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⚠️ Heavy content warning Imagine a sanitation worker with ridiculously massive, low-hanging breasts doing street cleaning all day… Her heavy pendulous tits constantly bouncing and sagging as she works. #HugeBreasts #SaggyTits #BigNaturalTits #NSFW #巨乳 #下垂乳 #AIgirl

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boobud

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45,596 次观看 • 2 个月前 •via X (Twitter)

NSFW#HugeBreasts#SaggyTits#BigNaturalTits#NSFW#巨乳#下垂乳#AIgirl
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She was SO close 😭 Made with Seedance 2.5 on MakeUGC using a prompt from ChatGPT 6 Astra. PROMPT ⬇️ Create a 30-second, horizontal ultra-realistic video of an outrageous Japanese obstacle challenge suspended between skyscraper rooftops in Tokyo. ONE female contestant tackles four increasingly absurd mechanical obstacles, apparently reaches the finish, then loses to a giant mechanical lucky cat. Start with action already happening. Use fast, readable cuts between handheld angles, usually every 1.5–2.5 seconds. Show clear takeoffs, physical contact, and completed landings. Every new angle continues the same attempt. MAIN SUBJECT An exceptionally beautiful 25-year-old platinum-blonde woman with a striking feminine face, expressive blue eyes, full lips, a slim waist, a very curvy hourglass figure, a very large full bust, rounded hips, full rounded buttocks, and long legs. Her curves are soft and naturally full, with gently toned legs and subtle muscle definition. Believable anatomy, body weight, and natural movement. She wears a vivid red athletic bikini: a fitted supportive top with a low neckline and matching high-cut bottoms with narrow side bands. The fabric is opaque and remains securely in place. White athletic sneakers. Her long blonde hair is tied in a high ponytail. She has the striking appearance and confidence of a glamorous fitness influencer. Natural skin texture, subtle makeup, visible effort, and increasingly breathless reactions. Preserve her face, figure, hairstyle, clothing, and footwear throughout. LOCATION AND HEIGHT A spectacular outdoor game-show course constructed between two Tokyo skyscraper rooftops, approximately 200 metres above the streets. The obstacles are attached to visible steel support frames anchored to the buildings. Far below, small cars move through narrow streets between towers. The city is clearly visible through the gaps beneath the course. The route has four connected stages in this order: Rotating satellite dishes → turning advertising letters → mechanical slapping hands → rotating advertising cube → finish platform with a mechanical lucky cat. Short stationary connecting ledges separate the stages. Spectators watch from a neighbouring rooftop terrace behind railings. Their cheers are audible throughout. A broad catch net is suspended a few metres beneath the finish platform, secured to the same structural frame. Establish it in a wide view before the final fall. The distant city remains visible far below it. CAMERA AND LOOK Authentic handheld consumer-camera footage with a soft digital tape camcorder look and subtle vintage DV character. Use realistic hand shake, slightly crooked framing, occasional motion blur, delayed autofocus after quick reframing, faint image noise, mild highlight bloom, subtle auto-exposure adjustments, and muted contrast. Bright, lightly overcast daylight. Soft natural shadows, believable skin tones, readable buildings, and small exposure imperfections when the framing shifts between the woman and the bright sky. Keep the texture of skin, fabric, painted metal, rubber padding, and rope visible. No glossy beauty lighting, artificial rim light, heavy colour grading, or excessively sharpened skin. Film from plausible positions on adjacent rooftop decks and course-side maintenance platforms. Mix medium-wide views with closer reaction angles. The camera and its operator never appear. During jumps and obstacle contact, keep her feet and the supporting surface visible. Cut after a landing or completed movement whenever possible. Maintain a consistent direction of progress across cuts. CONTINUOUS STORY WITH FAST EDITING 00:00–00:06 — ROTATING SATELLITE DISHES The FIRST FRAME catches her already airborne, jumping from the starting ledge toward the first enormous satellite dish. Use a slightly elevated three-quarter angle: her body, the dish beneath her, and the distant street below are immediately visible together. There are TWO oversized, shallow, upward-facing satellite-dish props. Each has a broad non-slip interior and rotates steadily on a vertical motorized pedestal fixed to the steel support frame. She lands inside the first dish with bent knees. Its rotation carries her sideways, forcing two quick balancing steps. Cut after this landing to a closer side angle as she pushes off and jumps onto the second rotating dish. Her shoes visibly contact its surface. Her ponytail whips across her shoulder as she swings her arms to recover balance. She immediately jumps from the second dish onto the stationary exit ledge. Show both feet landing before moving to the next stage. The crowd reacts to each successful crossing. No introduction, countdown, or pause for posing. 00:06–00:12 — TURNING ADVERTISING LETTERS Ahead are TWO giant, thick advertising letters mounted on horizontal motorized axles between steel supports. Their broad, padded rear surfaces provide footholds when horizontal. As each letter rotates, that surface turns from flat to edge-on. Open this stage with a brief wide angle showing both letters and the receiving ledge, with open space and the city beneath. She jumps onto the first letter as its rear surface reaches a horizontal position. Her weight settles visibly onto it. As it begins tipping, she pushes off toward the second letter, which is rotating into its own horizontal position. Cut after her feet contact the second letter. She lands slightly off-centre, drops into a quick crouch, and drives forward into another jump before the surface turns upright. She reaches the stationary ledge beyond and continues moving immediately. The letters remain attached to their axles and continue rotating after she leaves them. 00:12–00:17 — THE SLAPPING HANDS A narrow padded walkway leads between TWO enormous rubber hands mounted on mechanical arms. The first hand sweeps across the walkway at shoulder height. The second sweeps across farther ahead at knee height. Their mechanisms and different heights are clearly visible. She runs onto the walkway as the first hand swings toward her. In a medium-wide side view, she ducks sharply beneath its passing palm. It sweeps over her ponytail without touching her. Cut as she comes out of the duck and immediately jumps over the second, lower hand. Show both shoes clearing the rubber fingers before she lands beyond them. She stumbles forward one quick step, recovers, and keeps running. The crowd gives a loud collective gasp followed by cheers. The hands swing across her route at their established heights. They remain connected to their mechanical arms. 00:17–00:23 — THE ROTATING ADVERTISING CUBE The final crossing is a huge advertising cube rotating steadily around a VERTICAL axle. Its broad, flat top stays horizontal. Its side faces carry colourful abstract advertising graphics. A visible central support connects it to the course frame. The entry ledge and exit ledge meet different sides of the cube’s circular travel path. She jumps from the entry ledge onto a corner of the cube’s flat top. Show the landing clearly. She crouches slightly and plants her feet as the rotating surface carries her around toward the exit. Cut to a wider angle revealing the extraordinary height and the approaching finish platform. She rides through roughly a quarter-turn, then jumps from the rotating cube onto the stationary finish platform when the gap aligns. Her feet land, her knees absorb the impact, and she takes two quick steps forward. The cube continues rotating behind her. 00:23–00:25 — SHE THINKS SHE HAS WON The finish platform holds a small gold trophy on a waist-high pedestal. Beside it stands an enormous white-and-red mechanical maneki-neko lucky cat with one raised, oversized padded paw. Its body is fixed to the platform. The catch net is visible below the outer edge. She sees the trophy, breaks into a huge relieved smile, and throws her arms up briefly. Her breathing is heavy. The crowd cheers as she steps toward the pedestal and reaches for the trophy. The trophy remains on its pedestal. 00:25–00:30 — THE CAT WINS Use ONE uninterrupted medium-wide side angle for the paw strike, fall, and net landing. Just before her hand reaches the trophy, the lucky cat’s oversized rubber paw sweeps sideways across the finish area. Show ONE clear contact against the side of her torso. The padded surface compresses briefly, pushing her off balance toward the nearby outer edge. She lets out a startled cry, loses her footing, and falls sideways and backward into the catch net directly below. Follow the short fall with a quick downward tilt. Keep her trajectory and the net visible. The net catches her, sags under her weight, and rebounds once. Its attachment points remain fixed to the frame. She ends seated awkwardly in the sagging net, completely unharmed and stunned. Her ponytail has fallen across her face. As the crowd bursts into laughter and applause, she pushes the hair aside, looks up toward the cat and the untouched trophy, and throws one hand up in disbelief. Finish on her incredulous expression with the enormous city drop still visible beyond the net. SOUND Natural recorded sound only: rooftop wind, faint city traffic far below, motorized mechanisms, shoe impacts, rubber movement, her breathing and wordless reactions, the net tightening, and the spectators’ cheers, gasps, laughter, and applause. Keep the crowd reacting to the actual events: encouragement during the crossings, louder cheers at the apparent finish, then surprised laughter after the net catches her. No music, narration, presenter dialogue, added cartoon effects, or laugh track. ESSENTIAL CONTINUITY ONE contestant completes all four obstacles in order and falls only at the finish. Every jump has a visible takeoff, a continuous airborne trajectory, and a physical landing. Her body cannot pass through obstacles or change position between matching shots. Every moving prop remains attached to its visible support. The dishes rotate on vertical pedestals, the letters turn on horizontal axles, the hands swing on mechanical arms, and the cube rotates around a vertical axle. The final cat’s paw causes the fall through visible contact. The net is already beneath the finish platform before she falls and visibly catches her. She never reaches the street below. The trophy remains on its pedestal. Preserve her identity, red bikini, white sneakers, ponytail, the course layout, daylight, and city background throughout. Fast editing, normal-speed action, readable physical movement, and spontaneous reactions. No repeated attempts, slow motion, teleportation, duplicated people, changing outfits, CGI appearance, captions, subtitles, scoreboard overlays, watermarks, or recording interface. #AIVideo
0:30

