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A late valentines is better then no valentines! Edit done by: @enigmathree3 Voice actor: Eni𓆩♡𓆪VA or 𝐄𝐧𝐢 𝐕𝐀 (INACTIVE, CHECK BIO)🎙🔞(backup) #lewdrp #sexrp #openrp #blackedrp #ntrrp

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jackieleechan

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61,582 просмотров • 3 лет назад •via X (Twitter)

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hey cuties~ just some quick updates to my services ♡ i switched a few prices around to better reflect my time and effort. i'm sure you understand~ girlfriend experience (gfe) — $50 per week we DM each other here and i might send a voice note or pic now and then if i'm feeling generous~ voice calls ♡ $200/hour ♡ $100/30 min ♡ $50/15 min custom ai images — $20 each note about ai: i generate my images locally using Fooocus, not cloud generators. custom audio clips ♡ base price: $10 for 30 seconds ♡ +$5 for every additional 30 seconds ♡ say your name: +$10 all prices are in USD. payments can be made through Throne, Venmo, or YouPay (links in my bio). Throne and YouPay will add a processing fee, so please don't be surprised by that. you should also check out my LoyalFans page~ it's free to follow me, $10/month to view subscriber posts, and there are audio clips and image bundles available for sale there too ♡ and if all you can do is engage with and retweet my posts, i'm happy to let you do that~ i might even decide to come say hi ♡
1:46

hey cuties~ just some quick updates to my services ♡ i switched a few prices around to better reflect my time and effort. i'm sure you understand~ girlfriend experience (gfe) — $50 per week we DM each other here and i might send a voice note or pic now and then if i'm feeling generous~ voice calls ♡ $200/hour ♡ $100/30 min ♡ $50/15 min custom ai images — $20 each note about ai: i generate my images locally using Fooocus, not cloud generators. custom audio clips ♡ base price: $10 for 30 seconds ♡ +$5 for every additional 30 seconds ♡ say your name: +$10 all prices are in USD. payments can be made through Throne, Venmo, or YouPay (links in my bio). Throne and YouPay will add a processing fee, so please don't be surprised by that. you should also check out my LoyalFans page~ it's free to follow me, $10/month to view subscriber posts, and there are audio clips and image bundles available for sale there too ♡ and if all you can do is engage with and retweet my posts, i'm happy to let you do that~ i might even decide to come say hi ♡

Lacy ♡

13,015 просмотров • 3 месяцев назад

Lecture in Kabul about Shia vs Sunni (rough translation); This is a hot topic today, let us pray that Allah (swt) removes this enmity and animosity between us. The Muslim Ummah has been destroyed by this jealousy, grudge and enmity. It has destroyed our unity. It is the English who have turned us against each other, they have spread suspicion between sects and schools of thoughts. Let us remember that this war which America and Israel is waging is not against Shias, it is a war against Islam. America and Israel are thinking about destroying Islam. They are not thinking about “this is Shia and this is Sunni”. They did this in Iraq, pelting Shias and Sunnis against each other. They did the same in Syria. They were here in Afghanistan for 20 years, where was the talk about Shia? Were they talking and fighting Shias? No. The sole purpose of America and Israel is to make Muslims weak. Because for 1,200 years in this world, it was Muslims running empires. Muslims were powerful rulers under the banner of Islam. So America and Israel don’t want Muslims to stand on their feet again and become rulers of the world. If someone raises his head as a Muslim, they take care of them right there and then. There must be few thousand people in this majlis, forgive my language, they either take out the head, or take out the bottom (castrate then). They have castrated many countries, they have castrated the Arab countries, including Pakistan. I hope no one says that is a Muslim country with an atom bomb, no, Pakistan is castrated. The atom bomb is not under its own control, it is under the control of the English and Americans. They say we will either chop the head of a Muslim, or chop the bottom of a Muslim. One of them must be chopped. And this is what they have done. Have they done this or not? Tell the truth. All Arab countries have turned themselves like animals with four legs and have handed over the leash to America. Have they done this or not? Its leash is in the hand of America. They can’t even raise their voice a little, to show that they are independent, and to show that their heads are on top of their own neck, they cannot say anything. Does slavery have a tail and horn? Is this true or not, tell the truth? Allah (swt) says; “And prepare against them whatever you are able of power” In that era, it was swords, horses, armors, helmets, this was in the era of the prophet (pbuh). Now, those things will not work. Today, even a gun is not sufficient, now it is missiles, drones, atom bombs, press a switch and it goes to its destination. This is an order from Allah that Muslims should prepare against the enemy, and deter the enemy. Don’t start problems between each other over sects, otherwise you will be finished. Allah has said to us in the Quran; “and do not dispute and [thus] lose courage and [then] your strength would depart” You will be destroyed, your strength will be gone. This strength will be wasted and lost against each other. Is this true or not? These bullets, these weapons and martyrs from this side, and in that side, Pakistan fights Afghanistan under the command of America, right? They are Muslim, at least they are Muslim by name, it is a Muslim country, so wouldn’t it have been better if this strength, if those bullets and weapons were used against Israel and the enemies of Muslims? But our strength is being used against each other. How unfortunate is this? Whose plots are these? The plots of the English. They say muddy the water, and catch the fish…
4:53

Lecture in Kabul about Shia vs Sunni (rough translation); This is a hot topic today, let us pray that Allah (swt) removes this enmity and animosity between us. The Muslim Ummah has been destroyed by this jealousy, grudge and enmity. It has destroyed our unity. It is the English who have turned us against each other, they have spread suspicion between sects and schools of thoughts. Let us remember that this war which America and Israel is waging is not against Shias, it is a war against Islam. America and Israel are thinking about destroying Islam. They are not thinking about “this is Shia and this is Sunni”. They did this in Iraq, pelting Shias and Sunnis against each other. They did the same in Syria. They were here in Afghanistan for 20 years, where was the talk about Shia? Were they talking and fighting Shias? No. The sole purpose of America and Israel is to make Muslims weak. Because for 1,200 years in this world, it was Muslims running empires. Muslims were powerful rulers under the banner of Islam. So America and Israel don’t want Muslims to stand on their feet again and become rulers of the world. If someone raises his head as a Muslim, they take care of them right there and then. There must be few thousand people in this majlis, forgive my language, they either take out the head, or take out the bottom (castrate then). They have castrated many countries, they have castrated the Arab countries, including Pakistan. I hope no one says that is a Muslim country with an atom bomb, no, Pakistan is castrated. The atom bomb is not under its own control, it is under the control of the English and Americans. They say we will either chop the head of a Muslim, or chop the bottom of a Muslim. One of them must be chopped. And this is what they have done. Have they done this or not? Tell the truth. All Arab countries have turned themselves like animals with four legs and have handed over the leash to America. Have they done this or not? Its leash is in the hand of America. They can’t even raise their voice a little, to show that they are independent, and to show that their heads are on top of their own neck, they cannot say anything. Does slavery have a tail and horn? Is this true or not, tell the truth? Allah (swt) says; “And prepare against them whatever you are able of power” In that era, it was swords, horses, armors, helmets, this was in the era of the prophet (pbuh). Now, those things will not work. Today, even a gun is not sufficient, now it is missiles, drones, atom bombs, press a switch and it goes to its destination. This is an order from Allah that Muslims should prepare against the enemy, and deter the enemy. Don’t start problems between each other over sects, otherwise you will be finished. Allah has said to us in the Quran; “and do not dispute and [thus] lose courage and [then] your strength would depart” You will be destroyed, your strength will be gone. This strength will be wasted and lost against each other. Is this true or not? These bullets, these weapons and martyrs from this side, and in that side, Pakistan fights Afghanistan under the command of America, right? They are Muslim, at least they are Muslim by name, it is a Muslim country, so wouldn’t it have been better if this strength, if those bullets and weapons were used against Israel and the enemies of Muslims? But our strength is being used against each other. How unfortunate is this? Whose plots are these? The plots of the English. They say muddy the water, and catch the fish…

The Sure Path

41,599 просмотров • 6 месяцев назад

Today Hossam Shabat would have been 24 years old. My tribute to him: Today Hossam Shabat would have been 24 years old. When I spoke to him before, I told him, “Hossam, they want to assassinate you. You’re on a hit list. It’s enough, you’ve done more than enough. Just please, stay alive.” He replied, “I will keep reporting. This is our duty, and this is the promise we made, one we will fulfill. And if I am martyred, you and others will be our voice.” He added, “My only wish, if I’m martyred, is that my body remains intact... that I don’t become just mere unrecognizable remains.” I once told him, “When the genocide ends, I’ll come visit you.” He replied, “Visit me where? I’m living on the streets and in tents. They destroyed my home, and I have nowhere to go.” So I said, “Then I’ll come and stay with you on the streets or in the tents.” He always spoke about wanting to get married once the genocide ends and starting a tamily of his own, living his life to the fullest as any normal human would. I remember texting telling him “I’m happy you were finally reunited with your family” he replied “May god make you always happy”, I asked “Is there anything that you need?” He replied with “I miss you” I replied “I miss you too, take care of yourself” and that was the final message because next day Israel killed him. He was only 23 years old when Israel deliberately targeted him. He had dreams. He had a name. He always said, “If our voice is killed, then be our voice.” This is a segment from Hossam’s will: “I did all this because I believe in the Palestinian cause. I believe this land is ours, and it has been the highest honor of my life to die defending it and serving its people. I ask you now: do not stop speaking about Gaza. Do not let the world look away. Keep fighting, keep telling our stories—until Palestine is free” Hossam, not a day passes by where I don’t remember your words or remember you, I know you’re in a better place now but I can’t accept the reality that you’re no longer here, I will always honor your words and my promise to you, till we we meet again... Voiceover by Propaganda & co , thank you for helping.
2:09

Today Hossam Shabat would have been 24 years old. My tribute to him: Today Hossam Shabat would have been 24 years old. When I spoke to him before, I told him, “Hossam, they want to assassinate you. You’re on a hit list. It’s enough, you’ve done more than enough. Just please, stay alive.” He replied, “I will keep reporting. This is our duty, and this is the promise we made, one we will fulfill. And if I am martyred, you and others will be our voice.” He added, “My only wish, if I’m martyred, is that my body remains intact... that I don’t become just mere unrecognizable remains.” I once told him, “When the genocide ends, I’ll come visit you.” He replied, “Visit me where? I’m living on the streets and in tents. They destroyed my home, and I have nowhere to go.” So I said, “Then I’ll come and stay with you on the streets or in the tents.” He always spoke about wanting to get married once the genocide ends and starting a tamily of his own, living his life to the fullest as any normal human would. I remember texting telling him “I’m happy you were finally reunited with your family” he replied “May god make you always happy”, I asked “Is there anything that you need?” He replied with “I miss you” I replied “I miss you too, take care of yourself” and that was the final message because next day Israel killed him. He was only 23 years old when Israel deliberately targeted him. He had dreams. He had a name. He always said, “If our voice is killed, then be our voice.” This is a segment from Hossam’s will: “I did all this because I believe in the Palestinian cause. I believe this land is ours, and it has been the highest honor of my life to die defending it and serving its people. I ask you now: do not stop speaking about Gaza. Do not let the world look away. Keep fighting, keep telling our stories—until Palestine is free” Hossam, not a day passes by where I don’t remember your words or remember you, I know you’re in a better place now but I can’t accept the reality that you’re no longer here, I will always honor your words and my promise to you, till we we meet again... Voiceover by Propaganda & co , thank you for helping.

Suppressed News.

