"Whip stacking was sooo broken, it killed Expert eol... in 11 seconds!" (1.4.4) Here's Hybrid Summoner in the same tier phase skipping Master mode eol almost only holding left click, no whips. Mage/Summoner hybrid also achieved this killtime through more skilled weapon swapping.show more

🚨🚨 BREAKING NEWS The suspect in the November 26,... 2025, shooting of two National Guardsman in DC near the White House, was 29 year old Afghan national Rahmanullah Lakanwal. Rahmanullah Lakanwal was granted asylum by the Pedo-in-Chief Krasnov Donald J. Trump regime in April 2025. Lakanwal applied for asylum in December 2024 and was approved on April 23, 2025, three months into Trump's second term. Of course, the Pedo-in-Chief Donald J. Trump is playing the blame game - blaming President Biden's "botched Afghanistan withdrawal" for allowing Lakanwal's initial entry and vowed to "reexamine every single" Afghan immigrant admitted under Biden, potentially revoking statuses and pausing new Afghan applications. For clarity, accuracy, and truth, let me remind the entire X-verse who it was that orchestrated and spear headed the terms and deal of the Afghanistan withdrawal. FACT: It was a Republican "president," Krasnov Donald J. Trump, who made a 2019 deal with the Taliban to leave Afghanistan. FACT: It was the same Republican "president," Krasnov Trump, who released 5,000 Taliban prisoners (400 of them hard core American killers) to fight again, and to participate in the hostile takeover of the Afghan government. FACT: It was a Republican "president," Krasnov Donald J. Trump, that engaged in a series of talks with the Taliban militant group in Qatar, and even invited them to a secret meeting at Camp David for the 9/11 anniversary in 2019. FACT: It was this same Republican "president," Krasnov Trump, that reached a deal with the Taliban in February 2020, which stipulated that U.S troops would be withdrawn from Afghanistan by May 2021. **This meeting completely EXCLUDED the Afghan government.** FACT: Around 10 AirForce bases were CLOSED in accordance with the Doha Agreement Republican "president" Krasnov Trump signed with the Taliban. FACT: It is now this same Republican "president," Krasnov Donald J. Trump, that is attempting to absolve himself from the situation by pinning responsibility on President Biden for the Taliban's takeover and the Afghan government's collapse. FACT: There were 45 combat deaths among U.S. service members in Afghanistan under Krasnov Trump. The GOP never said a word. FACT: During the Afghanistan withdrawal, 13 U.S service members were killed by an explosive device detonated by an ISIS-K terrorist at Hamid Karzai International Airport, which also killed at least 170 Afghans. Although the GOP want you to believe this was President Biden's fault ... IT WAS NOT. FACT: President Biden followed the terms of the Doha Agreement withdrawal Krasnov Donald J. Trump negotiated. FACT: President Biden did NOT change the terms of Krasnov Trump's agreement with the Taliban. To pull out of the Doha agreement meant President Biden would have had to send MORE troops to Afghanistan after Krasnov Trump withdrew 4,400 troops - per the Doha agreement. FACT: Even Krasnov Trump's own former Afghanistan expert, who served as the National Security Council’s senior director, Lisa Curtis, said, “The Doha agreement was a very weak agreement, and the U.S. should have gained more concessions from the Taliban.” FACT: Despite what the GOP tell you, and want you to believe, President Biden did NOT leave the Taliban billions of dollars in military equipment. According to General Kenneth F. McKenzie Jr., commander of U.S. Central Command, NO military assets were left operable for the Taliban. 👇👇👇👇show more

somebody explain this because i refuse to accept it... someone ran 48 scored trials and one agent beat a whole fleet of them on all 6 task families, at 0.93 cents a run against 1.9, while openai's best fleet shape was paying $0.008 for every single point of accuracy it bought i read it expecting a hit piece and found the opposite: the fleets that partitioned the dependency graph properly lifted pass rate 14% and cut wall-clock 2.10x on the same tasks, and one of them beat claude code with agent teams the thing that decides it has a name, Graph Engineering, and it is a property of the diagram rather than the model: - partition on the real dependency graph pulled from static analysis, never by folder or by file, because the gains land hardest on the most dependency-dense projects - isolate the structural hub files first, since those are the nodes every partition would otherwise have to share - measure the critical path and treat it as the floor, because a chain that genuinely feeds itself cannot be replaced by more workers and wrapping it in a scheduler does not shorten it - match the topology to the coupling instead of defaulting to parallel: on coupled work a static parallel shape drops below a single agent, so the mismatch is worse than no orchestration - remember each worker serialises its own subtasks, which adds edges inside every agent that were never in your plan - budget the fan-out before you fire it, because three agents already burn roughly three times the tokens and the multiplier compounds across sessions - check worker count against your rate limit, since fifteen workers at ten requests a second walk straight through a hundred-per-second ceiling and cascade - put a script gate in front of the planner: it costs 0.15 seconds and zero tokens, and it lets the expensive model skip 43 to 63% of the steps for at most 1.4 points of accuracy the catch is the coordination tax, and it scales with how clever the shape looks: 58% extra reasoning turns for independent workers, 263% decentralised, 285% centralised, and 515% for the hybrid setup everyone reaches for first the same paper found that hybrid then collapses hardest on tool-heavy work at a 0.452 success rate, while the plainer decentralised shape beat centralised outright despite carrying more overhead, because parallel efficiency is what survives bookmark this, the whole build sits in the article ↓show more