She was SO close 😭 Made with Seedance 2.5 on MakeUGC using a prompt from ChatGPT 6 Astra. PROMPT ⬇️ Create a 30-second, horizontal ultra-realistic video of an outrageous Japanese obstacle challenge suspended between skyscraper rooftops in Tokyo. ONE female contestant tackles four increasingly absurd mechanical obstacles, apparently reaches the finish, then loses to a giant mechanical lucky cat. Start with action already happening. Use fast, readable cuts between handheld angles, usually every 1.5–2.5 seconds. Show clear takeoffs, physical contact, and completed landings. Every new angle continues the same attempt. MAIN SUBJECT An exceptionally beautiful 25-year-old platinum-blonde woman with a striking feminine face, expressive blue eyes, full lips, a slim waist, a very curvy hourglass figure, a very large full bust, rounded hips, full rounded buttocks, and long legs. Her curves are soft and naturally full, with gently toned legs and subtle muscle definition. Believable anatomy, body weight, and natural movement. She wears a vivid red athletic bikini: a fitted supportive top with a low neckline and matching high-cut bottoms with narrow side bands. The fabric is opaque and remains securely in place. White athletic sneakers. Her long blonde hair is tied in a high ponytail. She has the striking appearance and confidence of a glamorous fitness influencer. Natural skin texture, subtle makeup, visible effort, and increasingly breathless reactions. Preserve her face, figure, hairstyle, clothing, and footwear throughout. LOCATION AND HEIGHT A spectacular outdoor game-show course constructed between two Tokyo skyscraper rooftops, approximately 200 metres above the streets. The obstacles are attached to visible steel support frames anchored to the buildings. Far below, small cars move through narrow streets between towers. The city is clearly visible through the gaps beneath the course. The route has four connected stages in this order: Rotating satellite dishes → turning advertising letters → mechanical slapping hands → rotating advertising cube → finish platform with a mechanical lucky cat. Short stationary connecting ledges separate the stages. Spectators watch from a neighbouring rooftop terrace behind railings. Their cheers are audible throughout. A broad catch net is suspended a few metres beneath the finish platform, secured to the same structural frame. Establish it in a wide view before the final fall. The distant city remains visible far below it. CAMERA AND LOOK Authentic handheld consumer-camera footage with a soft digital tape camcorder look and subtle vintage DV character. Use realistic hand shake, slightly crooked framing, occasional motion blur, delayed autofocus after quick reframing, faint image noise, mild highlight bloom, subtle auto-exposure adjustments, and muted contrast. Bright, lightly overcast daylight. Soft natural shadows, believable skin tones, readable buildings, and small exposure imperfections when the framing shifts between the woman and the bright sky. Keep the texture of skin, fabric, painted metal, rubber padding, and rope visible. No glossy beauty lighting, artificial rim light, heavy colour grading, or excessively sharpened skin. Film from plausible positions on adjacent rooftop decks and course-side maintenance platforms. Mix medium-wide views with closer reaction angles. The camera and its operator never appear. During jumps and obstacle contact, keep her feet and the supporting surface visible. Cut after a landing or completed movement whenever possible. Maintain a consistent direction of progress across cuts. CONTINUOUS STORY WITH FAST EDITING 00:00–00:06 — ROTATING SATELLITE DISHES The FIRST FRAME catches her already airborne, jumping from the starting ledge toward the first enormous satellite dish. Use a slightly elevated three-quarter angle: her body, the dish beneath her, and the distant street below are immediately visible together. There are TWO oversized, shallow, upward-facing satellite-dish props. Each has a broad non-slip interior and rotates steadily on a vertical motorized pedestal fixed to the steel support frame. She lands inside the first dish with bent knees. Its rotation carries her sideways, forcing two quick balancing steps. Cut after this landing to a closer side angle as she pushes off and jumps onto the second rotating dish. Her shoes visibly contact its surface. Her ponytail whips across her shoulder as she swings her arms to recover balance. She immediately jumps from the second dish onto the stationary exit ledge. Show both feet landing before moving to the next stage. The crowd reacts to each successful crossing. No introduction, countdown, or pause for posing. 00:06–00:12 — TURNING ADVERTISING LETTERS Ahead are TWO giant, thick advertising letters mounted on horizontal motorized axles between steel supports. Their broad, padded rear surfaces provide footholds when horizontal. As each letter rotates, that surface turns from flat to edge-on. Open this stage with a brief wide angle showing both letters and the receiving ledge, with open space and the city beneath. She jumps onto the first letter as its rear surface reaches a horizontal position. Her weight settles visibly onto it. As it begins tipping, she pushes off toward the second letter, which is rotating into its own horizontal position. Cut after her feet contact the second letter. She lands slightly off-centre, drops into a quick crouch, and drives forward into another jump before the surface turns upright. She reaches the stationary ledge beyond and continues moving immediately. The letters remain attached to their axles and continue rotating after she leaves them. 00:12–00:17 — THE SLAPPING HANDS A narrow padded walkway leads between TWO enormous rubber hands mounted on mechanical arms. The first hand sweeps across the walkway at shoulder height. The second sweeps across farther ahead at knee height. Their mechanisms and different heights are clearly visible. She runs onto the walkway as the first hand swings toward her. In a medium-wide side view, she ducks sharply beneath its passing palm. It sweeps over her ponytail without touching her. Cut as she comes out of the duck and immediately jumps over the second, lower hand. Show both shoes clearing the rubber fingers before she lands beyond them. She stumbles forward one quick step, recovers, and keeps running. The crowd gives a loud collective gasp followed by cheers. The hands swing across her route at their established heights. They remain connected to their mechanical arms. 00:17–00:23 — THE ROTATING ADVERTISING CUBE The final crossing is a huge advertising cube rotating steadily around a VERTICAL axle. Its broad, flat top stays horizontal. Its side faces carry colourful abstract advertising graphics. A visible central support connects it to the course frame. The entry ledge and exit ledge meet different sides of the cube’s circular travel path. She jumps from the entry ledge onto a corner of the cube’s flat top. Show the landing clearly. She crouches slightly and plants her feet as the rotating surface carries her around toward the exit. Cut to a wider angle revealing the extraordinary height and the approaching finish platform. She rides through roughly a quarter-turn, then jumps from the rotating cube onto the stationary finish platform when the gap aligns. Her feet land, her knees absorb the impact, and she takes two quick steps forward. The cube continues rotating behind her. 00:23–00:25 — SHE THINKS SHE HAS WON The finish platform holds a small gold trophy on a waist-high pedestal. Beside it stands an enormous white-and-red mechanical maneki-neko lucky cat with one raised, oversized padded paw. Its body is fixed to the platform. The catch net is visible below the outer edge. She sees the trophy, breaks into a huge relieved smile, and throws her arms up briefly. Her breathing is heavy. The crowd cheers as she steps toward the pedestal and reaches for the trophy. The trophy remains on its pedestal. 00:25–00:30 — THE CAT WINS Use ONE uninterrupted medium-wide side angle for the paw strike, fall, and net landing. Just before her hand reaches the trophy, the lucky cat’s oversized rubber paw sweeps sideways across the finish area. Show ONE clear contact against the side of her torso. The padded surface compresses briefly, pushing her off balance toward the nearby outer edge. She lets out a startled cry, loses her footing, and falls sideways and backward into the catch net directly below. Follow the short fall with a quick downward tilt. Keep her trajectory and the net visible. The net catches her, sags under her weight, and rebounds once. Its attachment points remain fixed to the frame. She ends seated awkwardly in the sagging net, completely unharmed and stunned. Her ponytail has fallen across her face. As the crowd bursts into laughter and applause, she pushes the hair aside, looks up toward the cat and the untouched trophy, and throws one hand up in disbelief. Finish on her incredulous expression with the enormous city drop still visible beyond the net. SOUND Natural recorded sound only: rooftop wind, faint city traffic far below, motorized mechanisms, shoe impacts, rubber movement, her breathing and wordless reactions, the net tightening, and the spectators’ cheers, gasps, laughter, and applause. Keep the crowd reacting to the actual events: encouragement during the crossings, louder cheers at the apparent finish, then surprised laughter after the net catches her. No music, narration, presenter dialogue, added cartoon effects, or laugh track. ESSENTIAL CONTINUITY ONE contestant completes all four obstacles in order and falls only at the finish. Every jump has a visible takeoff, a continuous airborne trajectory, and a physical landing. Her body cannot pass through obstacles or change position between matching shots. Every moving prop remains attached to its visible support. The dishes rotate on vertical pedestals, the letters turn on horizontal axles, the hands swing on mechanical arms, and the cube rotates around a vertical axle. The final cat’s paw causes the fall through visible contact. The net is already beneath the finish platform before she falls and visibly catches her. She never reaches the street below. The trophy remains on its pedestal. Preserve her identity, red bikini, white sneakers, ponytail, the course layout, daylight, and city background throughout. Fast editing, normal-speed action, readable physical movement, and spontaneous reactions. No repeated attempts, slow motion, teleportation, duplicated people, changing outfits, CGI appearance, captions, subtitles, scoreboard overlays, watermarks, or recording interface. #AIVideo

Alpha Mom

20,710 次观看 • 7 天前

🚨UPDATE: Trial hears Sir Jeffrey Donaldson 'regret' letter 'had nothing to do with the allegations' and that he was described as a 'very clever man.' 🎤Chief Reporter James from Newry Crown Court. Kieran Vaughan KC, barrister for Jeffrey Donaldson, continued his cross-examination of Complainant A, one of the two alleged victims, on Friday. The trial had previously heard that Donaldson had written a letter to Complainant A in 2020 expressing “how much I truly regret all the hurt, pain and distressed I have caused”. Today, the barrister asked the woman why she had not handed the letter to police when she had first been interviewed. She told the court that she “wasn’t sure it was relevant at the time”. He said: “Are you suggesting it is relevant or not relevant to the allegations?” She said: “I think it is very relevant.” The barrister said the letter had “nothing to do with you and sexual assault” but instead related to other behaviour by Donaldson. The woman said while the letter did not mention sexual abuse it had “heavy connotations of guilt and shame and asking for forgiveness”. She added: “I believe that letter is a letter of apology for what he did to me over the years. Mr Vaughan also referred to an allegation made by the woman that Donaldson had touched her breasts on a number of occasions when she was of primary school age. He asked about her claim that she had been touched “skin on skin”. She said: “Mostly, one or two occasions when it was over the top of a bra, but mostly skin on skin.” The barrister drew attention to a meeting Complainant A had had with a police officer where she mentioned “touching over clothing”. She said: “If that is what she has written, that is what was said.” Mr Vaughan said: “On the face of it that is inconsistent with what you told the jury yesterday, about touching under clothes.” She said: “The facts are the facts, I am sticking to that.” The barrister said the complainant “would have known what he was doing to you was wrong”. She said: “Not necessarily, abuse is a very complicated thing.” The barrister referred to an incident where the woman had claimed Donaldson had “perched” over the top of her, using a light to look at her “private parts”. When challenged about her account, she said: “The light was focused on my genital area.” Mr Vaughan said: “I suggest that is not true.” The barrister added: “You were confused and you were not sure of what you had seen.” She said: “To this day I am still confused….I am honest about that.” After lunch, the woman said she had spoken in 2023 to a safeguarding figure within the Presbyterian Church in Ireland and also a police officer. Mr Vaughan asked why she had then waited until 2024 to lodge a formal complaint about the sexual abuse allegations. She said she was not, at that point, ready to make a formal complaint. She said: “It was a huge decision “I knew this would be an extremely public affair, involving media. It was a huge, huge decision.” Complainant A said she had been “extremely anxious” about reporting the allegations to police. She said: “I had doubt about doing this, I very nearly changed my mind.” The woman is due to be questioned by a barrister representing Eleanor Donaldson next week. Mr Donaldson is on trial at Newry Crown Court accused of rape and several counts of gross indecency and of indecent assault. The former DUP leader has pleaded not guilty to the 18 alleged offences. The charges span a time period between 1985 and 2008 involving two alleged victims. His wife, Lady Eleanor Donaldson, denies several charges of aiding and abetting her husband’s alleged offending. She is facing a trial of the facts after Judge Paul Ramsey ruled her unfit to stand trial on mental health grounds.
1:17

🚨UPDATE: Trial hears Sir Jeffrey Donaldson 'regret' letter 'had nothing to do with the allegations' and that he was described as a 'very clever man.' 🎤Chief Reporter James from Newry Crown Court. Kieran Vaughan KC, barrister for Jeffrey Donaldson, continued his cross-examination of Complainant A, one of the two alleged victims, on Friday. The trial had previously heard that Donaldson had written a letter to Complainant A in 2020 expressing “how much I truly regret all the hurt, pain and distressed I have caused”. Today, the barrister asked the woman why she had not handed the letter to police when she had first been interviewed. She told the court that she “wasn’t sure it was relevant at the time”. He said: “Are you suggesting it is relevant or not relevant to the allegations?” She said: “I think it is very relevant.” The barrister said the letter had “nothing to do with you and sexual assault” but instead related to other behaviour by Donaldson. The woman said while the letter did not mention sexual abuse it had “heavy connotations of guilt and shame and asking for forgiveness”. She added: “I believe that letter is a letter of apology for what he did to me over the years. Mr Vaughan also referred to an allegation made by the woman that Donaldson had touched her breasts on a number of occasions when she was of primary school age. He asked about her claim that she had been touched “skin on skin”. She said: “Mostly, one or two occasions when it was over the top of a bra, but mostly skin on skin.” The barrister drew attention to a meeting Complainant A had had with a police officer where she mentioned “touching over clothing”. She said: “If that is what she has written, that is what was said.” Mr Vaughan said: “On the face of it that is inconsistent with what you told the jury yesterday, about touching under clothes.” She said: “The facts are the facts, I am sticking to that.” The barrister said the complainant “would have known what he was doing to you was wrong”. She said: “Not necessarily, abuse is a very complicated thing.” The barrister referred to an incident where the woman had claimed Donaldson had “perched” over the top of her, using a light to look at her “private parts”. When challenged about her account, she said: “The light was focused on my genital area.” Mr Vaughan said: “I suggest that is not true.” The barrister added: “You were confused and you were not sure of what you had seen.” She said: “To this day I am still confused….I am honest about that.” After lunch, the woman said she had spoken in 2023 to a safeguarding figure within the Presbyterian Church in Ireland and also a police officer. Mr Vaughan asked why she had then waited until 2024 to lodge a formal complaint about the sexual abuse allegations. She said she was not, at that point, ready to make a formal complaint. She said: “It was a huge decision “I knew this would be an extremely public affair, involving media. It was a huge, huge decision.” Complainant A said she had been “extremely anxious” about reporting the allegations to police. She said: “I had doubt about doing this, I very nearly changed my mind.” The woman is due to be questioned by a barrister representing Eleanor Donaldson next week. Mr Donaldson is on trial at Newry Crown Court accused of rape and several counts of gross indecency and of indecent assault. The former DUP leader has pleaded not guilty to the 18 alleged offences. The charges span a time period between 1985 and 2008 involving two alleged victims. His wife, Lady Eleanor Donaldson, denies several charges of aiding and abetting her husband’s alleged offending. She is facing a trial of the facts after Judge Paul Ramsey ruled her unfit to stand trial on mental health grounds.

