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Abella Danger getting her ass fucked sideways while standing up 🔥🍑 That thick booty bouncing with every deep thrust #AbellaDanger #PAWG #Anal #Sideways #StandingFuck #BigAss #Thicc #NSFWtwt #PhatAss #BigBooty #AssClap #HardFuck
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![Seedance 2.5 full 30s prompt + H3 lipsync workflow are below 👇 [3_panel_ref] is a three-panel character turnaround (front, left profile, rear) that strictly defines one single continuous Black woman: short black hair with a sharp undercut on one side, large gold hoop earrings, thick gold curb-chain necklace, fitted black short-sleeve crop top exposing the midriff, baggy green woodland-camouflage cargo pants with large side pockets, and black-and-white Nike high-top sneakers with leopard-print heel and tongue panels. Use only her exact face, body proportions, hair, clothing and accessories. Do not use the plain studio background or any lighting from this image. [outdoor_ref] provides the outdoor lakeside music festival environment at blue-hour dusk: dense standing crowd, main stage with large LED screens and vibrant purple-cyan-pink lighting, scattered white and colored tents, flags, gravel paths, dark forested hills, and calm reflective lake water. Use this only for location layout, spatial depth, ambient lighting mix (cool dusk sky + warm practical tent lights + stage color spill), and background crowd density. Do not promote any specific individuals from this image into the main subject role. Generate a continuous 30-second photorealistic cinematic sequence of the exact same woman from [3_panel_ref] advancing through the dense festival crowd of [outdoor_ref] while carrying a clear plastic cup of beer in each hand. Her path is a single continuous forward trajectory from deep inside the packed crowd toward a slightly clearer edge near the water where her friends wait. All camera work and cuts preserve the unbroken sense of her physical progress and direction of travel. No dialogue, no subtitles, no on-screen text. 0-3s: Hybrid SnorriCam + Steadicam locked on her face and upper torso. She pushes and weaves through tightly packed bodies, constantly bumped from left, right and behind. Both beer cups tilt and liquid sloshes; her expression cycles between tight frustration and stubborn determination. She never stops advancing. Stage lights and crowd motion blur behind her. 3.0-4.5s: Medium side tracking shot. A tall man shoulders into her hard — brief slow-motion impact, beer liquid arcs upward, then hard speed-ramp recovery as she re-centers and keeps moving forward. 4.5-6.0s: Extreme close-up on her right hand clamped around the plastic cup. Foam and golden liquid sway violently with each jolt; knuckles and gold chain details sharp. 6.0-7.5s: Low-angle close-up of her Nike sneakers with leopard accents stepping carefully between other people’s feet, discarded cups and uneven grass, still pushing ahead. 7.5-9.0s: Tight facial close-up with rapid zoom-in to her eyes and the swinging gold hoop earring. She glances sideways at a near-miss, jaw tight, then locks forward again. 9.0-10.5s: Medium three-quarter shot. She ducks under a raised dancing arm, speed-ramp on the duck and straighten, beers held high, continuing the same forward line. 10.5-12.0s: Slightly elevated back three-quarter. A surge of people passes; her crop top and gold chain catch stage light as she twists her torso to slip through without stopping. 12.0-13.5s: Extreme close-up on the left beer cup as it is jolted — liquid nearly overflows, catching a purple stage flash, then settles as she stabilizes. 13.5-15.0s: Dutch-angle medium shot. She brushes past a person with a large backpack; camo cargo pockets scrape fabric; her stride never breaks. 15.0-16.5s: Close-up on the undercut side of her head and short black hair moving with the motion, gold earring flashing. 16.5-18.0s: Slightly high angle looking down as she navigates a tighter cluster near tents; bodies part just enough for her to thread through, still advancing. 18.0-19.5s: Slow-motion medium close-up of her upper body and face as a drift of stage fog and colored light crosses her; skin, gold jewelry and black fabric catch the colors while she keeps walking. 19.5-21.0s: Side tracking speed-ramp. She sidesteps a couple holding hands, beers lifted protectively, path still straight toward the water edge. 21.0-22.5s: Extreme close-up on her slightly parted lips and focused eyes looking ahead, concentration unbroken. 