Here’s to Shashwat Sachdev. Some collaborations go beyond work,... they become deeply personal. Sha has been that for me. Not just the music composer of Dhurandhar but someone I see as a younger brother, someone I’ve shared chaos, silence, ideas and some of the most intense creative days with. What he’s done on this film still doesn’t feel real when I say it out loud. 9 songs in 9 days for Dhurandhar Part 1, with the entire BGM done in 6 days. And then Dhurandhar Part 2, 14 songs in 11 days, BGM in 3. At that speed, at that scale, with that kind of emotional depth and that kind of extraordinary quality, it’s beyond crazy. And what makes it even more unreal is how both the albums, released within a span of 3 months, reached top global charts, with almost every song being loved and celebrated, something that’s an absolute rarity for any film in the world. For almost 15 days, my house stopped being a house. It became a living, breathing studio. Every room had something going on, music in the living room, recordings in the bedrooms, writing in the balconies. Singers and musicians walking in and out endlessly. Days and nights just blending into each other. 21–22 hour stretches, no real sense of time, just a shared madness to get it right. And right at the center of all of it was Sha. Holding everything together. Creating, composing, guiding, reacting, evolving, all at once. There were days he was unwell, running on barely any sleep, dealing with health scares but he still showed up fully, without compromise, without slowing down. That kind of resilience is rare. Having the legendary Irshad Kamil Sir alongside, and a team that gave everything they had, pushed this into something even more special. Everyone went into absolute God mode. And through all that chaos, Magic (Sha’s better half) was the anchor, keeping things steady, holding the energy together when everything could have easily fallen apart. What makes Sha truly special is not just his talent. It’s his hunger. His refusal to settle. His instinct to keep digging until something feels honest. He doesn’t chase easy, he chases truth in every note. That kind of commitment doesn’t come from skill alone. It comes from love. Love to achieve God through music. And you can feel that love in every second of Dhurandhar. Always grateful. Always rooting for you. ❤️show more

Today I had my first demo drive in a... Tesla. It was also my first time ever sitting in one. This was the first car I’ve ever sat in the driver’s seat of where I didn’t touch the steering wheel for over 20 miles. Before I even got to the car, the people who had demoed it before me were an older married couple who were absolutely euphoric. They thought it was so cool that the car could drive itself. The Tesla employee told me this happens all the time. People come back from demo drives and tell the next test driver that they’re about to have an amazing experience. Little did I know, I’d end up carrying on the torch to the next couple demoing it after me. There was a ton of construction where I demoed the car, and FSD handled the entire drive extremely well. And yes, it can go through a drive-thru and stop at each window. The only thing I had to do was tap the pedal because it wouldn’t leave on its own, but it was still wild seeing the AI stop perfectly at the second window and wait. There are a million things I could write about why a Tesla feels like a better car and how much more it offers compared to a regular car. But for now, I’ll stick to FSD. There were only two moments that made me a little uneasy. The first was pretty minor. The car slightly hesitated going up a driveway, but quickly made up its mind. The second was more noticeable. I didn’t realize the car was nagging me. Once I touched the steering wheel, nothing happened, so I pulled it right a little harder, then let go. After that, the car turned left and crossed a double yellow on a backroad. (and yes I know you can sue the volume knob) I’m not totally sure if it was trying to pull over or what it was doing. I wanted to see how it would handle the situation, but there were cars coming, so I took over and corrected it. One of the coolest moments was when I thought FSD was glitching because it came to a complete stop in the middle of a busy road. Then I looked around and realized why. On the right side, there was a bicyclist waiting at a yellow crosswalk. The cars behind me didn’t honk, and the Tesla stopping actually incentivized another car in the right lane to stop and let him pass. The car is almost too nice to pedestrians, because 99.999% of humans would’ve blown through that, especially with no flashing light. For 99.9% of the drive, the car navigated confidently and smoothly. It was a real “feel the AGI” moment. Please do not let the media, the general public, or anyone else convince you that this technology is just some kind of auto assist or glorified cruise control. This is undoubtedly getting extremely close to feeling superhuman. You still have to pay attention to the road, but after experiencing it myself, I’d be shocked if HW4 Teslas aren’t unsupervised within the next couple years. The car was extremely smooth. There was no harsh braking, and it even avoided something in the road that I didn’t see. Driving with FSD made me realize I probably wasn’t driving as well as I could be. Hopefully, eventually, everyone’s car can be as mindful as a Tesla. I’ve never seen a brand so far removed from the public’s sentiment. I’m so happy I ordered one.show more

I spent 48 hours running AI from my phone.... Here are 11 things that turned out to be possible and 3 that almost cost me money Forgot my laptop at home and thought the day was lost. Opened a terminal from my phone and decided to see how long I could last Lasted 2 days. Not just lasted but made $840 What works from a phone: 1. Set up Claude Code through SSH in 10 minutes while riding the subway 2. Get Telegram pushes every time a wallet enters a position 3. Copy a trade with 1 tap without taking out my earbuds 4. Launch scripts by voice through Shortcuts 5. Monitor 3 wallets simultaneously without a single lag 6. Get a morning report at 7 AM as a regular message 7. Rebuild the bot when it crashed while sitting in a cab 8. Check PnL without opening a browser 9. Add a new wallet to tracking in 30 seconds 10. Set up auto-copying without confirmation on verified wallets 11. Get a full strategy breakdown of a wallet through Claude Code in a regular chat And here is what almost killed the deposit: 1. My finger slipped and I entered at twice the planned size. Did not notice for 20 minutes. Got lucky that the position ended up in profit but it could have gone very differently 2. My phone died at 2 AM. Missed the exit signal and the position dropped $110 while I slept. By morning I realized that a power bank is just as much a part of the strategy as the bot itself 3. The delay when copying was 40 seconds. On a 15-minute market that is an eternity. The price moved from 8 cents to 23, and instead of a 12x return I got a 4x. Still profit but you feel the difference immediately Total for 48 hours: +$840. Screen time on the phone: 47 minutes. Never needed the laptop The entire time I was following the same wallet. That is the 1 that was sending me signals at 2 AM: The phone turned out to be a fully functional control panel. But this control panel has no safety switch. And that is worth remembering every time you are tapping with 1 hand in the coffee lineshow more

