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Black Alpha BNWO master owns his white faggot's eager hole again. Thick BBC pounding deep and breeding hard, wrecking the pathetic slut into a quivering, cum-soaked mess for Black superiority. #BNWO #BlackAlpha #GayBNWO #BBCWorship #WhiteBoyOwned #QOS #Breeding #Interracial

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King jamal junior

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13,183 görüntüleme • 1 ay önce •via X (Twitter)

NSFW#BNWO#BlackAlpha#GayBNWO#BBCWorship#WhiteBoyOwned#QOS#Breeding#Interracial
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Flew this tight little white twink all the way to Dubai to be our personal cum-guzzling fuck toy, breeding bitch, and eager pink boy-cunt for the entire week. We parade and pose him like a trophy wherever we go, but behind closed doors we three huge hung Black Bulls are viciously destroying and wrecking his sloppy, greedy boy-pussy — brutally stretching, pile-driving, and gaping his hungry fuckhole raw with our thick veiny BBCs until it’s completely ruined, prolapsed, wrecked, and turned into a sloppy dripping cum-sleeve. By the end of the week this little snowbunny won’t be walking straight, just waddling bow-legged with our thick loads bubbling and leaking out of his destroyed cunt down his thighs. Hope he packed a fucking diaper for that long flight home 😈🍆💦💦💦 #BBC #Interracial #SizeQueen #BlackDaddies #BoyPussy #TwinkDestruction #LuxuryBBC #BreedingSeason #HeightDifference #Snowbunny #BBCGang #PinkBoyPussy #CumDump #HoleWrecker #BBCBreeding #GapingBoy #SloppyCunt #BoyCunt #CumSleeve #ProlapsedPussy #BBCWorship
0:33

Flew this tight little white twink all the way to Dubai to be our personal cum-guzzling fuck toy, breeding bitch, and eager pink boy-cunt for the entire week. We parade and pose him like a trophy wherever we go, but behind closed doors we three huge hung Black Bulls are viciously destroying and wrecking his sloppy, greedy boy-pussy — brutally stretching, pile-driving, and gaping his hungry fuckhole raw with our thick veiny BBCs until it’s completely ruined, prolapsed, wrecked, and turned into a sloppy dripping cum-sleeve. By the end of the week this little snowbunny won’t be walking straight, just waddling bow-legged with our thick loads bubbling and leaking out of his destroyed cunt down his thighs. Hope he packed a fucking diaper for that long flight home 😈🍆💦💦💦 #BBC #Interracial #SizeQueen #BlackDaddies #BoyPussy #TwinkDestruction #LuxuryBBC #BreedingSeason #HeightDifference #Snowbunny #BBCGang #PinkBoyPussy #CumDump #HoleWrecker #BBCBreeding #GapingBoy #SloppyCunt #BoyCunt #CumSleeve #ProlapsedPussy #BBCWorship

DC Daddy

20,594 görüntüleme • 3 ay önce

How many of you seen Middle Eastern fragrances put on white manicured toes before this is the very first. #lattafa #ہم_فرعونیت_کے_منکر #UAE #saudiarabia #perfume Our first sponsored post shout out to Saudi Arabia and U.A.E for producing some of the finest fucking fragrances ever. #khamrah #feetfetısh #bbc #pawg #ass #dick #white #black #porn #interracial #raceplay #tits #sbbw #bbw #fatty #bdn #bnc #bnd #raceplay #joi #nword #breeding #hardrp #dirtytalk #nigga #bbc #whitegirl #cuck #rp #bnwo #goon #racist #snowbunny #phat #phatty #kink #slave #nigger #feet #creampies
0:30

How many of you seen Middle Eastern fragrances put on white manicured toes before this is the very first. #lattafa #ہم_فرعونیت_کے_منکر #UAE #saudiarabia #perfume Our first sponsored post shout out to Saudi Arabia and U.A.E for producing some of the finest fucking fragrances ever. #khamrah #feetfetısh #bbc #pawg #ass #dick #white #black #porn #interracial #raceplay #tits #sbbw #bbw #fatty #bdn #bnc #bnd #raceplay #joi #nword #breeding #hardrp #dirtytalk #nigga #bbc #whitegirl #cuck #rp #bnwo #goon #racist #snowbunny #phat #phatty #kink #slave #nigger #feet #creampies

Black Daddy And White Mommy

16,089 görüntüleme • 1 ay önce

Who better than our God of Style, #Thalaivar Rajinikanth as Baasha? 😎🔥 Bringing that authentic ’90s Thalaivar vibe into the Storm Dance trend #HiggsfieldLavaStorm ⚡ 🎥 Powered by Higgsfield AI 🧩 Genjutsu #Superstar #Rajinikanth Prompt 👇 Recreate this music video shot-for-shot using Video1 as the complete motion, performance and camera reference, Image1 as the crowd characters, Image2 as the lead, Image3 as the location, and Image4 as the cigar prop. CAST REPLACEMENT: The LEAD PERFORMER in Video1 is replaced by the lead from Image2 — a commanding stylish man, 6ft, silver-streaked dark wavy hair, full dark beard, round tinted sunglasses, cream-white tailored blazer over an open white shirt with a red cravat at the throat, a wide red silk sash at the waist, white trousers and white dress shoes. He stands dead centre with total authority and performs the lead's exact movements, turns and timing. The ENTIRE CROWD in Video1 is replaced by identical copies of the character in Image1 — a faceless humanoid figure in a glossy white helmet with a black mirrored visor and white over-ear headphones, black high-collar jacket over a black turtleneck, black tactical cargo trousers with straps and buckles, black high-top sneakers. Dozens of them, identical, in tight geometric rows filling the frame, moving in perfect unison exactly as the reference crowd does. LOCATION: replace the setting with Image3 — wide monumental black steps made of deep star-field stone speckled with glittering constellations, thin luminous edge-lines along each step, a vast black void above, and the faint silhouette of a colossal coiling dragon arcing through the darkness in the background. Pale floor at the base. PROP: in the opening shot, the lead holds and draws on the cigar from Image4 — a thick dark maduro cigar with a black-and-gold band and red BAASHA lettering, lit tip glowing with a grey ash cap and a thin curl of smoke — replacing the cigarette from the reference. He raises it to his lips and exhales slowly on the same beat. COPY TWO LAYERS FROM Video1 EXACTLY: 1. Motion and performance — copy the choreography, unison crowd movement, formation changes, head tilts, bows, body rolls and all timing exactly. Every beat lands at the same moment. Match the pace exactly, not slower. The crowd moves as one machine, perfectly synchronised. 2. Camera motion — copy the camera work exactly: the same angles, the slow continuous pull-back and scale reveal, push-ins, rises, tilts and framing at every moment, frame-for-frame, keeping the lead centred throughout. VFX: as the camera pulls back for the full group reveal, thin veils of soft white smoke drift in low from the left and right edges of the frame and rise gently through the rows, catching the light and thickening the atmosphere without obscuring the figures. STYLE: cinematic black-and-white, high contrast, ultra-wide cinematic framing, glossy white helmets against deep black, dramatic monumental scale, premium music-video quality matching Video1. Negative prompt: visible eyes on the robots, mismatched crowd outfits, lead blending into the crowd, cigarette, colour footage, warm colour grade, slow motion, slower than reference, static locked-off camera, ignoring reference camera motion, breaking formation, changing the location, heavy fog obscuring the figures, distorted hands, extra limbs, watermark, logo, subtitles.
0:36

Who better than our God of Style, #Thalaivar Rajinikanth as Baasha? 😎🔥 Bringing that authentic ’90s Thalaivar vibe into the Storm Dance trend #HiggsfieldLavaStorm ⚡ 🎥 Powered by Higgsfield AI 🧩 Genjutsu #Superstar #Rajinikanth Prompt 👇 Recreate this music video shot-for-shot using Video1 as the complete motion, performance and camera reference, Image1 as the crowd characters, Image2 as the lead, Image3 as the location, and Image4 as the cigar prop. CAST REPLACEMENT: The LEAD PERFORMER in Video1 is replaced by the lead from Image2 — a commanding stylish man, 6ft, silver-streaked dark wavy hair, full dark beard, round tinted sunglasses, cream-white tailored blazer over an open white shirt with a red cravat at the throat, a wide red silk sash at the waist, white trousers and white dress shoes. He stands dead centre with total authority and performs the lead's exact movements, turns and timing. The ENTIRE CROWD in Video1 is replaced by identical copies of the character in Image1 — a faceless humanoid figure in a glossy white helmet with a black mirrored visor and white over-ear headphones, black high-collar jacket over a black turtleneck, black tactical cargo trousers with straps and buckles, black high-top sneakers. Dozens of them, identical, in tight geometric rows filling the frame, moving in perfect unison exactly as the reference crowd does. LOCATION: replace the setting with Image3 — wide monumental black steps made of deep star-field stone speckled with glittering constellations, thin luminous edge-lines along each step, a vast black void above, and the faint silhouette of a colossal coiling dragon arcing through the darkness in the background. Pale floor at the base. PROP: in the opening shot, the lead holds and draws on the cigar from Image4 — a thick dark maduro cigar with a black-and-gold band and red BAASHA lettering, lit tip glowing with a grey ash cap and a thin curl of smoke — replacing the cigarette from the reference. He raises it to his lips and exhales slowly on the same beat. COPY TWO LAYERS FROM Video1 EXACTLY: 1. Motion and performance — copy the choreography, unison crowd movement, formation changes, head tilts, bows, body rolls and all timing exactly. Every beat lands at the same moment. Match the pace exactly, not slower. The crowd moves as one machine, perfectly synchronised. 2. Camera motion — copy the camera work exactly: the same angles, the slow continuous pull-back and scale reveal, push-ins, rises, tilts and framing at every moment, frame-for-frame, keeping the lead centred throughout. VFX: as the camera pulls back for the full group reveal, thin veils of soft white smoke drift in low from the left and right edges of the frame and rise gently through the rows, catching the light and thickening the atmosphere without obscuring the figures. STYLE: cinematic black-and-white, high contrast, ultra-wide cinematic framing, glossy white helmets against deep black, dramatic monumental scale, premium music-video quality matching Video1. Negative prompt: visible eyes on the robots, mismatched crowd outfits, lead blending into the crowd, cigarette, colour footage, warm colour grade, slow motion, slower than reference, static locked-off camera, ignoring reference camera motion, breaking formation, changing the location, heavy fog obscuring the figures, distorted hands, extra limbs, watermark, logo, subtitles.

