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A quiet, relaxing night with Jane Doe. 😊😴💤 Zenless Zone Zero BGM:school rooftop with cicada sounds slowed reverb #janedoe #ZenlessZoneZero‌ #zzzeroㅤ #animation

26,499 views • 12 days ago •via X (Twitter)

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Thats guy(Jane Doe submitted)'s profile picture
Thats guy(Jane Doe submitted)12 days ago

Sleep well Jane

𝐻𝒶𝓎𝒶𝓈𝒽𝒾𝓂𝒾's profile picture
𝐻𝒶𝓎𝒶𝓈𝒽𝒾𝓂𝒾11 days ago

I'm falling asleep

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After-Hours Spider Hero 🕷️🌙 By day, he saves the city. By night, it's instant noodles, video games, and a well-earned break. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI #PolloAI #PolloSpiderVerse Prompt: Part 1 – Hero on Duty (0–15s) Style: Stylized 3D animation, comic-inspired aesthetic, original non-branded spider-themed hero, expressive animation, vibrant sunset lighting, cinematic camera, exaggerated facial expressions, smooth action, 16:9, 4K. Prompt: Create the first 15 seconds of an animated short about an ordinary spider-themed superhero. Scene 1 (0–7s): A masked spider hero swings between towering skyscrapers at sunset, dodging explosions and stopping a giant robot. Fast-paced action, comic-book speed lines, dynamic camera movements, cheering crowds, epic heroic atmosphere. Scene 2 (7–15s): After defeating the robot, the hero lands on a quiet rooftop. He removes his mask, lets out a long sigh, stretches his aching back, rubs his sore shoulders, and looks completely exhausted. He walks toward the rooftop exit, heading home as the sun sets behind the city skyline. End Frame: The hero opens the apartment building door and steps inside, setting up the next scene. Part 2 – After Hours (15–30s) Style: Keep the same hero, same outfit, same animation style, same cinematic quality, and same apartment for perfect continuity. Prompt: Continue directly from Part 1. Scene 3 (15–20s): The hero enters his small apartment, drops onto a worn-out couch while still wearing half of his suit, prepares a cup of instant noodles, pours in hot water, and impatiently waits for it to cook. Scene 4 (20–25s): As he starts eating, his phone suddenly flashes: "EMERGENCY! CITY UNDER ATTACK!" He glances at the notification, then at his noodles, quietly flips the phone face down, and continues eating without saying a word. Scene 5 (25–30s): He picks up a game controller and starts playing video games. Outside the apartment window, distant explosions light up the night sky. He briefly looks outside, shrugs with a smile, and keeps gaming. The camera slowly pulls back as the screen freezes with bold comic-style text: "OFF DUTY." 🎮🕷️

Zyra AI

51,656 views • 1 month ago

🚨 Last night, an audio file was discovered in the Epstein Files that appears to be an FBI wiretap recording of what people are claiming is Erika Kirk procuring young girls for Epstein. Here is what I know and the questions I have: 🔻 The Phone Call The recording features a phone discussion involving a youthful-sounding female—portrayed as cooperating with federal authorities (DOJ)—speaking with someone who sounds like Erika Kirk. Background voices suggest law enforcement personnel guiding or debriefing the young woman before and after the conversation. 🔻 The Most Important Question — Is It Really Her? Does it sound like her? Absolutely… but audio can be tricky, and I’m leaning more toward no. Let me tell you why: First, this audio recording did not come with a date—of course. That detail is vitally important. All I know is that this audio comes from Dataset 9, page 661 of the Epstein Files. — Document The FBI/DOJ should take the time to address this. I’m sure an official statement could clarify who these people are… the cooperating victim (if legally permissible), but more importantly, the recruiter. With that said, I did some digging in the documents on my own. This audio recording contains specific keywords that, if it was an FBI call, should have a paper trail, right? —— Key words I searched for: “The more you do, the more you make” or the shorter version, “The more you do.” Sure enough, there are quite a few documents mentioning this. Here is one example: Within the Epstein files, a victim by the name of Haley Robson is identified as someone who was both a victim and later became a recruiter for Epstein. This court document is an excerpt from her deposition in a 2008–2009 civil lawsuit (Jane Doe v. Jeffrey Epstein, Haley Robson, and Sarah Kellen, filed in Florida federal court). The documents refer to events from around 2002 in the Jeffrey Epstein case (specifically tied to his Palm Beach, Florida operations and documented in 2005 police/prosecution materials and the 2009 civil deposition). Robson, then a 16-year-old high school student in West Palm Beach, Florida, was approached at school and recruited. She has stated in interviews and deposition excerpts that she was told the phrase “the more you do, the more you make” in connection with the arrangement and payments. She eventually resisted further sexual acts but was then offered $200 per girl she recruited from her school. She ultimately brought at least eight others (young as 14), earning more based on the level of acts involved. The recruiter who initially approached her and told her the quote is consistently described in all public sources only as “a classmate,” “a friend,” or “a girl in her class” from Royal Palm Beach Community High School. Erika Kirk (Frantzve) did not attend Royal Palm Beach Community High School. She grew up in Scottsdale, Arizona, and graduated in 2007 from Notre Dame Preparatory High School, a private Catholic school in Scottsdale. Erika Kirk is 37 years old today and would have been 13 years old (if this audio recording is from 2002). There’s no way that’s her if this is the case. Haley Robson is 40 years old and was reportedly 16 when she first met Jeffrey Epstein (around 2002). The timeline seems to match, assuming this is the correct year. I’ve listened and compared Haley Robson’s voice, and there are some similarities to the voice heard on this recording. Also consider that 24 years can change a voice significantly. Regardless, this is also something Haley Robson could easily dispel or confirm. If she has an X account, please tag her and ask directly if that is her in the audio. She appears frequently on television, so I don’t think she would mind clarifying whether this recruiter in the audio is her or not. That should be straightforward So as of right now, based on the evidence—at least for me—going with my gut, this is not Erika Kirk.

