Don’t Panic: Time for Action on Ukraine

Don’t Panic: Time for Action on Ukraine

Calm heads are required. A knee-jerk reaction is a mistake. You should take your time, to consider and reflect. Failure to response to Russian aggression. Inaction is how we have got here. Europe as whole did not give Ukraine everything it needed to win. It tried to do half measures, to avoid economic pain. Russia war economy is overheating, it has been unable to take Ukraine. In the 3 years, progress has been painfully slow and stalled. What support we have given Ukraine has been a massive success. Now it seems the Americans have changed sides. Who could have seen that coming? Oh, I don’t know, it was in plain sight and obvious.

Europe and rest of the west should accept this what has happened. Learn from it mistakes. Warm words do not win wars. Action however does. What worries me is inaction and gravity pulling us in a direction that not in are interests. The last 3 years of policy look to be a failure. If you wanted Ukraine to win and this conflict between west and Russia to be contained. If not obvious we’re at war with Russia, that how they view it. Viewing it as a scale and willing to push but avoid what we consider all out war. So what should we be doing? Well, ramping up production, aiming to supply Ukraine. With the goal of domestic production. At the same time increasing defence spending and looking at replacing American’s ability in Europe. The goal here is building a new command centre with Europe in control and leading. Lots that need to be done here. That going to be longer term thing but required. Holding back on stronger sanctions for now unless something big happens. What is required, here, is going to be deeply painful.

What happened in the White House this week was shocking but a wake-up call. We have time to improve things. The price of peace is much higher than it was. Europe is rich and can pay that price. We may not like it, but we can do it. Otherwise, we’re heading towards war with Russia and going to end up unprepared. One bit of good news here, a formal war has not happened yet. I’m worried, yes, but half glass full we can avoid the worst of it. It does require paying the price to achieve peace we want and doing what is necessary.

Poem: Tragedy of peace

Poem: Tragedy of peace

Seasons are changing—winter of peace fades.
Spring seems to bring the rebirth of war.

Worst case, a summer of conflict looms.
Yet the song of war has been a long time coming.
We have been sleeping through the long peace.

Each crisis, each event, piling up like leaves on the road.
Snoozing the alarm every time—
now it cannot be silenced.

The theatre of war is already here.
Acts of sabotage and murder,
neighbours turning hostile.

We ignore escalation, like a spring storm creeping in.
Doing the bare minimum,
hoping recycling plastic is enough,
or that providing ammo is enough.

One nation invades another—
for some, war is already here.
Like spring, the storm of war arrives.

A fiery storm that could reduce everything to chaos.
Soon, it could pull everyone into the war.

For many, they have escaped the heavy rain
Only when the winds grow stronger
and the flooding begins
do we start to ask questions.

A flood of lies—
Not an invasion, they say. They started it.
Rewriting history, erasing the lives of the lost.
Fighting these lies is necessary—
the truth is, it was an invasion.

The winds of war carry not just destruction,
but the death of truth.

For others, the war becomes a distant memory,
like spring in the dead of winter.

A winter of lies,
snow covering the truth.

The gears of war have rusted, and rebuilding will take time—
but time is what we lack.

Instead, we wound down,
cut the trees, and called it job done.

Now the forest is bare—empty.
No longer green, but run down.
What replaces it is not peace, but decay.

The coming storm is far more dangerous,
and it comes for us all.

The price of peace is the ability to defend,
but also the will to fight for what you believe in.

Cost of peace is high, but cost of war far higher and burns a hole in generations. Must be ready to fight, otherwise what is the point?

You cannot change the world we live in,
but that does not mean we are powerless.

If you wish for people to fight,
you must give them something to fight for.

Give them a reason to uphold the order.

My fear is we lack that.

A positive reward is required,
a vision for what comes after.

Now is not the time for retreat.
Now is the time to stand together,
united against this threat.

Inaction will lead to ruin and destruction spreading.

It is always painful when friends turn to foes,
but nothing lasts forever.

Freedom of speech is not freedom to offend.
Decrying freedom whilst removing others’ freedom is an insult to justice.
Those who failed to prevent this should go into the jaws of war first.
Broad shoulders should bear the weight of this failure—
to plan, to control, to own their mistakes.

The burden of this fight should be for all to bear.
The poor and weak fight for your freedom—
you should willingly give up your gold to pay for it.
We sacrifice our lives for your selfishness.
The least you could do is pay your respects and dues.
Otherwise, give up your privilege
for someone who will treat it with more care.

The future of another lies in our hands.
Stand firm, fight with them.
Surrender our own sovereignty and security.

James Bond Amazon gets control

James Bond Amazon gets control

I have written about James Bond in the past. Briefly wrote about the ownership. Small paragraph that worth revisiting.

The Broccoli family has diligently safeguarded control over the Bond franchise. Danjaq holds the copyright for the film series. The first twenty Bond movies are co-owned by Danjaq and MGM, while the remainder belong to Danjaq, MGM, and Columbia Pictures (a Sony subsidiary). Eon Productions, owned by the Broccoli family, meticulously oversees all Bond projects. Their level of control rivals J.K. Rowling’s veto power over the Harry Potter franchise.

Danjaq is owned and managed by Broccoli family, Eon Productions is also owned and operated by Broccoli. Franchise is creative direction and production is owned by this family. Why is that important? Well because we just got news that is changing.

