#install jenkins

[getcodify]

How to install Jenkins in Ubuntu/Linux

Jenkins is an open-source automation server. Continuous integration and continuous delivery are made possible by automating the software development processes of developing, testing, and deploying. It is a server-based program that runs on Apache Tomcat or another servlet container. Prerequisites: A server or virtual machine running Ubuntu Linux (or another Linux distribution of your…

[learnwikis]

How to Install Jenkins on Windows in 8 Easy Steps

Jenkins is a powerful automation tool that helps streamline software development. Installing Jenkins on Windows is simple and takes just a few steps. First, download Jenkins, install Java, and configure system settings. Then, run the installer and complete the setup. For a detailed step-by-step guide, check out this article: 8 Easy Steps to Install Jenkins on Windows.

[archijain931]

What are the key features to consider before Jenkins Installation?

Before installing Jenkins, ensure your system meets hardware and software requirements, including a compatible OS and Java version. Consider network configuration, security settings, necessary plugins, scalability needs, and backup solutions. Integration with existing tools and systems should also be evaluated to ensure seamless operation and optimal performance.

Read more : https://xuzpost.com/what-are-the-key-features-to-consider-before-jenkins-installation/

[beyourselfchulanmaria]

He makes sculptural street installations. Jenkins' practice of street art is to use the "street as a stage" where his sculptures interact with the surrounding environment including passersby who unknowingly become actors. His installations often draw the attention of the police. His work has been described as whimsical, macabre, shocking and situationist. Jenkins cites Juan Muñoz as his initial inspiration.

Tudela, Spain - by Mark Jenkins (1970), American

[theskillpedia]

Jenkins Installation and Agent Configuration On Linux 8 Demo

[sirfrogsworth]

sirfrogsworth please i am begging to know your boomer uncle’s thought process when he installed all those spam search bars what on earth was he TRUING to do

This was my Uncle Larry. He died in 2014 from a lifetime of smoking.

But while he was alive, he was what my grandma would refer to as "a character."

I feel like seeing his photo gives a partial explanation of the toolbar fiasco.

He was a man stuck in the 1960s but extremely curious about new things.

It was the early 2000s and I was trying to make some extra money. So when he was interested in getting a computer I offered to build him one from scratch.

What I didn't consider about this arrangement was that I was basically signing up to be my uncle's IT person. If something went wrong, it could possibly be due to a mistake I made.

He called me up complaining he couldn't see his websites and that the computer was running slower than normal.

I boot up his system and it takes 10 minutes to get to Windows. The desktop was filled with random programs he installed. And when I opened his web browser I was immediately greeted with a dozen pop up advertisements. Once I nuked them all, all of the different search toolbars were revealed. There was maybe a few inches of space for viewing websites and he had just been looking at photos a segment at a time for weeks before wondering if maybe it wasn't supposed to work like that.

I asked him why he installed all of this crap and he told me he didn't realize he had a choice. He just thought you had to say yes to everything that popped up on the screen. He also opened every spam email he received.

To make matters even worse, when he was searching for lewd pictures of Catherine Bell (aka the "JAG lady" with nice cans), he ended up on various softcore porn sites containing ever more dangerous pop up ads. And he clicked on all of those as well.

He loved the internet. It was a wonderland for such a curious person. He loved typing in random things and just reading and looking at pictures for hours. Aside from Maxim photos of TV celebrities, his searches were pretty innocent. He looked at old cars he used to own and lawnmowers he wanted to buy. He read old war stories and found websites helping him learn how to whittle walking sticks.

But he had no sense of danger. He had a Leroy Jenkins approach to life. He just sort of jumped into whatever without any fear or caution. Which is probably why my parents were so pissed at him when he offered 8 year-old me a ride on his new motorcycle. He immediately took me off-road and up a steep hill without a helmet or telling me to hold on. And it was a Harley, so not really meant for that terrain.

I tried a virus scan and it just said "You have every virus." So I had to nuke his Windows install from orbit. I then gave him computer lessons, which he paid me for, so that sort of worked out despite how frustrating it was to keep him from clicking on random things.

Uncle Larry taught me an important lesson.

Never tell your family you know about computers.

[wheelsgoroundincircles]

In the early years of Pro Stock racing the weight factors were very important. Smaller engines ran in lighter cars. Bill Jenkins decided that a 331 cubic inch small block Chevy was optimal.

He installed a small journal 327 crankshaft with bearing spacers into a 350 4-bolt main block. He decided that 5.85 inch long connecting rods were the best length (5.70 is stock). Then he bored the block .030 oversize.

When he installed it into his Vega he won so many races that he was considered the highest paid athlete that year.

[londonspirit]

Was there ever any doubt that Our Flag Means Death Season 2 wouldn't end in thrilling fashion after taking all of us on a rollercoaster of emotions? Probably not, but show creator David Jenkins and writer John Mahone, who teamed up on the script for the finale episode, seemed distinctly driven to squeeze as many tears out of us watching as possible. With the dynamic between Stede (Rhys Darby) and Ed (Taika Waititi) seemingly fractured as of the season's penultimate installment, it was unclear how — or if — the two men might eventually reconcile, but a new threat to the Republic of Pirates, alongside Ed's realization that maybe he isn't meant to be a fisherman after all, sends the two back into each other's arms, literally.

