Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

Hallucination. ThatMob: RedRoninVA Comic by: Sabba 𓂃 ࣪˖ ִֶָ𐀔 (Not doing commissions!) #verity #mcyt #thatmob

JustLikeDenjiFr's profile picture

LikeDenji!VA

2,380 subscribers

48,067 Aufrufe • vor 1 Tag •via X (Twitter)

KunstComedy#verity#mcyt#thatmob
LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

Care. Comic by: Sabba 𓂃 ࣪˖ ִֶָ𐀔 (Not doing commissions!) ThatMob: RedRoninVA #verity #mcyt #minecraft
1:55

Care. Comic by: Sabba 𓂃 ࣪˖ ִֶָ𐀔 (Not doing commissions!) ThatMob: RedRoninVA #verity #mcyt #minecraft

LikeDenji!VA

83,118 Aufrufe • vor 9 Tagen

You lie. Comic by skakalka_404 on TikTok! ThatMob: RedRoninVA #verity #mcyt #minecraft
1:19

You lie. Comic by skakalka_404 on TikTok! ThatMob: RedRoninVA #verity #mcyt #minecraft

LikeDenji!VA

104,473 Aufrufe • vor 15 Tagen

You have ME. Comic by skakalka_404 on TikTok! ThatMob: RedRoninVA #verity #mcyt #minecraft
1:13

You have ME. Comic by skakalka_404 on TikTok! ThatMob: RedRoninVA #verity #mcyt #minecraft

LikeDenji!VA

59,164 Aufrufe • vor 20 Tagen

Verity no one's taking him from you 😭 #thatmob #verity #mcyt
0:25

Verity no one's taking him from you 😭 #thatmob #verity #mcyt

Zakkun🍉 COMMS OPEN

55,699 Aufrufe • vor 1 Monat

⚠️ Gore & Spoilers for P3 Something is Knocking at Your Door #verity #thatmob #mcyt #minecrafthorror
0:26

Sensitive content

⚠️ Gore & Spoilers for P3 Something is Knocking at Your Door #verity #thatmob #mcyt #minecrafthorror

jellies&stars

122,126 Aufrufe • vor 6 Tagen

What a weird thing to do... Nice comic by: Zwagyzonk Y/N: RedRoninVA #verity #mcyt #minecraft
0:21

What a weird thing to do... Nice comic by: Zwagyzonk Y/N: RedRoninVA #verity #mcyt #minecraft

LikeDenji!VA

281,463 Aufrufe • vor 22 Tagen

CW: Inappropriate language Sabba 𓂃 ࣪˖ ִֶָ𐀔 come get your boys they're being emotionally constipated again 🙄 #robloxpressure #pressureroblox #pressureangler #sebastiansolace #pressureblitz #angusapprehension
1:19

CW: Inappropriate language Sabba 𓂃 ࣪˖ ִֶָ𐀔 come get your boys they're being emotionally constipated again 🙄 #robloxpressure #pressureroblox #pressureangler #sebastiansolace #pressureblitz #angusapprehension

PRESSURE TODAY 🍉

15,460 Aufrufe • vor 1 Jahr

I'm not smoker, but I'm also not an idiot Ft Innocently🏳️‍🌈Creating | COMMISSIONS OPEN as Dess Art by: t #Dessriel #DELTARUNE #DessHoliday #asrieldreemurr #voiceacting #comic #Smoking
0:35

Sensitive content

I'm not smoker, but I'm also not an idiot Ft Innocently🏳️‍🌈Creating | COMMISSIONS OPEN as Dess Art by: t #Dessriel #DELTARUNE #DessHoliday #asrieldreemurr #voiceacting #comic #Smoking

Nighriel Daray

55,480 Aufrufe • vor 10 Monaten

[For archive] June 11th, 2026 - User phighting.fandub (Not affiliated with PHANDUB! | PHIGHTING! Voice Acting) posted a dub of ypoomav's mini comic featuring Sword and Ban Hammer. VAs: Sword: sulitsed VA Ban Hammer: bryanhuiva on TikTok Windforce: officialjuhin on YouTube (Submitted by ⋆. 𐙚˚ Elise’s Head Nurse ⊹ ࣪ ˖ Ი𐑼)
0:40

[For archive] June 11th, 2026 - User phighting.fandub (Not affiliated with PHANDUB! | PHIGHTING! Voice Acting) posted a dub of ypoomav's mini comic featuring Sword and Ban Hammer. VAs: Sword: sulitsed VA Ban Hammer: bryanhuiva on TikTok Windforce: officialjuhin on YouTube (Submitted by ⋆. 𐙚˚ Elise’s Head Nurse ⊹ ࣪ ˖ Ი𐑼)

