Whole roasted snapper tonight on #WildGameKitchen 🎣 A mild,... white-fleshed fish, red snapper is universally beloved and readily available anywhere. First, I'm cooking up fried snapper fingers with a spicy chile-orange mayonnaise dipping sauce. Then, I'll be roasting a whole fish over open fire, serving it family style with an herb salad and charred miso sweet potatoes. Watch it tonight on Tastemade at 7 PM ET/6 PM CT.show more

Wild Game Kitchen is back, and we brought the... whole pig. Season 6 premieres tonight for Grill Week on Tastemade, and we’re kicking it off with suckling pig two ways. First, a three-cup-style braise served over plancha fried rice. Then, a whole pig roasted over open fire, pulled apart, and piled into Philly-style pork sandwiches with broccoli rabe and sharp provolone. This is exactly what I love about cooking over fire: big technique, big flavor, a bit of patience, and huge payoff. Watch the Season 6 premiere tonight on Tastemade. Huge gratitutde to Intuitive Content for another fantastic season. Recipes are on my website and the Tastemade cooking app.show more

🚨 TOOTH DOWN! ROTTWEILER SISTER ON HIGH ALERT! 🚨🦷😤... Chesnyy™ reporting: my baby moose Kenji just lost his FIRST TOOTH. Tiny perfect fang — Human grabbed it with the same speed and enthusiasm as when she drops chocolate and worries the puppy might get to it. Kenji looked shocked, then wagged like it was a win. Tonight we slide it under his puppy pillow for the Puppy Tooth Fairy. But I’m not buying the “sweet fairy” act. What if she’s a sneaky gremlin coming for baby teeth AND baby zoomies? What if she wants the whole baby rottie? Or worse, what if she wants the whole puppy and everything in the snack cupboard???Nope. Chesnyy Stakeout starts tonight — parked by the pillow, ears up, full Rottie glare ready. Protecting the baby (and snacks) at all costs. First lost tooth stories? Spill below — I need to know if the tooth fairy is trustworthy. 🖤🤍 #KenjiLostATooth #PuppyToothFairyWatch #BigSisterChesnyy #BabyMooseProtection 🎥 Rare rottie tooth footageshow more

Created with Seedance 2.0 on Yapper Prompt: An ultra-realistic,... cinematic film still of a slender young chef with curly brown hair, wearing a pristine white chef's jacket and a vibrant red ascot tie. He is energetically tossing a colorful mix of sliced red onions, bell peppers, and fresh vegetables in a steaming black wok over an intense open flame on a professional kitchen stove. High-fashion aesthetic, dramatic warm lighting hitting the smoke and fire, hyper-detailed textures of the fabric and fresh food, 5k resolution, captured on an anamorphic lens, early 2000s film texture. --ar 16:9 A detailed cinematic close-up shot of a beautifully plated gourmet dish—a perfectly seared fish fillet resting on a bed of glazed root vegetables and rich reduction sauce, topped with delicate microgreens. In the soft-focus background, a middle-aged, bearded man with a joyful expression and eyes closed takes in the aroma. Warm, atmospheric restaurant lighting, ultra-realistic food photography, high-fashion depth of field, rich textures, 5k quality. --ar 16:9 A detailed creative production storyboard layout titled "REMY & LINGUINI - KITCHEN MOMENTS". The poster features a grid of multiple hand-drawn sketch panels showing different kitchen scenes, character design sketches on the right side with height charts, costume annotations, camera notes, and color palettes at the bottom. Stylized, authentic animation concept art layout, high-end digital art presentation. --ar 3:4show more

this might be the E2B killer for AI agent... sandboxes. forkd is an open-source microVM sandbox runtime built on Firecracker, made for AI agent fan-out, code interpreters, eval harnesses, anything that spins up a lot of short-lived sandboxes. before: every sandbox cold-boots its own VM and re-imports the whole runtime from scratch, numpy, torch, JIT compilation, model weights, all of it. now: forkd boots one parent VM once, warms it with your runtime already imported, then forks children from that snapshot using copy-on-write memory. the repo's own benchmark: spawning 100 sandboxes takes 101ms with forkd, versus 759ms for a raw Firecracker cold-boot, and well over a minute for Docker or gVisor. the SDK is a literal drop-in for E2B's Python client, so if you're already running code-interpreter agents on it, swapping the import line gets you a self-hosted runtime with the same isolation model at a fraction of the per-sandbox cost. pre-built recipes ship for e2b-style code interpreters, Jupyter kernels, SWE-bench coding agents, and Playwright browser fan-outshow more

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1.... Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discordshow more