MJTruthUltra

147,775 views • 6 months ago

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cryptopsihoz

160,687 views • 22 days ago

"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

19,095 views • 13 days ago

🚨🛸💥🔥 Have We Cracked Gravity? 🔥💥🛸🚨 Thoughts? "I can see that it's a perfect triangle, and it's gigantic, and it has a white light at each apex of the triangle and a large, white light in the center. And it takes off, and it zips out of sight." 2006, Eglin AFB... (This sounds similar to what Dylan Borland says he saw at Langley AFB. If this stuff is so secret, why do they seem so lax in allowing others, who are not cleared, to see it? If this craft exists... Is it ours, that we developed own our own? Is it craft that we constructed and reverse engineered, based, in part, on technology of unknown origin that we have acquired? Is it a craft of unknown origin that we acquired and learned how to fly? Are "they" working with us and showing us how to fly "their" craft? Was Will Miller right? And if you don't know who Will Miller is, do some searching. I'll pull up some of my older quotes later.) ~~~ Daniel Gockerell: "I step outside, and I look to my left, and about, I would say, three, four hundred yards, there was a clearing. And surrounding this clearing is these high-mass portable generator lights like they use on construction for...in roadways that you see and stuff, and highways and stuff like that. And I saw Humvees, military personnel out there, it looked like, and some black SUVs. "And I see hovering, about 15 to 20 feet off the ground, this giant, maybe 300 or so feet in length (size of a football field. ~Joe), aircraft. There was no visible cockpit, you know, no visible like, traditional fuselage or engine. Like, I couldn't see...it just, it was different to me. "So, right about the time I get out and I notice this, it hovers, it goes straight up. And when I say hover, I don't mean in a traditional sense. So when you think about, uh, you know, any fixed-wing aircraft, any bird that we have, known to man right now, even a rotary bird, it oscillates when it hovers. This just goes straight up and it's dead quiet, nothing, not a sound. I could hear the buzzing from the generator lights, right? "So, this gets about to the canopy, like, height, a little over the canopy, and does a slight bank, and takes off. And it rips right over the canopy like, looks like it was heading northeast, which I'm guessing. I honestly couldn't remember, just, I don't know, sometimes you know, you feel like you know your cardinal directions, like, which way is home. "Anyway, this aircraft, when it banks, I can see that it's a perfect triangle, and it's gigantic, and it has a white light at each apex of the triangle and a large, white light in the center. And it takes off, and it zips out of sight. I mean, Mach something we don't know. And, I mean, it takes off. And the biggest shock to me at that point was there was no audible report. There was nothing...like something going that fast, it's gonna bust the sound barrier, you're gonna hear it. And I didn't. I heard nothing. And, at that point, again, it was just the buzzing of the generator lights out there. "I watched this as I'm smoking my cigarette, seemingly do several touch and goes, but it doesn't go down at that little drop zone that it took off. It just comes back, stays there for a second, couple seconds, and then takes off again. Comes back, stays there for a couple seconds, takes off again. And at that point I grew bored of it. And I was impressed, obviously, but I'm like, okay, this is our military testing some awesome technology and... "You know, again, this isn't my wheelhouse, so I'm not, you know, this is...I'm not really realizing that this is some sort of zero-point energy or something that we, you know, we've never seen before. So, it's nothing like I've ever seen before. I've never seen any military or civilian bird have the capabilities that something like this has. Again, there's no signage, there's no visible cockpit fuselage, you know, there's nothing that I can see that, you know, would make me think it's any kind of traditional bird that we've seen, or I've heard about. It takes off and I go back inside, and that's it. "So, the biggest thing to me, and when we were discussing it, is the notable observations, and that there's zero oscillation, right? The propulsion and noise...there was no audible report, no hum, nothing. What was it? It lacked, uh, like, an obviously visible cabin, uh, any signage, engine housing, exhaust systems. And it's the sheer speed that it that, you know, that was, you know, one of the most notable things."

Joe Murgia

77,769 views • 11 months ago