hyunsuk and jihoon snuck into the dorms at lunch... scared the staff would catch them eating ramen in secret but got even more scared when the door opened but nobody was there + it wont close on its own as it should 😭 #최현석 #지훈 (at 11:52 of the content) 🦔 (heard the sound of door code pressed, door opening and shoes taken off but the sound stopped there and nobody came in) 🦔 we thought someone arrived… tbh that time we snuck out without the staff knowing so we were alr scared 🦔 “oh we cant get caught though” so we both froze for awhile and tbh when we were trainees, they were very strict… 🦔 we were gonna eat ramen in secret that time so we hid it and figured out what to do and when we settled down, no one came in. 🦔 (said they’d hear it if they went somewhere) 🦔 from then on, bc jihoon and i get scared so easily, were like “you go!” “no, you go” and argued for about 10 mins cos we get easily scared. 🦔 i eventually went out to check but there was no one near the shoe rack and the funny thing is it was just jihoon and i, just the two of us so there should only be two pairs of shoes, though there were untiedied shoes too, but there was another pair of shoes that weren’t there when we came in. so we wondered if someone came in quietly but in the end it’s really just the two of us inside the dorms. 🦔 and what was scarier was that like in most apartment buildings, the front door force closes so strongly so if you dont hold it open, it would automatically close right? ours is the same. it wasnt even left on a veryain angle but it stayed open… 🦔 so we spent another 10 mins arguing again and i went outside thinking someone must be holding on to it but there really was no one there. so we tried closing and opening it at that angle again and let go of it but it would close definitely. it doesnt make sense right? 🦔 so thats when i first understood it when people say when you’re truly scared, you cant even scream, you just freeze. 🦔 after we snapped out of it, we wer able to check the intercom footage, but nobody got off the elevator, nobody came up the stairs either, it just showed the door opening by itself like this so we were absolutely terrified and i think we left right away.show more

he turned $4k into 15x on weather markets. i... reverse engineered his strategy. every day Polymarket runs the daily high temperature for 48 cities, 11 positions each: will be 14°, will be 15°, and so on. from morning to early afternoon the temperature only goes up. the moment the airport station prints 15, the "will be 14" position is dead. the high is already above it, no way back. but the market doesn't react instantly. there are still other people's YES bids sitting in the book, people who placed them in the morning at 30-80c and went to get coffee. that second, he sells them YES, meaning he buys NO at 20-85c. a few seconds later he dumps that NO at 99c to the bots that buy up the last cent. that's how he arbs the weather market. since june 1 he has done this 2,575 times. one loss, $34. a typical entry: $170 in, $5 profit, money free again 9 seconds later. rarely more than $1.5k working at once, $4k at the peak. on that $4k he made $63k in 98 days. the biggest profit comes from dying favorites: the position is cheap (60c), there are hundreds of dollars in bids in the book, and one station reading turns them into trash. then the bot buys out the whole book cheap at once and seconds later sells the positions to the bots at 99c. these are 18% of his trades and 44% of his total profit. NYC, june 25. the 82-83°F position was at 54c, the station printed 84. he took $1,470 of NO at 66c, sold it 9 seconds later at 99, +$732 from one trade. how to repeat it? the description of every temperature market has a link to the station it resolves on, like the same report comes from the api, free, no key: /api/data/metar?ids=UUWW the day's high on the station moved above a position = the position is dead. you sell into its YES bids and immediately dump the NO at 99. reports come out at :20 and :50 but get published with a 15 second to 5 minute delay, so you have to poll every second. you don't watch all 11 positions, you watch the favorite from 11:00 to 15:00 local time of the city. that's the only place the bid stacks are. fees are on for these markets. he doesn't pay them at his tier, you will: about 0.4c per contract against 2.6c he captures on a typical trade. it eats a chunk but not the trade. competition: four bots fight over these markets and 5 seconds after the first one the book is empty. this morning i caught three of these moments live, Moscow and Jeddah. other bots beat him to it. so the first thing in this strategy is to build your own setup that's faster than the rest, or at least as fast. then the total profit gets split five ways. the trader's wallet: hightemptation on Polymarketshow more

SEEDANCE prompt : Presented in a style that resembles... real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.show more

The best-preserved warship in the world is also one... of the most catastrophic failures in naval history. It sank on its maiden voyage, after sailing barely 1300 meters, in front of thousands of horrified spectators... It is called the Vasa, and it was meant to be the most magnificent warship ever built. Constructed between 1626 and 1628 on the orders of King Gustavus Adolphus of Sweden, it bristled with 64 bronze cannons and was covered, from bow to stern, in hundreds of gilded and painted sculptures of lions, warriors, and mythological figures, all designed to announce the power of the Swedish crown. It was a floating palace built for war. On the 10th of August 1628, the Vasa set sail from Stockholm harbour on a calm day with a light breeze. The gun ports were open, the cannons run out to fire a ceremonial salute. A first gust of wind heeled the ship over, and it slowly righted itself. Then a second gust struck. The ship leaned hard to one side, water poured in through the open lower gun ports, and within minutes the pride of the Swedish navy rolled over and sank, less than a mile from where it had begun. Around 30 people died, in full view of the crowds who had gathered to watch it depart. But the disaster became a miracle: the Vasa sank into the cold, oxygen-poor, low-salt water of the Baltic Sea, where the shipworm that devours wooden wrecks in most of the world's oceans cannot survive. So the ship did not rot. It waited... For 333 years it lay on the harbor floor, almost perfectly intact, until it was raised in 1961. Today, more than 95 percent of what you see is the original seventeenth-century timber. It is the only preserved ship of its century anywhere on Earth. The thing that should have erased the Vasa from history is the very thing that saved it. Had it sailed successfully, it would have served its years, worn out, and been broken up for scrap centuries ago, like every other warship of its time. Because it failed so completely, and so quickly, it survived. We can stand before it now, an extraordinary relic of the seventeenth century frozen in time, only because, on its very first day, everything went wrong... If this kind of history fascinates you, I send out a piece like this every week to readers who love finding the extraordinary stories the past left behind. You can join at the link below, and if you'd like to support the work, a paid subscription is what makes it possible: Thanks for reading.show more