22.5-24.0s: Medium full-body as the crowd density begins to thin near the lake. She picks up a half-step of speed while still carefully balancing both cups. 24.0-25.5s: Tracking from behind as she emerges into a small clearer zone. Two female friends in casual festival clothes are waiting a few meters ahead, already noticing her. 25.5-27.0s: Medium shot as she reaches them, stops, still holding both beers upright. Shoulders begin to drop. 27.0-30s: Close-up on her face. She releases a long, deep sigh of pure relief, a small tired smile appears, eyes soften toward her friends. Soft bokeh of lake water and residual stage lights behind her. Hold the final frame. Visual treatment: photorealistic live-action, natural blue-hour mixed with vibrant stage color spill, shallow depth of field on all close-ups, grounded handheld energy that never loses her continuous forward path. Audio: dense overlapping crowd murmur and chatter, distant muffled bass and music from the main stage, liquid sloshing inside the cups, soft body impacts and fabric rustle, her slightly elevated breathing, final clear relieved exhalation. No added music bed beyond the distant stage sound. Keep the woman’s identity, clothing, cup ownership and direction of travel completely stable across every cut. If you need the prompts for the references used, check the quoted post! 🫡](https://image.24vids.com/tw-2087082935648239913/amplify_video_thumb/2087082773521530880/img/1fzEZ79JPO0d0ni0.jpg)
![Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.](https://image.24vids.com/tw-2099440985872933199/amplify_video_thumb/2099439622300262404/img/ApTPKT_DRHsOPaZ1.jpg)
![Turned ONE perfume bottle photo into a full cinematic commercial, sunset, silk, and sparkle included. No film crew. No expensive shoot. No studio booking. Just a photo, a prompt, and AI doing the rest. Made with Seedance 2.5 on Fish Creative Prompt: LOUIS VUITTON "CALIFORNIA DREAM" EDP 100ML — 30-Second Commercial Video Prompt Phase 1: Visual & Sensory Asset Definition Product: Louis Vuitton California Dream flacon. Clear heavy-base glass bottle with a signature ombré fragrance liquid — aqua-teal at the shoulder melting into soft blush-pink at the base. Glossy black stepped cylindrical stopper. Crisp black debossed/printed lettering "CALIFORNIA DREAM" above "LOUIS VUITTON." Packaging box in matching teal-to-coral-pink gradient with pink "CALIFORNIA DREAM" script and black "LOUIS VUITTON" wordmark. Subject (Heroine): A tall, slim, high-fashion model with an editorial runway physique. Sun-kissed, dewy, luminous skin — fresh and glowing, never matte. Sparkling emerald-green eyes that catch and hold the light in every close-up. Soft waved hair loose and wind-swept. She wears a flowing, silk sunset-coral/burnt-orange halter gown — a color chosen to sit in warm contrast against the bottle's cool blue-to-pink palette — with delicate gold ring hardware at the waist. Environment: California pier/boardwalk at golden hour into dusk — weathered wood planks, a pale wooden cross-beam silhouette in the background, soft lavender-peach sky, distant hazy shoreline, gentle sea breeze. Pacing: 30-second fluid runtime, continuous camera glides, soft cross-blur transitions, zero jitter, rhythmic build to a hero close on the final beat. Phase 2: Shot-by-Shot Timeline しーと is the visual truth for product and subject in every shot: [PRODUCT LOCK — clear glass flacon, thick base, teal-to-pink ombré liquid, glossy black stepped stopper, black lettering "CALIFORNIA DREAM" above "LOUIS VUITTON"]. [SUBJECT LOCK — tall, slim, fashion-model heroine, glowing fresh skin, sparkling emerald-green eyes, wind-swept waved hair, flowing coral-orange silk halter gown with gold ring hardware]. Keep flacon and subject identical across all shots. [00:00.0] Wide establishing shot, low angle from the boardwalk planks. Golden-pink sunset sky, silhouette of the wooden pier cross-beam. Camera glides slowly forward along the weathered wood toward a soft focal point in the distance. [00:02.5] Medium shot, eye-level. The しーと heroine walks barefoot along the sun-warmed boardwalk, coral gown catching the breeze, her emerald eyes glinting as she glances toward camera. Camera tracks alongside her in a smooth lateral glide. [00:05.0] Close-up, eye-level. Her face in profile, dewy skin lit by warm rim light, green eyes sparkling as she closes them briefly, a small content smile. Loose hair drifts across her cheek. Camera holds with a gentle micro push-in. [00:07.5] Extreme close-up, flat-on. The しーと flacon cradled in her hand, sunlight refracting through the teal-to-pink ombré liquid, "CALIFORNIA DREAM" lettering crisp and legible. Camera drifts in a slow arc around the glass. [00:10.0] Medium-wide, three-quarter angle. The heroine lifts the bottle toward the horizon, coral fabric billowing against the blue-pink sky — a striking color contrast between gown and bottle. Camera pulls back with continuous fluid motion. [00:12.5] Macro shot, high angle looking down. Sea mist droplets and a scatter of citrus slices and pink sand grains resting beside the flacon on wet wooden planks. Soft golden side light. Camera glides right to left. [00:14.5] Ultra-macro, flat-on. A slow-motion burst of the ombré liquid — teal swirling into blush-pink with fine suspended micro-bubbles, fully backlit and glowing. Camera holds with a subtle rotating drift. [00:17.0] Close-up, eye-level. The heroine's green eyes open directly to camera, sparkling with warm sunset catchlight, a soft exhale of confidence. Camera tilts up slowly from her collarbone to her gaze. [00:19.5] Medium