Cool FM News

28,525 次观看 • 4 个月前

Penny, McMuffin And Tina - Why I Make Happy Doggo Videos If you are reading this I’m sure you’ve watched at least one of the videos I make which feature dogs. Hopefully it put a big smile on your face and left you feeling like a positive difference was being made in the world. I wanted to explain the massive importance of these videos… Taking Old Dogs To The Beach 🌴🥥 This week we did the “Old Dogs Beach Day Out”. It featured the OAP dogs who have been battling serious health issues lately and has close to a million views across different sites. McMuffin - Cancer survivor and had to have an eye removed this week Derek - Very old abandoned dog who was close to death on arrival Lady - Senior girl with 2 broken hips who was dying on the streets Snoop - My own rescue who has numerous tumours and a fused spine It was about as joyous a day out as you can imagine. You could see the dogs enjoying every single second as they swam, sunbathed and ate treats. But what is the point of this? Wouldn’t I be better spending the couple of hours it took doing something else like taking dogs to the vet or feeding even more out on the streets? Good question… Videos Help Me Do The “Boring” Stuff For The Dogs These are some of the things that I do in a typical month… Funding the sterilising of over 100 dogs ✂️ Feeding 20,000 meals for street dogs 🥘 Pay for between 20-40 vet visits for sick dogs 🐶 Purchasing preventative medicines for street dogs 💊 Paying for travel to re-home 7-10 dogs in Thailand ⛴️ Although these things are super important and change lives for the better they aren’t always super interesting. I’ve tried making videos about sterilising or vet visits but most people are not interested after they’ve seen it once. I understand that because I would be the exact same personally watching content on social media. I’d have very limited interest in opening Twitter and seeing dogs getting medical procedures or being abused. Most people simply unfollow or mute that sort of content. People know there is suffering but “out of sight, out of mind” is the attitude on social media. But Don’t Dog Suffering Videos Get Donations? Yes. You’ll probably notice that most content around the world from all types of animal charities can be quite gruesome or sad. This is the same with human tragedies. People are much more likely to donate if they see suffering. The need is more immediate and urgent. I wanted to try something completely different and not share gruesome content. Instead of showing content like Sterilisations (Tina below) or horrific injuries (McMuffin below is already operated on and healing) I wanted to share happy content. I wanted to create content that was so happy and upbeat that people would actually want to share it with others. To tell their friends about the plight of the street dogs and maybe even get excited about changing it too. Penny Is The Perfect Example Penny is a tiny little dog that came into my possession recently. The simple facts of her story are horrific… Kept locked up in a tiny box under a house Tortured by a human Broken leg so bad it needed large scale surgery I have videos on my phone of her before the rescue that would leave you sick to your stomach. I couldn’t sleep the night I saw them. I don’t want people to see all that though and instead focus on the positives… She is safe and alive She was able to go on a huge journey to a wonderful foundation called Soi Dog who worked on saving her leg. She is so cute that I’ve had over 100 people message me about giving her a forever home It costs a lot of money, time and effort to change Penny’s life. I’d say about 20 people have been involved. I try to keep the content around her positive and uplifting and focus on her turnaround and the people helping to change her life. Subtly I can educate around where she came from and the need to change that but people don’t want to see a video of her getting tortured. Ultimately like many of the dogs she is a story of hope and the innate goodness in the people who helped change her life. The Subtle Benefits Of Feeling Good When I started the videos I remember looking at social media and it was so depressing. Every post was about war in Ukraine, people arguing about politics, the cost of living crisis or Covid (2022). I suffer from depression and anxiety and I found that social media was just making it worse for me. I thought “Maybe there is room in there for something super positive about dogs”. Thats what I am trying to create. It is also worth remembering some huge added bonuses about the videos… They make the dogs feel good They make people watching feel good They make people around the world aware of street dogs They make myself and others feel good in person doing something practical on the ground as our days can be pretty tough at times. I’d imagine Jumbo forgot about his painful legs when we took him to 7-11 this week and Lady couldn’t believe her luck after such a horrific recent past on the streets. There are probably faster ways to save more dogs. Probably more efficient ways to use my time. I think about that all the time. I’m just trying to fix the problem of dog suffering globally and come at it from a whole new angle. Maybe I’m right and maybe I’m wrong but there is no perfect simple solution to this. I want to share the individual dog stories as every life maters. I want to highlight amazing organisations like Soi Dog and individuals like Sybille who need as much coverage as possible. I want people to look at their phones around the world and think “that makes me feel so happy and wholesome and real change is possible”. I want people who are down and suffering themselves to think “maybe there is some hope for me”. McMuffin, Penny and Tina are just a couple of dogs we all know and love but they will also help thousands of future dogs indirectly. They are the little dogs who will help the other voiceless ones. Have a lovely weekend everybody wherever you are Big Love Niall P.S You can always support by either donating here Or you can now hit Subscribe here on Twitter for a monthly donation which is brand new
4:14

Penny, McMuffin And Tina - Why I Make Happy Doggo Videos If you are reading this I’m sure you’ve watched at least one of the videos I make which feature dogs. Hopefully it put a big smile on your face and left you feeling like a positive difference was being made in the world. I wanted to explain the massive importance of these videos… Taking Old Dogs To The Beach 🌴🥥 This week we did the “Old Dogs Beach Day Out”. It featured the OAP dogs who have been battling serious health issues lately and has close to a million views across different sites. McMuffin - Cancer survivor and had to have an eye removed this week Derek - Very old abandoned dog who was close to death on arrival Lady - Senior girl with 2 broken hips who was dying on the streets Snoop - My own rescue who has numerous tumours and a fused spine It was about as joyous a day out as you can imagine. You could see the dogs enjoying every single second as they swam, sunbathed and ate treats. But what is the point of this? Wouldn’t I be better spending the couple of hours it took doing something else like taking dogs to the vet or feeding even more out on the streets? Good question… Videos Help Me Do The “Boring” Stuff For The Dogs These are some of the things that I do in a typical month… Funding the sterilising of over 100 dogs ✂️ Feeding 20,000 meals for street dogs 🥘 Pay for between 20-40 vet visits for sick dogs 🐶 Purchasing preventative medicines for street dogs 💊 Paying for travel to re-home 7-10 dogs in Thailand ⛴️ Although these things are super important and change lives for the better they aren’t always super interesting. I’ve tried making videos about sterilising or vet visits but most people are not interested after they’ve seen it once. I understand that because I would be the exact same personally watching content on social media. I’d have very limited interest in opening Twitter and seeing dogs getting medical procedures or being abused. Most people simply unfollow or mute that sort of content. People know there is suffering but “out of sight, out of mind” is the attitude on social media. But Don’t Dog Suffering Videos Get Donations? Yes. You’ll probably notice that most content around the world from all types of animal charities can be quite gruesome or sad. This is the same with human tragedies. People are much more likely to donate if they see suffering. The need is more immediate and urgent. I wanted to try something completely different and not share gruesome content. Instead of showing content like Sterilisations (Tina below) or horrific injuries (McMuffin below is already operated on and healing) I wanted to share happy content. I wanted to create content that was so happy and upbeat that people would actually want to share it with others. To tell their friends about the plight of the street dogs and maybe even get excited about changing it too. Penny Is The Perfect Example Penny is a tiny little dog that came into my possession recently. The simple facts of her story are horrific… Kept locked up in a tiny box under a house Tortured by a human Broken leg so bad it needed large scale surgery I have videos on my phone of her before the rescue that would leave you sick to your stomach. I couldn’t sleep the night I saw them. I don’t want people to see all that though and instead focus on the positives… She is safe and alive She was able to go on a huge journey to a wonderful foundation called Soi Dog who worked on saving her leg. She is so cute that I’ve had over 100 people message me about giving her a forever home It costs a lot of money, time and effort to change Penny’s life. I’d say about 20 people have been involved. I try to keep the content around her positive and uplifting and focus on her turnaround and the people helping to change her life. Subtly I can educate around where she came from and the need to change that but people don’t want to see a video of her getting tortured. Ultimately like many of the dogs she is a story of hope and the innate goodness in the people who helped change her life. The Subtle Benefits Of Feeling Good When I started the videos I remember looking at social media and it was so depressing. Every post was about war in Ukraine, people arguing about politics, the cost of living crisis or Covid (2022). I suffer from depression and anxiety and I found that social media was just making it worse for me. I thought “Maybe there is room in there for something super positive about dogs”. Thats what I am trying to create. It is also worth remembering some huge added bonuses about the videos… They make the dogs feel good They make people watching feel good They make people around the world aware of street dogs They make myself and others feel good in person doing something practical on the ground as our days can be pretty tough at times. I’d imagine Jumbo forgot about his painful legs when we took him to 7-11 this week and Lady couldn’t believe her luck after such a horrific recent past on the streets. There are probably faster ways to save more dogs. Probably more efficient ways to use my time. I think about that all the time. I’m just trying to fix the problem of dog suffering globally and come at it from a whole new angle. Maybe I’m right and maybe I’m wrong but there is no perfect simple solution to this. I want to share the individual dog stories as every life maters. I want to highlight amazing organisations like Soi Dog and individuals like Sybille who need as much coverage as possible. I want people to look at their phones around the world and think “that makes me feel so happy and wholesome and real change is possible”. I want people who are down and suffering themselves to think “maybe there is some hope for me”. McMuffin, Penny and Tina are just a couple of dogs we all know and love but they will also help thousands of future dogs indirectly. They are the little dogs who will help the other voiceless ones. Have a lovely weekend everybody wherever you are Big Love Niall P.S You can always support by either donating here Or you can now hit Subscribe here on Twitter for a monthly donation which is brand new

Niall Harbison

217,663 次观看 • 3 年前

A dangerous zombie virus suddenly breaks out in a city. The virus contaminates the town's drinking water, and anyone who drinks the infected water eventually turns into a green-eyed zombie. Paul a young man of 12 years has one unusual habit that saves his life: he drinks about 20 cans of soda a day instead of water. Paul soon realizes something is seriously wrong when he looks outside and sees his neighbors running and then discovers that his mother has been infected. She had apparently drunk a glass of vegetable juice, and the virus had entered her system. Her behavior changes, and she becomes dangerous. With no other choice, Paul opens the door and runs outside. But just then, a car comes speeding down the street and crashes directly into his mother, sending her flying. The driver has apparently realized what is happening and warns Paul that the whole town is infected. He tells the boy to get back inside and hide. Paul immediately understands that staying outside is too dangerous. He goes back for his mother. As a group of zombies approaches, Paul grabs his mother's legs and physically drags her toward the house. He manages to get her inside just one second before the zombies catch up. Paul now has another problem. He has to protect his one-year-old baby sister from his infected mother. He takes his mother into the bathroom and locks her inside, hoping that this will keep her away from the baby. But the baby begins crying. The baby's crying attracts the zombies outside, making them even more aggressive. Paul realizes that the noise could put all of them in danger. He tries to keep the baby safe and quiet, including covering the stroller with a teddy bear as he attempts to protect her. Eventually, the noise outside dies down. For the moment, Paul and his sister are safe. But Paul begins thinking about the bigger problem: How is a young boy supposed to keep a one-year-old baby alive during a zombie outbreak? Then, when Paul is almost out of ideas, he hears military jets flying overhead. The government has decided to stop the infection from spreading outside the town. Their solution is extreme: they blow up the only bridge leading out of town. That leaves everyone trapped. Back inside the house, Paul's baby sister becomes increasingly hungry. She starts starving and crying, while their supplies continue to disappear. Paul uses their last bottle of water to prepare formula for his sister, knowing that they cannot survive for long without additional supplies. He then realizes that he needs to deal with his infected mother before trying to escape. Paul remembers something about his mother and decides to use her favorite vegetables to distract her. He grabs the vegetables and carefully heads toward the bathroom where she is trapped. However, Paul doesn't realize that his baby sister has quietly followed him. As Paul approaches his mother, the baby is suddenly exposed. His mother lunges toward the baby. Paul quickly reacts. He uses the vegetables to lure his infected mother away from the baby and into the living room. His plan works temporarily, but the situation becomes chaotic. His mother accidentally knocks over the television stand. The heavy stand falls onto her and crushes her to death. Paul is devastated. Even though his mother had become infected, she was still his mother, and Paul struggles to accept that she is gone. He realizes that he can no longer stay in the house and simply wait for help. There is also another problem: There is no food left. Paul looks around desperately for another way to survive. Paul uses the family cat to attract the zombies' attention. The zombies are distracted. He grabs his baby sister and runs to a grocery store, where he hopes to find food and supplies for the baby. Paul reaches the store but the front doors are locked tightly. He can't get inside. Paul has escaped his house, but he and his baby sister are still trapped in a town overwhelmed by the zombie outbreak. What a day for Paul!
2:05

A dangerous zombie virus suddenly breaks out in a city. The virus contaminates the town's drinking water, and anyone who drinks the infected water eventually turns into a green-eyed zombie. Paul a young man of 12 years has one unusual habit that saves his life: he drinks about 20 cans of soda a day instead of water. Paul soon realizes something is seriously wrong when he looks outside and sees his neighbors running and then discovers that his mother has been infected. She had apparently drunk a glass of vegetable juice, and the virus had entered her system. Her behavior changes, and she becomes dangerous. With no other choice, Paul opens the door and runs outside. But just then, a car comes speeding down the street and crashes directly into his mother, sending her flying. The driver has apparently realized what is happening and warns Paul that the whole town is infected. He tells the boy to get back inside and hide. Paul immediately understands that staying outside is too dangerous. He goes back for his mother. As a group of zombies approaches, Paul grabs his mother's legs and physically drags her toward the house. He manages to get her inside just one second before the zombies catch up. Paul now has another problem. He has to protect his one-year-old baby sister from his infected mother. He takes his mother into the bathroom and locks her inside, hoping that this will keep her away from the baby. But the baby begins crying. The baby's crying attracts the zombies outside, making them even more aggressive. Paul realizes that the noise could put all of them in danger. He tries to keep the baby safe and quiet, including covering the stroller with a teddy bear as he attempts to protect her. Eventually, the noise outside dies down. For the moment, Paul and his sister are safe. But Paul begins thinking about the bigger problem: How is a young boy supposed to keep a one-year-old baby alive during a zombie outbreak? Then, when Paul is almost out of ideas, he hears military jets flying overhead. The government has decided to stop the infection from spreading outside the town. Their solution is extreme: they blow up the only bridge leading out of town. That leaves everyone trapped. Back inside the house, Paul's baby sister becomes increasingly hungry. She starts starving and crying, while their supplies continue to disappear. Paul uses their last bottle of water to prepare formula for his sister, knowing that they cannot survive for long without additional supplies. He then realizes that he needs to deal with his infected mother before trying to escape. Paul remembers something about his mother and decides to use her favorite vegetables to distract her. He grabs the vegetables and carefully heads toward the bathroom where she is trapped. However, Paul doesn't realize that his baby sister has quietly followed him. As Paul approaches his mother, the baby is suddenly exposed. His mother lunges toward the baby. Paul quickly reacts. He uses the vegetables to lure his infected mother away from the baby and into the living room. His plan works temporarily, but the situation becomes chaotic. His mother accidentally knocks over the television stand. The heavy stand falls onto her and crushes her to death. Paul is devastated. Even though his mother had become infected, she was still his mother, and Paul struggles to accept that she is gone. He realizes that he can no longer stay in the house and simply wait for help. There is also another problem: There is no food left. Paul looks around desperately for another way to survive. Paul uses the family cat to attract the zombies' attention. The zombies are distracted. He grabs his baby sister and runs to a grocery store, where he hopes to find food and supplies for the baby. Paul reaches the store but the front doors are locked tightly. He can't get inside. Paul has escaped his house, but he and his baby sister are still trapped in a town overwhelmed by the zombie outbreak. What a day for Paul!