here's how you can scale to 10k/month on tiktok... shop with slideshows so most affiliates are stuck doing the same thing every day. film, edit, post, make like $60-80 in commissions. and the problem isn't effort, it's that your time is the bottleneck. you can't film 15 videos a day. so your output caps and your money caps with it. meanwhile there's a guy in canada who made $18k in his first two weeks. never filmed anything. never showed his face. never even held a product. canada doesn't even support tiktok shop, he's running us tiktok from there. all slideshows. and when i say slideshows i mean 4-7 images posted like a normal tiktok with a product link attached. that's it. someone buys off it, you get paid. making one takes maybe 5% of the skill of making a video. now here's the catch. tiktok gated the feature. most accounts can't attach products to photo posts, you'll get a "product links not available in photo mode" error. some accounts randomly have it. quick way to check: open tiktok studio on desktop (has to be desktop, mobile won't work), hit upload. if you see "videos or photos" you have access. click photos, upload your images, attach the link. if you only see video upload, you're not in yet. uk and europe are getting it randomly right now, us is only top gmv creators for the moment. check every day because tiktok doesn't tell you when you get it, the option just shows up. worst case you build the system now and execute day one when your account unlocks. because the people getting random access with no clue what they're doing are posting random images and making nothing. the format is easy, that doesn't mean it's mindless. the format itself is one thing repeated over and over: pain point first, product second. slide one hits an insecurity. back acne from the gym. car turning into an oven all summer. makeup that never sits right. the person scrolling sees it and goes "wait that's literally me." middle slides twist the knife a bit more. then "so i tried this thing everyone's using," show it working, before and after, and the last slide is just the offer. sale, free shipping, link below. done. that structure sells cold traffic. people who've never seen the product buy off one slideshow because you sold the problem, not the product. and here's the part most people don't clock when they're scrolling past these: none of it is real. the guy holding the ceiling fan doesn't own a ceiling fan. the back acne was generated onto the model. the smoothies were never made. it's all ai images. which kills every excuse at once. no face, no product in hand, no waiting on shipping, no country restrictions. the workflow is dumb simple. screenshot a slideshow style you like, drop it in chatgpt, say "make me 3x4 images in this style." then describe your pain point scene. couple walking to a car that's been baking in the sun, whatever it is. then grab the product image off the tiktok listing, feed it in, "now show them using this." repeat per slide. no fancy prompts, the reference images do all the work. two small things that matter more than they should. keep everything 3:4 or the mixed sizes make the whole post look off. and don't bake text into the images, add it inside tiktok. native text looks like a person posted it. baked text looks like an ad. people can feel the difference even if they can't explain it. if you want it to look even more real, take a photo of your actual kitchen or desk and only generate the product into it. real room, ai product. nobody can tell. for ideas, don't invent anything. steal structure, swap one variable. the number one post in the uk right now is a simpsons style slideshow about linen trousers. take that exact skeleton and run it with a sports set or summer shorts instead. same format, different product, suddenly it's unsaturated again. or take viral videos and turn them into slides. one guy took a viral video about a sink drainage thing, rebuilt it as images, and beat the original with 1.7m views. first week on the platform. the biggest edge though is going backwards. pull products that went viral 2-3 months ago, take the exact hooks that already converted millions of views, and rerun them as slideshows. nobody's done them in this format because the format barely exists. you're not testing ideas, you're re-releasing proven hits. then it just comes down to volume. no filming, no editing, no product costs means each post is basically free. so post 10-15 a day. most will flop, who cares. one will do 500k views in two days and when it does you remake it 50 times and drain it. every gated feature on tiktok runs the same cycle. early access prints, wide rollout saturates, then it's just another format everyone does. slideshows are still in the first part of that cycle.show more

I’m still here because this was the hardest fan... project we’ve faced in these six months. My patience and leadership were tested like never before to the point that I almost gave up in the middle of the preparation. There were nights I whispered to myself, “This will be my last.” I felt so pressured that sometimes I just wanted to hide and run away. On top of it all, I was carrying my own personal struggles, which made every step heavier. We took risks in almost every decision we made during this project. There were times when all we could say was, “Naniniwala kami sa Cheffies.” From tickets and props to the fan project and the fanzone everything was about risk and trust. Trusting the Cheffies that they would show up. Trusting the sponsors that they were only waiting for us to open our plan. Trusting Dustin and Bianca that they would see and hear our efforts. And above all, trusting each other as admins that no matter what happens, we would not give up on this. But it wasn’t just about risks. It was about sacrifices the sleepless nights, the drained wallets, the heavy emotions, and the constant balancing act between work life and fandom life. It was about choosing to fight even when we were tired, choosing to stay even when walking away seemed easier. Every small victory mattered, and every breakdown taught us something new. Looking back at these six months, I realized it’s not only about the events, the projects, or the milestones. It’s about the people who stood by me when I thought I couldn’t go on. The people I met along the way who turned into a second family. The laughter in between the stress, the comfort in the middle of the tears, and the bonds that were built in both the best and worst days. This is why, even when I wanted to let go so many times, I stayed. Because every hardship was matched with a reminder that I was not alone. Because this fandom has become more than just support for Dustin and Bianca it has become a home where friendships are nurtured, where trust is strengthened, and where love is felt. So this 6th monthsary is not just a celebration of Dustin and Bianca, though they remain the heart and reason for all of this. It is also a celebration of the Cheffies who never stopped believing, of the sponsors who trusted us, of the admins who fought side by side, and of the family we’ve built within Casa Dustbia. To Dustin Yu and Bianca De Vera, thank you for being the inspiration that started all of this. You may never fully know the weight of what we’ve gone through, but because of you, we learned to be braver, stronger, and more united. And to my Casa Dustbia family, thank you for reminding me that even in the hardest of our story, there is always something worth holding on to. Six months have passed, but this is just the beginning. More pages are waiting to be written with laughter, tears, risks, and victories. And as long as we continue to believe, to fight, and to love, we will keep turning those pahina together. Happy 6th monthsary, Dustin, Cheffies, Sponsors and Bianca. Mahal na mahal namin kayo today, tomorrow, and in every chapter that’s yet to come. 🫂💛show more

