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Deep navel stretch session 🔥 Just the way we like it #NavelFetish #BellyButton #Innie #NavelPlay #UmbilicalFetish #FeticheOmbligo #FétichismeNombril #Nabelfetisch #フェチへそ #FeticheUmbigo #FeticismoOmbelico

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Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

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WE BLOOMING BEAUTY #PlantneryxWilliamEst #WilliamEst 🦈: i said i’m not going anywhere anyway. there are times when we feel like, maybe we’re not suitable for each other. i feel like i see everything and i realize that maybe i’m the one causing the problem. i think, well, if i step back, maybe it would be better. i’ve thought, like, if this problem didn’t exist, things might be better. it probably wouldn’t have happened. i feel like okay should we separate? but we’re talking about this from the perspective of we actually don’t want to separate. in terms of work, everything’s great. if it’s just the two of us, everything’s happy. but because of external factors, it causes a lot of problems. some of these problems make sense, some don’t. i don’t like having problems, and i feel like it’s okay to just leave it, but when i keep everything inside, it makes me sad and all kinds of things start building up. when we clear things up, we like to deep talk. once we start talking, everything gets more serious, because he doesn’t want to separate and i don’t want to separate, but why do we have to separate? that’s basically what it was like at that time. 🎸: how did we sort it out? i’ve been thinking that even if he tries to push me away, i won’t go. 🦈: i’m not pushing away 🎸: even if you try, or if you say you don’t want to do this anymore, i’ll find a way to make it work, because since we started the thamepo project, we’ve never had any problems. we just argue, which comes from outside issues. we had to talk about it. i feel like it doesn’t make sense for us to separate, so i said, i wouldn’t let him go anywhere. let’s live our lives together.

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Terence Tao has an IQ above 200. Youngest gold medalist in Math Olympiad history. Fields Medal winner. The greatest living mathematician by nearly any measure. And he just said something most people aren’t ready for. Tao: “This whole era of AI is teaching us that our idea of what intelligence is, is not really accurate.” We spent centuries building civilization on one assumption. That intelligence was sacred. Irreducible. Uniquely ours. The one thing that made the entire human story make sense. Then AI started solving things we swore only we could. Chess. Language. Vision. Math. And every time, we reached for the same defense. That’s not real intelligence. It’s just tricks. Just pattern matching. Just an algorithm. Tao: “You look at how it’s done and it doesn’t feel like intelligence.” So we moved the line. Again. And again. And again. Because intelligence was supposed to feel like something. Something deep. Something we could point to and say… this is what separates us from everything else. But AI kept solving the problems. And that feeling never arrived. Tao: “We were looking for some elusive, intelligent way of thinking and we don’t see it in the tools that actually solve our goals.” Here’s what makes it worse. Large language models work by predicting the next word. One word at a time. No grand architecture. No deep understanding. Just probability. And it works. Tao: “Maybe that’s actually a lot of what humans do as well.” The greatest living mathematician just told you human thought might run on the same machinery. Not some transcendent spark. Pattern recognition. Prediction. One thought, one decision, one word at a time. We built religion around intelligence. Philosophy around it. An entire species identity around it. And a machine running probability just held up a mirror. We didn’t lose intelligence to AI. We just finally saw what it always was. What haunts us isn’t that machines learned to think. It’s that thinking was never what we needed it to be.

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