Amazon MGM has gained control over creative control and production. Amazon MGM, Wilson, and Broccoli have come to an agreement. A new joint venture to house the property rights. All three remain co-owners, but creative control goes to Amazon. Ending 60 years of control for Wilson and Broccoli family. Both have retired from producing films. What does this mean for Eon productions? I have no idea. Looks like Sony has sold to Amazon. I can’t find anything on that just a guess.

So what does this mean?

Well, two producers protecting Bond legacy are gone. Made it clear they want theatre releases, not just prime only. Long stalemate after last release in 2021. Last year it was reported nothing was happening. It was an open secret that Broccoli and Amazon did not agree. For whatever reason, they have handled control over to Amazon. Giving up the fight but not the pay day if it works out. Bond brand could now appear anywhere, for years it was protected and guarded. Now a big tech company with a studio has full control. I’m worried yes.

It fine, I have my memories of bond and what it means to me. If they screw this up, I won’t watch it or buy anything. They have big shoes to fill.

Captain America 4 is okay?

Captain America 4 is okay?

Captain America 4 is finally out. Sam Wilson, formerly the Falcon, officially takes up the mantle of Captain America (Cap), continuing the story set up in The Falcon and the Winter Soldier—which I have not watched. From my understanding, that series already covered Sam taking on the role of Captain America, which means this film can’t rely on that storyline. This highlights the limitations of combining TV series and movies within the MCU.

So, what’s my mindset going in? My expectations are low. I’m not anticipating a major narrative push or an outstanding story—just an okay or decent movie at best. That sounds fair to me: an average film that introduces us to Captain Falcon. We’ve already had a political thriller with Captain America: The Winter Soldier, so this film needs to take a fresh approach. The question is: will they take risks, or will they play it safe? I’m not convinced they’ll do anything bold.

The original trilogy was a personal story about Steve Rogers. Here, the main character feels more like a supporting character rather than a lead. Sam’s nickname among comic book fans is Captain Falcon or Cap Falcon, but he can’t seem to shake off the feeling of being a side character. Why? He’s not the first character we see, he’s not part of the story for a while, and everybody else around him feels more important. What we get is a film that ties up loose ends, bringing together two main storylines into a very watchable but ultimately just “good” movie. It reminds me of Phase 1 of the Marvel Cinematic Universe (MCU)—a solid 6 out of 10. It sets up plot points for the future if some writer wants to use them.

Avoiding Spoilers: My Review

This movie feels like it exists to tie up loose ends, explaining past events while attempting to push the story forward. It feels like a sequel to both The Incredible Hulk (2008) and The Winter Soldier (2014), maintaining a similar tone. However, it ends up doing both badly. The problem is that Wilson still feels like a supporting character. He performs unbelievable feats while trying to remain grounded, yet the film fails to maintain that grounded feel. MCU power levels are well above him, meaning these feats require explanations. This creates an issue: the stakes feel low when everything looks easy. While there are moments where that’s not the case, they don’t really change much.

One saving grace is Harrison Ford’s character. His storyline is well-written, to the point where he honestly feels like the main character. Meanwhile, Sam feels like he’s supporting Ford’s character rather than leading his own film. The movie ultimately feels like two separate films mashed together—a remnant of Marvel’s shift in quality during the Disney+ era. It’s a fine movie that somehow works, but it should have been a Hulk movie with Wilson getting his own standalone story. It’s fast-paced and to the point, but it just feels a bit underwhelming. Calling it a political thriller is a bit of an insult, really.

At one point, it feels like the movie has ended—only for it to keep going, giving us another ending. The big twist at the end feels rushed. You could have split the movie into two and had a better result. The action is fine but nothing groundbreaking, and it doesn’t quite suit Falcon, who feels forgotten in terms of character development. If Marvel keeps producing movies of this quality, it’s going to damage the brand. Maybe we’ve already reached that point. Personally, I would have scrapped the movie, written it off, and taken a long, hard look at the direction of the franchise. Leading up to this movie, we had plenty of reports about the production woes it faced.

Production Issues

This film had a rocky production. Writing began in 2021 following the Disney+ series, but the project faced multiple delays. Originally slated for release in May 2024, the movie was pushed back to February 2025 due to production setbacks. Filming began in March 2023 but was disrupted by the Writers’ Strike in May, which lasted until November. Despite the strike, filming continued, though additional rewrites took place after it ended. Early test screenings were poorly received, resulting in further rewrites and reshoots. These reshoots occurred from January to June 2024—and again from May to November 2024—causing even more delays. Deadpool & Wolverine started filming later yet was still released first in 2024.

I’m not sure what to think. Actors and directors claim reshoots are common practice, but one thing is clear: this movie’s production was anything but smooth. Writer strikes often lead to weaker films, which raises concerns. Then again, I don’t know the ins and outs of Hollywood, so maybe this level of reshooting is normal. Based on the timeline, it seems like a third of the movie was redone. Given Marvel’s struggles in the Disney+ era, this is a middle-of-the-pack film. Whatever the case, reshoots did have an impact here. Yet, it remains a watchable film because of them. Impressive. I’ve been pretty critical and negative so far, so how would I have done it?