Chidera0402

69,834 次观看 • 10 天前

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 次观看 • 1 个月前

Episode 07 marks the biggest turning point in Thẩm Thanh Từ and Lâm Thu’s relationship: the official coming-out before the family. No more stolen glances or secret promises—the two must face the “wall” of prejudice from distinguished parents. 🍵 Chapter 1: Pressure in the antique tea room An oppressive opening in the study of a Beijing villa. Thẩm Thanh Từ’s mother sits with dignity on a hongmu armchair, a blue-and-white porcelain teacup in hand radiating undeniable severity. Opposite her, Thanh Từ in a moss-green vest firmly holds Lâm Thu’s hand—the girl in an ivory silk dress, shy but with eyes that do not retreat. The declaration “She is mine. I will protect her” cuts through the silence and lays the foundation for a battle between love and family rules. ✈️ Chapter 2: The father’s return & unexpected acceptance When every door seemed shut, Thanh Từ’s father appears at a private suburban airport and brings a new wind. Unlike the usual cold businessman image, he is a modern East Asian father—humorous and extremely doting on his daughter. The moment he opens his arms and tightly embraces Thanh Từ in the warm living room, then teases, “So where is my daughter-in-law?”, shatters all anxiety. His kind nod is not only acceptance, but the most sincere blessing for his child’s happiness. 🌙 Chapter 3: The night after the storm & the White Moonlight belongs to me After a long tense day, night is when two hearts find a peaceful rhythm again. In the dim living room, they change into comfortable silk pajamas (dusty rose and ivory white) and share a thick knit blanket. Lâm Thu’s whisper “Sister, will Mom and Dad like me?” is answered with a gentle kiss and a tight hug. The ending shot from a low floor angle—only bare feet intertwined on the sofa and two rumpled silk pajama sets on the floor, with soft, slightly heavy breathing—is the clearest proof that “the White Moonlight firmly chooses me” is not just words, but a bond of body and soul after overcoming every prejudice. ✨ Highlights of this episode: Peak psychological arc: from fear ➡️ to resolve ➡️ to overflowing happiness. “National dad” figure: strict on the outside, warm on the inside. Exploding chemistry: subtle intimate gestures that freeze the audience without a single word. #GirlLove #CDrama #BachNguyetQuang #ShenQingci #LinQiu #GLDrama #Episode07 #OvercomingPrejudice #IntimateMoments #AsianRomance ⚠️ Note: All images and videos on this account are AI-generated. They are fictional content, not real photos, and do not represent any real person, organization, or viewpoint.
2:02

Episode 07 marks the biggest turning point in Thẩm Thanh Từ and Lâm Thu’s relationship: the official coming-out before the family. No more stolen glances or secret promises—the two must face the “wall” of prejudice from distinguished parents. 🍵 Chapter 1: Pressure in the antique tea room An oppressive opening in the study of a Beijing villa. Thẩm Thanh Từ’s mother sits with dignity on a hongmu armchair, a blue-and-white porcelain teacup in hand radiating undeniable severity. Opposite her, Thanh Từ in a moss-green vest firmly holds Lâm Thu’s hand—the girl in an ivory silk dress, shy but with eyes that do not retreat. The declaration “She is mine. I will protect her” cuts through the silence and lays the foundation for a battle between love and family rules. ✈️ Chapter 2: The father’s return & unexpected acceptance When every door seemed shut, Thanh Từ’s father appears at a private suburban airport and brings a new wind. Unlike the usual cold businessman image, he is a modern East Asian father—humorous and extremely doting on his daughter. The moment he opens his arms and tightly embraces Thanh Từ in the warm living room, then teases, “So where is my daughter-in-law?”, shatters all anxiety. His kind nod is not only acceptance, but the most sincere blessing for his child’s happiness. 🌙 Chapter 3: The night after the storm & the White Moonlight belongs to me After a long tense day, night is when two hearts find a peaceful rhythm again. In the dim living room, they change into comfortable silk pajamas (dusty rose and ivory white) and share a thick knit blanket. Lâm Thu’s whisper “Sister, will Mom and Dad like me?” is answered with a gentle kiss and a tight hug. The ending shot from a low floor angle—only bare feet intertwined on the sofa and two rumpled silk pajama sets on the floor, with soft, slightly heavy breathing—is the clearest proof that “the White Moonlight firmly chooses me” is not just words, but a bond of body and soul after overcoming every prejudice. ✨ Highlights of this episode: Peak psychological arc: from fear ➡️ to resolve ➡️ to overflowing happiness. “National dad” figure: strict on the outside, warm on the inside. Exploding chemistry: subtle intimate gestures that freeze the audience without a single word. #GirlLove #CDrama #BachNguyetQuang #ShenQingci #LinQiu #GLDrama #Episode07 #OvercomingPrejudice #IntimateMoments #AsianRomance ⚠️ Note: All images and videos on this account are AI-generated. They are fictional content, not real photos, and do not represent any real person, organization, or viewpoint.

Ciara | Yuri Cinematic

88,635 次观看 • 26 天前

Elon Musk wants us building successful businesses here on 𝕏, NOT relying on X payouts. Elon is a trillionaire entrepreneur that got there by NETWORKING ideas and visions with others. He now owns a social media platform and wants us doing the exact same thing here. Elon wants you to build a following, find a business that offers a valuable service to the community and country, succeed beyond your WILDEST dreams with it and then NETWORK TO REPLICATE IT AND HELP OTHERS HERE DO THE SAME! That's the winning model that will not only benefit all of us, but be financially beneficial to Elon as well, and I'd like to explain why. Meta generates their primary ad revenue from big corporations owned by corrupt elites advertising their products to our asleep family members. Big Corporations HATE Elon so that is absolutely OUT of the question here on this platform, so they need an alternative model to pull in revenue to see an ROI ont he purchase of Twitter, and it's up to all of us to help generate that. Instagram is the complete OPPOSITE of Meta and Youtube. Instagram generates roughly 87 Billion dollars each year in ad revenue with a substantial amount of that coming from regular users of the platform who are also entrepreneurs working successful business between their niche content, and they are paying INTO ads to advertise that business between said niche content. There are 19 year olds on Instagram making 6 figures a MONTH drop shipping and they make courses teaching you step by step instructions how you can do it too. They pay anywhere between $15 - $20K a month INTO the ad program to advertise their businesses, between their regular content. There are MILLIONS of instances of this on Instagram and that is what's feeding a massive portion of the ad revenue program. The #1 reason people create an instagram account and actively try to grow it, is entrepreneurship. THAT'S what Elon wants us doing HERE! Now, the conservative space on Instagram is MASSIVE and 👉 LITERALLY 👈 all they do is lazily scroll 𝕏 all day to see the content YOU ALL are sending viral here, and they STEAL IT, easily moving it to their Instagram accounts to build their own following to then work a successful business. You need to understand that part very clearly. They're lazily stealing YOUR content from here, building successful businesses off it and posting videos of them traveling the world living lives of luxury. I've been tracking them doing this for SIX YEARS since 2020. If you can explain to me why they are more privileged and deserving than YOU to be living successfully off of YOUR work, I'd love to hear your reasoning on this. Now, i had a Zoom meeting with a conservative mom on Instagram that works the same business from home that I do, and she's helped over 60 people on Instagram grow their following from 0-200K to then work that business with her and she opened up her back office to me to show me everything and teach me how she does what she does and precisely how the Instagram algorithm works to grow. I'm not going into specifics, but it's absolutely clear based on my assessment that the development team behind Instagram makes it hard to grow there on purpose because they psychologically understands how to keep toxicity from taking over the platform by ensuring the extremely impatient "I want it NOW" people aren't able to grow large platforms to take over the entire platform. They understand these people are significantly more likely to spread toxicity across the platform, original content to drop, entrepreneurship to disappear and incoming ad revenue to dip much lower as a result. They understand those with military style determination and grit will stick it out to succeed, have much higher chance of being more intelligent to end up bringing original content to the platform, and have a much higher confidence rate in themselves to seek entrepreneurship, build community based income opportunities where anyone can come in and succeed to create very healthy communities, and then pay into the ad program to advertise it to succeed even more, turning the platform into a truly symbiotic relationship between the entrepreneurial users and the platform itself that allows them to grow and succeed in the first place. We're doing things all wrong here. 𝕏 isn't broken — our community is. These massive 1+ million follower accounts here that grew by putting MSM articles into Grok AI to have him rewrite them to avoid plagiarism charges and milk the 𝕏 revenue system and they will NEVER be able to figure this out because they're FAKING their intelligence by doing this and Elon does NOT want us idolizing accounts like that because they're giving us false illusions and impressions as to what success looks like. Elon wants us aiming much higher than 𝕏 revenue because 𝕏 revenue is NOT generational wealth to pass onto our children and we're supposed to be working together as a community to build things that are. Elon wants to be able to advertise this platform as having the MOST self-made millionaires than ANY other platform on the planet. As things currently sit, 𝕏 is single handedly leading any other platform for world news distribution, but we're trailing significantly in wealth generation. I believe the changes in monetization are to force people out of their comfort zones to seek alternative means of income generation to help correct that. We're not supposed to be competing with each other to gain 𝕏 revenue, we're supposed to be working together to build communities and revenue to compete with Instagram. The problem is, most of us came to this platform as slaves to a broken and corrupted system because we want change and have no language for these things. So, I'll be the first one to plant my flag. Do I know what I'm doing? Absolutely not. Do my children deserve having a mother that steps far outside her comfort zone to give it everything she's got to build something that gives them a better life? You bet your ass. Before my son was born with his tumor in his throat and the medical field bankrupted me for everything I was worth, I worked a VERY successful business from home that allowed me to homeschool my children. We've been pointing out all this corruption but what we now need are SOLUTIONS and community based systems to the corrupt system we're all stuck in, that anyone can implement and benefit from. I think it's time for us all to build that together and I'd like to start. We do have tools to fight back against the corrupt system but it's going to take all of us coming together to do it. The 2 BIGGEST ways we fund these corrupt elites every single month, is buying food and basic household goods from their corporations. All of our stores and corporations have become owned by a small group of Wall Street shareholder elites that lobby our politicians in Congress to look the other way while their corporations poison us and our children with their toxic products. We don't have to keep funding that system anymore as a parallel economy does in fact exist where profits are CUT OFF from reaching them and are instead redirected back to the American people. Wall Street elites like BlackRock-Vanguard and central bankers like JP Morgan & Chase does own 93% of the consumer goods sold in America. If the "conspiracies" are true, then BlackRock and Vanguard are owned by private Central Bankers that serve ENGLAND and they partnered with China to steal our manufacturing. Powerful banking elites purchase majority shares of the corporations for these Central Bankers, then moves the manufacturer to China. ALL of our consumer wealth is being siphoned out of America and going to England and China via this model and they lobbied BOTH parties in Congress through donations from their corporations to keep them silent about it. When we buy stuff in their stores, the profits are going to Wall Street and some of those profits go to product advertising on TV and that's what pays networks heads to pay the salaries of Fake News anchors millions of dollars a year to LIE to us. The video I provided in this post was Dylan Ratigan addressing the illusion of the left vs right paradigm IN 2011! He talks about all of our wealth being siphoned out of America. We were so close to figuring this out in 2011, then all of the DIVISIONS started to significantly ramp up against us to keep us fighting each other to keep this hidden so the theft of our consumer wealth out of the country could continue, to further hollow out America. Every time we buy Tide laundry detergent, we're funding the Military Industrial Complex and their forever wars because the same shareholders that owns tide — BlackRock-Vanguard — owns the weapons defense contracting companies that makes missiles and profits from death in forever wars. It's not just Tide, it's ALL basic household goods that we buy every single month as we send those profits through Wall Street when we support these corporations. Laundry detergent, dish soap, deodorant, shampoo conditioner, toothpaste, and EVERY other product that props up Johnson&Johnson and all these other cabal corporations. We can't fix America if we continue to support these cabal corporations that poison us for profit because they also own the pharmaceutical companies too and they've lobbied both sides of Congress to look the other eat while they do it. There's ONE family owned consumer goods manufacturer left here in America that can ship to MILLIONS of doorsteps and they make 470+ basic household goods that we still need for our families every single month from safe laundry detergent that won't give your children hives and rashes, to shampoo, deodorant, fluoride free toothpaste, dish soap, safe cleaning products that won't give you cancers or harm the lungs of your children and pets, to 470+ other basic needs as well as clean grass fed beef and steaks, and they've been right here in America for the last 41 years. They're a privately owned company and NOT publicly traded in Wall Street so profits are NOT going to Wall Street elites who then give them to Congress, the profits go back to us instead, which is the way things should be. Companies like this made no sense 20 years ago when we were all asleep and loved Walmart, but we're all waking up to what these corrupt elites have been doing and we need an alternative system that benefits families in America instead of powerful wall street pedophiles that own and control all aspects of our lives. It's not good enough to just shop American made anymore, we need to keep our consumer dollars OUT of the hands of Wall Street elites. They have NOT been responsible with our tax dollars, and they have NOT been responsible with the profits we send them by supporting their massive corporations, so it's time to cut them off and shift those profits back to the American people who need them instead. Walk around your home and look at all the household products you're buying every month that funds this corrupt system. We can squash their monopoly and reverse engineer ACTUAL capitalism and Robin Hood profits from the Wall Street elites by shifting MILLIONS of dollars away from them and back to people who need it, for everyday stuff we're already buying every single month from them for our families. Elon Musk wants us building community based wealth generating systems ON THIS PLATFORM to tear down the elites and rebuild the middle-class instead. We don't need more BREAKING posts. We don't need more corruption exposed, as we've seen enough to understand the entire system THAT WE FUND every month, is rotten from the top down. What we need is a community based system built for us that allows all of us to legally rob that corrupt system, and I think it's time we build it. Winter is coming. There's no better time to LEARN and build an online business and start building something that can be passed down to our children in the future, that's also beneficial to America, and I'd like to help build it. If you're interested in building it with me, you can message me here directly or you can email me! 🥰 BFertig95@Outlook.com
4:15