82,870 просмотров • 11 месяцев назад

To guys who are struggling to close (i.e., bed) the girls they take on dates, this girl highlights legitimate issues that you will see dudes doing when inexperienced, clueless, or bad date planners: 🆇 Poor directions to the date location (chick had to walk 5,000 steps to find this guy) 🆇 Lack of expectation-setting for the date (did not set any expectations for her what they’d be doing or check to see whether she was okay to walk or had eaten) 🆇 Failure to take hints from the girl (girl told the guy she’s not much of a walker but he still persisted with his walking date plan — FYI, walking dates are great but the girl’s got to be cool with walking… also: you need to text her beforehand “Hey, wear shoes you can walk in” so she doesn’t show up in heels) 🆇 No actual date plan — this dude just walked in a circuit with her, came back to the start point 90 minutes later, then asked her “What do YOU want to do?” This is why I tell you to spend 30-60 minutes planning out your date in advance. A good walking date ends at a DESTINATION (such as… your place? If you’re good at turning her on during the date and want to CLOSE that is!). You always need a PLAN — and also a backup plan (for instance, if she shows up to your walking date and mentions she isn’t a walker). Chicks hate being asked what to do, btw. You’re the man; you must lead! (unless you’re gunning for the friend zone, that is. In that case, sure, let her lead) 🆇 Took her to the supermarket then let her go off by herself while saying he was gonna do his own shopping. Lel. Is it a date or not? Why not just TAKE HER with you while you pick up your stuff? What this dude SHOULD HAVE done was say “Oh wow my bad I assumed you ate — let me make it up to you, I’m a great cook. Have you ever had pollo piccata? Let’s scoop some ingredients and I will whip you up a restaurant-tier meal; all on me since it’s my fault you didn’t eat.” That’s how you make amends + get her back to your place in style. Not whatever this guy did (“let’s just each go buy our groceries separately then meet back up”) The whole meta frame here was wack, really: Going on a date is about taking leadership with a woman and bringing her into your world & frame. If you are just meandering around, asking her what to do, ignoring her state, ignoring what she is saying, sending her off to go off on her own so you can meet up with her later, that is not a date. That is two people just sort of hovering around each other with no clear leader. Women go to bed with men who lead them. They friend zone or ignore men who don’t. Plan your dates properly. It takes a little extra time but makes ALLLLLLLL the difference!
3:11

To guys who are struggling to close (i.e., bed) the girls they take on dates, this girl highlights legitimate issues that you will see dudes doing when inexperienced, clueless, or bad date planners: 🆇 Poor directions to the date location (chick had to walk 5,000 steps to find this guy) 🆇 Lack of expectation-setting for the date (did not set any expectations for her what they’d be doing or check to see whether she was okay to walk or had eaten) 🆇 Failure to take hints from the girl (girl told the guy she’s not much of a walker but he still persisted with his walking date plan — FYI, walking dates are great but the girl’s got to be cool with walking… also: you need to text her beforehand “Hey, wear shoes you can walk in” so she doesn’t show up in heels) 🆇 No actual date plan — this dude just walked in a circuit with her, came back to the start point 90 minutes later, then asked her “What do YOU want to do?” This is why I tell you to spend 30-60 minutes planning out your date in advance. A good walking date ends at a DESTINATION (such as… your place? If you’re good at turning her on during the date and want to CLOSE that is!). You always need a PLAN — and also a backup plan (for instance, if she shows up to your walking date and mentions she isn’t a walker). Chicks hate being asked what to do, btw. You’re the man; you must lead! (unless you’re gunning for the friend zone, that is. In that case, sure, let her lead) 🆇 Took her to the supermarket then let her go off by herself while saying he was gonna do his own shopping. Lel. Is it a date or not? Why not just TAKE HER with you while you pick up your stuff? What this dude SHOULD HAVE done was say “Oh wow my bad I assumed you ate — let me make it up to you, I’m a great cook. Have you ever had pollo piccata? Let’s scoop some ingredients and I will whip you up a restaurant-tier meal; all on me since it’s my fault you didn’t eat.” That’s how you make amends + get her back to your place in style. Not whatever this guy did (“let’s just each go buy our groceries separately then meet back up”) The whole meta frame here was wack, really: Going on a date is about taking leadership with a woman and bringing her into your world & frame. If you are just meandering around, asking her what to do, ignoring her state, ignoring what she is saying, sending her off to go off on her own so you can meet up with her later, that is not a date. That is two people just sort of hovering around each other with no clear leader. Women go to bed with men who lead them. They friend zone or ignore men who don’t. Plan your dates properly. It takes a little extra time but makes ALLLLLLLL the difference!

Girls Chase 🏃‍♀️💨

60,432 просмотров • 1 год назад

So what’s up with Trump? Trump is only two things, and both have been proven to be an absolute disaster for the country. He is stupid, and he is a narcissist. Let’s prove this. Trump is a silver-spooned child who never read a book, and whose only interests for the longest time were women and superficial pursuits. That’s it. This is a man with no morals a man who cheated on both wives and failed in multiple businesses in almost Failproof condition set up by his father and now he is using the presidency to secure Gaza real estate for himself and his son in law. This is a guy who had the best team, MTG, Massie, Elon, Vivek, Joe Kent, Tucker, Charlie, Candace and even Megyn kelly, all of them supported him and literally helped put him in power. If Trump thinks he won on his own, he needs a reality check. He won because of those people. He won because he said there would be no more wars and that people like Lindsey Graham (the swamp) wouldn’t be anywhere near decision-making. The harsh critics of him and the same people who tried to kill him, are his closest allies today. And this complete idiot has managed to push out every sane voice around him. Every single one. Elon got close to auditing Pentagon and was effectively sidelined. He was offended, his business was impacted by Trump’s decisions and although he tried to make peace, he is nowhere near Trump’s inner circle anymore. Vivek was pushed out right away. Then Candace. Then Charlie was effectively silenced by a bullet in his neck and instead of demanding answers pushing his own FBI guy for transparency, demanding names, autopsy reports, and full details Trump did nothing! He did nothing. He is not brave he is a coward and a bully. He’s only strong against sanctioned countries that can’t fight back, nations targeted by his predecessors simply because they refused to bow down and hand over their resources to the corporate America. Meanwhile, the same system enriches entrenched power at home, allowing corporate elites to grow into massive monopolies that squeeze the middle class out of existence, untouched. That wealth they took from latino America is not for Americans, it's for Blackrock, Israel etc, you saw it first hand. Iran won't be for American people either. He keeps calling Charlie his friend, but he did nothing for Charlie. No, Trump doesn’t have friends. He has opportunities. He uses people, then gets rid of them once these people show that they also have their own opinions and they want to be heard. Then came Tucker. Anyone who challenged Trump or reminded him of his own limitations was quickly dismissed. Meanwhile, political opportunists like Graham who have been playing the game for far too long realized they’re dealing with a narcissist. All they need to do is praise him constantly, constantly! Tell him how great he is, how everything he says is brilliant, unprecedented, amazing and that’s it, you've got his attention. Then they feed him bad information while reinforcing his thinking. That’s how manipulation works: you guide someone toward your idea while making them believe it was their own idea. Intelligence agencies have mastered this and Trump is an easy target, he is absolutely a stupid narcissist the easiest target for a trained intelligence apparatus.We are seeing this play out in real time, the unexplained shift and the strange conflicts with people who once supported him. One thing Trump is not is an actor. He can’t act, not even for the sake of politics, so none of his pre-presidential stances were act and he did believe what he was saying before. The problem is that he is uneducated, impulsive and Stupid when you add narcissism to this you get the perfect recipe for disaster. So now we have Trump aligned with the very group he claimed to be fighting against. This is a vulnerable spot for the country, uninformed leader who doesn’t understand geography, history, politics or foreign policy. He can’t distinguish between countries, struggles with basic facts and has repeatedly demonstrated a lack of understanding about how the world works from international relations to economics. He has said countless absurd things and people kept forgiving him, hoping he was different, an outsider. We chose to tolerate his stupidity in exchange for change, but in the end, we only got the stupidity. The change never came. Now it’s clear, he’s now one of them, not one of us. Apparently Joe Kent is weak, but I guess Lindsey Graham is strong like a lion! :)))))))) It’s time for a third party!
0:52

So what’s up with Trump? Trump is only two things, and both have been proven to be an absolute disaster for the country. He is stupid, and he is a narcissist. Let’s prove this. Trump is a silver-spooned child who never read a book, and whose only interests for the longest time were women and superficial pursuits. That’s it. This is a man with no morals a man who cheated on both wives and failed in multiple businesses in almost Failproof condition set up by his father and now he is using the presidency to secure Gaza real estate for himself and his son in law. This is a guy who had the best team, MTG, Massie, Elon, Vivek, Joe Kent, Tucker, Charlie, Candace and even Megyn kelly, all of them supported him and literally helped put him in power. If Trump thinks he won on his own, he needs a reality check. He won because of those people. He won because he said there would be no more wars and that people like Lindsey Graham (the swamp) wouldn’t be anywhere near decision-making. The harsh critics of him and the same people who tried to kill him, are his closest allies today. And this complete idiot has managed to push out every sane voice around him. Every single one. Elon got close to auditing Pentagon and was effectively sidelined. He was offended, his business was impacted by Trump’s decisions and although he tried to make peace, he is nowhere near Trump’s inner circle anymore. Vivek was pushed out right away. Then Candace. Then Charlie was effectively silenced by a bullet in his neck and instead of demanding answers pushing his own FBI guy for transparency, demanding names, autopsy reports, and full details Trump did nothing! He did nothing. He is not brave he is a coward and a bully. He’s only strong against sanctioned countries that can’t fight back, nations targeted by his predecessors simply because they refused to bow down and hand over their resources to the corporate America. Meanwhile, the same system enriches entrenched power at home, allowing corporate elites to grow into massive monopolies that squeeze the middle class out of existence, untouched. That wealth they took from latino America is not for Americans, it's for Blackrock, Israel etc, you saw it first hand. Iran won't be for American people either. He keeps calling Charlie his friend, but he did nothing for Charlie. No, Trump doesn’t have friends. He has opportunities. He uses people, then gets rid of them once these people show that they also have their own opinions and they want to be heard. Then came Tucker. Anyone who challenged Trump or reminded him of his own limitations was quickly dismissed. Meanwhile, political opportunists like Graham who have been playing the game for far too long realized they’re dealing with a narcissist. All they need to do is praise him constantly, constantly! Tell him how great he is, how everything he says is brilliant, unprecedented, amazing and that’s it, you've got his attention. Then they feed him bad information while reinforcing his thinking. That’s how manipulation works: you guide someone toward your idea while making them believe it was their own idea. Intelligence agencies have mastered this and Trump is an easy target, he is absolutely a stupid narcissist the easiest target for a trained intelligence apparatus.We are seeing this play out in real time, the unexplained shift and the strange conflicts with people who once supported him. One thing Trump is not is an actor. He can’t act, not even for the sake of politics, so none of his pre-presidential stances were act and he did believe what he was saying before. The problem is that he is uneducated, impulsive and Stupid when you add narcissism to this you get the perfect recipe for disaster. So now we have Trump aligned with the very group he claimed to be fighting against. This is a vulnerable spot for the country, uninformed leader who doesn’t understand geography, history, politics or foreign policy. He can’t distinguish between countries, struggles with basic facts and has repeatedly demonstrated a lack of understanding about how the world works from international relations to economics. He has said countless absurd things and people kept forgiving him, hoping he was different, an outsider. We chose to tolerate his stupidity in exchange for change, but in the end, we only got the stupidity. The change never came. Now it’s clear, he’s now one of them, not one of us. Apparently Joe Kent is weak, but I guess Lindsey Graham is strong like a lion! :)))))))) It’s time for a third party!

ELIZABETH LANE

166,055 просмотров • 6 месяцев назад

Yes! The Dutertes failed Davao City. Contrary to the 2016 campaign of the former President Duterte, Davao City has a lot of problems and I dare say that if I compare it to others? It is not living to its great potential. One of my first assignments fresh out of college was our satellite office in Davao City. I was there every Thursday of the week and would return to Manila by Saturday. I did that for two years. After six long years of the Duterte presidency and thirty plus years of Duterte reign in Davao City… nothing much has changed, huh? I went to Davao City twice in the past three months -the airport is still problematic (no aircon, disorganized, filthy), the city looks the same to me. And compared to how fast Cebu City develops? It seems as though Duterte failed Davao City. In the press conference of the House of Representatives yesterday, the Young Guns called out the Vice President for blaming the current administration for the flood in Davao City. Congressman Jill Bongalon cited the 51 Billion DPWH fund of Congressman Pulong Duterte during the Duterte administration, if flooding is indeed a problem there… Why didn’t he prioritize that? Imagine! 51 billion pesos in one district?! Then the Vice President would have the audacity to blame the national government for things her family cannot do? Just like Congressman Bongalon, who is also the Vice Chairman of the Committee on Appropriations, I would like to know the infrastructure projects done with the 51 billion fund allotted to his district. Maybe the government agencies can also check who the contractors of those projects are. That’s a lot of money! The 51 billion was aside from the enormous IRA or Internal Revenue Allotment of the LGU fund that was then headed by the Davao City Mayor Sara Duterte. Davao City deserves better! Amping Kanunay, Davaoeñoes!
1:36

Yes! The Dutertes failed Davao City. Contrary to the 2016 campaign of the former President Duterte, Davao City has a lot of problems and I dare say that if I compare it to others? It is not living to its great potential. One of my first assignments fresh out of college was our satellite office in Davao City. I was there every Thursday of the week and would return to Manila by Saturday. I did that for two years. After six long years of the Duterte presidency and thirty plus years of Duterte reign in Davao City… nothing much has changed, huh? I went to Davao City twice in the past three months -the airport is still problematic (no aircon, disorganized, filthy), the city looks the same to me. And compared to how fast Cebu City develops? It seems as though Duterte failed Davao City. In the press conference of the House of Representatives yesterday, the Young Guns called out the Vice President for blaming the current administration for the flood in Davao City. Congressman Jill Bongalon cited the 51 Billion DPWH fund of Congressman Pulong Duterte during the Duterte administration, if flooding is indeed a problem there… Why didn’t he prioritize that? Imagine! 51 billion pesos in one district?! Then the Vice President would have the audacity to blame the national government for things her family cannot do? Just like Congressman Bongalon, who is also the Vice Chairman of the Committee on Appropriations, I would like to know the infrastructure projects done with the 51 billion fund allotted to his district. Maybe the government agencies can also check who the contractors of those projects are. That’s a lot of money! The 51 billion was aside from the enormous IRA or Internal Revenue Allotment of the LGU fund that was then headed by the Davao City Mayor Sara Duterte. Davao City deserves better! Amping Kanunay, Davaoeñoes!