My Version of This Movie

The biggest problem I have is that I never watched The Falcon and the Winter Soldier. Falcon is the new Captain America but not officially. The government doesn’t want him around. He’s a normal guy with wings, but they aren’t high-tech. Everything he does is a challenge. His acrobatics are how he overwhelms people—not by using strength. An outsider that the president turns to. He arrives at the White House, where the president greets him. No longer representing America, Sam is a reluctant hero. The president isn’t happy about Sam taking the shield. They don’t get along at all. The meeting goes poorly, and Sam settles down to being a social worker. He’s called back to investigate an unfolding mystery—the only person the president trusts. Sam is trying to find out where Nick Fury is, who the next Avengers could be, and why somebody is trying to destabilise America. He doesn’t trust the people around him, and they are clearly hiding something. Someone is trying to create a new world order, removing Ross from the White House and causing trouble.

Sam enlists a retired Bucky Barnes to help, along with some old friends. What follows is a political thriller with Sam and the Winter Soldier at the forefront. Sam learns to lead and become his own man, while Bucky helps him grow, acting as a mentor and friend. They discover that “X” is behind the plot to destroy the White House. After learning to work within his limits, Sam emerges as the leader people need. Bucky is sidelined and does not get any credit due to his public image. Two teams are formed: the Thunderbolts and a newly restarted special Falcon forces program. Nick Fury finally appears, warning Sam that something isn’t right—heroes are disappearing, leaving only the new generation behind. Everything they need to fight off threats, like super-soldier research, has gone. Sam sets off with a wanted Nick Fury, both going underground. Bucky fully embraces his Winter Soldier persona again under the command of Thunderbolt Ross. Ross is portrayed as a morally grey character, with Nick Fury providing a counterbalance. Turns out the person behind it all is Ross, who wants new metals and resources for himself, viewing himself—not Fury—as the best hope to defend the Earth.

Closing Thoughts

What we have here is a movie that plays it safe. It feels like an earlier Marvel film, hinting at a future team-up but without an overarching narrative linking everything together. Once again, it echoes the earlier days of the MCU. A couple of solid movies have come from Phases 4 and 5, and this one slots nicely into the middle. It’s not the worst, and it’s watchable. In my opinion, The Eternals and Ant-Man and the Wasp: Quantumania hold the worst spots. Captain Falcon gets a solid 6 out of 10 for me. My review is pretty negative, but it’s not a bad movie, so I can’t rate it like one. The negativity comes from the high points of the MCU being so good—yet this seems to forget the lessons of what came before. You can skip this one and just stream it on Disney+. The trailers haven’t helped either—why reveal the big twist in them?

Market complacency – Rubicon crossed in America

Market complacency – Rubicon crossed in America

In my view, the financial market’s complacency has me deeply worried. The focus has been on Trump tariffs. This is the second time Trump has attacked the machinery of government. He tried to freeze existing spending by executive order.  Quickly backtracked on that after 48 hours. You can read more here, here and here. Days later, Elon Musk’s minions have taken control of US treasury computer systems. Read more here, here and here. Taking over control of the machinery of the US government to control spending. Congress may have passed spending laws, but Musk can refuse to send the money. Unelected officials with no security clearance got control over America’s bank account. It amounts to a 21st-century coup. Purging officials who resist, who he does not agree with. Which was both efforts to control the purse is illegal and unconstitutional. Yet the market reaction is this is fine. 

Thought experiment: what would the global reaction be if this was another country? Outrage and punishment. Investors would be leaving on mass. The money would be flying out the doors. A bank run would most likely happen. This is beyond the imagination. It is not hard to see how the lack of pushback leads to Trump continuing, perhaps expanding his actions. Of course, even if this is temporary, the rubicon has been crossed. Passed the point of no return on a couple of norms. Elected officials should be worried. The most extreme outcome is the withholding of funds for support. Trump wants a constitutional change, no dollar until you support it.  What happens if the other side uses these powers? White House can bully whoever to do its bidding. They have been bypassed, willingly given up power. 

Struggling to understand the muted market reaction. Worst still Trump said he going to do this. Yet nobody believed him. Now he done it people have just shrugged. Coup de grace has happened yet nobody reacted. Only four groups that can stop Trump now. His cabinet can depose him. Congress and senate with supreme court are meant to act. Yet they are unlikely. Given the political risk and uncertainty surely that enough for markets to move?  Money men something Trump claims to focus on are not moving. That is puzzling.

Read more here

Chagos island: The UK Last Colony and American Colony

Chagos island: The UK Last Colony and American Colony

The Chagos Islands have been in the news a lot recently due to talks between the UK and Mauritius over control. Currently, they are a British Overseas Territory (UKOT), but the islands host a joint UK-US military base. The Americans lease the islands from the British, who, rather controversially, expelled the original inhabitants and replaced them with Americans working for the military.

Why Do the Islands Matter?

The Chagos Islands are slap bang in the middle of the Indian Ocean, with Africa to the west, the Middle East to the north, and Asia to the east. Back in the 1960s, during the Cold War, the Americans were worried about the Soviets and wanted a stable spot for a military base. The Middle East was a major focus at the time, and the 1970s were full of upheaval there. The UK kept the islands when Mauritius became independent because they were seen as vital for containing the Soviet Union. For decades, UK and US foreign policy have been closely tied, and the islands are just one example of that.

A Bit of History

For most of history, nobody lived on the islands. They were claimed by the French colony that became Mauritius, which eventually turned into a British colony. After Napoleon lost in 1815, Mauritius and the Chagos Islands were handed over to the British. The British had already redrawn maps, taking the islands away from the Maldives. Back then, there weren’t official borders or legal frameworks, but those decisions are still causing arguments today. For example, the Maldives is much closer to the Chagos Islands than Mauritius, which has led to disputes over fishing rights and sovereignty.