Elon Musk wants us building successful businesses here on 𝕏, NOT relying on X payouts. Elon is a trillionaire entrepreneur that got there by NETWORKING ideas and visions with others. He now owns a social media platform and wants us doing the exact same thing here. Elon wants you to build a following, find a business that offers a valuable service to the community and country, succeed beyond your WILDEST dreams with it and then NETWORK TO REPLICATE IT AND HELP OTHERS HERE DO THE SAME! That's the winning model that will not only benefit all of us, but be financially beneficial to Elon as well, and I'd like to explain why. Meta generates their primary ad revenue from big corporations owned by corrupt elites advertising their products to our asleep family members. Big Corporations HATE Elon so that is absolutely OUT of the question here on this platform, so they need an alternative model to pull in revenue to see an ROI ont he purchase of Twitter, and it's up to all of us to help generate that. Instagram is the complete OPPOSITE of Meta and Youtube. Instagram generates roughly 87 Billion dollars each year in ad revenue with a substantial amount of that coming from regular users of the platform who are also entrepreneurs working successful business between their niche content, and they are paying INTO ads to advertise that business between said niche content. There are 19 year olds on Instagram making 6 figures a MONTH drop shipping and they make courses teaching you step by step instructions how you can do it too. They pay anywhere between $15 - $20K a month INTO the ad program to advertise their businesses, between their regular content. There are MILLIONS of instances of this on Instagram and that is what's feeding a massive portion of the ad revenue program. The #1 reason people create an instagram account and actively try to grow it, is entrepreneurship. THAT'S what Elon wants us doing HERE! Now, the conservative space on Instagram is MASSIVE and 👉 LITERALLY 👈 all they do is lazily scroll 𝕏 all day to see the content YOU ALL are sending viral here, and they STEAL IT, easily moving it to their Instagram accounts to build their own following to then work a successful business. You need to understand that part very clearly. They're lazily stealing YOUR content from here, building successful businesses off it and posting videos of them traveling the world living lives of luxury. I've been tracking them doing this for SIX YEARS since 2020. If you can explain to me why they are more privileged and deserving than YOU to be living successfully off of YOUR work, I'd love to hear your reasoning on this. Now, i had a Zoom meeting with a conservative mom on Instagram that works the same business from home that I do, and she's helped over 60 people on Instagram grow their following from 0-200K to then work that business with her and she opened up her back office to me to show me everything and teach me how she does what she does and precisely how the Instagram algorithm works to grow. I'm not going into specifics, but it's absolutely clear based on my assessment that the development team behind Instagram makes it hard to grow there on purpose because they psychologically understands how to keep toxicity from taking over the platform by ensuring the extremely impatient "I want it NOW" people aren't able to grow large platforms to take over the entire platform. They understand these people are significantly more likely to spread toxicity across the platform, original content to drop, entrepreneurship to disappear and incoming ad revenue to dip much lower as a result. They understand those with military style determination and grit will stick it out to succeed, have much higher chance of being more intelligent to end up bringing original content to the platform, and have a much higher confidence rate in themselves to seek entrepreneurship, build community based income opportunities where anyone can come in and succeed to create very healthy communities, and then pay into the ad program to advertise it to succeed even more, turning the platform into a truly symbiotic relationship between the entrepreneurial users and the platform itself that allows them to grow and succeed in the first place. We're doing things all wrong here. 𝕏 isn't broken — our community is. These massive 1+ million follower accounts here that grew by putting MSM articles into Grok AI to have him rewrite them to avoid plagiarism charges and milk the 𝕏 revenue system and they will NEVER be able to figure this out because they're FAKING their intelligence by doing this and Elon does NOT want us idolizing accounts like that because they're giving us false illusions and impressions as to what success looks like. Elon wants us aiming much higher than 𝕏 revenue because 𝕏 revenue is NOT generational wealth to pass onto our children and we're supposed to be working together as a community to build things that are. Elon wants to be able to advertise this platform as having the MOST self-made millionaires than ANY other platform on the planet. As things currently sit, 𝕏 is single handedly leading any other platform for world news distribution, but we're trailing significantly in wealth generation. I believe the changes in monetization are to force people out of their comfort zones to seek alternative means of income generation to help correct that. We're not supposed to be competing with each other to gain 𝕏 revenue, we're supposed to be working together to build communities and revenue to compete with Instagram. The problem is, most of us came to this platform as slaves to a broken and corrupted system because we want change and have no language for these things. So, I'll be the first one to plant my flag. Do I know what I'm doing? Absolutely not. Do my children deserve having a mother that steps far outside her comfort zone to give it everything she's got to build something that gives them a better life? You bet your ass. Before my son was born with his tumor in his throat and the medical field bankrupted me for everything I was worth, I worked a VERY successful business from home that allowed me to homeschool my children. We've been pointing out all this corruption but what we now need are SOLUTIONS and community based systems to the corrupt system we're all stuck in, that anyone can implement and benefit from. I think it's time for us all to build that together and I'd like to start. We do have tools to fight back against the corrupt system but it's going to take all of us coming together to do it. The 2 BIGGEST ways we fund these corrupt elites every single month, is buying food and basic household goods from their corporations. All of our stores and corporations have become owned by a small group of Wall Street shareholder elites that lobby our politicians in Congress to look the other way while their corporations poison us and our children with their toxic products. We don't have to keep funding that system anymore as a parallel economy does in fact exist where profits are CUT OFF from reaching them and are instead redirected back to the American people. Wall Street elites like BlackRock-Vanguard and central bankers like JP Morgan & Chase does own 93% of the consumer goods sold in America. If the "conspiracies" are true, then BlackRock and Vanguard are owned by private Central Bankers that serve ENGLAND and they partnered with China to steal our manufacturing. Powerful banking elites purchase majority shares of the corporations for these Central Bankers, then moves the manufacturer to China. ALL of our consumer wealth is being siphoned out of America and going to England and China via this model and they lobbied BOTH parties in Congress through donations from their corporations to keep them silent about it. When we buy stuff in their stores, the profits are going to Wall Street and some of those profits go to product advertising on TV and that's what pays networks heads to pay the salaries of Fake News anchors millions of dollars a year to LIE to us. The video I provided in this post was Dylan Ratigan addressing the illusion of the left vs right paradigm IN 2011! He talks about all of our wealth being siphoned out of America. We were so close to figuring this out in 2011, then all of the DIVISIONS started to significantly ramp up against us to keep us fighting each other to keep this hidden so the theft of our consumer wealth out of the country could continue, to further hollow out America. Every time we buy Tide laundry detergent, we're funding the Military Industrial Complex and their forever wars because the same shareholders that owns tide — BlackRock-Vanguard — owns the weapons defense contracting companies that makes missiles and profits from death in forever wars. It's not just Tide, it's ALL basic household goods that we buy every single month as we send those profits through Wall Street when we support these corporations. Laundry detergent, dish soap, deodorant, shampoo conditioner, toothpaste, and EVERY other product that props up Johnson&Johnson and all these other cabal corporations. We can't fix America if we continue to support these cabal corporations that poison us for profit because they also own the pharmaceutical companies too and they've lobbied both sides of Congress to look the other eat while they do it. There's ONE family owned consumer goods manufacturer left here in America that can ship to MILLIONS of doorsteps and they make 470+ basic household goods that we still need for our families every single month from safe laundry detergent that won't give your children hives and rashes, to shampoo, deodorant, fluoride free toothpaste, dish soap, safe cleaning products that won't give you cancers or harm the lungs of your children and pets, to 470+ other basic needs as well as clean grass fed beef and steaks, and they've been right here in America for the last 41 years. They're a privately owned company and NOT publicly traded in Wall Street so profits are NOT going to Wall Street elites who then give them to Congress, the profits go back to us instead, which is the way things should be. Companies like this made no sense 20 years ago when we were all asleep and loved Walmart, but we're all waking up to what these corrupt elites have been doing and we need an alternative system that benefits families in America instead of powerful wall street pedophiles that own and control all aspects of our lives. It's not good enough to just shop American made anymore, we need to keep our consumer dollars OUT of the hands of Wall Street elites. They have NOT been responsible with our tax dollars, and they have NOT been responsible with the profits we send them by supporting their massive corporations, so it's time to cut them off and shift those profits back to the American people who need them instead. Walk around your home and look at all the household products you're buying every month that funds this corrupt system. We can squash their monopoly and reverse engineer ACTUAL capitalism and Robin Hood profits from the Wall Street elites by shifting MILLIONS of dollars away from them and back to people who need it, for everyday stuff we're already buying every single month from them for our families. Elon Musk wants us building community based wealth generating systems ON THIS PLATFORM to tear down the elites and rebuild the middle-class instead. We don't need more BREAKING posts. We don't need more corruption exposed, as we've seen enough to understand the entire system THAT WE FUND every month, is rotten from the top down. What we need is a community based system built for us that allows all of us to legally rob that corrupt system, and I think it's time we build it. Winter is coming. There's no better time to LEARN and build an online business and start building something that can be passed down to our children in the future, that's also beneficial to America, and I'd like to help build it. If you're interested in building it with me, you can message me here directly or you can email me! 🥰 [email protected]

Bridgett Fertig

46,912 次观看 • 1 个月前

This is real footage of Zeros taking off from the deck of the Akagi. For half a year, this single ship was the most successful aircraft carrier on Earth. Its planes struck Pearl Harbor, Darwin, and Ceylon, and it never lost. Then, in a few minutes, she was doomed. This is the story of the Akagi.. ⠀ From Battlecruiser to Flagship The Akagi, named after Mount Akagi in Japan, was not even meant to be a carrier. She was laid down as a massive battlecruiser, but a naval treaty in the 1920s halted her construction. Rather than scrap the enormous hull, Japan rebuilt her into an aircraft carrier, one of the largest in the world. By 1941 she had become the flagship of the Kido Butai, the First Air Fleet. This was the most powerful concentration of naval air power on the planet, six aircraft carriers operating together as a single striking fist, something no other navy had ever done. From her deck, Admiral Chuichi Nagumo commanded the whole force. When Japan decided to open the war with a knockout blow against the United States, it was the Akagi that led the way. The Carrier That Led Japan's Offensive On the morning of December 7 1941, the Akagi sat in the dark waters north of Hawaii, and launched her aircraft toward Pearl Harbor. Her torpedo bombers helped tear apart the American battleship fleet as it lay at anchor. The man who led the entire air attack, Mitsuo Fuchida, flew from her deck. The Akagi was, quite literally, the ship from which America's war began. And she was just getting started. Over the next several months, the Akagi and her sister carriers went on a rampage across a third of the globe. In January they struck Rabaul. In February they fell upon the Australian city of Darwin, launching a devastating surprise raid that sank eight ships and became known as Australia's Pearl Harbor. ⠀ Across the Indian Ocean Then they turned west, into the Indian Ocean. In the spring of 1942 the Kido Butai swept toward Ceylon, hunting the British Eastern Fleet. Akagi's aircraft helped sink British warships, including the heavy cruisers Cornwall and Dorsetshire, and sent the Royal Navy reeling out of the eastern Indian Ocean entirely. In just half a year, the aircraft launched from that deck had struck Hawaii, the Dutch East Indies, Australia, and Ceylon. They had helped sink American, British, and Australian ships across thousands of miles of ocean. The Akagi had not lost a single battle. She was the most successful and most feared aircraft carrier in the world, the flagship of a force that seemed unstoppable. It would all end on one morning in June. The Battle of Midway In June 1942, the Akagi led the Kido Butai toward a tiny American outpost called Midway. The plan was to seize the island and destroy what was left of the American carrier fleet. But the Americans had broken the Japanese codes. They knew the Akagi and her sisters were coming, and they were waiting. On the morning of June 4, the battle turned into chaos. The Japanese carriers had just fought off waves of American attacks, and below the flight deck the Akagi's hangars were packed with aircraft being frantically rearmed and refueled, fuel lines and bombs lying everywhere. It was the most dangerous possible moment to be caught. And at that exact moment, American dive bombers rolled in out of the sky, unseen until it was too late. ⠀ One Bomb A lookout screamed a warning. Then the bombs fell. The Akagi was struck by a single bomb from an American dive bomber, dropped by Lieutenant Richard Best, while near misses battered her hull and jammed her rudder. Just one direct hit. But it struck in the worst possible place, punching down into the hangar deck packed with armed, fueled aircraft. The explosion set off a chain reaction. Fires roared through the ship, feeding on the fuel and detonating the bombs stacked among the planes. Within minutes the pride of the Japanese fleet was doomed, a spreading inferno no one could control. The flagship that had conquered half an ocean was mortally wounded by one well-aimed bomb. Admiral Nagumo was forced to abandon his burning flagship and transfer his command to another ship. The Akagi was left blazing, unnavigable, circling helplessly. The End of the Akagi The Akagi burned all day and into the night. Unable to save her, and unwilling to let her fall into American hands, the Japanese ordered her own destroyers to sink her. In the early hours of June 5 1942, torpedoes from her escorts sent her to the bottom. She went down bow first. 267 of her crew died with her. She did not go alone. All four Japanese carriers at Midway, every one of them a veteran of Pearl Harbor, were sunk in the same battle, taking with them their irreplaceable aircraft and elite crews. It was the turning point of the entire Pacific war. Japan would never recover the initiative. For over 75 years, the Akagi lay lost in the dark. Then in 2019 her wreck was finally found, more than 17,000 feet down, and in 2023 a robot submarine descended to look upon her for the first time since she sank. The most successful carrier in the world, resting in the deep, where a few fatal minutes sent her. This was the story of the Akagi. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.
0:39

