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Cast: Kristal Summers, Buck Adams #rhapiuREVIEWS 1030 scene 3 #ReleasedThisYear2008 #MILFrhapiu #BJrhapiu #BIGCOCKrhapiu

29,127 просмотров • 1 год назад •via X (Twitter)

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Open the vote for NYC LED THIS JULY! ขออภัยในความเร่งรีบคับผม ขออนุญาตเปิดโพลโหวตสำหรับคลิปวีดีโอที่จะขึ้น NYC TIME SQUARE คับผม ปิดโหวตเที่ยงวันพรุ่งนี้คับผม (12:00 pm) 1. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยโลโก้ 2. คลิปเก่งน้ำปิงสีน้ำเงิน 3. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยเมืองนิวยอร์ก 4. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยน้องผีเสื้อ รีบโหวตกันนะคับพี่ ๆ 🤍🤍 ขอบคุณสายอีดิทนักซิ่ง ที่พาเจ่งปุ๋งขึ้นจอไปพร้อมกันฮะ Sorry for the last-minute notice! 🥹 We’d like to open a poll to vote for the video that will be displayed in NYC Times Square! 🤍 Voting closes tomorrow at 12:00 PM. 1. KengNamping video with the logo opening 2. Blue-themed KengNamping video 3. KengNamping video opening with the New York City scene 4. KengNamping video opening with the butterfly Please cast your vote as soon as you can! 🤍🤍 A huge thank you to our amazing editing team for helping bring Keng & Namping to the Times Square screen together! 🫶

KengNampingLand

30,124 просмотров • 1 месяц назад

The #PowerRangersPreservationProject Presents LOST Lost Galaxy: Erin Simms as Maya Part 2! Shot on the same day as Maya’s recovered morphed scene onboard the Astro Megaship we debuted last year, this scene begins at the beginning of Episode 3 — as Maya navigates unseen corridors of Terra Venture to access the Astro Megaship after hearing the call of the Galactabeasts. Slightly extended from the final scene featuring Cerina Vincent, this version has a number of differences. Erin Simms once again appears as the originally cast Maya, this time revealing Maya’s original costume! Rather than modernizing her look from Mirinoi as we saw in the aired series, this version of Maya customized a beige Terra Venture jumpsuit instead — presumably in a bid to better fit in on her new-found home, tearing off her now-frayed sleeves to make it her own. She is also shown to have a more difficult time acclimating to technology than her final on-screen iteration. Also getting to flex a different take on his character is Reggie Rolle, who plays Damon a little more loosely and laid back than in the reshoot — spinning in sync to his comment about having him “around.” Damon’s jumpsuit has added the abstract Terra Venture badge to the left chest, consistent with the rest of his team in this scene — each with a solid bar matching their Ranger color [including Maya]. Edit by @Kadams_Edits. Digitization & Archival by Power Rangers Media Info. Sponsored by M⚡️M Patreon Supporters like Morphin Master MintBari. Thank you for 800 Exhibits! Your sponsorships and one-off donations help fund our ongoing preservation efforts. Support us: #MorphinMuseum Exhibit 0800 ⚡️ Series: #PowerRangers Lost Galaxy Episode: Race to the Rescue Year: 1999

