Copy this back workout -RDL 4x6. (Always start with... a heavier compound movement) -Rows 4x10 -Pull-ups 4xAMRAP 30 second rest (weighted if needed) -Machine/cable rows 4x10 -Pullovers supersetted with face pulls 4x10show more

Carve-your-Body: 1 Arm Cable Rows Step 1: Use the... Same Leg and Rest your Knee right Behind the Bench. Step 2: Next you want to Grab the Handle with a Neutral Grip, so you can tuck your body into your Body. Step 3: Use a Thumbless Grip to Create a Greater Mind-to-Muscle Connection with your Back. Step 4: Instead of Keeping your Bod Upright, Slightly Lean Forward, so you can get a greater Stretch and Contraction in the movement. Save This for Next time you do 1 Arm Cable Rows Keep crushing itshow more

Full body late night hotel workout. Pull-ups, incline bench,... lunges back to back 1-2 min rest. 15-30 reps. Finished off with a bit of jump rope at the end. I maintain this lean condition all year by eating 190-210g of protein a day, eating spinach/kale, controlling calories and LOTS of water. I'm 6'3" and fluctuate between 190-200lbs. I like combining strength with endurance when I train as this was how I trained when I rowed Division 1.show more

My favorite bodyweight workout when I can't make it... to the gym... Be sure to save this workout and give it a try! ⁠ Bodyweight workouts can be done anywhere and anytime ⁠ They’re perfect for when you truly have no time to get to the gym as they can be done at home, in a hotel, or outside ⁠ This is a 3 round circuit that can be done in under 15 minutes⁠ ⁠ A circuit is when you do all exercises back to back with no rest until the last exercise ⁠ 1. 5 Pull-Ups⁠ 2. 10 Dips⁠ 3. 15 Air Squats⁠ 4. 20 Crunches⁠ 5. 25 Push-Ups ⁠ Rest 30-90 seconds⁠ ⁠ Repeat 3 rounds⁠ ⁠ No pull-up bar? Find a heavy furniture piece like a desk and do an inverted row ⁠ No dip bars? Use some chairs and do bench dips ⁠ Get creative! ⁠ ⁠ Feel free to adjust sets/reps/rest time based off your experience level ⁠ There is no right or wrong set/rep scheme with this ⁠ The key is just getting that heart rate up and moving!⁠ Doing something is ALWAYS better than nothingshow more

No makeup artist. No complicated routine. Just a quick... everyday glow-up in seconds Created this with Seedance 2.0 on BudgetPixel AI Prompt Storyboard: “15-Second UGC Makeup Tutorial Script (Natural, Fast-Paced, Viral Style) 0.0 – 1.5s | Hook (Front Camera, natural light) “Stop scrolling— a girl without makeup " 1.5 – 4.0s | Base (Close-up cuts) “Start with a lightweight moisturizer… then a skin tint, just dab and blend with fingers.” 4.0 – 7.0s | Face (Fast transitions) “Cream blush on cheeks and nose—this gives that soft, fresh girl look instantly.” 7.0 – 10.0s | Eyes + Brows (Quick mirror shots) “Brush brows up, add a tiny bit of mascara… no heavy eyes, just clean and lifted.” 10.0 – 12.5s | Lips (Close-up) “Lip tint or gloss—blur it slightly with fingers for that natural stain effect.” 12.5 – 15s | Final Reveal (Smile, camera pull-back) “And that’s it—everyday glow in seconds. Save this if you love easy makeup, party look"show more

Every inch of this train becomes a weapon when... survival is the only option. Made this video for @thankyouai_hq by using GPT Image 2 + Seedance 2.0 prompt Part 1 (0–15 Seconds) A cinematic 15-second realistic action sequence inside an empty modern subway train car at night. Fluorescent ceiling lights cast harsh, cool white reflections across polished gray floors, brushed metal walls, silver handrails, and blue fabric seats. The train moves at high speed, creating subtle vibrations as overhead straps sway naturally. A fierce East Asian woman in her late 20s with dark hair secured in a tight high bun wears sleek black tactical gear consisting of a fitted long-sleeve compression top, cargo pants, combat boots, fingerless gloves, and tactical harness straps. She faces four heavily armed male assassins dressed in black tactical uniforms with balaclavas. The sequence opens with a low-angle tracking shot as the assassins rapidly surround her. She instantly drops into a low combat stance, slides across the polished floor beneath a sweeping attack, and uses the momentum to sweep an opponent's legs. She springs to her feet, delivering rapid elbow strikes and spinning back kicks while weaving between vertical poles and seat rows. One attacker charges from behind; she vaults over a subway seat, plants both feet on the seatback, and launches herself into a flying kick that knocks him backward into the train doors. Another assassin swings a baton, but she ducks, rolls beneath the strike, grabs an overhead handrail, and swings through the aisle to deliver a powerful mid-air double kick that sends two attackers crashing into opposite rows of seats. Fast handheld camera, dynamic tracking shots, Dutch angles, realistic impacts, gritty high-contrast desaturated color grading, movie-quality choreography inspired by Atomic Blonde and John Wick. No music, only heavy breathing, punches, impacts, footsteps, metallic rattles, and train ambience. Part 2 (15–30 Seconds) — Continuation Continuation of the exact same subway fight with identical character appearance, clothing, lighting, camera style, and environment. The East Asian woman maintains the same hairstyle, tactical outfit, and fluid fighting style as the battle intensifies inside the moving subway car. One assassin pulls a combat knife while another rushes with a metal pipe. She sidesteps at the last second, forcing them to collide before countering with rapid knee strikes and a spinning hook kick. She dives low between seat rows, crawls beneath grabbing hands, then explodes upward into a devastating uppercut that sends one attacker crashing into a glass partition. The tempered glass shatters realistically as fragments scatter across the floor. She grabs a dropped backpack and hurls it into another attacker's face before using a vertical pole to spin around with incredible momentum, delivering a flying roundhouse kick that throws the final assassin through a subway window. Glass bursts outward in slow, realistic fragments while cold night air rushes into the train. The final moments show the floor covered with shattered glass, abandoned weapons, backpacks, and defeated assassins. She stands breathing heavily in the center aisle, adjusting her fingerless glove before calmly walking toward the subway doors as sparks flicker from damaged lighting overhead. Dynamic low-angle tracking, close-up impact shots, handheld cinematography, realistic physics, gritty desaturated color grade, razor-sharp action, cinematic lighting, no music, only realistic fight sounds, shattering glass, metallic impacts, train rumble, and heavy breathing.show more