shot. She spritzes the しーと perfume into the golden air, fine mist catching the light like scattered gold dust, coral gown swaying. Camera circles smoothly around her. [00:22.0] Wide shot, horizon at eye-level. The heroine stands tall and poised on the reflective wet boardwalk as dusk deepens, sky shifting into lavender and deep ocean blue, her silhouette elegant and slim. Camera holds a slow cinematic push-in. [00:24.5] Abstract transitional shot. Coral silk fabric flutters in slow motion intercut with liquid-glass light refractions, streaking softly into blue and pink. Camera whips gently sideways. [00:26.0] Medium hero shot, centered, eye-level. The full しーと flacon held in sharp focus in the foreground, heroine soft-focus behind it, emerald eyes still catching light, radiant sunset halo behind her. "CALIFORNIA DREAM" and "LOUIS VUITTON" lettering perfectly crisp and legible. Camera glides slowly forward. [00:28.5–00:30.0] Final settle. Glow builds gently around the bottle, light flare blooms softly across frame, then fades to warm black. No text overlay, no end card — clean cinematic fade. Phase 3: Audio & Sound Design Background Music: Warm, airy ambient pop-electronic score — soft piano arpeggios layered over a mellow analog synth pad, gentle four-on-the-floor pulse building from :00 to :22, then a light emotional swell with a soft string layer into the hero shot, resolving on a warm sustained chord at :30. Sound Effects: Gentle ocean waves and boardwalk creak ambience throughout Soft breeze/fabric flutter sound synced to gown movement (:02.5, :10.0, :24.5) Crisp glass-chime "ting" as the bottle catches light (:07.5) Light citrus-fizz/bubble sound layered under the liquid macro shot (:14.5) Airy perfume mist spray sound, crisp and high-fidelity (:19.5) Soft ambient hush and gentle low sub-swell on the final glow (:28.5–:30.0) Aspect Ratio: 16:9 Total Duration: 30 seconds Style: Continuous fluid camera glides, seamless cross-blur transitions, cinematic warm-golden color grade, no jitter cuts.](https://image.24vids.com/tw-2093133619883913232/amplify_video_thumb/2093126817763020800/img/8kMVFJ6QY1uCkcu3.jpg)
![The following is a message from Diana Bloom, an anonymous Iranian activist living in Germany who is being threatened with potentially extremely dangerous "exposure" by what appears to be a lunatic. I am passing this message on since Diana has deleted her account for her own protection and safety. To note, I don't think I should be involved with this crazy Evil Evi woman or her OSINT dramas whatsoever since she went bonkers the other day, but she is acting in defamatory ways and with malicious recklessness in a way that endanger an anonymous Iranian dissident I believe to be good, so I must pass this along. A MESSAGE FROM DIANA BLOOM This is a post in two parts. Part one is a brief summary of what has happened so far. Part two addresses the defamatory claims being made about me. PART 1 - [JL: Diana's explanation and responses] For everyone who doesn’t understand what led to this point, here’s the shortest summary possible: Evi [Kokalari] and I had been friendly in DMs since the end of June. She messaged me first. After [DataRepublican] published her piece on the State Department, I asked Evi not to go too hard against DR. Evi did anyway, and James Lindsay defended DR. I didn’t like the way Evi went after James, including citing Milo. So I unfollowed and removed Evi. She confronted me in DMs, and I explained why. Evi then made a post attacking James that started and ended with me and used my profile picture. I responded once, as politely as I could. Evi then repeatedly threatened to dox me, so I deactivated my account. Now, regarding the substance of the accusations she has made so far: 1. I am not a man. My name is not Derek. 2. I am Iranian. 3. I do know stuff about American politics because (and that is the boring truth) German television is really bad. So I’ve only watched English/American stuff for the past, I don’t know, 15 years, podcasts, late night shows, etc. I didn’t think about it, I just did. Little did I know that that would give me an understanding of the inner dynamics of what’s going on within the Republican Party that would tie back to the Iranian people’s cause in 2026. Believe me, I’m still baffled by it whenever I pause to think about it. But that’s the truth, and here we are. 4. I am not in the United States. I shared a blog, and the provider of that blog (a big, common one) is in the United States. My VPN location is sometimes in the United States. Not me. 5. I am not responsible for the content of people defending me. I have no control over it. It’s not my content, and I keep my distance whenever I see problematic stuff. Many accounts defended me, but going to look for one that has done/said problematic stuff to tie it back to me is not right or fair. I am not responsible. I have nothing to do with it. 6. I wanted to help DR because Evi was threatening to go after her hard, and I didn’t think DR deserved that. I meant no harm, I wanted to help. I made a mistake, and I regret it now, but my intention wasn’t bad at that moment in time. 7. Evi herself was the first to come into my DMs and tell me not to fight with an account named Stephanie. So I did Evi that favor. Meaning: Evi came into my DMs first and tried to calm down a public disagreement between me and someone else. When I did this in defense of DR, I did the same thing Evi had done before. I would never think to accuse Evi of restricting my right to free speech because of it. 8. Publishing private DMs from someone without their permission is wrong. It is something both Evi and Stephanie have now done. Both have shared private messages from me without my permission. 