While some characters are afforded something resembling a happy ending, with Stede and Ed deciding to try their hand at being innkeepers as they watch the Revenge sail off into the sunset under Frenchie's (Joel Fry) command, not every single crew member emerges from the finale battle unscathed, chief among them Ed's first mate and formerly ruthless right-hand Izzy Hands (Con O'Neill), whose parting words to Ed may be the very thing that the former Blackbeard needs to hear in order to fully come to terms with accepting the man inside him all along.

Ahead of the Season 2 finale premiering on Max, Collider had the opportunity to reconnect with Jenkins to discuss some of the episode's biggest moments. Over the course of the interview, which you can read below, Jenkins explains why Izzy's speech is both a eulogy for the character and a statement about the show itself, how the Season 2 premiere and finale bookend each other with those beach scenes, and why he wanted to use that Nina Simone needle drop in particular. He also discusses why the season concludes with a wedding at sea, what the finale sets up for Season 3, and more.

COLLIDER: I feel like my first question, in a completely non-serious way, is: how dare you, and my immediate follow-up is: what gives you the right?

DAVID JENKINS: I'm sorry, I'm sorry. Also, I am God to these creatures! But it was hard. It was a hard decision.

The episode kicks off with a somewhat more lighthearted moment, which is Ed realizing he's not cut out for the fishing life after all. On the heels of Stede and Ed’s big fight in the episode prior, why did it feel important to have Ed humorously have the revelation of, “This isn't what I really want after all?”

JENKINS: Well, I like the idea that Season 1 is about Stede’s midlife crisis, and Season 2 is about Ed's midlife crisis. I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it's revealed that he really isn't a simple man; he’s a complicated, fussy, moody guy. No, he's not gonna be able to catch fish for a living. For him to be told that, “At your heart, you're a pirate. You have to go back and do it,” he doesn't want that to be true, but it was true.

Speaking of characters that have a revelation about themselves, Izzy's speech about piracy, about belonging to something and finding family, feels like the thesis statement of this show. Was that the intention behind it?

JENKINS: When I wrote that, I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it. Yeah, this is how he sees piracy, and also that's not how he would have viewed piracy in the first season. He would have viewed it as, “I'm here to dominate you, so you work for the boss.” By the end of his journey in the second season, he sees that they built him a unicorn leg, he learned to whittle, and he mentored Stede. He's learned that, actually, a pirate crew works differently than what he thought and that they are all in it together, and they do this for each other. So it felt right for Izzy’s arc, and it is kind of an overall statement about the show.

It's interesting that you call it a eulogy, because, by the time we get to the scene where we know Izzy's not going to make it, it feels like he's using his last moments for Ed more than himself. He has those final words to Ed of, “They love you for who you are. Just be Ed.” Is that the kind of the thing that Ed needs to hear in the moment — even as he's losing, arguably, someone he's known even longer than Stede and is just as close to on an emotional level?

JENKINS: Well, I like that Izzy gives that to him, and then Izzy also apologizes to him because he says that he fed his darkness and that they were both Blackbeard together — that Blackbeard wasn't just Ed, that they did it together. In a way, it's very much for Ed, that speech. The “we were Blackbeard” is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he's worked so hard for that — and then just to say, “You can give it up.” There can never be a Blackbeard again as far as Izzy’s concerned because he's dying, and they did that together.

I wanted to ask you about the Stede/Ed reunion. We get Ed finding Stede's love letter that was written all the way at the beginning, and then also the beach fight/reunion. It's definitely a callback to the dream, but was that always the way that you wanted to bookend the season? Here's the dream and the fantasy, and then this is the real moment that we get to have?

JENKINS: It was nice. I knew that I wanted to have the Republic of Pirates at the beginning and end up with the Republic of Pirates. I think the reunion of it was a nice surprise, but it felt right. And finding the letter in a bottle — if you have a letter in a bottle, it's thrown out somewhere, it has to pop up somewhere, you have to see one of them at some point. But yeah, there's a circular nature to it, and that's why I thought it would be good to use Nina Simone at the beginning and at the end as a callback. This dream in this way did come true, and they made it come true.

When I talked to you at the beginning of the season, you mentioned the Nina Simone needle drop, but couldn't say anything about the significance of it at the time. I talked to [music supervisor] Maggie [Phillips], as well, about the needle drops throughout Season 2, and she said you always had a very clear vision for what song you wanted there. A lot of people know the original, but why did you pick Nina's cover? It strikes a different tone; there's a hopefulness to it in a lot of ways.

JENKINS: Yeah, it's wistful. There's a lovely part that sounds like church bells, which is great for the wedding part of it, and then it's just moving. I love her interpretation of it. It’s wistful, positive, and it felt like the end of the show to me. There's a size to it that, up against these images, I just was like, "Yeah, this would be really good. I want this to be in the show."

I did want to ask you about the wedding because on the heels of Izzy's death, it's bittersweet, but also, it's a sign this crew has become a family, and they can still find happy moments and reasons to celebrate. We’ve seen Black Pete and Lucius reconnect, but also reconcile and navigate through Lucius's problems and have their own, almost parallel trajectory journey as a couple alongside Stede and Ed in a way. Was that something that you always wanted to close the season on, the two of them getting hitched?

JENKINS: Yeah. We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they've always been in relief to Stede and Ed, and they're a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other.

