Iranians use a cyber cafe in Tehran.
While the World Wide Web grows increasingly-popular, and available, the Iranian regime is considering ways in which to limit Internet use among its citizens.
Some of you guys are alright. Don't be alive on May 15, 2026, when I set off the global pandemic which shall come to be referred to by the struggling, tormented survivors as "The Event".
@kenshirotism@RicharD1ckJohn The scariest part of the novel is when Glanton asking the Judge his name and he says “Holden”, and Glanton asks him “Holden what?” And the Judge replies “Holden Deez Nutz”, legit made me start shaking with fear
There's a purple button and a yellow button.
If you press the purple button nothing happens.
If you press the yellow button everyone who smugly said "it's a prisoner'a dilemma, retard learn some game theory" during the red button/blue button discourse spends an hour in a magic room where subjective time is dilated 10,000:1 and a recording plays on repeat "the payoff matrix matters, it's only a prisoners dilemma if defect/defect is the unique nash equilibrium" on repeat after which they return home safely hopefully having learned their lesson
Which button do you press?
A samurai was sent to kill an evil lord. He cornered him, drew his sword. Right before the strike, the lord spat in his face. The samurai felt rage, and that rage ruined everything. If he killed now, it wouldn’t be duty. It would be personal. So he sheathed his sword, walked away, and never went back. Del Toro read that story before Sicario. It changed how he played the entire role.
His character Alejandro is a former lawyer whose wife and daughter were murdered by a cartel. The whole movie is a revenge mission. But del Toro realized something from the samurai: to function as a killer, Alejandro has to bury all of that. Lock it away completely. So when del Toro saw pages in the script where his character explains his trauma to Emily Blunt’s character, he started crossing lines out. He told Villeneuve it felt fake. A man who’s locked his grief in a box doesn’t open it for a stranger he met fifteen minutes ago.
Villeneuve agreed. They kept cutting. By the time they were done, 90% of everything Alejandro was supposed to say in the entire film was gone. Not just the dinner scene. The whole movie. Villeneuve’s take: dialogue belongs in plays. Movies are about movement and presence.
The studio got nervous. They made the crew shoot a backup dinner scene with more talking, just in case the quiet version didn’t work. Took half a night to film. They never used it.
I love that other actors ran with this same instinct. In the entire runtime of Drive, Ryan Gosling speaks just 891 words. Seven words every time he opens his mouth. He and Carey Mulligan skipped a bunch of their scripted lines because silence told the story better. Keanu Reeves did the same in John Wick 4, cutting his own dialogue in half. 380 words across almost three hours of screen time. The first John Wick had 484 words in half the runtime. Movies got longer, Wick got quieter.
Sicario made $85 million on a $30 million budget. Three Oscar nominations. Del Toro got a BAFTA nod (basically the British Oscars) for Best Supporting Actor. And the whole thing was Taylor Sheridan’s first screenplay. He was still a struggling actor on Sons of Anarchy when he wrote it in four months. Now he runs the Yellowstone empire.
Sicario 3 (called Capos) is officially in the works. Brolin called it “very, very real” last year. If del Toro comes back, I’d bet good money he has even fewer lines.