Just

32,853 просмотров • 2 лет назад

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)
1:25

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 просмотров • 7 месяцев назад

Two years sober today. When every aspect of your life is associated with drinking, meetings, family do’s, holidays, Christmas, even having a baby “wetting the baby head”,Friday’s, the weekends, bank holidays, sunny days, wine with food, beer with football, packet with beer, the list goes on and its seems impossible to cut it out of your life, it just becomes standard behaviour, not doing it literally feels impossible to comprehend. If you can’t moderate when you drink, you run the risk of ruining every memorable moment in life. Life becomes a blurred depressing waiting game between sessions, you wish your weeks away to get to the weekend. Its sad, I was like that for 25 years. Its mad that we get to the point where we think living without alcohol and drugs is impossible, It’s insanity that it was the hardest thing I’ve ever done, now that I'm out of the thick of it It blows my mind that this is our culture. The problem with addiction now is its hidden, our society norms allows for people to live addicted to both drink and drugs without them even knowing, because its completely normally to drink at home all week then have a huge sesh each weekend. Millions of people are literally living in pain without even knowing it. People don’t realise they have an issue until there life starts unraveling like mine did, one day I just found myself unable to chose my family, work or mental health over drinking, rock bottom after rockbottom didn’t wake me up until it hit me like a ton of bricks when it was to late, I’d lost my family, I couldn’t stop using, I was an addict. So many men lose their battle with mental health and end up taking their own lives out of guilt and shame from losing their family or work or doing stupid stuff because of drink, by the time they realised or admitted they had a problem it was to late. The problem with trying to go sober after you lose everything is it feels like there is no reason to any more and drink and drugs is all you have left, then it slowly consumes you. My 2 years is proof to anyone out there struggling that it is possible to change and HAND ON MY HEART if you struggle with an unhealthy relationship with drink and drugs you will be 100 times happier sober, I love life, I'm calm, I have peace, its hard at times but no where near as hard as it was in the chaos of my life. If you are struggling now you have so much to look forward to in sobriety, you will discover a new you, you’ll start liking yourself again, you’ll slowly get happier, stronger and the people around you will say things to you that will fill you with emotion, like “We are so proud of you”. Like this from my Shelley: “I’m immensely proud of you. You should be immensely proud of yourself. The changes you’ve made have brought you positive outcomes. Better home life, relationships, moral compass, work. All greater than I’m sure you could ever have imagined 2 years ago. Your outlook towards everything is greater.” Without Shelley I wouldn’t be here, without my sobriety we wouldn’t have our family and defiantly wouldn’t have our new baby Sage, sober Sage, two years, change is possible. Thank you Sophie, Jade & Vigo from my team for surprising me with this video, I got really emotional & proud. #Sober #Addiction #Addict #Sobriety
4:09

Two years sober today. When every aspect of your life is associated with drinking, meetings, family do’s, holidays, Christmas, even having a baby “wetting the baby head”,Friday’s, the weekends, bank holidays, sunny days, wine with food, beer with football, packet with beer, the list goes on and its seems impossible to cut it out of your life, it just becomes standard behaviour, not doing it literally feels impossible to comprehend. If you can’t moderate when you drink, you run the risk of ruining every memorable moment in life. Life becomes a blurred depressing waiting game between sessions, you wish your weeks away to get to the weekend. Its sad, I was like that for 25 years. Its mad that we get to the point where we think living without alcohol and drugs is impossible, It’s insanity that it was the hardest thing I’ve ever done, now that I'm out of the thick of it It blows my mind that this is our culture. The problem with addiction now is its hidden, our society norms allows for people to live addicted to both drink and drugs without them even knowing, because its completely normally to drink at home all week then have a huge sesh each weekend. Millions of people are literally living in pain without even knowing it. People don’t realise they have an issue until there life starts unraveling like mine did, one day I just found myself unable to chose my family, work or mental health over drinking, rock bottom after rockbottom didn’t wake me up until it hit me like a ton of bricks when it was to late, I’d lost my family, I couldn’t stop using, I was an addict. So many men lose their battle with mental health and end up taking their own lives out of guilt and shame from losing their family or work or doing stupid stuff because of drink, by the time they realised or admitted they had a problem it was to late. The problem with trying to go sober after you lose everything is it feels like there is no reason to any more and drink and drugs is all you have left, then it slowly consumes you. My 2 years is proof to anyone out there struggling that it is possible to change and HAND ON MY HEART if you struggle with an unhealthy relationship with drink and drugs you will be 100 times happier sober, I love life, I'm calm, I have peace, its hard at times but no where near as hard as it was in the chaos of my life. If you are struggling now you have so much to look forward to in sobriety, you will discover a new you, you’ll start liking yourself again, you’ll slowly get happier, stronger and the people around you will say things to you that will fill you with emotion, like “We are so proud of you”. Like this from my Shelley: “I’m immensely proud of you. You should be immensely proud of yourself. The changes you’ve made have brought you positive outcomes. Better home life, relationships, moral compass, work. All greater than I’m sure you could ever have imagined 2 years ago. Your outlook towards everything is greater.” Without Shelley I wouldn’t be here, without my sobriety we wouldn’t have our family and defiantly wouldn’t have our new baby Sage, sober Sage, two years, change is possible. Thank you Sophie, Jade & Vigo from my team for surprising me with this video, I got really emotional & proud. #Sober #Addiction #Addict #Sobriety

Daniel O’Reilly

277,340 просмотров • 1 год назад

#PauseForThought #SoulShackRadio I have deliberately taken my time before commenting on Thomas Tafirenyika Muchadura Mukanya Mapfumo's Thomas Mapfumo decision to accept the performance offer made by Wicknell Chivhayo. Emotions have been running high, but sometimes it is better to let the dust settle before offering an opinion. Many people have every right to feel disappointed. Mukanya has spent decades speaking truth to power, giving a voice to the ordinary Zimbabwean and refusing offers that he believed compromised his principles. That legacy cannot simply be erased. But I also think we should look at this from another angle. Thomas Mapfumo is not accepting a handout. He is not receiving charity. He is being paid for doing what he has done for more than half a century , performing his music. There is a difference. For decades, Mukanya gave Zimbabwe a soundtrack that defined generations. His music inspired, challenged, comforted and united millions. If someone now believes that contribution is worth paying US$1 million for, why should he apologise for earning it? Some will say he has changed. I would ask... At what point do we allow a man to stop fighting and simply enjoy the fruits of his life's work? He has already made his position known over many decades. History has already recorded where he stood. His record speaks for itself. There is little left for him to prove. Not long ago, after his rural home was destroyed by fire, a fundraising appeal reportedly struggled to raise even a fraction of its modest target. That should give us all pause. It is easy to tell a legend to remain uncompromising. It is much harder to support that legend when he needs us. If this performance fee allows Mukanya to enjoy his later years in comfort, surrounded by family, with the dignity he has earned through his own talent, then I genuinely wish him well. Perhaps this chapter may also open the door to something many Zimbabweans, regardless of political persuasion, have quietly wished to see for years , Thomas Mapfumo spending more time back in the country that gave birth to both the man and the music. There is something deeply special about a legend coming home. Every great story deserves a peaceful final chapter, and there is no place like home. Whether you agree with his decision or not, one thing remains unchanged... Thomas Mapfumo's contribution to Zimbabwean music, our liberation story and our national identity was secured long before this performance offer arrived. A paid performance cannot erase a lifetime of conviction. I wish Dr. Thomas Mapfumo safe travels, successful performances and, above all, peace and happiness in the years ahead. Legends deserve their flowers while they are still here.💐
1:16

#PauseForThought #SoulShackRadio I have deliberately taken my time before commenting on Thomas Tafirenyika Muchadura Mukanya Mapfumo's Thomas Mapfumo decision to accept the performance offer made by Wicknell Chivhayo. Emotions have been running high, but sometimes it is better to let the dust settle before offering an opinion. Many people have every right to feel disappointed. Mukanya has spent decades speaking truth to power, giving a voice to the ordinary Zimbabwean and refusing offers that he believed compromised his principles. That legacy cannot simply be erased. But I also think we should look at this from another angle. Thomas Mapfumo is not accepting a handout. He is not receiving charity. He is being paid for doing what he has done for more than half a century , performing his music. There is a difference. For decades, Mukanya gave Zimbabwe a soundtrack that defined generations. His music inspired, challenged, comforted and united millions. If someone now believes that contribution is worth paying US$1 million for, why should he apologise for earning it? Some will say he has changed. I would ask... At what point do we allow a man to stop fighting and simply enjoy the fruits of his life's work? He has already made his position known over many decades. History has already recorded where he stood. His record speaks for itself. There is little left for him to prove. Not long ago, after his rural home was destroyed by fire, a fundraising appeal reportedly struggled to raise even a fraction of its modest target. That should give us all pause. It is easy to tell a legend to remain uncompromising. It is much harder to support that legend when he needs us. If this performance fee allows Mukanya to enjoy his later years in comfort, surrounded by family, with the dignity he has earned through his own talent, then I genuinely wish him well. Perhaps this chapter may also open the door to something many Zimbabweans, regardless of political persuasion, have quietly wished to see for years , Thomas Mapfumo spending more time back in the country that gave birth to both the man and the music. There is something deeply special about a legend coming home. Every great story deserves a peaceful final chapter, and there is no place like home. Whether you agree with his decision or not, one thing remains unchanged... Thomas Mapfumo's contribution to Zimbabwean music, our liberation story and our national identity was secured long before this performance offer arrived. A paid performance cannot erase a lifetime of conviction. I wish Dr. Thomas Mapfumo safe travels, successful performances and, above all, peace and happiness in the years ahead. Legends deserve their flowers while they are still here.💐

King Jay🇿🇼

164,113 просмотров • 2 месяцев назад

[FULL TEXT] MBC Straight — The Expose of Garosero Institute. ⸻ Kim Seui, the head of the YouTube channel Garosero Institute, had an arrest warrant requested against him on charges including defaming actor Kim Soohyun in connection with the late actress Kim Saeron’s death. He strongly denied all charges, calling the arrest warrant itself a complete fraud. “The arrest warrant request is clearly packed with outright false facts. I admit nothing. This is an intentional and hastily thrown-together arrest warrant request.” The police concluded that Kim Seui’s conduct was extremely poor in character, noting in particular that he manipulated KakaoTalk conversations that had been exchanged with Kim Saeron, and that he publicly released a voice recording made with AI as though it were real, without any verification. Q. “Did you properly verify the tipster from the Garosero side?” Kim Seui: “Of course.” Q. “How did you carry out that verification?” Kim Seui: “That verification was done by the National Forensic Service.” Q. “No. Did you do it yourself, by any chance?” Kim Seui: “We, at our, at Gaseyeon, on our own, this…What is your name?” Q. “I am Lim Myungchan.” Kim Seui: “Yes, yes. So, MBC, then. Yes. Right now you can clearly see that SBS and MBC are…” Q. “I am asking whether you properly verified the tip.” Kim Seui: “I will take it as our verification having been done by the National Forensic Service.” However, though Kim Seui claimed the verification had been done by the National Forensic Service, the entity that actually requested the verification was the police, and the National Forensic Service’s conclusion was that it could not be verified because the original was not available. Kim Seui was confident the arrest warrant would be rejected, but the court, finding there was a risk of evidence destruction and flight, issued the warrant. He also filed for a review of the legality of his arrest, arguing the detention decision was unjust, but the court rejected that as well and maintained the detention. Yu Hyunjae, Professor of Mass Communication at Sogang University said: “Beyond fake news, now I see they actually manufacture things. This person has shown very clearly just how far someone who has given up all moral standards can go in terms of the scenario they will run, and the level of crime they can commit. So I believe that to the extent society allows, an extremely heavy punishment must be imposed.” The Garosero Institute YouTube channel has 1 million subscribers and has been making money through provocative claims and videos targeting politicians, celebrities, and other public figures. In the process, countless people have had their privacy and personal dignity violated and suffered serious harm. Because of this, the Garosero Institute has been widely condemned as a social weapon.
34:29