Syed Abuthahir ∞

20,071 görüntüleme • 7 gün önce

Chicken fried steak is a true Southern tradition that every modern man should master. Start by pounding cube steaks (or tenderized round steak) to about ¼-inch thick with a meat mallet to ensure they’re fork-tender. Season both sides generously with salt, pepper, garlic powder, and paprika. Set up your dredging station: one bowl with 1 cup all-purpose flour mixed with the same seasonings, and another with 2 eggs beaten with 2 tablespoons of milk for the egg wash. Dredge each steak in the seasoned flour, dip it fully in the egg wash, then dredge again in flour, pressing the coating on firmly so it sticks. Heat about ½ inch of canola or vegetable oil in a cast-iron skillet to 350°F. Fry the steaks 3–4 minutes per side until deep golden brown and crispy, then drain on a wire rack. For the gravy, pour off all but 3 tablespoons of the pan drippings, whisk in 3 tablespoons of flour, and cook for about a minute. Slowly pour in 2 cups of milk while whisking constantly until the gravy thickens and bubbles. Season with salt and plenty of black pepper. Slather those crispy steaks generously with the creamy pepper gravy and serve alongside hot buttermilk biscuits. Add mashed potatoes or fried eggs if you’re feeling extra. This crispy, tender, gravy-soaked classic comes together in under 45 minutes and delivers pure comfort on a plate. A meal fit for modern man. 🇺🇸
2:05

Chicken fried steak is a true Southern tradition that every modern man should master. Start by pounding cube steaks (or tenderized round steak) to about ¼-inch thick with a meat mallet to ensure they’re fork-tender. Season both sides generously with salt, pepper, garlic powder, and paprika. Set up your dredging station: one bowl with 1 cup all-purpose flour mixed with the same seasonings, and another with 2 eggs beaten with 2 tablespoons of milk for the egg wash. Dredge each steak in the seasoned flour, dip it fully in the egg wash, then dredge again in flour, pressing the coating on firmly so it sticks. Heat about ½ inch of canola or vegetable oil in a cast-iron skillet to 350°F. Fry the steaks 3–4 minutes per side until deep golden brown and crispy, then drain on a wire rack. For the gravy, pour off all but 3 tablespoons of the pan drippings, whisk in 3 tablespoons of flour, and cook for about a minute. Slowly pour in 2 cups of milk while whisking constantly until the gravy thickens and bubbles. Season with salt and plenty of black pepper. Slather those crispy steaks generously with the creamy pepper gravy and serve alongside hot buttermilk biscuits. Add mashed potatoes or fried eggs if you’re feeling extra. This crispy, tender, gravy-soaked classic comes together in under 45 minutes and delivers pure comfort on a plate. A meal fit for modern man. 🇺🇸

🚫👁️Drinks on Saturday🇺🇸

195,596 görüntüleme • 4 ay önce

After the ICE shooting last week in Minnesota, Black Lives Matter MN gave a speech demanding justice and ranting about ICE. Renee Good wasn’t Black, so why is BLM giving a press conference about her? It’s because BLM was never about Black Americans; it’s about revolution. Most became familiar with BLM post-George Floyd where they were able to attach themselves to his death. But Black Lives Matter is not a black organization, it’s a communist organization using Black people’s images as cover. It was hard for people to see this in 2020 since emotions were so high and they allowed communists to speak for the life of the average Black American. They were given the microphone to portray my existence is inevitably deprived simply due to my skin color. However, I recognized early on their tactics and why they were pushing such a strong message and condemnation of America. Communists use propaganda like a weapon and they take truth to gain legitimacy so they can manipulate you into believing the lies that will come later. Good propaganda, like a good conspiracy, needs an ounce of truth to push heavy loads of exaggerations and falsehoods down the line. It’s why their talking points sometimes land with people who aren’t familiar with their tactics. Sure, you can talk about slavery, Jim Crow, or any other historical mess and you can analyze it. However, their objective isn’t to recognize our historical wrongs for a better future: It’s to use it as a reason to tear down America. There are reasons they use words like “institutional” or “systemic” because their hatred goes past an individual to the collective. They are collectivists who hold all guilty if they are tacitly part of that collective. It’s why they say you benefited from “White Supremacy” because no matter how good of a person you are, you will always be tainted with historical stains. And you don’t have to be White to be a White Supremacist because if you defend the institutions they want to dismantle, you are automatically part of that collective. Good propagandists use everything to their advantage and they know that there is a social guilt about what has been done to Black Americans. It’s a point of leverage to get normal people to concede to communistic demands. They will always use Black Communists to speak for the collective and tribal nature over time has convinced us that communistic symbolism, like the raised fist in the air, is in fact Black in nature because we saw some dudes in afros doing it on old film. They’d have you think that the Black Panthers were popular and admired by Black Americans, when they weren’t. They were fringe, radical communists who were constantly shouting for revolution. They hid behind the imagery of being some type of militant neighborhood watch but every communist’s goal is to destroy the current system to instill theirs. They don’t care that it’s a tall mountain to climb because they enjoy being martyrs for a cause. The ends always justify the means for them, so lying and misrepresenting is fine as long as it pushes us closer to revolution. They will hijack trusted institutions, like government or churches, and use this inherent trust like a skin suit tricking unsuspecting people to believe what they want you to believe. This is no different from Black Lives Matter. For most people, it’s enough to see some angry black people on stage yelling about justice to convince them that this is the demeanor or demand of the average Black American in America. Black people like me stand in the way of their cause and when we speak out against them, they’ll call me the sellout for wanting to preserve the positives of American life. We are in or around the demoralization phase of revolution. They don’t need the support of Americans to be in support of their cause or to do anything to overtly support them. They just need enough people to sit on their hands while targeting institutions of power to either destroy from the outside or infiltrate to dismantle from within. Renee Good is their martyr, just as George Floyd was in 2020. You don’t have to knowingly sacrifice yourself or even be a communist to be a martyr for them; hijacking identities, especially dead ones, are perfect for manipulating the public. They will instigate events, cause chaos and when something goes awry, they’ll use it against us. This is exactly what’s happening in Minnesota with ICE. ICE could operate under normal conditions like it does everywhere else but they’ve turned non-newsworthy apprehensions into a spectacle so that it taints their image so they can force incidents exactly like Renee Good’s death. Now, when there are riots, it’s ICE’s fault and not the heavily funded leftist organizations who financially exist because of adversarial foreign nations who can’t wait till the United States is demoted from its power position. They are agitators at their core, they will use all goodwill to their advantage and strangle us with our own niceness. They will poke and prod our society, forcing you to question everything you held as sacred so they can replace it with something that suits them. Communist agitators are dying for Black Americans to be convinced that this somehow is negatively impacting us and they will propel any black face to make this happen. God help us if a black communist gets killed while provoking a response from ICE. Black Lives Matter Global and Minnesota doesn’t give a damn about Black people it can’t use to further a revolution. They’re not a Black advocacy group; they’re a communist outfit that gallivants in blackface.
0:45

After the ICE shooting last week in Minnesota, Black Lives Matter MN gave a speech demanding justice and ranting about ICE. Renee Good wasn’t Black, so why is BLM giving a press conference about her? It’s because BLM was never about Black Americans; it’s about revolution. Most became familiar with BLM post-George Floyd where they were able to attach themselves to his death. But Black Lives Matter is not a black organization, it’s a communist organization using Black people’s images as cover. It was hard for people to see this in 2020 since emotions were so high and they allowed communists to speak for the life of the average Black American. They were given the microphone to portray my existence is inevitably deprived simply due to my skin color. However, I recognized early on their tactics and why they were pushing such a strong message and condemnation of America. Communists use propaganda like a weapon and they take truth to gain legitimacy so they can manipulate you into believing the lies that will come later. Good propaganda, like a good conspiracy, needs an ounce of truth to push heavy loads of exaggerations and falsehoods down the line. It’s why their talking points sometimes land with people who aren’t familiar with their tactics. Sure, you can talk about slavery, Jim Crow, or any other historical mess and you can analyze it. However, their objective isn’t to recognize our historical wrongs for a better future: It’s to use it as a reason to tear down America. There are reasons they use words like “institutional” or “systemic” because their hatred goes past an individual to the collective. They are collectivists who hold all guilty if they are tacitly part of that collective. It’s why they say you benefited from “White Supremacy” because no matter how good of a person you are, you will always be tainted with historical stains. And you don’t have to be White to be a White Supremacist because if you defend the institutions they want to dismantle, you are automatically part of that collective. Good propagandists use everything to their advantage and they know that there is a social guilt about what has been done to Black Americans. It’s a point of leverage to get normal people to concede to communistic demands. They will always use Black Communists to speak for the collective and tribal nature over time has convinced us that communistic symbolism, like the raised fist in the air, is in fact Black in nature because we saw some dudes in afros doing it on old film. They’d have you think that the Black Panthers were popular and admired by Black Americans, when they weren’t. They were fringe, radical communists who were constantly shouting for revolution. They hid behind the imagery of being some type of militant neighborhood watch but every communist’s goal is to destroy the current system to instill theirs. They don’t care that it’s a tall mountain to climb because they enjoy being martyrs for a cause. The ends always justify the means for them, so lying and misrepresenting is fine as long as it pushes us closer to revolution. They will hijack trusted institutions, like government or churches, and use this inherent trust like a skin suit tricking unsuspecting people to believe what they want you to believe. This is no different from Black Lives Matter. For most people, it’s enough to see some angry black people on stage yelling about justice to convince them that this is the demeanor or demand of the average Black American in America. Black people like me stand in the way of their cause and when we speak out against them, they’ll call me the sellout for wanting to preserve the positives of American life. We are in or around the demoralization phase of revolution. They don’t need the support of Americans to be in support of their cause or to do anything to overtly support them. They just need enough people to sit on their hands while targeting institutions of power to either destroy from the outside or infiltrate to dismantle from within. Renee Good is their martyr, just as George Floyd was in 2020. You don’t have to knowingly sacrifice yourself or even be a communist to be a martyr for them; hijacking identities, especially dead ones, are perfect for manipulating the public. They will instigate events, cause chaos and when something goes awry, they’ll use it against us. This is exactly what’s happening in Minnesota with ICE. ICE could operate under normal conditions like it does everywhere else but they’ve turned non-newsworthy apprehensions into a spectacle so that it taints their image so they can force incidents exactly like Renee Good’s death. Now, when there are riots, it’s ICE’s fault and not the heavily funded leftist organizations who financially exist because of adversarial foreign nations who can’t wait till the United States is demoted from its power position. They are agitators at their core, they will use all goodwill to their advantage and strangle us with our own niceness. They will poke and prod our society, forcing you to question everything you held as sacred so they can replace it with something that suits them. Communist agitators are dying for Black Americans to be convinced that this somehow is negatively impacting us and they will propel any black face to make this happen. God help us if a black communist gets killed while provoking a response from ICE. Black Lives Matter Global and Minnesota doesn’t give a damn about Black people it can’t use to further a revolution. They’re not a Black advocacy group; they’re a communist outfit that gallivants in blackface.