I genuinely cannot understand how someone can watch this... story and still stand there, looking at two women, and somehow decide that the wrong one is the victim. On one side, you have a girl (Yıldız) who has been mistreated her entire life. Since the moment she was born, she was treated like a sacrifice for a conflict she was never even part of and later we find out that this conflict never even existed. Her right to study was taken from her. She was pushed into a marriage at a very young age just imagine being six, seven, eight years old, living in fear of being tied to someone you don’t even know. She was treated like a servant in her own home, by the very people she thought were her family. And just when she gets close to the happiness she dreamed of, the man she was engaged to shows up with another wife. She gets mistreated by that wife, by his family, and even (unintentionally) by him, because he was trying to run away from his own feelings, and that only caused her more heartbreak. The whole world was literally against her. She fought through all of that, only to find out in the end that everything she suffered for was based on something that wasn’t even real. Her entire life was built on a lie. That she isn’t even part of that family that she has literally no one in this world. Now on the other side… You have a girl (Melek) who, yes, was taken from her biological mother but she was raised by loving parents. She had everything anyone could wish for: education, freedom, a happy childhood, a healthy environment. She lived her life, fell in love, went out, made choices and no one questioned her, no one controlled her. And then what did she do? She found out that her man was engaged to another woman before marrying her (and even saw him marry her) and instead of holding on to her dignity, she chose to stay, to fight for a man who lied to her, to hold onto a marriage he tried to end multiple times. She used her unborn child to keep him tied to her. She lied constantly, and her excuse was that she was “protecting her marriage” a marriage that was already broken from the moment Serhat removed that ring at the airport in episode one. She tried to hand Yıldız (a woman who had already suffered enough) over to dangerous people. Then she found out the truth about her own birth (that her father ra*ped her mother.)And still no empathy. No moment of humanity toward her own mother. All she cared about was herself. And even though none of this had anything to do with Yıldız, she still found a way to blame it on her. Instead of holding her father accountable, she went and made a deal with him to get rid of Yıldız. She literally made a deal with the devil just to hurt Yıldız one more time. And after all of that… you want me to feel sorry for her? You want me to call her a victim? I honestly cannot believe we are living on the same planet with people who see this and still say, “she’s the victim.” Not morally. Not logically. Not emotionally. There is no world where this makes sense. It’s like watching someone clearly cause harm, and still calling them the victim and actually BELIEVING it. #HalefKöklerinÇağrısıshow more

I've dated hundreds of girls in the last couple... years every single time it's always the same at first it feels new, different euphoric "this is the one" i say then a couple days later, i realize she's like the rest that's when i understood: this is EXACTLY what hardstuck league players feel "trying out akali" "yone feels better" "maybe syndra is the answer" every new champion is "the one" the honeymoon phase is a trap fresh combos outplay potential that hit of dopamine then, that bad matchup, loss streak, emptiness "my champion does no damage" "this champ is trash" "can't carry with this" back to the pool back to swiping through the champion roster like it's fucking hinge meanwhile some 14 year old in seoul just hit grandmaster playing garen only 2 million mastery points doesn't know what "optimal trading patterns" means doesn't speak english doesn't watch guides just knows his champion so well he can smell your mistakes in loading screen seen every matchup 500 times knows exactly when he wins when he loses when to give up cs when to int for objectives learned every ugly part you keep running from here's the brutal truth i had to face: i was the fucking PROBLEM not the girls not the champions not the matchmaking ME i was addicted to the hunt chasing that first-game high instead of learning what happens on game 500 you think you're "finding your main" you're actually just a commitment-phobic bitch running from discomfort never staying long enough to learn the bad matchups the losing lanes the moments where your champion feels like dog shit that's where mastery lives in the ugly parts you keep running away from but you won't stay you'll hit one bad day and it's back to the tier list back to youtube guides back to "maybe THIS is the one" commitment issues don't just ruin your dating life they keep you hardstuck in League of Legends study the saskio wayshow more