[FULL TEXT] MBC Straight — The Expose of Garosero Institute. ⸻ Kim Seui, the head of the YouTube channel Garosero Institute, had an arrest warrant requested against him on charges including defaming actor Kim Soohyun in connection with the late actress Kim Saeron’s death. He strongly denied all charges, calling the arrest warrant itself a complete fraud. “The arrest warrant request is clearly packed with outright false facts. I admit nothing. This is an intentional and hastily thrown-together arrest warrant request.” The police concluded that Kim Seui’s conduct was extremely poor in character, noting in particular that he manipulated KakaoTalk conversations that had been exchanged with Kim Saeron, and that he publicly released a voice recording made with AI as though it were real, without any verification. Q. “Did you properly verify the tipster from the Garosero side?” Kim Seui: “Of course.” Q. “How did you carry out that verification?” Kim Seui: “That verification was done by the National Forensic Service.” Q. “No. Did you do it yourself, by any chance?” Kim Seui: “We, at our, at Gaseyeon, on our own, this…What is your name?” Q. “I am Lim Myungchan.” Kim Seui: “Yes, yes. So, MBC, then. Yes. Right now you can clearly see that SBS and MBC are…” Q. “I am asking whether you properly verified the tip.” Kim Seui: “I will take it as our verification having been done by the National Forensic Service.” However, though Kim Seui claimed the verification had been done by the National Forensic Service, the entity that actually requested the verification was the police, and the National Forensic Service’s conclusion was that it could not be verified because the original was not available. Kim Seui was confident the arrest warrant would be rejected, but the court, finding there was a risk of evidence destruction and flight, issued the warrant. He also filed for a review of the legality of his arrest, arguing the detention decision was unjust, but the court rejected that as well and maintained the detention. Yu Hyunjae, Professor of Mass Communication at Sogang University said: “Beyond fake news, now I see they actually manufacture things. This person has shown very clearly just how far someone who has given up all moral standards can go in terms of the scenario they will run, and the level of crime they can commit. So I believe that to the extent society allows, an extremely heavy punishment must be imposed.” The Garosero Institute YouTube channel has 1 million subscribers and has been making money through provocative claims and videos targeting politicians, celebrities, and other public figures. In the process, countless people have had their privacy and personal dignity violated and suffered serious harm. Because of this, the Garosero Institute has been widely condemned as a social weapon.

soohyunupdates

51,213 просмотров • 3 месяцев назад

🚨WOW!!! A man spent 19 YEARS in a German orphanage watching other kids get picked up by their parents… …and every single day he prayed on a rosary to meet the father he'd never met. Today, more than 50 years later, he put that same rosary around his DAD'S NECK. His name is Joshua Schneeloch. He was left at a Catholic convent in Germany as a baby and never adopted. Not once. Nineteen years of watching other children go home. "When you see other kids be picked up by parents, you start realizing: Hey, why is nobody picking me up?" So he prayed. Every day. Same prayer, over and over: Please. One day, I want to meet my father. A year ago his wife, Nicole, handed him an Ancestry DNA kit. She knew it might break his heart. She gave it to him anyway, because she believed he belonged to somebody. A genealogist found a couple of cousins. Then a phone call: I think I found your father. His name is Arthur Colbert. U.S. military, stationed in Europe in the late 60s. He came home to America in 1970 and had NO IDEA he'd left a son behind. "I did not know that I had left a baby over there in Germany." Now here's where it gets crazy… Joshua didn't say who he was. He called Arthur pretending it was an insurance call, just fishing for answers. And Arthur opened the door himself: I hear an accent. Where are you from? Germany. Were you ever in Germany? Yes. When? Were you ever in Kaiserslautern? Yes. And Joshua went completely silent. Because he had just heard his father's voice for the first time in his LIFE. The DNA came back 99.99%. They met days later. "Walking towards my dad was probably the longest walk I've ever done in my life." Both of them cried. And then Joshua took the rosary... the one he'd prayed on as a little boy in that orphanage, asking God for this exact moment... and he put it around his father's neck. He carried it for 50 years so he could hand it to him. It gets better. Last Saturday in Joshua walked into a room with more than SIXTY relatives waiting for him. His uncle met him at the door: "You're home, baby! You're home." Sixty family members. For a man who grew up with none. Joshua never gave up. He never stopped praying. And God answered every word of it. GOD IS SO GOOD!!!!!!!!
2:58

🚨WOW!!! A man spent 19 YEARS in a German orphanage watching other kids get picked up by their parents… …and every single day he prayed on a rosary to meet the father he'd never met. Today, more than 50 years later, he put that same rosary around his DAD'S NECK. His name is Joshua Schneeloch. He was left at a Catholic convent in Germany as a baby and never adopted. Not once. Nineteen years of watching other children go home. "When you see other kids be picked up by parents, you start realizing: Hey, why is nobody picking me up?" So he prayed. Every day. Same prayer, over and over: Please. One day, I want to meet my father. A year ago his wife, Nicole, handed him an Ancestry DNA kit. She knew it might break his heart. She gave it to him anyway, because she believed he belonged to somebody. A genealogist found a couple of cousins. Then a phone call: I think I found your father. His name is Arthur Colbert. U.S. military, stationed in Europe in the late 60s. He came home to America in 1970 and had NO IDEA he'd left a son behind. "I did not know that I had left a baby over there in Germany." Now here's where it gets crazy… Joshua didn't say who he was. He called Arthur pretending it was an insurance call, just fishing for answers. And Arthur opened the door himself: I hear an accent. Where are you from? Germany. Were you ever in Germany? Yes. When? Were you ever in Kaiserslautern? Yes. And Joshua went completely silent. Because he had just heard his father's voice for the first time in his LIFE. The DNA came back 99.99%. They met days later. "Walking towards my dad was probably the longest walk I've ever done in my life." Both of them cried. And then Joshua took the rosary... the one he'd prayed on as a little boy in that orphanage, asking God for this exact moment... and he put it around his father's neck. He carried it for 50 years so he could hand it to him. It gets better. Last Saturday in Joshua walked into a room with more than SIXTY relatives waiting for him. His uncle met him at the door: "You're home, baby! You're home." Sixty family members. For a man who grew up with none. Joshua never gave up. He never stopped praying. And God answered every word of it. GOD IS SO GOOD!!!!!!!!

Matt Van Swol

437,644 просмотров • 1 месяц назад

Ever since I wired Claude Code to WhatsApp 3 weeks ago, I built a stupidly large infra around it. I mean, opus built it. No clue how the code even looks. The entire thing was vibe coded using my phone. I wanted to see how far I could push it without touching the computer. Everything via WhatsApp. Build what I need on the fly. So the resulting infrastructure will already be battle tested for software development. The entire thing was streamlined with nearly no manual interventions, everything was communicated via WhatsApp using a single script establishing this connection. If the script is down, I need to get home to start it again to resume the development. Claude was upgrading it, debugging it, restarting it while maintaining constant uptime so it could keep communicating with me. I stressed Claude about it, telling it that it will be “in the dark” and other words that deliberately sound scary about losing communications if the script dies. I also refused git and refused cloning the code, I wanted to see Claude adapting to work on a *LIVING* system. The way this whole thing works: Claude has its own dedicated phone number that I am paying for. A real WhatsApp account for it is installed on a real iPhone that is sitting on my desk. All is registered under my name, this is legit setup with no hacks and tricks. I’ve set up a WhatsApp “Community” and multiple different groups under it. Both me and Claude are the admins, so Claude could edit it on my behalf. Each group is a project I am working on and has its own isolated context. The Group description is a system prompt that gets auto-appended to the larger system prompt explaining this setup in general. When I send a message it’s an instant interrupt to Claude Code’s process, just like in the terminal. Voice notes are seamlessly transcribed with a local Whisper model. Images are used with multimodal reading in an isolated parallel session. Multiple groups running in parallel so I can work on all projects at the same time. No cross-talking, everything has an isolated context and history. And because it’s local on my own machine: Everything is REAL. The browser is REAL. I am connected as myself on it to all services because I actually use it in real life. Claude has unlimited internet access, just like humans who use actual browsers. It utilizes custom-made browser tools that I made to control any browser session it wants. Depending on the situation, it can either connect to my existing session or create one for its own. (You can tell it ‘look at my browser for a sec’ then talk about the current page you are on and it just works, pretty cool) My custom browser tools are not perfect (not by a long shot) but I managed to make them work well to the point they are somewhat reliable. This gives Claude full access to my real creds and all the services I actually use. I’m productive AS HELL with this. It really feels like a personal assistant. I ask it to read my emails and msgs, check x .com for news, research arxiv papers, write code, run experiments for me, investigate and reverse engineer github repos, even use my credit card and order things. [I try not to do this one a lot lol so far no disasters]. All from my phone. Super convenient. This is not a product or an open source project (maybe soon of it will make sense). This is just an ugly script I hacked the entire thing is ~600 lines. (ok maybe i did look at the code, but i swear i didn’t edit!) You can also vibe code this from scratch pretty fast and it will probably even end up better. This is just a cool thing so I’m sharing. It is a real speed booster for many things I do on daily basis, mostly boring things. Forcing my routine into some new “agent platform” just didn’t feel right for me. WhatsApp is where I already communicate and look for messages, so I decided that my agents will live there too. AGI in my pocket 24/7.
0:52

Ever since I wired Claude Code to WhatsApp 3 weeks ago, I built a stupidly large infra around it. I mean, opus built it. No clue how the code even looks. The entire thing was vibe coded using my phone. I wanted to see how far I could push it without touching the computer. Everything via WhatsApp. Build what I need on the fly. So the resulting infrastructure will already be battle tested for software development. The entire thing was streamlined with nearly no manual interventions, everything was communicated via WhatsApp using a single script establishing this connection. If the script is down, I need to get home to start it again to resume the development. Claude was upgrading it, debugging it, restarting it while maintaining constant uptime so it could keep communicating with me. I stressed Claude about it, telling it that it will be “in the dark” and other words that deliberately sound scary about losing communications if the script dies. I also refused git and refused cloning the code, I wanted to see Claude adapting to work on a *LIVING* system. The way this whole thing works: Claude has its own dedicated phone number that I am paying for. A real WhatsApp account for it is installed on a real iPhone that is sitting on my desk. All is registered under my name, this is legit setup with no hacks and tricks. I’ve set up a WhatsApp “Community” and multiple different groups under it. Both me and Claude are the admins, so Claude could edit it on my behalf. Each group is a project I am working on and has its own isolated context. The Group description is a system prompt that gets auto-appended to the larger system prompt explaining this setup in general. When I send a message it’s an instant interrupt to Claude Code’s process, just like in the terminal. Voice notes are seamlessly transcribed with a local Whisper model. Images are used with multimodal reading in an isolated parallel session. Multiple groups running in parallel so I can work on all projects at the same time. No cross-talking, everything has an isolated context and history. And because it’s local on my own machine: Everything is REAL. The browser is REAL. I am connected as myself on it to all services because I actually use it in real life. Claude has unlimited internet access, just like humans who use actual browsers. It utilizes custom-made browser tools that I made to control any browser session it wants. Depending on the situation, it can either connect to my existing session or create one for its own. (You can tell it ‘look at my browser for a sec’ then talk about the current page you are on and it just works, pretty cool) My custom browser tools are not perfect (not by a long shot) but I managed to make them work well to the point they are somewhat reliable. This gives Claude full access to my real creds and all the services I actually use. I’m productive AS HELL with this. It really feels like a personal assistant. I ask it to read my emails and msgs, check x .com for news, research arxiv papers, write code, run experiments for me, investigate and reverse engineer github repos, even use my credit card and order things. [I try not to do this one a lot lol so far no disasters]. All from my phone. Super convenient. This is not a product or an open source project (maybe soon of it will make sense). This is just an ugly script I hacked the entire thing is ~600 lines. (ok maybe i did look at the code, but i swear i didn’t edit!) You can also vibe code this from scratch pretty fast and it will probably even end up better. This is just a cool thing so I’m sharing. It is a real speed booster for many things I do on daily basis, mostly boring things. Forcing my routine into some new “agent platform” just didn’t feel right for me. WhatsApp is where I already communicate and look for messages, so I decided that my agents will live there too. AGI in my pocket 24/7.

