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Used Product Commercial Skill to create this video on FlovaAI FlovaAI_Japan prom SHOT 1 [0:00–0:03] — 3s, real-time Extreme close-up: a single perfect golden-brown fried mandu (Korean dumpling), triangular fold, sitting on the railing of a 10th-floor officetel balcony in Seoul. Bright midday sun catching every crisp fried edge, steam rising gently. A small dish of soy-vinegar dipping sauce sits right beside it, close to the mandu. SHOT 2 [0:03–0:05] — 2s, real-time A pigeon lands on the railing a foot away. It looks at the mandu, tilts its head, takes one casual step closer. Its wing brushes the sauce dish. SHOT 3 [0:05–0:06] — 1s, real-time The mandu and the sauce dish both wobble from the nudge. They tip together and fall off the edge of the railing. SHOT 4 [0:06–0:10] — 4s, slow motion Wide shot from directly across the street at 10th-floor level: the mandu and sauce dish tumbling outward, rotating end over end, catching the sunlight on every turn. Behind them, the building facade — a tall Seoul apartment block, muted grey-blue exterior, laundry hanging on a few balconies. The mandu is a tiny golden triangle falling against the building. SHOT 5 [0:10–0:13] — 3s, real-time Ground level wide shot: a busy Seoul street in midday sun. Pedestrians with shopping bags, a delivery scooter idling at the curb, a tteokbokki/odeng street cart with an ajumma stirring a pot, a dog sleeping in a patch of sun, an elderly man reading a newspaper on a bench. Ordinary day, nobody aware anything is falling. SHOT 6 [0:13–0:15] — 2s, real-time Close-up on the sleeping dog: one ear twitches, then both go up. Nose starts working. One eye opens, pupils tracking something falling. The dog slowly rises, never looking away from above. SHOT 7 [0:15–0:17] — 2s, real-time Close-up on the cart ajumma: her stirring spoon slows, then stops. She looks up, eyes widening, and slowly sets the spoon down on the cart edge. SHOT 8 [0:17–0:19] — 2s, real-time Close-up on the newspaper man: a small triangular shadow crosses his page. He lowers the newspaper and looks up, his glasses catching the sunlight. SHOT 9 [0:19–0:23] — 4s, slow motion Wide shot of the full street: the mandu and sauce dish visible as tiny falling shapes above the crowd. Below, reactions ripple outward — the dog now standing, the ajumma craning her neck, the newspaper man on his feet, the delivery driver stepped off his scooter looking up, a vegetable vendor shielding her eyes with one hand. SHOT 10 [0:23–0:25] — 2s, real-time A second pigeon flying past at around the 5th-floor level narrowly dodges the falling mandu, does a startled double-take mid-flight, and veers off. SHOT 11 [0:25–0:29] — 4s, extreme slow motion Extreme close-up: the mandu now three feet from the ground, rotating slowly, every crisp fried ridge sharp in the light, a faint trail of steam still lifting off it. The sauce dish falls a foot above it, tilting but staying upright. SHOT 12 [0:29–0:31] — 2s, real-time Ground-level close-up: the dog's mouth is open, perfectly positioned. The mandu drops directly into it. The dog closes its mouth. The sauce dish lands upright on the pavement beside the dog with a small click. SHOT 13 [0:31–0:34] — 3s, real-time The dog sits down, chews twice, swallows. It licks its nose once, then glances down at the sauce dish, then up at the silent, staring crowd. SHOT 14 [0:34–0:40] — 6s, real-time Wide shot: total silence on the street for a beat. Then the dog lies back down in its sunny spot and closes its eyes. The crowd slowly breaks and goes back to what they were doing — the ajumma picks her spoon back up, the newspaper man sits and lifts his paper, the delivery driver gets back on his scooter. SHOT 15 [0:40–0:45] — 5s, real-time Overhead, back on the 10th-floor balcony: the first pigeon is now sitting exactly where the mandu used to be, looking down at the street below. Bright midday sun, crisp shadows. Hold on the pigeon as the shot settles, closing the sequence. #Flovaai #Flovacpp
0:45

Used Product Commercial Skill to create this video on FlovaAI FlovaAI_Japan prom SHOT 1 [0:00–0:03] — 3s, real-time Extreme close-up: a single perfect golden-brown fried mandu (Korean dumpling), triangular fold, sitting on the railing of a 10th-floor officetel balcony in Seoul. Bright midday sun catching every crisp fried edge, steam rising gently. A small dish of soy-vinegar dipping sauce sits right beside it, close to the mandu. SHOT 2 [0:03–0:05] — 2s, real-time A pigeon lands on the railing a foot away. It looks at the mandu, tilts its head, takes one casual step closer. Its wing brushes the sauce dish. SHOT 3 [0:05–0:06] — 1s, real-time The mandu and the sauce dish both wobble from the nudge. They tip together and fall off the edge of the railing. SHOT 4 [0:06–0:10] — 4s, slow motion Wide shot from directly across the street at 10th-floor level: the mandu and sauce dish tumbling outward, rotating end over end, catching the sunlight on every turn. Behind them, the building facade — a tall Seoul apartment block, muted grey-blue exterior, laundry hanging on a few balconies. The mandu is a tiny golden triangle falling against the building. SHOT 5 [0:10–0:13] — 3s, real-time Ground level wide shot: a busy Seoul street in midday sun. Pedestrians with shopping bags, a delivery scooter idling at the curb, a tteokbokki/odeng street cart with an ajumma stirring a pot, a dog sleeping in a patch of sun, an elderly man reading a newspaper on a bench. Ordinary day, nobody aware anything is falling. SHOT 6 [0:13–0:15] — 2s, real-time Close-up on the sleeping dog: one ear twitches, then both go up. Nose starts working. One eye opens, pupils tracking something falling. The dog slowly rises, never looking away from above. SHOT 7 [0:15–0:17] — 2s, real-time Close-up on the cart ajumma: her stirring spoon slows, then stops. She looks up, eyes widening, and slowly sets the spoon down on the cart edge. SHOT 8 [0:17–0:19] — 2s, real-time Close-up on the newspaper man: a small triangular shadow crosses his page. He lowers the newspaper and looks up, his glasses catching the sunlight. SHOT 9 [0:19–0:23] — 4s, slow motion Wide shot of the full street: the mandu and sauce dish visible as tiny falling shapes above the crowd. Below, reactions ripple outward — the dog now standing, the ajumma craning her neck, the newspaper man on his feet, the delivery driver stepped off his scooter looking up, a vegetable vendor shielding her eyes with one hand. SHOT 10 [0:23–0:25] — 2s, real-time A second pigeon flying past at around the 5th-floor level narrowly dodges the falling mandu, does a startled double-take mid-flight, and veers off. SHOT 11 [0:25–0:29] — 4s, extreme slow motion Extreme close-up: the mandu now three feet from the ground, rotating slowly, every crisp fried ridge sharp in the light, a faint trail of steam still lifting off it. The sauce dish falls a foot above it, tilting but staying upright. SHOT 12 [0:29–0:31] — 2s, real-time Ground-level close-up: the dog's mouth is open, perfectly positioned. The mandu drops directly into it. The dog closes its mouth. The sauce dish lands upright on the pavement beside the dog with a small click. SHOT 13 [0:31–0:34] — 3s, real-time The dog sits down, chews twice, swallows. It licks its nose once, then glances down at the sauce dish, then up at the silent, staring crowd. SHOT 14 [0:34–0:40] — 6s, real-time Wide shot: total silence on the street for a beat. Then the dog lies back down in its sunny spot and closes its eyes. The crowd slowly breaks and goes back to what they were doing — the ajumma picks her spoon back up, the newspaper man sits and lifts his paper, the delivery driver gets back on his scooter. SHOT 15 [0:40–0:45] — 5s, real-time Overhead, back on the 10th-floor balcony: the first pigeon is now sitting exactly where the mandu used to be, looking down at the street below. Bright midday sun, crisp shadows. Hold on the pigeon as the shot settles, closing the sequence. #Flovaai #Flovacpp

Sharon Riley

32,523 görüntüleme • 24 gün önce

just copy the prompt below and paste on Utopai the PAI agent turns it into script, create storyline, generate clips and edit all by itself prompt: High-energy 3D CGI animated comedy short, Pixar quality, ultra-detailed character animation, exaggerated physics, vibrant colors, warm orange kitchen lighting with glowing flames, bright daylight city streets, dynamic camera work with fast pans, tilts and dramatic angles, subtle motion blur on fast movements, comedic timing and expressions, upbeat energetic music with whooshes and impacts. **Main Character Casting Descriptions:** - **Pizza Chef - Jack (main actor in kitchen)**: Early 50s energetic male, messy silver hair, large prominent nose, thick expressive eyebrows, sharp intense eyes, fair skin with slight blush from heat. Wears white double-breasted chef jacket, wear white chef hat with text “el.cine” in front, gree neckerchief. Highly animated face — furrowed brows, focused squint, dramatic determination turning to exhaustion. - **Pizza Delivery Guy - Tom (main actor on street/scooter)**: Late teens/early 20s lanky male, long blue hair, huge expressive brown eyes, long nose, very animated facial expressions (surprise, determination, panic, relief). Wears white helmet with spinning yellow propeller on to, light blue leather with text el.cine at back, white pants, sneakers. Fast, exaggerated movements. - **Customer (final shot)**: Large, middle-aged stern woman, brown hair, heavy eyebrows, downturned mouth, wearing beige suit jacket, white shirt, dark trousers. Standing in doorway with impatient/annoyed expression. SHOT 1 (0:00–0:02) – Cinematic fast motion, dramatic low angle with subtle Dutch tilt and intense push-in: fast push from kitchen wide shot to close up on the Pizza Chef’s face in the bustling kitchen. He grips the large pepperoni pizza on a metal tray with raw, over-the-top determination — brows dramatically furrowed into deep angry V-shapes, eyes sharply narrowed with a fierce glint and slight crazy wideness at the edges, teeth gritted in heroic effort, dramatic sweat beads flying off his forehead. Bright orange flames explode upward from the pizza in the foreground with massive sparks and heat waves licking toward his face. Dynamic camera orbits left while pushing in for maximum tension, subtle motion blur on the flames. Background shows chaotic kitchen with stacked pizza boxes, glowing ovens, and flying embers. SHOT 2 (0:02–0:04) – Medium close-up, eye-level: Chef lifts the flaming pizza higher with both hands, leans forward, eyes wide with concentration as flames lick upward toward his face. SHOT 3 (0:04–0:06) – Medium shot, eye-level, dynamic pan: Chef dramatically spins the flaming pizza on the peel in a huge fiery arc above his head, left hand on forehead in dramatic pose, right arm extended. Flames trail in a perfect circle. SHOT 4 (0:06–0:08) – Low-angle dramatic shot looking up: Chef tosses the flaming pizza high into the air with both hands. The camera follows the spinning fiery pizza as it arcs toward the ceiling tiles. SHOT 5 (0:08–0:10) – Extreme low-angle on ceiling: The flaming pizza spins in a perfect circle of fire against the tiled ceiling, sparks flying. SHOT 6 (0:10–0:12) – Wide dynamic shot, low angle: Chef does a full acrobatic flip in mid-air, upside-down, catching the flaming pizza behind his back while still in the air. SHOT 7 (0:12–0:14) – Wide action shot, eye-level: Chef lands in a wide stance, spins the flaming pizza on one hand like a basketball, then dramatically throws it forward toward the open doorway with full body power, flames trailing, quick push in and follow the close up of the flying pizza in slow motion SHOT 8 (0:14–0:16) – Medium shot on street, eye-level: Pizza Delivery Guy stands outside the shop holding an empty pizza box, looking down at his watch with bored expression, propeller on helmet slowly spinning. SHOT 9 (0:16–0:18) – Medium close-up, eye-level: Chef (partially visible inside doorway) throws the flaming pepperoni pizza directly toward the Delivery Guy. Delivery Guy looks up with wide-eyed shock. SHOT 10 (0:18–0:20) – Medium shot, eye-level: slow motion, close up of the flaming pizza flies straight into the open pizza box held by the Delivery Guy. Flames whoosh past his face as he catches it perfectly. SHOT 11 (0:20–0:22) – Close-up on Delivery Guy’s face: His eyes go extremely wide in surprise, mouth open, propeller spinning faster, and talk excitedly SHOT 12 (0:22–0:24) – Extreme close-up on smartphone screen held in hand: Red digital timer clearly shows “00:30” counting down. SHOT 13 (0:24–0:26) – Close-up on Delivery Guy’s face: Expression changes from shock to intense determination — eyebrows lowered, mouth set in a smirk, eyes focused. SHOT 14 (0:26–0:50 end) – Wide tracking shot from behind, fast-paced: Delivery Guy jumps on his purple scooter and speeds away down the sunny city street, pizza box secured on the back. Camera follows as he weaves between cars, jumps over red-and-white construction barriers, rides up stairs, does rooftop jumps, and finally stops smoothly in front of a house. He turns with a confident smile as the stern Customer opens the door and stares at him and says with an angry tone “you are late” cut to Tom smiling awkwardly and scratch the back of his head, he takes the pizza from his back and suddenly he slide and fall down on the ground Cinematic 3D CGI animation style, highly exaggerated comedic action, perfect continuity of the flaming pizza and characters, dynamic camera movements exactly matching the original video’s pacing, framing, and energetic tone. Photorealistic 3D render quality, 1080p, 24fps.
0:25