"From Mayo Hospital to the Circus of Power: The... Arrogance of Maryam Nawaz" "I can even get you arrested. This "guy" needs to be fired" And moments later, he is fired. No show cause. No notice. No hospital meeting, and he is fired. This happens when someone gets a position not through the people's mandate but due to the mere finger of a dictator. Then that person begins to act like a dictator themselves. And if that person could not become a doctor after entering the same college in the past, naturally, she becomes insecure and takes out her frustration on the doctors in the corridors of the same hospital, who are far more capable and civilized than her. This is the real story behind the clip filled with Maryam Nawaz's arrogance and bad manners witnessed today in Mayo Hospital. I have spent five years in the corridors of Mayo Hospital, and because of that, I have a special attachment to this hospital. Today, when I witnessed the humiliation of such senior doctors, my heart bled. This single clip is enough to confirm the statistics that show more than 1.6 million Pakistanis have left the country in the past two years—16 times more than in the last 50 years—among whom the majority are doctors and engineers. Even now, 75 % doctors are planning to leave the country. In any other country, a "show-cause notice" would first be issued, clarification would be asked, a committee meeting would be held, and only after receiving the response would a person be dismissed. But this happens in civilized societies where there is democracy and professionalism. In this country, it is possible that someone like the Chief Operating Officer of the largest hospital in the province can be humiliated and removed from their position just because of a finger-pointing decision. And they are publicly threatened with arrest. When people with a TikTok mentality, obsessed with gaining views, are made chief ministers, you won’t get funds for hospitals, but you will get plenty of clips and camera gimmicks. Right now, Mayo Hospital's fund is short by 3.5 billion rupees—how will pharmaceutical companies provide medicines in such a situation? How can the MS (Medical Superintendent) make up for this shortage? MS Dr. Masood had submitted his resignation to the Health Secretary a month ago, but he was requested to continue for some time. Today, he was not only publicly humiliated but also threatened with arrest. It is now clear how arrests are being made in this country in recent years. What is the criterion for arrest in this country? If someone writes a lot, "charge them with electricity theft"; if someone is disliked by Maryam Nawaz, "pick them up." A woman who can publicly threaten an MS doctor with arrest in front of cameras—what would she be doing behind the scenes with her rivals and critics? This is the tragedy of this country, where the educated are ruled by the ignorant, and democracy is overshadowed by authoritarian rulers, for whom firing someone with just a finger-point is seen as "efficiency" and "wow." But what is even more disappointing is the silent attitude of the other doctors standing by, including Dr. Mahmood Ayaz, the Vice-Chancellor of King Edward University, who remained silent and watched this ill-mannered behavior. Maryam Nawaz's actions are not only against the protocol and procedures for dismissing someone but also reflect her authoritarian and arrogant personality. Just like when a joker is made a king, the entire kingdom becomes a circus, same way when a person with an inferiority complex and a TikTok mentality is made the chief minister, the whole province becomes a stage show, a studio where the dignity of people is routinely at risk just for the sake of flashy attention. This is pathetic. This is autocratic. This is bullshit. This is garbage. Remember the equation: Incompetence + Inferiority Complex + Authority = Tyranny It proves the saying: ""مرے وچ میں نہیں بولدی ؛ میرا یار بولدا " -------------------------------------------------------- Moeed Pirzada @drfaranahmad Ryan Grim Mir Mohammad Alikhan Hamid Mir حامد میرshow more

AI creations are becoming more impressive, but the most... interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.show more

Made with Seedance 2.5 PROMT: ⬇️ 15 seconds, 16:9... horizontal, one continuous static take. SUBJECT: An exceptionally beautiful, sexy blonde fitness influencer in her mid-20s. Striking feminine photogenic face, expressive eyes, full lips, lightly tanned skin, long thick blonde hair in a high ponytail, slim feminine athletic hourglass figure. Black fitted gym tank and fitted workout leggings. She has just finished a hard workout: flushed cheeks, visible sweat, slightly damp hair and realistic skin texture. She must remain gorgeous, sexy and photogenic throughout. CAMERA: Recorded on an older camera, standard 1x lens. The camera is mounted horizontally in landscape orientation on a small tabletop tripod standing on the sink counter directly in front of a large wall mirror. The camera points straight at the mirror. The camera itself is the only camera recording the scene. There is no external or third-person camera. The viewer sees the woman primarily through her reflection in the mirror. The reflection of the horizontally mounted camera and small tripod is clearly visible near the bottom-center of the mirror, making the recording setup immediately understandable. COMPOSITION: Large mirror fills most of the frame. Sink and counter are visible along the bottom. In the mirror background, directly behind the recording camera, a bathroom entrance door is clearly visible with a simple recognizable female restroom pictogram. No written restroom text. The woman enters through this exact door and walks toward the sink, so the geography remains physically consistent. LOOK: Raw low-quality camera footage. Heavy compression and sensor noise, slight softness, harsh cool-green fluorescent gym-bathroom lighting, mild auto-exposure fluctuations and realistic bathroom reflections. The CAMERA QUALITY is rough; the WOMAN remains exceptionally beautiful and sexy. No cinematic grading or polished commercial look. AUDIO: Bathroom echo, heavy breathing, running tap, water splashes and paper towel sounds. No music. ACTION: 1. 0–3s: In the mirror background, the women’s restroom door opens. She enters visibly breathless after training, walks toward the sink and looks at her reflection. 2. 3–7s: Standing at the sink, she turns on the tap and splashes cold water over her face. She gasps softly and exhales. 3. 7–11s: She grips the edge of the sink, catches her breath and stares at herself in the mirror. Water runs down her face. She pushes her damp blonde hair back. 4. 11–15s: Still looking at her reflection, she says quietly and breathlessly: “one more set… then I’m done.” She grabs a paper towel, pats her face and starts to turn back toward the door. IMPORTANT: One uninterrupted static 15-second shot. Camera remains horizontally mounted on the tripod for the entire video. Its reflection stays visible in the mirror. The women’s restroom door and female pictogram remain clearly identifiable in the mirror background. Same woman, face, body, outfit and hairstyle throughout. No cuts, no angle changes, no handheld camera, no invisible camera, no extra people, no scene skipping, no broken mirror geometry, no disappearing camera/tripod, no readable text. #AIVideoshow 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