The first British colony on the islands was set up in 1793. Enslaved people were brought in to work on coconut plantations, and their descendants lived there until they were forcibly removed in the 1960s. Slavery was abolished in 1834, and by 1840, many of the islanders were descendants of freed slaves.

The Expulsion of the 1960s

In November 1965, the UK bought the entire Chagos Archipelago from Mauritius (which was self-governing at the time) for £3 million, creating the British Indian Ocean Territory. The plantations on the islands weren’t profitable due to competition from other oils and lubricants, making the economy unsustainable. The islands were closed to make way for military activities, and the population was forcibly removed.

Between 1967 and 1973, the UK expelled the islanders, sending them to Mauritius and the Seychelles. An agreement with the US required the islands to be uninhabited for military purposes. The Mauritian government resisted taking in more displaced islanders without compensation, so in 1973, the UK agreed to pay reparations. It’s a dark chapter in British history, adding to the country’s colonial legacy.

Legal Fights

Brexit hasn’t helped the UK’s reputation or influence, making it harder to rely on allies for diplomatic cover. For decades, no court would hear the case of the Chagos Islands. The European Court of Human Rights refused in 2012, which often gets overlooked. But in 2015, Mauritius won a case about fishing rights, with a ruling that the marine protected area around the islands was illegal. This boosted Mauritius’s claim.

In February 2019, the International Court of Justice (ICJ) ruled that the UK should return the islands to Mauritius. The ruling wasn’t legally binding, but it added pressure. International law and global opinion have shifted against the UK.

Negotiations

When Boris Johnson was PM, he started talks about returning the islands. Liz Truss continued the process, and now, after two years, Keir Starmer has reached a deal. Under the agreement, sovereignty over the islands would go to Mauritius, but the UK-US military base would remain. You can read the deal here.

Not everyone is happy. The Chagossians were left out of the decision-making process about their homeland. The Maldives isn’t thrilled either, as the deal overrides its claims. It’s another messy outcome of Britain’s map-redrawing and colonial history. But the Maldives has supported Mauritius’s claim. Why? Likely for favoured access to fishing rights or other political interests. With pressure on the UK, Mauritius is likely to take ownership. Why jeopardise relations between Mauritius and the Maldives?

The Fallout

The deal has had a mixed reaction in the UK. Critics from across the political spectrum have attacked it, and the media has jumped on it as an opportunity to bash Labour. What’s frustrating is how many commentators ignored the issue when Boris Johnson or Liz Truss were involved. A quick search shows barely any articles from those same pundits. Now, they’re using it to attack a working-class leader without offering real insights. It’s more about scoring political points than genuinely caring about the islands.

Searching Hansard’s House of Commons records shows Chagos was mentioned about four times per year for decades. Mentions only started increasing in the 2000s, with 15 in 2001, 20 in 2016, and 34 in October 2024 when the deal was announced. Similar numbers appear when searching for “Chagos Islands” or “British Indian Ocean Territory.”

Geopolitics

The world has changed. Climate change means rising sea levels threaten the Chagos Islands. Mauritius has been getting closer to China, and the US isn’t the reliable ally it once was. If the base is so vital, why hasn’t the UK strengthened it or taken control? Why has the UK done so little about climate change? Instead, defence spending has been cut, and Britain’s influence is fading. Some critics still have an imperial mindset, refusing to accept that the UK is now a middle power with limited sway. Meanwhile, Starmer, being a lawyer, followed the ICJ’s judgment on principle, even though it wasn’t binding. The deal allows the base to stay under a 50-year lease, with payments to Mauritius for resettlement. Islanders can return, but not near the base.

The Trump Factor

Donald Trump’s likely return to the White House could complicate things. Any agreement about the UK-US base will need his approval, and he’s unpredictable. With the US growing more confrontational with China, the base becomes even more important. The region has seen countries drift away from America and the West. When Trump was first elected, the UK used him as an excuse to avoid tough decisions. Now, Britain is trying to stay close to both the EU and the US, which isn’t easy. Critics complain about Britain’s declining status but don’t want to fund the military properly.

What Do We Do?

Writing this blog post has been an eye-opener. I’ve learned about a dark bit of our colonial history that I knew little about before. Honestly, I’m torn on what we should do. The main options are:

  • A: Accept the deal with Mauritius. It’s practical, closes a dark chapter, and restores the UK’s global reputation.

  • B: Offer the Maldives the islands. Politically difficult, undermines international law, and seen as bad faith.

  • C: Offer the Chagossians ownership. Legally complex, diplomatically risky, and seen as illegitimate by many.

  • D: Ignore the issue. The deal is politically toxic, and without US support, it may stall.

  • E: Seek an EU deal. Unlikely, as the EU wouldn’t bypass international law, and trust in the UK is low.

The most realistic options are A (since a deal exists) and D (due to political challenges in passing it).

Torn on What to Do

I’d love to return the islands to the Chagossians and give them a choice, but it would be costly and politically fraught. The islands have military value, and maybe the lesson here is that we should get closer to Europe. Striking a deal with the US and Europe could be beneficial. It could also help tackle issues like African migration and piracy. However, aligning more with Europe risks conflict with an independent-minded America.

Final Thoughts

The Chagos Islands debate exposes uncomfortable truths about Britain’s colonial past and declining influence. Some see the deal as a humiliation; others view it as a pragmatic step in a changing world. The real issue is that parts of the UK still haven’t come to terms with the loss of empire. The question is: can Britain adapt to its new reality, or will it keep clinging to a fantasy?