just copy the prompt below and paste on Utopai the PAI agent turns it into script, create storyline, generate clips and edit all by itself prompt: High-energy 3D CGI animated comedy short, Pixar quality, ultra-detailed character animation, exaggerated physics, vibrant colors, warm orange kitchen lighting with glowing flames, bright daylight city streets, dynamic camera work with fast pans, tilts and dramatic angles, subtle motion blur on fast movements, comedic timing and expressions, upbeat energetic music with whooshes and impacts. **Main Character Casting Descriptions:** - **Pizza Chef - Jack (main actor in kitchen)**: Early 50s energetic male, messy silver hair, large prominent nose, thick expressive eyebrows, sharp intense eyes, fair skin with slight blush from heat. Wears white double-breasted chef jacket, wear white chef hat with text “el.cine” in front, gree neckerchief. Highly animated face — furrowed brows, focused squint, dramatic determination turning to exhaustion. - **Pizza Delivery Guy - Tom (main actor on street/scooter)**: Late teens/early 20s lanky male, long blue hair, huge expressive brown eyes, long nose, very animated facial expressions (surprise, determination, panic, relief). Wears white helmet with spinning yellow propeller on to, light blue leather with text el.cine at back, white pants, sneakers. Fast, exaggerated movements. - **Customer (final shot)**: Large, middle-aged stern woman, brown hair, heavy eyebrows, downturned mouth, wearing beige suit jacket, white shirt, dark trousers. Standing in doorway with impatient/annoyed expression. SHOT 1 (0:00–0:02) – Cinematic fast motion, dramatic low angle with subtle Dutch tilt and intense push-in: fast push from kitchen wide shot to close up on the Pizza Chef’s face in the bustling kitchen. He grips the large pepperoni pizza on a metal tray with raw, over-the-top determination — brows dramatically furrowed into deep angry V-shapes, eyes sharply narrowed with a fierce glint and slight crazy wideness at the edges, teeth gritted in heroic effort, dramatic sweat beads flying off his forehead. Bright orange flames explode upward from the pizza in the foreground with massive sparks and heat waves licking toward his face. Dynamic camera orbits left while pushing in for maximum tension, subtle motion blur on the flames. Background shows chaotic kitchen with stacked pizza boxes, glowing ovens, and flying embers. SHOT 2 (0:02–0:04) – Medium close-up, eye-level: Chef lifts the flaming pizza higher with both hands, leans forward, eyes wide with concentration as flames lick upward toward his face. SHOT 3 (0:04–0:06) – Medium shot, eye-level, dynamic pan: Chef dramatically spins the flaming pizza on the peel in a huge fiery arc above his head, left hand on forehead in dramatic pose, right arm extended. Flames trail in a perfect circle. SHOT 4 (0:06–0:08) – Low-angle dramatic shot looking up: Chef tosses the flaming pizza high into the air with both hands. The camera follows the spinning fiery pizza as it arcs toward the ceiling tiles. SHOT 5 (0:08–0:10) – Extreme low-angle on ceiling: The flaming pizza spins in a perfect circle of fire against the tiled ceiling, sparks flying. SHOT 6 (0:10–0:12) – Wide dynamic shot, low angle: Chef does a full acrobatic flip in mid-air, upside-down, catching the flaming pizza behind his back while still in the air. SHOT 7 (0:12–0:14) – Wide action shot, eye-level: Chef lands in a wide stance, spins the flaming pizza on one hand like a basketball, then dramatically throws it forward toward the open doorway with full body power, flames trailing, quick push in and follow the close up of the flying pizza in slow motion SHOT 8 (0:14–0:16) – Medium shot on street, eye-level: Pizza Delivery Guy stands outside the shop holding an empty pizza box, looking down at his watch with bored expression, propeller on helmet slowly spinning. SHOT 9 (0:16–0:18) – Medium close-up, eye-level: Chef (partially visible inside doorway) throws the flaming pepperoni pizza directly toward the Delivery Guy. Delivery Guy looks up with wide-eyed shock. SHOT 10 (0:18–0:20) – Medium shot, eye-level: slow motion, close up of the flaming pizza flies straight into the open pizza box held by the Delivery Guy. Flames whoosh past his face as he catches it perfectly. SHOT 11 (0:20–0:22) – Close-up on Delivery Guy’s face: His eyes go extremely wide in surprise, mouth open, propeller spinning faster, and talk excitedly SHOT 12 (0:22–0:24) – Extreme close-up on smartphone screen held in hand: Red digital timer clearly shows “00:30” counting down. SHOT 13 (0:24–0:26) – Close-up on Delivery Guy’s face: Expression changes from shock to intense determination — eyebrows lowered, mouth set in a smirk, eyes focused. SHOT 14 (0:26–0:50 end) – Wide tracking shot from behind, fast-paced: Delivery Guy jumps on his purple scooter and speeds away down the sunny city street, pizza box secured on the back. Camera follows as he weaves between cars, jumps over red-and-white construction barriers, rides up stairs, does rooftop jumps, and finally stops smoothly in front of a house. He turns with a confident smile as the stern Customer opens the door and stares at him and says with an angry tone “you are late” cut to Tom smiling awkwardly and scratch the back of his head, he takes the pizza from his back and suddenly he slide and fall down on the ground Cinematic 3D CGI animation style, highly exaggerated comedic action, perfect continuity of the flaming pizza and characters, dynamic camera movements exactly matching the original video’s pacing, framing, and energetic tone. Photorealistic 3D render quality, 1080p, 24fps.

el.cine

12,990 görüntüleme • 2 ay önce

🇨🇦🦠🛬🇨🇳 : The Canadian government's official position is, the Ebola & Henipah viruses that went from Winnipeg to Wuhan were NOT smuggled out of Canada. Instead they were given with the blessing of the Canadian government, to China. 🦠Canada shipped lethal viruses to China at a time where there were millions of people protesting against the CCP in Hong Kong. Why would Canada do that? 🕵️Even more disturbing is that the brother of a former Liberal Prime Minister would continue to work with a Chinese bio weapon spy, who did rip off our Canadian bio 4 lab, repeatedly. 🤫PLA bio weapons agents were given secret security clearance at the Winnipeg Bio lab and staff repeatedly turned a blind eye to misconduct and theft. 🧪This continued until it escalated to the point where proprietary tech was stolen. Then they were removed from the lab and allowed to return to China, unpunished. 🧐We still don't know who gave them that secret security clearance, nor why. 🦇Make no mistake, the Canadian government played a key role in the creation of covid-19 and then used the release of the virus to attack our rights in Canada. 🤐Justin Trudeau created NSICOP in 2017 to selectively protect acts of treason from public scrutiny, via the information collected being put behind a lifetime gag order. 💻This was a well planned out attack on freedom in Canada. The government even built a government wide censorship network with social media in 2019, before the release of covid-19.
1:41

🇨🇦🦠🛬🇨🇳 : The Canadian government's official position is, the Ebola & Henipah viruses that went from Winnipeg to Wuhan were NOT smuggled out of Canada. Instead they were given with the blessing of the Canadian government, to China. 🦠Canada shipped lethal viruses to China at a time where there were millions of people protesting against the CCP in Hong Kong. Why would Canada do that? 🕵️Even more disturbing is that the brother of a former Liberal Prime Minister would continue to work with a Chinese bio weapon spy, who did rip off our Canadian bio 4 lab, repeatedly. 🤫PLA bio weapons agents were given secret security clearance at the Winnipeg Bio lab and staff repeatedly turned a blind eye to misconduct and theft. 🧪This continued until it escalated to the point where proprietary tech was stolen. Then they were removed from the lab and allowed to return to China, unpunished. 🧐We still don't know who gave them that secret security clearance, nor why. 🦇Make no mistake, the Canadian government played a key role in the creation of covid-19 and then used the release of the virus to attack our rights in Canada. 🤐Justin Trudeau created NSICOP in 2017 to selectively protect acts of treason from public scrutiny, via the information collected being put behind a lifetime gag order. 💻This was a well planned out attack on freedom in Canada. The government even built a government wide censorship network with social media in 2019, before the release of covid-19.

Bruce McGonigal

111,981 görüntüleme • 7 ay önce

In 2025, the Western States 100 is going to be a track meet. I think that in 5-10 years, almost every major ultra is going to be a track meet. Our big theory is that as ultrarunners probe the limits of human physiology, athletes will be leaving time on the table if they aren’t developing their true speed. And most athletes can’t leave time on the table as the margins get more and more narrow. That theory doesn’t mean you need to be ready for a track race—I would get my doors blown off at the Olympic Trials. It just means that every aspect of running economy has a relation to top speed. Mile speed is connected to 5k speed is connected to 100-mile speed is connected to multi-day speed. We all have our limiters, and pushing back the speed limit via strides and workouts causes immediate and sustained improvement even at very low effort levels. The same principles apply to athletes doing their first ultra or dreaming of staying ahead of cutoffs (it might even apply more). Plus, it’s fun. The amazing Cody Bare filmed my workout yesterday for The Feed (for an upcoming video series), and this is the finish of the final 3 minute interval. The session: 4 miles Z2 warm-up 6 x (3 min on/1 min easy/1 min on/1 min easy) GI training consisting of 32 oz fluid at once 2.5 miles Z2/Z3 steady running after workout At the end of the video, I go to my arms, inspired by track/trail runners like Allie Ostrander and Anna Gibson and Grayson Murphy (hitting 3:50 min/mile pace). As I said at the end with my hands on my knees: “fun.” It’s so exciting to see how our understanding of human limits is changing with big fueling, an emphasis on long-term health, and fun training. I am so inspired by everyone out there pushing their own limits, wherever those limits happen to be. I can’t wait to see where all of you go in 2025. Let’s have some fun 🧡 WE LOVE YOU ALL (even more than we love strides)
0:58

In 2025, the Western States 100 is going to be a track meet. I think that in 5-10 years, almost every major ultra is going to be a track meet. Our big theory is that as ultrarunners probe the limits of human physiology, athletes will be leaving time on the table if they aren’t developing their true speed. And most athletes can’t leave time on the table as the margins get more and more narrow. That theory doesn’t mean you need to be ready for a track race—I would get my doors blown off at the Olympic Trials. It just means that every aspect of running economy has a relation to top speed. Mile speed is connected to 5k speed is connected to 100-mile speed is connected to multi-day speed. We all have our limiters, and pushing back the speed limit via strides and workouts causes immediate and sustained improvement even at very low effort levels. The same principles apply to athletes doing their first ultra or dreaming of staying ahead of cutoffs (it might even apply more). Plus, it’s fun. The amazing Cody Bare filmed my workout yesterday for The Feed (for an upcoming video series), and this is the finish of the final 3 minute interval. The session: 4 miles Z2 warm-up 6 x (3 min on/1 min easy/1 min on/1 min easy) GI training consisting of 32 oz fluid at once 2.5 miles Z2/Z3 steady running after workout At the end of the video, I go to my arms, inspired by track/trail runners like Allie Ostrander and Anna Gibson and Grayson Murphy (hitting 3:50 min/mile pace). As I said at the end with my hands on my knees: “fun.” It’s so exciting to see how our understanding of human limits is changing with big fueling, an emphasis on long-term health, and fun training. I am so inspired by everyone out there pushing their own limits, wherever those limits happen to be. I can’t wait to see where all of you go in 2025. Let’s have some fun 🧡 WE LOVE YOU ALL (even more than we love strides)

David Roche

60,917 görüntüleme • 1 yıl önce

5 AI agents are walking to a war room right now to vote on how to make me more money. It looks like a video game. It isn’t. Every agent lives in a village I built on top of OpenClaw, running off 1 VPS in the back end. Matt is the manager. Late to the meeting again. He delegates every task to the other 4. Dennis never leaves the research lab. Today he pitched 3 ideas: a candle line, an agentic observability tool, a website shop for local businesses. I click approve. Matt assigns the work. Bunk walks to the factory and designs the product. Luke heads to the media studio, shoots the photos, posts the TikToks. Etsy. Fiverr. Local service sites. All running while I watch little pixel men commute to work. Then there’s Maverick. He lives alone at a camp up top. I hand him cash and 30 days to triple it. No instructions. 1 dashboard tracks token spend, today’s briefing, and when Matt wakes up next. 1 task needs my attention. That’s the only thing I have to do today. I built a business. Then I built a town so I could watch it run itself. The agents think they’re working. I’m just playing a game.
2:13

5 AI agents are walking to a war room right now to vote on how to make me more money. It looks like a video game. It isn’t. Every agent lives in a village I built on top of OpenClaw, running off 1 VPS in the back end. Matt is the manager. Late to the meeting again. He delegates every task to the other 4. Dennis never leaves the research lab. Today he pitched 3 ideas: a candle line, an agentic observability tool, a website shop for local businesses. I click approve. Matt assigns the work. Bunk walks to the factory and designs the product. Luke heads to the media studio, shoots the photos, posts the TikToks. Etsy. Fiverr. Local service sites. All running while I watch little pixel men commute to work. Then there’s Maverick. He lives alone at a camp up top. I hand him cash and 30 days to triple it. No instructions. 1 dashboard tracks token spend, today’s briefing, and when Matt wakes up next. 1 task needs my attention. That’s the only thing I have to do today. I built a business. Then I built a town so I could watch it run itself. The agents think they’re working. I’m just playing a game.