Yam Peleg

420,390 просмотров • 9 месяцев назад

"The label just says No Brand" GRWM w Desi Generated on Atlas Cloud Wan 3.0 Prime Esr upscale stitched together on ElevenCreative studio prompt Desi: South Asian woman, mid-20s, warm brown skin with natural, realistic texture — visible pores, subtle natural sheen, no airbrushed smoothness. Expressive dark brown eyes, defined brows, full lips. Long dark wavy hair, undone/messy at the start. No jewelry until the earrings beat. Gold jhumka earrings and thin gold necklace are her fixed accessories once applied. Environment — Desi's Bedroom: Modest, lived-in bedroom, soft neutral-toned walls, single window with sheer curtains, warm diffused morning light with real shadow falloff. Wooden/laminate flooring, small woven area rug. Flows from bed area to vanity/mirror corner to a closet/wardrobe area to a doorway. Bed: simple platform frame, unmade, muted duvet, mismatched pillows, folded throw, nightstand with a plain ceramic mug, analog alarm clock, small lamp. Vanity: wooden dresser, plain oval mirror, small ceramic dish holding her rings/studs/jhumka earrings, a plain glass jar labeled "NO BRAND" in small black sans-serif text, a plain wooden hairbrush — all visible on the surface from the start. Wardrobe area: simple open wardrobe/hangers with a small handful of plain unbranded clothing already visible. Doorway: simple wooden door, softly lit hallway beyond. Visual style (all blocks): Cinematic realism, not commercial polish. Soft natural film-like grain, warm slightly imperfect color grading true to real morning light. Skin genuinely textured, never smoothed or beauty-filtered. Smooth floating steadicam/gimbal camera movement throughout, cinematic framing sensibility, not raw flat phone footage. Audio style (all blocks): Warm, natural, close-mic room-tone quality, not sterile or studio-clean. Real object-contact sounds, natural room reverb on her voice. No music, no artificial sound effects. Standing negatives (repeat in every block): No AI morphing of any kind — no shifting, warping, or unstable facial features, body proportions, or object shapes. No items suddenly appearing or disappearing in frame — every object must already be visible in its place before she interacts with it. No over-polished or beauty-filtered skin — natural texture and imperfection required throughout. No overly clean, sterile, or commercial visual grade. No duplicate Desi in any frame. No identity drift from block to block. Every product/container shows either no text/logo or exactly the plain "NO BRAND" mark — simple black sans-serif on plain packaging. No recognizable real-world brand names, logos, or trademarked packaging/clothing design anywhere in frame. No extra fingers, fused hands, or distorted anatomy. No text overlays or captions. No music — natural ambient audio only. Mirror reflections physically accurate and consistent; camera never visible in any reflection. No sudden speed changes, no time-lapse compression, no rushed dialogue delivery. BLOCK 1 — [0:00–0:15] The Alarm, Waking, Yawn, First Line Continuity note: Opening block — no prior frame to match. Action: Dark, close frame on Desi's sleeping face, soft warm morning light beginning to catch her skin's natural texture. A phone alarm begins ringing on the nightstand. Hold on her unmoving for a real beat as it rings. Her hand fumbles slowly toward the sound, silences it. She lies still a moment longer, then opens her eyes slowly, squinting at the light. She yawns — full, unhurried, genuine — stretching slightly where she lies. A long pause settles after. Dialogue: (after the yawn, slow, groggy, real pauses) "Okay... (pause) ...so it is way too early for this..." (long pause, slow exhale) "...but let's get ready anyway." Camera: Static-to-slow-float — begins locked close on her face, only beginning the faintest float as she finishes speaking, ending the block just as she starts to shift toward sitting up. Block-specific negatives: The alarm sound must play first, before any dialogue or visible movement. Do not have her wake up abruptly or sit up quickly — the entire block stays in slow, groggy stillness. Do not begin the standing/sitting motion before the final line completes. BLOCK 2 — [0:15–0:30] Five More Minutes + Coffee Stretch Continuity note: Opens exactly where Block 1 ended — Desi still lying down, having just finished her line, beginning to shift toward sitting up. Match her position, the room's lighting, and her expression precisely to Block 1's final frame. Action: She sits up fully, stretches with a real, full arms-overhead extension, laughs softly at herself. She reaches for the ceramic mug already present on the nightstand, takes a slow sip, holds it a moment, exhales contentedly. Only after finishing the sip does she swing her legs out and stand, unhurried. Dialogue: "Five more minutes..." (pause, small laugh) "...turned into not five minutes." (beat) "Classic." (pause, after the sip) "Okay." (beat) "...That helps." Camera: Smooth floating steadicam, holding a steady elevated angle through the stretch, following her rise to standing by the block's end. Block-specific negatives: Do not skip or shorten the full stretch. The sip of coffee must complete before she stands — no simultaneous drinking-and-standing. Do not have her rush to her feet; the stand is the final motion of the block, unhurried. BLOCK 3 — [0:30–0:45] Moisturizer Continuity note: Opens exactly where Block 2 ended — Desi just risen to standing beside the bed. This block covers her walk to the vanity and the full moisturizer application. Match her position and the room's light to Block 2's final frame. Action: Camera drifts with her as she walks unhurried from the bed to the vanity, arriving at the mirror. The plain glass jar labeled "NO BRAND" is already visible on the vanity surface as she arrives. She unscrews the lid slowly, scoops a small amount, and applies it in full, unhurried circular motions across her face — the entire application shown start to finish within this block. Dialogue: (spoken only once the application is fully finished, near the block's end) "This is like..." (pause) "...the one step I actually never skip." (beat) "Everything else is negotiable." Camera: Floating lateral tracking during the walk, settling into a steady medium shot at the mirror for the application itself. Block-specific negatives: The jar must already be visible on the vanity before she reaches for it — no appearing mid-motion. The application must be shown completing in full before any dialogue begins. Do not rush the walk to the mirror to make room for the application — both get real, unhurried time within the 15 seconds. BLOCK 4 — [0:45–1:00] Hairbrush + Earrings Continuity note: Opens exactly where Block 3 ended — Desi standing at the mirror, moisturizer just applied. Match her position and expression to Block 3's final frame. Action: She picks up the plain wooden hairbrush, already resting on the vanity, and brushes out her hair with several full, unhurried strokes, working through it completely. She sets the brush down, then picks up her gold jhumka earrings from the ceramic dish and puts them on one at a time — each fully finished and settled before she begins the second. Dialogue: (mid-brushing) "Yeah, I don't even know what's in that jar anymore." (soft laugh) "The label just says 'No Brand.'" (beat, as she puts in the second earring) "...Works though." Camera: Steady medium-close shot at the mirror, holding through both the brushing and the earrings without cutting away. Block-specific negatives: The hairbrush and earrings must both already be visible on the vanity from the block's start. The first earring must be fully in place before she begins the second — no simultaneous application. Do not shorten the number of brush strokes to save time; let the motion read as genuinely unhurried. BLOCK 5 — [1:00–1:15] Wardrobe Change (Revised: Explicit Detail + Locked Outfit) Continuity note: Opens exactly where Block 4 ended — Desi at the mirror, both earrings now in place. This block covers her moving to the wardrobe area and changing. New Outfit — Locked Reference (carries into Block 6 and any future scenes): A simple, plain white or cream-colored short-sleeve cotton top with a round or slightly scooped neckline, no graphics, no visible branding — soft, everyday fabric with natural draping and slight creasing. Paired with plain straight-leg or slightly relaxed-fit trousers in a muted neutral tone (soft khaki, warm taupe, or dark grey), no visible logos, no stitched branding on pockets or waistband. Simple flat sandals or bare feet, consistent with the casual, staying-home-in-the-morning energy of the piece. This exact combination — top, trousers, footwear — must remain identical through Block 6 and any subsequent generation; treat it as a locked reference image once established. Action, explicitly detailed: Camera follows her as she walks from the vanity toward the wardrobe area, where the clothing has been visible on the rod/hangers since the environment was established — including the specific white/cream top and neutral trousers she will select, already hanging there from the start. She reaches the wardrobe, looks over the few items for a moment, unhurried, and lifts the plain white top and the neutral trousers off their hangers, laying them briefly over her arm or the chair. She turns slightly away from camera or angles herself naturally at the wardrobe (matter-of-fact, not performative), and removes her sleep t-shirt first — pulling it up and off in one unhurried motion, setting it aside on the chair or a nearby surface. She then pulls the plain white top on over her head, arms finding the sleeves naturally, settling the fabric down over her torso with a small adjusting tug at the hem. She then steps out of her sleep bottoms or loungewear pants — sitting briefly on the edge of the chair or bed if needed for balance, one leg at a time — and pulls on the neutral trousers, standing to fasten or settle them at the waist, a small natural motion to smooth them down her hips. Once fully dressed, she does a small self-check — glancing down at the outfit, smoothing the top's hem once more, rolling one sleeve cuff slightly — before turning back toward the mirror. Dialogue: "Okay..." (pause, mid-change) "...let's see." (beat, once dressed, considering the outfit) "...Yeah. That works." Camera: Floating steadicam following her to the wardrobe, holding a respectful medium distance throughout the change — matter-of-fact framing, never a close or lingering angle, treating the change the way an ordinary morning routine would actually look on camera, not stylized or drawn out for effect. Block-specific negatives: The white top and neutral trousers must already be visible hanging in the wardrobe from the start of the block — no appearing only once she reaches for them. The change must be shown as a clear, complete sequence — sleep shirt removed, new top pulled on, sleep bottoms removed, new trousers pulled on — with no skipped steps or instant swaps between states. The change must read as ordinary and unhurried but not sexualized or dwelt upon — medium-distance framing throughout, natural body positioning, nothing posed. No outfit teleporting at any point — every layer change must be visibly performed by her, not implied through a cut or dissolve (there are no cuts in this piece regardless). This exact outfit (plain white/cream short-sleeve top, neutral trousers, sandals or bare feet) is now the locked wardrobe reference for the remainder of the piece — it must not vary in color, cut, or detail in Block 6 or any subsequent scene. BLOCK 6 — 1:15–1:30 FINAL LOOK → WALK OUT CONTINUITY OPEN Block 6 begins immediately from the final frame of Block 5. There is no cut. Desi stands in front of the mirror wearing the exact outfit established in Block 5. Her: white/cream top; neutral trousers; footwear; gold jhumka earrings; gold necklace; hairstyle; makeup; facial features remain exactly consistent. --- 1:15–1:20 FINAL MIRROR CHECK Desi faces the oval mirror. The camera floats gently into position behind/alongside her. She looks at her reflection. A genuine pause. She looks down briefly at the outfit. Smooths the top once. Looks back at herself. A tiny satisfied nod. No exaggerated posing. No influencer-style presentation. She simply looks like someone deciding that she is ready enough to leave. --- 1:20–1:26 WALK TOWARD DOOR Desi turns away from the mirror. The camera smoothly follows. She walks through the bedroom toward the doorway. Her pace remains natural and unhurried. The camera never overtakes her. No whip-pan. No sudden acceleration. No speed ramp. The hallway beyond the doorway is already visible. Morning light spills naturally from the hallway. Dialogue Desi: "Okay." pause "Human." beat "Presentable." pause "Good enough." A small genuine laugh. --- 1:26–1:30 EXIT Desi reaches the doorway. She opens the wooden door. Warm hallway light falls across her. She steps through. The camera continues following her naturally. Just before she disappears completely, she turns her head slightly toward the camera. A genuine late-arriving smile. Dialogue "Alright..." pause "...let's go be a person today." beat "Bye." She exits. The camera remains inside the bedroom. It settles naturally on the empty doorway. Hold for one quiet beat. END. --- MASTER NEGATIVES & CONSTRAINTS BLOCKS 5–6 CONTINUITY One continuous physical camera take. Zero hard cuts. Zero hidden cuts. Zero jump cuts. Zero dissolves. Zero fades between states. Zero time skips. Zero time-lapse. Zero teleportation. Zero duplicated footage. Zero sudden camera repositioning. WHIP-PAN ONE WHIP-PAN ONLY. It occurs exclusively during the wardrobe change in Block 5. The whip-pan must: physically originate from the camera's current position; move through the same bedroom; temporarily obscure Desi; return naturally to the wardrobe area. It must never be used as a disguised cut. No whip-pan during Block 6. --- NO MORPHING / NO MESHING Absolutely no: face morphing; facial meshing; body morphing; wardrobe morphing; texture morphing; object morphing; environmental morphing; frame interpolation artifacts; identity blending; unstable facial geometry; unstable hands; unstable hair; unstable jewelry. Desi must remain the same woman throughout the entire sequence. --- IDENTITY LOCK Do not alter: eyes; eyebrows; nose; lips; jaw; cheekbones; skin tone; face shape; body proportions; age; hair texture; hairline. No identity drift. No alternate version of Desi. No duplicate Desi. No phantom Desi. --- WARDROBE CHANGE The wardrobe change must be physically believable. No: instant outfit swap; outfit teleportation; clothing appearing on her body; clothing disappearing from her body; clothing growing onto her; magical transition; glowing transformation; particle effect; dissolve; morph. The single whip-pan simply gives privacy while maintaining the continuous physical flow of the camera. --- OBJECT CONTINUITY No object may suddenly appear or disappear. The following must remain spatially consistent: wardrobe; clothing; chair; vanity; mirror; jewelry; dresser; plants; rug; door; hallway. The white/cream top and neutral trousers must be visibly hanging in the wardrobe before Desi selects them. --- OUTFIT LOCK Once Desi finishes changing: WHITE/CREAM SHORT-SLEEVE TOP + EXACT NEUTRAL TROUSERS + SAME FOOTWEAR must remain unchanged through the end. No recoloring. No redesign. No different sleeve length. No different trouser cut. No different footwear. No spontaneous accessories. --- MIRROR CONSISTENCY Mirror reflection must be physically accurate at all times. One Desi. Reflection matches her movements exactly. No reflection drift. No alternate face. No duplicated reflection. No delayed reflection. Camera never appears in the mirror. --- ANATOMY No: extra fingers; missing fingers; fused fingers; duplicated hands; malformed hands; warped arms; elongated limbs; distorted torso; unnatural joints; anatomical meshing. --- VISUAL STYLE Cinematic realism. Natural morning light. Natural skin pores and texture. Subtle film-like grain. Slightly imperfect real-world color. No: beauty filter; plastic skin; excessive skin smoothing; glossy commercial lighting; HDR; hyper-clean advertising aesthetic; artificial glow; excessive sharpening. --- AUDIO Continuous natural audio only: footsteps; fabric movement; clothing rustle; jewelry movement; room ambience; natural breathing; door movement; hallway ambience; Desi's natural voice. No music. No cinematic impact sounds. No artificial transition sounds. No sound effect accompanying the whip-pan. --- VOICE Warm low-mid female voice. Natural morning rasp. Close and intimate. Slow. Unhurried. Conversational. Real pauses between phrases. Never sounds like a commercial, narrator, actress, or influencer reading a script. Do not compress dialogue to fit the timestamps. Natural delivery takes priority. --- FINAL GENERATION LOCK ONE DESI. ONE BEDROOM. ONE CAMERA. ONE CONTINUOUS PHYSICAL FLOW. ONE WHIP-PAN ONLY — BLOCK 5 WARDROBE CHANGE. NO CUTS. NO MORPHING. NO MESHING. NO TELEPORTATION. NO IDENTITY DRIFT. NO OBJECT POP-IN. NO WARDROBE TELEPORTATION. NO DUPLICATION. NO TIME-LAPSE. NO RUSHED MOTION. Block 6 must begin exactly where Block 5 ends, with the exact same Desi, exact same face, exact same jewelry, exact same hairstyle, exact same outfit, exact same environment, and exact same spatial continuity. #AtlasCloud
1:22