Israel Has Hit Nearly Everything It Planned To. Now... What?... 🚨 OPERATIONAL UPDATE: ISRAEL U.S. WAR WITH IRAN - Reporting Window: Last 24 Hours Israel has now largely completed its preplanned strategic strike package inside Iran, while Iran’s response continues to degrade in scale but not in intent. At the same time, the northern front is heating back up, and regional actors are positioning for what comes next rather than what comes now. ✈️ STRATEGIC AIR CAMPAIGN OVER IRAN Israel has effectively finished its target list. The IDF now confirms that nearly all “vital and strategic” targets have been struck. Over the past 24 hours, operations focused on depth and completeness rather than expansion. Strikes hit a wide geographic spread including Tehran, Shiraz, Kermanshah, and Ahvaz, with particular emphasis on military-industrial infrastructure. Key targets included: *⃣ Approximately 20 weapons production and R&D fa cilities in Tehran *⃣ Mehrabad Airport and adjacent regime-linked infrastructure *⃣ A chemical supply node tied to SPND, Iran’s weapons development apparatus At the same time, Israel continued its shift into economic warfare. The destruction of major components of Mobarakeh Steel, Iran’s largest industrial complex, is not tactical. It is strategic degradation of long-term national capacity. What changed here is straightforward. This is no longer a shaping campaign. This is a completion phase. Israel has moved from identifying targets to executing them, and now toward locking in the strategic outcome. 🚀 IRANIAN MISSILE ACTIVITY Iran is still responding, but the character of that response has changed. In the latest barrage, roughly 10 ballistic missiles were launched in the opening wave. That makes it one of the larger salvos in recent weeks, but still far below earlier peak volumes. Most were intercepted, and physical damage was limited, though civilian impact remains real, particularly through panic, injuries, and indirect casualties. The important distinction is this: Iran still has the stockpile, but not the operational tempo. Its retaliation doctrine remains intact. It continues to mirror categories of targets struck inside Iran, expanding at times to civilian and economic infrastructure in Israel and across the Gulf. But the scale is no longer overwhelming. It is calibrated. 🔥 NORTHERN FRONT: LEBANON ESCALATION While Iran slows, the northern front is doing the opposite. Hezbollah resumed intense rocket fire into northern Israel, including a direct hit in Kiryat Shmona that caused multiple injuries. In response, Israeli operations intensified significantly. In the last 24 hours: *⃣ Over 40 Hezbollah fighters were killed *⃣ A senior Hezbollah commander was eliminated in Beirut *⃣ The IDF began systematically destroying homes used for launch positions and surveillance This marks a clear doctrinal shift. Israel is no longer just responding to fire. It is shaping the battlefield, likely toward a buffer-zone model similar to early phases of Gaza operations. 🌍 REGIONAL AND GLOBAL DIPLOMATIC MOVEMENT Diplomatic activity is accelerating for one reason. The military phase is stabilizing. President Trump again stated that the war is nearing completion, though notably without offering a clear timeline or exit structure. That ambiguity is now a central feature of the conflict’s political layer. At the same time: *⃣ Pakistan has emerged as a potential mediator between the U.S. and Iran *⃣ Gulf and European states are pushing for de-escalation frameworks *⃣ Discussions are increasingly focused on maritime security and the Strait of Hormuz The UAE, in particular, has highlighted the scale of Iranian regional attacks, reporting hundreds of intercepted missiles and drones while framing Iran’s actions as violations of sovereignty and international law. This is no longer just about the battlefield. It is about shaping the post-war order. ⚠️ INTERNAL IRAN PRESSURE Inside Iran, pressure is building across multiple fronts. The economy is entering a wartime shock phase, with inflation rising sharply and essential goods becoming harder to access. At the same time, the regime continues internal crackdowns, including executions tied to earlier protests. There are also signs of instability at higher levels. The reported assassination attempt on former foreign minister Kamal Kharazi adds another layer of uncertainty, whether internal or externally driven. Public trust is eroding. Information control is weakening. The internal environment is becoming more volatile, not less. 🧭 THE BIG PICTURE What changed in the last 24 hours is not the scale of the war. It is the clarity of its trajectory. Israel has largely completed its strategic objectives inside Iran. Iran continues to respond, but at a reduced and more controlled pace. The center of gravity is shifting away from large-scale strikes and toward political positioning. At the same time, the Lebanon front is emerging as the most active and unpredictable theater. 🧠 MY ASSESSMENT This is the phase most observers misread. The war is not ending because Iran has collapsed or because stability has been achieved. It is moving toward an endpoint because the core objectives have been demonstrated. Israel and the United States have shown that they can penetrate Iran at will, dismantle critical infrastructure, and do so without being pulled into a prolonged ground conflict. That changes the strategic equation. Even if the regime remains in place, the message is now unmistakable. Military dominance does not require occupation. Deterrence no longer depends on long wars. And that lesson will not be lost on Iran, Hezbollah, the Houthis, or any actor watching how this conflict unfolded.show more