Adam B. Coleman, Proud Father & Imperfect Man

83,689 görüntüleme • 8 ay önce

🚨THE KRIEL CADAVER: DISGUSTING WHITE TRAITOR EXPOSED‼️ Once the name Kriel stood for blood, sacrifice and real loyalty to the Boer people. Dominee Abraham Kriel pulled war orphans from the ashes of the Anglo-Boer concentration camps and gave them a home. Then the 21st century spat out Pieter Kriel, the soft, fluffy-haired end of that bloodline. A 21-year-old TikTok-to-X activist whose whole purpose seems to be screaming that he’s nothing like “those” Kriels, especially Kallie from AfriForum. He hates his own skin more than anyone else and loves lecturing South Africans on how “racist” we are for noticing farm murders, collapsing cities and the ANC’s total mess‼️ His failures are plain embarrassingand has built nothing real. Zero followers who matter and zero results🔥 Even the hard-left crowd he worships treats him like a joke. When activist Gillian Schutte tore into him in an open letter, she called him out as a rich kid with nothing but quick ChatGPT lines about “white privilege” and Black pain. He sells out his own people for views and gets laughed at in return. A total flop who changes nothing. His so-called political knowledge is laughable. This boy who has never faced real South African hardship lectures the whole country on “reality."‼️He denies the farm murder stats, calls white genocide talk a myth, pretends the flood of illegal immigrants isn’t happening, and tells Afrikaners they’re the problem for wanting safety‼️ While load-shedding blacks out the country, cities rot and graves keep filling, he sits safe behind a ring light pushing university Marxist nonsense that has zero connection to daily life here and he irritates the hell out of every South African. On X his feed is pure poison, endless smug rants that trigger everyone. Whites see a self-hating traitor selling his volk for cheap clout‼️ Blacks and leftists see a pampered white kid playing pretend revolutionary. Normal people just want him to shut up while the country falls apart around us. In real life he’s the same unwanted voice nobody asked for, the soft TikTok warrior who would crumble the moment real pressure hits. Pieter Kriel is not an activist. He is a pathetic white traitor and a living warning of what happens when you raise children without roots or reality. We expose him and laugh at his weakness. And we tell every parent, never let your child turn into this embarrassment‼️ PS - He was a bully in school apparently he targeted poor girls who’s parents wasn’t rich in school making fun of them of the area they stayed in‼️
0:30

🚨THE KRIEL CADAVER: DISGUSTING WHITE TRAITOR EXPOSED‼️ Once the name Kriel stood for blood, sacrifice and real loyalty to the Boer people. Dominee Abraham Kriel pulled war orphans from the ashes of the Anglo-Boer concentration camps and gave them a home. Then the 21st century spat out Pieter Kriel, the soft, fluffy-haired end of that bloodline. A 21-year-old TikTok-to-X activist whose whole purpose seems to be screaming that he’s nothing like “those” Kriels, especially Kallie from AfriForum. He hates his own skin more than anyone else and loves lecturing South Africans on how “racist” we are for noticing farm murders, collapsing cities and the ANC’s total mess‼️ His failures are plain embarrassingand has built nothing real. Zero followers who matter and zero results🔥 Even the hard-left crowd he worships treats him like a joke. When activist Gillian Schutte tore into him in an open letter, she called him out as a rich kid with nothing but quick ChatGPT lines about “white privilege” and Black pain. He sells out his own people for views and gets laughed at in return. A total flop who changes nothing. His so-called political knowledge is laughable. This boy who has never faced real South African hardship lectures the whole country on “reality."‼️He denies the farm murder stats, calls white genocide talk a myth, pretends the flood of illegal immigrants isn’t happening, and tells Afrikaners they’re the problem for wanting safety‼️ While load-shedding blacks out the country, cities rot and graves keep filling, he sits safe behind a ring light pushing university Marxist nonsense that has zero connection to daily life here and he irritates the hell out of every South African. On X his feed is pure poison, endless smug rants that trigger everyone. Whites see a self-hating traitor selling his volk for cheap clout‼️ Blacks and leftists see a pampered white kid playing pretend revolutionary. Normal people just want him to shut up while the country falls apart around us. In real life he’s the same unwanted voice nobody asked for, the soft TikTok warrior who would crumble the moment real pressure hits. Pieter Kriel is not an activist. He is a pathetic white traitor and a living warning of what happens when you raise children without roots or reality. We expose him and laugh at his weakness. And we tell every parent, never let your child turn into this embarrassment‼️ PS - He was a bully in school apparently he targeted poor girls who’s parents wasn’t rich in school making fun of them of the area they stayed in‼️

RaiZel

21,367 görüntüleme • 4 ay önce

🚨#BREAKING: Outrage is erupting after White inmate in a South Carolina jail run by a Black man just DIED OF THIRST on the floor of his cell... covered INCHES-DEEP IN FECES, with the water to his sink SHUT OFF. He drank out of his OWN TOILET to stay alive. He wrote letters to his father pleading for help because he was being tortured because he was White. His name was Gary "Bubba" Blair, he was 43. He was the caregiver for his own elderly father. He had two nephews he adored and a dog named Scrubby. So why was he in jail? In February, Bubba showed up at his sister's house wearing a sheriff's office golf shirt, a security badge, handcuffs, and pepper spray. Deputies arrested him for impersonating a police officer. A judge found he wasn't mentally competent to stand trial and ORDERED the state to place him into treatment on June 3. The South Carolina Office of Mental Health never followed through. Bubba sat in that jail for 181 days waiting for a spot. He passed away 51 days after a judge ordered them to get him help. In April, he write a letter to his father: "I've lost about 90 pounds so far. I'm starving to death in here; only two meals a day, that's it... you starve, and I also have to drink from my toilet and no mattress to sleep on, only a hard ground." "I’ve been abused by staff and assaulted by everyone on the unit; I had to go 28 days without a shower... no help for a white man" "The staff is very nasty to white inmates thanks to Troy Ellerbe and James Dixon." Then in May, Bubba did something that will haunt me. He wrote a letter to a CIRCUIT COURT JUDGE begging for help. The letter had a bad address. It was returned. It never arrived. Meanwhile, sources say the water to his sink was SHUT OFF. His cell floor and walls were covered in feces INCHES DEEP. He was alone. Never let out. Other inmates, who got a few hours out of their cells, told the news they watched Bubba drink toilet water. So they took an empty potato chip bag and filled it with water and pushed it through the food slot in his door!!!!! Most of it spilled before it ever reached him. On July 24th, jailers found him dead on the floor. 49 days later, the autopsy came back. Cause of death: profound dehydration due to DEPRIVATION OF WATER. Manner of death: HOMICIDE. The report also found bed sores on his HEELS, consistent with a man lying on a concrete floor for days at a time. Acute bronchial pneumonia. Profound weight loss. Physical evidence that he had been INGESTING TOILET WATER. He had lost so much weigh and was in such poor condition, his sister and aunt went to the funeral home to see him... they did not recognize his body. The sheriff fired the Black jail administrator 5 days after Bubba died, and refuses to say why. Bubba Blair sang to old folks in nursing homes. He took care of his daddy. He deserved so much better than dying of thirst on a concrete floor. Say his name. Gary "Bubba" Blair. WE DO NOT HAVE TO LIVE LIKE THIS!!!!!!!
8:03

🚨#BREAKING: Outrage is erupting after White inmate in a South Carolina jail run by a Black man just DIED OF THIRST on the floor of his cell... covered INCHES-DEEP IN FECES, with the water to his sink SHUT OFF. He drank out of his OWN TOILET to stay alive. He wrote letters to his father pleading for help because he was being tortured because he was White. His name was Gary "Bubba" Blair, he was 43. He was the caregiver for his own elderly father. He had two nephews he adored and a dog named Scrubby. So why was he in jail? In February, Bubba showed up at his sister's house wearing a sheriff's office golf shirt, a security badge, handcuffs, and pepper spray. Deputies arrested him for impersonating a police officer. A judge found he wasn't mentally competent to stand trial and ORDERED the state to place him into treatment on June 3. The South Carolina Office of Mental Health never followed through. Bubba sat in that jail for 181 days waiting for a spot. He passed away 51 days after a judge ordered them to get him help. In April, he write a letter to his father: "I've lost about 90 pounds so far. I'm starving to death in here; only two meals a day, that's it... you starve, and I also have to drink from my toilet and no mattress to sleep on, only a hard ground." "I’ve been abused by staff and assaulted by everyone on the unit; I had to go 28 days without a shower... no help for a white man" "The staff is very nasty to white inmates thanks to Troy Ellerbe and James Dixon." Then in May, Bubba did something that will haunt me. He wrote a letter to a CIRCUIT COURT JUDGE begging for help. The letter had a bad address. It was returned. It never arrived. Meanwhile, sources say the water to his sink was SHUT OFF. His cell floor and walls were covered in feces INCHES DEEP. He was alone. Never let out. Other inmates, who got a few hours out of their cells, told the news they watched Bubba drink toilet water. So they took an empty potato chip bag and filled it with water and pushed it through the food slot in his door!!!!! Most of it spilled before it ever reached him. On July 24th, jailers found him dead on the floor. 49 days later, the autopsy came back. Cause of death: profound dehydration due to DEPRIVATION OF WATER. Manner of death: HOMICIDE. The report also found bed sores on his HEELS, consistent with a man lying on a concrete floor for days at a time. Acute bronchial pneumonia. Profound weight loss. Physical evidence that he had been INGESTING TOILET WATER. He had lost so much weigh and was in such poor condition, his sister and aunt went to the funeral home to see him... they did not recognize his body. The sheriff fired the Black jail administrator 5 days after Bubba died, and refuses to say why. Bubba Blair sang to old folks in nursing homes. He took care of his daddy. He deserved so much better than dying of thirst on a concrete floor. Say his name. Gary "Bubba" Blair. WE DO NOT HAVE TO LIVE LIKE THIS!!!!!!!

Matt Van Swol

2,327,722 görüntüleme • 6 gün önce

ＢＬＡＺＥ ＯＦ ＦＵＲＹ I slam down on the little shrimp with the full, earth-shaking tonnage of my colossal bulk. His puny frame flattens like a stomped roach beneath me, and a vicious snap cuts the air as his lungs cough up a sad, broken yelp. It’s fuckin’ wild how his skinny, fragile build sets my blood ablaze—like a brittle twig trembling beneath my hulking, boulder-like chest, begging to be crushed. My pecs squash him flat, mashing his mug into the mat with skull-shattering might. I smack my cock against the twin curves of his ass and grind it awake along their sculpted swell. My hips pound his dainty backside, even as he squirms, tensing and trying to buck me off. His pathetic fuckin’ resistance melts like butter under my sheer dominance—nothing but a sorry little twitch-fest. My junk roars to life faster than a souped-up dragster. I’m a goddamn bulldozer rolling over this fuckin’ worthless speck. I jerk up a couple inches and smash back down hard. A nasty crack rips from his guts under my brutal hammering, but all he’s got left is a faint gasp as the air ditches him. I drag myself slow, pulverizing him into the mat with every fiber of my strength, and growl in his ear: “Wrestle, runt!” I hoist my bulk up a hair, and the wimp starts thrashing under me. He knows I get off on his flailing fight—I crave those desperate, doomed swings. His mousy muscles got no shot at budging me, but even half-dead, he’s hell-bent on lighting my fuse. His tiny bum rubs my dick like mad, sparking like a match on rough timber. My member’s pulsing, primed to pay him back. Wielding my titanic bulk like a sledgehammer, I unleash a savage pounding on him. My gut slams him down with crushing weight. Every hit’s meaner than the last, sinking him deeper into the mat. His wriggling quits cold, his body caving to my relentless beatdown. The hardest blows grind his bones to dust, but he’s silent now—just ragged breaths forced out by my strikes. Conscious? Who gives a shit. After a dozen ruthless smacks, I flop onto him. His frail frame is scorching from the thrashing I dished out. My gargantuan mass locks him in place—no squirming, no breathing, nada. He’s mine to break, and my sheer heft could snuff him out for good. But I ain’t done—my cock’s howling for more. I peel off him. The shrimp wheezes, clawing for air, fumbling his wrecked shell. I give him a sec to pull it together—the grand finale’s coming. He knows a stiff corpse won’t rev my engine. I hiss in his ear: “Flip over!” Battered to hell, he still spins onto his back like a whipped little shit. He wouldn’t dream of crossing me—fear and heat tangle in his eyes as my monstrous shadow looms. I reward his obedience by slamming down full-force. His chest plate cracks, ribs splinter. My meat smacks his steel-hard cock with a loud thwack. The twisted little freak loves it. I’ve flattened him helpless again, and my shaft drinks in his agony. I grind it against his dick, mashing his lean torso with my thick, beefy bulk. His ribcage buckles as I lean in hard. His feebleness and frailty stoke my sadistic blaze. “Wrestle!” I snarl, easing up an inch to let him fan my flames. He tries to fight back—he knows every twitch stokes my fire. He’s desperate to keep me happy; he’s seen what happens to uppity punks who don’t. He don’t want that smoke. His beat-up, aching husk battles to please me. He’s so goddamn insignificant—my junk’s a live grenade. The big finish is close. I start ramming him for real with my cock, fuckin’ banging him into oblivion. My loins grind into his core with full throttle. Our tools collide, sizzling like live wires. My titan’s bulk pounds and smashes the runt under my brutal girth, raging harder each blow. His flopping fades fast, my crushing hits paralyzing him. He’s got no choice but to bow to my beastly fury. His shell cracks under my onslaught—too flimsy to take it. Bones groan and give, sinking with my blows. He’s gotta be out cold, but his stiffy’s trembling, ready to blow. I dive at him with unhinged rage, ready to tear him apart. His delicate rig shatters for good, bones snapping like brittle straw. My cock erupts like a damn volcano, and his tags along. Our gear’s drenched, dripping with heat. I unload again with feral power, roaring deep from my gut, and collapse, winded, on his smashed-up wreck. Our juices meld through the fabric like molten lava rivers. I sprawl over him, catching my breath. He’s pitifully small and breakable, the little shit. The shrimp’s out, his pretty face calm—miles from the fuckin’ hell he just ate. He nailed his role and served me right. I growl low, a sated beast’s rumble: “Good boy, you little fuck.”
6:27