Destiny 2: Rise, Relapse, and Decline

Destiny 2: Rise, Relapse, and Decline

The other day, I had a Destiny 2 relapse. I hadn’t played much Destiny 2 (D2) since 2019, back when it first became free-to-play. For some reason, I decided to redownload it. Why? Well, it was partly the streamers—Destiny players jumping into Warframe (WF) got me curious. I’ve been playing WF, so seeing streamers pivot to it made me wonder what’s going on with Destiny. Bungie’s two recent rounds of layoffs also raised questions. What are the player numbers like now? What’s been added? What’s changed? Why are streamers leaving? That last question is what made me hit download.

First Impressions

First, I was struck by just how high the production value of Destiny 2 is. The environments feature stunning skyboxes that make everything feel bigger than it is—an illusion most games rely on. However, the levels themselves are linear, open-world-style maps with one or two starting points. They feel empty—like a desert: sparse and lifeless. There are only a few activities or encounters scattered about, and they lack the vibrancy to make the world feel alive. There aren’t even animals or small details to bring the environment to life. The characters you do encounter are static, with no voice lines outside of quests. It feels like an older game limited by hardware. Even more frustrating, content from 2017 feels remarkably similar to content from 2024. The formula hasn’t evolved.

Frustration

This staleness feeds into an overall frustrating experience. It’s not clear what you’re supposed to be doing. The game doesn’t guide you well. I tried to search for answers, but the flood of information online is either unhelpful or outdated. Warframe suffers from a similar issue, but its codex system makes things easier to figure out. It shows which quests need doing and explains mechanics better. It’s not perfect, but compared to Destiny 2, it’s a godsend. For example, Destiny asked me to “visit the Drifter.” Who is that? Where is that? In Warframe, the codex would at least give you a bit more information.

The result is an experience that feels alienating. For a game with such high production values, it’s oddly unwelcoming.

Free to Play… or Locked Fun?

Destiny’s free-to-play (F2P) model also rubs me the wrong way. While the base game is technically free, much of the content is locked behind paywalls. Worse, some of that content eventually gets removed from the game entirely. This makes it feel less like a true F2P game and more like a demo. You can play one mission before you have to pay.

Most F2P games make their money through cosmetic microtransactions, but Destiny combines that with paid expansions. On console, certain content even requires a subscription due to platform rules. It’s a business model more akin to an MMO than a F2P game, but even then, it falls short. Other F2P games at least offer consistent access to their content; Destiny seems to thrive on locking fun away.

Less MMO, More Looter Shooter

Destiny’s gameplay loop revolves around loot. You can choose between three classes, and the goal is to gather gear. While this is similar to MMOs, Destiny lacks key MMO features. There’s no crafting, no trading, and no player housing. Instead, you’re tasked with farming bounties to get randomly generated loot. The idea is to grind until you get a good roll. The system allows you to merge gear to improve it, but this process isn’t well-explained. The lack of guidance makes it hard to know if you’re making progress.

It also wants to be a hero shooter, but the classes feel too similar to differentiate them meaningfully. While the weapons feel good to use, the rest of the experience feels shallow—like it’s torn between genres and unable to commit to any one identity.

Shadow of Halo

Destiny feels like a Halo clone, which is ironic given that Bungie created Halo. It’s as if Bungie has stuck to one game style and refused to try anything different. The result is a game that feels like it’s in a constant identity crisis.

Destiny’s core design lacks direction. It feels like it was originally meant to be a single-player game that was awkwardly morphed into an MMO-lite. Yet, it’s missing essential MMO features like trading or clan headquarters. Combine this with an epic, serious story mixed with an unserious tone, and you get a game that doesn’t quite know what it wants to be.

Warframe vs Destiny

On the surface, Destiny and Warframe seem similar—sci-fi looter shooters competing for the same audience. But a closer look shows stark differences. Bungie has 1,300 employees (not all working on Destiny), while Digital Extremes (DE) has around 500 employees (again, not all working on Warframe). Yet DE has consistently outpaced Bungie in terms of content delivery.

Here’s a quick breakdown of major Destiny content since 2019:

  • Shadowkeep (Oct 2019)

  • Beyond Light (Nov 2020)

  • Witch Queen (Feb 2022)

  • Lightfall (Feb 2023)

  • Final Shape (June 2024)

Meanwhile, Warframe delivered:

  • 15 major updates (U24 to U38), including multiple new open worlds, quests, modes, and remasters.

  • Examples include The New War, The Duviri Paradox, and Warframe: 1999.

Warframe’s updates are free and remain accessible. The game has evolved significantly, adding new characters, reworking old content, and introducing systems like spaceship combat, racing, and even fishing. Warframe embraces creativity and risk-taking. Destiny, by comparison, feels small—even its grand skyboxes can’t hide its lack of scope.

Zero Advertising, Maximum Respect

There’s a joke in the gaming community that Warframe’s advertising budget is Destiny’s development budget. Warframe’s success has come from respecting its players’ time and wallets. Weekly development updates and livestreams keep the community informed, creating a sense of connection. By contrast, Bungie’s communication has been sparse—a single blog post in 2024 is hardly enough.

Warframe is one of the longest-running and most popular F2P games, consistently delivering more with less. Destiny may have had greater mainstream success, but Warframe has quietly built a loyal community by doing right by its players.