Speaking of Ed and Stede watching everybody sail off, that was an outcome that was somewhat surprising, I think because where they are, you think maybe they're going to end up sailing off with everybody else.” But no, instead, it's just this sweet, lovely note of them getting to play house for a little while. What inspired that turn for them?

JENKINS: I think that they've come to the point in the relationship where they say, “Yeah, we're gonna give this a try,” and that's where the story really gets interesting. That will-they-or-won't-they is interesting to a point, but the real meat of it is always like, “Can they make the relationship, and can they do better than Anne and Mary?” That's the question that we all ask ourselves when we end up in a serious relationship is: can we make this work, and can we get through the hard times? Then they're both very damaged, and it's gonna be a challenge for them, and that's where the story gets interesting.

I'm not sure you can really tease much for a Season 3, but we talked before about how you have your vision for where you want to take this, and based on what we see at the end of Season 2, the implication is that we're going to have Stede and Ed off together, but is the plan to also continue with the other characters as well in their own places?

JENKINS: Yeah. Frenchie’s in charge of the Revenge, and I think Frenchie's Revenge would be an interesting place to work and an interesting ship to be raided by. Then I think that the Revenge means a lot to Stede, and it would be very hard for him to give it up, and he hasn't had a great track record of that. So I think the odds of them all finding each other again are quite high.

All episodes of Our Flag Means Death Season 2 are available to stream on Max.

[eyrexyz]

How I'll Cope With TRON Now: A Trans/Antifascist reading of TRON Catalyst the morning after I finished it

Last night, I went to sleep close to 5am for the second night in a row, after playing the new Tron: Catalyst all night. Waking up and going about my day, I fancied writing an essay about it, to get out all the thoughts banging around in my head.

I'm not a massive Player-Of-Games but I really love Tron, and after really enjoying Identity a few months ago I played Catalyst on the lowest difficulty setting, which tactfully targets players like myself, who are in it for the story :')

It's a fantastic game made with a great deal of intention, craft, love of the franchise, with amazing art, music, and voice acting.

But the story. The story!

I am going to review the game. But I'm going to take a little while to get there.

When I eventually get to the stories set in the Arq Grid, there will be spoilers for both Identity and Catalyst, which I'll warn of again closer to the time.

Why TRON is always doomed: A recap of "The 2010s Attempt"

A cynical part of me always expects modern Tron to be somewhat disappointing. The franchise is best known by the average viewer for being very pretty, (in both music and visuals).

But the premise (information technology developed under capitalism inevitably enables decline into totalitarian fascism) and influences (cyberpunk is owned by the gays I don't make the rules) demand a story that grapples with our relationship to technology. Intentionally or otherwise, Tron media being so spread out with such long periods of inactivity primes the franchise to deal with things as they are in the present moment ... which in turn grants it an element of prophecy as characters advance each installment to its conclusion.

Unfortunately, the franchise is owned by Disney.

Legacy, while visually stunning and a miracle of production design, confounds first-time viewers with its inescapable 2010s-Hollywoodness. A relic of Henry Jenkins-induced Convergence Culture/Transmedia Storytelling optimism, the film was designed incomplete, to be accompanied by games, comics and a tragically ill-fated animated show - this last item highlighting painfully to me how poorly the folks at the helm of TRON in the 2010s grasped the risk they were taking on by having the franchise split across so many media.

Uprising explores themes of antifascist organising, clearly intending for later seasons to portray the cast standing united against CLU's regime.

All together, "The 2010s Attempt" at TRON - in Legacy and Betrayal - paints an incomplete picture of the inevitability of the descent of Kevin Flynn's creations into fascist dystopia. His own flaws and oversights amplified by his automation through CLU of the execution of expertise not natural to himself as a programmer and wealthy CEO.

I interpret Legacy as ending with Kevin Flynn still not fully caught up on everything Sam would, and could teach him, rather behaving as Sam and Quorra would want him primarily out of regret, and faith in their capacity to fix his mistakes. Bro didn't just fuck up - he only barely started to make it right.

Meanwhile, in Uprising we touch briefly on the development of programs' collective awareness that revolution is possible through organising and mutual aid. But this project is sadly never completed.

TRON from Legacy onwards feels like an overlooked IP, a missed opportunity specifically because of its ability to convey scraps of prophecy, without us ever being given the payoff of its characters really attempting to chart a path forward through the world that it outlines.

Each TRON installment is just a visit, each climax a hasty escape whose success comes late and is pulled off just barely.

This accumulates monumental amounts of ambiguity.

How I Coped With TRON Before Catalyst

For the longest time I've huffed mad copium finding the strengths that exist in this ambiguity - nothing highlights this more than exploring the identities of Sam and Quorra:

Is Sam Flynn a faceless Hollywood cutout, or an asexual nonbinary baddie with an intuitive recognition of the poison at the heart of our connected world, rooted in their own lived experience, and disillusionment with their father's legacy?

Is Quorra a pretty-girl-born-yesterday, or a survivor of genocide, living with crippling survivor's guilt, mentored by a god-who-is-not-her-god in whom she has been conditioned to see no flaws, who orientalises her and encourages her to minimise her trauma in service of his own ego?

Why not all of the above?

In my mind, the end of Legacy drops us in the first seconds of their shared work to overcome their hermeneutical injustices.