Days since PHIGHTING! got into mainstream media

26,205 Aufrufe • vor 29 Tagen

𖡼܀ 𓂃 ࣪˖ ִֶָ𐀔 ᵉᵃᶜʰ ˢᵉᵃˢᵒⁿ ᵃ ᵖʳᵒᵐⁱˢᵉ𓂃˚‧ 𓆸 ☘︎ 𝐇𝐨𝐧𝐠𝐝𝐚𝐞 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐒𝐢𝐠𝐧𝐚𝐠𝐞 (𝟒 𝐋𝐚𝐫𝐠𝐞 𝐒𝐜𝐫𝐞𝐞𝐧𝐬 𝐨𝐧 𝐓𝐫𝐚𝐧𝐬𝐟𝐞𝐫 𝐏𝐚𝐬𝐬𝐚𝐠𝐞) 𔘓 Period: June 5, 2025 - June 15, 2025 𔘓 Operating Hours: 05:00 - 01:00 KST 𔘓 Frequency: 20s, More than 50 Times/Day 𔘓 Location: Line 2, Hongik University Station Transfer Passage (2호선 홍대입구역 환승통로) Chapter 2 of our birthday project is up and running! We invite everyone to witness the beauty of Sung Hanbin in person in the heart of Hongdae, across four dazzling digital screens. Experience journey through the four seasons for ten days and let yourself be swept away by the warmth of spring, the passion of summer, the joy of autumn, and the romance of winter. Don't forget to share this beautiful moment with us. SHBVT 💙 #SUNGHANBIN #성한빈 #ソンハンビン #ZEROBASEONE #제로베이스원
0:20

𖡼܀ 𓂃 ࣪˖ ִֶָ𐀔 ᵉᵃᶜʰ ˢᵉᵃˢᵒⁿ ᵃ ᵖʳᵒᵐⁱˢᵉ𓂃˚‧ 𓆸 ☘︎ 𝐇𝐨𝐧𝐠𝐝𝐚𝐞 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐒𝐢𝐠𝐧𝐚𝐠𝐞 (𝟒 𝐋𝐚𝐫𝐠𝐞 𝐒𝐜𝐫𝐞𝐞𝐧𝐬 𝐨𝐧 𝐓𝐫𝐚𝐧𝐬𝐟𝐞𝐫 𝐏𝐚𝐬𝐬𝐚𝐠𝐞) 𔘓 Period: June 5, 2025 - June 15, 2025 𔘓 Operating Hours: 05:00 - 01:00 KST 𔘓 Frequency: 20s, More than 50 Times/Day 𔘓 Location: Line 2, Hongik University Station Transfer Passage (2호선 홍대입구역 환승통로) Chapter 2 of our birthday project is up and running! We invite everyone to witness the beauty of Sung Hanbin in person in the heart of Hongdae, across four dazzling digital screens. Experience journey through the four seasons for ten days and let yourself be swept away by the warmth of spring, the passion of summer, the joy of autumn, and the romance of winter. Don't forget to share this beautiful moment with us. SHBVT 💙 #SUNGHANBIN #성한빈 #ソンハンビン #ZEROBASEONE #제로베이스원

SUNG HANBIN VOTING TEAM

27,731 Aufrufe • vor 1 Jahr

I was terminated last week for nothing. Had I had enough, yes! My boss told me his business was built on God, Family, and Business but it doesn't reflect here. I was mocked by him, mistreated unfairly, not paid on th homes sold, and stolen from. I know it's trending on Facebook but this isn't a skit, this is my life. I'm doing what I must do to get my commissions and have started a go fund me. I be spoken with four lawyer already
1:38

I was terminated last week for nothing. Had I had enough, yes! My boss told me his business was built on God, Family, and Business but it doesn't reflect here. I was mocked by him, mistreated unfairly, not paid on th homes sold, and stolen from. I know it's trending on Facebook but this isn't a skit, this is my life. I'm doing what I must do to get my commissions and have started a go fund me. I be spoken with four lawyer already