This is real footage of Zeros taking off from the deck of the Akagi. For half a year, this single ship was the most successful aircraft carrier on Earth. Its planes struck Pearl Harbor, Darwin, and Ceylon, and it never lost. Then, in a few minutes, she was doomed. This is the story of the Akagi.. ⠀ From Battlecruiser to Flagship The Akagi, named after Mount Akagi in Japan, was not even meant to be a carrier. She was laid down as a massive battlecruiser, but a naval treaty in the 1920s halted her construction. Rather than scrap the enormous hull, Japan rebuilt her into an aircraft carrier, one of the largest in the world. By 1941 she had become the flagship of the Kido Butai, the First Air Fleet. This was the most powerful concentration of naval air power on the planet, six aircraft carriers operating together as a single striking fist, something no other navy had ever done. From her deck, Admiral Chuichi Nagumo commanded the whole force. When Japan decided to open the war with a knockout blow against the United States, it was the Akagi that led the way. The Carrier That Led Japan's Offensive On the morning of December 7 1941, the Akagi sat in the dark waters north of Hawaii, and launched her aircraft toward Pearl Harbor. Her torpedo bombers helped tear apart the American battleship fleet as it lay at anchor. The man who led the entire air attack, Mitsuo Fuchida, flew from her deck. The Akagi was, quite literally, the ship from which America's war began. And she was just getting started. Over the next several months, the Akagi and her sister carriers went on a rampage across a third of the globe. In January they struck Rabaul. In February they fell upon the Australian city of Darwin, launching a devastating surprise raid that sank eight ships and became known as Australia's Pearl Harbor. ⠀ Across the Indian Ocean Then they turned west, into the Indian Ocean. In the spring of 1942 the Kido Butai swept toward Ceylon, hunting the British Eastern Fleet. Akagi's aircraft helped sink British warships, including the heavy cruisers Cornwall and Dorsetshire, and sent the Royal Navy reeling out of the eastern Indian Ocean entirely. In just half a year, the aircraft launched from that deck had struck Hawaii, the Dutch East Indies, Australia, and Ceylon. They had helped sink American, British, and Australian ships across thousands of miles of ocean. The Akagi had not lost a single battle. She was the most successful and most feared aircraft carrier in the world, the flagship of a force that seemed unstoppable. It would all end on one morning in June. The Battle of Midway In June 1942, the Akagi led the Kido Butai toward a tiny American outpost called Midway. The plan was to seize the island and destroy what was left of the American carrier fleet. But the Americans had broken the Japanese codes. They knew the Akagi and her sisters were coming, and they were waiting. On the morning of June 4, the battle turned into chaos. The Japanese carriers had just fought off waves of American attacks, and below the flight deck the Akagi's hangars were packed with aircraft being frantically rearmed and refueled, fuel lines and bombs lying everywhere. It was the most dangerous possible moment to be caught. And at that exact moment, American dive bombers rolled in out of the sky, unseen until it was too late. ⠀ One Bomb A lookout screamed a warning. Then the bombs fell. The Akagi was struck by a single bomb from an American dive bomber, dropped by Lieutenant Richard Best, while near misses battered her hull and jammed her rudder. Just one direct hit. But it struck in the worst possible place, punching down into the hangar deck packed with armed, fueled aircraft. The explosion set off a chain reaction. Fires roared through the ship, feeding on the fuel and detonating the bombs stacked among the planes. Within minutes the pride of the Japanese fleet was doomed, a spreading inferno no one could control. The flagship that had conquered half an ocean was mortally wounded by one well-aimed bomb. Admiral Nagumo was forced to abandon his burning flagship and transfer his command to another ship. The Akagi was left blazing, unnavigable, circling helplessly. The End of the Akagi The Akagi burned all day and into the night. Unable to save her, and unwilling to let her fall into American hands, the Japanese ordered her own destroyers to sink her. In the early hours of June 5 1942, torpedoes from her escorts sent her to the bottom. She went down bow first. 267 of her crew died with her. She did not go alone. All four Japanese carriers at Midway, every one of them a veteran of Pearl Harbor, were sunk in the same battle, taking with them their irreplaceable aircraft and elite crews. It was the turning point of the entire Pacific war. Japan would never recover the initiative. For over 75 years, the Akagi lay lost in the dark. Then in 2019 her wreck was finally found, more than 17,000 feet down, and in 2023 a robot submarine descended to look upon her for the first time since she sank. The most successful carrier in the world, resting in the deep, where a few fatal minutes sent her. This was the story of the Akagi. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.

Untold War Stories

69,588 次观看 • 2 个月前

🚨 THE COMPLETE AYOMIDE SPENCER & WURA DRAMA: Full Gist for First-Timers (No Rumors, Just Facts + Spice) 🔥🍲 If you’re new to this trending madness and wondering “Who is Spencer? Why is everyone talking about noodles?”, here’s the proper, well-seasoned breakdown from start to finish. The Main Characters •Ayomide Spencer (Spencer): TikTok content creator known for flashy lifestyle videos. He has a history with multiple baby mamas and loves public displays of new relationships. •Wuraola (Wura): His current/recent baby mama and mother of his child(ren) — often referred to as twins in posts. She was the one he was flaunting online before things collapsed. •Dami: Spencer’s previous baby mama. She represents his “past chapter” of drama. •Current Wife: The married partner. Her child is involved in the co-parenting tension. How the Beef Started Spencer and Wura were doing the “blended family” thing. He posted her heavily — couple content, luxury vibes, the works. But behind the scenes, co-parenting was cracking. The trigger? Step-sibling issues. Wura allegedly refused to let their shared child get too close to the current wife’s child. Spencer disagreed. What should’ve stayed private turned into public dragging on TikTok and social media. The Noodles War (The Messy Heart of It All) This is where it went nuclear: •Wura’s Move: During the argument, she leaked Spencer’s private/intimate photos (“his noodles”) on WhatsApp — sending them to selected people or groups for embarrassment. •Spencer’s Revenge: He retaliated by posting Wura’s own intimate photos and videos publicly on TikTok. Yes — it was mutual. She leaked his first (on WhatsApp), he leaked hers bigger (on TikTok for the whole world). That’s why you hear “they posted each other’s nudes.” Both sides participated in the revenge photo leak. Why Spencer Is Catching the Most Heat •He has a pattern. With Dami before, he allegedly body-shamed her, dragged her on live videos, and disrespected her publicly during their split. •People see him repeating the same behavior with Wura (the mother of his newer child/children). •Escalating to public leaks while being a father is drawing heavy criticism: “Money can never unfoolish a nigga,” “Be stingy with your womb,” and “Pity the children” are flooding comments. Current Temperature (As of July 13) •Fresh posts and videos are still dropping today. •TikTok FYP and gist pages are full of recaps, voice notes, and clips from the saga. •Reactions range from “Both of them dey mad 😂” to full drags on Spencer for the cycle of disrespect. •The kids (especially the twins) are the main concern — many fear they’ll grow up seeing this online. The Big Takeaway (Extra Pepper) Private family fights should never reach the internet, especially when intimate photos get involved. Once nudes leak, they stay leaked forever. Red flags don’t vanish because someone has money, followers, or fine face. This is the full story — mutual leaks, blended family tension, past patterns with Dami, and why it’s trending hard. No side was perfect, but Spencer’s escalation and history made him the bigger target. Now you’re fully caught up! What do you think — Team “Both Wrong” or something else? Want me to add timelines, specific quotes, or focus on any part? Let me know and I’ll remix it! 😂🍲
0:22

🚨 THE COMPLETE AYOMIDE SPENCER & WURA DRAMA: Full Gist for First-Timers (No Rumors, Just Facts + Spice) 🔥🍲 If you’re new to this trending madness and wondering “Who is Spencer? Why is everyone talking about noodles?”, here’s the proper, well-seasoned breakdown from start to finish. The Main Characters •Ayomide Spencer (Spencer): TikTok content creator known for flashy lifestyle videos. He has a history with multiple baby mamas and loves public displays of new relationships. •Wuraola (Wura): His current/recent baby mama and mother of his child(ren) — often referred to as twins in posts. She was the one he was flaunting online before things collapsed. •Dami: Spencer’s previous baby mama. She represents his “past chapter” of drama. •Current Wife: The married partner. Her child is involved in the co-parenting tension. How the Beef Started Spencer and Wura were doing the “blended family” thing. He posted her heavily — couple content, luxury vibes, the works. But behind the scenes, co-parenting was cracking. The trigger? Step-sibling issues. Wura allegedly refused to let their shared child get too close to the current wife’s child. Spencer disagreed. What should’ve stayed private turned into public dragging on TikTok and social media. The Noodles War (The Messy Heart of It All) This is where it went nuclear: •Wura’s Move: During the argument, she leaked Spencer’s private/intimate photos (“his noodles”) on WhatsApp — sending them to selected people or groups for embarrassment. •Spencer’s Revenge: He retaliated by posting Wura’s own intimate photos and videos publicly on TikTok. Yes — it was mutual. She leaked his first (on WhatsApp), he leaked hers bigger (on TikTok for the whole world). That’s why you hear “they posted each other’s nudes.” Both sides participated in the revenge photo leak. Why Spencer Is Catching the Most Heat •He has a pattern. With Dami before, he allegedly body-shamed her, dragged her on live videos, and disrespected her publicly during their split. •People see him repeating the same behavior with Wura (the mother of his newer child/children). •Escalating to public leaks while being a father is drawing heavy criticism: “Money can never unfoolish a nigga,” “Be stingy with your womb,” and “Pity the children” are flooding comments. Current Temperature (As of July 13) •Fresh posts and videos are still dropping today. •TikTok FYP and gist pages are full of recaps, voice notes, and clips from the saga. •Reactions range from “Both of them dey mad 😂” to full drags on Spencer for the cycle of disrespect. •The kids (especially the twins) are the main concern — many fear they’ll grow up seeing this online. The Big Takeaway (Extra Pepper) Private family fights should never reach the internet, especially when intimate photos get involved. Once nudes leak, they stay leaked forever. Red flags don’t vanish because someone has money, followers, or fine face. This is the full story — mutual leaks, blended family tension, past patterns with Dami, and why it’s trending hard. No side was perfect, but Spencer’s escalation and history made him the bigger target. Now you’re fully caught up! What do you think — Team “Both Wrong” or something else? Want me to add timelines, specific quotes, or focus on any part? Let me know and I’ll remix it! 😂🍲