"The label just says No Brand" GRWM w Desi Generated on Atlas Cloud Wan 3.0 Prime Esr upscale stitched together on ElevenCreative studio prompt Desi: South Asian woman, mid-20s, warm brown skin with natural, realistic texture — visible pores, subtle natural sheen, no airbrushed smoothness. Expressive dark brown eyes, defined brows, full lips. Long dark wavy hair, undone/messy at the start. No jewelry until the earrings beat. Gold jhumka earrings and thin gold necklace are her fixed accessories once applied. Environment — Desi's Bedroom: Modest, lived-in bedroom, soft neutral-toned walls, single window with sheer curtains, warm diffused morning light with real shadow falloff. Wooden/laminate flooring, small woven area rug. Flows from bed area to vanity/mirror corner to a closet/wardrobe area to a doorway. Bed: simple platform frame, unmade, muted duvet, mismatched pillows, folded throw, nightstand with a plain ceramic mug, analog alarm clock, small lamp. Vanity: wooden dresser, plain oval mirror, small ceramic dish holding her rings/studs/jhumka earrings, a plain glass jar labeled "NO BRAND" in small black sans-serif text, a plain wooden hairbrush — all visible on the surface from the start. Wardrobe area: simple open wardrobe/hangers with a small handful of plain unbranded clothing already visible. Doorway: simple wooden door, softly lit hallway beyond. Visual style (all blocks): Cinematic realism, not commercial polish. Soft natural film-like grain, warm slightly imperfect color grading true to real morning light. Skin genuinely textured, never smoothed or beauty-filtered. Smooth floating steadicam/gimbal camera movement throughout, cinematic framing sensibility, not raw flat phone footage. Audio style (all blocks): Warm, natural, close-mic room-tone quality, not sterile or studio-clean. Real object-contact sounds, natural room reverb on her voice. No music, no artificial sound effects. Standing negatives (repeat in every block): No AI morphing of any kind — no shifting, warping, or unstable facial features, body proportions, or object shapes. No items suddenly appearing or disappearing in frame — every object must already be visible in its place before she interacts with it. No over-polished or beauty-filtered skin — natural texture and imperfection required throughout. No overly clean, sterile, or commercial visual grade. No duplicate Desi in any frame. No identity drift from block to block. Every product/container shows either no text/logo or exactly the plain "NO BRAND" mark — simple black sans-serif on plain packaging. No recognizable real-world brand names, logos, or trademarked packaging/clothing design anywhere in frame. No extra fingers, fused hands, or distorted anatomy. No text overlays or captions. No music — natural ambient audio only. Mirror reflections physically accurate and consistent; camera never visible in any reflection. No sudden speed changes, no time-lapse compression, no rushed dialogue delivery. BLOCK 1 — [0:00–0:15] The Alarm, Waking, Yawn, First Line Continuity note: Opening block — no prior frame to match. Action: Dark, close frame on Desi's sleeping face, soft warm morning light beginning to catch her skin's natural texture. A phone alarm begins ringing on the nightstand. Hold on her unmoving for a real beat as it rings. Her hand fumbles slowly toward the sound, silences it. She lies still a moment longer, then opens her eyes slowly, squinting at the light. She yawns — full, unhurried, genuine — stretching slightly where she lies. A long pause settles after. Dialogue: (after the yawn, slow, groggy, real pauses) "Okay... (pause) ...so it is way too early for this..." (long pause, slow exhale) "...but let's get ready anyway." Camera: Static-to-slow-float — begins locked close on her face, only beginning the faintest float as she finishes speaking, ending the block just as she starts to shift toward sitting up. Block-specific negatives: The alarm sound must play first, before any dialogue or visible movement. Do not have her wake up abruptly or sit up quickly — the entire block stays in slow, groggy stillness. Do not begin the standing/sitting motion before the final line completes. BLOCK 2 — [0:15–0:30] Five More Minutes + Coffee Stretch Continuity note: Opens exactly where Block 1 ended — Desi still lying down, having just finished her line, beginning to shift toward sitting up. Match her position, the room's lighting, and her expression precisely to Block 1's final frame. Action: She sits up fully, stretches with a real, full arms-overhead extension, laughs softly at herself. She reaches for the ceramic mug already present on the nightstand, takes a slow sip, holds it a moment, exhales contentedly. Only after finishing the sip does she swing her legs out and stand, unhurried. Dialogue: "Five more minutes..." (pause, small laugh) "...turned into not five minutes." (beat) "Classic." (pause, after the sip) "Okay." (beat) "...That helps." Camera: Smooth floating steadicam, holding a steady elevated angle through the stretch, following her rise to standing by the block's end. Block-specific negatives: Do not skip or shorten the full stretch. The sip of coffee must complete before she stands — no simultaneous drinking-and-standing. Do not have her rush to her feet; the stand is the final motion of the block, unhurried. BLOCK 3 — [0:30–0:45] Moisturizer Continuity note: Opens exactly where Block 2 ended — Desi just risen to standing beside the bed. This block covers her walk to the vanity and the full moisturizer application. Match her position and the room's light to Block 2's final frame. Action: Camera drifts with her as she walks unhurried from the bed to the vanity, arriving at the mirror. The plain glass jar labeled "NO BRAND" is already visible on the vanity surface as she arrives. She unscrews the lid slowly, scoops a small amount, and applies it in full, unhurried circular motions across her face — the entire application shown start to finish within this block. Dialogue: (spoken only once the application is fully finished, near the block's end) "This is like..." (pause) "...the one step I actually never skip." (beat) "Everything else is negotiable." Camera: Floating lateral tracking during the walk, settling into a steady medium shot at the mirror for the application itself. Block-specific negatives: The jar must already be visible on the vanity before she reaches for it — no appearing mid-motion. The application must be shown completing in full before any dialogue begins. Do not rush the walk to the mirror to make room for the application — both get real, unhurried time within the 15 seconds. BLOCK 4 — [0:45–1:00] Hairbrush + Earrings Continuity note: Opens exactly where Block 3 ended — Desi standing at the mirror, moisturizer just applied. Match her position and expression to Block 3's final frame. Action: She picks up the plain wooden hairbrush, already resting on the vanity, and brushes out her hair with several full, unhurried strokes, working through it completely. She sets the brush down, then picks up her gold jhumka earrings from the ceramic dish and puts them on one at a time — each fully finished and settled before she begins the second. Dialogue: (mid-brushing) "Yeah, I don't even know what's in that jar anymore." (soft laugh) "The label just says 'No Brand.'" (beat, as she puts in the second earring) "...Works though." Camera: Steady medium-close shot at the mirror, holding through both the brushing and the earrings without cutting away. Block-specific negatives: The hairbrush and earrings must both already be visible on the vanity from the block's start. The first earring must be fully in place before she begins the second — no simultaneous application. Do not shorten the number of brush strokes to save time; let the motion read as genuinely unhurried. BLOCK 5 — [1:00–1:15] Wardrobe Change (Revised: Explicit Detail + Locked Outfit) Continuity note: Opens exactly where Block 4 ended — Desi at the mirror, both earrings now in place. This block covers her moving to the wardrobe area and changing. New Outfit — Locked Reference (carries into Block 6 and any future scenes): A simple, plain white or cream-colored short-sleeve cotton top with a round or slightly scooped neckline, no graphics, no visible branding — soft, everyday fabric with natural draping and slight creasing. Paired with plain straight-leg or slightly relaxed-fit trousers in a muted neutral tone (soft khaki, warm taupe, or dark grey), no visible logos, no stitched branding on pockets or waistband. Simple flat sandals or bare feet, consistent with the casual, staying-home-in-the-morning energy of the piece. This exact combination — top, trousers, footwear — must remain identical through Block 6 and any subsequent generation; treat it as a locked reference image once established. Action, explicitly detailed: Camera follows her as she walks from the vanity toward the wardrobe area, where the clothing has been visible on the rod/hangers since the environment was established — including the specific white/cream top and neutral trousers she will select, already hanging there from the start. She reaches the wardrobe, looks over the few items for a moment, unhurried, and lifts the plain white top and the neutral trousers off their hangers, laying them briefly over her arm or the chair. She turns slightly away from camera or angles herself naturally at the wardrobe (matter-of-fact, not performative), and removes her sleep t-shirt first — pulling it up and off in one unhurried motion, setting it aside on the chair or a nearby surface. She then pulls the plain white top on over her head, arms finding the sleeves naturally, settling the fabric down over her torso with a small adjusting tug at the hem. She then steps out of her sleep bottoms or loungewear pants — sitting briefly on the edge of the chair or bed if needed for balance, one leg at a time — and pulls on the neutral trousers, standing to fasten or settle them at the waist, a small natural motion to smooth them down her hips. Once fully dressed, she does a small self-check — glancing down at the outfit, smoothing the top's hem once more, rolling one sleeve cuff slightly — before turning back toward the mirror. Dialogue: "Okay..." (pause, mid-change) "...let's see." (beat, once dressed, considering the outfit) "...Yeah. That works." Camera: Floating steadicam following her to the wardrobe, holding a respectful medium distance throughout the change — matter-of-fact framing, never a close or lingering angle, treating the change the way an ordinary morning routine would actually look on camera, not stylized or drawn out for effect. Block-specific negatives: The white top and neutral trousers must already be visible hanging in the wardrobe from the start of the block — no appearing only once she reaches for them. The change must be shown as a clear, complete sequence — sleep shirt removed, new top pulled on, sleep bottoms removed, new trousers pulled on — with no skipped steps or instant swaps between states. The change must read as ordinary and unhurried but not sexualized or dwelt upon — medium-distance framing throughout, natural body positioning, nothing posed. No outfit teleporting at any point — every layer change must be visibly performed by her, not implied through a cut or dissolve (there are no cuts in this piece regardless). This exact outfit (plain white/cream short-sleeve top, neutral trousers, sandals or bare feet) is now the locked wardrobe reference for the remainder of the piece — it must not vary in color, cut, or detail in Block 6 or any subsequent scene. BLOCK 6 — 1:15–1:30 FINAL LOOK → WALK OUT CONTINUITY OPEN Block 6 begins immediately from the final frame of Block 5. There is no cut. Desi stands in front of the mirror wearing the exact outfit established in Block 5. Her: white/cream top; neutral trousers; footwear; gold jhumka earrings; gold necklace; hairstyle; makeup; facial features remain exactly consistent. --- 1:15–1:20 FINAL MIRROR CHECK Desi faces the oval mirror. The camera floats gently into position behind/alongside her. She looks at her reflection. A genuine pause. She looks down briefly at the outfit. Smooths the top once. Looks back at herself. A tiny satisfied nod. No exaggerated posing. No influencer-style presentation. She simply looks like someone deciding that she is ready enough to leave. --- 1:20–1:26 WALK TOWARD DOOR Desi turns away from the mirror. The camera smoothly follows. She walks through the bedroom toward the doorway. Her pace remains natural and unhurried. The camera never overtakes her. No whip-pan. No sudden acceleration. No speed ramp. The hallway beyond the doorway is already visible. Morning light spills naturally from the hallway. Dialogue Desi: "Okay." pause "Human." beat "Presentable." pause "Good enough." A small genuine laugh. --- 1:26–1:30 EXIT Desi reaches the doorway. She opens the wooden door. Warm hallway light falls across her. She steps through. The camera continues following her naturally. Just before she disappears completely, she turns her head slightly toward the camera. A genuine late-arriving smile. Dialogue "Alright..." pause "...let's go be a person today." beat "Bye." She exits. The camera remains inside the bedroom. It settles naturally on the empty doorway. Hold for one quiet beat. END. --- MASTER NEGATIVES & CONSTRAINTS BLOCKS 5–6 CONTINUITY One continuous physical camera take. Zero hard cuts. Zero hidden cuts. Zero jump cuts. Zero dissolves. Zero fades between states. Zero time skips. Zero time-lapse. Zero teleportation. Zero duplicated footage. Zero sudden camera repositioning. WHIP-PAN ONE WHIP-PAN ONLY. It occurs exclusively during the wardrobe change in Block 5. The whip-pan must: physically originate from the camera's current position; move through the same bedroom; temporarily obscure Desi; return naturally to the wardrobe area. It must never be used as a disguised cut. No whip-pan during Block 6. --- NO MORPHING / NO MESHING Absolutely no: face morphing; facial meshing; body morphing; wardrobe morphing; texture morphing; object morphing; environmental morphing; frame interpolation artifacts; identity blending; unstable facial geometry; unstable hands; unstable hair; unstable jewelry. Desi must remain the same woman throughout the entire sequence. --- IDENTITY LOCK Do not alter: eyes; eyebrows; nose; lips; jaw; cheekbones; skin tone; face shape; body proportions; age; hair texture; hairline. No identity drift. No alternate version of Desi. No duplicate Desi. No phantom Desi. --- WARDROBE CHANGE The wardrobe change must be physically believable. No: instant outfit swap; outfit teleportation; clothing appearing on her body; clothing disappearing from her body; clothing growing onto her; magical transition; glowing transformation; particle effect; dissolve; morph. The single whip-pan simply gives privacy while maintaining the continuous physical flow of the camera. --- OBJECT CONTINUITY No object may suddenly appear or disappear. The following must remain spatially consistent: wardrobe; clothing; chair; vanity; mirror; jewelry; dresser; plants; rug; door; hallway. The white/cream top and neutral trousers must be visibly hanging in the wardrobe before Desi selects them. --- OUTFIT LOCK Once Desi finishes changing: WHITE/CREAM SHORT-SLEEVE TOP + EXACT NEUTRAL TROUSERS + SAME FOOTWEAR must remain unchanged through the end. No recoloring. No redesign. No different sleeve length. No different trouser cut. No different footwear. No spontaneous accessories. --- MIRROR CONSISTENCY Mirror reflection must be physically accurate at all times. One Desi. Reflection matches her movements exactly. No reflection drift. No alternate face. No duplicated reflection. No delayed reflection. Camera never appears in the mirror. --- ANATOMY No: extra fingers; missing fingers; fused fingers; duplicated hands; malformed hands; warped arms; elongated limbs; distorted torso; unnatural joints; anatomical meshing. --- VISUAL STYLE Cinematic realism. Natural morning light. Natural skin pores and texture. Subtle film-like grain. Slightly imperfect real-world color. No: beauty filter; plastic skin; excessive skin smoothing; glossy commercial lighting; HDR; hyper-clean advertising aesthetic; artificial glow; excessive sharpening. --- AUDIO Continuous natural audio only: footsteps; fabric movement; clothing rustle; jewelry movement; room ambience; natural breathing; door movement; hallway ambience; Desi's natural voice. No music. No cinematic impact sounds. No artificial transition sounds. No sound effect accompanying the whip-pan. --- VOICE Warm low-mid female voice. Natural morning rasp. Close and intimate. Slow. Unhurried. Conversational. Real pauses between phrases. Never sounds like a commercial, narrator, actress, or influencer reading a script. Do not compress dialogue to fit the timestamps. Natural delivery takes priority. --- FINAL GENERATION LOCK ONE DESI. ONE BEDROOM. ONE CAMERA. ONE CONTINUOUS PHYSICAL FLOW. ONE WHIP-PAN ONLY — BLOCK 5 WARDROBE CHANGE. NO CUTS. NO MORPHING. NO MESHING. NO TELEPORTATION. NO IDENTITY DRIFT. NO OBJECT POP-IN. NO WARDROBE TELEPORTATION. NO DUPLICATION. NO TIME-LAPSE. NO RUSHED MOTION. Block 6 must begin exactly where Block 5 ends, with the exact same Desi, exact same face, exact same jewelry, exact same hairstyle, exact same outfit, exact same environment, and exact same spatial continuity. #AtlasCloud