H*****Z

219,239 Aufrufe • vor 3 Monaten

FREEBIE Behind the Scenes post! I reference Minecraft a lot on the comics because it's more well known, but 10yo's true love is a game called Terraria (basically Minecraft, but 2D and a LOT more stuff!) He's such a huge fan that his last TWO birthdays have been Terraria themed! With the internet being the cool place it is, after posting about my kids obsession, I became mutuals with the creator of Terraria, Redigit! HUGE Mom Cred earned!!! 😎 We got to chatting and at one point he said something along the lines of "So when's the Terraria comic coming?" He was joking, but now I wanted to make it happen! The problem was, Terraria is a bit more niche than Minecraft, so I needed a way to reference it while still appealing to everyone. I came up with the idea of Fran trying to keep up while Vincent switches through games. Terraria and Minecraft were obvious contenders, but I needed a #3. 8yo had been playing a lot of Pokémon, so that was my first idea, but Pokémon now looks very different to the classic look I wanted to draw. I was stumped on the 3rd game for a while until my kid brought up Animal Crossing! I'd drawn the family as Animal Crossing characters back in 2020 so it would be great to have an excuse to use them in a comic! I got to work on the comic by tracing real game characters and tweaking them to make them my own. I redid the Animal Crossing ones, making them closer to real cat characters in the game, but after looking back at my 2020 reedition, I decided to go with that one instead because it was more fun! When it came time to draw the Terraria characters, I showed 10yo the comic and asked if he could help me by designing some in-game characters I could trace. He was OUTRAGED! Not at the request, but at the fact Vincent goes back to Minecraft at the end instead of his beloved Terraria! I explained that the Minecraft movie was coming out, so it would be good for the comic to start with Minecraft Fran, but he wasn't having any of it and refused to help me until I changed it. Well what choice did I have?! I changed it! 😅 I didn't actually end up using the in-game characters he made (turned out easier to adapt models I found online) but I gleefully took his clever idea of doing game chat boxes instead of speech bubbles! So cool when your kids get old enough to be helpful!! ______________________________ If you enjoyed this post consider subscribing to my P@treon where I do write ups and videos like this for every comic! Link in bio!
1:00

FREEBIE Behind the Scenes post! I reference Minecraft a lot on the comics because it's more well known, but 10yo's true love is a game called Terraria (basically Minecraft, but 2D and a LOT more stuff!) He's such a huge fan that his last TWO birthdays have been Terraria themed! With the internet being the cool place it is, after posting about my kids obsession, I became mutuals with the creator of Terraria, Redigit! HUGE Mom Cred earned!!! 😎 We got to chatting and at one point he said something along the lines of "So when's the Terraria comic coming?" He was joking, but now I wanted to make it happen! The problem was, Terraria is a bit more niche than Minecraft, so I needed a way to reference it while still appealing to everyone. I came up with the idea of Fran trying to keep up while Vincent switches through games. Terraria and Minecraft were obvious contenders, but I needed a #3. 8yo had been playing a lot of Pokémon, so that was my first idea, but Pokémon now looks very different to the classic look I wanted to draw. I was stumped on the 3rd game for a while until my kid brought up Animal Crossing! I'd drawn the family as Animal Crossing characters back in 2020 so it would be great to have an excuse to use them in a comic! I got to work on the comic by tracing real game characters and tweaking them to make them my own. I redid the Animal Crossing ones, making them closer to real cat characters in the game, but after looking back at my 2020 reedition, I decided to go with that one instead because it was more fun! When it came time to draw the Terraria characters, I showed 10yo the comic and asked if he could help me by designing some in-game characters I could trace. He was OUTRAGED! Not at the request, but at the fact Vincent goes back to Minecraft at the end instead of his beloved Terraria! I explained that the Minecraft movie was coming out, so it would be good for the comic to start with Minecraft Fran, but he wasn't having any of it and refused to help me until I changed it. Well what choice did I have?! I changed it! 😅 I didn't actually end up using the in-game characters he made (turned out easier to adapt models I found online) but I gleefully took his clever idea of doing game chat boxes instead of speech bubbles! So cool when your kids get old enough to be helpful!! ______________________________ If you enjoyed this post consider subscribing to my P@treon where I do write ups and videos like this for every comic! Link in bio!

Litterbox Comics

30,483 Aufrufe • vor 1 Jahr

Meta just filed SEC documents tying executive pay to a $9 trillion valuation by 2031. $9 TRILLION. The company is worth $1.5 trillion today. That means they need a 500% increase in 5 years. And they're not the only ones playing this game. Tesla shareholders approved a $1 trillion pay package for Elon Musk in November tied to an $8.5 trillion valuation target. Let me be clear about what's happening here: These companies aren't building businesses anymore. They're building stock prices. Look at the actual numbers. Tesla posted its first annual revenue decline in history in 2025. Revenue fell 3%. Net income collapsed 47% year over year to $3.8 billion. Automotive revenue dropped 10%. The stock trades at 327 times trailing earnings. That's not a valuation. More like a hallucination. Musk's compensation requires 20 million vehicles a year, 1 million robotaxis, and 1 million humanoid robots. Tesla delivered roughly 1.8 million cars last year. Meanwhile Meta has incinerated nearly $80 billion in cumulative losses on Reality Labs since late 2020. The metaverse division's revenue doesn't even cover 16% of its operating costs. In 2025 alone, Reality Labs lost $19.2 billion. And stock-based compensation at Meta consumed 96% of the company's free cash flow last year. $42 billion. GONE. Not to shareholders or R&D with measurable returns, but to insiders betting on their own stock price. So here's what both companies are REALLY doing: Step 1: Make outrageous promises about AI, robotaxis, metaverse, humanoid robots. Step 2: Tie executive compensation to market cap targets, not earnings, not revenue, not cash flow. Step 3: Spend billions on unproven bets that may never generate returns. Step 4: Use the promise of future transformation to justify present valuations that have zero relationship to current fundamentals. This is the financialization of hype. In 45 years on Wall Street, I've watched this playbook run over and over. The technology changes. The pitch changes. But the ending doesn't. Stock prices follow earnings. Always have. Always will. And when the gap between the story and the numbers gets this wide, you already know how it ends.
0:59