Hey X, Family, friends, and warriors on here, I... need to share something heavy that's been on my heart for only a couple of days. The doctors recently gave me news of cancer and a short 12-month timeline at best. I call BS on that. I feel strong, I'm fighting with everything I have, and I'm positive I'll beat this by God's grace. I'm anxiously waiting on a second opinion from another oncologist right now. Today I broke the news to my kiddos, all but the one overseas. My minors at home (including our new little Spider-Man who's been adjusting with us the past week after coming from a tough situation) and my college boy are now in the know. As a widower with no other living relatives, these boys depend on me, and I've never hidden things from them. We prayed together and we're standing on faith. I've only been carrying this quietly for a couple days, but I can't keep it hidden any longer. So many of you depend on me for the behind-the-scenes help and encouragement, and I have several close friends right here on this platform who have beaten the odds ,true God's warriors. Their testimonies fire me up. I know I'll join them in victory. Scripture I'm standing on: " Is anyone among you sick? Let them call the elders of the church to pray over them and anoint them with oil in the name of the Lord. And the prayer offered in faith will make the sick person well; the Lord will raise them up." (James 5:14-15) Also, "Carry each other’s burdens, and in this way you will fulfill the law of Christ." (Galatians 6:2) Please cover me and my boys in prayer. I'm trusting God for complete healing and many more years of ministry, fatherhood, and service. He who began a good work will be faithful to complete it. Let's believe together, the battle is the Lord's. Much love and gratitude, Moon 🌙show more

One billionaire family controls the bridge that carries 25%... of all U.S.–Canada trade. The good news? There's a brand new public bridge right next door (and Canada paid for the whole thing). The bad news? Donald Trump won't let it open. Here's the story: For more than a decade, Michigan and Canada worked together to build a new public crossing right next to it — six lanes over the Detroit River, named for a Canadian-born Red Wings legend, built by thousands of union workers. Canada paid the entire bill. Michigan co-owns it. It's finished. It’s a shining example of international cooperation and collaboration, with a tremendous return for both sides: more jobs, faster trade, and lower costs. So why isn't it open? Because the Moroun family, who own the rival Ambassador Bridge just up the river, doesn’t want the competition. They spent years and tens of millions of dollars trying to stop any competing international crossing from being built or opening. They lost. So they went to the White House instead. In January, Matthew Moroun gave $1 million to a pro-Trump super PAC. Then the billionaire called Trump's Commerce Secretary and, just hours later, Trump suddenly attacked the same publicly owned bridge he praised in his own first term and threatened to block it. Then, the day before the June 12th ribbon-cutting, the opening was called off indefinitely. It's corruption so flagrant it would be laughable if it weren't so damaging. Trump is screwing over Michiganders for the interests of billionaires — holding a finished, publicly owned project hostage to protect one donor's toll booth. So a finished bridge sits closed, Michiganders keep paying the higher tolls, cars and trucks cost more, and a billionaire family keeps its monopoly. Mr. President: stop playing games. Open the damn bridge.show more

Warning ⚠️ "This ad may cause serious Burger craving"... Built this 15-sec Bunz commercial using BudgetPixel AI , capturing every cheesy, smoky, delicious detail 🔥 AI creativity + food brands = a powerful combo..... Prompt : Create a high-end 15-second cinematic food commercial for BUNZ Double Cheese Burger. Style: Dark, moody, neon-lit night atmosphere, ultra-realistic, high contrast, dramatic lighting, slow-motion food shots, intense and craving-inducing. Cinematic color grading with deep blacks, glowing red and orange neon, and warm golden cheese highlights. Sequence: 0-1s: Night street scene with glowing red neon “BUNZ” sign reflecting on wet pavement. Text appears: “SOMETHING BIGGER IS HERE”. 1-2s: Attractive young East Asian woman with long dark hair, wearing a red and black racing-style jacket with BUNZ logo, looking intensely at camera. Behind her glowing orange neon text “CRAVE”. Overlay text: “BITE INTO THE HEAT”. 2-3s: Extreme close-up of a tall double cheese burger with sesame bun, melted cheddar, fresh lettuce, pickles, and juicy smashed beef patties. Soft steam rising. 3-4s: Slow-motion shot of smashed beef patties sizzling on a hot grill with sparks and smoke. Text: “SMASHED TO PERFECTION”. 4-5s: Close-up of thick melted yellow cheese slowly dripping and stretching over a juicy beef patty. Text: “MELTED CHEESE”. 5-6s: Thick creamy orange sauce being poured in slow motion over the burger. Text: “SAUCY BOLD UNSTOPPABLE”. 6-7s: Macro shot of fresh crisp green lettuce and layers of the burger. Text: “FRESH CRISP REAL”. 7-8s: Same woman holding the burger near her face, looking seductive and intense, with glowing “CRAVE” neon behind her. Text: “MADE FOR THE CRAVERS”. 8-10s: Woman taking a confident bite of the burger under neon “BUNZ” signs. Text: “FEEL THE HEAT LIVE THE CRAVE”. 10-12s: Hero shot of the full Double Cheese Burger next to a cup of fries and a black BUNZ drink cup. Bold text: “BUNZ DOUBLE CHEESE BURGER – STREET BURGER SERIES”. 12-14s: Bold red and white logo animation: “BUNZ” with the tagline “BITE INTO THE HEAT” underneath, subtle fire effect. 14-15s: Final frame – neon background with text “AVAILABLE NOW AT BUNZ STREET LAB EST. 2026”. Ending bar: Bottom strip showing “15 SECONDS OF CRAVE-WORTHY HEAT” with icons for Double Beef, Melted Cheese, Smoky Sauce, Fresh Ingredients, and the BUNZ logo “MADE FOR THE CRAVERS”. Camera: Smooth cinematic camera moves, slow push-ins, macro close-ups, shallow depth of field. Mood: Intense, addictive, premium street-food energy. No voiceover – only powerful visual storytelling and on-screen text.show more