You’re on a journey on this kind of lonely... road with your car and your car suddenly develops a fault, You can’t call for help and your lines can’t be reached due to network issues, what do you do? Except the car will stop and the engine won’t come up again, please reduce your speed and accelerate softly till you get to a nearby town, if it is an overheating issue, keep driving, put the gear in the neutral position and switch off the engine and let the car keep moving, switch it back on when you have to ascend a hilly road and the car can’t move freely on its own again. If the battery signal comes up while driving, chances are that your alternator has failed, or the alternator belt is damaged, apply the same method and switch off your AC, radio system or anything that may drain the battery while driving till you get to a safe place. If it is a flat tyre, maintain a low speed till you get to a safe place to change and use your spare, keep moving. Yes!!! Damage that tyre till you get to a safe place, just keep moving and make sure you have a spare tyre always and it is in a good condition. If the engine suddenly goes off on top speed, chances are that a fuse is damaged and this is why I will make a thread on how to identify different fuses and how to have them fixed temporarily in case of Emergencies. If your car jerks or experiences a lazy movement while driving, it’s likely to be a fuel related issue, fuel pump most likely, switch off the engine intermittently and put the gear in Neutral position, keep moving… if the fuel pump rests for about 5mins, it’ll pick up back when you ignite the engine, this will/may at least take you to a safe place or where you can have access to network to make calls. If you hear strange sounds like knocking sounds or the oil signal starts to blink, relax and reduce your speed, keep moving. Manage it till you get to a safe place or can have access to network. If your gear/transmission system isn’t selecting well, apply the same method, reduce your speed but keep moving, slow movement is better than no movement, your life and safety matters a lot. Please note that there are some Mechanical issues that nothing can solve on the road except patience and just to pray to God for safety and help, for example, you run into a pothole unknowingly and the oil pan hits the road and your engine or gear oil leaks away, or your ball joint or tie rod head pulls out, I’ll suggest you leave the car there, roll up your windows and lock up the car and start trekking till you get network or help, staying with the car may make you vulnerable to attacks or attract unexpected company, just keep walking away from the car for safety. Most importantly, please stay safe and be conscious of your environment. Be friendly with your Mechanic too or any Mechanic you see on the road. Don’t manage faults in cars and risk traveling with it.show more

Reading with your baby isn’t always as simple as... it might seem. Earlier this week, a parent asked how I’d advise reading to a toddler who may not have the attention span for a full book and who, when handling them, often tears the pages. I’m so glad you asked! This fantastic video, shared to TT a couple years back by hanzcakess, illustrates both the realities of - and several important lessons for - parents and caregivers when it comes to reading with infants and toddlers. First, when reading with very young children it’s important to begin with realistic expectations. At this little guy’s age (which I’m going to guess is around a year, give or take 2 months) babies‘ attention spans are VERY limited. Think 1-2 minutes tops. What does that mean for you? First it means that you’re unlikely to make it through an entire book. And that’s just fine. Rest assured that there’s still great value in the activity. Further, don’t be surprised if your child is more interested in interacting with (or at the earliest stages, even chewing on) the book itself rather than attending to the story it contains. That’s ok too. For both reasons, beginning with sturdy, laminated board books is well advised. Not only do these tend to be super short (with most intended to accommodate for babies’ brief attention spans), but they’re made to withstand the rigors of handling by infants and toddlers. Now, some might look at this video and (on first glance, at least) see primarily inattention. But not me! Here’s what I see: First, I see a completely normal toddler who’s already putting some really impressive book knowledge on display. Notice he’s advancing front to back and left to right as he turns pages sequentially. They’ve done this often. Also want to shout out what a truly fantastic job Dad is doing here. Notice that he’s totally letting his son dictate the terms the activity. He’s not insistent on completing the text, but goes with the flow as his son turns the pages. As the pages turn he’s helping to illustrate that the print on each one contains a unique message. And he’s singing the text! Brown Bear is a great book for this and many board books lend themselves particularly well here. Your baby isn’t judging your singing voice. Kudos on making the experience engaging. In light of all the above, don’t be afraid to stray from the text altogether as needed and use this time to simply engage in conversation about the pictures and introduce some new vocabulary. Finally, while lap reading is fantastic, at this age you may also find benefit in reading face to face, allowing your child to tune into your expressions alongside the book. Remember, there’s nothing your baby loves seeing more than you. Rest assured this stage doesn’t last forever. You’ll be snuggling up for longer sessions in no time. And while we’re on the topic of reading, I want to give a special shout out to my friends at Reach Out and Read, which is a fantastic program you may know from distributing books and sharing advice like this via your pediatrician’s office. Today I’m thrilled to be the guest on their newest podcast, discussing my book The Daycare Myth. I’ll include a link in the first reply below.show more

The wait is finally over — Spartan Fuel has... arrived. Imagine Maximum muscle growth Skin-splitting pumps Limitless energy Laser-like focus What’s the secret? An all-encompassing, comprehensive intra-workout blend. Everybody knows about the importance of pre and post workout nutrition, but intra-workout nutrition is often neglected. The optimal time to fuel your body is when you are working out, breaking down muscle fibers, expending stored glycogen, and depleting electrolytes. In order to stimulate maximum muscle growth and achieve a vicious, skin-splitting pump, we need to fuel our bodies. Spartan Fuel contains a comprehensive blend of EAAs, fast-acting carbohydrates, electrolytes, and mitochondrial boosters that provides your body with EXACTLY what it needs to perform at it’s highest level. Many of you are probably like myself; you put on your best Walter White impression and whip up a concoction of supplements to try and find that edge. Why should we leave gains on the table, right? Well, I had enough of guessing and watching my supplement cabinet (and monthly bill) continuously grow. And then it struck me. There’s no product that properly combines EAAs, carbs, and electrolytes. After lifting for years, absorbing everything I could on X, I figured it was time to make my own mark. That’s when I decided to connect with the man himself, BowTied Biohacker . Leveraging his expertise and my vision, we created a formula that would change the way we lift forever. We created a product that would be FELT IMMEDIATELY. After sending samples out to a bunch of bros here on X, the feedback was overwhelming — we had struck gold. Other-worldly pumps Gas tanks that were always running on full People crushing their log books, pumping out more reps than ever before… DURING EVERY SET Everyone felt like a million bucks. Once you try it, it you will never want to workout without it. It’s THAT good. We all push ourselves hard. Many of us train to failure. We want to get jacked. We want to get shredded. We all want to unleash our inner warrior in the gym. Now there’s a way to totally lock-in and dominate with intensity during very workout. We all know the feeling. Once in a while we have a workout that just blows us away. We feel stronger than ever, locked-in. We leave the gym with a high that has us feeling on top of the world. Now picture every single workout being that amazing. No other product can deliver the boost you need to consistently perform at the highest level. It’s basically a PED. We didn’t skimp out on quality. We didn’t cut corners. We included EVERYTHING needed to maximize results and boost performance. What many people don’t know is that in order for a supplement to truly be effective, the ingredients need to be dosed in the proper ratios. And that’s just what we did. And just when you think it can’t get any better (there has to be some catch, right…right?) We kept it natural — no artificial ingredients or sweeteners. This is something that digest like a dream, hits the bloodstream instantaneously, and fuels your muscles. Our competitors don’t do this. They sell a bunch of ingredients separately, trying to sell more products. Or they sell proprietary blends and junk loaded with fillers. Spartan Fuel makes your life easier. One tub. One scoop (or 2 if you’re like me and want to go hard). No more wasting money purchasing the entire supplement store. Whether you start drinking it on your way to the gym or as you begin your workout, you will quickly feel the difference. This fall, you can dominate every workout, and supercharge your winter bulk. And this post would not be complete without giving a huge thank you to @Thomas_Salamus_ TJ was instrumental to the birth of Spartan Fuel since Day 1. If you love his products, you’ll love Spartan Fuel. Rest assured, the quality is unmatched. The first batch is limited, so act now and don’t miss this opportunity to unlock your true potential.show more

