It was when the third or fourth thing ended up persistently broken after an update and the whole system became too much of a pain to use. I honestly don’t recall if it was XP or Win 7.

I had used a couple of Linux flavours before for a short periods and originally planned to dual boot, but this time, just never got around to putting a new Win partition on and found that I had no need for it anyway.

I am pleasantly surprised that it got through. However, I think that the devil is in the detail:

Immediately, politicians started voting on more than 100 amendments to make the plan more flexible.

We’ll have to wait and see how much value is left following this teeth-pulling exercise.

Any interest that I have in this is entirely due to Paul King and his work on the Paddington films. It could be good as a result.

Meanwhile, of course, The Great Glass Elevator is sitting resentfully in the lobby, tapping it toe.

The entire cast begins to chant “You can’t dream if you don’t fall asleep” over and over again.

It’s “You can’t wake up if you don’t fall asleep” surely?

And that has a very different meaning.

Personally, I saw the film - and a good deal of the rest of Anderson’s work as a study of the nature of authenticity: the contrast between authentic commitment to the path one has chosen in life (which most of the character demonstrate) and the existentialist authenticity that comes from the realisation that one could make completely different choices at each and every moment - which the compressed, expressionless delivery of most of the lines throws into sharp relief: it becomes so easy to see these characters as being trapped within their chosen roles.

Of course, I am saying “chosen” here, when it seems clear that to Anderson, there is little choice: his characters and worlds are dominated by an external locus of control: they accept their roles - but authentically? Or in an abdication of authenticity?