Claude CodeにMiniMax H3のプロンプトを丸投げしたら、この動画ができました😃 Claude Codeに投げたプロンプト↓ ------------------- MiniMax H3を使ってモーショングラフィックスをバリバリ使った15秒のCMを作りたい。 どんな内容が良いと思う？... 条件は以下 ・モーショングラフィックスを多用 ・人物も登場させる（実写・アニメーションは問わない） ・アスペクト比は16:9 ------------------- すると、Claude Codeが3つCM案を提案。 そのうちの1つを選んだら↓のプロンプトができました。 MiniMax H3を利用したツールはMiniMax Design。 #MiniMaxH3 on #MiniMaxDesign Claude Codeが作ったMiniMax H3向けのプロンプト↓ ---------------------- integrated_multimodal_description: 2D-animated, a bold graphic-design motion-graphics commercial in 16:9 with exactly 13 distinct cuts at 24fps. This film is 85% kinetic graphic design and 15% character action: giant kinetic Japanese typography, hard-edged flat shapes, split screens, halftone, speed lines, torn-paper reveals and shutter flashes. Palette, strictly four colors: fluorescent orange, deep black, off-white, silver grey. The recurring character is a young anime street dancer with a black chin-length bob and blunt bangs, sharp confident eyes, an oversized off-white track jacket with fluorescent-orange sleeve stripes, black cargo shorts, and chunky white sneakers with fluorescent-orange lines. Preserve her exact face, proportions, hairstyle, outfit, materials and colors throughout; never redesign her. Every graphic element moves fast and snaps hard on the beat. [Shot 1] On a deep black field, a massive off-white circle slams into frame left of center, then two fluorescent-orange bars wipe across the upper and lower thirds, then the Japanese kanji "烈" builds itself stroke by stroke in off-white at the center until it is complete. The camera shakes slightly with small amplitude at fast speed on each impact. [Shot 2] At 00:01.000, the camera cuts to an off-white field where four black squares rotate into the center one at a time. The largest square opens as a porthole revealing an extreme close-up of the dancer's ice-sharp eye glancing up, then a red-and-cyan split flash tears across the edges and the squares shatter into flat shards. The camera pushes in with small amplitude at fast speed. [Shot 3] At 00:02.000, the camera cuts to an off-white field filled by an enormous black kanji "烈". The dancer sprints in from frame left, power-slides along the baseline of the typography, and fluorescent-orange ink splatter trails behind her as speed lines streak past. The camera trucks left with large amplitude at fast speed. The kanji stays fully readable before she crosses in front of it. [Shot 4] At 00:03.100, the camera cuts to a vertical triptych of fluorescent-orange, deep black and off-white panels. Her flat silhouette appears in each panel in stroboscopic freeze, one after another — takeoff, mid-air tuck, landing — while giant vertical silver text "全速" scrolls upward behind the panels. Static shot. [Shot 5] At 00:04.000, the camera cuts to a black field where a giant tilted ring of fluorescent-orange Japanese characters reading "止マルナ" rotates. The dancer leaps through the center of the ring, spins once in mid-air, and the characters break off and scatter outward as flat shards. The camera arcs with large amplitude at fast speed, then snap-zooms onto her confident face. [Shot 6] At 00:05.100, the camera cuts to a clean off-white editorial card holding a huge black kanji "跳" with one orange diagonal slash. She vaults over the word itself, plants her palm on its left radical, the character compresses like a spring under her hand, then rebounds as her legs whip across the frame. Static shot. [Shot 7] At 00:06.000, the camera cuts to a full fluorescent-orange field crossed by one thick black diagonal stripe. She back-flips along the stripe in three stroboscopic ghost frames tinted black, off-white and silver grey, while a large outlined kanji "回" rotates 180 degrees in sync with her rotation. The camera rolls clockwise with small amplitude at fast speed. [Shot 8] At 00:07.000, the camera cuts to an off-white field with a hard black band. Four bold black kanji slam in one at a time at different scales and angles — "速", then "鋭", then "静", then "烈" — each landing with a white shutter flash and an orange impact mark, while she slides on her knees across the foreground, jacket flaring. The camera shakes slightly with small amplitude at fast speed. [Shot 9] At 00:08.000, the camera cuts to a black frame where a white wireframe grid tilts away in 3D. She runs up the grid like a wall, kicks off it, and hangs frozen in mid-air as a fluorescent-orange circle stamps around her pose like a target lock with silver UI brackets and tick marks. The camera tilts up with small amplitude at slow speed. [Shot 10] At 00:09.000, the freeze releases and the camera cuts to layered flat-color panes stacked toward the lens. She dives straight at the camera, the panes tear open one at a time like thick paper, and each tear reveals a larger portion of the black kanji "烈" behind, before her sneaker wipes across the foreground. The camera pulls out with large amplitude at fast speed. [Shot 11] At 00:10.100, the camera cuts to a rapid-fire montage of four full-screen graphic posters of her in different action poses — mid-flip, sliding, landing, hands in pockets — snapping past with hard cuts, each with an oversized silver number 01 to 04, a black barcode strip and thick diagonal slashes. Static shot. [Shot 12] At 00:11.100, the camera cuts to a clean off-white cyclorama for the hero moment. She lands a final backflip dead center in slow motion, straightens with both hands in her pockets, and a shockwave of concentric fluorescent-orange rings blasts outward from her feet carrying shattered fragments of the kanji "烈" with it, then the frame overexposes toward white. The camera pushes in with small amplitude at slow speed. [Shot 13] At 00:13.000, the camera cuts to the final identity card on a pale off-white field. An enormous black kanji "烈" dominates the frame with translucent orange rings and thin technical arcs behind it, the silver-grey word "RETSU" sits directly beneath the kanji, and she stands relaxed at the lower center overlapping the bottom of the strokes with her jacket rippling. One thin orange pulse sweeps horizontally through the typography and holds cleanly until exactly 15.000 seconds. Static shot. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, split flashes and impact shakes. Every cut must feel compositionally different. All Japanese typography is always fully readable before the character overlaps it. No weapons, no combat, no fire, no explosions; all energy comes from motion design, ink, torn paper, wind and her street-dance athleticism. No photorealism, no 3D rendering, no gradients, no browser interface, no player controls, no subtitles, no captions, and no text other than the Japanese characters named above. Exactly 13 cuts. overall_soundscape: Sneaker impacts, knee slides and landings hit hard against a clean room tone. Ink splatters burst, thick paper tears open, and flat panels shatter like glass. Sharp whooshes carry the color wipes and typography slams, with small shutter clicks on each flash. No dialogue. non_diegetic_music: An original 15-second drum-heavy breakbeat with a deep sub bass, hard snare hits, risers and glitch fills locked to every cut. Begin with a single impact, build tightly through the middle, peak at the landing at 00:11.100, and end with a cold electronic logo sting that resolves at 15.000 seconds.show more