Meta just filed SEC documents tying executive pay to a $9 trillion valuation by 2031. $9 TRILLION. The company is worth $1.5 trillion today. That means they need a 500% increase in 5 years. And they're not the only ones playing this game. Tesla shareholders approved a $1 trillion pay package for Elon Musk in November tied to an $8.5 trillion valuation target. Let me be clear about what's happening here: These companies aren't building businesses anymore. They're building stock prices. Look at the actual numbers. Tesla posted its first annual revenue decline in history in 2025. Revenue fell 3%. Net income collapsed 47% year over year to $3.8 billion. Automotive revenue dropped 10%. The stock trades at 327 times trailing earnings. That's not a valuation. More like a hallucination. Musk's compensation requires 20 million vehicles a year, 1 million robotaxis, and 1 million humanoid robots. Tesla delivered roughly 1.8 million cars last year. Meanwhile Meta has incinerated nearly $80 billion in cumulative losses on Reality Labs since late 2020. The metaverse division's revenue doesn't even cover 16% of its operating costs. In 2025 alone, Reality Labs lost $19.2 billion. And stock-based compensation at Meta consumed 96% of the company's free cash flow last year. $42 billion. GONE. Not to shareholders or R&D with measurable returns, but to insiders betting on their own stock price. So here's what both companies are REALLY doing: Step 1: Make outrageous promises about AI, robotaxis, metaverse, humanoid robots. Step 2: Tie executive compensation to market cap targets, not earnings, not revenue, not cash flow. Step 3: Spend billions on unproven bets that may never generate returns. Step 4: Use the promise of future transformation to justify present valuations that have zero relationship to current fundamentals. This is the financialization of hype. In 45 years on Wall Street, I've watched this playbook run over and over. The technology changes. The pitch changes. But the ending doesn't. Stock prices follow earnings. Always have. Always will. And when the gap between the story and the numbers gets this wide, you already know how it ends.

George Noble

279,691 Aufrufe • vor 3 Monaten

🚨 BREAKING: Senator Josh Hawley goes berserk on Frontier Airlines CEO Barry Biffle for PAYING staff "BOUNTIES" to harass paying customers who bring carry-on bags rather than pay extra for a checked bag. HAWLEY: "About 9 months ago, your chief commercial officer testified to me that Frontier pays its gate agents bounties to stop paying customers from carrying bags onto the plane. Is this still happening?" BIFFLE: "Not at the rate it was. We changed our-" HAWLEY: "Wait, wait, wait, wait. What does that mean? So are you still paying your gate agents to stop your customers from carrying bags on? You were paying them at least $10 every time you'd stop a paying customer from carrying on a bag. Your gate agents would get paid for it. Is that still happening?" BIFFLE: "We do offer incentives and commissions to stop people who didn't pay, not who paid, who didn't pay." HAWLEY: "You are paying your gate agents, so it sounds like you're still doing it! You're still paying them money to HARASS customers from bringing bags onto the airline by saying it's 'too big' or 'doesn't fit' in a little box or whatever the case may be. You're still doing it. That's your testimony today? Why?" BIFFLE: "I don't know that I would describe it that way, but we do provide incentives." HAWELY: "Why would you pay your own employees to harass your customers? Why is this good business practice?! [...] This is going to be the only business in the world I have heard of that pays your people to harass your own customers."
1:49

🚨 BREAKING: Senator Josh Hawley goes berserk on Frontier Airlines CEO Barry Biffle for PAYING staff "BOUNTIES" to harass paying customers who bring carry-on bags rather than pay extra for a checked bag. HAWLEY: "About 9 months ago, your chief commercial officer testified to me that Frontier pays its gate agents bounties to stop paying customers from carrying bags onto the plane. Is this still happening?" BIFFLE: "Not at the rate it was. We changed our-" HAWLEY: "Wait, wait, wait, wait. What does that mean? So are you still paying your gate agents to stop your customers from carrying bags on? You were paying them at least $10 every time you'd stop a paying customer from carrying on a bag. Your gate agents would get paid for it. Is that still happening?" BIFFLE: "We do offer incentives and commissions to stop people who didn't pay, not who paid, who didn't pay." HAWLEY: "You are paying your gate agents, so it sounds like you're still doing it! You're still paying them money to HARASS customers from bringing bags onto the airline by saying it's 'too big' or 'doesn't fit' in a little box or whatever the case may be. You're still doing it. That's your testimony today? Why?" BIFFLE: "I don't know that I would describe it that way, but we do provide incentives." HAWELY: "Why would you pay your own employees to harass your customers? Why is this good business practice?! [...] This is going to be the only business in the world I have heard of that pays your people to harass your own customers."