Molly wasn't supposed to be the one who reached... Daisy. Her mother had only brought her to the shelter for a short visit, thinking they'd walk through, meet a few dogs, and leave a little while later. Down one of the quieter kennel rows, the large bulldog stood pressed into the back corner of her enclosure. Daisy looked strong from a distance, but nothing about her posture felt confident. Her head stayed low, her eyes fixed forward, and her paws were planted like the floor was the only thing holding her together. A raised bed sat off to one side, untouched. Shelter staff had already explained that Daisy had been struggling since arriving there. She wasn't aggressive, and she wasn't loud. Fear had settled into her so deeply that she no longer seemed to believe much good could come from anyone stepping through that doorway. Most visitors took one look and kept moving. Molly didn't. She lowered herself to the floor outside the kennel entrance and stayed there without making a fuss. Her small pink cardigan bunched at the elbows as she leaned forward, watching Daisy with the kind of patience children sometimes have when adults have already decided a moment is over. No treat was in her hand. No toy was offered. She only stretched out her arm slowly, palm up, and gave Daisy space to choose. Then her voice came. "Come on," she said softly. "It's okay."Nothing happened at first. Daisy stayed where she was, tight against the wall, carrying that familiar look animals get when life has taught them to expect the worst before anything else. Molly didn't pull her hand back. Another quiet second passed before Daisy shifted her weight. One paw moved forward, then stopped. Her face stayed tense, and her eyes never left the little girl sitting outside the kennel. Molly kept speaking in the same gentle voice, barely above a whisper. There was no excitement in her tone, no pressure, no rush for something emotional to happen on cue. She sounded like a child speaking to someone who seemed lonely. That was enough to change the room. Daisy took another step, then another, leaving the corner one slow movement at a time. Her body still looked cautious, but the distance between them kept shrinking until her nose was finally close enough to reach Molly's hand. Molly smiled and leaned in carefully. A second later, her arms were around Daisy's neck. Daisy didn't pull away. She stood there and accepted the embrace, pressing her heavy body close as if the decision had cost her something and comfort had finally answered back. People talk a lot about rescuing dogs, yet moments like this make it feel more honest to say that trust often has to be rescued first. Daisy walked into that day carrying all the weight of whatever had happened before. By the time Molly held her, the fear still hadn't disappeared completely. She just wasn't carrying it alone anymore.show more

For me, a small gesture in this brief video... shows what kind of person Pope Francis was. Last summer, Pope Francis was reported to have used an Italian-language slur for LGBTQ people and made some negative comments about gay priests. It seemed so out of character with the person I knew, had met and corresponded with, and who had always expressed his desire to care for LGBTQ people pastorally. Not long after these reports, in June, I was at the Vatican, having helped to arrange a papal audience for comedians. A few days before that audience, I met with the Holy Father at the Casa Santa Marta and we talked about his comments. For me, it was hard to bring up the topic, but a cardinal friend of mine encouraged me. But Pope Francis seemed eager to talk about it and told me he knew many holy and faithful gay seminarians and priests, and encouraged me to share his comments publicly, which I did (after asking him a few times exactly how to word it). And it turned out that he didn’t realize how offensive the slur was and said he’d never use it again. After that, the conversation turned to other, more relaxed, matters: the US church, the Synod, and so on. It happened to be the 25th anniversary of my ordination to the priesthood and so before leaving Casa Santa Marta, I knelt down and he blessed me. As always, it was a great gift to be with him. A few days later, at the papal audience for comedians, along with the rest of the guests, I was invited up to greet the Holy Father in the Sala Clementina, which was captured in this video. You can see that I thank him for inviting me and my laughing because we joked about my being a "famous American comedian." I start to leave, since I know he’s busy, but then he gently pulls me back and surprised me by thanking me for our conversation a few days earlier. He said that he needed to hear that and was grateful for our conversation and then gave me a thumbs up. Afterwards, I thought: Who does that? What world leader thanks someone for a challenging conversation? For me, that small gesture says a great deal about Pope Francis’s humility, openness and freedom, as well his willingness to listen and learn. Weren’t we blessed to have him in our midst?show more

Strength work for Leadville 100 💪 Over the years,... I have felt judged by the research--my strength routines were limited to a few minutes at a time, while everyone was screaming at me from their Abstracts that I needed to do way more. I noticed two big problems whenever I committed to more resistance training: 1. I'd carry around soreness even after the initial adaptation window, likely corresponding to high CK levels and some background inflammation. Either way, it would reduce running economy on subsequent running training days, and every training day counts. Split squats are the ultimate offender--an exercise that I know I should be doing, but I can't without feeling like Forrest Gump after he was shot in the butt. 2. I just wouldn't do it. Oops. With lots of guessing and testing, I developed this routine, which I'd do after my easy run on Sunday (before a Monday rest day), and sometimes after my workout on Wednesday (if I felt like it): 1. Three Minute Mountain Legs, working up to 100 single-leg step-ups (I think step-ups in particular are a magic exercise for running uphill. But remember, magic is not equal to science): 2. Back squats, 2 sets of 10 (135 pounds for me, which I make look like 800 pounds in this video. The 17-year old me who played football would laugh so hard) 3. Back extensions, 2 sets of 30, engaging glutes and hamstrings 4. Single-leg calf raises, 1 set of 100 on each leg, with a 35 pound dumbbell 5. Every day, I do the 2-minute Core Snack routine 1-3 times. My core strength is one of my best attributes for ultras, and I can do the Core Snack with our toddler Leo. I also do daily band work before running (bandz a make me dance): That's it! I also foam roll and stretch daily (don't tell the researchers, but I am a tight boi and as soon as I stop stretching, I get hurt). The lesson is not to do this particular routine, but that strength training for runners can be based on individual needs. And I personally think that routines should be short and efficient for both performance (limiting breakdown) and adherence (limiting me from being a lazy little punk). Find what works for you, do it 1-2 times per week year round (on top of some daily supportive work), and don't feel the need to pursue progressive overload. It's not about getting stronger and stronger (unless you're into that sort of thing for its own sake, which I think will sacrifice some running growth). It's about supporting performance and health 🧡show more