more seedance 2.5 realism tests: > it always makes... the arms a bit too long > shot selection is pretty insane > audio is a bit sub par, needs more work > in aggregate, can 100% pass as real (read the article below for full guide) prompt: Create an exactly 15-second photorealistic shopping vlog in 16:9: extremely sharp 4K compact-camera detail, natural HDR, accurate skin, realistic motion and perfect identity continuity. No VHS, grain, subtitles, logos, watermarks or graphics. SUBJECT: A 21-year-old American woman with long wavy chestnut hair, light everyday makeup and an expressive, approachable face. Fitted black long-sleeve top, light-blue straight jeans, sneakers and a small black shoulder bag. Keep her face, hair, outfit, bag and jewellery identical through every cut. She talks like a normal friend, never a presenter. STORE: A large modern high-street womenswear shop resembling an upscale European fast-fashion retailer without real branding. Cream walls, black fixtures, mirrors, warm-neutral spotlights, polished floor, fitting rooms, folded denim and dense racks of blazers, tops, dresses, knitwear and trousers. Adult shoppers browse independently. No readable brands, signs, price tags or labels. CAMERA: The same compact camera stays in her hand throughout. Every frame is one-handed arm’s-length selfie, her mirror reflection holding it, or her rotating it outward to show clothes. Never place it down, prop it up, pass it to anyone or use an external angle. Sharp 20–24mm-equivalent wide lens, mild barrel distortion, deep focus, reliable eye autofocus and true 24fps with 1/48-second blur. Stabilization controls impacts but retains footstep bob, wrist sway, breathing, grip shifts, late pans and imperfect reframing. Preserve pores, flyaways, teeth, fabric and accurate reflections without beauty filtering or fake bokeh. Exposure stays face-priority but shifts subtly between mirrored aisles and the fitting-room corridor. Fast wrist turns show slight rolling-shutter skew and natural background blur while her face and garments remain sharply resolved. EDITING IS CRITICAL: Use 12 clips and 11 hard jump cuts. Most cuts remain in the same aisle or beside the same rack, with only a small jump in pose, expression, camera distance, garment position or sentence. Remove mundane pauses and bits of walking. Cut mid-gesture, during camera turns and inside sentences for the fast rhythm of an edited social vlog. Geography and identity stay coherent despite time compression. No fades, transitions, whip effects or cinematic montage. Cuts are not beat-synced; some happen for no narrative reason and simply skip a fraction of an ordinary action. CLIP 1 — 0.0–1.2: Walking into the store in loose selfie framing: “Okay, I’m literally just getting—” CLIP 2 — 1.2–2.3: Jump cut a few steps inside, nearly the same angle but her hair and bag have shifted: “—one top. That’s it.” CLIP 3 — 2.3–3.4: She rotates the camera toward a crowded rack and slides hangers with her free hand. Hangers clack; no dialogue. CLIP 4 — 3.4–4.6: Jump cut beside the same rack. In selfie view she holds a dark-red top against herself: “Wait, this is cute.” CLIP 5 — 4.6–5.5: Cut to a nearby mirror, camera visible in her hand. She checks the top. Her female friend, mostly off-camera, says, “No.” She turns: “Really?” CLIP 6 — 5.5–6.4: Close selfie micro-cut in the same spot. She laughs: “Okay, rude.” CLIP 7 — 6.4–7.6: She rotates toward a blazer rail and pulls out a charcoal jacket. Focus briefly transfers from mirror to fabric. CLIP 8 — 7.6–8.8: Jump cut in the same aisle. The top and jacket now rest over her free arm. Looking down: “Why do I already have four things?” CLIP 9 — 8.8–9.8: Near-identical angle after another micro-cut. Friend: “Because you picked them up.” She smiles: “Fair.” CLIP 10 — 9.8–11.2: Cut to her walking past another rack. She pans across dresses, passes the item she wants, then corrects back. No dialogue. CLIP 11 — 11.2–13.2: Mirror near the fitting rooms. Holding the jacket against herself: “Do I need this?” Friend: “No.” She smiles, ignoring the answer. CLIP 12 — 13.2–15.0: Close walking selfie approaching the fitting rooms, garments over her free arm: “Okay, I’m trying it on.”show more

WATCH THIS VIDEO CAREFULLY. FORENSIC ANALYSIS OF A VIDEO... CURRENTLY BEING CIRCULATED AND SPREAD ON ARAB TELEGRAM CHANNELS (Mor Edge Insight in conjunction with GAZAWOOD - The Pallywood Saga - BACKUP - July 6) What you are about to see is raw footage of an active arrest operation and genuine footage. This clip is currently circulating on Palestinian Telegram channels and is being prepared for wider distribution on X. It follows a familiar pattern of real footage with heavy manipulation and inauthentic audio to create a perception and narrative that doesn’t exist and is not what the footage actually shows. Here is the step-by-step forensic breakdown. The audio track contains multiple sharp “gunshots.” However, frame-by-frame examination shows no muzzle flashes at any point, even in bright daylight where unsuppressed firearms would produce clear, visible bursts. There is also no visible recoil or weapon movement on the individuals holding rifles. The barrels show no suppressors, yet the sounds are relatively clean “pops” rather than the overwhelming cracks expected from unsuppressed fire at that range. The audio of the shots fired are more reminiscent of a children’s toy than a real gunshot. More critically, the visual action is happening at a clear distance across the road, at a distance of an estimated 60-100m away from the camera, yet the gunshots and shouting sound as if recorded right next to the camera. Real distant gunfire would be thinner, more muffled, and accompanied by environmental echoes. This audio was added in post-production. How distance was determined: The white car in the immediate foreground (partially visible on the left) is only 5–10 meters away. The road width and the position of the parked vehicles and people with guns put the core action clearly in the mid-ground, across the full width of the street and shoulder. Reference objects: Standard car lengths (4.5–5m), average adult height (1.7m), and the spacing of streetlights/power poles all support a distance in that 60–100 meter range for the shooters and the SUV. The black SUV drives a noticeable distance across the frame without appearing overly large or close, further confirming it’s not right next to the camera. This distance makes the audio mismatch even more obvious. Real gunfire at 60–100 meters would sound significantly more distant and muted, with clear delay and environmental filtering. The overlaid “cracks” sound like they were recorded (or synthesized) much closer. Summary 1. Real gunshots, especially in an open outdoor environment like this, produce a sharp initial crack (supersonic bullet) followed by a broader report/echo, with significant low-frequency rumble, reverberation off the ground/cars/objects, and environmental decay. These sound more like clean “pop/crack” samples layered on top. 2. They lack the natural variations in volume, timing, or distortion you’d expect from actual firearms in a real chaotic scene (muzzle blast, echoes, distance differences) even with silencers which from that distance you wouldn’t even hear. They feel “pasted in” during editing. 3. The overall audio mix (ambient road noise, car sounds, voices) doesn’t interact naturally with the “shots”, there is no proper masking, reverb bleed, or mic overload you’d get from real loud events captured on the same recording device. Always examine the audio against the visuals, check for continuity errors, and watch how people actually behave when they think no one is watching the performance. Share if you value this kind of detailed verification.show more