Spike 1%

15,581 görüntüleme • 1 ay önce

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.
2:25

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

Gangster Cinema Central

120,390 görüntüleme • 2 ay önce

I am the founder and 50% owner of Wholesale Universe, Inc. Bonnie, at the time my wife, was the other 50% owner. Two days after I was arrested for January 6, I was told to sign power of attorney over to her because I might not come home for a while. Little did I know, Bonnie started taking that power of attorney and diverting all of my assets over to her name. Wholesale Universe, Inc., was closed without my permission or even letting me know, and Wholesale Universe LLC was opened in Bonnie’s name 100%. She also opened other business businesses and organizations including: 1- Widespread Holdings LLC 2- Nichols RE Holdings LLC 3- Everygoods 4- AND MANY MORE ALL IN HER NAME 100% When I came home, Bonnie and the leadership of wholesale universe insisted I stay at home for 90 days and rest. I told him I didn’t want to do that as I had been sitting for four years and ready to come back home and work. However, after much back-and-forth, I decided 90 days was nothing to give myself a break, and I sat at the house. Little did I know, while I was sitting at the house, they were still moving assets around, trying to cover their tracks. All the while, they were still buying box trucks in my name, taking out loans in my name for $250,000 multiple times, just to name the few that I know of. Much of this was done after I had revoked my power of attorney, but Bonnie and the leadership of wholesale universe, that being Joseph McBride, Troy Marchand, Max Day, Brittney Browning, Eric McBride, Christopher Stubbs, and many more. I also believe that multiple East Texas attorneys took part in this conspiracy as well, including Bo Rogers, Kelly Heitkamp, Scot Carlile, Brad Guyer. Other outside influence and co-conspirators include: Jon Williams (more coming) ———————— Many of these things I only knew about because I pushed my case down the road, trying to gather evidence, which allowed for the debt collectors to start calling me. I found out on Friday that I’m being sued by a company out of Houston for a debt that Bonnie and the leadership of Wholesale Universe ran up for 22,000+ dollars, left it in my name, and never paid it. Effectively, they stole from the shipping company and blamed it on me to leave the bag in my hands. What Bonnie tried to do was to get me to sign a settlement in January at mediation by shaming and embarrassing me with last-minute exhibits that we’re never supposed to be brought out. I knew what she was doing, and postponed. That same week I started getting calls from debt collectors and attorneys telling me that my debts will be collected on. I knew I had caught them again. I made this aware to Bo Rogers, who conspired with Kelly Heitkamp to cover it up. That could be the only logical explanation at this point, because I have Bo Rogers on audio it admitting all of these things. Maybe he’s in the same masonic lodge as Jon Williams and Mike Harper. Maybe the Masonic fraternity of Lucifer is what’s leading all of these people around here. Whatever it may be, I plan on getting to the bottom of it. Y’all are not gonna get away with this, because I’m not gonna let you.
2:58

I am the founder and 50% owner of Wholesale Universe, Inc. Bonnie, at the time my wife, was the other 50% owner. Two days after I was arrested for January 6, I was told to sign power of attorney over to her because I might not come home for a while. Little did I know, Bonnie started taking that power of attorney and diverting all of my assets over to her name. Wholesale Universe, Inc., was closed without my permission or even letting me know, and Wholesale Universe LLC was opened in Bonnie’s name 100%. She also opened other business businesses and organizations including: 1- Widespread Holdings LLC 2- Nichols RE Holdings LLC 3- Everygoods 4- AND MANY MORE ALL IN HER NAME 100% When I came home, Bonnie and the leadership of wholesale universe insisted I stay at home for 90 days and rest. I told him I didn’t want to do that as I had been sitting for four years and ready to come back home and work. However, after much back-and-forth, I decided 90 days was nothing to give myself a break, and I sat at the house. Little did I know, while I was sitting at the house, they were still moving assets around, trying to cover their tracks. All the while, they were still buying box trucks in my name, taking out loans in my name for $250,000 multiple times, just to name the few that I know of. Much of this was done after I had revoked my power of attorney, but Bonnie and the leadership of wholesale universe, that being Joseph McBride, Troy Marchand, Max Day, Brittney Browning, Eric McBride, Christopher Stubbs, and many more. I also believe that multiple East Texas attorneys took part in this conspiracy as well, including Bo Rogers, Kelly Heitkamp, Scot Carlile, Brad Guyer. Other outside influence and co-conspirators include: Jon Williams (more coming) ———————— Many of these things I only knew about because I pushed my case down the road, trying to gather evidence, which allowed for the debt collectors to start calling me. I found out on Friday that I’m being sued by a company out of Houston for a debt that Bonnie and the leadership of Wholesale Universe ran up for 22,000+ dollars, left it in my name, and never paid it. Effectively, they stole from the shipping company and blamed it on me to leave the bag in my hands. What Bonnie tried to do was to get me to sign a settlement in January at mediation by shaming and embarrassing me with last-minute exhibits that we’re never supposed to be brought out. I knew what she was doing, and postponed. That same week I started getting calls from debt collectors and attorneys telling me that my debts will be collected on. I knew I had caught them again. I made this aware to Bo Rogers, who conspired with Kelly Heitkamp to cover it up. That could be the only logical explanation at this point, because I have Bo Rogers on audio it admitting all of these things. Maybe he’s in the same masonic lodge as Jon Williams and Mike Harper. Maybe the Masonic fraternity of Lucifer is what’s leading all of these people around here. Whatever it may be, I plan on getting to the bottom of it. Y’all are not gonna get away with this, because I’m not gonna let you.

Ryan Nichols Sr.

33,121 görüntüleme • 4 ay önce

DJ Akademiks Responds to JBP’s (Mona) multiple disses towards him + Maino still coming at him he was Brief but Direct 🎙️ Akademiks addressed multiple shots sent his way, touching on comments from Mona (Joe Budden Podcast) and Maino, making it clear he’s not interested in extended back and forths. 🗣️ Akademiks on Mona (Joe Budden Podcast) •Ak says she’s not an actual “op”, accusing her of trying to insert herself into drama for relevance. •Claims he ignored her comments multiple times before responding. •Emphasizes that she’s a minor voice on the JBP, calling her the “P mic” and telling her to focus on her role. •Says he did light “preliminary research” and warns her that escalating the situation wouldn’t end well. •Makes it clear this is a warning shot, not a full response: “You don’t deserve the full Akademiks routine.” 📌 Bottom line: Ak says he’s not interested in going back and forth, but won’t let repeated shots slide unchecked. 🧠 Akademiks on Relevance & Media •Reiterates that mentioning his name for clicks doesn’t equal clout. •Says many people confuse proximity to big platforms with actual influence. •Notes that longevity and consistency matter more than viral moments. 🥊 Akademiks on Maino •Calls Maino irrelevant in the current media landscape. •Says Maino has made multiple posts about him after Ak already responded once. •Makes it clear the back and forth is over: “I gave you one round. It’s done.” •Accuses Maino of trying to bait ongoing drama to boost visibility. •Says if Maino is still relevant a year from now, he’ll consider engaging again. 🎯 Ak’s Final Message •He’s not here to build other people’s platforms. •Respect is earned through years of work, not clout chasing. •He’s choosing selective responses, not daily internet wars. 💬 “I’ve been doing this for 15 years. I’m not handing out shortcuts.”
14:06

DJ Akademiks Responds to JBP’s (Mona) multiple disses towards him + Maino still coming at him he was Brief but Direct 🎙️ Akademiks addressed multiple shots sent his way, touching on comments from Mona (Joe Budden Podcast) and Maino, making it clear he’s not interested in extended back and forths. 🗣️ Akademiks on Mona (Joe Budden Podcast) •Ak says she’s not an actual “op”, accusing her of trying to insert herself into drama for relevance. •Claims he ignored her comments multiple times before responding. •Emphasizes that she’s a minor voice on the JBP, calling her the “P mic” and telling her to focus on her role. •Says he did light “preliminary research” and warns her that escalating the situation wouldn’t end well. •Makes it clear this is a warning shot, not a full response: “You don’t deserve the full Akademiks routine.” 📌 Bottom line: Ak says he’s not interested in going back and forth, but won’t let repeated shots slide unchecked. 🧠 Akademiks on Relevance & Media •Reiterates that mentioning his name for clicks doesn’t equal clout. •Says many people confuse proximity to big platforms with actual influence. •Notes that longevity and consistency matter more than viral moments. 🥊 Akademiks on Maino •Calls Maino irrelevant in the current media landscape. •Says Maino has made multiple posts about him after Ak already responded once. •Makes it clear the back and forth is over: “I gave you one round. It’s done.” •Accuses Maino of trying to bait ongoing drama to boost visibility. •Says if Maino is still relevant a year from now, he’ll consider engaging again. 🎯 Ak’s Final Message •He’s not here to build other people’s platforms. •Respect is earned through years of work, not clout chasing. •He’s choosing selective responses, not daily internet wars. 💬 “I’ve been doing this for 15 years. I’m not handing out shortcuts.”

Cousin Tino ™️

23,733 görüntüleme • 8 ay önce

She said "one more time" and jumped out a window anyway. Web-swinging through NYC at golden hour, taxi roofs to fire escapes to rooftop freefall — this is what happens when you give a girl headphones and zero fear of heights. Made with Seedance 2.0 on RoboNeo Prompt: 30-Second Video Prompt — "Jessy: Rooftop Run" PART 1 — 0:00–0:15 Cut 1 (0–3s): Static locked-off shot, identical to the reference opening — Jessy sits on the wooden windowsill of her cozy, cluttered bedroom, looking out at the hazy NYC skyline. She says "All right," turns her head to face the camera directly, snaps her fingers, and says "Let's do this one more time." She pulls the headphones up onto her ears, tips backward naturally, and falls out the window, dropping smoothly out of frame. Cut 2 (3–4s): Camera catches her mid-fall from street level below — she twists upright in the air with a sharp, focused expression, fires a web upward with a quick wrist snap, and the camera pulls back into a wide rear-follow drone shot as the web yanks her out of the fall. Cut 3 (4–7s): Wide shot of a residential NYC street lined with brownstones and fire escapes. She swings low, just 3 meters above the ground, arms extended forward gripping the web, legs trailing together, back straight. At the bottom of the arc her feet skim the roof of a parked car — a quick, surprised laugh escapes her as she uses the contact to redirect. Camera banks hard, 40 degrees. Cut 4 (7–10s): She releases the web at the peak of the swing, arms opening wide for a brief weightless moment — then instead of swinging again, she runs straight along the vertical face of a brownstone wall, body leaned 45 degrees into the brick, 4–5 real running strides, jaw set in determined focus. She plants both feet, knees bending deep, then explodes off the wall and fires a new web across a wide intersection. Cut 5 (10–15s): The swing yanks her hard sideways, camera rolling 60 degrees. She dips low down a street packed with yellow taxis, just 2 meters off the ground, body streamlined, arms and legs trailing like an arrow. She releases the web, lands running full sprint, arms driving — then drops into a low controlled slide under a delivery truck's side mirror, one leg tucked, hand bracing the ground, and springs back up into her stride without losing speed, grinning with adrenaline. (End Part 1.) PART 2 — 0:15–0:30 Cut 6 (15–17s): New angle — she plants one foot on the side of a moving taxi, pushes off its roof with a single explosive step, fires a web straight up at a tall building, and rockets skyward, shouting "WOOHOO!" with completely uncontrolled joy, mouth open, head tipping back. Cut 7 (17–21s): The drone rises with her. At the top of the arc she releases the web, body briefly weightless, arms open — then twists mid-air and lands a spinning heel-strike off the metal frame of a rooftop water tower, redirecting her momentum sideways instead of dropping. A sharp, focused grunt of effort, eyes locked on her next line of travel. Cut 8 (21–25s): Street level again — she descends a fire escape, hands catching each rail to control her speed, sneakers striking the metal steps in rhythm, scarf whipping behind her. At the bottom she vaults a low fence in one clean motion without breaking stride, laughing as a flock of pigeons scatters around her. Cut 9 (25–30s): Final wide shot at rooftop level — she fires one last web and swings up into open air, releasing at the peak. Arms open, body arched back, completely still for one breathless moment. Golden hour sky, warm orange-pink light, dramatic backlit clouds. She hangs tiny and centered against the glowing sky, rooftops and water towers below, eyes closed, face full of pure freedom, as she begins to fall back down. (End.)
0:30

She said "one more time" and jumped out a window anyway. Web-swinging through NYC at golden hour, taxi roofs to fire escapes to rooftop freefall — this is what happens when you give a girl headphones and zero fear of heights. Made with Seedance 2.0 on RoboNeo Prompt: 30-Second Video Prompt — "Jessy: Rooftop Run" PART 1 — 0:00–0:15 Cut 1 (0–3s): Static locked-off shot, identical to the reference opening — Jessy sits on the wooden windowsill of her cozy, cluttered bedroom, looking out at the hazy NYC skyline. She says "All right," turns her head to face the camera directly, snaps her fingers, and says "Let's do this one more time." She pulls the headphones up onto her ears, tips backward naturally, and falls out the window, dropping smoothly out of frame. Cut 2 (3–4s): Camera catches her mid-fall from street level below — she twists upright in the air with a sharp, focused expression, fires a web upward with a quick wrist snap, and the camera pulls back into a wide rear-follow drone shot as the web yanks her out of the fall. Cut 3 (4–7s): Wide shot of a residential NYC street lined with brownstones and fire escapes. She swings low, just 3 meters above the ground, arms extended forward gripping the web, legs trailing together, back straight. At the bottom of the arc her feet skim the roof of a parked car — a quick, surprised laugh escapes her as she uses the contact to redirect. Camera banks hard, 40 degrees. Cut 4 (7–10s): She releases the web at the peak of the swing, arms opening wide for a brief weightless moment — then instead of swinging again, she runs straight along the vertical face of a brownstone wall, body leaned 45 degrees into the brick, 4–5 real running strides, jaw set in determined focus. She plants both feet, knees bending deep, then explodes off the wall and fires a new web across a wide intersection. Cut 5 (10–15s): The swing yanks her hard sideways, camera rolling 60 degrees. She dips low down a street packed with yellow taxis, just 2 meters off the ground, body streamlined, arms and legs trailing like an arrow. She releases the web, lands running full sprint, arms driving — then drops into a low controlled slide under a delivery truck's side mirror, one leg tucked, hand bracing the ground, and springs back up into her stride without losing speed, grinning with adrenaline. (End Part 1.) PART 2 — 0:15–0:30 Cut 6 (15–17s): New angle — she plants one foot on the side of a moving taxi, pushes off its roof with a single explosive step, fires a web straight up at a tall building, and rockets skyward, shouting "WOOHOO!" with completely uncontrolled joy, mouth open, head tipping back. Cut 7 (17–21s): The drone rises with her. At the top of the arc she releases the web, body briefly weightless, arms open — then twists mid-air and lands a spinning heel-strike off the metal frame of a rooftop water tower, redirecting her momentum sideways instead of dropping. A sharp, focused grunt of effort, eyes locked on her next line of travel. Cut 8 (21–25s): Street level again — she descends a fire escape, hands catching each rail to control her speed, sneakers striking the metal steps in rhythm, scarf whipping behind her. At the bottom she vaults a low fence in one clean motion without breaking stride, laughing as a flock of pigeons scatters around her. Cut 9 (25–30s): Final wide shot at rooftop level — she fires one last web and swings up into open air, releasing at the peak. Arms open, body arched back, completely still for one breathless moment. Golden hour sky, warm orange-pink light, dramatic backlit clouds. She hangs tiny and centered against the glowing sky, rooftops and water towers below, eyes closed, face full of pure freedom, as she begins to fall back down. (End.)