The Morphin ⚡️ Museum

16,968 просмотров • 1 год назад

Video content creation sounds simple, but what if you don’t have time to: • Write the script, • Prepare the visuals, • Generate the voiceover, • Create the subtitles, • And finally render the video? This is why we built Noustiny on top of Nous Research Hermes Agent by adding 12 generic Hermes tools + 13 generic Hermes skills, bringing the whole process into one single flow. How does it work? Let’s take a closer look 👇 ———— 1- Story state: context, tree, motifs: Hermes had no built-in narrative-state primitive for tracking canon, branching story structure, and recurring motifs. So we added three generic Hermes tools for this: → story_tree_graph: Manages the story tree structure. It handles operations like canon path, descendants, and splice insertion points. → narrative_context_builder: Walks the canon chain and returns the live context every narrative skill should reason against. This includes recent chain, mood, and character state. → motif_tracker: Remembers recurring motifs across the story arc. For example, a sword introduced in beat 2 can reappear meaningfully in later scenes. ———— 2- Character / cast pipeline: Hermes had no built-in primitive for cast extraction or character continuity. So we added a four-tool character pipeline: → story_copyright_detector: Handles IP scrubbing. For example, “Iron Man” is converted into an IP-free character description before the image API ever sees it. → character_sheet_builder: Produces 1 to 4 characters. For each character, it creates an IP-free visual description and a hero-portrait prompt. These portraits become the reference frames used across later storyboard scenes. → character_registry_lookup: Finds a character by name inside the cast sheet and attaches the correct portrait reference to each beat. → character_alias_resolver: Resolves aliases like “Mr. Stark” into the main character name. This way, the same character keeps one portrait reference even if they appear under different names. ———— 3- Voice pipeline: Hermes had no built-in primitive for audio acquisition or voice cloning. So we added the full voice chain, and the agent dispatches it autonomously in order: → narration_voice_director: The director-agent reads the seed + story and returns persona_label, search_query, and fallback_query. → voice_sample_builder: Uses yt-dlp + ffmpeg. It accepts a URL, an 11-character ID, or a free-text query. It runs ytsearch5 with dead-video tolerance and normalizes the audio to 24 kHz mono PCM. → voice_clone_synthesize: Wraps ElevenLabs IVC + timestamps. The voice ID is cached by reference SHA. Per-character alignment comes through the same audio call at no extra cost. → voice_clone_cleanup: Frees the cached voice ID after render so orphan voices do not accumulate. ———— 4- Render: Hermes had no built-in video-render entry. So we added the final render tool: → noustiny_storybook: The agent dispatches it as the final step of the chain. One tool call drives the FastAPI render service end to end and emits the mp4. ———— 5- Skills: 13 generic Hermes skills added into skills/creative/: The branching engine in Noustiny works like a council of narrative skills. Each skill is loaded by the gateway as a system prompt and orchestrated in this order: → narrative-brainstorm: Proposes 2 to 3 next-checkpoint options from the canon chain. → narrative-writer-assist: Writes a spliced insert beat that fits the parent and child. → narrative-continuity-critic: Audits downstream beats against the new insert. → narrative-rewriter: Updates the stale beats flagged by the continuity critic. → narrative-judge: Approves or rejects the rewrite against the original flow. → narrative-scene-qa: Checks each beat for consistency, length, and register. → narrative-writer: Finalizes the chosen branch as polished prose. After one splice, this cascade walks downstream by itself until the canon becomes coherent again. ———— 6- Visual + IP pipeline: On the visual side, the goal is not just generating scenes. It is also preserving character continuity and IP safety. This pipeline runs through these skills: → visual-prompt-builder: Turns a beat into an IP-free image prompt and reads the character-sheet references. → scene-composition: Defines shot framing, scene composition, and layout rules. → story-copyright-detector: Skill counterpart of the same-named tool. It can be used for direct slash-command invocation. → character-sheet-builder: Skill counterpart of the same-named tool. Defines cast extraction rules and the IP-free portrait-prompt format used to seed character consistency across the storyboard. → storybook-intro: Generates the cinematic intro page for the render. ———— 7- Voice skill: → narration-voice-director: Defines persona reasoning rules and supports the decision logic behind the same-named voice tool. ———— 8- Pattern: Hermes baseline already had the gateway, agent loop, skill registry, and tool registry. We extended that foundation with 12 generic Hermes tools + 13 generic Hermes skills and organized the system into four main pipelines: • story-state • character continuity • voice • render The important part is this: Noustiny is not a hardcoded system locked inside a single app. A Telegram bot, Discord bot, CLI session, or third-party Next.js app can call the same gateway and use the same tool + skill chains. - No app glue. - No hardcoded prompts. - A drop-in, registry-compatible, agent-native video creation flow. ✅Github:

Ufuk

28,972 просмотров • 3 месяцев назад

“Heat 2” is moving forward, 30+ years after the original. Michael Mann’s 1995 classic itself took 20+ years to make with all-timer moments: bank shootout and 1st time Al Pacino and Robert De Niro acted in the same scene. He actually made the *exact same film* twice. It’s an awesome story of creative dedication that begins in the mid-1970s when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice” in the 80s, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film in 1989 called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown”, with Mann layering on lots of narrative left out of the original. It was an instant crime and action classic and made ~$190m at the box office. Meanwhile, the much-anticipated scene with Pacino and De Niro chatting in a diner delivered the goods (I made the clip below to compare the bank shootout and diner scenes from “LA Takedown” and “Heat”) After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece. … and Mann’s still not done with the story. 31 years later (and at 82-years old) he’s slated to start filming a sequel with a cast of Christian Bale, Leonardo DiCaprio, Al Pacino, Adam Driver, Ana de Armas, Austin Butler and Bradley Cooper. *** Nerdstalig has a good YT vid: Michael Mann talked about the history on Rewatchables:

Trung Phan

296,533 просмотров • 5 месяцев назад

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 просмотров • 6 месяцев назад

𝗗𝗵𝘂𝗿𝗮𝗻𝗱𝗵𝗮𝗿 𝗳𝗿𝗼𝗺 𝗮 𝗪𝗿𝗶𝘁𝗲𝗿 𝗣𝗢𝗩 𝘄𝗵𝗼 𝘄𝗿𝗶𝘁𝗲𝘀 𝗶𝗻 𝘁𝗵𝗲 𝘀𝗮𝗺𝗲 𝗴𝗲𝗻𝗿𝗲 (𝗡𝗼𝘁 𝗮 𝗿𝗲𝘃𝗶𝗲𝘄) First of all, this is not your YRF spy universe thriller with extra CGI where ISI And RAW agents will dance together to save the world from Pak terrorists 𝗪𝗼𝗿𝗹𝗱 𝗕𝘂𝗶𝗹𝗱𝗶𝗻𝗴: Dhar constructed Karachi of the 90s in 6-acre area in Thailand and it feels so real, raw and gritty... the houses feel lived in. The streets walked upon, and the air has a smell that you can sense (Or maybe it is the smell of the theatre). 𝗧𝗵𝗲 𝗦𝘁𝗼𝗿𝘆: Fiction interspersed with Real events of Kandahar hijack, Parliament att@ck and 26/11 keeps you grounded, and you never lose the sight of why this is not just a regular gangster drama and actually a Spy thriller with Gangster backdrop. 𝗠𝘂𝘀𝗶𝗰 𝗮𝗻𝗱 𝗕𝗚𝗠: Highlight of the movie. It could have easily spoiled the movie, but Shashwat Sachdev is brilliant in mixing the right amount of retro songs, hip hops, raps beats and at times only bagpipes to keep you hooked to the screen. 𝗘𝗱𝗶𝘁𝗶𝗻𝗴: Superlative. The film is 3 hours 34 min long, but the editing is so sharp that you never feel bored or have time to check your phone... every scene is important for the story, and nothing feels overdone or extra cooked. 𝗖𝗵𝗮𝗿𝗮𝗰𝘁𝗲𝗿𝘀: This is the strength of the writing to create character with rich backstory, ample amount of time to develop on screen and each character comes with a motive. Each character is either grey or black except the female lead who is shown as naive and kiddish due to her age which is also important for the story. 𝗖𝗮𝘀𝘁𝗶𝗻𝗴: The casting of even minor character is top class and that says a lot about the whole cast that has some big names. 𝗖𝗶𝗻𝗲𝗺𝗮𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆: The settings are so real, but it is the camera work that brings the alive on screen. The first shot of the movie where a plane is parked in the midst of mountains in Kandahar and Madhvan is standing alone outside smoking... waiting for the minister to arrive to rescue hostages... That scene is breathtaking and surreal. 𝗔𝗰𝘁𝗶𝗼𝗻: Raw, real and brutal and necessary for the world that Dhar has created. The choreography is impeccable... you feel every kick, every punch from the screen. The stunt team is brilliant. 𝗗𝗶𝗿𝗲𝗰𝘁𝗶𝗼𝗻: Now you have all the ingredients and money, but you can still make a mess of it if the director is clueless (eg War2), but Dhar shows why he is one of the best when it comes to an action thriller like this. 𝗡𝗼𝘄 𝗜 𝗵𝗮𝘃𝗲 𝗮 𝗾𝘂𝗲𝘀𝘁𝗶𝗼𝗻 𝗵𝗲𝗿𝗲... if Dhar can make a movie that looks this and that it is shot in real settings in just 280 Crore then why War 2 with a budget of 400 crore looks so artificial and lifeless. Same for Tiger 3 that had a budget of 300 Crore. Anyways... like I said this is not a review. 𝗕𝗮𝗮𝗸𝗶 𝗚𝗮𝗮𝗻𝗮 𝘀𝘂𝗻𝗼... 𝗺𝗮𝘀𝘁 𝗵𝗮𝗶. 2025's Jamal Kodu. #Dhurandhar #DhurandharReview #Movie