ＢＬＡＺＥ ＯＦ ＦＵＲＹ I slam down on the little shrimp with the full, earth-shaking tonnage of my colossal bulk. His puny frame flattens like a stomped roach beneath me, and a vicious snap cuts the air as his lungs cough up a sad, broken yelp. It’s fuckin’ wild how his skinny, fragile build sets my blood ablaze—like a brittle twig trembling beneath my hulking, boulder-like chest, begging to be crushed. My pecs squash him flat, mashing his mug into the mat with skull-shattering might. I smack my cock against the twin curves of his ass and grind it awake along their sculpted swell. My hips pound his dainty backside, even as he squirms, tensing and trying to buck me off. His pathetic fuckin’ resistance melts like butter under my sheer dominance—nothing but a sorry little twitch-fest. My junk roars to life faster than a souped-up dragster. I’m a goddamn bulldozer rolling over this fuckin’ worthless speck. I jerk up a couple inches and smash back down hard. A nasty crack rips from his guts under my brutal hammering, but all he’s got left is a faint gasp as the air ditches him. I drag myself slow, pulverizing him into the mat with every fiber of my strength, and growl in his ear: “Wrestle, runt!” I hoist my bulk up a hair, and the wimp starts thrashing under me. He knows I get off on his flailing fight—I crave those desperate, doomed swings. His mousy muscles got no shot at budging me, but even half-dead, he’s hell-bent on lighting my fuse. His tiny bum rubs my dick like mad, sparking like a match on rough timber. My member’s pulsing, primed to pay him back. Wielding my titanic bulk like a sledgehammer, I unleash a savage pounding on him. My gut slams him down with crushing weight. Every hit’s meaner than the last, sinking him deeper into the mat. His wriggling quits cold, his body caving to my relentless beatdown. The hardest blows grind his bones to dust, but he’s silent now—just ragged breaths forced out by my strikes. Conscious? Who gives a shit. After a dozen ruthless smacks, I flop onto him. His frail frame is scorching from the thrashing I dished out. My gargantuan mass locks him in place—no squirming, no breathing, nada. He’s mine to break, and my sheer heft could snuff him out for good. But I ain’t done—my cock’s howling for more. I peel off him. The shrimp wheezes, clawing for air, fumbling his wrecked shell. I give him a sec to pull it together—the grand finale’s coming. He knows a stiff corpse won’t rev my engine. I hiss in his ear: “Flip over!” Battered to hell, he still spins onto his back like a whipped little shit. He wouldn’t dream of crossing me—fear and heat tangle in his eyes as my monstrous shadow looms. I reward his obedience by slamming down full-force. His chest plate cracks, ribs splinter. My meat smacks his steel-hard cock with a loud thwack. The twisted little freak loves it. I’ve flattened him helpless again, and my shaft drinks in his agony. I grind it against his dick, mashing his lean torso with my thick, beefy bulk. His ribcage buckles as I lean in hard. His feebleness and frailty stoke my sadistic blaze. “Wrestle!” I snarl, easing up an inch to let him fan my flames. He tries to fight back—he knows every twitch stokes my fire. He’s desperate to keep me happy; he’s seen what happens to uppity punks who don’t. He don’t want that smoke. His beat-up, aching husk battles to please me. He’s so goddamn insignificant—my junk’s a live grenade. The big finish is close. I start ramming him for real with my cock, fuckin’ banging him into oblivion. My loins grind into his core with full throttle. Our tools collide, sizzling like live wires. My titan’s bulk pounds and smashes the runt under my brutal girth, raging harder each blow. His flopping fades fast, my crushing hits paralyzing him. He’s got no choice but to bow to my beastly fury. His shell cracks under my onslaught—too flimsy to take it. Bones groan and give, sinking with my blows. He’s gotta be out cold, but his stiffy’s trembling, ready to blow. I dive at him with unhinged rage, ready to tear him apart. His delicate rig shatters for good, bones snapping like brittle straw. My cock erupts like a damn volcano, and his tags along. Our gear’s drenched, dripping with heat. I unload again with feral power, roaring deep from my gut, and collapse, winded, on his smashed-up wreck. Our juices meld through the fabric like molten lava rivers. I sprawl over him, catching my breath. He’s pitifully small and breakable, the little shit. The shrimp’s out, his pretty face calm—miles from the fuckin’ hell he just ate. He nailed his role and served me right. I growl low, a sated beast’s rumble: “Good boy, you little fuck.”

No Limits Wrestling 🔞 brutal gay fetish fiction

11,681 görüntüleme • 1 yıl önce

I’m dripping so hard under this silicone mask it’s running down my thighs. Every time I force this disgusting grin wider my cunt spasms. The silicone is stuck to my face with sweat and spit and I can feel my own hot breath fogging the inside while my tongue hangs out like a whore’s. These fixed glowing green eyes never blink, never move — they just stare dead ahead while my real eyes roll back underneath every time my clit throbs. I keep catching my reflection in the dark window and it makes me even wetter. This blonde wig is soaked at the roots from how hard I’m panting. The red straps dig into my shoulders every time my chest heaves and it feels like the costume itself is punishing me for being this fucking horny. I can’t stop touching myself. Red satin gloves keep sliding between my legs, rubbing the soaked fabric of my panties into my cunt until the material is translucent and clinging. I can smell myself through the silicone. Every time I open my mouth wider the black lipstick smears and I imagine someone shoving their cock past these yellowed teeth while I stay locked in this face. I want them to use the hair like a handle, yank my head back until the silicone creaks and stretches, and just wreck me while these dead, unmoving green eyes keep staring. My nipples are so hard they hurt. I’m grinding against the edge of the chair, against my own hand, against anything that will give me friction. The more grotesque I make my expression the harder I get. Tongue out, black lips stretched, eyes frozen open — I’m a walking wet spot in a haunted doll costume and I’m proud of it. I keep whispering filthy things to myself in this distorted voice the silicone gives me: “Fuck me while I look like this. Ruin the doll. Make her leak until the floor is sticky.” I don’t want to take it off. I want someone to walk in right now, see me like this — green eyes locked and unblinking, tongue lolling, gloves shiny with my own juices — and just decide I’m theirs. Bend me over, keep the silicone mask on, and use every hole while I stay trapped in this face. I want them to call me a dirty little doll, a broken toy, a freak, and still keep going until I’m shaking and crying and still begging for more under the thick, heavy silicone. My cunt is fluttering constantly now. Every breath makes the silicone shift slightly against my skin and it feels like being touched. I’m so close I could come just from the way the red straps dig in when I arch. I want to be filmed like this. I want people to see how wet a girl gets when she’s forced to stay in the creepiest fucking silicone face imaginable, eyes never moving no matter how hard she comes. I want comments calling me disgusting and still begging to fuck me. I want someone to edge me for hours while I keep this expression, never allowed to drop the smile, never allowed to look human again until I’ve been completely used. I’m not a person right now. I’m a leaking, twitching, desperate object in a blonde wig and fixed glowing eyes and I need to be treated like one. Grab the hair. Slap the silicone. Force the tongue further out. Fill every hole while these dead green eyes keep staring and I drip all over the floor. Don’t stop even when I start shaking. Don’t stop even when I start sobbing through the smile. Just keep using the doll until she’s empty and still begging for more. I’m so fucking wet it hurts. I’m so fucking close. Please someone just take the silicone mask and the body that comes with it and break both. #femalemask #kigurumiㅤㅤ
0:57

I’m dripping so hard under this silicone mask it’s running down my thighs. Every time I force this disgusting grin wider my cunt spasms. The silicone is stuck to my face with sweat and spit and I can feel my own hot breath fogging the inside while my tongue hangs out like a whore’s. These fixed glowing green eyes never blink, never move — they just stare dead ahead while my real eyes roll back underneath every time my clit throbs. I keep catching my reflection in the dark window and it makes me even wetter. This blonde wig is soaked at the roots from how hard I’m panting. The red straps dig into my shoulders every time my chest heaves and it feels like the costume itself is punishing me for being this fucking horny. I can’t stop touching myself. Red satin gloves keep sliding between my legs, rubbing the soaked fabric of my panties into my cunt until the material is translucent and clinging. I can smell myself through the silicone. Every time I open my mouth wider the black lipstick smears and I imagine someone shoving their cock past these yellowed teeth while I stay locked in this face. I want them to use the hair like a handle, yank my head back until the silicone creaks and stretches, and just wreck me while these dead, unmoving green eyes keep staring. My nipples are so hard they hurt. I’m grinding against the edge of the chair, against my own hand, against anything that will give me friction. The more grotesque I make my expression the harder I get. Tongue out, black lips stretched, eyes frozen open — I’m a walking wet spot in a haunted doll costume and I’m proud of it. I keep whispering filthy things to myself in this distorted voice the silicone gives me: “Fuck me while I look like this. Ruin the doll. Make her leak until the floor is sticky.” I don’t want to take it off. I want someone to walk in right now, see me like this — green eyes locked and unblinking, tongue lolling, gloves shiny with my own juices — and just decide I’m theirs. Bend me over, keep the silicone mask on, and use every hole while I stay trapped in this face. I want them to call me a dirty little doll, a broken toy, a freak, and still keep going until I’m shaking and crying and still begging for more under the thick, heavy silicone. My cunt is fluttering constantly now. Every breath makes the silicone shift slightly against my skin and it feels like being touched. I’m so close I could come just from the way the red straps dig in when I arch. I want to be filmed like this. I want people to see how wet a girl gets when she’s forced to stay in the creepiest fucking silicone face imaginable, eyes never moving no matter how hard she comes. I want comments calling me disgusting and still begging to fuck me. I want someone to edge me for hours while I keep this expression, never allowed to drop the smile, never allowed to look human again until I’ve been completely used. I’m not a person right now. I’m a leaking, twitching, desperate object in a blonde wig and fixed glowing eyes and I need to be treated like one. Grab the hair. Slap the silicone. Force the tongue further out. Fill every hole while these dead green eyes keep staring and I drip all over the floor. Don’t stop even when I start shaking. Don’t stop even when I start sobbing through the smile. Just keep using the doll until she’s empty and still begging for more. I’m so fucking wet it hurts. I’m so fucking close. Please someone just take the silicone mask and the body that comes with it and break both. #femalemask #kigurumiㅤㅤ