A day in my life. Made with Seedance 2.0... on TopviewAI Prompt: Photorealistic behind-the-scenes smartphone vlog footage of a crypto/web3 enthusiast and AI content creator. Faux vertical smartphone footage naturally cropped into 16:9. Authentic handheld phone aesthetic. No cinematic color grading, no HDR, no beauty filters. Feels like genuine casual vlog footage. Character: A white stylized 3D mascot-like character (exactly like the reference image >> ) with a smooth white body, black sunglasses, and a distinctive white mohawk/crest on its head. The character has a simple, expressive face and moves in a slightly exaggerated but natural way. Maintain the exact same design, proportions, and identity from the reference image in every scene. Setting: A simple, slightly messy small apartment. Clothes on the chair, multiple monitors and gadgets on the desk, empty coffee cups, snack wrappers, tangled cables, and crypto-themed posters on the wall. Natural and lived-in feeling. Lighting: Starts with soft morning light coming through the window, gradually transitions into warm afternoon and evening indoor lighting. Natural smartphone exposure changes. Camera: Simulated smartphone footage with gentle handheld movement, natural walking, subtle autofocus breathing, occasional imperfect framing, and realistic phone compression. Feels like a friend casually filming. Style & Mood: Casual, relatable, and a bit funny. The character has the personality of a chill but passionate crypto and AI content creator — sometimes excited, sometimes chaotic, but always sincere. Scene Sequence: CUT 1 — Waking Up Morning. The character slowly wakes up in bed, still wearing sunglasses. It sits up, looks around the messy room, then dramatically falls back onto the pillow for a few seconds before forcing itself to get up. It stretches lazily. CUT 2 — Morning Coffee & Checking Charts The character walks to the kitchen (still in pajamas or oversized shirt), makes coffee, then sits in front of multiple monitors. It excitedly checks crypto charts and AI tools while talking to itself. It suddenly reacts to a big green candle. CUT 3 — Content Creation Chaos The character is at the desk trying to create content. It’s switching between different AI tools, recording voiceovers, and getting slightly overwhelmed with too many tabs open. It accidentally knocks over a cup while celebrating a good prompt. CUT 4 — Midday Break The character takes a break, eats instant noodles while scrolling through Twitter/X and Discord on its phone. It laughs at a meme, then suddenly gets an idea and rushes back to the computer. CUT 5 — Evening Work Session Late afternoon turning into evening. The room is messier now. The character is deeply focused on editing a video using multiple AI tools. It talks to the camera while working, explaining what it’s doing in a casual way. CUT 6 — Late Night Wind Down Night time. The character is tired but satisfied. It cleans up a bit (half-heartedly), sits on the couch with a drink, and quietly scrolls through its phone while reflecting on the day. It looks at the camera and gives a small, tired but happy wave. CUT 7 — Sleeping The character turns off the lights, lies down on the bed (still wearing sunglasses), and mumbles something before falling asleep. Audio: Natural room ambience only. Keyboard typing, mouse clicks, coffee machine, instant noodles being eaten, phone notifications, occasional sighs or small laughs, aircon or fan humming. No background music. Overall Vibe: Funny, relatable, and chill. Feels like a genuine day-in-the-life vlog of a crypto/AI content creator who’s passionate but also a little messy and human (or in this case, mascot-like).show more