Eric Daugherty

699,203 Aufrufe • vor 9 Monaten

Dinshaw's new ad for its ice cream cone, featuring Vinod Kambli, by the agency Womb, left me dismayed. The narrative crux is the line "Jinko life mein thoda kam mila, unke liye thoda zyada". The subject of that "thoda kam mila" framing is a real, living person whose health struggles, public breakdowns and financial difficulties are well-documented and ongoing. Sure, many feel Kambli deserved more in life. But this ad film doesn't redeem that narrative. It harvests it to sell ice cream cones. The word "dildaari" (generosity) is doing particularly cynical work here. It's a loaded, noble word, implying big-heartedness, even grace. The agency's narrative applies it to the extra chocolate at the bottom of a cone!! The deflation is almost comic, and the asymmetry between the weight of the human story and the lightness of the product is utterly jarring. I can anticipate the counter: "Won't viewers empathise with Kambli? Won't younger audiences Google him and feel for him?" Perhaps. But there's a meaningful difference between empathy and sympathy. Empathy is feeling *with* someone ("I know what it's like to work hard and not get recognised"). Sympathy is feeling *for* someone ("Poor Kambli, he lost everything"). This ad pushes firmly toward sympathy, and then does this with it: 1. Kambli got less. 2. Poor Kambli. 3. Dinshaw's gives more. 4. Buy this cone. If a young person Googles Kambli and discovers he is currently battling neurological issues and financial distress, the ad's cheerful metaphor of an ice cream cone bringing him joy looks jarringly inadequate... like the brand is leveraging real-time vulnerability for a summer sale. Kambli was paid for this, yes. But the cruelest irony is that he may have needed the money, which makes the entire exercise more uncomfortable, not less. By choosing the "deserved more" arc, Dinshaw's and Womb lock him into a permanent state of failure. He isn't a collaborator in this story. He's the cautionary tale. I hope this ad doesn't normalise a template: find a fallen public figure, wrap their misfortune in warm language, sell something cheerful. #advertising #marketing
0:25

Dinshaw's new ad for its ice cream cone, featuring Vinod Kambli, by the agency Womb, left me dismayed. The narrative crux is the line "Jinko life mein thoda kam mila, unke liye thoda zyada". The subject of that "thoda kam mila" framing is a real, living person whose health struggles, public breakdowns and financial difficulties are well-documented and ongoing. Sure, many feel Kambli deserved more in life. But this ad film doesn't redeem that narrative. It harvests it to sell ice cream cones. The word "dildaari" (generosity) is doing particularly cynical work here. It's a loaded, noble word, implying big-heartedness, even grace. The agency's narrative applies it to the extra chocolate at the bottom of a cone!! The deflation is almost comic, and the asymmetry between the weight of the human story and the lightness of the product is utterly jarring. I can anticipate the counter: "Won't viewers empathise with Kambli? Won't younger audiences Google him and feel for him?" Perhaps. But there's a meaningful difference between empathy and sympathy. Empathy is feeling *with* someone ("I know what it's like to work hard and not get recognised"). Sympathy is feeling *for* someone ("Poor Kambli, he lost everything"). This ad pushes firmly toward sympathy, and then does this with it: 1. Kambli got less. 2. Poor Kambli. 3. Dinshaw's gives more. 4. Buy this cone. If a young person Googles Kambli and discovers he is currently battling neurological issues and financial distress, the ad's cheerful metaphor of an ice cream cone bringing him joy looks jarringly inadequate... like the brand is leveraging real-time vulnerability for a summer sale. Kambli was paid for this, yes. But the cruelest irony is that he may have needed the money, which makes the entire exercise more uncomfortable, not less. By choosing the "deserved more" arc, Dinshaw's and Womb lock him into a permanent state of failure. He isn't a collaborator in this story. He's the cautionary tale. I hope this ad doesn't normalise a template: find a fallen public figure, wrap their misfortune in warm language, sell something cheerful. #advertising #marketing