Mistress Sandy

55,009 görüntüleme • 18 gün önce

Seedance 2.5 Forged in Fire text to video prompt is below 👇 Reality TV bladesmith competition testing segment, multi-camera documentary production, bright industrial workshop lighting, sharp HD broadcast look, practical forge practicals, natural handheld shake on action cams, clean documentary texture, no cinematic film look. 0-4s: [Medium Two-Shot] Martial arts master of clear Asian ancestry in black tactical shirt stands facing the young female bladesmith in her early 20s (work apron, focused). He holds her forged machete, turns the blade once under the lights. Looks her in the eye: “Are you ready?” She answers firmly “Yes.” Quick cut to her determined face, then to three classic ceramic garden gnomes lined up on sturdy stands behind them. 4-7s: [Low-Angle Tracking + Rapid Cuts] Master steps in, raises the machete. Hard cut to side angle as he delivers a powerful overhead chop into the first gnome. Impact explodes in slow motion: ceramic shatters into sharp fragments, paint chips and dust fly outward. Time locks at peak penetration. Camera orbits the frozen blade buried in the broken gnome for one second. Quick insert ECU of the edge biting through the ceramic body. 7-11s: [Dynamic Side Tracking] Action resumes. Master yanks the machete free, immediately follows with a heavy diagonal slash across the second gnome. Slow-motion again: the figure tears apart sideways, large colored pieces and shards scatter. Freeze at maximum destruction. Two rapid cuts: one over-shoulder from behind the master, one low angle under the flying fragments. Orbit holds for half a second on the locked impact. 11-15s: [Handheld Close Action] Third strike — short, vicious downward chop into the third gnome. Slow-mo impact, the ceramic erupts into dozens of pieces, hat and beard flying. Full freeze. Camera pushes in and circles the frozen chaos for one beat. Quick insert of the master’s focused face mid-swing, then back to the locked blade. 15-19s: [Series of Fast Cuts] Time resumes. Master pulls the machete out, turns it under the light. Tight ECU tracks along the edge: a few small nicks and rolled spots visible. Cut to his fingers testing the edge. Cut to the ruined garden gnomes still shedding fragments. Cut to the young woman’s tense expression as she watches. 19-24s: [Medium Close-Up] Master lowers the blade, looks straight at her. Calm, professional delivery: “There are a couple of nicks on the edge… but your weapon, ma’am… it kills.” Hard cut to her face — a small, controlled smile of pride breaks through. 24-28s: [Final ECU Montage] Extreme close-up of the nicked but still lethal edge catching the light. Cut to the shattered remains of the garden gnomes. Final frame holds on the young bladesmith’s quiet satisfaction as the master nods once. Realistic TV broadcast quality, detailed ceramic shatter physics, sharp edge detail, natural motion blur only on moving elements, stable characters, coherent impact timing, no artifacts, high rewatch value. I promise I didn't use any image reference for this one, use it wisely 🫡
0:30

Seedance 2.5 Forged in Fire text to video prompt is below 👇 Reality TV bladesmith competition testing segment, multi-camera documentary production, bright industrial workshop lighting, sharp HD broadcast look, practical forge practicals, natural handheld shake on action cams, clean documentary texture, no cinematic film look. 0-4s: [Medium Two-Shot] Martial arts master of clear Asian ancestry in black tactical shirt stands facing the young female bladesmith in her early 20s (work apron, focused). He holds her forged machete, turns the blade once under the lights. Looks her in the eye: “Are you ready?” She answers firmly “Yes.” Quick cut to her determined face, then to three classic ceramic garden gnomes lined up on sturdy stands behind them. 4-7s: [Low-Angle Tracking + Rapid Cuts] Master steps in, raises the machete. Hard cut to side angle as he delivers a powerful overhead chop into the first gnome. Impact explodes in slow motion: ceramic shatters into sharp fragments, paint chips and dust fly outward. Time locks at peak penetration. Camera orbits the frozen blade buried in the broken gnome for one second. Quick insert ECU of the edge biting through the ceramic body. 7-11s: [Dynamic Side Tracking] Action resumes. Master yanks the machete free, immediately follows with a heavy diagonal slash across the second gnome. Slow-motion again: the figure tears apart sideways, large colored pieces and shards scatter. Freeze at maximum destruction. Two rapid cuts: one over-shoulder from behind the master, one low angle under the flying fragments. Orbit holds for half a second on the locked impact. 11-15s: [Handheld Close Action] Third strike — short, vicious downward chop into the third gnome. Slow-mo impact, the ceramic erupts into dozens of pieces, hat and beard flying. Full freeze. Camera pushes in and circles the frozen chaos for one beat. Quick insert of the master’s focused face mid-swing, then back to the locked blade. 15-19s: [Series of Fast Cuts] Time resumes. Master pulls the machete out, turns it under the light. Tight ECU tracks along the edge: a few small nicks and rolled spots visible. Cut to his fingers testing the edge. Cut to the ruined garden gnomes still shedding fragments. Cut to the young woman’s tense expression as she watches. 19-24s: [Medium Close-Up] Master lowers the blade, looks straight at her. Calm, professional delivery: “There are a couple of nicks on the edge… but your weapon, ma’am… it kills.” Hard cut to her face — a small, controlled smile of pride breaks through. 24-28s: [Final ECU Montage] Extreme close-up of the nicked but still lethal edge catching the light. Cut to the shattered remains of the garden gnomes. Final frame holds on the young bladesmith’s quiet satisfaction as the master nods once. Realistic TV broadcast quality, detailed ceramic shatter physics, sharp edge detail, natural motion blur only on moving elements, stable characters, coherent impact timing, no artifacts, high rewatch value. I promise I didn't use any image reference for this one, use it wisely 🫡

TechHalla

137,718 görüntüleme • 1 ay önce

Kevin Street, testifying at the Allison Inquiry about his AstraZeneca COVID vaccine injury: "1951 days ago, I started my life over. Took a shot and I've never been back to work since." The Shot He walked out of his business, went down the hallway, and took the shot. He told the pharmacist it was "a real whopper", he could feel it go in. He still has a lump on his arm. He knew right away something was different. The pharmacist played it off as nothing. The Decline That night, the shakes started. He missed three days of work with what felt like a nasty flu. When he returned, he could only manage two or three hours a day, in full sweats. His immune system went into "flight mode" and never settled down. He'd go home soaked and have to get out of his clothes right away. His employees started telling him: "Kev, you've got to go home." He'd go home, and be back the next day, trying. The Collapse About two weeks in, he told his wife he couldn't do it anymore, things weren't right. He went out to the back deck, having a normal conversation, petting his dog. Then it was "like somebody flicked a light switch." Everything went out. He dropped. When he woke up, his wife was standing over him, thinking he was fooling around. Nothing was ever the same again. The Diagnosis - Multiple brain lesions - Blood clots - Legs swollen, a large black bruise — tested for deep vein thrombosis because he'd had the AstraZeneca shot - Increased permeability of the blood-brain barrier - Seizures that progressed into full-body tremors The Tremors The tremors lasted about two and a half years, he still has them today, just not as severe. At their worst, he would shake on a gurney for up to two hours, so violently that even the people around him got annoyed. He was fully aware the entire time, not like a grand mal seizure. He had no ability to stop it. It would ride out until his brain got tired. Then he'd be a wreck for two or three days. One neurologist brought three others in to observe him. They said it was "fascinating." The ER Ordeal For the first four weeks of ER visits, they kept testing him for methamphetamines and opioids because he presented as an overdose. The window for treatment was slipping away, and his wife watched it happen. They went to Ottawa Civic, where he was put in a ward with 20-25 other people presenting just like him, not COVID patients. That's where he met his first neurologist. The Daily Reality He walks like he's drunk all the time. He has to consciously tell his body what to do, tell his feet when to move, what direction, whether to bend his knee. He has no strength in his joints anymore. If he doesn't pay attention, he'll hurt himself. He can't run or jog, he knows better than to even attempt to make his brain do that. He was told not to stay in a wheelchair, or he'd never walk again. So he stays on his feet, trying to be "as human as possible." The Treatments He did the Peter McCullough protocol for about a year because his blood was in bad shape. They also found that PEMF (pulsed electromagnetic frequency) helps substantially, especially with inflammation in his brain. When he does it, he can function a lot better. The System He's permanently disabled. He was accepted into KITE, supposedly the best program in the world for his disability. But they cannot fix it. All they can offer are things to try to make life a little easier. And those treatments aren't covered. To access certain therapies, he had to be diagnosed with other conditions. He now has diabetes, and with that diagnosis, he can access some types of therapy. But he's been waiting for that therapy for over two years. Just last week, he got another call from Toronto telling him they can't fulfill his appointment and need to rebook again. He applied for support four years ago. They lost his file - twice. He's still waiting, told he's another 6 to 12 months from a decision. He was removed from a nine-week therapy program because he wasn't showing progress - they were treating him as a stroke patient, not for his actual condition. When he reached out to his MP, the response was that if his case is pushed forward, someone else will have to wait longer. "I don't like doing that," he said. "But the fact of the matter is, we're left here and we're afraid." He's afraid to even call and ask where his case stands, because he doesn't want to be seen as "a headache" and pushed back again. Years after these people were injured, they are still without real support. They're being ignored, lost in the system, treated as problems rather than patients, and forced to fight for every scrap of care while their lives quietly fall apart. Kevin's story is one of thousands, and it has to stop. Hopefully the Allison Inquiry represents a small step in the right direction, because these people deserve answers, recognition, and real help. They've waited long enough.
13:40

Kevin Street, testifying at the Allison Inquiry about his AstraZeneca COVID vaccine injury: "1951 days ago, I started my life over. Took a shot and I've never been back to work since." The Shot He walked out of his business, went down the hallway, and took the shot. He told the pharmacist it was "a real whopper", he could feel it go in. He still has a lump on his arm. He knew right away something was different. The pharmacist played it off as nothing. The Decline That night, the shakes started. He missed three days of work with what felt like a nasty flu. When he returned, he could only manage two or three hours a day, in full sweats. His immune system went into "flight mode" and never settled down. He'd go home soaked and have to get out of his clothes right away. His employees started telling him: "Kev, you've got to go home." He'd go home, and be back the next day, trying. The Collapse About two weeks in, he told his wife he couldn't do it anymore, things weren't right. He went out to the back deck, having a normal conversation, petting his dog. Then it was "like somebody flicked a light switch." Everything went out. He dropped. When he woke up, his wife was standing over him, thinking he was fooling around. Nothing was ever the same again. The Diagnosis - Multiple brain lesions - Blood clots - Legs swollen, a large black bruise — tested for deep vein thrombosis because he'd had the AstraZeneca shot - Increased permeability of the blood-brain barrier - Seizures that progressed into full-body tremors The Tremors The tremors lasted about two and a half years, he still has them today, just not as severe. At their worst, he would shake on a gurney for up to two hours, so violently that even the people around him got annoyed. He was fully aware the entire time, not like a grand mal seizure. He had no ability to stop it. It would ride out until his brain got tired. Then he'd be a wreck for two or three days. One neurologist brought three others in to observe him. They said it was "fascinating." The ER Ordeal For the first four weeks of ER visits, they kept testing him for methamphetamines and opioids because he presented as an overdose. The window for treatment was slipping away, and his wife watched it happen. They went to Ottawa Civic, where he was put in a ward with 20-25 other people presenting just like him, not COVID patients. That's where he met his first neurologist. The Daily Reality He walks like he's drunk all the time. He has to consciously tell his body what to do, tell his feet when to move, what direction, whether to bend his knee. He has no strength in his joints anymore. If he doesn't pay attention, he'll hurt himself. He can't run or jog, he knows better than to even attempt to make his brain do that. He was told not to stay in a wheelchair, or he'd never walk again. So he stays on his feet, trying to be "as human as possible." The Treatments He did the Peter McCullough protocol for about a year because his blood was in bad shape. They also found that PEMF (pulsed electromagnetic frequency) helps substantially, especially with inflammation in his brain. When he does it, he can function a lot better. The System He's permanently disabled. He was accepted into KITE, supposedly the best program in the world for his disability. But they cannot fix it. All they can offer are things to try to make life a little easier. And those treatments aren't covered. To access certain therapies, he had to be diagnosed with other conditions. He now has diabetes, and with that diagnosis, he can access some types of therapy. But he's been waiting for that therapy for over two years. Just last week, he got another call from Toronto telling him they can't fulfill his appointment and need to rebook again. He applied for support four years ago. They lost his file - twice. He's still waiting, told he's another 6 to 12 months from a decision. He was removed from a nine-week therapy program because he wasn't showing progress - they were treating him as a stroke patient, not for his actual condition. When he reached out to his MP, the response was that if his case is pushed forward, someone else will have to wait longer. "I don't like doing that," he said. "But the fact of the matter is, we're left here and we're afraid." He's afraid to even call and ask where his case stands, because he doesn't want to be seen as "a headache" and pushed back again. Years after these people were injured, they are still without real support. They're being ignored, lost in the system, treated as problems rather than patients, and forced to fight for every scrap of care while their lives quietly fall apart. Kevin's story is one of thousands, and it has to stop. Hopefully the Allison Inquiry represents a small step in the right direction, because these people deserve answers, recognition, and real help. They've waited long enough.