Quorra sure is a gal who doesn't talk much about surviving a genocide. Sam sure is a they who's awfully fond of saying what they aren't.

Would it strip us viewers of our agency, to reveal what happens next? Are we not better off contemplating recovery, companionship and hermenutical injustice in our own lives, and imagining our own sequel to Legacy, where Sam and Quorra's stories are continued?

Had a script been put forward that tangled adequately with those issues, would studio executives not have been afraid of it?

There's a killer hurt/comfort slice of life fan comic with the two of them in here somewhere, and I'm so completely all for it.

This has been a very amenable way of enjoying TRON for many years. Much ambiguity. Very subjectivity.

Then, earlier this week, TRON Catalyst came along...

The Arq Grid (Here be spoilers)

The first thing you notice about the Arq Grid in Identity is that (with the exception of the Automata) the designs of the ISOs has all but homogenized to be much closer to the basic programs, and away from the more vibrant designs seen in the ISO city in TRON: Evolution. Programs talk about their functions, their purpose, their usefulness, just as they did before.

The second thing you notice is that there are fascists here too.

Identity creates a small world, on a small scale, for a short period of time.

It's slow, thoughtful. I felt the choices permitted to Query allowed you to follow three main routes - short of moment-to-moment decisions, you could subscribe to three main "metanarratives":

a collaborator

an antifascist

a Disciple of Tron, which I'll define as sticking to the principle of non-interference mostly strictly with every choice.

On my Identity playthrough I had fun roleplaying the last one, letting the Core bloke get captured, letting Cass die, but also letting Sierra escape.

The overwhelming takeaway upon playing Catalyst was that DoT principles didn't matter. When faced with Core fascists, the principled Query may as well have been punished no differently to the antifascist Query, who would have taken what I felt was the morally correct decision at every turn.

What makes TRON: Catalyst so exciting for me are the themes that get carried over from Identity, and advanced upon.

Once again, the main antagonist is an older male program, a foot soldier beneath a more powerful Core higher-up. Conn feels betrayed, underutilized, preserved perfectly in a state of anger and unfulfillment, yet committed completely to the regime and the principle of the supremacy of the regime's notion of strong over the regime's understanding of weak (everything that isn't strong).

If I had a pound for each time a Bithell TRON game had made a slightly dim middle aged male underling who saw himself as principled the main antagonist, I'd have £2, which isn't much, and it's not weird that it's happened twice.

Conn and Grish are the fascist archetype most likely to kill you. They're the kind that returns home after the war completely broken, who goes on to inflict their trauma upon generations, zealous to a fault with seemingly no awareness of the scale of their own violence, a big ugly ball of thought-terminating cliche and bigoted rage. Disengaged from the politics around them but loyal to the "principles" accumulated from doing what they're told and seeing the world through their masters' eyes.

But TRON: Catalyst wastes no time with its unprecedented opportunity, demonstrating what a sequel in the TRON universe could, and should always have meant: It charts a path of action.

The reveal as I began the endgame had me screaming.

Anyone who played the Catalyst demo owes it to themselves to see how the Reset Loop mechanic comes into its full actualisation.

It begins as a somewhat unintuitive variation on a mechanic standard to any game - when you die you go back to the start of the level .... but intentionally sometimes? Isn't that just developer-imposed soft-locking?

The loop goes somewhat underutilised for the first few levels, but comes back with full force, as the endgame has you groundhog-daying your way to full-scale revolution, organising and uniting every side character to whom it occurs to you to revisit, pulling off Pizza Tower-tier escapes as you strategically appease or anger Core authorities, only to reset them and return to your friends bringing news of another place, another time, igniting hope they never knew they could still have.

I felt like a god in the final levels, my strongest attack able to derezz any enemy in one hit, on the condition that they strike first and I parry in self-defense.

TRON: Catalyst takes a step no TRON media has ever accomplished before: it charts a path forward through the ambiguity. TRON: Identity is a microcosm of all other TRON media, but alongside Catalyst it becomes something truly special.

By uniting an artist, a doctor, a gay scientist, some wasteland-dwelling anarchists, the protagonist from Identity, and a decent bloke you met in the changing rooms, you see that the Automata schools of isolationism and collaboration adopted to ensure their survival are overcome, and a revolutionary unity is formed.

Freeing the means of production (and discovering a really mysterious box??) at your local power plant has never felt so good.

How I'll Cope With TRON Now I've Finished Catalyst

I don't have high hopes for Ares. I don't know anyone who does.

But, I'm overjoyed that if Ares is terrible, there will be something to point to in its stead.

Catalyst fulfills the demands of TRON's premise and influence, and accomplishes something the series has never managed before.

Without Catalyst, the inevitability of a terrible Ares had me resigning myself to TRON's slow descent into an underwhelming Hollywood action series.

With Catalyst, I feel I've finally seen what TRON can be if it's not just a world to be "visited", but a roadmap of positive action on top of its philosophical, socio-technical commentary.

I still hate that it's owned by Disney.

I still take reassurance from the merits of the ambiguity of Sam and Quorra's sunrise.

But I'm glad that the series I love is finally beginning to receive the treatment I feel it deserves.

I really, really hope that the Arq grid gets another sequel.

...