Karthik 🇮🇳

78,779 Aufrufe • vor 2 Monaten

Evan Solomon, Evan Solomon a disgraced Canadian journalist, embodies the rot of corruption that festers when power and greed collide. His career, once propped up by CBC’s CBC News prestige, crumbled in 2015 under a scandal so vile it demands unrelenting condemnation. This wasn’t a slip it was a calculated plunge into ethical filth, brokering secret art deals for cash while posing as a trusted voice. Now, slinking around at GZERO Media and CTV, he dares to resurface, as if the stench of his betrayal could ever fade. It won’t. The public deserves to see him for what he is: a profiteer who sold out journalism for a quick buck. The 2015 art scandal lays bare his disgrace. Solomon, then host of “Power and Politics,” wasn’t satisfied with his role or salary he needed more. So he teamed up with Toronto art collector Bruce Baileyn, pocketing $300,000 in commissions by peddling paintings to the elite he interviewed. Mark Carney Mark Carney Bank of Canada governor, and Jim Balsillie, BlackBerry co-founder, were among his marks. He sold Carney a Kim Dorland Kim Dorland piece for $22,500, whispering to keep it quiet, and raked in a 10% cut on every deal. This was no hobby; it was a hustle, exploiting his platform to line his pockets, all while grinning into the camera. Dig deeper, and it’s even uglier. A contract from October 22, 2013, locked in his role steering clients like Balsillie and Reza Satchu Reza Satchu to Baileyn for profit. When Baileyn sold a Peter Doig Peter Doig painting to Balsillie, Solomon demanded over $1 million in unpaid commissions, sparking a legal fight settled in secret by June 2015. The Toronto Star Toronto Star exposed this cesspool, and CBC, after a cursory two-day probe, axed him on June 9, 2015, for shredding their ethics code. His pathetic claim? He saw no conflict. That lie insults anyone with a shred of sense Solomon knew exactly what he was doing, and he did it anyway. The fallout stinks of desperation. In April 2015, a $1 million charge hit his Rockcliffe Park home, listed for $1.65 million since 2013. Was this art racket a cash grab to prop up his finances? He won’t say. Meanwhile, Social media posts from March 2025 tie his deals to money laundering’s shadowy world. No charges stick, but the suspicion fits a man this dirty. In 2019, Solomon tweeted about a scandal with “legal jeopardy” and RCMP eyes, maybe not his own, but the hypocrisy of him weighing in is nauseating. Compare this to Amanda Lang Amanda Lang , another CBC figure caught in ethical muck, sabotaging an RBC story, pocketing cash from Manulife and Sun Life, dating an RBC board member. She got a free pass, protected by CBC’s elite cronies. Solomon, less connected, took the fall. Good riddance, his actions were indefensible, a Bay Street lawyer’s son turned grifter, charlatan, and cheat. He didn’t just cross a line; he erased it for personal gain. Now, at GZERO Media GZERO Media and CTV CTV News , Solomon struts back into view, a shameless relic of his own making. That $300,000, the shattered trust, the backroom deals with power, they define him. Canadians need journalists who unearth corruption, not ones who embody it. His return isn’t a comeback; it’s an affront, a reminder of how far standards have sunk. Evan Solomon isn’t a cautionary tale, he’s a living disgrace, and every moment he’s on air spits in the face of accountability. Let him rot in the shadow of his own greed.
3:47

Evan Solomon, Evan Solomon a disgraced Canadian journalist, embodies the rot of corruption that festers when power and greed collide. His career, once propped up by CBC’s CBC News prestige, crumbled in 2015 under a scandal so vile it demands unrelenting condemnation. This wasn’t a slip it was a calculated plunge into ethical filth, brokering secret art deals for cash while posing as a trusted voice. Now, slinking around at GZERO Media and CTV, he dares to resurface, as if the stench of his betrayal could ever fade. It won’t. The public deserves to see him for what he is: a profiteer who sold out journalism for a quick buck. The 2015 art scandal lays bare his disgrace. Solomon, then host of “Power and Politics,” wasn’t satisfied with his role or salary he needed more. So he teamed up with Toronto art collector Bruce Baileyn, pocketing $300,000 in commissions by peddling paintings to the elite he interviewed. Mark Carney Mark Carney Bank of Canada governor, and Jim Balsillie, BlackBerry co-founder, were among his marks. He sold Carney a Kim Dorland Kim Dorland piece for $22,500, whispering to keep it quiet, and raked in a 10% cut on every deal. This was no hobby; it was a hustle, exploiting his platform to line his pockets, all while grinning into the camera. Dig deeper, and it’s even uglier. A contract from October 22, 2013, locked in his role steering clients like Balsillie and Reza Satchu Reza Satchu to Baileyn for profit. When Baileyn sold a Peter Doig Peter Doig painting to Balsillie, Solomon demanded over $1 million in unpaid commissions, sparking a legal fight settled in secret by June 2015. The Toronto Star Toronto Star exposed this cesspool, and CBC, after a cursory two-day probe, axed him on June 9, 2015, for shredding their ethics code. His pathetic claim? He saw no conflict. That lie insults anyone with a shred of sense Solomon knew exactly what he was doing, and he did it anyway. The fallout stinks of desperation. In April 2015, a $1 million charge hit his Rockcliffe Park home, listed for $1.65 million since 2013. Was this art racket a cash grab to prop up his finances? He won’t say. Meanwhile, Social media posts from March 2025 tie his deals to money laundering’s shadowy world. No charges stick, but the suspicion fits a man this dirty. In 2019, Solomon tweeted about a scandal with “legal jeopardy” and RCMP eyes, maybe not his own, but the hypocrisy of him weighing in is nauseating. Compare this to Amanda Lang Amanda Lang , another CBC figure caught in ethical muck, sabotaging an RBC story, pocketing cash from Manulife and Sun Life, dating an RBC board member. She got a free pass, protected by CBC’s elite cronies. Solomon, less connected, took the fall. Good riddance, his actions were indefensible, a Bay Street lawyer’s son turned grifter, charlatan, and cheat. He didn’t just cross a line; he erased it for personal gain. Now, at GZERO Media GZERO Media and CTV CTV News , Solomon struts back into view, a shameless relic of his own making. That $300,000, the shattered trust, the backroom deals with power, they define him. Canadians need journalists who unearth corruption, not ones who embody it. His return isn’t a comeback; it’s an affront, a reminder of how far standards have sunk. Evan Solomon isn’t a cautionary tale, he’s a living disgrace, and every moment he’s on air spits in the face of accountability. Let him rot in the shadow of his own greed.