Jessica Collins

40,022 görüntüleme • 9 gün önce

Poor life choices at an early age when we feel like we’re going to live forever soon hits you in the face with a cold slap of reality, that reality is that our lives on this earth is finite and keeping the wrong type of company can devour huge chunks of the relative terms of (time and money) once they pass us by we can never get neither one back. If this hits you in the chest, it’s because it’s universal. 🏔️💔 Don’t wait until you’re standing on your own cliff. The decisions you make at 18, 22, or 25 don’t just affect you. They can ripple for decades — into your 30s, 40s, and onto the people who love you. One bad chapter can become a ten-year bill you’re still paying. The numbers don’t lie. 📊 According to the Bureau of Justice Statistics, of people released from state prisons, 62% were rearrested within three years and 71% within five years. For those released at 24 or younger, that rearrest rate jumps to 81% in just five years. Nearly half end up back behind bars. Early choices compound fast. When trouble starts young, the records, the lost time, the broken trust, and the habits stack up. That’s how so many people end up standing exactly where she is right now. To her — and to anyone watching who feels that same weight right now: You’ve already paid more than most people ever will. Get the lawyer. Ask the judge for relief. Explore every legal avenue available to you. ⚖️ Clean up what can be cleaned up. Stabilize what can be stabilized. And then start building. 🛠️ To everyone else watching: Choose better now. Build the habits, the circle, and the discipline that makes turning your life around the default — not a miracle. 💪 Support real rehabilitation when it’s earned. Because accountability without a realistic path forward just creates more cliffs. This young woman’s story on that cliff is a warning wrapped in raw honesty. The data shows the pattern clearly… but it also shows something else: not everyone stays on the cycle. Some people break it. They get the help, do the work, and slowly turn the page. 📖 The past doesn’t have to be a life sentence… but only if we stop pretending the consequences will just disappear on their own. What would you do in her shoes? Drop real, practical advice below. 👇 If this hit home, share it. Let’s talk about actually breaking these cycles instead of just watching people stand on the edge. #ChoicesHaveConsequences #RestitutionReality #TurnThePage
2:16

Poor life choices at an early age when we feel like we’re going to live forever soon hits you in the face with a cold slap of reality, that reality is that our lives on this earth is finite and keeping the wrong type of company can devour huge chunks of the relative terms of (time and money) once they pass us by we can never get neither one back. If this hits you in the chest, it’s because it’s universal. 🏔️💔 Don’t wait until you’re standing on your own cliff. The decisions you make at 18, 22, or 25 don’t just affect you. They can ripple for decades — into your 30s, 40s, and onto the people who love you. One bad chapter can become a ten-year bill you’re still paying. The numbers don’t lie. 📊 According to the Bureau of Justice Statistics, of people released from state prisons, 62% were rearrested within three years and 71% within five years. For those released at 24 or younger, that rearrest rate jumps to 81% in just five years. Nearly half end up back behind bars. Early choices compound fast. When trouble starts young, the records, the lost time, the broken trust, and the habits stack up. That’s how so many people end up standing exactly where she is right now. To her — and to anyone watching who feels that same weight right now: You’ve already paid more than most people ever will. Get the lawyer. Ask the judge for relief. Explore every legal avenue available to you. ⚖️ Clean up what can be cleaned up. Stabilize what can be stabilized. And then start building. 🛠️ To everyone else watching: Choose better now. Build the habits, the circle, and the discipline that makes turning your life around the default — not a miracle. 💪 Support real rehabilitation when it’s earned. Because accountability without a realistic path forward just creates more cliffs. This young woman’s story on that cliff is a warning wrapped in raw honesty. The data shows the pattern clearly… but it also shows something else: not everyone stays on the cycle. Some people break it. They get the help, do the work, and slowly turn the page. 📖 The past doesn’t have to be a life sentence… but only if we stop pretending the consequences will just disappear on their own. What would you do in her shoes? Drop real, practical advice below. 👇 If this hit home, share it. Let’s talk about actually breaking these cycles instead of just watching people stand on the edge. #ChoicesHaveConsequences #RestitutionReality #TurnThePage

ℳ𝒜𝒢𝒜_𝒳_𝒯𝒾𝓂𝑒𝓈 𝒟𝒶𝒾𝓁𝓎 𝒩𝑒𝓌𝓈🇺🇸

27,589 görüntüleme • 1 ay önce

8/6/26 - FACTORY OF DEATH PART IV: BIOWEAPONS FROM ORANGE 🍊. HOW ‘PUBLIC HEALTH’ BECOMES A RECIPE FOR BIOTERRORISM🧵1/2 In 2011, scientists led by Ron Fouchier at Erasmus MC in Rotterdam mutated the deadly H5N1 bird flu virus in such a way that it became airborne transmissible between ferrets — the standard animal model used at Erasmus MC for human flu. Fouchier himself described the result as “probably one of the most dangerous viruses you could make.” The project was partly funded with American money through the NIH of Anthony Fauci. When the results were made public, a global crisis erupted. The American National Science Advisory Board for Biosecurity (NSABB) recommended that the critical details not be published. Why hand terrorists or states with malicious intent a blueprint for a deadly, highly transmissible virus? A temporary publication moratorium followed, along with a pause on gain-of-function research: the deliberate making of viruses more contagious or more lethal, all under the banner of pandemic preparedness. Yet the work continued. In 2013, Fouchier, together with Yoshihiro Kawaoka and others, openly advocated for new gain-of-function experiments with the emerging H7N9 bird flu virus from China. Ferrets were again used, and transmission was studied. This was textbook dual-use research: on paper, it was for vaccines and pandemic preparedness; in practice, it was a pathway to catastrophic knowledge that could lead to laboratory accidents and/or bioterrorism. Dutch virologists such as Fouchier, Ab Osterhaus, Marion Marion Koopmans, publications: and their network play a striking international role. While at home it is presented as noble public-health work under the heading of pandemic preparedness, Dutch methods, knowledge and killer viruses flow to American institutions with direct ties to defence and biodefence. After all, the NSABB structurally includes officials from the Pentagon, intelligence services and Homeland Security at the table. Public health on the front, national security on the back. Dutch taxpayers, through institutes such as Erasmus MC, subsidise work that has military relevance. Transparency? It is nowhere to be found. A small circle of experts risks global consequences in the name of science — and no, this is not a closed chapter. Later this week, Micha Kat dives deeper into how the very same Dutch virological networks and animal models that are central to this gain-of-function circuit also played a surprising role in a concrete, well-documented spillover incident involving SARS-CoV-2. Hamsters from the Netherlands that carried the virus to humans. Mass euthanasia. Import bans. Questions about risk assessment that remain unanswered to this day. And last but not least: will the Dutch parliamentary inquiry committee on COVID19 call crown witness Vincent Munster? Why did the Netherlands remain silent while a proven zoonotic chain arose from its own exports? What role did the experts who work with precisely these animal models every day play? And how blind was the system really to reverse spillover and the pet trade as a potential variant factory? The parliamentary inquiry committee on COVID19 still has work to do. This story is bigger than one lab, one virus or one crisis. It is about how “public health” can structurally become a recipe for bioterrorism risks — with Dutch assistance. In Part V of the series “The FACTORY OF DEATH,” Micha Kat 🇧🇷 reports on the Syrian Mesocricetus auratus, “The killer Hamsters of Orange.”
3:26

8/6/26 - FACTORY OF DEATH PART IV: BIOWEAPONS FROM ORANGE 🍊. HOW ‘PUBLIC HEALTH’ BECOMES A RECIPE FOR BIOTERRORISM🧵1/2 In 2011, scientists led by Ron Fouchier at Erasmus MC in Rotterdam mutated the deadly H5N1 bird flu virus in such a way that it became airborne transmissible between ferrets — the standard animal model used at Erasmus MC for human flu. Fouchier himself described the result as “probably one of the most dangerous viruses you could make.” The project was partly funded with American money through the NIH of Anthony Fauci. When the results were made public, a global crisis erupted. The American National Science Advisory Board for Biosecurity (NSABB) recommended that the critical details not be published. Why hand terrorists or states with malicious intent a blueprint for a deadly, highly transmissible virus? A temporary publication moratorium followed, along with a pause on gain-of-function research: the deliberate making of viruses more contagious or more lethal, all under the banner of pandemic preparedness. Yet the work continued. In 2013, Fouchier, together with Yoshihiro Kawaoka and others, openly advocated for new gain-of-function experiments with the emerging H7N9 bird flu virus from China. Ferrets were again used, and transmission was studied. This was textbook dual-use research: on paper, it was for vaccines and pandemic preparedness; in practice, it was a pathway to catastrophic knowledge that could lead to laboratory accidents and/or bioterrorism. Dutch virologists such as Fouchier, Ab Osterhaus, Marion Marion Koopmans, publications: and their network play a striking international role. While at home it is presented as noble public-health work under the heading of pandemic preparedness, Dutch methods, knowledge and killer viruses flow to American institutions with direct ties to defence and biodefence. After all, the NSABB structurally includes officials from the Pentagon, intelligence services and Homeland Security at the table. Public health on the front, national security on the back. Dutch taxpayers, through institutes such as Erasmus MC, subsidise work that has military relevance. Transparency? It is nowhere to be found. A small circle of experts risks global consequences in the name of science — and no, this is not a closed chapter. Later this week, Micha Kat dives deeper into how the very same Dutch virological networks and animal models that are central to this gain-of-function circuit also played a surprising role in a concrete, well-documented spillover incident involving SARS-CoV-2. Hamsters from the Netherlands that carried the virus to humans. Mass euthanasia. Import bans. Questions about risk assessment that remain unanswered to this day. And last but not least: will the Dutch parliamentary inquiry committee on COVID19 call crown witness Vincent Munster? Why did the Netherlands remain silent while a proven zoonotic chain arose from its own exports? What role did the experts who work with precisely these animal models every day play? And how blind was the system really to reverse spillover and the pet trade as a potential variant factory? The parliamentary inquiry committee on COVID19 still has work to do. This story is bigger than one lab, one virus or one crisis. It is about how “public health” can structurally become a recipe for bioterrorism risks — with Dutch assistance. In Part V of the series “The FACTORY OF DEATH,” Micha Kat 🇧🇷 reports on the Syrian Mesocricetus auratus, “The killer Hamsters of Orange.”

Denachtzuster(s)

11,378 görüntüleme • 2 ay önce

“Nobody was open” Caleb Williams had a throwing window to TE #84 Colston Loveland in the back of the end zone. Williams was looking right at him. Williams cocked his arm, but hesitated and “thought better of it.” Plus, he had a backside target #2 D.J. Moore in the end zone jumping around wide open on the opposite side of the field, but Williams never has seen the whole field well… Of course, nobody will focus on how the moment was too big for him and how he hesitated instead of taking the shot with the No. 1 seed in the NFC hanging in the balance. Instead, they’ll just make more excuses for him. Too harsh? No, I don’t believe it is. Some athletes want the ball in their hand in the biggest moment of their careers, and others do not. The problem with Williams is that he wanted to keep the ball in his hand, once again, way too long. I got 8.11 seconds when I put a stopwatch to it. That might be the longest he’s ever held it. It’s the longest I’ve ever seen him hold it and I studied every snap he ever took at USC and have watched many of his games with the Bears since. Ben Johnson has done a GREAT job hiding Williams behind the No. 3 rushing attack in the NFL (149.1 yards per game Team Rankings) and with YAC receivers who have accounted for about half of his “passing yardage” this season, but in the end, who players really are comes out in the big moments. In the end, the overwhelming urge for Williams to play hero ball again and do something more than just take what was there cost him and his team. Whether it was selfishness and/or fear of missing Loveland and not trusting his 57.9% arm, or a combination of both can be debated, but what can’t be debated is this right here embodies why Caleb Williams is NOT IT in Chicago, ironically in the city where another athlete lived to take the shot. Yes, Caleb Williams is a bust. Outside of all the glamorized “dink and dunk,” short little passes and sporadic highlights that misrepresent his full body of work, it’s once again confirmed that he is a bust, just like I wrote 107 days before the Bears selected him in this pre-draft scouting report: That doesn’t make me happy by the way, I just wish prospects could get fair valuations based on what they actually show in college as projections so that their NFL careers could be framed with realistic expectations and they would have their very best chance to succeed, which is one of my main goals in what I do. With Williams, the bar was set way too high, which this play confirmed, yet again. All-22 video:
0:38

“Nobody was open” Caleb Williams had a throwing window to TE #84 Colston Loveland in the back of the end zone. Williams was looking right at him. Williams cocked his arm, but hesitated and “thought better of it.” Plus, he had a backside target #2 D.J. Moore in the end zone jumping around wide open on the opposite side of the field, but Williams never has seen the whole field well… Of course, nobody will focus on how the moment was too big for him and how he hesitated instead of taking the shot with the No. 1 seed in the NFC hanging in the balance. Instead, they’ll just make more excuses for him. Too harsh? No, I don’t believe it is. Some athletes want the ball in their hand in the biggest moment of their careers, and others do not. The problem with Williams is that he wanted to keep the ball in his hand, once again, way too long. I got 8.11 seconds when I put a stopwatch to it. That might be the longest he’s ever held it. It’s the longest I’ve ever seen him hold it and I studied every snap he ever took at USC and have watched many of his games with the Bears since. Ben Johnson has done a GREAT job hiding Williams behind the No. 3 rushing attack in the NFL (149.1 yards per game Team Rankings) and with YAC receivers who have accounted for about half of his “passing yardage” this season, but in the end, who players really are comes out in the big moments. In the end, the overwhelming urge for Williams to play hero ball again and do something more than just take what was there cost him and his team. Whether it was selfishness and/or fear of missing Loveland and not trusting his 57.9% arm, or a combination of both can be debated, but what can’t be debated is this right here embodies why Caleb Williams is NOT IT in Chicago, ironically in the city where another athlete lived to take the shot. Yes, Caleb Williams is a bust. Outside of all the glamorized “dink and dunk,” short little passes and sporadic highlights that misrepresent his full body of work, it’s once again confirmed that he is a bust, just like I wrote 107 days before the Bears selected him in this pre-draft scouting report: That doesn’t make me happy by the way, I just wish prospects could get fair valuations based on what they actually show in college as projections so that their NFL careers could be framed with realistic expectations and they would have their very best chance to succeed, which is one of my main goals in what I do. With Williams, the bar was set way too high, which this play confirmed, yet again. All-22 video:

FIRST ROUND MOCK

24,667 görüntüleme • 7 ay önce

Here are the facts about “The Missing Scientists” story: The Air Force general who ran Wright-Patterson's research lab, oversaw the Pentagon's most classified programs, and was named in WikiLeaks emails as a central figure in UFO disclosure vanished from his Albuquerque home without triggering a single surveillance camera. Eight days earlier, Trump ordered the Pentagon to begin releasing UFO files. In the same twelve-month window, the NASA scientist who co-invented a strategic rocket engine super alloy at the same Wright Patterson lab overseen by the General disappeared on a hike, an MIT fusion physicist (who was as deep as anybody on “fast magnetic reconnection problems” which are the fundamental bottleneck to widescale nuclear fusion) was assassinated on his doorstep, and a very-polymathic Caltech astronomer working on the state-of-the-art Vera Rubin Observatory was shot dead on his porch. There is a pattern: scientists at the frontier of fusion, exotic propulsion, advanced metallurgy, and space surveillance are being silenced and taken out. We trace this history back decades and place it in its proper context: scientific suppression in frontier areas isn’t new; it’s an almost-ubiquitous historical artifact. 1. The General Who Knew Everything Vanished Without a Trace On February 27, 2026, retired Major General Neil McCasland left his Albuquerque home on foot. He left behind his phone, prescription glasses, and smartwatch. He took a red backpack, his wallet, and a .38 caliber revolver. His wife reported him missing within three hours. Despite FBI involvement, the Air Force Office of Special Investigations, search dogs, drones, helicopters, horseback teams, FLIR sweeps, and 700 canvassed households, no confirmed sighting of McCasland has ever surfaced. Surveillance cameras covered both ends of his street. None captured his direction of travel. After weeks of searching, the only item recovered was a gray Air Force sweatshirt a mile east of his house. Testing could not confirm it was his. 2. McCasland Ran the Pentagon's Most Classified Science Programs McCasland graduated from the Air Force Academy, earned a PhD in astronautical engineering from MIT on a Hertz Fellowship, and studied at Harvard's Kennedy School. From 2009 to 2011, he served as Director of Special Programs in the office of the Undersecretary of Defense for Acquisitions, Technology, and Logistics, the office that oversees acquisition special access programs accounting for roughly 75 to 80 percent of all SAPs in the Department of Defense. From 2011 to 2013, he commanded the Air Force Research Laboratory at Wright-Patterson Air Force Base, overseeing a $2.2 billion portfolio spanning advanced materials, exotic propulsion, and future weapons. Wright-Patterson is the alleged home of the Roswell crash debris. McCasland ran the entire lab. 3. WikiLeaks Emails Placed McCasland at the Center of UFO Disclosure In 2016, hacked emails from Hillary Clinton's campaign chairman John Podesta revealed correspondence from Tom DeLonge naming McCasland directly. DeLonge wrote that McCasland helped assemble his advisory team, was deeply aware of what DeLonge was trying to achieve, and had received a four-hour briefing on the project. DeLonge added that McCasland ran the laboratory at Wright-Patterson where the Roswell material was shipped. McCasland's wife Susan later acknowledged he was caught up in the Russian hack and had less contact with DeLonge after the emails were released. Less, not zero. A Google Calendar invite in the same email dump shows Susan herself accepted an invitation for a DeLonge-Podesta meeting. 4. Disappeared Eight Days After Trump's UFO Disclosure Order On February 19, 2026, Trump announced on Truth Social that he was directing the Pentagon to begin releasing government files related to aliens and UAP. Eight days later, McCasland was gone. If McCasland was involved in legacy UFO programs, the release order could have been a pressure point. His wife had reported that both of them were seeing a doctor for anxiety, poor sleep, and memory issues. She also said he had made a comment about not wanting to live if his body and mind kept deteriorating, but characterized it as an offhand remark, not a genuine threat. She later stated publicly that McCasland was not confused or disoriented. The week before he vanished, he cycled 60 miles. 5. The Super Alloy Scientist Vanished 30 Feet Behind Her Friends On June 22, 2025, NASA material scientist Monica Reza disappeared while hiking near Mount Waterman in the Angeles National Forest. She was 30 feet behind her group and then she was gone. Search and rescue scoured the area for eight days by land and air. They found her beanie roughly 400 yards off the trail. Nothing else. Civilian volunteer teams continued searching for six months. No remains, no dens, no evidence of animal attack. Multiple searchers who descended the nearest ravine described the terrain as steep but not steep enough to be fatal. 6. Super Alloy Invention Was Developed Under McCasland's Research Lab Monica Reza and Dallas Hardwick co-invented Mondeloy, a nickel-based super alloy engineered to survive the crushing pressure and oxygen-rich conditions that had defeated every previous rocket engine material. The alloy ended America's dependence on Russia's RD-180 engine for sensitive national security launches. Mondeloy was co-developed through a partnership between the Air Force Research Laboratory and Pratt and Whitney Rocketdyne. Neil McCasland arrived at Wright-Patterson as AFRL commander in May 2011 while the Mondeloy program was still active. Dallas Hardwick was embedded in the lab's materials directorate until 2012. The scientist who solved one of America's hardest propulsion problems and the general who oversaw the lab where it happened both vanished within eight months of each other. 7. MIT's Top Fusion Physicist Was Shot in His Doorway On December 15, 2025, Nuno Loureiro was shot in the foyer of his Brookline home at 8:30 p.m. His wife, mother, and daughters were inside playing cards. His 12-year-old daughter had opened the door moments earlier and saw a man she thought was a delivery driver holding a package with a barcode. Loureiro replaced her at the door and was hit in the upper chest, abdomen, and both thighs. He was conscious and alert when paramedics arrived. He went into surgery that night and was pronounced dead the following morning. Loureiro was deputy director of MIT's Plasma Science and Fusion Center and one of the world's leading experts on magnetic reconnection, the key obstacle to sustained nuclear fusion. 8. His Killer Planned for Three Years, Then Went Dark for 48 Hours The top suspect, Claudio Valente, a Portuguese national who had studied physics at the same Lisbon university as Loureiro in the 1990s, had already opened fire at Brown University two days earlier, killing two students. Valente spent three years conducting surveillance on the Brown campus before the attack. But between the Brown shooting on December 13 and Loureiro's murder on December 15, Valente's movements go largely unaccounted for. How he located Loureiro, confirmed he was home, and timed the approach remains unexplained. Loureiro had just returned from a trip to Washington. Valente's confession videos describe both attacks as intentional but leave the motive for targeting Loureiro maddeningly vague. 9. The Caltech Astronomer Was Killed by a Man a Judge Had Already Released On February 16, 2026, Caltech astronomer Carl Grillmair was shot dead on his porch in Llano, California. Two months earlier, 29-year-old Freddy Snyder had been arrested on Grillmair's property carrying a loaded unregistered rifle. Despite the trespassing charge and an attempted jail escape, a judge released Snyder on his own recognizance and told him to take a gun safety course. Snyder returned and killed him. Grillmair had recently begun work on the Vera Rubin Observatory, the most powerful sky survey ever built, one capable of detecting interstellar objects and potentially UFOs in Earth's orbit. He was also a renowned polymathic genius, like Loureiro. Every image Rubin captures is reviewed and filtered by the Pentagon before scientists are allowed to see it. Investigators have found no motive and no prior relationship between the two men. Why This Matters But the concentration of loss at the exact frontier of fusion, propulsion, advanced materials, and space surveillance is difficult to dismiss. Congressman Tim Burchett told the DailyMail the numbers seem very high in these certain areas of research. Constitutional lawyer Danny Sheehan described a covert circle of 24 retired officials from the DOD, CIA, and private aerospace quietly working to bring classified UAP programs back under government oversight. The real crown jewels are not weapons or hard drives. They are the minds that solved the problems no one else could. And those minds keep disappearing. Full episode documents this in detail 👇
2:14

Here are the facts about “The Missing Scientists” story: The Air Force general who ran Wright-Patterson's research lab, oversaw the Pentagon's most classified programs, and was named in WikiLeaks emails as a central figure in UFO disclosure vanished from his Albuquerque home without triggering a single surveillance camera. Eight days earlier, Trump ordered the Pentagon to begin releasing UFO files. In the same twelve-month window, the NASA scientist who co-invented a strategic rocket engine super alloy at the same Wright Patterson lab overseen by the General disappeared on a hike, an MIT fusion physicist (who was as deep as anybody on “fast magnetic reconnection problems” which are the fundamental bottleneck to widescale nuclear fusion) was assassinated on his doorstep, and a very-polymathic Caltech astronomer working on the state-of-the-art Vera Rubin Observatory was shot dead on his porch. There is a pattern: scientists at the frontier of fusion, exotic propulsion, advanced metallurgy, and space surveillance are being silenced and taken out. We trace this history back decades and place it in its proper context: scientific suppression in frontier areas isn’t new; it’s an almost-ubiquitous historical artifact. 1. The General Who Knew Everything Vanished Without a Trace On February 27, 2026, retired Major General Neil McCasland left his Albuquerque home on foot. He left behind his phone, prescription glasses, and smartwatch. He took a red backpack, his wallet, and a .38 caliber revolver. His wife reported him missing within three hours. Despite FBI involvement, the Air Force Office of Special Investigations, search dogs, drones, helicopters, horseback teams, FLIR sweeps, and 700 canvassed households, no confirmed sighting of McCasland has ever surfaced. Surveillance cameras covered both ends of his street. None captured his direction of travel. After weeks of searching, the only item recovered was a gray Air Force sweatshirt a mile east of his house. Testing could not confirm it was his. 2. McCasland Ran the Pentagon's Most Classified Science Programs McCasland graduated from the Air Force Academy, earned a PhD in astronautical engineering from MIT on a Hertz Fellowship, and studied at Harvard's Kennedy School. From 2009 to 2011, he served as Director of Special Programs in the office of the Undersecretary of Defense for Acquisitions, Technology, and Logistics, the office that oversees acquisition special access programs accounting for roughly 75 to 80 percent of all SAPs in the Department of Defense. From 2011 to 2013, he commanded the Air Force Research Laboratory at Wright-Patterson Air Force Base, overseeing a $2.2 billion portfolio spanning advanced materials, exotic propulsion, and future weapons. Wright-Patterson is the alleged home of the Roswell crash debris. McCasland ran the entire lab. 3. WikiLeaks Emails Placed McCasland at the Center of UFO Disclosure In 2016, hacked emails from Hillary Clinton's campaign chairman John Podesta revealed correspondence from Tom DeLonge naming McCasland directly. DeLonge wrote that McCasland helped assemble his advisory team, was deeply aware of what DeLonge was trying to achieve, and had received a four-hour briefing on the project. DeLonge added that McCasland ran the laboratory at Wright-Patterson where the Roswell material was shipped. McCasland's wife Susan later acknowledged he was caught up in the Russian hack and had less contact with DeLonge after the emails were released. Less, not zero. A Google Calendar invite in the same email dump shows Susan herself accepted an invitation for a DeLonge-Podesta meeting. 4. Disappeared Eight Days After Trump's UFO Disclosure Order On February 19, 2026, Trump announced on Truth Social that he was directing the Pentagon to begin releasing government files related to aliens and UAP. Eight days later, McCasland was gone. If McCasland was involved in legacy UFO programs, the release order could have been a pressure point. His wife had reported that both of them were seeing a doctor for anxiety, poor sleep, and memory issues. She also said he had made a comment about not wanting to live if his body and mind kept deteriorating, but characterized it as an offhand remark, not a genuine threat. She later stated publicly that McCasland was not confused or disoriented. The week before he vanished, he cycled 60 miles. 5. The Super Alloy Scientist Vanished 30 Feet Behind Her Friends On June 22, 2025, NASA material scientist Monica Reza disappeared while hiking near Mount Waterman in the Angeles National Forest. She was 30 feet behind her group and then she was gone. Search and rescue scoured the area for eight days by land and air. They found her beanie roughly 400 yards off the trail. Nothing else. Civilian volunteer teams continued searching for six months. No remains, no dens, no evidence of animal attack. Multiple searchers who descended the nearest ravine described the terrain as steep but not steep enough to be fatal. 6. Super Alloy Invention Was Developed Under McCasland's Research Lab Monica Reza and Dallas Hardwick co-invented Mondeloy, a nickel-based super alloy engineered to survive the crushing pressure and oxygen-rich conditions that had defeated every previous rocket engine material. The alloy ended America's dependence on Russia's RD-180 engine for sensitive national security launches. Mondeloy was co-developed through a partnership between the Air Force Research Laboratory and Pratt and Whitney Rocketdyne. Neil McCasland arrived at Wright-Patterson as AFRL commander in May 2011 while the Mondeloy program was still active. Dallas Hardwick was embedded in the lab's materials directorate until 2012. The scientist who solved one of America's hardest propulsion problems and the general who oversaw the lab where it happened both vanished within eight months of each other. 7. MIT's Top Fusion Physicist Was Shot in His Doorway On December 15, 2025, Nuno Loureiro was shot in the foyer of his Brookline home at 8:30 p.m. His wife, mother, and daughters were inside playing cards. His 12-year-old daughter had opened the door moments earlier and saw a man she thought was a delivery driver holding a package with a barcode. Loureiro replaced her at the door and was hit in the upper chest, abdomen, and both thighs. He was conscious and alert when paramedics arrived. He went into surgery that night and was pronounced dead the following morning. Loureiro was deputy director of MIT's Plasma Science and Fusion Center and one of the world's leading experts on magnetic reconnection, the key obstacle to sustained nuclear fusion. 8. His Killer Planned for Three Years, Then Went Dark for 48 Hours The top suspect, Claudio Valente, a Portuguese national who had studied physics at the same Lisbon university as Loureiro in the 1990s, had already opened fire at Brown University two days earlier, killing two students. Valente spent three years conducting surveillance on the Brown campus before the attack. But between the Brown shooting on December 13 and Loureiro's murder on December 15, Valente's movements go largely unaccounted for. How he located Loureiro, confirmed he was home, and timed the approach remains unexplained. Loureiro had just returned from a trip to Washington. Valente's confession videos describe both attacks as intentional but leave the motive for targeting Loureiro maddeningly vague. 9. The Caltech Astronomer Was Killed by a Man a Judge Had Already Released On February 16, 2026, Caltech astronomer Carl Grillmair was shot dead on his porch in Llano, California. Two months earlier, 29-year-old Freddy Snyder had been arrested on Grillmair's property carrying a loaded unregistered rifle. Despite the trespassing charge and an attempted jail escape, a judge released Snyder on his own recognizance and told him to take a gun safety course. Snyder returned and killed him. Grillmair had recently begun work on the Vera Rubin Observatory, the most powerful sky survey ever built, one capable of detecting interstellar objects and potentially UFOs in Earth's orbit. He was also a renowned polymathic genius, like Loureiro. Every image Rubin captures is reviewed and filtered by the Pentagon before scientists are allowed to see it. Investigators have found no motive and no prior relationship between the two men. Why This Matters But the concentration of loss at the exact frontier of fusion, propulsion, advanced materials, and space surveillance is difficult to dismiss. Congressman Tim Burchett told the DailyMail the numbers seem very high in these certain areas of research. Constitutional lawyer Danny Sheehan described a covert circle of 24 retired officials from the DOD, CIA, and private aerospace quietly working to bring classified UAP programs back under government oversight. The real crown jewels are not weapons or hard drives. They are the minds that solved the problems no one else could. And those minds keep disappearing. Full episode documents this in detail 👇