Do I Keep Playing?

That’s a hard question to answer. I’m finding little reason to stick around. I’m curious about certain systems—how to get better armour, what the Light system does, and how to get stronger—but the lack of guidance makes it a struggle. I’m playing solo and don’t want to spend money, so I’m muddling through. Destiny feels like it’s in a lull, and I can’t take it too seriously.

What puzzles me most is why Destiny was so successful in the first place. Everything I disliked about the beta remains, yet it’s managed to maintain a large audience. Maybe that’s the real mystery—how a game with so many flaws became one of gaming’s biggest names.

Artificial Intelligence (AI): Computer-Generated Storm

Artificial Intelligence (AI): Computer-Generated Storm

Artificial Intelligence (AI) has taken the tech world by storm, becoming a central topic of conversation. Once a niche interest, it now concerns everyone. Machine learning and algorithms have long dominated this space, but AI promises something even smarter. These advanced models claim to produce human-like language, art, videos, and voices at impressive speeds. However, human input remains essential for their output. But do these advancements truly represent intelligence?

The Risks of Human-Like Output

The companies behind AI often focus on potential future capabilities, promising remarkable achievements with more data, control, and power. However, this human-like output poses significant risks. For example, scammers now use AI-generated voices to mimic family members, creating new avenues for fraud (The Guardian). These scams involve spoofed phone calls, claiming a family member is in trouble and needs money—an old scam with a new technological twist.

Artists are also under threat from AI-generated cover bands, which dilute their original work (Slate). Similarly, authors face fake books published under their names, damaging their reputations as they struggle to remove these fraudulent works. Deepfake technology exacerbates these issues, escalating concerns around online abuse and privacy (Boston University).

Data: The New Goldmine

Data has become the new goldmine, with AI models demanding more of it. Companies like Reddit have struck deals with Google and OpenAI to license content, setting a precedent for others (Reuters, The Verge). However, some companies are pushing back against their content being used for free to train models. For instance, the New York Times has filed a copyright lawsuit against OpenAI (Harvard Law).

This is just one of many ongoing legal battles. OpenAI’s consumer-focused chatbots and Meta’s open-source Llama model illustrate the rapid evolution of large language models. Open-source models, often developed without much fanfare, are making quick progress. Practical applications like NVIDIA’s DLSS 3, used for upscaling and frame generation, showcase AI’s potential, despite ongoing challenges. Here’s a video showcasing DLSS 3.

DLSS 4 is coming soon that video is two years old and we’re currently on version 3.8.

The Reality of AI Hype

Despite these advancements, much of the current AI hype feels like a marketing gimmick rather than a transformative tool. AI outputs have their uses but are also susceptible to misuse. Concerns about unregulated use by individuals and potential data breaches are already surfacing, as seen in the case of Star Health’s data leak (Life Insurance International). Imagine the risks when employees use such technologies without their employers’ knowledge, potentially exposing sensitive information to remote servers (Forbes). Something that has already happened leaking of information.

Addressing the Challenges

While I don’t see this wave of computer-generated content as an immediate threat, I have serious concerns about our ability to grapple with existing problems. Misinformation and disinformation thrive in an environment that prioritises engagement over quality, exacerbated by lax moderation practices. Tackling these issues would require overhauling business models and restricting who can post online—steps that could reinforce the dominance of existing tech giants and stifle new challengers.

The internet, built on non-profit code and maintained by a few volunteers, faces growing instability. Big tech has built empires atop this fragile foundation, often unwilling to share profits or cede control. With major regulatory powers like the USA, China, and the EU each pursuing their own visions, the once open World Wide Web increasingly resembles a series of closed-off walled gardens.

The Future of AI and Content

With the flood of computer-generated content on the horizon, distinguishing between real and fake will become increasingly difficult. As we silo ourselves into personalised content bubbles, our perspectives on reality may diverge further. Addressing these challenges will require a concerted effort to ensure that AI serves as a tool for enhancement, not exploitation.

For clarity, I did put this into ChatGPT for spell-checking and grammar edits. It is a useful tool but does not transform the world. Here is the problem without me telling you, you would not have guessed.

Good man and bad president Jimmy Carter

Good Man and Bad President Jimmy Carter

Jimmy Carter was a good man but a bad president. He was also unlucky. A one-term president, he served during a time of deep crisis—some of his own making, others beyond his control. The weak economy of the 1970s, hit by multiple shocks, defined his presidency. The oil shock of the decade led to high inflation and unemployment, causing widespread dissatisfaction with his leadership. One of his key decisions was appointing Paul Volcker as Chair of the Federal Reserve. While Volcker’s policies eventually reduced inflation, the benefits and credit largely went to Carter’s successor.

Carter’s style of governance was rooted in attention to detail, micromanagement, and telling hard truths—often to his detriment. He presented himself as an outsider and acted in a more human, smaller role, akin to a head of state. Above all, he prioritised public service and duty for the greater good—a trait that defined his post-presidential years. A reformer and a strong defender of civil and human rights, Carter did some of his most important work outside the White House. He never allowed his presidency to define him. Avoiding the lucrative path of paid speeches, he focused instead on the hard work of progress.

Above all else, Carter was a public servant—modest and honest. His biggest flaw was his stubbornness as an outsider, which left him isolated and unable to work effectively with his own party. However, this same quality became a strength after leaving office. While his presidency is widely considered a failure, he laid the groundwork for his successors’ successes.