Y'all I write chiptune and perform it live at cabaret shows wearing real-life homemade electroluminescent TRON fashion you should definitely check it out <3

[holycompendium]

Ascendants OC Masterlist ⛊ Pt. 1

⚔︎ quick context : ascendants is my upcoming descendants fic series centered around merlin academy. you can catch the first chapter of the first installment right here!

ADAM ST. ROSE

Fate : Become cursed to live as a beast & marry Belle. Face Claim : Maxwell Jenkins

ANA CRESTA

Legacy : Daughter of a Neverlandian mermaid. Face Claim : Daniela Avanzini

ARTHUR "ART" PENDRAGON II

Legacy : Son of King Arthur of Camelot. Face Claim : Joshua Bassett

ASTERIA CHARIS

Legacy : Adopted daughter of Erato, muse of lyrical poetry. Face Claim : Bailey Bass

AZRIEL INDIRA

Legacy : Son of the Blue Fairy. Face Claim : Omar Rudberg

BELLE BAPTISTE

Fate : Marry the beast king Adam & establish the United States of Auradon. Face Claim : Zoe Colletti

CASPIAN DELMAR

Legacy : Son of Arista, nephew to Ariel & Eric. Face Claim : Reece King

LYNN ORELLA

Fate : Become the all-powerful enchantress who curses Prince Adam. Face Claim : Choi Yunjin

CLAUDE FROLLO

Fate : Become the villainous archdeacon of Notre-Dame. Face Claim : Case Walker

CRUELLA DE VIL

Fate : Descend into madness and become a tyrannical heiress. Face Claim : Riele Downs

ELI LA BOUFF

Fate : Inherit his family's business and become a wealthy sugar baron. Face Claim : Maxwell Acee Donovan

EUGENE "FITZ" FITZHERBERT

Fate : Abandon his royal heritage and become the thief Flynn Rider. Face Claim : Aryan Simhadri

FINCH

Legacy : Illegitimate son of Robin Hood. Face Claim : Brandon Severs

GASTON LEGUME

Fate : Become an arrogant and selfish game hunter. Face Claim : Belmont Cameli

GRIMHILDE

Fate : Become the Evil Queen & stepmother to Snow White. Face Claim : Ariana Greenblatt

JAFAR

Fate : Become the scheming royal vizier of Agrabah. Face Claim : Jahed

KIRSTI LINDT

Legacy : Daughter of Anna & Kristoff, niece to Elsa. Face Claim : Shay Rudolph

LEAH ROSE

Fate : Marry King Stefan and give birth to Aurora. Face Claim : Dior GoodJohn

LOUIS FACILIER

Fate : Sell his own soul in exchange for the power of a Hodou bokor. Face Claim : Niles Fitch

MIMINA "MIMI" MIM

Legacy : Granddaughter of Mad Madam Mim. Face Claim : Avantika Vandanapu

MAI TREMAINE

Fate : Become the head of the house of Tremaine & become Cinderella's stepmother. Face Claim : Kang Haerin

MULAN FA

Fate : Defeat the Hun army and save the Imperial Kingdom. Face Claim : Zhou Xinyu

ODILE "ODIE" ARNAUD-CHRISTOPHE

Fate : Become an eccentric & benevolent Houdou priestess. Face Claim : Whitney Peak

SAM "SMEE" SMIEGEL

Fate : Serve as Captain Smith's boatswain and first loyal mate. Face Claim : Owen Joyner

STEFAN MOREAU

Fate : Marry Queen Leah & father Aurora. Face Claim : Kahlil Beth

URSULA

Fate : Become a fearsome sea witch. Face Claim : Chandler Kinney

ZEVON

Legacy : Son of Yzma. Face Claim : Charlie Bushnell

[providing-leverage]

It is a truth universally acknowledged that in Leverage/Librarian crossovers, Eliot and Jacob are long lost twins or at least related in some way (this might have changed since Redemption gave us canon Eliot backstory, idk) but what to do about our Mr Wilson, who bears a striking resemblance to Flynn Carsen?

I've always thought that Harry is a clone of Flynn. There was some kind of magical duplication process back when he was solo Librarian and of course you can't have two of the same guy hanging around. So the two Flynns flipped a coin because no one knows who the original was. One had his memory wiped and was installed in Louisiana as Harry Wilson.

Jenkins is supposed to check in on Harry every once and a while but frequently forgets just how fast time passes. Last time he checked, Harry was a successful lawyer with a wife and daughter. This most recent time though...well, at least he seems to be having fun?

[getcodify]

How to install Jenkins on Windows Server

Installing Jenkins on a Windows server is straightforward. Here are the step-by-step instructions: Prerequisites: A Windows Server machine (Windows Server 2012 or later). Administrator privileges on the server. Java Runtime Environment (JRE) or Java Development Kit (JDK) installed. Jenkins requires Java. Steps: 1. Download Jenkins: Visit the official Jenkins website to download the Windows…

[mariacallous]

On a dead-end road that climbs out of the tiny city of Jenkins, in the foothills of the Appalachian Mountains in Eastern Kentucky, there stands a large warehouse with a mint green roof. It shares the road with a few other businesses, but is otherwise surrounded by an expanse of open fields and tree-lined slopes. Inside, the warehouse is stacked high with racks on racks of computers—thousands of them. But none have ever been switched on.