Camus

48,462 görüntüleme • 1 gün önce

Bus driver and conductor stop sudden attack, all passengers safe. Seedance 2.5 Prompt: Cinematic horror-action short film set aboard a Japanese highway bus during the day, opens with an immediate strong hook, maximum dynamic camera work, grounded practical-effects style. Bus interior filled with passengers in every seat, a conductor in a gray uniform with a money pouch at his waist, a driver focused on the road ahead. Muted authentic color grading, natural diegetic sound throughout, tension score entering immediately. > > **[0-1s]** Hard cut: a woman mid-row suddenly jolts violently in her seat, gasping sharply. > > **[1-2s]** Close-up: her veins turn a deep red, spreading rapidly up her neck and across her face. > > **[2-3s]** Her eyes snap open, now fully red — she lunges instantly, biting into her seatmate's shoulder. > > **[3-4s]** He cries out, nearby passengers recoiling in shock, seats creaking as people scramble back. > > **[4-5s]** The bitten man convulses hard, veins spreading fast across his own neck and arms. > > **[5-6s]** He rises seconds later, eyes red, joining her, both turning toward the passengers around them. > > **[6-7s]** Panic spreads through the bus, passengers screaming, climbing over seats to get away. > > **[7-8s]** The conductor spots the chaos from the front, shouting urgently in Japanese: "バスを止めて!" ("Stop the bus!") > > **[8-9s]** The driver slams the brakes hard, the bus lurching to a stop on the highway shoulder. > > **[9-10s]** The conductor grabs a metal tire iron from beneath his seat, moving fast down the aisle. > > **[10-11s]** The driver grabs a heavy steel wheel wrench, following close behind him. > > **[11-12s]** They reach the folding door, wrenching it open, ushering panicked passengers out fast. > > **[12-13s]** Passengers pour out onto the highway shoulder, some stumbling, others sprinting clear. > > **[13-14s]** The two infected push through the fleeing crowd, lunging toward the nearest passenger outside. > > **[14-15s]** The conductor swings the tire iron hard, striking the first infected across the shoulder, sending it stumbling. > > **[15-16s]** The driver swings the wrench into the second infected, knocking it back against the bus. > > **[16-17s]** SLOW MOTION insert: the first infected lunges again, conductor sidestepping and striking it down with a solid blow. > > **[17-18s]** It collapses onto the gravel shoulder, motionless. > > **[18-19s]** The second infected recovers, charging the driver; he braces and swings the wrench in a wide arc. > > **[19-20s]** The impact connects hard, sending it sprawling against the guardrail. > > **[20-21s]** It tries to rise again; the conductor rushes over, delivering one final strike alongside the driver. > > **[21-22s]** It goes still, both men breathing hard, weapons still raised. > > **[22-24s]** Wide shot: passengers huddled together on the highway shoulder, shaken but safe, cars slowing on the opposite lane. > > **[24-26s]** The conductor lowers the tire iron, scanning the group to confirm everyone's accounted for. > > **[26-28s]** The driver checks the two motionless infected on the ground, cautious but confirming they're down. > > **[28-30s]** Final shot: the conductor and driver exchange an exhausted nod, passengers slowly regrouping behind them under the open sky. Cut to black. Natural diegetic sound throughout — gasping, screaming, bus brakes screeching, metal impacts, heavy breathing, distant highway traffic — layered with a tense instrumental score building through the chaos and easing into relief at the end. No text overlay, no watermark. Maximum dynamic camera variety — close-ups, wide shots, tracking shots, slow motion reserved only for the final takedown blows. Realistic shake only during physical impacts, natural daylight highway color grading. Made with seedance 2.5 on SocialSight
0:30

Bus driver and conductor stop sudden attack, all passengers safe. Seedance 2.5 Prompt: Cinematic horror-action short film set aboard a Japanese highway bus during the day, opens with an immediate strong hook, maximum dynamic camera work, grounded practical-effects style. Bus interior filled with passengers in every seat, a conductor in a gray uniform with a money pouch at his waist, a driver focused on the road ahead. Muted authentic color grading, natural diegetic sound throughout, tension score entering immediately. > > **[0-1s]** Hard cut: a woman mid-row suddenly jolts violently in her seat, gasping sharply. > > **[1-2s]** Close-up: her veins turn a deep red, spreading rapidly up her neck and across her face. > > **[2-3s]** Her eyes snap open, now fully red — she lunges instantly, biting into her seatmate's shoulder. > > **[3-4s]** He cries out, nearby passengers recoiling in shock, seats creaking as people scramble back. > > **[4-5s]** The bitten man convulses hard, veins spreading fast across his own neck and arms. > > **[5-6s]** He rises seconds later, eyes red, joining her, both turning toward the passengers around them. > > **[6-7s]** Panic spreads through the bus, passengers screaming, climbing over seats to get away. > > **[7-8s]** The conductor spots the chaos from the front, shouting urgently in Japanese: "バスを止めて!" ("Stop the bus!") > > **[8-9s]** The driver slams the brakes hard, the bus lurching to a stop on the highway shoulder. > > **[9-10s]** The conductor grabs a metal tire iron from beneath his seat, moving fast down the aisle. > > **[10-11s]** The driver grabs a heavy steel wheel wrench, following close behind him. > > **[11-12s]** They reach the folding door, wrenching it open, ushering panicked passengers out fast. > > **[12-13s]** Passengers pour out onto the highway shoulder, some stumbling, others sprinting clear. > > **[13-14s]** The two infected push through the fleeing crowd, lunging toward the nearest passenger outside. > > **[14-15s]** The conductor swings the tire iron hard, striking the first infected across the shoulder, sending it stumbling. > > **[15-16s]** The driver swings the wrench into the second infected, knocking it back against the bus. > > **[16-17s]** SLOW MOTION insert: the first infected lunges again, conductor sidestepping and striking it down with a solid blow. > > **[17-18s]** It collapses onto the gravel shoulder, motionless. > > **[18-19s]** The second infected recovers, charging the driver; he braces and swings the wrench in a wide arc. > > **[19-20s]** The impact connects hard, sending it sprawling against the guardrail. > > **[20-21s]** It tries to rise again; the conductor rushes over, delivering one final strike alongside the driver. > > **[21-22s]** It goes still, both men breathing hard, weapons still raised. > > **[22-24s]** Wide shot: passengers huddled together on the highway shoulder, shaken but safe, cars slowing on the opposite lane. > > **[24-26s]** The conductor lowers the tire iron, scanning the group to confirm everyone's accounted for. > > **[26-28s]** The driver checks the two motionless infected on the ground, cautious but confirming they're down. > > **[28-30s]** Final shot: the conductor and driver exchange an exhausted nod, passengers slowly regrouping behind them under the open sky. Cut to black. Natural diegetic sound throughout — gasping, screaming, bus brakes screeching, metal impacts, heavy breathing, distant highway traffic — layered with a tense instrumental score building through the chaos and easing into relief at the end. No text overlay, no watermark. Maximum dynamic camera variety — close-ups, wide shots, tracking shots, slow motion reserved only for the final takedown blows. Realistic shake only during physical impacts, natural daylight highway color grading. Made with seedance 2.5 on SocialSight

auqib

166,418 görüntüleme • 3 gün önce

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! 🫡
0:30

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! 🫡

TechHalla

14,854 görüntüleme • 1 ay önce

Wrong train. Wrong timing. Seedance 2.5 Prompt : A confident young woman accidentally ends up on the wrong subway train, while a playful stranger who tried to warn her gets pulled into an increasingly ridiculous situation. MAIN CHARACTER — WOMAN Use the uploaded image as the exact visual reference for the woman. Preserve her face, identity, skin tone, hair, body proportions and overall appearance throughout the entire video. OUTFIT: cropped cream-colored bomber jacket over a fitted black ribbed tank top, high-waisted wide-leg charcoal trousers, black leather ankle boots, small silver hoop earrings and a delicate silver necklace. Modern, stylish streetwear. Keep the outfit identical in every shot. MAIN CHARACTER — MAN Young man with short black hair, oversized forest-green sweatshirt, relaxed black cargo trousers and clean white sneakers. Playful and confident at first, gradually becoming confused and embarrassed. STORY A crowded subway platform during evening rush hour. The woman suddenly notices her train is about to leave and rushes toward it. She reaches the doors at the last second and jumps inside. Through the closing glass doors, the man notices something immediately. She is on the wrong train. He frantically points toward the platform sign, trying to warn her. She misunderstands him and gives him an irritated look. The doors close. The train begins moving. She looks around the unfamiliar carriage. Then she notices the station displayed on the electronic screen. Her expression slowly changes. She looks directly at the man. He gives her an awkward little wave. She points at the station display. He points toward the opposite direction. She crosses her arms. He shrugs. Suddenly, the train brakes hard. She loses her balance and grabs the man's sweatshirt to steady herself. The force pulls him forward, and he awkwardly drops onto a subway seat. Silence. Everyone looks at him. She remains standing perfectly calmly. He slowly looks up at her, completely embarrassed. A passenger nearby starts laughing. Another passenger joins in. The man tries to stand up with dignity—but his backpack gets caught on the seat handle and yanks him backward again. The entire carriage bursts into laughter. Even the woman can't hold back anymore. When the train reaches the next station, the doors open. She steps out, turns around and gives him a tiny mischievous smile. He points at her in disbelief. She simply waves goodbye and walks away. The doors close between them as he sits there, still trying to understand what just happened. VISUAL STYLE Ultra-realistic subway environment, cinematic live-action photography, authentic carriage details, realistic fluorescent lighting, reflections on glass, subtle handheld camera movement, natural motion blur, realistic crowd reactions, believable body movement and physics, expressive facial acting, perfectly timed physical comedy, gritty documentary-inspired texture combined with polished feature-film cinematography. AUDIO Authentic subway ambience, train movement, rail vibration, station announcements, footsteps, door chimes, passenger chatter and natural laughter. No background music. STRICT CONSISTENCY Use the uploaded image as the exact visual reference for the woman. Maintain identical identity, face, hairstyle, body proportions and outfit throughout the entire sequence. No identity drift, outfit changes, duplicated people, disappearing characters, teleportation, distorted hands, unrealistic physics, CGI appearance, gore, blood, subtitles, captions, text, logos or watermarks.
0:30