The Iranian hostage crisis exemplifies his misfortune. Carter authorised a daring but failed rescue mission, yet he worked tirelessly until the final minutes of his presidency to negotiate their release. The hostages were freed mere minutes after Ronald Reagan took office. This incident highlights Carter’s bad luck and the potential humiliation inflicted by Iran—though whether the delay was intentional or coincidental remains unclear. Carter’s hard work often went unrecognised, but he never sought the limelight. Years later he did win noble peace prize.

He reminds me of the late Queen Elizabeth II: a public servant above all else, never seeking to enrich himself and always maintaining modesty, even while occupying a grand office. After leaving office, Carter never pursued wealth. Instead, he used his influence with a deep sense of public duty. His approach to leadership reflected a more European style—dignified and understated, though occasionally outspoken. It feels almost poetic.

His successor, Ronald Reagan, was his complete opposite—a pattern that seems to repeat in history. The contrast is evident today with Joe Biden and Donald Trump. The latter, a criminal, represents a bad man and a bad president. Biden, much like Carter, is blamed for issues largely beyond his control. High inflation has tarnished his reputation, and his party struggles to craft a positive narrative. Biden is passing on a recovered economy, but without receiving the credit. It feels tragically poetic that Carter passed away before Trump takes office again.

Jimmy Carter lived to the remarkable age of 100, serving as the 39th President of the United States and outlasting many of his successors. Trump, set to become the 47th president, underscores Carter’s extraordinary longevity. Carter was the oldest living former president, a title that now passes to Joe Biden—who originally endorsed Carter early in his career. This full-circle moment connects the oldest president, the oldest former president, and now the oldest to take office. Both men have been heavily influenced by Christian values and beliefs.

My knowledge of Carter was rather limited until his death. I knew about his work building homes and that he was an outsider. I never saw him giving speeches or trying to make money. He was a low-key public servant even outside of office, and he earned my respect. He is one of the great post-presidencies, redefining what it means to serve after leaving office. Carter created a blueprint for others to follow. There will not be another one like him—American politics is too toxic and dysfunctional now. The age of good chaps and gentlemen is over. A former peanut farmer, Carter was a good man but a bad president—a shining light for how politicians should conduct themselves out of office.

Festive music

Festive music

Today’s post is more light-hearted: my favourite popular Christmas music.
This will form part of a playlist. I don’t have any strict rules, apart from focusing on popular songs. Last year, I made a playlist—which you can find here—with various rules attached. This year, I’m being more flexible, sharing thoughts and a little bit of history along the way. Below are some songs—you may recognise a few.

The list is sorted by release date, showcasing a mix of classics and newer songs:

  • Deck the Halls by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original carol dates back to 16th-century Wales)
  • Joy to the World by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original written in 1719)
  • It’s Beginning to Look a Lot Like Christmas by Perry Como (1951)
  • Jingle Bell Rock by Bobby Helms (1957)
  • Rockin’ Around the Christmas Tree by Brenda Lee (1958)
  • It’s the Most Wonderful Time of the Year by Andy Williams (1963)
  • Sleigh Ride by The Ronettes (1963)
  • Happy Xmas (War Is Over) by John Lennon (1971)
  • Wonderful Christmastime by Paul McCartney (1979)
  • Walking in the Air by Peter Auty (1982, originally from The Snowman)
  • Do They Know It’s Christmas? by Band Aid (1984)
  • Last Christmas by Wham! (1984)
  • Merry Christmas Everyone by Shakin’ Stevens (1985)
  • Carol of the Bells by John Williams (traditional; this arrangement is from Home Alone (1990), original composed in 1914)
  • Santa Claus Is Coming to Town by Michael Bublé (2011, though the song dates back to 1934)

I may have added more songs than I originally planned, but these are classic Christmas tracks. I’ve included some well-known tunes that are played on repeat during the season. Growing up, I remember these songs being everywhere. Back then, music was more communal: you had the radio and, later, TV. Families would gather to listen or watch scheduled playlists together. You couldn’t pause or replay them, so you had to catch them live.

Today, music feels more personal. With headphones and streaming services, public music has become less common. Streaming allows us to play songs on repeat, turning us into our own DJs. Algorithms create playlists tailored to individual tastes, trapping us in personal bubbles. Unlike in the past, when everyone was exposed to the same songs, the shared experience of loving—or hating—a popular tune is disappearing.

Honestly, that’s a shame. The music industry has changed drastically, shifting from the golden age of physical media to the dominance of streaming. Many of these songs have been covered countless times, often based on older carols. Streaming has even shaped music itself, making songs shorter and faster-paced.

Among the more recent hits, All I Want for Christmas Is You by Mariah Carey (1994) is iconic. A modern favourite of mine is Snowman by Sia (2017)—it’s rather good. There are also Christmas covers in metal or rock styles, offering a fresh twist on traditional pop versions.

Lately, I’ve come to enjoy jazz at Christmas—it’s calming and refreshing. Examples include O Little Town of Bethlehem by Chris Botti or Oscar Peterson, both offering unique takes on this carol (originally written in 1868). Santa Claus Is Coming to Town by Bill Evans and a jazzy twist on Baby, It’s Cold Outside by Jimmy Smith and Wes Montgomery are equally brilliant.

Classic carols also have enduring appeal. O Holy Night (1847) and Jingle Bells (1857) are often covered. Carol of the Bells, with its Ukrainian origins, has become timeless. Once in Royal David’s City (1848) and Away in a Manger (1885) remind me of nativity plays, while The Twelve Days of Christmas (1780) is one I can never quite remember all the words to.