The warehouse is owned by Mohawk Energy, a company cofounded by Kentucky state senator Brandon Smith in 2005, originally to resculpt landscapes disfigured by coal mining. After lying dormant for a period, Mohawk was reincarnated in 2022 when Smith struck a deal with HBTPower, a company then owned by Chinese crypto exchange Huobi, which wanted to use the warehouse for a bitcoin mining operation.

Under the deal, Mohawk promised to fit up its warehouse with the necessary power infrastructure, operate the equipment, and funnel any bitcoin produced to HBT. In return, HBT would pay Mohawk a monthly hosting fee, a cut of its mining revenue, and the associated energy bills.

Smith says he hoped the arrangement would generate tax revenue and create jobs for former coal miners, who could be trained as repair technicians. The coal industry departed Jenkins long ago, the reserves depleted, leaving people in search of work. More than a third now live below the poverty line, per the latest census data. “I liked the idea of going from one type of mining to a new type,” says Smith. “I thought, now in Eastern Kentucky we are going to have our time—we’re going to catch up and play a part in the tech future.”

But after a promising start, the relationship between Mohawk and HBT soured and then fell apart. “Nothing has ever been turned on. It’s a fascinating, almost Willy Wonka–type atmosphere when you walk through,” says Smith. “It has turned into a disaster.”

In November 2023, HBT brought a lawsuit in federal court, alleging that Mohawk had breached its contract on several fronts, including by failing to install the appropriate power infrastructure and secure certain power subsidies, and attempting to sell off the mining equipment. “Ultimately, the source of the current dispute is Mohawk’s basic failure to comply with its obligations, not only in a timely way, but at all in many regards,” says Harout Samra, a specialist in international dispute resolution at law firm DLA Piper and representative for HBT.

Mohawk sued HBT in return, contesting the various alleged breaches and claiming that HBT is delinquent on more than $700,000 in rent, labor, and fit-up costs. The company is also seeking damages relating to the loss of income over the term of the contract and the inability to bring a new tenant into the facility while the equipment remains on-site. “Huobi simply made a bargain it believes now is a bad one, and wants to get out of it without paying the funds it owes,” the filing states.

The legal conflict, which remains unresolved, is just one in a series of fights between Chinese companies and the owners of industrial facilities in the rural US over failed bitcoin mining partnerships. What looked to facility owners in Kentucky like an irresistible opportunity to tap into a new line of business in an otherwise fallow period has turned into a nightmare. They claim to have been saddled with unpaid hosting fees and energy bills worth hundreds of thousands of dollars, with few options for recovering the money. The Chinese parties have been left equally displeased. “HBTPower obviously regrets that this opportunity has ultimately played out the way it has,” says Samra.

The bitcoin mining game—a race between computers to win the right to process a bundle of transactions and claim a crypto reward—is dominated by large corporations that own and operate industrial-scale facilities. But in 2021 and 2022, smaller-scale operations began to proliferate in the US countryside wherever there was available power, including in Kentucky. “A lot of mom-and-pop shops opened up,” says Phil Harvey, CEO at Sabre56, a firm that consults on crypto mining projects and operates its own facilities. “Appalachia has always been a good source of power.”

These small facilities were plugging a gap in the market. A ban on crypto mining in China had left businesses casting about for a new home for their many millions of dollars’ worth of mining equipment. “A lot of wealthy Chinese businesses were affected,” says Harvey. “Every minute these machines are down, they are losing revenue.” Meanwhile, as the price of bitcoin ballooned—and the profitability of mining along with it—mining firms and investor groups began to hoard large quantities of bitcoin mining equipment of their own, says Harvey, without considering where they might deploy it.

In an overheated market, holders of mining equipment jumped into hosting arrangements at short notice with owners of small facilities, some of whom had no prior experience and insufficient expertise, who agreed to install the equipment and run the mining operations on their behalf.

But the haste with which these hosting relationships came together, in the name of striking while bitcoin was hot, says Harvey, set many of the partnerships up for failure. There was limited due diligence conducted by parties on both sides, delays in kitting out facilities and deploying equipment, and disputes over payment terms, he says, among other points of friction. “It's a snowball effect where everyone just ends up getting pissed off with each other,” says Harvey.

Though the American market proved more expensive and bureaucratic than some Chinese businesses expected, says Harvey, problems were also caused by the hubris of facility owners, some of whom found themselves in over their heads. “It’s no joke running a [bitcoin mining] operation of any kind of scale,” he says. “Just because the Chinese are tough to do business with, doesn’t mean they are the ones in the wrong. I would say that blame is equally shared.”

The law firm acting for Mohawk in its dispute with HBT, Anna Whites Law Office, has represented multiple owners of small facilities in Kentucky in similar legal conflicts with Chinese partners. The cases differ from the Mohawk situation, says attorney Anna Whites, founder of the firm, but share a common thread: “We saw a pattern that [companies with ties to China] would ship in machines with uncertain provenance, mine very heavily for three months, then run without paying the bill,” she claims.

Some of the cases settled out of court; Whites is unable to supply the details for reasons of client confidentiality. But others continue to drag on.

Biofuel Mining, a company formerly co-owned by Smith, is involved in legal tangles with two companies that Whites believes to be run out of China: Touzi Tech and VCV Power Gamma. Although both are incorporated in Delaware, per SEC filings, they conduct business in Mandarin and cannot be reached at their listed US addresses, Whites claims. “It's pretty standard for the foreign entities from any country to get a short-term office so that they have less scrutiny from US investors and government agencies,” she says.