Vote Canada

27,403 Aufrufe • vor 1 Jahr

Agentic AI is full of opportunities and challenges. Certainly agents represent a new era for computing, but currently there are many issues with the relative immaturity of the tools including for evaluation, debugging, FinOps management of agents and reasoning models, the clear need for appropriate human-in-the-loop to address model errors / hallucinations, and generally how to manage agents across many model families. Orange we see such great work in open source and from innovative companies like LangChain, OpenAI, Google, Hugging Face, CrewAI, and others that I’m confident that these issues will be gradually solved. Certainly when we have affordable, low hallucination models then agents will really take off. We also believe in #ResponsibleAI, which means using the right tool for the right problem. Doing that well is important to mitigate financial cost, but also environmental cost in terms of CO2. That’s even more important with agents where the agent has a lot of autonomy to achieve its goal. This week at #VivaTech was also the sign of the emergence of the potential for a strong European AI ecosystem. Hopefully the regulators will help to dive uniform and less restrictive oversight, banks and private investors will back these new opportunities, and especially that European enterprises will be willing to take a risk on potentially smaller but far more innovative vendors of AI solutions. Latly, a big hat tip to the genius of Jim White who invented agents at General Magic in the early 90s. Yes, General Magic not only was the birthplace of the smartphone but agents were also first built there. In fact, the patent portfolio was sadly bought by the patent trolls from Intellectual Ventures (Nathan Myrvold did Microsoft’s due diligence on their potential investment in General Magic, so he had detailed knowledge of what he was buying out of the Magic bankruptcy)…but thankfully enough time has passed those fundamental patents are all in the public domain… For those interested, here’s that patent from 1997:
1:02

Agentic AI is full of opportunities and challenges. Certainly agents represent a new era for computing, but currently there are many issues with the relative immaturity of the tools including for evaluation, debugging, FinOps management of agents and reasoning models, the clear need for appropriate human-in-the-loop to address model errors / hallucinations, and generally how to manage agents across many model families. Orange we see such great work in open source and from innovative companies like LangChain, OpenAI, Google, Hugging Face, CrewAI, and others that I’m confident that these issues will be gradually solved. Certainly when we have affordable, low hallucination models then agents will really take off. We also believe in #ResponsibleAI, which means using the right tool for the right problem. Doing that well is important to mitigate financial cost, but also environmental cost in terms of CO2. That’s even more important with agents where the agent has a lot of autonomy to achieve its goal. This week at #VivaTech was also the sign of the emergence of the potential for a strong European AI ecosystem. Hopefully the regulators will help to dive uniform and less restrictive oversight, banks and private investors will back these new opportunities, and especially that European enterprises will be willing to take a risk on potentially smaller but far more innovative vendors of AI solutions. Latly, a big hat tip to the genius of Jim White who invented agents at General Magic in the early 90s. Yes, General Magic not only was the birthplace of the smartphone but agents were also first built there. In fact, the patent portfolio was sadly bought by the patent trolls from Intellectual Ventures (Nathan Myrvold did Microsoft’s due diligence on their potential investment in General Magic, so he had detailed knowledge of what he was buying out of the Magic bankruptcy)…but thankfully enough time has passed those fundamental patents are all in the public domain… For those interested, here’s that patent from 1997:

Steve Jarrett

163,390 Aufrufe • vor 1 Jahr

Eric Rohmer on the difference in how Scriptwriters are treated in France and America: "Interviewer: American script-writers are very much the servants of the directors. Perhaps more than in France. Professionally it’s very difficult to get intothe system because the producers have their stable of script-writers. Rohmer: In France, a young author can succeed more easily in doing a film based on his own subject than on someone else’s. If you come saying, “I want to adapt such and such a thing,” or, “I’m working with a script writer,” you won’t be taken so seriously. Whereas, in the United States, according to what I’m told anyway, if a new director wants to make a film based on his own subject, he can’t. Nestor Almendros, my cameraman, told me about the case of Benton, who did 'Kramer vs. Kramer' (1979). He told me that Benton had succeeded in making the film only because his own subjects had been filmed before by others. Or, inversely, you won’t get to make a film if you don’t have a known script-writer; whereas, in France you can very well get along without a script-writer. In France, at present, I believe that there is not a script-writer who carries really great weight, in whom producers can have confidence. And then, in France, the production system is a little different. What counts more and more are the Commissions (of advance on receipts, television, etc.) and the Distributors. Those are the great powers. Beneath, there are the directors and the producers on more or less the same footing." (Eric Rohmer's interview with Robert Hammond and Jean-Pierre Pagliano, 1982)
1:36

Eric Rohmer on the difference in how Scriptwriters are treated in France and America: "Interviewer: American script-writers are very much the servants of the directors. Perhaps more than in France. Professionally it’s very difficult to get intothe system because the producers have their stable of script-writers. Rohmer: In France, a young author can succeed more easily in doing a film based on his own subject than on someone else’s. If you come saying, “I want to adapt such and such a thing,” or, “I’m working with a script writer,” you won’t be taken so seriously. Whereas, in the United States, according to what I’m told anyway, if a new director wants to make a film based on his own subject, he can’t. Nestor Almendros, my cameraman, told me about the case of Benton, who did 'Kramer vs. Kramer' (1979). He told me that Benton had succeeded in making the film only because his own subjects had been filmed before by others. Or, inversely, you won’t get to make a film if you don’t have a known script-writer; whereas, in France you can very well get along without a script-writer. In France, at present, I believe that there is not a script-writer who carries really great weight, in whom producers can have confidence. And then, in France, the production system is a little different. What counts more and more are the Commissions (of advance on receipts, television, etc.) and the Distributors. Those are the great powers. Beneath, there are the directors and the producers on more or less the same footing." (Eric Rohmer's interview with Robert Hammond and Jean-Pierre Pagliano, 1982)

DepressedBergman

17,924 Aufrufe • vor 11 Monaten

Stan Lee explains why making superheroes flawed made them beloved: Stan Lee spent 20 years writing conventional comic book scripts before he stumbled onto something that changed everything. He started giving his characters real, embarrassing, human problems. "We tried to make our characters have feet of clay. Now, poor Spider-Man. I mean, okay, he's pretty good at catching bad guys, but he's apt to get an allergy attack while he's fighting. He worries about dandruff. He'll have an ingrown toenail. Tears his costume. His aunt May won't let him go out to save the world cuz he's not wearing his galashes and it's snowing out." He did it to entertain himself. "I started doing that as a gag and really to keep myself awake, you know, and I found that the readers are as crazy as I am. They started enjoying this sort of thing." After two decades of what he called "writing pap," Stan realised he could actually enjoy his own work. And the more honest and messy he made his characters, the more people connected with them. "The more realistic we make our characters, the more the college kids who read them think that it's satire, which has taught me a very great lesson. The world is so crazy that if you present things the way they really are, it comes across as broad satire." To illustrate the point, Stan compared Spider-Man to Woody Allen: "I always thought if Woody Allen were a superhero, he'd be Spider-Man." Then he proved it by describing his own evening. He arrived 4 hours early, got dinner served 5 minutes before he was called to appear, managed one mouthful of food, then raced to wait backstage for an hour. "This is what would happen to Spider-Man or to Woody Allen. It's real."
3:08

Stan Lee explains why making superheroes flawed made them beloved: Stan Lee spent 20 years writing conventional comic book scripts before he stumbled onto something that changed everything. He started giving his characters real, embarrassing, human problems. "We tried to make our characters have feet of clay. Now, poor Spider-Man. I mean, okay, he's pretty good at catching bad guys, but he's apt to get an allergy attack while he's fighting. He worries about dandruff. He'll have an ingrown toenail. Tears his costume. His aunt May won't let him go out to save the world cuz he's not wearing his galashes and it's snowing out." He did it to entertain himself. "I started doing that as a gag and really to keep myself awake, you know, and I found that the readers are as crazy as I am. They started enjoying this sort of thing." After two decades of what he called "writing pap," Stan realised he could actually enjoy his own work. And the more honest and messy he made his characters, the more people connected with them. "The more realistic we make our characters, the more the college kids who read them think that it's satire, which has taught me a very great lesson. The world is so crazy that if you present things the way they really are, it comes across as broad satire." To illustrate the point, Stan compared Spider-Man to Woody Allen: "I always thought if Woody Allen were a superhero, he'd be Spider-Man." Then he proved it by describing his own evening. He arrived 4 hours early, got dinner served 5 minutes before he was called to appear, managed one mouthful of food, then raced to wait backstage for an hour. "This is what would happen to Spider-Man or to Woody Allen. It's real."

Emmett Voss

47,668 Aufrufe • vor 2 Monaten