Some carols have ancient roots. The oldest I found is Jesus, Light of All the Nations, dating back to 4th-century France. It’s not widely known, and I’ve yet to find a modern performance. Another is The Friendly Beasts, a 12th-century tune still sung today, with a modern version written in 1920.

Modern interpretations, like A Mad Russian’s Christmas by Trans-Siberian Orchestra (1996), mix classical and rock. The band, oddly American, has loads of excellent Christmas-themed music. O Holy Night by Apocalyptica (2008), with its stunning use of violins, is soothing and relaxing.

Finally, I’ll mention Skating by Vince Guaraldi Trio (1965) from the Charlie Brown Christmas special and the Dance of the Sugar Plum Fairy (1892) from The Nutcracker. These remind me of Christmas theatre and festive imagination. For a fun twist, check out Don’t Shoot Me Santa by The Killers (2007) or Winter Lights by Ferran Leal (2020).

In total, this post features 34 songs. Thanks for reading—happy holidays or winter!

Today’s post is more light-hearted: my favourite popular Christmas music.
This will form part of a playlist. Apart from focusing on popular songs, I don’t have any strict rules. Last year, I made a playlist—which you can find here—with various rules attached. This year, I’m being more flexible, sharing thoughts and a bit of history. Below are some songs—you may recognise a few.

The list is sorted by release date, showcasing a mix of classics and newer songs:

  • Deck the Halls by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original carol dates back to 16th-century Wales)
  • Joy to the World by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original written in 1719)
  • It’s Beginning to Look a Lot Like Christmas by Perry Como (1951)
  • Jingle Bell Rock by Bobby Helms (1957)
  • Rockin’ Around the Christmas Tree by Brenda Lee (1958)
  • It’s the Most Wonderful Time of the Year by Andy Williams (1963)
  • Sleigh Ride by The Ronettes (1963)
  • Happy Xmas (War Is Over) by John Lennon (1971)
  • Wonderful Christmastime by Paul McCartney (1979)
  • Walking in the Air by Peter Auty (1982, originally from The Snowman)
  • Do They Know It’s Christmas? by Band Aid (1984)
  • Last Christmas by Wham! (1984)
  • Merry Christmas Everyone by Shakin’ Stevens (1985)
  • Carol of the Bells by John Williams (traditional; this arrangement is from Home Alone (1990), original composed in 1914)
  • Santa Claus Is Coming to Town by Michael Bublé (2011, though the song dates back to 1934)

I may have added more songs than I originally planned, but these are classic Christmas tracks. I’ve included some well-known tunes that are played on repeat during the season. Growing up, I remember these songs being everywhere. Back then, music was more communal: you had the radio and, later, TV. Families would gather to listen or watch scheduled playlists together. You couldn’t pause or replay them, so you had to catch them live.

Today, music feels more personal. With headphones and streaming services, public music has become less common. Streaming allows us to play songs on repeat, turning us into our own DJs. Algorithms create playlists tailored to individual tastes, trapping us in personal bubbles. Unlike in the past, when everyone was exposed to the same songs, the shared experience of loving—or hating—a popular tune is disappearing.

Honestly, that’s a shame. The music industry has changed drastically, shifting from the golden age of physical media to the dominance of streaming. Many of these songs have been covered countless times, often based on older carols. Streaming has even shaped music itself, making songs shorter and faster-paced.

Among the more recent hits, All I Want for Christmas Is You by Mariah Carey (1994) is iconic. A modern favourite of mine is Snowman by Sia (2017)—it’s rather good. There are also Christmas covers in metal or rock styles, offering a fresh twist on traditional pop versions.

Lately, I’ve come to enjoy jazz at Christmas—it’s calming and refreshing. Examples include O Little Town of Bethlehem by Chris Botti or Oscar Peterson, both offering unique takes on this carol (originally written in 1868). Santa Claus Is Coming to Town by Bill Evans and a jazzy twist on Baby, It’s Cold Outside by Jimmy Smith and Wes Montgomery are equally brilliant.

Classic carols also have enduring appeal. O Holy Night (1847) and Jingle Bells (1857) are often covered. Carol of the Bells, with its Ukrainian origins, has become timeless. Once in Royal David’s City (1848) and Away in a Manger (1885) remind me of nativity plays, while The Twelve Days of Christmas (1780) is one I can never quite remember all the words to.

Some carols have ancient roots. The oldest I found is Jesus, Light of All the Nations, dating back to 4th-century France. It’s not widely known, and I’ve yet to find a modern performance. Another is The Friendly Beasts, a 12th-century tune still sung today, with a modern version written in 1920.

Modern interpretations, like A Mad Russian’s Christmas by Trans-Siberian Orchestra (1996), mix classical and rock. The band, oddly American, has loads of excellent Christmas-themed music. O Holy Night by Apocalyptica (2008), with its stunning use of violins, is soothing and relaxing.

Finally, I’ll mention Skating by Vince Guaraldi Trio (1965) from the Charlie Brown Christmas special and the Dance of the Sugar Plum Fairy (1892) from The Nutcracker. These remind me of Christmas theatre and festive imagination. For a fun twist, check out Don’t Shoot Me Santa by The Killers (2007) or Winter Lights by Ferran Leal (2020).

In total, this post features 34 songs. Thanks for reading—happy holidays or winter!