It’s hard to believe we're on the final day... of our campaign to save the farm and keep our special Esther Magic in Campbellville with Operation Angels. In just two short months, we've raised over half a million dollars to help bring this dream to life. Although we haven't hit our goal yet, what we've achieved is incredible. With over 6,100 contributors from 39 countries totaling over $560,000, this is a global affair in typical Esther fashion. This project is designed to generate revenue to support sanctuaries and rescue organizations and serve as a model for revenue-generating programs at existing facilities. What sets us apart is our approach to drawing revenue from a new demographic to ease the pressure on current donors and an educational program to better equip animal organizations for the challenges they face. This project represents everything Esther stood for: kindness, compassion, inclusion, and support. I can't think of a better way to honor her and the community of like-minded people who make our little corner of the internet unique. The campaign will remain active until 4 am ET on August 1st, so we have less than 17 hours to give it our best and finish strong. To anyone who hasn't contributed, I hope you’ll consider doing so today because we could certainly use your help. We may not reach our goal, and that’s okay. Don’t be discouraged. It just means we keep going because come hell or high water, we’re going back to Campbellville. Thank you to everyone who has contributed so far and to everyone who has liked, shared, and commented on campaign posts these last two months. You have all played a critical role, and I am eternally grateful for your support and encouragement. It is an honor and a privilege to be part of this project with all of you. It represents the end of an era and the start of a new and exciting one. We’re going to do amazing things together, and I can't wait to get back to work. See you all live tonight for our final campaign Garden Chat at 6:30 PM ET. xoxo Steve.show more

Okay I think it's time for the Green Monday!... This is a post for people who don't sleep (assuming investors even sleep) during the GLOBEX session PS. You must see the image in the comment! Friday was ugly. S&P 500 dumped 2.64% to 7,383.74, worst day since October, VIX up nearly 40% as the hedging machine kicked in. Everyone's asking the same thing into Sunday's open: fade it or buy it? I'm buying it - just not at 6pm ET like the dip can't get deeper. It all keys off 7350, where futures settled in GLOBEX. Two ways we open. The likely one: we gap up. Don't chase the first candle - after a 40% VIX pop you get a squeeze (S&P 500 goes up like crazy 2pm ET GLOBEX open), then a dip. Let the squeeze run, buy the first real pullback between 8pm and 3am ET. The other: we leak toward 7300 on lingering VIX hedging. Don't catch the knife - wait for it to base, a clean hold of 7300 or clear 5-minute support, then buy the rebound that usually shows late GLOBEX or 3-4am pre-market. Same plan either way: I buy the dip, not the rip. If you are bull, be smart bull. Where I want the close: 7400 is the floor, 7450 my base case, and 7500 is very much in play (though less probable than 7450) - about 2% off the GLOBEX pivot, with the Nasdaq roughly 2.5% higher (If S&P 500 hits 7500) on a chip snapback. Friday was a volatility event, those almost always make the whole market rebound a day or two after.show more

Let me get this straight, because it broke my... American brain. In the UK there is a thing called the telly tax. You do not pay it because you watch the BBC. You pay it because you own a television at all. The physical box in your living room. So the government charges you for the privilege of owning a screen, then uses the money to fund the channel you were trying to avoid. It is a cover charge for a party you never wanted to attend. And now 2.6 million households have looked at that deal and said no thank you, the biggest walkout in a generation. Meanwhile, in the land of the free and the aggressively over-appliance, I have six televisions. Six. All of them Samsungs. One exists purely to play weather radar and college football in a room I enter twice a month. Nobody taxed me for a single one. No letter, no inspector at my door confirming I own a Samsung. So here is my modest proposal for everyone over there still paying. You still own the box. You still get the bill. So on the same night, all of you, haul the telly down to the river and on the count of three heave it in. Call it the London TV Party. You already have the blueprint. Some colonists did the exact same thing with a boatload of tea in a harbor once, and it worked out pretty well for the ones doing the throwing. The BBC taxes the box, so you drown the box. No box, no tax. No tax, no lecture. Just a very confused fish watching reruns at the bottom of the river. I am not saying start a revolution over a television fee. I am just saying it would not be the first time a tax in the water turned into a whole new country. 🥃🦋show more