nijiJourneyV6 & seedance2.0でkawaii系MV🎵 みんなで踊るプロンプトを共有。15秒で5枚のリファレンスを使用💕 ✳️seedance2.0プロンプト Use the uploaded images... as the primary visual references for character design, facial style, color palette, graphic motifs, and overall kawaii-chaotic tone. 15-second music-video style animation, ultra cute and hyper pop, fast-paced, candy-colored, chaotic but readable, anime-inspired graphic motion. Main direction: The characters dance in a cute, playful, slightly chaotic “mob dance” / “idol crowd dance” feeling. The motion should feel inferred naturally from the reference images, not rigid choreography. Emphasize fast switching expressions, group-like energy, rapid cut transitions, and a dense pop visual atmosphere. Visual style: Pastel neon palette, pink, cyan, lemon yellow, mint, lavender. Bold clean outlines, flat shading, sticker-like icons, bows, flowers, sparkles, spirals, abstract shapes, pop symbols, glitchy accents, halftone dots, split panels, manga-like framing, layered collage feeling. Cute and stylish chaos, not horror, not grotesque. Character motion: Generate adorable dance movement with small bouncy steps, side-to-side body sway, quick hand poses, synchronized hops, idol-style gestures, playful pointing, little spins, shoulder pops, head tilts, wink poses, cheerful bouncing, cute rhythmic stepping.The dance should feel like a spontaneous cute flash-mob or idol crowd routine, with repeated shared gestures, group energy, and playful synchronized timing. Include moments that feel like a crowd dance or mob dance, even if only one or a few characters are visible at a time. The dance should feel energetic, spontaneous, and rhythm-driven. Expression direction: Rapid expression changes: smile, wink, surprised face, excited open-mouth face, mischievous grin, hypnotic stare, sparkling eyes, dizzy spiral-eye mood, overjoyed face, playful chaos. Expressions should switch quickly with the cuts, giving a hyperactive kawaii feeling. Editing / camera: Very fast-cut visual rhythm. Use rapid cut-ins, jump cuts, smash zooms, push-ins, pull-backs, diagonal framing, split-screen panels, close-ups of faces, occasional medium shots for dance, and layered pop composition. Cuts can change every 0.2 to 0.8 seconds. Alternate between close-up face shots, upper-body dancing, and brief group/crowd-energy compositions. The camera should feel lively and music-synced. Scene flow: 0–3s: Introduce the character(s) with fast close-ups, blinking, cute smile, eye highlights, bows/flowers/icons popping in, fast panel cuts. 3–6s: Start the dance with small synchronized idol-like motions, side steps, hand poses, bouncing shoulders, quick expression switches. 6–9s: Increase the chaos. More split panels, more characters or crowd-energy feeling, fast alternating expressions, quick hops, spins, and rhythmic pose changes. 9–12s: Peak energy. Cute mob-dance vibe, dense visual layering, multiple rapid cut-ins, close-up reaction faces, synchronized bounce and gesture-heavy movement. 12–15s: Final climax. Maximum kawaii chaos with energetic dancing, smiling faces, wink, big pose finish, layered pop symbols exploding around the frame, ending on a strong cute final pose. Important priorities: Keep the characters cute and appealing at all times. Preserve readability of faces and silhouette. Let the dance and expressions feel naturally inferred from the references. The chaos should come from editing, framing, layered motifs, and rapid expression changes, not from broken anatomy or visual confusion. Negative prompt: horror, dark tone, realistic style, grotesque face, body deformation, extra limbs, broken hands, scary expressions, dull colors, muddy palette, slow motion, empty background, overly realistic physics, unreadable face, low energy, depressing mood.Make the choreography feel partially AI-inferred from the visual mood of the references: cute, chaotic, rhythmic, slightly unpredictable, but always charming and musically coherent.show more

Carol Bennett came back from the pump and found... a brown stray sitting in the passenger seat of her old Buick. For a second, she didn’t move. The door was still open, the gas hose was still in the tank, and the dog sat there like he had been waiting to see if she would send him away. Carol had seen him for weeks at the little gas station outside Tupelo. He usually stayed near the far edge of the lot, close to the ditch behind the air machine. People left food sometimes, but he wouldn’t come close while anyone was watching. She noticed him because she had started stopping there more often after her husband, Tom, passed. The house felt too quiet in the evenings, so Carol would take the long way into town, buy a coffee she didn’t need, and sit in the car for a few minutes before going home. The passenger seat had been Tom’s spot for 42 years. That was where he kept the road map, where he opened peanut packs on long drives, where he complained that Carol’s coffee was always too hot and then asked for a sip anyway. The first time the dog came near the Buick, Carol thought it was only because of the food smell. Then he came back the next week. And the week after that. He never jumped, never begged, never tried to follow her inside. He just stood near the passenger side and watched. That evening, Carol must have left the door open while she went to pay. When she turned around, he was already in the seat. The dog looked at her with his head low, unsure what came next. Carol walked over slowly, keeping her voice soft. “I’ve seen you here every week,” she told him. “Come on, honey. You’re coming home with me.” No one at the station knew where he belonged. A vet found no chip, and nobody answered the notices Carol put up around town. She named him Rusty. Now when Carol drives into town, Rusty rides in Tom’s old seat with his nose pointed at the window. And when she pulls back into the driveway, the house doesn’t feel quite so empty anymore. Have you ever had an animal come into your life when you didn’t know how badly you needed one?show more