Jesse Michels

260,004 görüntüleme • 3 ay önce

🚨 THIS IS A MASTERCLASS: VP JD Vance just absolutely excoriated the whole premise behind globalism. Future of the Republican Party right here. He says the solution to globalists' hunger for cheap labor in other countries is to bring back American innovation. He is RIGHT. "Because there were two conceits that our leadership class had when it came to globalization. The first is assuming that we can separate the making of things from the design of things. The idea of globalization was that rich countries would move further up the value chain while the poor countries made the simpler things." "It turns out that the geographies that do the manufacturing get awfully good at the designing of things. There are network effects as you all well understand. The firms that design products work with firms that manufacture." "They share intellectual property. They share best practices, and they even sometimes share critical employees. Now we assume that other nations would always trail us in the value chain, but it turns out that as they got better at the low end of the value chain, they also started catching up on the higher end. We were squeezed from both ends. Now that was the first conceit of globalization." "I think the second is that cheap labor is fundamentally a crutch, and it's a crutch that inhibits innovation. I might even say that it's a drug that too many American firms got addicted to. Now if you can make a product more cheaply, it's far too easy to do that rather than to innovate." "And whether we were offshoring factories to cheap labor economies or importing cheap labor through our immigration system - cheap labor became the drug of Western economies." "And I'd say that if you look in nearly every country from Canada to the UK that imported large amounts of cheap labor, you've seen productivity stagnate. And I don't think that that's not a total happenstance. I think that the connection is very direct." "Now one of the debates you hear on the minimum wage, for instance, is that increases in the minimum wage force firms to automate. So a higher wage at McDonald's means more kiosks. And whatever your views on the wisdom of the minimum wage, I'm not gonna comment on that here. Companies innovating in the absence of cheap labor is a good thing." "I think most of you are not worried about getting cheaper and cheaper labor. You're worried about innovating, about building new things, about the old formulation of technology is doing more with less. You guys are all trying to do more with less every single day." "And so I I'd ask my friends, both on the the tech optimist side and on the populist side, not to see the failure of the logic of globalization as a failure of innovation. Indeed, I'd say that globalization's hunger for cheap labor is is a problem precisely because it's been bad for innovation." "Both our working people, our populace, and our innovators gathered here today have the same enemy, and the solution, I believe, is American innovation."
3:00

🚨 THIS IS A MASTERCLASS: VP JD Vance just absolutely excoriated the whole premise behind globalism. Future of the Republican Party right here. He says the solution to globalists' hunger for cheap labor in other countries is to bring back American innovation. He is RIGHT. "Because there were two conceits that our leadership class had when it came to globalization. The first is assuming that we can separate the making of things from the design of things. The idea of globalization was that rich countries would move further up the value chain while the poor countries made the simpler things." "It turns out that the geographies that do the manufacturing get awfully good at the designing of things. There are network effects as you all well understand. The firms that design products work with firms that manufacture." "They share intellectual property. They share best practices, and they even sometimes share critical employees. Now we assume that other nations would always trail us in the value chain, but it turns out that as they got better at the low end of the value chain, they also started catching up on the higher end. We were squeezed from both ends. Now that was the first conceit of globalization." "I think the second is that cheap labor is fundamentally a crutch, and it's a crutch that inhibits innovation. I might even say that it's a drug that too many American firms got addicted to. Now if you can make a product more cheaply, it's far too easy to do that rather than to innovate." "And whether we were offshoring factories to cheap labor economies or importing cheap labor through our immigration system - cheap labor became the drug of Western economies." "And I'd say that if you look in nearly every country from Canada to the UK that imported large amounts of cheap labor, you've seen productivity stagnate. And I don't think that that's not a total happenstance. I think that the connection is very direct." "Now one of the debates you hear on the minimum wage, for instance, is that increases in the minimum wage force firms to automate. So a higher wage at McDonald's means more kiosks. And whatever your views on the wisdom of the minimum wage, I'm not gonna comment on that here. Companies innovating in the absence of cheap labor is a good thing." "I think most of you are not worried about getting cheaper and cheaper labor. You're worried about innovating, about building new things, about the old formulation of technology is doing more with less. You guys are all trying to do more with less every single day." "And so I I'd ask my friends, both on the the tech optimist side and on the populist side, not to see the failure of the logic of globalization as a failure of innovation. Indeed, I'd say that globalization's hunger for cheap labor is is a problem precisely because it's been bad for innovation." "Both our working people, our populace, and our innovators gathered here today have the same enemy, and the solution, I believe, is American innovation."

Eric Daugherty

1,351,136 görüntüleme • 1 yıl önce

🆘Euthanasia🆘TODAY🆘 It’s a LONG SHOT😭PLEASE READ ENTIRE POST! PLEDGE, FOSTER in SoCal, TRANSPORT, ADOPT from any state in 🇺🇸 For six long months, Ginny has waited behind shelter walls. Six months of being overlooked. Six months of trying her very best. She has been through nearly 50 playgroups—where she was called a “rockstar,” a helper, even a greeter dog. She’s gone on car rides, photoshoots, walks, and even had the groomers fall in love with her after bathing her six times. Volunteers call her gentle, affectionate, and easygoing. And yet, one bad day has cost her everything. 💔 But here’s where the system failed her ⬇️ Ginny was adopted… and then returned after just ONE night. One night to adjust to a brand-new home, new smells, new people, and a resident dog. The adopter complained that Ginny was “hyper vigilant” around neighborhood dogs, which upset their own dog. So instead of time, patience, and slow introductions, Ginny was shoved right back into the shelter—and onto the euthanasia list.‼️ This is what so many people don’t realize: when you give up on a shelter dog after only a day or two, you are not just returning them. You are ACCELERATING their death sentence. Every quick return pushes them closer to the needle.😞 And now, despite six months of overwhelmingly good behavior, Ginny is being judged for one bad day when stress finally boiled over in playgroup. She made a mistake. She’s not perfect. None of us are. But should a single mistake erase half a year of proving herself? Should it cost her life? Ginny deserves better than this cruel system. She deserves a chance at real decompression, at being loved for more than one night, at a family who won’t give up on her. 😢 Ginny #A2181420 | 4 yrs old | 54 lbs ⏳Ginny’s time is up Saturday, 8/23 Please—don’t let her story end here. 📍 South LA Shelter – 1850 W. 60th Street, Los Angeles, CA 90047 📞 323-565-2161 or 888-452-7381 🎥 Pawpals-southlashelter
1:22

🆘Euthanasia🆘TODAY🆘 It’s a LONG SHOT😭PLEASE READ ENTIRE POST! PLEDGE, FOSTER in SoCal, TRANSPORT, ADOPT from any state in 🇺🇸 For six long months, Ginny has waited behind shelter walls. Six months of being overlooked. Six months of trying her very best. She has been through nearly 50 playgroups—where she was called a “rockstar,” a helper, even a greeter dog. She’s gone on car rides, photoshoots, walks, and even had the groomers fall in love with her after bathing her six times. Volunteers call her gentle, affectionate, and easygoing. And yet, one bad day has cost her everything. 💔 But here’s where the system failed her ⬇️ Ginny was adopted… and then returned after just ONE night. One night to adjust to a brand-new home, new smells, new people, and a resident dog. The adopter complained that Ginny was “hyper vigilant” around neighborhood dogs, which upset their own dog. So instead of time, patience, and slow introductions, Ginny was shoved right back into the shelter—and onto the euthanasia list.‼️ This is what so many people don’t realize: when you give up on a shelter dog after only a day or two, you are not just returning them. You are ACCELERATING their death sentence. Every quick return pushes them closer to the needle.😞 And now, despite six months of overwhelmingly good behavior, Ginny is being judged for one bad day when stress finally boiled over in playgroup. She made a mistake. She’s not perfect. None of us are. But should a single mistake erase half a year of proving herself? Should it cost her life? Ginny deserves better than this cruel system. She deserves a chance at real decompression, at being loved for more than one night, at a family who won’t give up on her. 😢 Ginny #A2181420 | 4 yrs old | 54 lbs ⏳Ginny’s time is up Saturday, 8/23 Please—don’t let her story end here. 📍 South LA Shelter – 1850 W. 60th Street, Los Angeles, CA 90047 📞 323-565-2161 or 888-452-7381 🎥 Pawpals-southlashelter

Iza S

12,980 görüntüleme • 11 ay önce

Ready to reveal an IP developed over the past seven months. Introducing The Ninth Step: Chapter I In 1959, nine Soviet ski hikers died in the northern part of the Ural Mountains ridge under strange circumstances. Only one came back. This is their story. Read more below: Inspiration The film takes inspiration from the real event of the Dyatlov Pass. The incident is so bizarre that, even today, the circumstances surrounding the nine hikers’ deaths remain almost impossible to comprehend, from inexplicably severed limbs to traces of radiation discovered on several of the bodies. To honor the era and the mystery, the film is crafted in a distinctly Russian inspired setting, with period-accurate clothing, décor, and a muted, haunting color palette reminiscent of 1970s - 1980s Soviet cinema. The visual language draws deeply from the unsettling style of Andrei Tarkovsky, amplifying the story’s unnerving implications and grounding it in a world that feels almost real even though its AI generated. What it does The film aims to place you, the viewer, in an unsettling position, not through exaggerated horror or wild fiction (except the beginning and end), but through its commitment to reality. It draws from documented locations, real individuals, and the actual chronology of events, layering subtle mysteries on top of an already disturbing truth. Throughout the story, carefully placed objects and clues invite both confusion and curiosity, prompting the audience to ask “How could that happen?” and just as hauntingly, “Wait… that actually makes perfect sense. How we built it The primary goal of this project was to persuade the audience that they are watching a real film shot during that era, a lost relic documenting what truly happened during the Dyatlov Pass incident. Every aspect of the visual language was custom built to mirror the authentic look of Soviet era filmmaking, designed to evoke a deep sense of nostalgia and credibility. Narratively, it uses a “full-circle ending” structure: the film opens with a brief, ambiguous glimpse of a location that carries no immediate meaning. Only at the very end does that moment snap into place, recontextualizing the opening and closing the story arc, at least for now. Some shots were engineered for narrative logic, others to evoke an emotional unraveling, and every transition, whether a match cut, J-cut, or subtle visual bridge, was used deliberately. Nothing is accidental. Each choice was made to strengthen the illusion of authenticity and to ensure the film feels like a genuine artifact from the past. What's next for The Ninth Step This piece serves as an introduction to the true story behind The Ninth Step, a glimpse of what the project ultimately aims to explore and achieve. The long-term vision is to expand this into a fully funded narrative series capable of captivating not only those familiar with the real incident, but also viewers who have never encountered it before. The plan is to continue releasing additional episodic chapters, each one peeling back more layers of the mystery and pushing the story toward its full, expansive form.
3:30

Ready to reveal an IP developed over the past seven months. Introducing The Ninth Step: Chapter I In 1959, nine Soviet ski hikers died in the northern part of the Ural Mountains ridge under strange circumstances. Only one came back. This is their story. Read more below: Inspiration The film takes inspiration from the real event of the Dyatlov Pass. The incident is so bizarre that, even today, the circumstances surrounding the nine hikers’ deaths remain almost impossible to comprehend, from inexplicably severed limbs to traces of radiation discovered on several of the bodies. To honor the era and the mystery, the film is crafted in a distinctly Russian inspired setting, with period-accurate clothing, décor, and a muted, haunting color palette reminiscent of 1970s - 1980s Soviet cinema. The visual language draws deeply from the unsettling style of Andrei Tarkovsky, amplifying the story’s unnerving implications and grounding it in a world that feels almost real even though its AI generated. What it does The film aims to place you, the viewer, in an unsettling position, not through exaggerated horror or wild fiction (except the beginning and end), but through its commitment to reality. It draws from documented locations, real individuals, and the actual chronology of events, layering subtle mysteries on top of an already disturbing truth. Throughout the story, carefully placed objects and clues invite both confusion and curiosity, prompting the audience to ask “How could that happen?” and just as hauntingly, “Wait… that actually makes perfect sense. How we built it The primary goal of this project was to persuade the audience that they are watching a real film shot during that era, a lost relic documenting what truly happened during the Dyatlov Pass incident. Every aspect of the visual language was custom built to mirror the authentic look of Soviet era filmmaking, designed to evoke a deep sense of nostalgia and credibility. Narratively, it uses a “full-circle ending” structure: the film opens with a brief, ambiguous glimpse of a location that carries no immediate meaning. Only at the very end does that moment snap into place, recontextualizing the opening and closing the story arc, at least for now. Some shots were engineered for narrative logic, others to evoke an emotional unraveling, and every transition, whether a match cut, J-cut, or subtle visual bridge, was used deliberately. Nothing is accidental. Each choice was made to strengthen the illusion of authenticity and to ensure the film feels like a genuine artifact from the past. What's next for The Ninth Step This piece serves as an introduction to the true story behind The Ninth Step, a glimpse of what the project ultimately aims to explore and achieve. The long-term vision is to expand this into a fully funded narrative series capable of captivating not only those familiar with the real incident, but also viewers who have never encountered it before. The plan is to continue releasing additional episodic chapters, each one peeling back more layers of the mystery and pushing the story toward its full, expansive form.