Ankit Uttam

392,188 просмотров • 8 месяцев назад

Created With Grok Imagine. ●. The Ring World - Stillness, silence 1. Nebula Birthplace - Star formation 2. The Pillars - Birth, creation 3. The Storm - Isolation, turbulence 4. The Wanderer - Eternal journey 5. The Threshold - Edge of reality 6. The Collision - Time meaningless 7. The Abyss - Forever stares back 8. The Pale Blue Dot - Home grok imagine prompts used: [ { "id": 0, "title": "The Ring World", "prompt": "A gas giant's rings stretching to infinity, seen edge-on as razor-thin lines of pale gold and silver ice extending beyond comprehension into the void. The planet itself is a massive sphere of muted amber and slate grey storms, half in shadow, half catching distant starlight. The rings cast a whisper-thin shadow band across the planet's face. Everything floats in absolute silence and stillness against crushing black emptiness. A single moon, small and pale, drifts in the middle distance. The scale is vertigo-inducing - the rings could wrap around everything you've ever known. Cinematic composition, extreme wide shot, deep atmospheric blacks, soft diffused lighting, melancholic and vast, jewel-tone highlights on ring particles catching light, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 1, "title": "Nebula Birthplace", "prompt": "A breathtaking view of the Carina Nebula's star-forming pillars, towering columns of cosmic dust and hydrogen gas illuminated by the fierce ultraviolet radiation of newborn blue-white stars. The pillars rise like ancient cathedral spires against a backdrop of deep crimson and burnt orange gas clouds, with delicate tendrils of teal and magenta plasma curling at their edges. Thousands of pinpoint stars scatter across the scene like diamond dust, while a brilliant central cluster of young O-type stars blazes with intense blue-white light, casting dramatic shadows through the translucent dust lanes. Wispy shock fronts of superheated gas glow in electric blue where stellar winds collide with denser material. Ultra high resolution, photorealistic astrophotography style, Hubble Space Telescope quality." }, { "id": 2, "title": "The Pillars", "prompt": "Colossal pillars of cosmic dust rising from an infinite void, monolithic towers of deep indigo and midnight blue stretching impossibly tall against the blackness of space. Edges glow with ethereal bioluminescent teal and soft magenta where newborn stars ignite within, light bleeding through translucent layers of gas like lanterns behind silk. Thousands of stars scattered like crushed diamonds across absolute darkness. Scale is incomprehensible - each pillar contains worlds. Soft god rays pierce through gaps in the dust. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into the void, jewel-tone luminosity, 8K, anamorphic lens quality, awe-inspiring cosmic sublime aesthetic." }, { "id": 3, "title": "The Storm", "prompt": "A massive planetary storm seen from orbit, a swirling vortex of deep sapphire blue and electric teal gases spinning slowly in the darkness. The eye of the storm reveals darker layers beneath - navy, cobalt, almost black. High altitude cloud wisps of pale white ice crystals streak across the surface at impossible speeds, frozen in this moment. The planet's limb curves away into shadow, a thin bright arc of atmospheric haze glowing where day meets night. Everything else is void - pure crushing blackness surrounding this lonely turbulent world. Cinematic close orbit view, moody and isolated, deep rich blues against absolute black, soft diffused lighting from distant sun, atmospheric and melancholic, 8K, anamorphic lens quality, cosmic sublime aesthetic." }, { "id": 4, "title": "The Wanderer", "prompt": "A comet drifting through the inner solar system, its ancient dark nucleus trailing twin tails that stretch across the entire frame and beyond. The dust tail sweeps in a graceful arc of pale gold and cream, while the ion tail streams straight back in ghostly electric blue, both