john wick seedance text to video prompt： [STYLE /... CINEMATIC SETUP] A 10.5-second, 16:9 photorealistic AAA action-game cinematic rendered at real-time speed with no slow motion. The setting is a cramped, cluttered late-night Asian restaurant connected to a rain-soaked street. Cyan-green fluorescent light, red neon and warm practical lamps create a high-contrast mixed-light environment, with reflections across wet floors and pavement. Shoot with a 35mm spherical lens, shallow-to-moderate depth of field and cinematic motion blur appropriate to the actual speed of movement. Use close shoulder-mounted and handheld coverage, connecting seven short close-combat shots with fast hard cuts. The camera instinctively pans, retreats or drops with each block, takedown and collision while keeping the action and contact points readable. No dialogue, no subtitles and no BGM. Generate only synchronized rain, appliance hum, urgent footsteps, fabric movement, body impacts, gunshots, metal contact and breaking glass. [IMAGE REFERENCES] No external still-image reference. Follow the written character and environment descriptions consistently. If the platform supports reference video, use the supplied video only as a reference for editing rhythm, camera distance, action direction and lighting atmosphere, not for copying a specific actor’s identity. The protagonist remains the same lean, agile man in his early forties throughout the sequence: neck-length black hair swept back, a short beard, a tired but focused face, a slightly wrinkled black suit, white shirt and narrow black tie, all carrying faint rain and wear marks. Preserve his face, hairstyle, body proportions, clothing and screen direction across all seven shots. Keep every opponent visually distinct: a man in a blue work uniform, a bald man in a navy jacket, a heavy man in a black jacket, a bald counter attacker, a red-headband attacker, a red-jacketed armed attacker and a heavy man in a dark green coat outside. [TIMELINE SECOND BY SECOND] 0–1.9s: [Shoulder-height medium close-up, tight lateral handheld tracking, real-time speed] The protagonist stands on screen left, pinning the blue-uniformed attacker against a glass refrigerator with his left forearm and palm. He delivers two compact, weighted elbow and palm-heel strikes. Each impact drives the attacker’s head into the refrigerator door, loosening his white headband and leaving a small blood trace on the glass; the attacker finishes sliding down the door while the protagonist remains standing. 1.9–4.3s: [Medium shot transitioning into a high-angle overhead, shoulder-mounted drop, real-time speed] Hard cut near the restaurant’s rear entrance. The bald attacker in a navy jacket locks the protagonist from behind. The protagonist lowers his center of gravity, traps the attacker’s arm and rotates his hips, throwing him heavily over the shoulder onto the wet floor. The camera drops with them into an overhead view. Kneeling across the attacker’s torso, the protagonist draws a compact black pistol and fires one downward shot; recoil travels through his wrist and the attacker jolts once before becoming still. 4.3–5.9s: [Tight medium shot, lateral handheld follow, real-time speed] Hard cut with both men already upright. A heavy attacker in a black jacket swings from screen right. The protagonist slips outside the punch, allowing it to pass close to his face, circles behind the attacker and locks his shoulder and neck off balance. He presses the pistol close to the side of the attacker’s head and fires. The muzzle flash briefly illuminates both faces; the attacker’s head and shoulders snap backward and his body begins to collapse. 5.9–7.9s: [Counter-height medium close-up, subtle handheld push-in, real-time speed] Hard cut to the restaurant counter. Another bald attacker bends forward and clamps around the protagonist’s waist. The protagonist pins the attacker’s head and neck under his left arm while grabbing a short, rigid pointed utensil from the counter. He drives two compact downward thrusts into the upper shoulder and side of the neck. Each contact bends the attacker’s knees further; a restrained amount of blood marks the shirt and counter edge before the attacker hangs helplessly beneath the protagonist’s controlling arm. 7.9–9.0s: [Two-person medium close-up, fast pan with a short retreat, real-time speed] Hard cut as the red-headband attacker rushes into close range. He throws a wide hook from screen right. The protagonist raises his forearm to block, catches the wrist and pulls it outward, then drives a palm heel and forearm into the attacker’s face. The camera retreats with the impact as the attacker loses his balance and staggers toward the rear right of the frame. 9.0–9.9s: [Low-angle wide shot, slight arc around the action, real-time speed] Hard cut to a wider section of the restaurant. The red-jacketed armed attacker advances from screen left. Holding a long black firearm with both hands, the protagonist uses it as a blunt weapon and swings horizontally from right to left. The weapon strikes the attacker’s upper chest and shoulder, rotating his torso, crossing his feet and sending him off balance toward screen left. 9.9–10.5s: [Exterior rainy-street medium shot, fast parallel tracking, real-time speed] Hard cut outside the restaurant. The protagonist already controls a heavy attacker in a dark green coat and uses his forward momentum to drive the man’s head and upper body into the side window of a parked black station wagon. The glass bursts inward at the contact point, scattering both large and fine fragments. The attacker folds through the broken window while the protagonist regains stable footing beside the car, ending with glass fragments still falling. [STYLE & QUALITY BOOSTERS] Maintain the protagonist’s face, black suit, white shirt, tie, hairstyle and body proportions through every hard cut. The pistol, pointed utensil, injuries and blood marks must appear only in their designated shots and must never morph or change ownership. Throws, recoil, strike reactions, loss of balance and window breakage must show believable weight, inertia and precise contact. Apply motion blur only to rapidly moving arms, weapons, glass fragments and camera-relative backgrounds. No sudden face or costume changes; no extra fingers, fused limbs or inverted joints; no morphing weapons, utensils or vehicles; no foot sliding or rubber-like collision reactions; no blood, bullet damage or glass fragments appearing before physical contact.show more

April 30 • 12:00pm ET Art Blocks + OpenSea... “Gift of time” began during my residency in Marfa, Texas, as part of the Art Blocks and OpenSea artist residency program, where a distinct shift in the experience of time became central to the work. In the desert, I felt time move differently. It stretched, slowed, and became something I noticed. After a few days, the rhythm changed. Moments felt longer, attention sharpened, and I became increasingly aware of each moment as it passed. This work comes from that condition. Time is not treated only as a theme, but as a system embedded in the structure of the piece. Different ways of measuring time, such as mechanical cycles, calendars, and lunar phases, are translated into rules that continuously transform the work. The piece does not represent time. It runs on it. Its movement is tied to blockchain time. Even when unseen, it continues to rotate and evolve. When loaded, it synchronizes with the present moment, but it does not begin when it is viewed, and it does not stop when it disappears from the screen. During the residency, I spent hours thinking, sketching, and making connections. Those connections are also visible. Elastic lines, like rubber bands, link elements across the piece, representing how memories connect, how one thought leads to another, and how everything builds over time. These same connections introduce moments where the system attempts to pull itself back, as if trying to regain control. But it never fully resets. It is not a loop. The movement continues, drifting forward, never returning to a fixed state. Visually, the work reveals its own construction. Lines, paths, and rotations expose an internal logic, like looking inside a mechanism. The drawing language recalls diagrams, technical sketches, or the interior of a mechanical watch. It is a system in motion, always active. “Gift of Time” exists because I was given time by Art Blocks, OpenSea, and above all my family. It is my way of saying thank you. It is both a reflection on time and a product of it. April 30 @ 12:00pm ET on Art blocks & OpenSea 1 / 1 / 365 • 0.02 Eth Art Blocks, OpenSeashow more