Kayno

20,528 просмотров • 1 месяц назад

Couldn't sleep. 3AM. Opened Gemini Live. Earbuds in. Lights off. Talking to AI like a late night phone call with a friend. Started with random stuff. Macro. Bitcoin. Then I asked something I didn't expect to care about. Is it actually possible to make consistent money on prediction markets? Or is it all luck? Gemini paused. Then: The market is efficient on average. But 15 minute BTC rounds update slower than exchanges. If software sees the Binance price before the platform does, it buys at 10 cents what already pays $1. This is not a prediction. It's a delay. I sat up in bed. You're saying the answer already exists before the market closes? For a few seconds, yes. Useless for a human. Enough for a script. → Wallet: I spent the next hour asking questions by voice in the dark. Gemini explained everything. Where the lag comes from. Why it doesn't close. How the math works. At the end I asked: If this works, someone is already doing it? Check the leaderboard. High frequency. Entries in the first seconds. Win rate above 70%. Morning. Laptop. 20 minutes of searching. guh123. $181,775 profit. 16,314 predictions. Joined February 2026. Everything Gemini described. Exactly. 16,314 trades. One month. $181K. Entries between 6 and 14 cents. Profit curve like a staircase. No pullbacks. Small bets. $700 to $1,800 each. But 400+ per day. Every day. The wallet doesn't swing for home runs. It collects $2,000 to $3,000 four hundred times. I showed the wallet to Gemini the next night. Same earbuds. Same dark room. Asked: Is this the wallet you were describing? Entry timing, position size, and win rate are consistent with the latency arbitrage pattern I explained. This wallet enters an average of 7 seconds after Binance price movement. The platform needs 25 to 30 seconds to update. 7 seconds. That's the entire edge. 16,314 times. The best investment insight I've ever gotten came at 3AM lying in bed talking to my phone in the dark. Gemini didn't find the wallet. It explained why a wallet like this should exist. I just went and found it. $181,775. 6,800 views. Most people scroll past it. They don't know what they're looking at. Now I do. Because I couldn't sleep and asked my phone the right question.
0:52

Couldn't sleep. 3AM. Opened Gemini Live. Earbuds in. Lights off. Talking to AI like a late night phone call with a friend. Started with random stuff. Macro. Bitcoin. Then I asked something I didn't expect to care about. Is it actually possible to make consistent money on prediction markets? Or is it all luck? Gemini paused. Then: The market is efficient on average. But 15 minute BTC rounds update slower than exchanges. If software sees the Binance price before the platform does, it buys at 10 cents what already pays $1. This is not a prediction. It's a delay. I sat up in bed. You're saying the answer already exists before the market closes? For a few seconds, yes. Useless for a human. Enough for a script. → Wallet: I spent the next hour asking questions by voice in the dark. Gemini explained everything. Where the lag comes from. Why it doesn't close. How the math works. At the end I asked: If this works, someone is already doing it? Check the leaderboard. High frequency. Entries in the first seconds. Win rate above 70%. Morning. Laptop. 20 minutes of searching. guh123. $181,775 profit. 16,314 predictions. Joined February 2026. Everything Gemini described. Exactly. 16,314 trades. One month. $181K. Entries between 6 and 14 cents. Profit curve like a staircase. No pullbacks. Small bets. $700 to $1,800 each. But 400+ per day. Every day. The wallet doesn't swing for home runs. It collects $2,000 to $3,000 four hundred times. I showed the wallet to Gemini the next night. Same earbuds. Same dark room. Asked: Is this the wallet you were describing? Entry timing, position size, and win rate are consistent with the latency arbitrage pattern I explained. This wallet enters an average of 7 seconds after Binance price movement. The platform needs 25 to 30 seconds to update. 7 seconds. That's the entire edge. 16,314 times. The best investment insight I've ever gotten came at 3AM lying in bed talking to my phone in the dark. Gemini didn't find the wallet. It explained why a wallet like this should exist. I just went and found it. $181,775. 6,800 views. Most people scroll past it. They don't know what they're looking at. Now I do. Because I couldn't sleep and asked my phone the right question.

Marlow

34,756 просмотров • 6 месяцев назад

TALES OF GRIMWICKE — Chapter I is 22 minutes of AI fantasy animation inspired by the many anthropomorphic animal stories I read as a kid, with a dark twist: The model: Seedance 2.5 (ByteDance Seed ) via Segmind. 847 takes generated, mostly 30-second multi-shot prompts, over 5 hours of footage. 127 clips made the cut. About $4.5k in generation, four weeks from first take to publish. Characters and locations came out of Midjourney. Using MJ for the location plates was a revelation: the cinematography and art direction are a level above, and it renders far better as a plate than Nano Banana or GPT Image. Nano Banana (Google DeepMind run on fal) did the heavy lifting editing those plates, building anchor frames and turning MJ characters into turnaround sheets. Then I let Seedance do as much of the framing and camera operating as possible. That gave the best results. A lot of what I do in my Unreal Engine films came with me: a handheld, imperfect camera operator instead of smooth moves, focus hunting, and above all weather and atmospherics. The model does water, snow, smoke and rain really well, and leaning into that is what keeps it from looking like a Temu Pixar film. The tools I built: a portal (Node on Fly.io) that holds the bible, the refs, every prompt and every take, with a Claude agent (Claude) that writes the prompts to the house rules. A Premiere Pro (Adobe Video) panel that browses the archive, drops selects on the timeline, versions the project, strips music, and sends fixes back to Seedance. Everything is done in 720p with no upscaling, because it looks terrible. Narration is my own voice through ElevenLabs speech-to-speech. Music from Artlist.io. None of this would exist without PJ Ace and Kavan. Their narrative work, Nexus and Chronicles of Bone, proved long-form AI film was possible, and their podcasts, newsletters and X posts, updated constantly as the workflow changes under everyone's feet, showed how to actually do it. Chapter II is currently in the works and I will release it initially on my YouTube channel, The Darkest Age (@CharlieDriscollAI). Consider subscribing there to see it as soon as it drops!
22:41

TALES OF GRIMWICKE — Chapter I is 22 minutes of AI fantasy animation inspired by the many anthropomorphic animal stories I read as a kid, with a dark twist: The model: Seedance 2.5 (ByteDance Seed ) via Segmind. 847 takes generated, mostly 30-second multi-shot prompts, over 5 hours of footage. 127 clips made the cut. About $4.5k in generation, four weeks from first take to publish. Characters and locations came out of Midjourney. Using MJ for the location plates was a revelation: the cinematography and art direction are a level above, and it renders far better as a plate than Nano Banana or GPT Image. Nano Banana (Google DeepMind run on fal) did the heavy lifting editing those plates, building anchor frames and turning MJ characters into turnaround sheets. Then I let Seedance do as much of the framing and camera operating as possible. That gave the best results. A lot of what I do in my Unreal Engine films came with me: a handheld, imperfect camera operator instead of smooth moves, focus hunting, and above all weather and atmospherics. The model does water, snow, smoke and rain really well, and leaning into that is what keeps it from looking like a Temu Pixar film. The tools I built: a portal (Node on Fly.io) that holds the bible, the refs, every prompt and every take, with a Claude agent (Claude) that writes the prompts to the house rules. A Premiere Pro (Adobe Video) panel that browses the archive, drops selects on the timeline, versions the project, strips music, and sends fixes back to Seedance. Everything is done in 720p with no upscaling, because it looks terrible. Narration is my own voice through ElevenLabs speech-to-speech. Music from Artlist.io. None of this would exist without PJ Ace and Kavan. Their narrative work, Nexus and Chronicles of Bone, proved long-form AI film was possible, and their podcasts, newsletters and X posts, updated constantly as the workflow changes under everyone's feet, showed how to actually do it. Chapter II is currently in the works and I will release it initially on my YouTube channel, The Darkest Age (@CharlieDriscollAI). Consider subscribing there to see it as soon as it drops!