GraceloveFoundation

104,026 次观看 • 2 个月前

Turned ONE perfume bottle photo into a full cinematic commercial, sunset, silk, and sparkle included. No film crew. No expensive shoot. No studio booking. Just a photo, a prompt, and AI doing the rest. Made with Seedance 2.5 on Fish Creative Prompt: LOUIS VUITTON "CALIFORNIA DREAM" EDP 100ML — 30-Second Commercial Video Prompt Phase 1: Visual & Sensory Asset Definition Product: Louis Vuitton California Dream flacon. Clear heavy-base glass bottle with a signature ombré fragrance liquid — aqua-teal at the shoulder melting into soft blush-pink at the base. Glossy black stepped cylindrical stopper. Crisp black debossed/printed lettering "CALIFORNIA DREAM" above "LOUIS VUITTON." Packaging box in matching teal-to-coral-pink gradient with pink "CALIFORNIA DREAM" script and black "LOUIS VUITTON" wordmark. Subject (Heroine): A tall, slim, high-fashion model with an editorial runway physique. Sun-kissed, dewy, luminous skin — fresh and glowing, never matte. Sparkling emerald-green eyes that catch and hold the light in every close-up. Soft waved hair loose and wind-swept. She wears a flowing, silk sunset-coral/burnt-orange halter gown — a color chosen to sit in warm contrast against the bottle's cool blue-to-pink palette — with delicate gold ring hardware at the waist. Environment: California pier/boardwalk at golden hour into dusk — weathered wood planks, a pale wooden cross-beam silhouette in the background, soft lavender-peach sky, distant hazy shoreline, gentle sea breeze. Pacing: 30-second fluid runtime, continuous camera glides, soft cross-blur transitions, zero jitter, rhythmic build to a hero close on the final beat. Phase 2: Shot-by-Shot Timeline しーと is the visual truth for product and subject in every shot: [PRODUCT LOCK — clear glass flacon, thick base, teal-to-pink ombré liquid, glossy black stepped stopper, black lettering "CALIFORNIA DREAM" above "LOUIS VUITTON"]. [SUBJECT LOCK — tall, slim, fashion-model heroine, glowing fresh skin, sparkling emerald-green eyes, wind-swept waved hair, flowing coral-orange silk halter gown with gold ring hardware]. Keep flacon and subject identical across all shots. [00:00.0] Wide establishing shot, low angle from the boardwalk planks. Golden-pink sunset sky, silhouette of the wooden pier cross-beam. Camera glides slowly forward along the weathered wood toward a soft focal point in the distance. [00:02.5] Medium shot, eye-level. The しーと heroine walks barefoot along the sun-warmed boardwalk, coral gown catching the breeze, her emerald eyes glinting as she glances toward camera. Camera tracks alongside her in a smooth lateral glide. [00:05.0] Close-up, eye-level. Her face in profile, dewy skin lit by warm rim light, green eyes sparkling as she closes them briefly, a small content smile. Loose hair drifts across her cheek. Camera holds with a gentle micro push-in. [00:07.5] Extreme close-up, flat-on. The しーと flacon cradled in her hand, sunlight refracting through the teal-to-pink ombré liquid, "CALIFORNIA DREAM" lettering crisp and legible. Camera drifts in a slow arc around the glass. [00:10.0] Medium-wide, three-quarter angle. The heroine lifts the bottle toward the horizon, coral fabric billowing against the blue-pink sky — a striking color contrast between gown and bottle. Camera pulls back with continuous fluid motion. [00:12.5] Macro shot, high angle looking down. Sea mist droplets and a scatter of citrus slices and pink sand grains resting beside the flacon on wet wooden planks. Soft golden side light. Camera glides right to left. [00:14.5] Ultra-macro, flat-on. A slow-motion burst of the ombré liquid — teal swirling into blush-pink with fine suspended micro-bubbles, fully backlit and glowing. Camera holds with a subtle rotating drift. [00:17.0] Close-up, eye-level. The heroine's green eyes open directly to camera, sparkling with warm sunset catchlight, a soft exhale of confidence. Camera tilts up slowly from her collarbone to her gaze. [00:19.5] Medium shot. She spritzes the しーと perfume into the golden air, fine mist catching the light like scattered gold dust, coral gown swaying. Camera circles smoothly around her. [00:22.0] Wide shot, horizon at eye-level. The heroine stands tall and poised on the reflective wet boardwalk as dusk deepens, sky shifting into lavender and deep ocean blue, her silhouette elegant and slim. Camera holds a slow cinematic push-in. [00:24.5] Abstract transitional shot. Coral silk fabric flutters in slow motion intercut with liquid-glass light refractions, streaking softly into blue and pink. Camera whips gently sideways. [00:26.0] Medium hero shot, centered, eye-level. The full しーと flacon held in sharp focus in the foreground, heroine soft-focus behind it, emerald eyes still catching light, radiant sunset halo behind her. "CALIFORNIA DREAM" and "LOUIS VUITTON" lettering perfectly crisp and legible. Camera glides slowly forward. [00:28.5–00:30.0] Final settle. Glow builds gently around the bottle, light flare blooms softly across frame, then fades to warm black. No text overlay, no end card — clean cinematic fade. Phase 3: Audio & Sound Design Background Music: Warm, airy ambient pop-electronic score — soft piano arpeggios layered over a mellow analog synth pad, gentle four-on-the-floor pulse building from :00 to :22, then a light emotional swell with a soft string layer into the hero shot, resolving on a warm sustained chord at :30. Sound Effects: Gentle ocean waves and boardwalk creak ambience throughout Soft breeze/fabric flutter sound synced to gown movement (:02.5, :10.0, :24.5) Crisp glass-chime "ting" as the bottle catches light (:07.5) Light citrus-fizz/bubble sound layered under the liquid macro shot (:14.5) Airy perfume mist spray sound, crisp and high-fidelity (:19.5) Soft ambient hush and gentle low sub-swell on the final glow (:28.5–:30.0) Aspect Ratio: 16:9 Total Duration: 30 seconds Style: Continuous fluid camera glides, seamless cross-blur transitions, cinematic warm-golden color grade, no jitter cuts.
0:30

Turned ONE perfume bottle photo into a full cinematic commercial, sunset, silk, and sparkle included. No film crew. No expensive shoot. No studio booking. Just a photo, a prompt, and AI doing the rest. Made with Seedance 2.5 on Fish Creative Prompt: LOUIS VUITTON "CALIFORNIA DREAM" EDP 100ML — 30-Second Commercial Video Prompt Phase 1: Visual & Sensory Asset Definition Product: Louis Vuitton California Dream flacon. Clear heavy-base glass bottle with a signature ombré fragrance liquid — aqua-teal at the shoulder melting into soft blush-pink at the base. Glossy black stepped cylindrical stopper. Crisp black debossed/printed lettering "CALIFORNIA DREAM" above "LOUIS VUITTON." Packaging box in matching teal-to-coral-pink gradient with pink "CALIFORNIA DREAM" script and black "LOUIS VUITTON" wordmark. Subject (Heroine): A tall, slim, high-fashion model with an editorial runway physique. Sun-kissed, dewy, luminous skin — fresh and glowing, never matte. Sparkling emerald-green eyes that catch and hold the light in every close-up. Soft waved hair loose and wind-swept. She wears a flowing, silk sunset-coral/burnt-orange halter gown — a color chosen to sit in warm contrast against the bottle's cool blue-to-pink palette — with delicate gold ring hardware at the waist. Environment: California pier/boardwalk at golden hour into dusk — weathered wood planks, a pale wooden cross-beam silhouette in the background, soft lavender-peach sky, distant hazy shoreline, gentle sea breeze. Pacing: 30-second fluid runtime, continuous camera glides, soft cross-blur transitions, zero jitter, rhythmic build to a hero close on the final beat. Phase 2: Shot-by-Shot Timeline しーと is the visual truth for product and subject in every shot: [PRODUCT LOCK — clear glass flacon, thick base, teal-to-pink ombré liquid, glossy black stepped stopper, black lettering "CALIFORNIA DREAM" above "LOUIS VUITTON"]. [SUBJECT LOCK — tall, slim, fashion-model heroine, glowing fresh skin, sparkling emerald-green eyes, wind-swept waved hair, flowing coral-orange silk halter gown with gold ring hardware]. Keep flacon and subject identical across all shots. [00:00.0] Wide establishing shot, low angle from the boardwalk planks. Golden-pink sunset sky, silhouette of the wooden pier cross-beam. Camera glides slowly forward along the weathered wood toward a soft focal point in the distance. [00:02.5] Medium shot, eye-level. The しーと heroine walks barefoot along the sun-warmed boardwalk, coral gown catching the breeze, her emerald eyes glinting as she glances toward camera. Camera tracks alongside her in a smooth lateral glide. [00:05.0] Close-up, eye-level. Her face in profile, dewy skin lit by warm rim light, green eyes sparkling as she closes them briefly, a small content smile. Loose hair drifts across her cheek. Camera holds with a gentle micro push-in. [00:07.5] Extreme close-up, flat-on. The しーと flacon cradled in her hand, sunlight refracting through the teal-to-pink ombré liquid, "CALIFORNIA DREAM" lettering crisp and legible. Camera drifts in a slow arc around the glass. [00:10.0] Medium-wide, three-quarter angle. The heroine lifts the bottle toward the horizon, coral fabric billowing against the blue-pink sky — a striking color contrast between gown and bottle. Camera pulls back with continuous fluid motion. [00:12.5] Macro shot, high angle looking down. Sea mist droplets and a scatter of citrus slices and pink sand grains resting beside the flacon on wet wooden planks. Soft golden side light. Camera glides right to left. [00:14.5] Ultra-macro, flat-on. A slow-motion burst of the ombré liquid — teal swirling into blush-pink with fine suspended micro-bubbles, fully backlit and glowing. Camera holds with a subtle rotating drift. [00:17.0] Close-up, eye-level. The heroine's green eyes open directly to camera, sparkling with warm sunset catchlight, a soft exhale of confidence. Camera tilts up slowly from her collarbone to her gaze. [00:19.5] Medium shot. She spritzes the しーと perfume into the golden air, fine mist catching the light like scattered gold dust, coral gown swaying. Camera circles smoothly around her. [00:22.0] Wide shot, horizon at eye-level. The heroine stands tall and poised on the reflective wet boardwalk as dusk deepens, sky shifting into lavender and deep ocean blue, her silhouette elegant and slim. Camera holds a slow cinematic push-in. [00:24.5] Abstract transitional shot. Coral silk fabric flutters in slow motion intercut with liquid-glass light refractions, streaking softly into blue and pink. Camera whips gently sideways. [00:26.0] Medium hero shot, centered, eye-level. The full しーと flacon held in sharp focus in the foreground, heroine soft-focus behind it, emerald eyes still catching light, radiant sunset halo behind her. "CALIFORNIA DREAM" and "LOUIS VUITTON" lettering perfectly crisp and legible. Camera glides slowly forward. [00:28.5–00:30.0] Final settle. Glow builds gently around the bottle, light flare blooms softly across frame, then fades to warm black. No text overlay, no end card — clean cinematic fade. Phase 3: Audio & Sound Design Background Music: Warm, airy ambient pop-electronic score — soft piano arpeggios layered over a mellow analog synth pad, gentle four-on-the-floor pulse building from :00 to :22, then a light emotional swell with a soft string layer into the hero shot, resolving on a warm sustained chord at :30. Sound Effects: Gentle ocean waves and boardwalk creak ambience throughout Soft breeze/fabric flutter sound synced to gown movement (:02.5, :10.0, :24.5) Crisp glass-chime "ting" as the bottle catches light (:07.5) Light citrus-fizz/bubble sound layered under the liquid macro shot (:14.5) Airy perfume mist spray sound, crisp and high-fidelity (:19.5) Soft ambient hush and gentle low sub-swell on the final glow (:28.5–:30.0) Aspect Ratio: 16:9 Total Duration: 30 seconds Style: Continuous fluid camera glides, seamless cross-blur transitions, cinematic warm-golden color grade, no jitter cuts.

Shami

39,233 次观看 • 1 个月前

EXCLUSIVE: Former Chatham-Kent Deputy Police Chief Passes Away in Hospital After 7 Days of Medical Horror. The Canadian Independent traveled to Chatham, Ontario, to interview Clare's wife, Evelien Wiersma, and share the story of 67-year-old Clare Wiersma. Clare served his community first as a police officer, eventually rising to the position of deputy chief of police for Chatham-Kent. Upon retirement, he remained actively engaged within his community, working with his son building homes. Described by his wife as healthy and fit, Clare had very minor arthritis and was not on any medication. The events unfolding from the time Clare was taken by ambulance to the hospital, where he remained for seven days before passing away, can only be described as shocking. On December 23, 2021, Clare's daughter called for an ambulance after her father collapsed at home. He exhibited symptoms of a fever, dry cough, and mild confusion. According to Clare's wife, he had tested positive for Covid-19 days prior and was unvaccinated. When ambulance personnel arrived at the home and inquired about vaccination status for Clare and his family, Evelien responded and said they were unvaccinated, one paramedic allegedly rolled their eyes and muttered something under their breath. Upon arrival at the hospital, Clare's 722-page medical records indicated a fever, low blood pressure, dry cough, and slight confusion. Clare was later admitted to the hospital and, two days later, transferred to the ICU solely due to a slight increase in his oxygen requirements, as per his medical records. On December 25th, while in the ICU, Clare had a conversation with his wife and kids over FaceTime. His wife, Evelien, reported that everything seemed fine during the conversation. Clare was alert, and they chatted and prayed together. However, Clare mentioned that hospital staff were not providing him with information or a prognosis. Evelien claimed that doctors and nurses never initiated updates about Clare, and she always had to inquire with the hospital for information, and even then that was a struggle. On the same day, according to Clare's medical records, he received a single dose of Tocilizumab, a drug used to treat critically ill Covid-19 patients, despite Clare not showing signs of critical illness. The drug has severe side effects, including causing serious or fatal infections, liver problems, dry cough, fever, and shortness of breath. Health Canada has issued a warning about the drug, stating it can cause serious drug-induced liver injury requiring a transplant. According to ACTEMRA’s own website, it says the drug “changes the way your immune system works. This can make you more likely to get infections or make any current infection worse.” The evening of December 25th and the following day, December 26th, marked a downturn in Clare's condition. He transitioned from being alert to being intubated and ventilated, receiving numerous different drugs until his passing on December 30, 2021, at 11:30 am, all evident in his medical records. Evelien states that there was no consent given for her husband to be intubated or ventilated, and there is no mention of consent in Clare's medical records either. Evelien says she received a phone call from the hospital on December 30th and was advised that her husband wasn't doing well, urging her to hurry to the hospital. Upon arrival, when Evelien entered Clare's room and saw him hooked up to all the machines, she fainted. Evelien was then taken to the emergency department. A little while later, Clare would pass away without his wife and children by his side. A detailed examination of Clare's medical records revealed a “medication administration record” consisting of 131 pages, with hundreds of instances of various medications, including fentanyl, numerous other highly controlled and addictive medications, anti-blood clotting drugs, heart-related drugs, sedatives, paralyzing drugs, and various other drugs that had been administered or injected into Clare mainly from December 25th to December 30th, the day he passed away. Evelien Wiersma asserted that multiple doctors reviewed Clare's 722-page medical records after his death and concluded that he would be alive today if treated for sepsis and administered the necessary antibiotics. Bacterial and viral infections, like pneumonia, can lead to sepsis. Clare did show signs of having sepsis, such as fever, confusion or disorientation, and shortness of breath upon arrival at the hospital. Additionally, Clare exhibited low blood pressure, which can also signal the beginning stages of septic shock. It certainly would not have hurt for Clare to be given antibiotics, and it is very possible he would be here with us today had the doctors opted to, at the very least, try antibiotics. Instead, they waited three hours before he died to give him two antibiotics. Evelien felt it necessary to share Clare's story in the hope that others will speak up and speak out. She reveals having two other friends who have lost loved ones under similar circumstances, emphasizing that she is not alone in experiencing what happened to her beloved husband. Clare leaves behind his wife, Evelien Wiersma, of 45 years, along with their four children, 26 grandchildren, and 2 great-grandchildren. Joining the Chatham Kent police in May 1980, he worked his way up to deputy chief before retiring in April 2012. In the last 10 years of his retirement before his passing, Clare was well-known in the community for assisting the vulnerable. Not ready to fully retire, he co-founded a construction company with his son, building homes together. An active individual, Clare enjoyed kayaking, boating, hiking, fishing, hunting, and waterskiing.
11:32