Would you dare chase justice while swinging thousands of... feet above traffic below? Seedance 2 prompt on BudgetPixel AI Create a 15-second ultra-realistic cinematic high-altitude tether-swinging action sequence in strict 16:9 landscape, native 4K, 24fps. Use one seamless continuous drone follow shot with no cuts, no teleporting, and no time skips. The motion must feel physically continuous, dynamic, thrilling, and always readable. REFERENCE: image1 = main heroine reference. Use image1 as the strict identity reference for the heroine’s face, facial proportions, hairstyle, hair color, body proportions, age impression, outfit, shoes, accessories, styling, and overall recognizable appearance. Preserve her identity consistently throughout the whole video. Keep her as an original urban tether-swinging action heroine. Do not redesign her into a branded superhero character. Do not add franchise logos, copyrighted chest emblems, or recognizable third-party superhero symbols. CORE CONCEPT: This is an original urban tether-swinging action short. The heroine moves through the city using thin wrist-launched fiber lines, momentum, wall-running, rooftop movement, and real parkour body mechanics. She travels at high altitude between tall buildings, then lands on a rooftop, defeats one villain, and ends with a powerful shout. HOOK: The first second must be an instant scroll-stopping hook. Start with the heroine already falling backward off the edge of a very tall skyscraper. For a brief moment, it looks like she may actually fall. Then she instantly fires one thin tether line upward, it catches, and her body snaps into a huge high-altitude swing between buildings. STYLE: Photorealistic live-action realism. Premium cinematic action quality. Bright daytime Los Angeles atmosphere with realistic haze, realistic motion blur, realistic fabric movement, realistic body weight, real inertia, and practical environmental interaction. The sequence should feel like a premium action movie shot, not animation, not a game cutscene, and not a cartoon. CAMERA: One uninterrupted drone follow shot only. No cuts. No resets. No jumpy edits. No impossible viewpoint teleporting. The drone camera must stay wide enough to show both the heroine and the environment together. It may tilt, roll, arc, climb, and dive with the motion, but it must always feel like one real flying camera tracking her. Keep the framing intense and fast, but always readable. ENVIRONMENT: Bright daytime in a dense modern city inspired by Los Angeles and Hollywood. Show: - tall glass and concrete high-rises - rooftop edges - billboards and signage - palm trees far below where visible - busy roads and traffic far beneath - bright haze and sunny atmosphere - believable large-scale urban depth The action must happen mainly high above the street between tall buildings, not low near the ground for most of the video. VILLAIN RULE: Only one villain appears in the entire video. The villain is one adult male enemy only. He wears a fitted black suit, black shirt, and black shoes. No mask, no armor, no fantasy costume. He appears only in the rooftop combat section. Do not generate multiple enemies. Do not generate background enemies. Do not clone or duplicate the villain. ACTION RULES: The heroine’s movement must feel hand-and-foot driven, not magical floating. She must visibly: - fire thin tether lines from her hands - swing with real tension and momentum - push off building surfaces - run along walls with clear foot placement - absorb landings with bent knees - sprint briefly on a rooftop - fight one villain using fast practical action - finish in control Her body mechanics must stay realistic: - core engaged during swings - arms extended or flexed according to line tension - knees bend on landing and push-off - visible transfer of momentum between swing, wall-run, leap, landing, and combat Do not make her hover weightlessly. Do not make the tether line act like magic. Do not make her float in place unnaturally. EMOTIONAL ARC: - opening: shock and immediate control - mid-swing: intense focus - rooftop approach: rising confidence - rooftop fight: sharp aggression and urgency - ending: victorious adrenaline and fearless release AUDIO: No music. Effects and ambience only: - rushing wind - tether firing and tension snaps - air pass-by - foot impacts on walls and rooftop surfaces - city ambience far below - distant traffic and horns - fabric movement - breathing - one short rooftop fight impact sequence - one powerful final shout from the heroine TIMELINE: 0:00–0:01 Start from black into a shocking rooftop-edge fall. The heroine is already dropping backward off a skyscraper. For a fraction of a second it feels dangerous and uncontrolled. She immediately flicks her wrist and fires one thin tether line upward. It catches instantly. The drone yanks back and reveals the start of a huge swing. 0:01–0:04 The heroine swings at high altitude between tall buildings. The city is far below. Her body forms a long aerodynamic arc, one arm holding tension through the line, legs trailing cleanly behind. The drone follows wide and slightly rolled, emphasizing height, speed, and scale. 0:04–0:06 At the swing’s forward rise, she releases the line and redirects toward a nearby glass-and-concrete building. She plants onto the wall and runs across it diagonally with 4 to 5 clear steps. Her feet hit the wall with visible force. Her jaw is set and focused. The drone stays close but wide enough to keep the city depth visible. 0:06–0:08 She pushes explosively off the wall, fires a new tether line, and swings again through a narrower corridor between tall buildings. The movement should feel faster and more controlled now. She threads cleanly through the urban gap and angles toward a rooftop landing zone ahead. 0:08–0:09.5 She releases the line and lands hard but controlled on a rooftop. Knees bend deeply to absorb impact. She rolls into a short forward recovery step, then rises immediately into a sprint across the rooftop surface. 0:09.5–0:12 One villain in a black suit steps in to stop her. Keep only this single enemy. The heroine engages him in a short, sharp rooftop fight. She avoids his first attack with a quick slip, grabs or redirects his arm, drives one fast body shot or elbow, then uses his off-balance momentum to throw or slam him down onto the rooftop. The fight must feel quick, practical, and decisive. Real impact reactions. No slow choreography. No extra enemies. 0:12–0:13.5 The villain is down and no longer a threat. The heroine steps past him and moves to the rooftop edge. Wind moves her hair and outfit. She looks outward over the city with intense adrenaline and triumph. 0:13.5–0:15 At the rooftop edge, she turns slightly toward the open skyline, lifts her chest, and shouts one powerful final line: “가자!” She immediately launches forward off the rooftop edge into another leap just as the clip ends. End on the feeling that the action is continuing beyond the cut. IMPORTANT RULES: - one continuous drone follow shot only - no cuts - no teleporting - no cloning - no multiple villains - only one black-suited villain - no giant web canopy - use only thin functional tether lines - no franchise logos - no copyrighted chest symbols - preserve the uploaded identity consistently - action must stay realistic and momentum-driven - rooftop fight must be short, sharp, and readable - final shout must be “가자!” NEGATIVE: no cartoon, no anime, no game-engine look, no fake CGI stiffness, no floating, no weightless hovering, no random disconnected acrobatics, no city-wide web canopy, no superhero logo, no copyrighted spider emblem, no extra enemies, no masked villain, no armored villain, no cloned villain, no empty city, no dark night setting, no rain, no slow motion, no blurred identity, no outfit drift, no face drift, no extra limbs, no broken anatomy, no unrealistic hand deformation, no collision with buildings during swings, no messy unreadable fight.show more

When an abandoned Pit Bull turned its face to... the wall every time a family stopped at its kennel, and I learned why, it broke something quiet in me. By the twelfth family, people at Briar County Animal Rescue had stopped calling it a coincidence. They called him rude. Or damaged. Or one of those dogs who “just doesn’t want people.” He was a stocky brown-and-white Pit Bull, maybe four years old, with a broad head, one torn ear, and the kind of stillness that made strangers uneasy because it looked too deliberate to be fear. His shelter card said Male. Neutered. Good health. Found abandoned near county road. His intake photo showed him staring directly into the camera, eyes amber and alert, ribs just faintly visible beneath short fur. But by the time families came to meet him, that dog from the photo had vanished. The kennel door would rattle. A child would point. A mother would bend down and say in the bright, hopeful voice people use when they want love to happen on schedule, “Look at this sweet boy.” And the Pit Bull would turn around. Not slowly. Not shyly. Decisively. He would walk to the back wall, sit with his shoulders squared, and face the cinder block as if the people standing ten feet behind him had already become a memory he preferred not to keep. The reaction was always the same. At first, confusion. Then awkward laughter. Then disappointment, which in shelters hardens quickly into judgment because there is always another kennel, another dog, another chance to be chosen without being made uncomfortable first. One man muttered that the dog was mean. A teenage boy said it looked ungrateful. A woman in a camel coat whispered to the volunteer beside her, “Why would anyone adopt a dog that won’t even look at you?” The volunteer had no answer. Neither did Kayla Moreno, the shelter’s adoption coordinator, though she tried. Kayla was thirty-one, compact, sharp-eyed, and the sort of woman who kept spare leashes looped over one arm and dog treats in every jacket pocket she owned. She had seen fear biters, shut-down seniors, clingy owner surrenders, and wild strays who mistook affection for a trap. But this was different. This dog did not panic. He did not bark. He did not tremble or lunge or cower. He simply refused to participate in hope. That made people angrier than open aggression ever could. By the end of the week, the Pit Bull had become a small ugly legend inside the shelter. Staff called him Winston because every dog needed a name, but visitors started referring to him as “the one who turns away.” Children lost interest in under a minute. Adults shrugged and moved on. A rescue partner declined to pull him because dogs with “poor kennel presentation” did badly in foster pipelines. One older volunteer, tired and not unkind, said what several others had already begun to suspect. “Maybe he just doesn’t deserve a home if he keeps doing this.” Kayla hated the sentence the moment it landed, but what unsettled her more was that part of her was starting to resent him too. Twelve families. Twelve chances. Twelve times he had chosen a wall over a hand reaching for him. Then one night, after the shelter closed and the last mop bucket had been rolled away, Kayla pulled up the security footage on a hunch she could not explain. And what she saw after midnight changed the whole story.show more

