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Stephanie Condon is a staff writer for CBS Interactive based in Portland, Oregon, covering business technology for ZDNet. She previously covered politics for , as well as the intersection of technology and politics for CNET. Stephanie graduated with a . in communication from Stanford University.

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... entire Web was loosely based on the premise of citation—after all, what is a link but a citation? If he could devise a method to count and qualify each backlink on the Web, as Page puts it "the Web would become a more valuable place." [33]

Despite their affluence, seniors remain disproportionately the beneficiaries of government subsidies and tax breaks. German think tank Bertelsmann Foundation has called Canada among the “least intergenerationally just” countries in the world, with a troubling large gap between the poverty rates of seniors and children and a strong “elderly bias” among government programs and tax systems. It found we spend nearly four times as much on support for seniors as we do on children and have roughly $250,000 worth of government debt for every child, an indication that future generations will be paying for the excesses of previous ones.

DUBNER: You come from a most distinguished economics lineage: your father and mother were both economists, as were two uncles who each won a Nobel Prize — Paul Samuelson and Kenneth Arrow . When you grow up with economics in your blood and in the air, how does that inform your worldview?

October 29 (Day 302, Division):  Tropical Storm Philippe formed under the horse's head of Cuba on October 28, 2017 and proceeded across the southern tip of Florida.  As it proceeded up the East coast, it put on a male sex display to illustrate the rebellious congregation that rejects the Grace message of the pastor.

Rian Johnson is a true representative of Generation X, a talented and gifted man whose singular voice has been muffled by the presence of aging giants taking up creative space around him. If Johnson had arrived on the scene in 1972 with a film as smart and accomplished as his debut “Brick,” I could easily imagine him having been embraced as were Lucas or Spielberg or Friedkin, and given the same opportunities they received for far less accomplished debuts. (“THX-1138,” for all its technical achievements, suffers from an intellectual coldness of execution; no one ever has made a case for “Sugarland Express” as other than pleasantly forgettable; and the less said about “The Night They Raided Minsky’s,” the better.) But Johnson, and his fellow Generation-X directors, men and women, came of age as young filmmakers in the early 2000s– an age dominated by Baby Boom filmmakers like Spielberg, Lucas, Cameron, et al. Johnson’s opportunities (and theirs) were diminished. To contrast, in the ten years starting with “Sugarland,” Spielberg made eight films; Johnson made three. Not everyone is a Spielberg, of course, but it’s a fact the Baby Boom generation sucked up most available funding for filmmaking between the mid-1970s and the late 2000s. Talented filmmakers like Rian Johnson (and fellow Generation-X director Patty Jenkins) paid their bills and honed their skills directing television, where they contributed (with other shut-out Generation-X creatives) to an explosion of remarkable narrative experimentation unequaled on the big screen itself.


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