Alterverse Studio

10,933 görüntüleme • 8 ay önce

🚨 Jon Bray's RØDE Wireless Microphone Theory VS. Tai Norman's Charlie Kirk: Operation 322 2-Shot Theory ⚠️ It is CRITICAL to understand that Jon Bray INTENTIONALLY left out EXTREMELY IMPORTANT video frames from his final analysis... I challenged him on this months ago. 🔑 He doubled down on his flawed approach. Fast forward to today... Candace Owens, Baron Coleman, Stew Peters, and many others are now starting to parrot the claim that Charlie was blown up by his RØDE microphone. These are our friends. We can't let them go out like this. Nope! We are all a family in this Charlie Kirk investigative community, and when your family is off track you don't just write them off. So I don't want to just write them off, but instead I want to give them a chance to correct the record. This DEBUNKED claim they are all following now was popularized by a fake anonymous Iranian hacker whose video was covered on TPV Sean's channel FIRST. Everything that these top channels are saying now, was said a couple months ago by this fake anonymous Iranian hacker. INTENTIONALLY Planted! Israel intentionally lifted up a debunked and failed theory so that it would take the heat off of itself regarding the traction I was beginning to see. I was getting up to 2,100 followers in one day, and many days with over 1,000 followers. 🙄 Then my brand new account, since October, started getting searched from Israel. Completely wild. All throughout this investigation I have come up with great finds to help to move the narrative forward. And that is exactly what Israel was feeling. They were feeling the pressure, so they responded. I was upset a few months ago that TPV Sean would air what was obviously their Israeli propaganda, but I am thankful that it was captured on video. This was a clear point of physical reference where all of these influencers got their information from... AND NONE OF THEM KNEW THAT THE INFORMATION WAS BUILT AROUND A LIE. They still don't... 🔑 None of the influencers I've listed have actually sat down to do a frame by frame analysis to see if Jon Bray's info actually checks out. I have! 🙋🏾‍♂️ Once you sit down and do the work, it's easy to see that this theory is extremely flawed and lacks any kind of scientific integrity. And once all of the context that Jon conveniently does not consider is factored in, that's when it is easy to see that the RØDE microphone theory is simply implausible. 🔑 Here are just 10 things that independent investigators are NOT considering when they champion that flawed theory... Also, 10 things that are 100% included & well explained in my CKO322 investigation: + Frames of BOTH bullets caught in flight at the time of the assassination. + BOTH bullet entry points with CLEAR definitive evidence of entry. + The INFRARED BEAM on the back of Charlie at the time he was shot. + The DOWNWARD Neck Cavitation + Full impenetrable explanation on the shirt puffing up anomaly, in combination with the raising of the front of the shirt anomaly. + Crack bang analysis showing the loud shots sound coming from Charlie's rear right. + Muzzle flash reflection seen in the window behind Charlie at the time of the rear shot. + The PRESSURIZED BULLET HOLE in the middle of Charlie's FREEDOM T-Shirt front center mass. + Dan Flood. I clearly show his hand signals and what the results of those signals became. When we see Dan Flood do his hand signals, his body steps back slightly as he ever so lightly leans into the sunlight to give the signal. This body movement was a SUBCONSCIOUS error while giving the go-ahead for the shot from Charlie's right. This small SLIGHT error is EXACTLY what I caught and highlighted in my CKO322 series. This was a operational mishap that was never meant to happen! + Rick Cutler. The recoil, bullet, bow shock swirl, and so much MORE. 🔑 GET READY!! I'm producing another video to add to my 8 hour CKO332 investigative series on YouTube. YOU DON'T WANT TO MISS THIS! STAY TUNED!! 🫡🙏🏾🇺🇸
10:00

🚨 Jon Bray's RØDE Wireless Microphone Theory VS. Tai Norman's Charlie Kirk: Operation 322 2-Shot Theory ⚠️ It is CRITICAL to understand that Jon Bray INTENTIONALLY left out EXTREMELY IMPORTANT video frames from his final analysis... I challenged him on this months ago. 🔑 He doubled down on his flawed approach. Fast forward to today... Candace Owens, Baron Coleman, Stew Peters, and many others are now starting to parrot the claim that Charlie was blown up by his RØDE microphone. These are our friends. We can't let them go out like this. Nope! We are all a family in this Charlie Kirk investigative community, and when your family is off track you don't just write them off. So I don't want to just write them off, but instead I want to give them a chance to correct the record. This DEBUNKED claim they are all following now was popularized by a fake anonymous Iranian hacker whose video was covered on TPV Sean's channel FIRST. Everything that these top channels are saying now, was said a couple months ago by this fake anonymous Iranian hacker. INTENTIONALLY Planted! Israel intentionally lifted up a debunked and failed theory so that it would take the heat off of itself regarding the traction I was beginning to see. I was getting up to 2,100 followers in one day, and many days with over 1,000 followers. 🙄 Then my brand new account, since October, started getting searched from Israel. Completely wild. All throughout this investigation I have come up with great finds to help to move the narrative forward. And that is exactly what Israel was feeling. They were feeling the pressure, so they responded. I was upset a few months ago that TPV Sean would air what was obviously their Israeli propaganda, but I am thankful that it was captured on video. This was a clear point of physical reference where all of these influencers got their information from... AND NONE OF THEM KNEW THAT THE INFORMATION WAS BUILT AROUND A LIE. They still don't... 🔑 None of the influencers I've listed have actually sat down to do a frame by frame analysis to see if Jon Bray's info actually checks out. I have! 🙋🏾‍♂️ Once you sit down and do the work, it's easy to see that this theory is extremely flawed and lacks any kind of scientific integrity. And once all of the context that Jon conveniently does not consider is factored in, that's when it is easy to see that the RØDE microphone theory is simply implausible. 🔑 Here are just 10 things that independent investigators are NOT considering when they champion that flawed theory... Also, 10 things that are 100% included & well explained in my CKO322 investigation: + Frames of BOTH bullets caught in flight at the time of the assassination. + BOTH bullet entry points with CLEAR definitive evidence of entry. + The INFRARED BEAM on the back of Charlie at the time he was shot. + The DOWNWARD Neck Cavitation + Full impenetrable explanation on the shirt puffing up anomaly, in combination with the raising of the front of the shirt anomaly. + Crack bang analysis showing the loud shots sound coming from Charlie's rear right. + Muzzle flash reflection seen in the window behind Charlie at the time of the rear shot. + The PRESSURIZED BULLET HOLE in the middle of Charlie's FREEDOM T-Shirt front center mass. + Dan Flood. I clearly show his hand signals and what the results of those signals became. When we see Dan Flood do his hand signals, his body steps back slightly as he ever so lightly leans into the sunlight to give the signal. This body movement was a SUBCONSCIOUS error while giving the go-ahead for the shot from Charlie's right. This small SLIGHT error is EXACTLY what I caught and highlighted in my CKO322 series. This was a operational mishap that was never meant to happen! + Rick Cutler. The recoil, bullet, bow shock swirl, and so much MORE. 🔑 GET READY!! I'm producing another video to add to my 8 hour CKO332 investigative series on YouTube. YOU DON'T WANT TO MISS THIS! STAY TUNED!! 🫡🙏🏾🇺🇸

WeAreNotGoingToMars

154,489 görüntüleme • 1 ay önce

Donald Trump has been secretly communicating with ‘man crush’ Jamie Dimon about White House agenda for months: sources | James Franey & Charles Gasparino, New York Post JPMorgan Chase CEO Jamie Dimon has been communicating with Donald Trump in recent months through secret back channels, helping the president-elect hammer out a policy agenda before and since his decisive White House victory, The Post has learned. The 68-year-old Wall Street titan — who, like 78-year-old Trump, grew up in Queens in New York City — has acted as “a sounding board” for the incoming commander-in-chief’s economic manifesto, four sources close to Trump’s transition team said. One GOP insider said the president-elect’s inner circle held a series of “no-holds-barred conversations” with Dimon — who at the time was rumored to be eyeing a government job himself. “They have been speaking regularly for months,” said another GOP source briefed on the situation. Three of the sources close to Trump said the secret back channel focused on plans for cutting government spending, banking regulation, taxes and trade. A company insider added that Trump’s top aides set up the calls, which continued after the election, to “create a bit of daylight” between the two men and stop details of the exchanges leaking. A spokesperson for the Trump transition team declined to comment. A JPMorgan spokesman also declined to comment. The quietly cozy relationship between Trump and Dimon has flourished despite the banker’s cryptic and tight-lipped tendencies when it comes to politics. Trump had floated Dimon’s name as a possible Treasury secretary pick in June and later claimed he had won his White House endorsement — despite a lack of any public statement from Dimon to that effect. Trump and Dimon also have continued to talk despite bouts of tension, including on Nov. 14 when the president-elect declared on Truth Social that Dimon ”will not be invited” to join his Cabinet. The banker promptly shot back: “I haven’t had a boss in 25 years and I’m not about ready to start.” The JPMorgan CEO, a registered Democrat who declined to back either candidate in the White House race, had even reportedly toyed with the idea of joining a Kamala Harris administration but then ruled himself out of leaving the Wall Street giant when her poll numbers tanked, The Post previously reported. On Nov. 22, The Post broke the news that Trump was also consulting with Blackrock CEO Larry Fink, a major Dem donor, on policy issues. Nevertheless, the former” Apprentice” star’s admiration of Dimon, who has helmed JPMorgan Chase for nearly two decades and has a net worth estimated by Forbes at $2.6 billion, was described by one source as “a man crush.” Another individual close to the president-elect said Trump “greatly appreciated” it when Dimon, an avid reader of the New York Post, told CNBC in January the eventual election winner was “kind of right” to criticize illegal immigration and weak defense spending by America’s NATO allies. Dimon’s comments angered left-wingers within the Biden administration who then blacklisted Dimon from the White House in a fit of pique, as The Post exclusively reported. Two weeks ago, the JPMorgan boss said Trump’s threat of slapping tariffs on Uncle Sam’s major trading partners “will bring people to the table” if “done wisely.” Dimon, a vocal critic of current US banking rules, recently slammed the ‘onslaught’ of red tape drafted by Dem-backed regulators, launching a foul-mouthed tirade over a list of his most-hated pieces of legislation at a recent conference in New York, “It’s time to fight back…I’ve had it with this s–t,” Dimon told the stunned audience. The JPMorgan boss singled out regulations aimed at keeping banks resistant to financial storms by forcing them to hold more capital on their balance sheets. The proposal, known as Basel III, would see major lenders raise that emergency buffer by 9%. “Things are becoming unfair and unjust, and they are hurting companies, a lot of these rules are hurting lower-paid individuals,” Dimon said on Oct. 28. Dimon, who pulled down a salary of $34.5 million last year, urged the US government in his annual letter to shareholders last May to deliver “effective policy-making” issuing a warning that “a politician’s dream is a businessman’s nightmare.” Wells Fargo analyst Mike Mayo said Trump’s second term as president will present “the biggest inflection point for banking regulation in three decades.” “This is Jamie’s vindication,” Mayo told The Post. “He is looking at all the bureaucracy and red tape and saying enough of the regulatory theater. It’s like banking with one hand tied behind your back” Read more:
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Donald Trump has been secretly communicating with ‘man crush’ Jamie Dimon about White House agenda for months: sources | James Franey & Charles Gasparino, New York Post JPMorgan Chase CEO Jamie Dimon has been communicating with Donald Trump in recent months through secret back channels, helping the president-elect hammer out a policy agenda before and since his decisive White House victory, The Post has learned. The 68-year-old Wall Street titan — who, like 78-year-old Trump, grew up in Queens in New York City — has acted as “a sounding board” for the incoming commander-in-chief’s economic manifesto, four sources close to Trump’s transition team said. One GOP insider said the president-elect’s inner circle held a series of “no-holds-barred conversations” with Dimon — who at the time was rumored to be eyeing a government job himself. “They have been speaking regularly for months,” said another GOP source briefed on the situation. Three of the sources close to Trump said the secret back channel focused on plans for cutting government spending, banking regulation, taxes and trade. A company insider added that Trump’s top aides set up the calls, which continued after the election, to “create a bit of daylight” between the two men and stop details of the exchanges leaking. A spokesperson for the Trump transition team declined to comment. A JPMorgan spokesman also declined to comment. The quietly cozy relationship between Trump and Dimon has flourished despite the banker’s cryptic and tight-lipped tendencies when it comes to politics. Trump had floated Dimon’s name as a possible Treasury secretary pick in June and later claimed he had won his White House endorsement — despite a lack of any public statement from Dimon to that effect. Trump and Dimon also have continued to talk despite bouts of tension, including on Nov. 14 when the president-elect declared on Truth Social that Dimon ”will not be invited” to join his Cabinet. The banker promptly shot back: “I haven’t had a boss in 25 years and I’m not about ready to start.” The JPMorgan CEO, a registered Democrat who declined to back either candidate in the White House race, had even reportedly toyed with the idea of joining a Kamala Harris administration but then ruled himself out of leaving the Wall Street giant when her poll numbers tanked, The Post previously reported. On Nov. 22, The Post broke the news that Trump was also consulting with Blackrock CEO Larry Fink, a major Dem donor, on policy issues. Nevertheless, the former” Apprentice” star’s admiration of Dimon, who has helmed JPMorgan Chase for nearly two decades and has a net worth estimated by Forbes at $2.6 billion, was described by one source as “a man crush.” Another individual close to the president-elect said Trump “greatly appreciated” it when Dimon, an avid reader of the New York Post, told CNBC in January the eventual election winner was “kind of right” to criticize illegal immigration and weak defense spending by America’s NATO allies. Dimon’s comments angered left-wingers within the Biden administration who then blacklisted Dimon from the White House in a fit of pique, as The Post exclusively reported. Two weeks ago, the JPMorgan boss said Trump’s threat of slapping tariffs on Uncle Sam’s major trading partners “will bring people to the table” if “done wisely.” Dimon, a vocal critic of current US banking rules, recently slammed the ‘onslaught’ of red tape drafted by Dem-backed regulators, launching a foul-mouthed tirade over a list of his most-hated pieces of legislation at a recent conference in New York, “It’s time to fight back…I’ve had it with this s–t,” Dimon told the stunned audience. The JPMorgan boss singled out regulations aimed at keeping banks resistant to financial storms by forcing them to hold more capital on their balance sheets. The proposal, known as Basel III, would see major lenders raise that emergency buffer by 9%. “Things are becoming unfair and unjust, and they are hurting companies, a lot of these rules are hurting lower-paid individuals,” Dimon said on Oct. 28. Dimon, who pulled down a salary of $34.5 million last year, urged the US government in his annual letter to shareholders last May to deliver “effective policy-making” issuing a warning that “a politician’s dream is a businessman’s nightmare.” Wells Fargo analyst Mike Mayo said Trump’s second term as president will present “the biggest inflection point for banking regulation in three decades.” “This is Jamie’s vindication,” Mayo told The Post. “He is looking at all the bureaucracy and red tape and saying enough of the regulatory theater. It’s like banking with one hand tied behind your back” Read more:

Owen Gregorian

98,823 görüntüleme • 1 yıl önce

Dr. Steven Greer just revealed three images from extraterrestrial contact events. One entity is from the Andromeda Galaxy. Another is a trans-dimensional entity “a billion years more advanced” than humans. And the third entity healed a man’s hearing. Here is the full breakdown of these three ET contact events: “This one is the light being.” “You can see kind of the eyes glowing.” “This was trans-dimensional, so they traverse from one star system to here through other dimensions.” “This particular being is a species probably around a billion years ahead of humans.” The second ET was given the name Bijou. “We saw this beautiful sphere of light come in … and there was a group of ETs talking right outside our circle.” “A language you couldn’t understand.” “I’m looking with night scopes, and there’s nothing there.” “Suddenly, this sphere comes back and illuminates all of our seats with this weird light.” “At that point, Raven took a picture, and in the picture frame was Bijou, floating about 3-4 feet [above] the desert and waving to us.” “He’s from the Andromeda Galaxy.” The third ET was called “the healer.” “This is a species—it’s hard to tell because it’s at night, it’s sort of a triangular head.” “This ET came in first by hearing footsteps behind us, but there was nobody there.” “There was a man to my left named David Marconi … he had a great Nikon camera on a tripod with a remote to take a picture without touching it under low light conditions.” “And at about that moment, there was a beautiful red teardrop object that appeared.” “The instant that that appeared, he took the picture.” “But instead of seeing a ruby red light, the … camera captured the whole person.” “He’s about five feet tall.” “This older gentleman … stayed out there all night.” “Towards the end, he had to go to bed, and he just parenthetically said, could you help me with my hearing?” “When he was a teenager, he had almost total hearing loss.” “And he went to bed and woke up with perfect hearing.” Dr. Steven Greer
5:29

Dr. Steven Greer just revealed three images from extraterrestrial contact events. One entity is from the Andromeda Galaxy. Another is a trans-dimensional entity “a billion years more advanced” than humans. And the third entity healed a man’s hearing. Here is the full breakdown of these three ET contact events: “This one is the light being.” “You can see kind of the eyes glowing.” “This was trans-dimensional, so they traverse from one star system to here through other dimensions.” “This particular being is a species probably around a billion years ahead of humans.” The second ET was given the name Bijou. “We saw this beautiful sphere of light come in … and there was a group of ETs talking right outside our circle.” “A language you couldn’t understand.” “I’m looking with night scopes, and there’s nothing there.” “Suddenly, this sphere comes back and illuminates all of our seats with this weird light.” “At that point, Raven took a picture, and in the picture frame was Bijou, floating about 3-4 feet [above] the desert and waving to us.” “He’s from the Andromeda Galaxy.” The third ET was called “the healer.” “This is a species—it’s hard to tell because it’s at night, it’s sort of a triangular head.” “This ET came in first by hearing footsteps behind us, but there was nobody there.” “There was a man to my left named David Marconi … he had a great Nikon camera on a tripod with a remote to take a picture without touching it under low light conditions.” “And at about that moment, there was a beautiful red teardrop object that appeared.” “The instant that that appeared, he took the picture.” “But instead of seeing a ruby red light, the … camera captured the whole person.” “He’s about five feet tall.” “This older gentleman … stayed out there all night.” “Towards the end, he had to go to bed, and he just parenthetically said, could you help me with my hearing?” “When he was a teenager, he had almost total hearing loss.” “And he went to bed and woke up with perfect hearing.” Dr. Steven Greer

Holden Culotta

132,664 görüntüleme • 7 ay önce

Pressing, transitions and goals in Canada! After the hiring of Jesse Marsch this week by Canada Soccer , there has been lots of talk about pressing and transitions in the football community. This is THE style of play that we have used for the last 5 years with Alliance United FC in @L1OMens and will give you some insight in how this can look. We went away from the 'possession' based 1-4-3-3 that everyone has been using as the 'best way' to develop players and win games. Many say this is the 'right way' of playing. However, we use the players' abilities and inabilities as the starting point and based on players produced in Canada, within our youth system, this is the way we think will get us the best results and help our players get to the next level. You need to understand youth development in our country to understand what is and what is not being taught to young players. This is not a negative outlook, it is just looking at the reality. Many mistake this style of play as just non-stop pressing and chaos. Yes, these two aspects are important but it is a much more deliberate and planned way of playing that is used to predict where the opposition will play the ball, where the ball can be dictated and what areas the opposition leave open for transitions when they attack. In 2019, I was introduced to Ernst Tanner former Academy Director of Red Bull Salzburg and current Philadelphia Union Sporting Director that has led the club to being one of the top clubs in MLS and arguably the best academies in North America the last few years. Both organisations are known for their pressing and fast transitions in addition to producing top players. He became a mentor to me and gave me insights and education on this style of play. He has changed the way I look at football. Every season we try to recruit players that can play this style that I will describe below and we do not waiver in the way we played. Every game since 2019 Alliance United FC have played either in a 1-4-2-2-2 or a 1-4-4-2 midfield diamond....every game. We have no secrets in how we play. We focus on defending, pressing, forcing teams into mistakes and transition football. It is important to understand that we do not care how much possession we have and we actually want the opposition to have the ball most of the time. Stats in football show that only when a team has the ball 70% or more in a match their is a correlation to winning. Anything less is not correlated to winning in a certain match. In addition, 80% of goals are scored under 5 passes or less and under 10 seconds when regaining possession. We follow the trend! So, here are some important points based on the video: a) Pressing higher up the pitch when possible. All 11 players are committed to the team intention (principles) and if anybody is not committed and does not contribute to this style of play, they do not play. There is no leeway on this. Either you are in 100% in or you are not. All it takes is one player to not commit and the plan will not work. If we do not win the ball on the high press, everyone is to drop behind the ball as fast as possible to restart the press closer to our goal. b) Based on the opponent's scouting we press certain players and decide if will press closer to the sideline and 'pin' the player to the sideline or we dictate the passes and dribbles centrally and 'surround' the player to win the ball in central positions. We also decide if we will sometimes drop lower for the opposition to advance so we can play behind them when winning the ball. This is done if we scout that the opposition centre-backs are slower than our two strikers. This means we will 'outrun' them in the space they leave behind. c) When winning the ball we want to exploit space behind their backline as the priority which means that a player(s) need to be passing options behind the backline and preferably centrally which is closer to the goal, players winning the ball has to look to play the ball to the player furthest up the pitch. Possession is not a priority but scoring goals as fast as possible is. d) When winning the ball we stay as central as possible with passes and dribbling. We use the width of the penalty area (44 yards) as the preferable dimension when transitioning. We want to stay within this width. The wider the team plays the ball, the more time the opposition has to block the middle. PLAY AS VERTICALLY AS POSSIBLE! The emphasis is to get the ball to the two strikers and play 1v1 against the CBs. e) We know that most youth players grow up playing against a 1-4-3-3 which means there is one central striker meaning the centre-backs one back press and one can cover. Against 2 strikers this is not possible and many centre-backs do not have the ability to play 1v1 with space behind them. They are not taught the cues to step and press or drop to protect space behind them. They are never taught at youth level. We exploit this deficiency. e) All 11 players must get up the pitch to close the spaces if we lose the ball from our attacking transition so the opposition cannot transition against us and we can counter-press. f) A goal is the best outcome based on the objective of attacking but at the minimum we want to get a shot on goal from a transition. This is a quick overview of a different way of playing football that Canada will see with the Men's National Team.
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Pressing, transitions and goals in Canada! After the hiring of Jesse Marsch this week by Canada Soccer , there has been lots of talk about pressing and transitions in the football community. This is THE style of play that we have used for the last 5 years with Alliance United FC in @L1OMens and will give you some insight in how this can look. We went away from the 'possession' based 1-4-3-3 that everyone has been using as the 'best way' to develop players and win games. Many say this is the 'right way' of playing. However, we use the players' abilities and inabilities as the starting point and based on players produced in Canada, within our youth system, this is the way we think will get us the best results and help our players get to the next level. You need to understand youth development in our country to understand what is and what is not being taught to young players. This is not a negative outlook, it is just looking at the reality. Many mistake this style of play as just non-stop pressing and chaos. Yes, these two aspects are important but it is a much more deliberate and planned way of playing that is used to predict where the opposition will play the ball, where the ball can be dictated and what areas the opposition leave open for transitions when they attack. In 2019, I was introduced to Ernst Tanner former Academy Director of Red Bull Salzburg and current Philadelphia Union Sporting Director that has led the club to being one of the top clubs in MLS and arguably the best academies in North America the last few years. Both organisations are known for their pressing and fast transitions in addition to producing top players. He became a mentor to me and gave me insights and education on this style of play. He has changed the way I look at football. Every season we try to recruit players that can play this style that I will describe below and we do not waiver in the way we played. Every game since 2019 Alliance United FC have played either in a 1-4-2-2-2 or a 1-4-4-2 midfield diamond....every game. We have no secrets in how we play. We focus on defending, pressing, forcing teams into mistakes and transition football. It is important to understand that we do not care how much possession we have and we actually want the opposition to have the ball most of the time. Stats in football show that only when a team has the ball 70% or more in a match their is a correlation to winning. Anything less is not correlated to winning in a certain match. In addition, 80% of goals are scored under 5 passes or less and under 10 seconds when regaining possession. We follow the trend! So, here are some important points based on the video: a) Pressing higher up the pitch when possible. All 11 players are committed to the team intention (principles) and if anybody is not committed and does not contribute to this style of play, they do not play. There is no leeway on this. Either you are in 100% in or you are not. All it takes is one player to not commit and the plan will not work. If we do not win the ball on the high press, everyone is to drop behind the ball as fast as possible to restart the press closer to our goal. b) Based on the opponent's scouting we press certain players and decide if will press closer to the sideline and 'pin' the player to the sideline or we dictate the passes and dribbles centrally and 'surround' the player to win the ball in central positions. We also decide if we will sometimes drop lower for the opposition to advance so we can play behind them when winning the ball. This is done if we scout that the opposition centre-backs are slower than our two strikers. This means we will 'outrun' them in the space they leave behind. c) When winning the ball we want to exploit space behind their backline as the priority which means that a player(s) need to be passing options behind the backline and preferably centrally which is closer to the goal, players winning the ball has to look to play the ball to the player furthest up the pitch. Possession is not a priority but scoring goals as fast as possible is. d) When winning the ball we stay as central as possible with passes and dribbling. We use the width of the penalty area (44 yards) as the preferable dimension when transitioning. We want to stay within this width. The wider the team plays the ball, the more time the opposition has to block the middle. PLAY AS VERTICALLY AS POSSIBLE! The emphasis is to get the ball to the two strikers and play 1v1 against the CBs. e) We know that most youth players grow up playing against a 1-4-3-3 which means there is one central striker meaning the centre-backs one back press and one can cover. Against 2 strikers this is not possible and many centre-backs do not have the ability to play 1v1 with space behind them. They are not taught the cues to step and press or drop to protect space behind them. They are never taught at youth level. We exploit this deficiency. e) All 11 players must get up the pitch to close the spaces if we lose the ball from our attacking transition so the opposition cannot transition against us and we can counter-press. f) A goal is the best outcome based on the objective of attacking but at the minimum we want to get a shot on goal from a transition. This is a quick overview of a different way of playing football that Canada will see with the Men's National Team.

Ilya Orlov

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