Instead of just talking about it, I wanted to... go through it and really break it down to figure out the exact reason for the difference in Jalen Duren's play between the regular season and the playoffs. *LONG BREAKDOWN COMING* First, lets list how much the difference was: Iso in RS: 82nd %ile Iso in PS: 21st %ile Post-ups in RS: 88th %ile Post-ups in PS: 59th %ile PPP on drives in RS: 1.18 ppp PPP on drives in PS: 0.80 Layups in RS: 79th %ile Layups in PS: 19th %ile It was a staggering drop off. Shocking to many of us who watched him all season. So, what happened? Well, #1 I think mentally he was letting his struggles get to him and he started to play out of control. Something that suggests this to me is this stat: He started to figure some things out himself in isolation over the last 2 games against the Cavs. He had six isolation possessions in the final two games against the Cavs; he scored on five of those possessions and drew a foul on the other. Game 6 he started to look confident and really made them pay out of isolation. I really think a ton of it was he got hit with a punch early against ORL and really struggled to handle the pressure and struggles after, and just kept stacking and stacking. So, him being in his own head is #1 for me. #2: His handle got exposed quite a bit. In the regular season, he only had a 4.2 TO% in isolation, which is incredible. In the playoffs, though, that spiked to 20 TO%. On drives in the RS, he had a TO% of 4%. In the PS, it jumped to 13.3%. The first clip below shows how the right-to-left cross he loved doing all season was really taken away from him. Too loose of a handle, and he often got his pocket picked trying this exact move over and over. I think having his go-to move taken from him shook him a bit and left him scrambling a bit in his head to find a counter. The second clip shows, imo, him starting to lose trust in his handle. He immediately turns his back to the defender, which is what you do when you're worried about losing the ball. But, even then, he loses control of the handle and it ends up in a turnover. If I'm the Pistons, I'm showing all his turnovers due to his handle and working with him on tightening his handle and also helping him get comfortable with a counter/second move so defenders don't just sit on the right-to-left cross. #3: I think he really struggled to adjust to the playoff whistle. In the regular season, he drew free throws on 21% of his isolations and 31% of his post-ups. In the PS, it dropped to 14% and 11%, respectively. There were many possessions where in the RS he would've got free throws, but did not in the PS and he was frustrated. In the third clip, you'll see how physical he was being played by Mobley (which we all want physicality in the game). But, in the RS, he probably is getting FTA's here. There are many examples of this where it felt like a lot of his value during the RS was being able to draw FTA's on his drives, and in the PS, refs just allowed more physicality, and he struggled to deal with it. #4: Ausar-Duren duo. I believe in this duo, and I do not think this was the main reason Duren struggled. However, I am not blind to the fact that there were obviously some possessions that hurt Duren. In the regular season, Duen actually got less efficient when Ausar wasn't on the floor. However, in the playoffs, Duren went from 51 TS% with Ausar on the floor (302 minutes) to 64 TS% with Ausar off the floor (121 minutes). In the 4th clip, you really see how the lack of spacing caused a tough shot from Duren. He gets a step on WCJ going right, and probably would prefer to then just use his strength to create spearation. However, he sees Suggs sitting in the right gap off of Ausar, which forces him to spin left. Once he spins left, Paolo is completely leaving Tobias open. This is one of the reasons I really think DET needs a spacing 4 because this should be an easy kickout from Duren to a shooter. He still should've made this pass to Tobias, but a legit shooting 4 I think would relocate to the corner and make an easier outlet/easier to see for Duren. But, he still coulda made the pass, tbf. Either way, you see how the lack of spacing from both Ausar and Tobias forced Duren into a really awkward drive where he was forced into an extremely tough shot. I think if the passing returned from Duren, some of these situations wouldn't happen. Hitting Ausar early as he cuts into the space would work, or hitting Tobias (who again shoulda be making himself more available) beyond the arc results in better offense. But, also, having better spacing probably allows Duren to just get to his original move once he beats WCJ off the dribble. and lastly #5: He really just didn't play well. I can't include any more clips (I'll put some in the immediate thread reply to display), but he really just didn't play well. Missed *a lot* of looks we're used to him making. His touch around the rim left him, looked like he really felt rushed in the paint. He was struggling to secure rebounds after dominating the glass all season (during the RS, he averaged 4.3 second chance points a game, in the PS it dropped to 2.3). During RS, he had a 22.0 DREB%, which dropped to 16.0% in the playoffs. So, I think a lot of factors played into why he struggled so much in the playoffs. My takeaway is I don't think these things are unfixable; actually, I think they're very fixable. Experience of dealing with what playoff physicality is I think is going to help moving forward. All young players have to adjust to that--I think Cade really learned that from NY series to this playoff run. Tightening his handle and just having a second move to go to is not something that should be considered impossible. I'd like to believe it's pretty likely with how much he works and the raw skill he already has with his handle. Pistons adding a legit spacer at the four I think solves a lot and will make Duren's life a lot easier. The most concerning part is mental. And we won't know an answer to that until the next playoffs. Did this experience help him on his journey towards becoming mentally strong and prepared enough to move forward? Did this run help him find a routine that helps him lock in mentally, as many players have said they had to discover? Or will the pressure from struggling last postseason get to him this upcoming postseason? Will he let mistakes get into his head, compound them, and start playing rashly? I don't think the second option will be the case, but no one will know until the next postseason. Honestly, I'm more concerned and critical of his defense in the playoffs (which at times was pretty good and at other times was an incredible struggle), but that would require its own thread. My ending thoughts: I still very much believe in Duren. This playoff run showed he has areas he must sharpen up and learn from, but at 22 that shouldn't be a shocker. He is incredibly talented and made a large jump during the RS. The PS posed challenges he didn't quite have answers to yet. But another run of experience, another offseason of training, and another year older should lead him down a good path. I am fully supportive of paying Duren and extending him. I am not at close to 50 million dollars. 35-40 million is where I think they'll settle on, and I'm fine with that. But, he's gotta learn from these playoffs! Every offseason he's gotten better, I don't have a reason to believe Jalen Duren won't learn and improve again this summer. He's only 22.show more