9. Part of Evi’s “sources” seem to be Azi Yazdi (granddaughter of Khomeini’s first foreign minister), Benji, and Nima Yamini, as well as his ghost accounts (I have blocked multiple of them by now). If you know any of them, you know this is insane. None of them are reliable. It’s like using Milo as a source against James Lindsay. This is not about truth but about a (malicious) takedown to silence me and get me out of the way. 10. Evi has threatened to dox me (there is no doubt) multiple times, and she keeps going after me. This puts my life and my family’s lives in Iran in real danger, but she doesn’t care. She keeps going, and I can’t stop her. She keeps putting out one lie after another, and it traps me in a forever loop of defending myself. If I don’t respond to more and more accusations from her against me, rest assured, my silence should never be taken as agreement with the lies she puts out there. Be sure there is always context, a counterargument, counterevidence, etc., that would show that none of what she shares is fair or true. But it’s a forever war that is meant to drain me. So me not commenting on her stuff moving forward is never, ever, ever an admission that she is right about something. It’s just a rejection of playing a game I cannot win. To ALL the people who wrote/shared one or multiple posts and comments in my defense: Thank you very, very, very much. I’ve seen it, and I am grateful. But I think it’s best for my own and my family’s safety, as well as for the whole situation, that I step away and stay away from X. I hope that’s understandable. And Evi, for the last time: if you are not malicious, please just stop. Let me out of this. I am not your target. Just leave me and, through doxxing/"exposing", my family out of it moving forward. I beg of you, please. PART 2 - proof - [JL: The following are direct quotes from Evi indicating her intention to "expose" Diana, which she tries to claim is different than "doxxing," though for all practical purposes the effect will be the same and this is a distinction without a difference. The video below shows all of these quotes from her own posts.] 1. “I’m getting enough information on her from her own community. I may share it…” 2. “Either log back in with your real name, or I will start exposing you. And trust me, you will not like that.” 3. “So stop provoking me. If you continue, I will look much deeper into who you are and what your actual role is behind this anonymous account.” 4. “You know what...WAR IT IS. I will start with Diana!! STAY TUNED” 5. “So I will take those words seriously and dig as deep as I can” 6. “The identities of the "Iranian activists" would never have been called into question had they not attacked my right to freedom of speech in my own country.” 7. Someone: “She deleted her account because she’s concerned for her safety and the safety of her relatives in Iran your threats to dox her” Evi: “She should be...but if she turns out to be clean, I shall protect her identity. But trust me, she is not who she claims to be” 8. “Last I checked, Support on X is against fake accounts. Why are we being threatened for wanting to know the true identity of certain accounts…” 9. “Do you think I know who Diana bloom is? No but I need to find out at this point” 10. “... because I asked one of their group operatives from Germany to debate me using her/his true identity, or I would expose who’s behind the account.” 11. “So I don’t know what you’re all thinking, but this isn’t simply about Diana being scared of the IRGC in Iran. The IRGC has been significantly weakened and has plenty of other things to worry about. There are thousands of Iranian accounts fighting for Iran’s freedom under their own names while still having family members back in Iran. At this point, I think people have every right to ask who is actually behind these anonymous accounts… After a few more new posts on her feed, I was forced to tell her to either come back on X and do this under her real name, or I would expose who she was, so at least we would be having this discussion on equal grounds.” 