I just need to say it… Some of you... have LOST YOUR FRIGGIN MINDS over Hurricane Milton We Do live in Sarasota County where it’s making landfall right now but do NOT live on the coast (15 miles+ inland) People have been telling us all day that we deserve to die for not leaving and to write our daughters SSN on their arms to be identified. The video to the left is the worst it has gotten. Now I want to be VERY VERY clear. If you live on the beach, are in a mobile home, or a major flood zone… Evacuation is a NECESSITY. I hope those people all got out and are safe. But I’m not joking. I’ve had family and friends telling me that ALL Florida is going to be wiped out by Milton. And to kiss my daughters goodbye tonight because we stayed. Now I mostly blame the over sensationalist media for hyping everyone up making it sound like this was going to make landfall as the most catastrophic storm in history. It literally made landfall as a Cat 3 120mph winds. Thats far from the largest. People saw that it was a Cat 5 with 200 mph winds when it was in the middle of the ocean and thought it would land at that. TikTok and random “weather people” didn’t make this any better. It’s like the whole country was watching us like NASCAR… hoping to see that fatal crash. It’s messed up.show more

Seedance 2.0 on ImagineArt ======================== Prompt: CAMERA: Modern smartphone-style... handheld selfie POV, first-person vlog. SEOYUN always holds the camera. Natural hand shake, imperfect framing, quick reframes, occasional face cropping. The camera device is never visible. LOOK: Clean modern digital video, sharp and vibrant, natural skin tones, bright even exposure. Full-frame image filling the entire screen edge to edge, standard flat rectangular frame. No black borders, no rounded corners, no letterboxing, no vignette, no lens distortion, no fisheye, no frame overlay, no retro or tape effect. STYLE: Bright, playful K-pop idol vlog. Genuine smiles, eye contact, candid energy, quick handheld shots with backstage excitement. CHARACTER: SEOYUN, Korean female idol in her early 20s. Long straight jet-black hair with soft face-framing strands, dewy fair skin, large dark brown eyes, natural coral-pink lips, gentle sweet smile. Slim figure. Wearing a futuristic white K-pop stage outfit: an asymmetric white halter-neck crop top with one iridescent holographic sequin panel and a thin silver sparkly shoulder strap, a white pleated mini skirt with holographic sequin pleats and decorative silver zippers, a wide white belt with a large rhinestone buckle, long white gloves, white thigh-high boots, a delicate rhinestone choker necklace, and sparkly drop earrings. Stage glam makeup. SETTING: Backstage hallway of a music show studio with dressing room doors. One dressing room door has a clean printed name plate reading exactly "SEOYUN" in bold uppercase Latin letters. Snack table with an open bowl of small individual snacks, overhead PA speaker, and blurred staff passing by. SEQUENCE: 1. Selfie: peeks into the hallway. "얘들아, 우리 지금 무대 뒤에 있어!" 2. Whip pan down the corridor. "이 복도 진짜 길다!" 3. Stops at her dressing room, points at the name plate that clearly reads "SEOYUN". "이거 나야!" 4. Close-up of the name plate, the text "SEOYUN" sharp and clearly legible in bold uppercase letters as she taps it. Ambient audio only. 5. Quick outfit check with a spin near a mirror. "나 오늘 어때?" 6. At the snack table, picks up one small snack piece from the bowl with her fingers and pops it into her mouth. "이건 못 참지." 7. Mid-bite, PA announcement interrupts. She laughs: "잠깐만—" 8. Selfie ending: hears the countdown, waves, makes a hand heart, then runs toward the stage. "이제 무대 가야 돼—무대 끝나고 보자!" ======================== Made with #ImagineArtshow more

WHY ARE WE STILL PAYING ALMOST FOUR DOLLARS A... GALLON WHEN OIL IS NEARLY $70 A BARREL?! Oil is trading in the seventies right now. Go back and check the history books. The last time crude sat in that range for any real stretch, gas was closer to two dollars and sixty cents a gallon. Today the national average is sitting near four dollars. Something does not add up, and Americans know it. There is an old saying in this business. Prices rise like a rocket and fall like a feather. Economists even have a name for it. The rocket and feather effect. When oil spikes, the pump reacts overnight. When oil drops, that same speed mysteriously disappears. The industry has a story ready every time. They say they are still selling expensive oil bought weeks ago, so prices cannot fall yet. Fine. But watch what happens the moment tensions with Iran flare up. Oil ticks up four or five dollars a barrel and somehow pump prices jump forty or fifty cents overnight, on oil the stations already had sitting in the ground bought at the old cheaper price. You cannot have it both ways. Slow to fall because of old inventory, instant to rise regardless of it. That is not a supply chain. That is a shakedown. Trump has pushed harder than any president in a generation to open up drilling, cut red tape and increase the actual supply of American energy. That is supposed to be the whole point. More supply, lower prices, real relief for working families filling up their trucks. Families are doing the math at the pump every single week. They are not confused. They can see a rocket going up and a feather coming down, and they are done pretending it is a coincidence.show more