Saturday - Adam Friedland This musical intro was the... best part of the show. The rest of his act just made me miss Nick Mullen. Unlike every other show this week, there were girls there. They seem to love this guy. I used him as bait, to get the girl from Wednesday to go out with me again. She loves Red Scare Podcast and this Jewish twink is a staple of the Red Scare Extended Universe and I wanted to fuck her and so let's go see Adam Friedland. The problem with Adam is that he has no conviction. He does not own the room, he's just filling space. He announced that his father was there, in the crowd, which is great, let's hear something that might make your father uncomfortable. No such thing was said. He stared at the floor for half the set, as if he was sorry for being there. I saw Mulaney the night before; the difference was stark. Mulaney can get away with being a sheepish pushover twink Sometimes because he also has balls. He can accelerate from "Aw shucks" to "SHUCK YOU MOTHERSHUCKER" and both versions of himself feel true. Look, I get it, being a sad sorry pushover is his schtick and it works with the voice and it's very relatable for sensitive young men who didn't do sports in high school but to carry a room for a full hour you also need to be able to fight back. I could hear Nick's intonations in his voice. But it's clear that Mulldog spent all his creative energy this week ghostwriting the white guys' lines for the Roast of Kevin Hart and so Friedland was left to fend for himself, comedically. The mark of whether a comedian is delivering or not, for me, is whether I hold my piss in to keep hearing them. This was not the case on Saturday night. I recall stepping out and getting a good look at the crowd, and Friedland bumbling through his completely forgettable material, and thinking: this makes me feel like I could start stand up comedy today and dominate the genre. I have this instinct to say: Adam's young! He'll get better! But he's not. He won't. He's 39. He doesn't have the neuroplasticity. He crossed the Sensitive Young Man threshold ten years ago. Mulaney at 43 could be his father now. He's a "much better interviewer" apparently. I tuned out after Cumtown ended because frankly I don't give a shit about the middle east, and that's 90% of what he talks about. Different strokes. I asked some guy in the bathroom, mid-piss: "what would you rate this show, out of 10?" He said: ehh, like a 6. He's a much better interviewer. I don't hate Adam Friedland, I just wish there was anybody to be excited about in stand up comedy. Between this mens' magazine giving me a $500 stipend to "report" on all these shows and the $474 ticket to Gillis and the $432 ticket to Chappelle and the $741 ticket to Mulaney and all the drinks they make you buy at these things I'm feeling like a huge sunk cost leech on the world. Just taking people's money and using it to complain. At least my date seemed to be having a good time. I wrapped my hand around her low back and leaned into her head, wanting her but not sure how to say it. It's much easier to express that kind of thing on blow. Later that night I K-holed in public. Erica and I took way too much in the front seat of the van. We were outside a rave at 3 AM, they asked me to produce a QR code on my phone, I could barely stand. I felt like I was moving in 2D. The fat security guard barely flinched as I walked past him in slow heavy steps, like a penguin, marching into this densely fogged room with colorful lights and loud bumping trance music where all I could stand to do was lean against the heavily breathing walls. I tried to dance with the girl but it probably looked retarded. I didn't try to interact with anyone, I was too far gone. I thought of Karen, as I do every time I take K. The girl led me through the venue, as I worried I would fall over or walk straight into a wall. I worried about how bad this must look, how retarded I must look, wearing this huge XXL t-shirt tucked in to my pants that don't even fit that well because I have anterior pelvic tilt and no ass. I looked and felt like a clown. A failed clown. I was smiling painfully at Erica, looking down at her, and she was doing the same to me. We found a bathroom and I forced my way in. The ketamine was NOT wearing off. I felt my heart beating hard and my head spinning like I could have thrown up but there was nothing in my stomach besides liquid—no food all day besides a croissant at 2PM. I had downed some random person's red wine glass at the last bar. I worried it might have been spiked. I leaned with my head against the wall, sweating, wishing it would end, brutally aware that Erica's out there waiting for me, my friends are out there waiting for me, wondering if I'm okay, thinking he's too fucked up, he can't handle himself, I thought Thomas was always okay and always in control no matter what, they're losing confidence in me, they're losing confidence in themselves for associating with me, what is this big colorful retarded clown shirt I'm wearing I must look like such a fool right now I can't face these people, I can never face them ever again, my face must look so evil ugly and strained, I splash my face with water but it doesn't help, run it through my hair but it doesn't help, get the water all over my shirt but then it just looks like I threw up on myself or pissed myself or something, and I don't have another shirt, should I go out there shirtless, no that's worse, how am I ever going to leave this bathroom, why won't this K wear off, now Erica's calling me, texting me, are you okay, eventually they're just gonna bust in here I know, fine, I can do it, I'm opening the door, yes, I come out, she's still there, good, good girl. She leads me outside. I feel 10% better. I lead her straight to the van. We get in. I tell her to lay with me. Just like on the first night we met. Head spinning, chest heaving, completely exhausted, just lay with me. She asks are you okay and I say for the first time, no. No, I am actually not okay. I blame Adam Friedland. Overall rating: 4/10. Have Nick write your jokes or just stick to interviews.show more

Yesterday at 3 AM Claude Code called me I... woke up, picked up the phone, and on the screen was a message: "Wallet entered BTC Up at 11 cents. Open Polymarket?" I said yes and went back to sleep Claude Code unlocked my 2nd phone on its own, opened Polymarket, found the right market, entered the amount, and hit Buy. I could see all of it in real time through the web interface on my laptop. Screenshots from the phone updating every second. By morning the position closed in profit Let me tell you how I got here A week ago I asked Claude Code to write a script that pulls on-chain data from Polymarket and ranks wallets by win rate on 15-minute BTC markets In 20 minutes I had a table with hundreds of addresses, and 1 of them stood apart from the rest. More than 200 trades per day, surgical entry precision, and a profit curve going straight up I fed that address back into Claude Code and asked it to break down the strategy. Turns out the wallet monitors BTC volatility on Binance and Bybit every 100 milliseconds, and when it drops below 0.08% it enters Up and Down simultaneously at 25 to 35 cents A pure straddle: 1 side burns and the other flies to a dollar, giving 3 to 4x per position. Dozens of times a day I wanted to follow it but signals came at any hour, and waking up every 15 minutes for a notification was simply impossible. So I built something else Took an old Android phone and installed an agent running on the Qwen3-VL visual model. It sees what is happening on the screen and mimics human actions through ADB: taps, swipes, text input. Then I connected it to Claude Code as the executor Now the chain works like this: Claude Code monitors the wallet, sees a new position, calls me. And if I say "yes" or just do not pick up within 30 seconds, the agent on the phone opens Polymarket on its own and copies the entry Essentially I built myself an autopilot out of 2 AI systems: 1 thinks and the other presses buttons. I just sleep and occasionally pick up the phone → Here is the wallet the whole thing is tracking: For those who do not want to build a setup like this there is a Telegram bot that handles the 1st part: tracks this wallet and sends a signal on every new entry: AI calls me at 3 AM to ask permission to spend my money A year ago this would have sounded like schizophrenia. Now it is just Tuesdayshow more