If you’re looking for something that you could replicate via a trip to Walmart, this pegboard piece by Theaster Gates seems like a good candidate:

Do you have $220,000 to spend on a pony? (there are almost no price tags, of course, but I was crass enough to ask)

Note that the guy doesn’t have a lot of hair, but if you average with his female companion, there is enough to go around. In Miami, it is not a good assumption to read this scene as a father-daughter excursion. (forgive the assumed gender IDs, which I adopted for brevity)

Torbjørn Rødland shows that Norwegians might be good at pumping oil and buying Teslas, but they are not competent at interior painting (55×40″):

Here is a can’t-lose investment, consistent with established Wall Street wisdom, “they’re not making any more USB sticks”:

The value-added tax on this one is going to be staggering (cost: some wires and hatchets):

Some local color:

Some folks who refuse to #FollowScience:

(Note the Pomeranian whose only visual hint of qualifying as a service dog is the green hair dye.)

Also perhaps suitable to hang next to your Hunter Biden collection, a work by the late Tina Girouard captioned “1992 Immigration Migration 1492”:

Generally the show is geared toward folks who have blank walls that are at least 15′ in width and 12′ in height and/or a lot of empty floor space. Here are some photos showing the scale:

If you missed your chance to buy a 1954 Rothko, come down with your checkbook:

Or just make something kind of like it (Idris Khan, 2020, 100 inches high, no doubt made with far higher quality paint that won’t fade! Apologies for perspective distortion):

My best 2021 dress-to-match picture:

One of the only works with a price tag, a 2007 work by El Anatsui (though actually created by “dozens of assistants”) at $1.65 million:

Camera notes: These are a mixture of iPhone 13 Pro Max and Canon R5 with 50/1.8 STM lens. The iPhone did a much better job with white balance than the Canon.

Worth a special trip to Miami? Not unless you’re connected enough to the art world to get invited to one networking event after another and can expect to know at least 25 percent of the people who are there. Worth fighting through traffic and $65 for a ticket if you’re already in Miami? I think so!

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Parking at Art Basel: the high school across the street (also some masketology)

If you’re going to Art Basel (today and tomorrow are the last two public days; the elites went on Tuesday and Wednesday), the pro move is to park at Miami Beach Senior High School, where the PTA opens the vast parking lot as soon as school closes (3:15 pm is the end of classes). Navigate to 2231 Prairie Avenue, Miami Beach, Florida 33139 and hand over $20, which will fund PCs, printers, and other classroom items. Ferraris, C8 Corvettes, and Lamborghinis are assigned to an “exotic area” in the grass where nobody can hit them with a door. (I wonder if Miami Beach during Art Basel has the world’s highest ratio of maximum theoretical car speed to actual car speed?)

The event closes at 7 pm and three hours is enough to see most of what you’d want to see. Reserve for dinner at Bella Cuba afterwards so that you skip most of the post-event traffic.

Remember that you need to show vaccine papers before the Art Basel folks will give you a “COVID-19 Certificate Checked” wristband. The good news for the unvaccinated is that you show a picture of your CDC card on your phone and therefore the name on the certificate is too small to be matched to your photo ID (not that there is any serious attempt to do so).

Here’s the vaccine papers check tent:

And the precious result:

(Wouldn’t it be a lot simpler if the U.S. adopted Philip’s RFID chip-in-the-neck idea?)

A couple of hours earlier, a mid-career artist at a party said, “You’re not going to get a grant unless your work is about BLM or LGBTQ.” If she is right, here’s an artist on track for a grant:

Masks are required inside and, since it is Florida and people can’t be expected to carry masks, they’re handed out by official Mask Karens. Not everyone can be reached by #Science, however…

Here’s one of the official Mask Karens demonstrating proper under-nose mask position:

Given the international crowd and the near-certainty of being exposed to the Omicron variant (state-sponsored media reassures us by quoting an innumerate 79-year-old who reminds us not to panic), did a lot of folks choose to use a fresh N95 respirator combined with hand-washing, hand-sanitizing, and never touching the mask? No. Cloth masks, which have been proven useless in a randomized controlled trial, were by far the most popular choice. These had been pulled from purses and pockets and therefore were pre-soaked with whatever bacteria and viruses can thrive on a moist face rag. A lady walking in front of me did not notice that she’d dropped her cloth mask on the sidewalk while getting something else from her purse. I picked it up (by the loops) and handed it to her, confident that the sidewalk germs will eventually be on her lips in addition to Omicron.

The people who are there to transact business (I didn’t hear of anything for sale at less than $220,000) were generally unmasked. In other words, those most likely to have come off multi-hour flights from plague centers were the least likely to be masked. Example:

Overall, I would say that the COVID-related aspects of the affair were handled exactly as well as you’d expect in a country that has to import all of its LCD and OLED displays and most of its integrated circuits (“chips”) from more detail-oriented nations. When it comes to COVID-19 vigilance, Yoda reminds us “There is No Try” (title of the 2020 work below by Tom Sachs):

Do. Or do not. But also, it is okay to do sometimes and sort of. And make sure to vaccinate The Child (Grogu, not to be confused with MIT’s Grogo).

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