dissolving into the infinite black. The nucleus itself is a small dark heart of primordial ice, barely visible, jets of sublimating gas creating a soft teal-white coma glow around it. It has traveled for billions of years through absolute nothing to reach this moment. Loneliness incarnate. Cinematic composition, sense of vast journey and isolation, soft ethereal glow against crushing void, muted jewel tones, atmospheric and melancholic, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 5, "title": "The Threshold", "prompt": "The event horizon of a supermassive black hole, reality distorting at the edge of existence. A thin brilliant ring of superheated gas - white-hot fading to deep amber and crimson - orbits at nearly light speed, smeared into a perfect glowing halo by gravitational lensing. Behind it, stars are warped and duplicated, stretched into arcs and rings around the perfect circular darkness at the center. The black hole itself is absence - not black but nothing, a hole in the universe where light falls forever. The accretion disk reflects faintly in the gravitationally mirrored space above and below. Staring into infinity. Cinematic composition, reality-bending distortion, warm accretion glow against absolute crushing void, terrifying and beautiful, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 6, "title": "The Collision", "prompt": "Two galaxies passing through each other in slow gravitational embrace, their spiral arms stretched and distorted into sweeping tidal ribbons of light. Stars by the billions flow like luminous rivers between the merging cores - streams of pale gold, soft blue, and distant white pulling across hundreds of thousands of light-years of void. Where the cores approach, intense knots of newborn stars blaze in clusters of soft cyan and magenta. Dark dust lanes create dramatic silhouettes against the glowing stellar streams. The interaction has been happening for millions of years and will continue for millions more. Time is meaningless at this scale. Cinematic extreme wide shot, incomprehensible scale, soft ethereal luminosity, jewel tones against absolute black void, 8K, anamorphic, cosmic sublime aesthetic." }, { "id": 7, "title": "The Abyss", "prompt": "A vast cosmic void stretching infinitely in all directions, an endless expanse of deep black punctuated by distant pinpricks of starlight. In the foreground, a swirling nebula of ethereal gas and dust glows softly in shades of violet, indigo, and midnight blue, illuminated from within by the faint light of newborn stars. Wisps of iridescent teal and magenta drift through the darkness like ghostly tendrils, creating a sense of depth and mystery. The scale is incomprehensible - this is a place where entire galaxies could fit within the frame. You are small. You are nothing. You are staring into forever and forever stares back. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into infinite void, soft ethereal bioluminescence, jewel-tone nebula glow against absolute darkness, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 8, "title": "The Pale Blue Dot", "prompt": "Earth seen from four billion miles away, a tiny pale blue-white speck barely visible against the absolute black void of deep space. No detail, no continents, no clouds - just a faint luminous point of soft cyan light, smaller than a grain of sand, floating in endless nothing. The frame is almost entirely pure black emptiness with the tiny distant Earth off-center, barely there, almost lost. A subtle scattered band of faint light crosses the frame diagonally - ancient sunlight diffused through interplanetary dust. The loneliness is overwhelming. The fragility is heartbreaking. Everything that ever lived, loved, or mattered exists on that barely-visible point of light. Minimalist composition, extreme negative space, 90% pure black void, tiny distant pale blue dot, Voyager 1 perspective, melancholic and profound, 8K, anamorphic lens, cosmic sublime aesthetic." } ]