Wrong train. Wrong timing. Seedance 2.5 Prompt : A confident young woman accidentally ends up on the wrong subway train, while a playful stranger who tried to warn her gets pulled into an increasingly ridiculous situation. MAIN CHARACTER — WOMAN Use the uploaded image as the exact visual reference for the woman. Preserve her face, identity, skin tone, hair, body proportions and overall appearance throughout the entire video. OUTFIT: cropped cream-colored bomber jacket over a fitted black ribbed tank top, high-waisted wide-leg charcoal trousers, black leather ankle boots, small silver hoop earrings and a delicate silver necklace. Modern, stylish streetwear. Keep the outfit identical in every shot. MAIN CHARACTER — MAN Young man with short black hair, oversized forest-green sweatshirt, relaxed black cargo trousers and clean white sneakers. Playful and confident at first, gradually becoming confused and embarrassed. STORY A crowded subway platform during evening rush hour. The woman suddenly notices her train is about to leave and rushes toward it. She reaches the doors at the last second and jumps inside. Through the closing glass doors, the man notices something immediately. She is on the wrong train. He frantically points toward the platform sign, trying to warn her. She misunderstands him and gives him an irritated look. The doors close. The train begins moving. She looks around the unfamiliar carriage. Then she notices the station displayed on the electronic screen. Her expression slowly changes. She looks directly at the man. He gives her an awkward little wave. She points at the station display. He points toward the opposite direction. She crosses her arms. He shrugs. Suddenly, the train brakes hard. She loses her balance and grabs the man's sweatshirt to steady herself. The force pulls him forward, and he awkwardly drops onto a subway seat. Silence. Everyone looks at him. She remains standing perfectly calmly. He slowly looks up at her, completely embarrassed. A passenger nearby starts laughing. Another passenger joins in. The man tries to stand up with dignity—but his backpack gets caught on the seat handle and yanks him backward again. The entire carriage bursts into laughter. Even the woman can't hold back anymore. When the train reaches the next station, the doors open. She steps out, turns around and gives him a tiny mischievous smile. He points at her in disbelief. She simply waves goodbye and walks away. The doors close between them as he sits there, still trying to understand what just happened. VISUAL STYLE Ultra-realistic subway environment, cinematic live-action photography, authentic carriage details, realistic fluorescent lighting, reflections on glass, subtle handheld camera movement, natural motion blur, realistic crowd reactions, believable body movement and physics, expressive facial acting, perfectly timed physical comedy, gritty documentary-inspired texture combined with polished feature-film cinematography. AUDIO Authentic subway ambience, train movement, rail vibration, station announcements, footsteps, door chimes, passenger chatter and natural laughter. No background music. STRICT CONSISTENCY Use the uploaded image as the exact visual reference for the woman. Maintain identical identity, face, hairstyle, body proportions and outfit throughout the entire sequence. No identity drift, outfit changes, duplicated people, disappearing characters, teleportation, distorted hands, unrealistic physics, CGI appearance, gore, blood, subtitles, captions, text, logos or watermarks.

H A J R A

13,075 görüntüleme • 3 gün önce

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.
0:36

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.

Sharon Riley

68,710 görüntüleme • 2 ay önce

NEW QUESTIONS REGARDING THE CHARLIE KIRK ASSASSINATION (MORE ARE POPPING UP EVERY HOUR): An event 1/4 of this size with a nobody speaker would have ambulances immediately on scene for emergency situations like this. So why was Charlie Kirk instead stuffed into a predetermined SUV, that would have to follow traffic laws on the way to the hospital, with no medical supplies, no oxygen, and no medical personnel? He's carried there by 6 dudes (including the SAME 2 GUYS that were making the umpire hand signals seconds before the shot (white hat/white shirt guy and black shirt/black sunglasses guy) The black sunglasses guy also appears to be THE SAME PERSON that was on Trump's secret service team the day he was also shot...? (see attached pic) Nobody carrying Charlie is applying pressure to the neck wound as they run him to the car. Instead, they are just letting his head violently flop all over the place, the last thing you would do following a traumatic neck injury And despite the above carelessness with a gaping neck wound...there isn't a single drop of blood anywhere on the ground, his shoes, or any of the people carrying him 🤔 How come there are new camera angles of the shot emerging showing the blood coming out not from his neck...but from under his shirt, more in the upper-chest area? Many have forgotten that the eyewitness reports on the day of the event were saying they saw him get shot in the CHEST. The story didn't change to NECK until after those 2-3 videos we've all seen spread across the internet like wildfire, which as my original post demonstrated, had some pretty weird, potentially AI-looking inconsistencies (ring changing fingers, black dot on the top-right of his shirt moving diagonally up and seemingly BECOMING the bullet hole wound, the wound itself shifting slightly to the side when watching frame-by-frame, etc.) Could this have something to do with why some video-analyzing sleuths are spotting a black object inside the collar of Charlie's shirt, right in the area this blood is coming out in the above-mentioned angles? (See the attached video where I included clips of all of these new discoveries) Additionally, is it a complete coincidence that the freemasonic #33 has been spammed ALL OVER the event, AND the following investigation? Stacks of hats on the stage adding up to 33, supposed murderer driving 3 hours to get there, 3K people in attendance, "300 cases of politically-motivated violence since January 6th" being reported across Yahoo and other MSM outlets, manhunt lasting exactly 33 hours (Kash Patel even corrected himself after saying 36 hours, to make sure everyone heard 33 on the livestream), and many more such examples And ANOTHER coincidence, that the man they've pinned all of this on looks exactly like Lee Harvey Oswald, one of the most classic patsies in the history of US Government cinema? What about the Jew decoy they trotted out (George Zinn), who also just happens to be a key witness that reported seeing planes flying into the twin towers on 9/11/01, AND has connections to the Boston Marathon bombing? How did the supposed shooter—according to the official story we're being given—take apart the gun and stuff it in his backpack & pants in seconds (not possible according to experts), then escape the scene without being seen lugging around these giant gun parts, then REASSEMBLE THE GUN BACK TOGETHER AGAIN to leave it nicely in a box in the forest. What??? Passports found underneath the world trade center, anyone? Why was Kash Patel wining & dining at a "swanky Italian restaurant in NYC" just hours after Charlie—his self-proclaimed "best friend"—was brutally murdered live on the world stage? He has a private jet - why didn't he use it to go there and investigate? What are the odds that at the exact same time Charlie was shot, there was a big senate hearing going on regarding the Epstein files, in which they concluded they were not going to release them? (A convenient time for a distraction) What are the odds that Trump and Bibi Netanyahu—in completely different timezones and with completely different schedules—posted a "Pray for Charlie" tweet at the exact same time, to the minute? How was a book titled "The Shooting Of Charlie Kirk" published on Amazon on September 9th...then quickly taken down from the website? And what about that "Charlie Kirk Dead at 31" song posted on Soundcloud a month ago? Many have commented that, after watching the Erika Kirk TPUSA press conference video, they intuitively got weird vibes from it, sensing that it appears she is acting. I won't inject any personal opinion on this one - go watch it for yourself, and draw your own conclusions. ALL OF THIS SAID: It could not be any more blatantly obvious that whether or not all of the above bizarre occurrences are just incompetence, insane coincidences, or some mixture of the two, there is something very big going on behind the scenes here, and we've been fed a gigantic plate of lies over the last few days of unfolding events, with most of the internet is eating it up faster than Kash Patel at a swanky Italian restaurant in NYC. The only question is: how deep do the lies surrounding this situation go? (Watch the final attached video for many different levels of speculation, for you to come to your own conclusions on where you draw the line) Question everything. Always.
0:08

NEW QUESTIONS REGARDING THE CHARLIE KIRK ASSASSINATION (MORE ARE POPPING UP EVERY HOUR): An event 1/4 of this size with a nobody speaker would have ambulances immediately on scene for emergency situations like this. So why was Charlie Kirk instead stuffed into a predetermined SUV, that would have to follow traffic laws on the way to the hospital, with no medical supplies, no oxygen, and no medical personnel? He's carried there by 6 dudes (including the SAME 2 GUYS that were making the umpire hand signals seconds before the shot (white hat/white shirt guy and black shirt/black sunglasses guy) The black sunglasses guy also appears to be THE SAME PERSON that was on Trump's secret service team the day he was also shot...? (see attached pic) Nobody carrying Charlie is applying pressure to the neck wound as they run him to the car. Instead, they are just letting his head violently flop all over the place, the last thing you would do following a traumatic neck injury And despite the above carelessness with a gaping neck wound...there isn't a single drop of blood anywhere on the ground, his shoes, or any of the people carrying him 🤔 How come there are new camera angles of the shot emerging showing the blood coming out not from his neck...but from under his shirt, more in the upper-chest area? Many have forgotten that the eyewitness reports on the day of the event were saying they saw him get shot in the CHEST. The story didn't change to NECK until after those 2-3 videos we've all seen spread across the internet like wildfire, which as my original post demonstrated, had some pretty weird, potentially AI-looking inconsistencies (ring changing fingers, black dot on the top-right of his shirt moving diagonally up and seemingly BECOMING the bullet hole wound, the wound itself shifting slightly to the side when watching frame-by-frame, etc.) Could this have something to do with why some video-analyzing sleuths are spotting a black object inside the collar of Charlie's shirt, right in the area this blood is coming out in the above-mentioned angles? (See the attached video where I included clips of all of these new discoveries) Additionally, is it a complete coincidence that the freemasonic #33 has been spammed ALL OVER the event, AND the following investigation? Stacks of hats on the stage adding up to 33, supposed murderer driving 3 hours to get there, 3K people in attendance, "300 cases of politically-motivated violence since January 6th" being reported across Yahoo and other MSM outlets, manhunt lasting exactly 33 hours (Kash Patel even corrected himself after saying 36 hours, to make sure everyone heard 33 on the livestream), and many more such examples And ANOTHER coincidence, that the man they've pinned all of this on looks exactly like Lee Harvey Oswald, one of the most classic patsies in the history of US Government cinema? What about the Jew decoy they trotted out (George Zinn), who also just happens to be a key witness that reported seeing planes flying into the twin towers on 9/11/01, AND has connections to the Boston Marathon bombing? How did the supposed shooter—according to the official story we're being given—take apart the gun and stuff it in his backpack & pants in seconds (not possible according to experts), then escape the scene without being seen lugging around these giant gun parts, then REASSEMBLE THE GUN BACK TOGETHER AGAIN to leave it nicely in a box in the forest. What??? Passports found underneath the world trade center, anyone? Why was Kash Patel wining & dining at a "swanky Italian restaurant in NYC" just hours after Charlie—his self-proclaimed "best friend"—was brutally murdered live on the world stage? He has a private jet - why didn't he use it to go there and investigate? What are the odds that at the exact same time Charlie was shot, there was a big senate hearing going on regarding the Epstein files, in which they concluded they were not going to release them? (A convenient time for a distraction) What are the odds that Trump and Bibi Netanyahu—in completely different timezones and with completely different schedules—posted a "Pray for Charlie" tweet at the exact same time, to the minute? How was a book titled "The Shooting Of Charlie Kirk" published on Amazon on September 9th...then quickly taken down from the website? And what about that "Charlie Kirk Dead at 31" song posted on Soundcloud a month ago? Many have commented that, after watching the Erika Kirk TPUSA press conference video, they intuitively got weird vibes from it, sensing that it appears she is acting. I won't inject any personal opinion on this one - go watch it for yourself, and draw your own conclusions. ALL OF THIS SAID: It could not be any more blatantly obvious that whether or not all of the above bizarre occurrences are just incompetence, insane coincidences, or some mixture of the two, there is something very big going on behind the scenes here, and we've been fed a gigantic plate of lies over the last few days of unfolding events, with most of the internet is eating it up faster than Kash Patel at a swanky Italian restaurant in NYC. The only question is: how deep do the lies surrounding this situation go? (Watch the final attached video for many different levels of speculation, for you to come to your own conclusions on where you draw the line) Question everything. Always.

