I'm finding that DM is "adjusting" windows that I've opened since my last save, and that don't need to be adjusted to a random, unified window size. Toggle to turn off the "scale windows even if I don't know what size they should be" behavior. The only other things that I wish DM had are:ĮDIT: YOU DID THIS ONE, THANK YOU! Ģ. I'm also updating to identify one very irritating bug that I haven't been able to fix even after 1) erasing/resetting the window positions, 2) reinstalling the app, and 3) destroying the preferences: at least half the time I plug a monitor in, Safari makes the foreground window *tiny* and partially off-screen at the bottom, obviously a ridiculous position that no one would ever use. DM has limitations created by macOS, such as the inability to identify which windows are which, so it won't always get things quite right. DS_store files in order to retain window setups. Other international helplines may be found via app that solves an annoying issue, especially for those of us using cloud desktop services (like Google Filestream) that won't store. In the US, the domestic violence hotline is 1-800-799-SAFE (7233). In Australia, the national family violence counselling service is on 1800 737 732. In the UK, call the national domestic abuse helpline on 0808 2000 247, or visit Women’s Aid. The detail, the tenderness, the authenticity, the brilliant performances make the whole thing both a compelling drama and a potent testimony to the suffering of too many. And I could live without motherhood being presented as the great leveller between Alex and her client Regina, whose enormous house is the first she is sent to clean, which felt like a slightly retrograde step.īut these are quibbles. The backbreaking nature of cleaning isn’t shown. At times Alex feels just slightly too patient and generous with her limited resources to be true. It is also good at showing the insidious forms and effects of emotional abuse (more rarely depicted on screen than physical abuse is) without insisting that Alex be an ever-broken Victim-with-a-capital-V. Even when, particularly in Sean’s case, it is hard for the viewer to feel sympathetic towards him. Alex and all those around her are fully realised characters – especially her “undiagnosed bipolar” mother Paula (Qualley’s own mother Andie MacDowell) – gradually fleshed out and always played and treated with sympathy. Often, we see the running total of Alex’s finances, ticking down to zero before she can secure what she needs to get the next day’s cash – food for herself, petrol for the car she needs for work, the co-pay for Maddy’s daycare – let alone start saving towards a rental deposit.īut over the 10 hours, the series walks an admirably fine line between showing us the reality of poverty in America (which is not to say that things are any better here) and creating misery porn. The slightest mishap, without the money or resources to correct it, can only snowball into disaster. It illuminates all the vulnerabilities that having children brings. It dramatises the precariousness of existence without a fixed abode, a proper income or family support and conjures a world rarely seen in real life or on screen. Alex picks her way through the demoralising labyrinth of forms, intrusive questions, document requirements, finding herself in one terrible Catch-22 situation after another until a combination of persistence and luck enable her to start a journey back to stability for them both. Embedded within it, however, is an unflinching anatomisation of the red tape that surrounds every effort to access the (already minimal) help supposedly on offer to desperate women and their children, and the unfitness for purpose of every aspect of the state that is meant to offer succour. What follows is a part rags-to-riches – or at least to not-rags – story, as Alex starts to piece her life back together via grit, shelters, the occasional kindness of strangers and a cleaning job with a rackety firm run by an unforgiving woman named Yolanda (Tracy Vilar).
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