tetsuo

714,269 просмотров • 6 месяцев назад

The false prophets of the "New Media" Dear international friends and users of X, We are witnessing a dangerous situation unfold where Romania is being used by popular accounts on the platform to create panic and a false image of what is actually happening in the world. One of those accounts is Mario Nawfal, whom I choose to reference because I met him a few months ago and helped my partner film an interview which now seems incredible to listen to. Everyone in the crypto industry had an image of Mario from the last cycle, and it was interesting to see him pivot to what is now called "New Media" and the success he was able to achieve mainly because of retweets from Elon Musk. During the interview you can watch below, he talks about the high level of attention he receives and the responsibility that comes with it. He admits to taking a side in US politics by supporting Donald Trump because he is a "free speech" advocate, but other than that, he says that his journalism is objective regarding Ukraine/Gaza or any other hot topic around the world. He also speaks highly about posting factual information and not misinformation. Now on the current subject, I feel he is not only taking a side but also spreading significant misinformation about the situation in Romania, and I want to help you understand by clarifying some of these "facts." He refers to Calin Georgescu as "the rightful president of Romania." Let me explain what happened here. Romania had a presidential election at the end of 2024. This type of election in Romania is split into two rounds unless one of the candidates gets more than 50% of the votes. In that case, the candidate wins from the first round and gets to be installed as president. Calin Georgescu won the first round with 22.94% of the votes, which equals 2,120,401 votes out of 9,242,186. The total number of eligible voters on the lists was 18,021,800. By simple math, he obtained the vote of 11.77% of Romanians allowed to vote. Although we can objectively admit he was a favorite for the second round based on these numbers, the election was annulled. The Constitutional Court of Romania first validated the first round and then two days later decided to cancel the election after voting had already started in some areas outside the country where voting takes three days to help Romanian citizens living abroad cast their votes. Romania's president at that time declassified the documents based on which the CCR canceled the elections, and most of the data given to the public was vague. It mentioned interference from another state, social media manipulation, or the cost of the campaign being different than previously declared. Georgescu declared 0$ (ZERO) campaign budget. Now again, even if that would be enough to cancel the election, we all agree that the way the situation unfolded is terrible. It showed the lack of interest from Romanian authorities regarding the elections or, worse, parts of the system that accepted all of this before and during the vote. The root of all problems Much like all over the world, Romania is a country with corrupt politicians. Most of the time in the 35 years of democracy, the same parties ruled the country with one main goal: FILL THE POCKETS WHILE YOU CAN. I'm pretty sure you know what that feels like and thus understand that most of the population is fed up and really wants change. It all erupted in the past 2-3 years with inflation skyrocketing after the pandemic and the cost of living becoming unbearable for some parts of the population. Now here comes Calin Georgescu. A self-portrayed savior of the people and a fighter against the current establishment, he campaigned mainly on social media. Most of his ideology is nationalist, populist, and Christian Orthodox. Most of us had no idea who he was until the very last day before the first round, especially in big cities, and the fact that he won struck the country like a truck. In fact, some of his voters declared that they had no idea who he was, but social media, especially TikTok, portrayed him as the savior, and the other options were people they couldn't vote for anymore. One week before the election, most polls gave Georgescu less than 5% and, in the best cases, 8% of the votes. So you can now understand the surprise we had after the counting was done. After that night, Romanians started to analyze the winner of the first round, and what they found was sometimes scary and other times funny—ranging from "There are microchips in Pepsi that enter your body like a laptop" to "The moon landing was fake", "5G technology is extremely dangerous" or "Covid is not real, you can't see it." You can find most of his statements on this website with sources: Setting aside some of these statements, which are mostly harmless, he said things like "Romania should look towards Russian wisdom." He even said he would be ready to leave NATO if it felt necessary and criticized the EU and the way it treats Romania. While we can agree on some small details in these claims, you have to understand the raw feeling of Romanians when it comes to Russia after more than 40 years of communism. It's the same in most of the Eastern Bloc, and it is being passed from one generation to another. And it is mostly hate. Romania is not the most developed country in Europe, but it grew a lot after being accepted into NATO and the EU, and you can check the economic data that sustains this. That being said, you can probably understand why some of those statements were labeled as dangerous by parts of the population that doesn't want to accept even a small chance of leaving the EU/NATO and turning toward "Russian wisdom." Back to our current government One thing that actually unites most Romanians these days is their lack of trust in the current political scene. There is a feeling of exhaustion among us, and we just want honest people ruling the country. Probably just a dream, as my personal take is it will never happen and most of this drama is just "circus". It's always the same situation, just different pockets. Our current prime minister, Marcel Ciolacu , was recently investigated by journalists for different private flights paid for by a company that scammed many Romanians in the real estate industry. Of course, some of those involved in the scam are also politicians. So you probably now understand why we also want change. The situation in Romania is wild these days. We do want change; some think Georgescu is that change, some think he is exactly what we don't need. I don't want to make any judgments in this article. I'm trying to show you what I think "New Media" and "Citizen journalism" should be, at least in my view. What I thought Mario also stands for after that interview. In the course of the last few weeks, Mario has posted every step of Georgescu alongside a network of other popular accounts, some of them known for edgy takes or straightforward propaganda, like Jackson Hinkle or Alex Jones. He even came to Romania to interview Calin and George Simion and said he was afraid. Afraid of what? What did he think he did wrong to be afraid of? Nothing. Just the usual recipe of fear to create drama for views. Many Romanians are asking him in replies to actually dig deeper into the matter and to listen to everyone, but he clearly took a side and goes forward. Why? We don't know for sure; there are some people claiming he was paid to campaign for Georgescu, but there is no actual proof of that being the case. Maybe it's because he wants to continue with the whole "Anti-Soros" agenda widely spread even by Elon Musk these days. We don't know, and I don't want to point out a reason without proof or facts. In fact, that's exactly why I wrote this piece. I'm tired of Old Media, and now the concept of "New Media" is failing harder than I would've ever imagined. Misinformation spreads the fastest on the internet, and most people don't take the time to double or triple check. It is exactly the same practice of biased mainstream media, but for the other side. It's no longer "it must be true, I saw it on CNN" but "it must be true, I saw *insert popular account* posted it." We are witnessing a difficult situation, not only in Romania, and I think journalism should evolve into what it should've always been. But this is not the way. We need to present facts and acknowledge the responsibility, especially as our accounts grow bigger. I encourage every one of you to join the conversation and fill the gaps that I might've missed. Bring facts, bring arguments, do not bring insults. I hope I was clear enough and that this helps some of you understand the situation better. I would love to see you help this post get the attention it needs. Thank you, andreibratucu

andreibratucu🦇🔊

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