Seedance V2 Now the prompt is out you can... change the character's the food and the location, have fun 🤭 realistic live-action, single continuous shot, full first-person POV, no cuts, no angle changes, no scene transitions, no montage, no flash cuts, no music, no subtitles. Only two characters: my unseen first-person POV and @ Image1 sitting across from me. Natural ambient sound only: light restaurant noise, tableware, distant water, faint voices, chewing, spitting, rinsing, my laughter. Setting: Outdoor dining table beside West Lake, Hangzhou, near the water, calm daylight or soft late afternoon light. Real smartphone-video realism, grounded textures, realistic food, realistic body and hand motion, accurate chopstick use, accurate mouth movement, accurate eye focus. The lake stays visible to one side of frame. Character: @ Image1 is the only visible person. She can switch seamlessly between slightly fierce-cute and soft adorable. Lip sync, voice, expressions, and body language stay fully synchronized. Emotional arc: cheerful and relaxed while eating, then shocked disgust, then angry embarrassment. Table: Exactly 7 dishes on the table. One dish is the West Lake vinegar fish shown in @ Image2. @ Image1 is happily eating rice and the other dishes, but not the fish at first. The table feels full but readable. The fish dish remains clearly visible before I offer it to her. Camera: Entire video is from my seated first-person view across the table. My hand and chopsticks may enter frame naturally. Slight handheld micro-shake from breathing and laughter only, never chaotic. No third-person shots, no reverse shots, no overhead shots, no cutaways. Continuous believable framing centered on @ Image1 with part of the lake visible. Action: @ Image1 sits opposite me, happily eating from her bowl, enjoying rice and other dishes except the West Lake vinegar fish. She looks bright, playful, relaxed, cute. From first-person POV, I pick up one bite of the fish with chopsticks and slowly extend it toward her. She notices it immediately, trusts me, leans forward, opens her mouth happily, and makes a cute “aam” sound as she bites the fish. I gently pull the chopsticks and my hand back out of frame. She chews happily for about one second, expecting it to taste good. Then the taste hits. Her expression changes instantly into exaggerated but believable disgust. Her face shifts into a comedic purple-disgust reaction while staying within realistic live-action style. She quickly turns toward the lake and spits it out with repeated “ptui, ptui, ptui” sounds. The motion is fast, fluid, and continuous from chewing to rejection. The moment she starts spitting, I begin laughing in first-person POV and keep laughing through the whole reaction. My laughter sounds genuine, amused, and uncontrollable, coming from behind the camera. The camera shakes slightly from laughing. After spitting, @ Image1 sticks out her tongue in disgust, immediately grabs the water on the table, and rinses her mouth quickly. She looks offended, embarrassed, irritated, but still vivid and cute. After rinsing, she snaps into angry frustration, grabs the entire fish dish from the table, and throws it into the nearby lake in one continuous motion. Ending: She finishes the throw angrily, still facing the lake, clearly annoyed and feeling betrayed, while I remain in first-person POV laughing. Keep the action continuous and clean. No extra characters enter frame.show more