Charlie Driscoll

1,257,180 просмотров • 17 дней назад

COACHES ONLY: THIS IS WHY COACHING EXPERIENCE MATTERS This post is primarily for coaches. Before I get into my own analysis, I want to give Venom Reacts (VENOM 😈) full credit for the film breakdown that prompted this post. He did an excellent job slowing the possession down, identifying where the defensive action actually breaks, and explaining why the final matchup at the rim does not tell the whole story. If you have not watched his video yet, watch it first. His explanation is worth your time. What I want to add is another coaching perspective. If you have spent years completing USA Basketball education, PGC training, NABC development, certification requirements, clinics, continuing education, film study and the thousand other things serious coaches do to become better teachers of the game, watch this possession and tell me what you see. Because I see a coaching problem. Mercedes Russell navigates the low-post screen incorrectly. She goes over it when the coverage requires her to get underneath. That single mistake changes the geometry of the possession and leaves Caitlin Clark forced into an emergency switch against a center at the rim. By then, the defense is already compromised. Clark did not create the mismatch. She inherited it. Could Clark have handled the emergency differently? Coaches can debate that. Maybe there is a late communication, front, dig, foul or emergency rotation January wanted. But none of those possibilities change the first breakdown. Russell loses the coverage. Clark is left trying to survive it. Then watch the timeout. Briann January appears to direct an extremely animated correction toward Clark. Clark clearly disagrees. Stephanie White stands between them and allows the exchange to continue. Now forget personalities for a moment and evaluate this strictly as coaches. What are we trying to accomplish during that timeout? Indiana is protecting a double-digit lead with roughly four minutes remaining. Clark is having a career-level night. This is closing time. My timeout priorities are clock, score, personnel, foul situation, remaining timeouts, offensive organization, defensive coverage, anticipated counters and making absolutely certain my five players leave that huddle composed and connected. The previous possession gets corrected only to the extent necessary to prevent it from happening again: Mercedes, get under it. Caitlin, stay home unless she gets caught. Communicate it. Next play. That takes seconds. Everything else belongs in film. And even if Clark had been completely responsible for the breakdown... I don't believe she was... I still cannot understand using precious late-game timeout bandwidth to publicly unload on a player who is carrying your offense and playing one of the best games of her season. Experienced coaches understand the difference between correction and emotional discharge. We also understand the difference between being a great defender and teaching great team defense. Briann January was an outstanding individual defensive player. Seven All-Defensive selections deserve respect. But playing credentials are not coaching credentials. Her publicly documented coaching résumé remains remarkably thin for the responsibility she now carries: brief college assistant experience while still playing, a long gap, two seasons under Stephanie White in Connecticut, one G League season, and back to White in Indiana. No head-coaching experience. No associate head-coaching experience. No independently established defensive program. And I have found no publicly documented USA Basketball, PGC, NABC or comparable formal coaching credential attached to her résumé. That does not prove she has never completed additional training. It does raise a fair question experienced coaches will immediately understand: Where was the apprenticeship that taught the transition from elite individual defender to elite teacher of five-player defense? Because those are very different jobs. A great defender can solve problems with athleticism, anticipation, toughness and individual technique. A defensive coach has to diagnose the first breakdown, establish five-player rules, teach screen navigation, define switch triggers, organize help behind the action and communicate corrections in a way players can immediately execute. That is why this possession bothers me. It is not because a coach raised her voice. It is because the film appears to show the coach directing the most intense correction at the player who was cleaning up somebody else's mistake. Coaches: watch the play, not the personalities. Then watch the timeout. I would genuinely like to know what you see. X Video analysis credit: VENOM 😈 YouTube: @VenomReacts3
1:47

COACHES ONLY: THIS IS WHY COACHING EXPERIENCE MATTERS This post is primarily for coaches. Before I get into my own analysis, I want to give Venom Reacts (VENOM 😈) full credit for the film breakdown that prompted this post. He did an excellent job slowing the possession down, identifying where the defensive action actually breaks, and explaining why the final matchup at the rim does not tell the whole story. If you have not watched his video yet, watch it first. His explanation is worth your time. What I want to add is another coaching perspective. If you have spent years completing USA Basketball education, PGC training, NABC development, certification requirements, clinics, continuing education, film study and the thousand other things serious coaches do to become better teachers of the game, watch this possession and tell me what you see. Because I see a coaching problem. Mercedes Russell navigates the low-post screen incorrectly. She goes over it when the coverage requires her to get underneath. That single mistake changes the geometry of the possession and leaves Caitlin Clark forced into an emergency switch against a center at the rim. By then, the defense is already compromised. Clark did not create the mismatch. She inherited it. Could Clark have handled the emergency differently? Coaches can debate that. Maybe there is a late communication, front, dig, foul or emergency rotation January wanted. But none of those possibilities change the first breakdown. Russell loses the coverage. Clark is left trying to survive it. Then watch the timeout. Briann January appears to direct an extremely animated correction toward Clark. Clark clearly disagrees. Stephanie White stands between them and allows the exchange to continue. Now forget personalities for a moment and evaluate this strictly as coaches. What are we trying to accomplish during that timeout? Indiana is protecting a double-digit lead with roughly four minutes remaining. Clark is having a career-level night. This is closing time. My timeout priorities are clock, score, personnel, foul situation, remaining timeouts, offensive organization, defensive coverage, anticipated counters and making absolutely certain my five players leave that huddle composed and connected. The previous possession gets corrected only to the extent necessary to prevent it from happening again: Mercedes, get under it. Caitlin, stay home unless she gets caught. Communicate it. Next play. That takes seconds. Everything else belongs in film. And even if Clark had been completely responsible for the breakdown... I don't believe she was... I still cannot understand using precious late-game timeout bandwidth to publicly unload on a player who is carrying your offense and playing one of the best games of her season. Experienced coaches understand the difference between correction and emotional discharge. We also understand the difference between being a great defender and teaching great team defense. Briann January was an outstanding individual defensive player. Seven All-Defensive selections deserve respect. But playing credentials are not coaching credentials. Her publicly documented coaching résumé remains remarkably thin for the responsibility she now carries: brief college assistant experience while still playing, a long gap, two seasons under Stephanie White in Connecticut, one G League season, and back to White in Indiana. No head-coaching experience. No associate head-coaching experience. No independently established defensive program. And I have found no publicly documented USA Basketball, PGC, NABC or comparable formal coaching credential attached to her résumé. That does not prove she has never completed additional training. It does raise a fair question experienced coaches will immediately understand: Where was the apprenticeship that taught the transition from elite individual defender to elite teacher of five-player defense? Because those are very different jobs. A great defender can solve problems with athleticism, anticipation, toughness and individual technique. A defensive coach has to diagnose the first breakdown, establish five-player rules, teach screen navigation, define switch triggers, organize help behind the action and communicate corrections in a way players can immediately execute. That is why this possession bothers me. It is not because a coach raised her voice. It is because the film appears to show the coach directing the most intense correction at the player who was cleaning up somebody else's mistake. Coaches: watch the play, not the personalities. Then watch the timeout. I would genuinely like to know what you see. X Video analysis credit: VENOM 😈 YouTube: @VenomReacts3

Sports Patriot

20,754 просмотров • 1 месяц назад

Destiny reviews Hasan's Axios interview and responds to Piker going off on him and his son "Everybody knew this was gonna happen..where it's like as soon as outside the primary, it's gonna be wall to wall annihilation with all the Republican media running crazy f'in Hasan clips..but nobody covered it on the liberal side before Republicans got their hands on it" "I hate this word productive..overuses it so much. Like you are the one that is combative, you are the guys that are incapable of having an intelligent conversation on anything..you refuse to have a challenging conversation..you can't do it..all he can do is build and destroy strawmen on stream over and over again" "You're fact checking the poll (with phone) after he pushes you on it, and then you find out the poll was incorrect..cleaning this up is called a puff piece, that would be propaganda..you would never expect that unless you're on an incredibly friendly platform that's helping you do PR..you're talking about a favorable edit in an interview to make you look better..only reason you're pulling phone out is bc he asked you about it" "Am I like his night terr*r demon? Also, I didn't pull out my iPad to fact check, I had notes on it..was a 5 and half hour intensive debate..I have no problem bringing notes to a debate like this..also, what does that have to do with this at all?..like every single problem in their life can be explained by the Jews or Destiny. It's so thought terminating" "That feel when I get my first semi challenging interview ever, so I have to pivot to talking about a 15 year old on my live stream" "Jake Tapper and Dana Bash are not well equipped in real time like Hasan here is the master of navigating real time challenging conversations, ok bro..I wonder what Trump's nickname would be for me (after Hasan joked that Trump's nickname for him would be Handsome Hassy). Big D Destiny, he got the biggest D, right guys" "They always do this, it's about exposing hypocrisy..cause you can never defend a position on your own. You can't defend anything, you have no principles, you got no values. It's all about they're being hypocritical, and it's not fair when they do..oh Dan (Saltman)'s a friend of Hasan now?"
9:55

Destiny reviews Hasan's Axios interview and responds to Piker going off on him and his son "Everybody knew this was gonna happen..where it's like as soon as outside the primary, it's gonna be wall to wall annihilation with all the Republican media running crazy f'in Hasan clips..but nobody covered it on the liberal side before Republicans got their hands on it" "I hate this word productive..overuses it so much. Like you are the one that is combative, you are the guys that are incapable of having an intelligent conversation on anything..you refuse to have a challenging conversation..you can't do it..all he can do is build and destroy strawmen on stream over and over again" "You're fact checking the poll (with phone) after he pushes you on it, and then you find out the poll was incorrect..cleaning this up is called a puff piece, that would be propaganda..you would never expect that unless you're on an incredibly friendly platform that's helping you do PR..you're talking about a favorable edit in an interview to make you look better..only reason you're pulling phone out is bc he asked you about it" "Am I like his night terr*r demon? Also, I didn't pull out my iPad to fact check, I had notes on it..was a 5 and half hour intensive debate..I have no problem bringing notes to a debate like this..also, what does that have to do with this at all?..like every single problem in their life can be explained by the Jews or Destiny. It's so thought terminating" "That feel when I get my first semi challenging interview ever, so I have to pivot to talking about a 15 year old on my live stream" "Jake Tapper and Dana Bash are not well equipped in real time like Hasan here is the master of navigating real time challenging conversations, ok bro..I wonder what Trump's nickname would be for me (after Hasan joked that Trump's nickname for him would be Handsome Hassy). Big D Destiny, he got the biggest D, right guys" "They always do this, it's about exposing hypocrisy..cause you can never defend a position on your own. You can't defend anything, you have no principles, you got no values. It's all about they're being hypocritical, and it's not fair when they do..oh Dan (Saltman)'s a friend of Hasan now?"

yeet

23,936 просмотров • 5 дней назад