In both cases, Biofuel claims, the firms shipped equipment from China to its hosting facility in Eastern Kentucky, then walked away with the bitcoin produced, leaving behind hundreds of thousands of dollars in unpaid energy bills and hosting fees.

Biofuel reached a settlement with Touzi in early 2022 for $60,000, but despite having handed back the mining equipment, it claims not to have received the sum it is owed under the agreement.

In the still-unresolved spat with VCV, Biofuel received permission from the Martin County Circuit Court in Kentucky to sell off the mining equipment, claims Whites, to recoup a portion of the funds it is owed (she has not confirmed the amount), but she alleges that no damages have yet been awarded. VCV has stopped responding to communications, she claims.

Biofuel has since dissolved, put out of business by the failed hosting ventures. “I literally lost my house—I lost everything. It financially ruined me,” says Wes Hamilton, former Biofuel Mining CEO. “I’m just so frustrated about the whole thing.”

WIRED contacted VCV and Touzi for comment, but did not receive any response.

There are few financial recovery options for companies like Mohawk and Biofuel. The situation is made more difficult, as in the Mohawk case, if they are dealing with so-called special purpose entities. Because they are set up by their parent companies for a single specific business venture, these entities need not be concerned about their long-term ability to operate in the US.

“It certainly can be more difficult to recover damages from a non-US counterparty,” says Kim Havlin, a partner in the global commercial litigation practice at law firm White & Case. “There is certainly a risk that an entity that doesn’t need to be in the US may just ignore the case.”

Even if the Kentucky facility owners win out in court, it could be difficult to collect any damages awarded. “A judgment is essentially a piece of paper. Any judgment needs to be turned into assets or cash in order to be valuable,” says Havlin. If the opposing party refuses to pay up and has no US assets to collect against, sometimes that isn’t possible.

Almost a year after the dispute began, the Mohawk case is stuck in legal limbo. In a setback for Mohawk, the presiding judge recently denied its motion to dismiss HBT’s complaint, on the basis that it had failed to sufficiently back up its argument. The judge also pushed Mohawk’s countersuit into arbitration, a forum for resolving disputes privately instead of in open court. Non-US parties tend to prefer arbitration as a way to “remove a home forum from both sides,” explains Havlin. “You can pick an arbitral seat in neither country as a means of creating a neutral playing field.” A parallel federal court hearing is set for December to consider whether an injunction should be imposed on Mohawk, preventing it from selling off the remaining HBT equipment in its possession.

Smith has given up on the idea of recovering the full amount he claims to be owed. “We’re at the point that it’s almost silly to even be arguing about breaking even,” he says.

In an interview with PBS that aired in September 2023, touting the Mohawk Energy facility, Smith said he hoped to prove that not every business that blew into Jenkins would abandon the area. “I’ve stood at their ribbon cuttings, then watched them leave. I’d like to do something to let people know that not everybody is like that,” he said.

After the relationship with HBT collapsed last year, Smith faces the prospect of Mohawk becoming yet another false start. With the facility inactive, the company has been forced to dismiss the former coal miners brought on as technicians. (It is unclear how many people it employed.)

The Mohawk facility was perhaps never set to revitalize Jenkins in the way Smith hoped, anyway. “I would say that a rural community benefits very little from a bitcoin mining facility. In terms of job creation, it’s minimal in a lot of cases,” says Harvey, the consultant. “It's certainly not the savior to a dwindling community.”

Nonetheless, Smith remains hopeful of salvaging the crypto mining project, with a new partner. “I’m hoping that this gets settled in the way that it should and that somebody comes forward and lets us go through with the vision that we wanted for this region,” he says. “I hope every day that maybe some big company will see that there's a place ready to go in this part of the country.”

Otherwise, Mohawk’s dalliance with bitcoin mining will become a cautionary tale. “It was very hurtful to see these families lose their income. We were one of the biggest payrolls in Jenkins,” says Smith. “It adds insult to injury that I’m sitting here arguing in court.”

[garadinervi]

Bethany Collins, The Odyssey: 1862 / 1837, (graphite on Somerset paper in 2 parts), 2024 [Courtesy Alexander Gray Associates, New York and Germantown, NY; Patron Gallery, Chicago, IL. © Bethany Collins]. From: Bethany Collins: At Sea, (installation views), Seattle Art Museum, November 14, 2024 – May 4, 2025

Installation views [Photographs: Scott Leen]

Installation views [Photographs: Chloe Collyer, Evan Jenkins]

[pomegranate]

THANK YOU to both @amrv-5 and @hawkesque for tagging me to ask for my list of

9 of my favourite films that I watched for the first time this year!

I’ve seen 49 new (to me) movies this year - and I will be watching at least one more new one before tomorrow at midnight to cap it off at 50 - and there were a lot of really great ones overall, but these ones get the honour of being named my favourites.