FIFA is floating a 64-team World Cup, and the... whole football world is groaning. I am not. I just think they will do it badly, because they always do it badly. So here is the version that works. Sixteen groups of four. Two advance. That gives you a clean 32-team knockout bracket and kills the ugliest thing about the current format, those eight best third-place finishers they invented because 48 does not divide cleanly into anything. It was a fudge and everyone knew it. Sixty-four fixes it by accident. 127 matches. 64 nations. And the champion still plays only eight games. You doubled the field and did not add a step to the winner's road. Now the part that changes everything. One group, one city. Sixteen groups. Sixteen host cities. Your group plays every match in the same place. Fans book one hotel, one flight, one week off work, and settle in. Right now a supporter chases their team across a continent, three cities, three flights, three hotels, and half of them just give up and watch from home. Under this, a city does not host a match. A city adopts four countries for two weeks. And oh, the cities are going to have opinions. Whoever draws Japan should just relax. Those fans will stay after every match and clean the stadium, and if they get bored they may simply tidy up the whole city while they are at it. You will get your town back better than you left it. Whoever draws Scotland needs to order the booze in advance. All of it. Call your distributor now. The Tartan Army will be the best-behaved, most joyful, most catastrophically thirsty guests you have ever hosted, and they will make lifelong friends of everyone they meet, right up until the beer runs out and there is a diplomatic incident. Whoever draws the Netherlands needs to source orange buses. And orange everything. Those people will turn your downtown into a citrus flood, they will bring a marching band nobody asked for, and honestly it will be the best two weeks your city has ever had. Whoever draws Argentina, may God be with you. Whoever draws Norway, get the salmon in. Whoever draws Mexico, congratulations, your city just became a party and you were not consulted. That is a World Cup. Not a logistics exercise. A town square with the whole world in it. And here is the money. The moment the seeding is announced, the entire bracket exists. Every path, every matchup, every city, on one sheet of paper, months out. Bracket mania. Global bracket mania. Americans fill out 60 to 70 million brackets every March for a college basketball tournament. Office pools. Group chats. Grandmothers picking by mascot. It is the most engaging fortnight on our calendar and it exists entirely because you can see the whole map at once. Now do that with the entire planet. Which means killing the draw. Let us be honest about what that ceremony is. A man in a suit pulling balls from a bowl while the world pretends the biggest decision of the tournament was left to chance. It is a plot device, and it always bends the same direction. Toward the money, toward the hosts, toward the broadcast windows. The draw is not a ritual. It is a lever. So do it the American way. A committee seeds all 64, publishes the criteria, announces the bracket live, then defends it in public while the whole planet screams at the television. Transparency does not kill the drama. It creates it. And oh yeah. Kill the third place game. Nobody cares that you are the second best loser. Two heartbroken teams playing an exhibition in front of people who came for something else. No child has ever dreamed of lifting that trophy. Cut it. More nations. Cleaner bracket. One city per group. A bracket you can hold in your hand. Show me the committee. Show me the criteria. Then hand me a pen. I have picks to make. 🦋show more

1/7 Built a Polymarket trading bot over 3 months.... Here are the biggest mistakes that cost me real money > Went from v1 to v61. Every version fixed something painful. --- 2/7 Stop Loss killed more money than it saved. > Binary markets need room to breathe - fluctuations are normal. > Stop Loss was cutting positions on random noise and locking in losses right before the market flipped. > Removed it in v61. Immediately better. --- 3/7 Martingale + Stop Loss = a loss cascade. > Seemed logical: lost $5 -> bet $8, lost again -> bet $10. > In practice: a losing streak plus early exits = a hole in your balance in a single day. > Killed it. For good. --- 4/7 Smart Exit without Force Exit is a trap. > Token hits 90c (+75% profit), but the bot was waiting for a "BTC reversal" signal. > Market closes, token drops, profit gone. > Fix: hard Force Exit at 85c. No conditions, no waiting. --- 5/7 Blocking the 5:30-10:30 PM ET window felt safe. It wasn't. > NYSE open = sharp spikes = bad signals. Made sense to block it. > But the full block was also killing clean entries at 8-10:30 PM. > Had to split the zone into segments with different edge/move thresholds. --- 6/7 The Gamma API lies about market start time. > Start price ("price to beat") is the core input for every signal. > Gamma was returning stale data. Had to pull prices directly from Chainlink on-chain on Polygon. > That's its own adventure - polling a smart contract every 2 seconds at 2 AM. --- 7/7 The real lesson: don't overcomplicate what works. > v1: complex system, 10 indicators -> -$200/day > v61: "buy the expensive token for $5, exit at +30%" -> consistently green > Simpler logic = fewer failure points. > The bot runs 96 intervals a day. Every mistake shows up fast.show more

Christmas Eve and Christmas Day feature the most impressive... severe thunderstorm setup I’ve seen along the California coastline in at least a decade. The first round of isolated severe thunderstorms will come ashore tonight, bringing the threat of a isolated tornado and severe wind gusts over 60 mph from the Central Coast up to Humboldt County. The severe weather threat then expands into the Central Valley during the afternoon, California’s tornado alley, with the potential for isolated tornadoes, damaging winds, and even large hail. The threat then shifts south into Southern California tomorrow, where isolated severe wind gusts and a brief tornado will be possible. However, Christmas Eve into Christmas morning features the most potent severe weather environment of the week and could lead to a severe thunderstorm outbreak along the coastline from the Central Coast up to the North Coast. The combination of strong low-level and deep-layer shear with sufficient instability is rarely seen in this part of the world. I seriously cannot recall seeing Significant Tornado Parameter (STP) values exceed 3 along the California coastline. The peak threat window appears to be from 10 PM Thursday to 8 AM Friday. It would not be out of the question to see a Severe Thunderstorm Watch issued Christmas Eve night with the potential for a couple tornadoes and scattered severe wind gusts. I also believe this may be the first time on record that San Francisco has been placed under a Marginal Risk for severe thunderstorms in the Day 1–3 NWS Storm Prediction Center Convective Outlooks.show more