12. “Don’t freaking interfere with other people’s business like that retard did and no one comes after you. So go ahead down and sue me and I will push harder to expose her and you and anyone else…” MY OWN [JL's] COMMENTS, which Diana has nothing to do with and doesn't know I'm appending here. I now believe Evi is likely to be a malignant narcissist who is incapable of admitting that she is wrong. She will not stop in her behavior, and she will aim to harm anyone who attempts to intervene. I do not recommend you do this. I recommend you mark, avoid, and block. Fighting with her will only fuel her because she simply cannot admit that she's wrong about all of this and can only double down in increasingly insane, dangerous, and reckless ways, including toward Diana and her safety. She believes everything she sees that's trying to talk sense into her about any of this is part of an elaborate "op" that "disrespects her free speech" (which isn't a thing, by the way). No one is silencing her. People are just trying to talk sense into her to stop spreading defamation and reckless "exposure" of people who she will put at risk with it and who do not in any way deserve it, people she considered friends and allies until literally four days ago when she suddenly blew up. Therefore, not only is her reckless belief hermetically sealed against any disagreement, she turns any disagreement into proof of allegedly coordinated attacks against her from a network that simply doesn't exist. As a response, in her malignancy, she is threatening to damage, "expose," or otherwise reputationally harm anyone who even tries politely to talk sense into her, much less to disagree with her or oppose her. I strongly recommend everyone realize what they're getting into if they work with or ally themselves with this crazy woman going forward. You do so at your own risk. I can attest from watching her over the last few days that her research abilities, at least when agitated, are so sloppy as to be beyond worthless, even dangerous. The post I'm quoting below is proof of that. She's trying to prove Diana is secretly an American because she's too sloppy and stupid to realize that a Wordpress domain has an American location. She isn't doing research in good faith or with fidelity on this issue, or about me. She is looking for any information she can to hurt people who have upset her. In fact, she is presently being sued for defamation by an Albanian singer (Evi is an Albanian immigrant to the United States and a U.S. citizen for at least a couple decades), so we might recognize this bad behavior and poor praxis as a pattern with her. I can provide just from the last few days, as can others, much evidence that she's simply grasping at the nastiest straws she can find to try to harm people she has suddenly decided are her opponents because of her jealous outburst at DataRepublican and her narcissistic injury at being called on it. The sloppiness and outright retardation of her "fact" finding and "analysis" are so shocking that it's hard not to laugh even given how horrifically dangerous it is. We can therefore infer this sloppiness, recklessness, and malice-when-opposed to be at least partially true of her other "research" against her other targets, by extension. That's a shame because many of those targets are worthy of real scrutiny, which she is undermining with her loose cannon. Therefore, I insist her OSINT "research" is at best worthless and at worst maliciously harmful. In either case, it cannot be engaged by people who want to make a positive difference in the world, so mark and avoid. Evi seems good at making connections. She was quite positively in my own DMs for a while, trying to find ways to work productively together, even suggesting we start an alternative to CPAC (lol). She appears to be friends with both Eric Trump and Don Jr., though the relationship with the former appears to be more solid. She seems to have worked behind the scenes with a lot of relatively prominent Republican groups. I find all of this incredibly concerning after the events of this week, even though I wouldn't have beforehand. My own assessment from this stupid and nasty drama is that Evi's primary motivation is that she is pathologically envious of DataRepublican and her influence, likely believing it should be her in DataRepublican's place. As we can see, she isn't nearly careful or accurate enough for that. Mark and avoid. Further, though, while DataRepublican has no driving interest to be who or what she is and is doing it in service to the best of her abilities (which are considerable but still limited and imperfect as are anyone's), Evi appears to covet the role, which she has demonstrated she cannot possibly handle responsibly. Again, mark and avoid. Block if you will. I will not unblock her for this post or in the future. You can think of that whatever you want. I will rarely, almost never, say anything about her except in the defense of others she is wantonly and recklessly attacking. I will NEVER interact with her directly again, no arguments, no back and forth, no dunks, nothing. My involvement here is pure exposure and nothing else. Thank you for your attention to this matter.](https://image.24vids.com/tw-2093725313872085205/amplify_video_thumb/2093718725035712512/img/t5AqANtbD3mDn808.jpg)