(after making this list I realized 4 of them take place during periods of sweltering heat lmao. INTERESTING)

- Past Lives (2023, dir. Celine Song): I talked about this one a bit in that end of the year ask meme but I really didn’t know what to expect going into this one and came out deeply affected in a way I’ve not been able to put into words. I can’t believe this is Celine Song’s directorial and screenwriting debut?!?! It feels so well-crafted and extremely deserving of the praise it’s received. I think this description from a Looper listicle sums it up beautifully: "a master class in the art of subtlety while evoking complex human emotions. The minimalist love story is like no other in how it expertly captures the slow-burn nature of fate. It's a bittersweet experience that'll leave you aching for all of life's "what-ifs.""

- Asteroid City (2023, dir. Wes Anderson): I really enjoy some Wes Anderson films but a few of his more recent ones missed the mark for me, so I wasn’t sure how I’d feel about this one. Happily, I had an absolutely fantastic time watching this with friends - it’s funny and inventive in a way that really tickled me, and the heartbreaking romance woven into the “background” of the story (quotation marks bc it’s not really the background) really stuck with me.

- High and Low (1963, dir. Akira Kurosawa): I’ll admit I wanted to see this after Ayo Edebiri included it in her Criterion Closet video bc I have a massive crush on her and I admire her taste, and BOY it did not disappoint! It’s just under 2 and a half hours long but I was so wrapped up in the tension and drama that the time absolutely flew by. My first Kurosawa film but definitely not my last!

- Nine To Five (1980, dir. Colin Higgins): I did not expect to have so much fun watching this but I should’ve known a movie starring Jane Fonda, Lily Tomlin and Dolly Parton would have me clapping my hands and stomping my feet with delight. Dabney Coleman is also SO great as their disgusting boss and a special shout out to him for how funny he was in each of their little fantasy sequences. God, if only real life was as satisfying as the ending of this film.

- Roman Holiday (1953, dir. William Wyler): I’ve had this on DVD for years but only got around to watching it this past August and OH what a beautiful movie! It’s wild to me that this was Audrey Hepburn’s first film; she’s totally captivating and I can’t take my eyes off her the entire time. Definitely one I’ll be returning to again and again.

- Moonlight (2016, dir. Barry Jenkins): I’m embarrassed it took me this long to watch this film but unsurprisingly, it’s as magnificent as everyone has always said. Chiron’s story is told so beautifully and the way it all comes together in the end is simply perfect. Every performance felt vivid and authentic and each actor who played Chiron made him feel like a real person I was watching grow up on my screen. Quite possibly one of the best movies of all time.

- Dog Day Afternoon (1975, dir. Sidney Lumet): I challenged myself to only include one Al Pacino movie on this list and since this is the one that kicked off my Pacino era (despite me having watched Cruising earlier this year), it’s gotta be here. Watching it a second time also highlighted how well made it is as a film - Al is magnetic in his performance as a desperate man pushed to the brink to take care of the person he loves. The rest of the cast is fantastic as well, especially the tellers, led by Penelope Allen. And now that I’ve seen the 2nd Godfather installment, my love for John Cazale has blossomed fully. I love the deeply disturbed Sal sooooo much. GOD I haven’t even touched on Lumet’s insanely masterful direction and the fact that this movie swings from unbearable tension to being hysterically funny within moments is BEYOND incredible. MOVIE OF ALL TIME!!!!!!!!

- Rear Window (1954, dir. Alfred Hitchcock): Another one that I’m embarrassed I hadn’t seen until this year, despite recognizing many references to it through pop culture (most notably the Simpsons ep where Bart thinks Flanders has murdered his wife). It lives up to the hype, with a murder mystery so well-crafted that even if you KNOW where the story is going, you’re still not entirely sure what’s going to happen next. I’m also so fascinated by Hitchcock’s use of cameras (both Jeff’s and the actual camera filming the movie) to show us the range of humanity on display within a fairly confined area and how Jeff’s voyeurism is contrasted with our voyeurism as the audience. I need to watch this again bc I know I wasn’t fully appreciating that storytelling device the first time.

- Do The Right Thing (1989, dir. Spike Lee): I said this in my other post from the end of the year meme, but I had absolutely no idea what to expect going into this movie and it floored me. I was immediately drawn into the vibrant community where I’d be spending the next couple of hours, with Lee’s distinctive directing style making me feel like I was right there in Brooklyn with the characters as the heat and tension simultaneously reached a boiling point. The explosion that we see kick off with about half an hour left to go in the runtime is inevitable but still felt like a punch in the stomach. God. I think my heart rate is climbing just thinking about it. One of the most powerful cinematic experiences I’ve had in a long time.

Honourable mentions that didn’t make this list include Bottoms (2023), Charade (1963), Some Like It Hot (1959), Gentlemen Prefer Blondes (1953), Hundreds Of Beavers (2022), Scream (1996), …And Justice For All (1979), The Godfather Part II (1974), Fancy Dance (2023), and The Holdovers (2023).

As for tagging other people, I’m going to leave it blank for now bc I’ve been sitting in a chilly vehicle writing this but I may come back later, not sure! I don’t want to pressure anyone who doesn’t feel like doing it but PLEASE do it if you want to & tag me in your lists bc I would love to read them!!!

[mxmollusca]

As we all process the second installment of David Jenkins' AU historical RPF, I want to remind you all of one of the most important rules of fanfic:

DLDR

That goes for engaging on social media as well. Don't like what people are saying? Mute them. Block them. Curate your space. Do not forget that social media is literally designed to stoke discord. It's a feature, not a bug.

If David Jenkins can turn off his Twitter replies, so can we all.