₿en Wehrman

428,187 görüntüleme • 1 yıl önce

When you start digging into how dumb is, the rabbit hole goes deep… In this recent clip, Beff is claiming that humanity's ultimate goal should be to trash all resources as fast as possible — slash and burn the entire cosmos to make thermodynamic entropy number go up — BUT that's okay because the process of building a universe-scale furnace will supposedly be precisely the process by which we'll achieve our moral values to the fullest! Seriously, he's claiming that these two objective functions are functionally equivalent: 1. Grow our flourishing civilization beyond earth and fill the universe with life, love, happiness, wonder, creativity, discovery, art, humor, cooperation 2. Turn every ordered configuration of atoms into chaos in the shortest possible time Watch 3:02 in the video to hear it from him: “It's, you know, the same reason life exists. It's much better to conserve and strategically use free energy to secure more free energy, and keep growing, and have some order, rather than just like, burn all in one go and have chaos, right?” Read that again. That's the load-bearing argument that licenses him to equate claims #1 and #2 above. He's saying: Since life on Earth built beautiful complexity while using up the sun's energy, we can just go ahead and extrapolate that, into me leading a movement to extinguish all usable energy sources as rapidly as possible. Earth teaches us that the faster we extinguish all usable energy sources, the better we'll grow a civilization even more flourishing than the one on Earth! Too bad that if you think about it for 5 seconds, the fly in the ointment of his logic is that optimal free-energy-dissipation strategies like "chuck all the matter into a black hole" don't conveniently dovetail with sane goals like growing our flourishing civilization to fill the universe with life and love. Beff's Effective Accelerationism movement successfully got thousands of people to put "e/acc" in their profile without checking too much into the doctrine. These mostly normal, psychologically-healthy people just prefer a government that doesn't stifle the many forms of good tech progress… Unfortunately these people became Beff's useful idiots, considering the outcome he's explicitly trying to accelerate is the universe's heat death. I'm not exaggerating or misrepresenting him here. Homie wants to accelerate the universe's heat death. His core claim that objectives #1 and #2 above are equivalent — a claim which is FACTUALLY FALSE if you ask any physicist — somehow never gets questioned (or even flagged as questionable) by the people who have a chance to interview Beff. One podcast after another sees fit to wager their show's credibility on a guest who can dazzle listeners with smart-sounding jargon for hours, as long as no one dares to ask him why his movement's central claim is as factually false as Jonah and the Whale. But hey, if you don't ask your acolytes to swallow a factually false claim as part of your core doctrine, are you really leading a new religion or “hyperstition” 🙄? No, you're just like the rest of us jockeying for crumbs of AI venture capital *without* the reality-distortion benefit of a social media demagogue halo. Nor are you getting your thin-skinned ego inflated by a vocal minority of tech figures who accepted or looked past your dumb central dogma (“#1 = #2”) while everyone else took 5 seconds to think about it and now thinks you're a laughingstock.
4:27

When you start digging into how dumb is, the rabbit hole goes deep… In this recent clip, Beff is claiming that humanity's ultimate goal should be to trash all resources as fast as possible — slash and burn the entire cosmos to make thermodynamic entropy number go up — BUT that's okay because the process of building a universe-scale furnace will supposedly be precisely the process by which we'll achieve our moral values to the fullest! Seriously, he's claiming that these two objective functions are functionally equivalent: 1. Grow our flourishing civilization beyond earth and fill the universe with life, love, happiness, wonder, creativity, discovery, art, humor, cooperation 2. Turn every ordered configuration of atoms into chaos in the shortest possible time Watch 3:02 in the video to hear it from him: “It's, you know, the same reason life exists. It's much better to conserve and strategically use free energy to secure more free energy, and keep growing, and have some order, rather than just like, burn all in one go and have chaos, right?” Read that again. That's the load-bearing argument that licenses him to equate claims #1 and #2 above. He's saying: Since life on Earth built beautiful complexity while using up the sun's energy, we can just go ahead and extrapolate that, into me leading a movement to extinguish all usable energy sources as rapidly as possible. Earth teaches us that the faster we extinguish all usable energy sources, the better we'll grow a civilization even more flourishing than the one on Earth! Too bad that if you think about it for 5 seconds, the fly in the ointment of his logic is that optimal free-energy-dissipation strategies like "chuck all the matter into a black hole" don't conveniently dovetail with sane goals like growing our flourishing civilization to fill the universe with life and love. Beff's Effective Accelerationism movement successfully got thousands of people to put "e/acc" in their profile without checking too much into the doctrine. These mostly normal, psychologically-healthy people just prefer a government that doesn't stifle the many forms of good tech progress… Unfortunately these people became Beff's useful idiots, considering the outcome he's explicitly trying to accelerate is the universe's heat death. I'm not exaggerating or misrepresenting him here. Homie wants to accelerate the universe's heat death. His core claim that objectives #1 and #2 above are equivalent — a claim which is FACTUALLY FALSE if you ask any physicist — somehow never gets questioned (or even flagged as questionable) by the people who have a chance to interview Beff. One podcast after another sees fit to wager their show's credibility on a guest who can dazzle listeners with smart-sounding jargon for hours, as long as no one dares to ask him why his movement's central claim is as factually false as Jonah and the Whale. But hey, if you don't ask your acolytes to swallow a factually false claim as part of your core doctrine, are you really leading a new religion or “hyperstition” 🙄? No, you're just like the rest of us jockeying for crumbs of AI venture capital *without* the reality-distortion benefit of a social media demagogue halo. Nor are you getting your thin-skinned ego inflated by a vocal minority of tech figures who accepted or looked past your dumb central dogma (“#1 = #2”) while everyone else took 5 seconds to think about it and now thinks you're a laughingstock.

Liron Shapira

55,729 görüntüleme • 1 yıl önce

On AIPAC, Israel and the Jewish identity — They tell me you can’t say this and win an election in America, let’s put it to the test. AIPAC is not even an honest proposition, from the outset. So I don’t want their money. PACs and lobbies are a problem. If “the right” honestly believes the left to be as pernicious as we say (which I believe), there’s no way we should share a lobby with them. The reason they really fear me on the right is because a great friend of mine, mentor, and a man I consider family is Jewish. Only his views on this topic are even more “radical” than mine. Imagine living in a time where we call Black people “white supremacists” and Jewish people “antisemitic”, because they disagree with the political correctness or agenda. If losing is the price of telling the truth, then it’s a small price to pay. Did I say anything wrong or false in this video? Is this antisemitic? The one thing I’ve realized with all the anti-White rhetoric flying around… If White people don’t find the will to fight to save this country, we will lose it and all go down in the destruction together. Some people want that, some people are working to that end. Some people are too apathetic. Some people are just pathetic! I love this country and in order to save it we will need every other person that loves this country to help. I know plenty of great Jewish people. I know plenty of great White people. I know plenty of great Black people. I know great people of all races and creeds… The problem is not enough great people are concerned with the greatness of our nation. Or what being great would even look like for our nation. We will be great and no amount of political correctness will stop me from that pursuit. The question is of America’s resolve on mass. Political correctness or political problem solving? You get to pick one! Now I’m seeing people who follow me so I’m sure we agree on a lot, claim that Catholics are trying to dismantle the evangelical foundation of the American Right. With all due respect to my Protestant brothers and sisters, it is dismantling itself by way of ideological incongruence. I’m not going to write an essay because what’s simple is simple… Christians gave the country to communists and satanists. Christians watched the politics devolve into decadence, while they took tax exempt status and built mega churches that didn’t protect faith. Somehow, as the country was captured by the most foul and demonic perversions imaginable, our “ally” Israel continued to be a priority. To even begin to try and justify this disorder of priority is heresy. The proper Christian order of charity, family and faith is that which is most local to us. This is not theological trickery or political parlor tricks, this is sound 1st principle philosophy. Again, with all due respect, the evangelical foundation of the American right is dismantling because the philosophical underpinnings are inconsistent and illogical. I said 3 years ago this was going to become the dividing line. Unfortunately I was right. There are obviously enemies of Israel that are also enemies of ours, the question is who are our real friends. What does it mean to be a friend or an ally? Is Europe our ally? Is Australia? Are the 5 eyes? And yes we are right to ask this about Israel as well… But if you can’t even ask the question, it sort of reveals the answer. P.S. I’ll debate anyone on the topic, but I expect I won’t get many to accept that challenge. It’s hard to defend the indefensible. How did a Christian country lose it to satanists and communists? Royce White for U.S. Senate MN 2026 America 1st, Just Right™️
3:08

On AIPAC, Israel and the Jewish identity — They tell me you can’t say this and win an election in America, let’s put it to the test. AIPAC is not even an honest proposition, from the outset. So I don’t want their money. PACs and lobbies are a problem. If “the right” honestly believes the left to be as pernicious as we say (which I believe), there’s no way we should share a lobby with them. The reason they really fear me on the right is because a great friend of mine, mentor, and a man I consider family is Jewish. Only his views on this topic are even more “radical” than mine. Imagine living in a time where we call Black people “white supremacists” and Jewish people “antisemitic”, because they disagree with the political correctness or agenda. If losing is the price of telling the truth, then it’s a small price to pay. Did I say anything wrong or false in this video? Is this antisemitic? The one thing I’ve realized with all the anti-White rhetoric flying around… If White people don’t find the will to fight to save this country, we will lose it and all go down in the destruction together. Some people want that, some people are working to that end. Some people are too apathetic. Some people are just pathetic! I love this country and in order to save it we will need every other person that loves this country to help. I know plenty of great Jewish people. I know plenty of great White people. I know plenty of great Black people. I know great people of all races and creeds… The problem is not enough great people are concerned with the greatness of our nation. Or what being great would even look like for our nation. We will be great and no amount of political correctness will stop me from that pursuit. The question is of America’s resolve on mass. Political correctness or political problem solving? You get to pick one! Now I’m seeing people who follow me so I’m sure we agree on a lot, claim that Catholics are trying to dismantle the evangelical foundation of the American Right. With all due respect to my Protestant brothers and sisters, it is dismantling itself by way of ideological incongruence. I’m not going to write an essay because what’s simple is simple… Christians gave the country to communists and satanists. Christians watched the politics devolve into decadence, while they took tax exempt status and built mega churches that didn’t protect faith. Somehow, as the country was captured by the most foul and demonic perversions imaginable, our “ally” Israel continued to be a priority. To even begin to try and justify this disorder of priority is heresy. The proper Christian order of charity, family and faith is that which is most local to us. This is not theological trickery or political parlor tricks, this is sound 1st principle philosophy. Again, with all due respect, the evangelical foundation of the American right is dismantling because the philosophical underpinnings are inconsistent and illogical. I said 3 years ago this was going to become the dividing line. Unfortunately I was right. There are obviously enemies of Israel that are also enemies of ours, the question is who are our real friends. What does it mean to be a friend or an ally? Is Europe our ally? Is Australia? Are the 5 eyes? And yes we are right to ask this about Israel as well… But if you can’t even ask the question, it sort of reveals the answer. P.S. I’ll debate anyone on the topic, but I expect I won’t get many to accept that challenge. It’s hard to defend the indefensible. How did a Christian country lose it to satanists and communists? Royce White for U.S. Senate MN 2026 America 1st, Just Right™️

Royce White 🇺🇸

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