EXCLUSIVE: Former Chatham-Kent Deputy Police Chief Passes Away in Hospital After 7 Days of Medical Horror. The Canadian Independent traveled to Chatham, Ontario, to interview Clare's wife, Evelien Wiersma, and share the story of 67-year-old Clare Wiersma. Clare served his community first as a police officer, eventually rising to the position of deputy chief of police for Chatham-Kent. Upon retirement, he remained actively engaged within his community, working with his son building homes. Described by his wife as healthy and fit, Clare had very minor arthritis and was not on any medication. The events unfolding from the time Clare was taken by ambulance to the hospital, where he remained for seven days before passing away, can only be described as shocking. On December 23, 2021, Clare's daughter called for an ambulance after her father collapsed at home. He exhibited symptoms of a fever, dry cough, and mild confusion. According to Clare's wife, he had tested positive for Covid-19 days prior and was unvaccinated. When ambulance personnel arrived at the home and inquired about vaccination status for Clare and his family, Evelien responded and said they were unvaccinated, one paramedic allegedly rolled their eyes and muttered something under their breath. Upon arrival at the hospital, Clare's 722-page medical records indicated a fever, low blood pressure, dry cough, and slight confusion. Clare was later admitted to the hospital and, two days later, transferred to the ICU solely due to a slight increase in his oxygen requirements, as per his medical records. On December 25th, while in the ICU, Clare had a conversation with his wife and kids over FaceTime. His wife, Evelien, reported that everything seemed fine during the conversation. Clare was alert, and they chatted and prayed together. However, Clare mentioned that hospital staff were not providing him with information or a prognosis. Evelien claimed that doctors and nurses never initiated updates about Clare, and she always had to inquire with the hospital for information, and even then that was a struggle. On the same day, according to Clare's medical records, he received a single dose of Tocilizumab, a drug used to treat critically ill Covid-19 patients, despite Clare not showing signs of critical illness. The drug has severe side effects, including causing serious or fatal infections, liver problems, dry cough, fever, and shortness of breath. Health Canada has issued a warning about the drug, stating it can cause serious drug-induced liver injury requiring a transplant. According to ACTEMRA’s own website, it says the drug “changes the way your immune system works. This can make you more likely to get infections or make any current infection worse.” The evening of December 25th and the following day, December 26th, marked a downturn in Clare's condition. He transitioned from being alert to being intubated and ventilated, receiving numerous different drugs until his passing on December 30, 2021, at 11:30 am, all evident in his medical records. Evelien states that there was no consent given for her husband to be intubated or ventilated, and there is no mention of consent in Clare's medical records either. Evelien says she received a phone call from the hospital on December 30th and was advised that her husband wasn't doing well, urging her to hurry to the hospital. Upon arrival, when Evelien entered Clare's room and saw him hooked up to all the machines, she fainted. Evelien was then taken to the emergency department. A little while later, Clare would pass away without his wife and children by his side. A detailed examination of Clare's medical records revealed a “medication administration record” consisting of 131 pages, with hundreds of instances of various medications, including fentanyl, numerous other highly controlled and addictive medications, anti-blood clotting drugs, heart-related drugs, sedatives, paralyzing drugs, and various other drugs that had been administered or injected into Clare mainly from December 25th to December 30th, the day he passed away. Evelien Wiersma asserted that multiple doctors reviewed Clare's 722-page medical records after his death and concluded that he would be alive today if treated for sepsis and administered the necessary antibiotics. Bacterial and viral infections, like pneumonia, can lead to sepsis. Clare did show signs of having sepsis, such as fever, confusion or disorientation, and shortness of breath upon arrival at the hospital. Additionally, Clare exhibited low blood pressure, which can also signal the beginning stages of septic shock. It certainly would not have hurt for Clare to be given antibiotics, and it is very possible he would be here with us today had the doctors opted to, at the very least, try antibiotics. Instead, they waited three hours before he died to give him two antibiotics. Evelien felt it necessary to share Clare's story in the hope that others will speak up and speak out. She reveals having two other friends who have lost loved ones under similar circumstances, emphasizing that she is not alone in experiencing what happened to her beloved husband. Clare leaves behind his wife, Evelien Wiersma, of 45 years, along with their four children, 26 grandchildren, and 2 great-grandchildren. Joining the Chatham Kent police in May 1980, he worked his way up to deputy chief before retiring in April 2012. In the last 10 years of his retirement before his passing, Clare was well-known in the community for assisting the vulnerable. Not ready to fully retire, he co-founded a construction company with his son, building homes together. An active individual, Clare enjoyed kayaking, boating, hiking, fishing, hunting, and waterskiing.

The Canadian Independent

98,990 次观看 • 2 年前

“Coming from Accra to Lagos by road shows how dirty the city of Lagos is… Lagos is like a landfill”🇳🇬🇬🇭 — Ghanaian lady who traveled from Ghana to Nigeria by road sparks a stir online with her observation!!! This is what I have been trying to tell the government. Yes, the government is doing a lot,rail, tech infrastructure and other important projects. But how does the city look? How are the roads, environment and walkways? Lagos receives millions of visitors by air, land and water. They will not immediately see all the other things government is doing, but they will see the potholes, dirty environment, deteriorating roads and neglected walkways. Imagine visitors arriving to spotless Lagos roads, a clean, beautiful and well-maintained environment. Even small government projects would look bigger because the overall environment is welcoming. But when everywhere is dirty and deteriorating, how do you expect people to appreciate the good work? From where Fashola and Ambode stopped, I expected this administration to take Lagos a step further,to modernise the city, improve the roads and transform the overall outlook. Instead, there is a concerning lack of intentionality around maintenance, beautification and organisation across Lagos. It is not just a mainland or island problem; the neglect is widespread. The mainland, in particular, needs a proper urban regeneration programme. Roads, walkways and streets need to be redesigned and rehabilitated. Walkways that have become markets need to be recovered. Fashola warned us that the walkway is not a market. Street trading makes a city look underdeveloped, no matter how far it has progressed. I was so impressed seeing a young candidate talk about reconstructing 8 major highways across Lagos in 18 months. Imagine travelling out and returning and the city looks completely different because the roads and surroundings have been transformed. That is the kind of ambition Lagos needs. I have said it repeatedly: focus on roads and the environment. When you fix the roads and maintain the environment, the whole city shines. The other projects are not running away; they can continue alongside this. And LAWMA needs serious reform. If the current waste-management system is not working, bring in competent private-sector operators, including companies with proven experience elsewhere, to manage collection and disposal,not just build transfer loading stations. Waste management needs to function day and night. Lagos was once admired for its transformation and urban environment. Today, the level of criticism we see nationally and internationally should be treated as feedback, not simply dismissed. Lagos is not just another African city; it is one of Africa’s major global cities, and how it looks matters. When you understand the kind of city Lagos is, you understand its fiscal priorities. Roads and the environment should be the foundation. Everything else is an add-on. Any government that gets roads, sanitation, maintenance, beautification and urban organisation right will dramatically change how Lagos looks and how people experience it. I really wish the government would listen and learn. Babajide Sanwo-Olu Obafemi Hamzat Damilola Sonayon James Seyi Tinubu ENIOLA BADMUS I am Dayo Amusa Lagos Min of the Environment and Water Resources The Lagos State Govt LASEPA Oluwaseun Osiyemi Tokunbo Wahab Lagos State Ministry of Works and Infrastructure Funke Akindele Oluwaseun Osiyemi Kolawole Ojelabi Lagos Metropolitan Area Transport Authority LAMATA LAWMA LAWMA Customer Care
4:11

“Coming from Accra to Lagos by road shows how dirty the city of Lagos is… Lagos is like a landfill”🇳🇬🇬🇭 — Ghanaian lady who traveled from Ghana to Nigeria by road sparks a stir online with her observation!!! This is what I have been trying to tell the government. Yes, the government is doing a lot,rail, tech infrastructure and other important projects. But how does the city look? How are the roads, environment and walkways? Lagos receives millions of visitors by air, land and water. They will not immediately see all the other things government is doing, but they will see the potholes, dirty environment, deteriorating roads and neglected walkways. Imagine visitors arriving to spotless Lagos roads, a clean, beautiful and well-maintained environment. Even small government projects would look bigger because the overall environment is welcoming. But when everywhere is dirty and deteriorating, how do you expect people to appreciate the good work? From where Fashola and Ambode stopped, I expected this administration to take Lagos a step further,to modernise the city, improve the roads and transform the overall outlook. Instead, there is a concerning lack of intentionality around maintenance, beautification and organisation across Lagos. It is not just a mainland or island problem; the neglect is widespread. The mainland, in particular, needs a proper urban regeneration programme. Roads, walkways and streets need to be redesigned and rehabilitated. Walkways that have become markets need to be recovered. Fashola warned us that the walkway is not a market. Street trading makes a city look underdeveloped, no matter how far it has progressed. I was so impressed seeing a young candidate talk about reconstructing 8 major highways across Lagos in 18 months. Imagine travelling out and returning and the city looks completely different because the roads and surroundings have been transformed. That is the kind of ambition Lagos needs. I have said it repeatedly: focus on roads and the environment. When you fix the roads and maintain the environment, the whole city shines. The other projects are not running away; they can continue alongside this. And LAWMA needs serious reform. If the current waste-management system is not working, bring in competent private-sector operators, including companies with proven experience elsewhere, to manage collection and disposal,not just build transfer loading stations. Waste management needs to function day and night. Lagos was once admired for its transformation and urban environment. Today, the level of criticism we see nationally and internationally should be treated as feedback, not simply dismissed. Lagos is not just another African city; it is one of Africa’s major global cities, and how it looks matters. When you understand the kind of city Lagos is, you understand its fiscal priorities. Roads and the environment should be the foundation. Everything else is an add-on. Any government that gets roads, sanitation, maintenance, beautification and urban organisation right will dramatically change how Lagos looks and how people experience it. I really wish the government would listen and learn. Babajide Sanwo-Olu Obafemi Hamzat Damilola Sonayon James Seyi Tinubu ENIOLA BADMUS I am Dayo Amusa Lagos Min of the Environment and Water Resources The Lagos State Govt LASEPA Oluwaseun Osiyemi Tokunbo Wahab Lagos State Ministry of Works and Infrastructure Funke Akindele Oluwaseun Osiyemi Kolawole Ojelabi Lagos Metropolitan Area Transport Authority LAMATA LAWMA LAWMA Customer Care

Mide.O 🩷

12,078 次观看 • 5 天前

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

39,421 次观看 • 1 个月前

Apple’s iPad “Crush” Ad Is Bleak, Ominous and Threatening I don’t know if you’ve seen Apple’s just-released commercial for the “New” iPad Pro, but it’s pretty awful. It is dark, humorless, and feels like a not-so-thinly veiled threat to writers, musicians, game makers, developers, and artists of all kinds. …and children, even. I’ve watched it at least five times today alone, and I’m left with one big question. “Who on earth approved this?” It’s absolutely baffling that the world’s largest technology company, with the world’s biggest marketing budget, thought this would be a good idea. What kind of idiot—or idiots, since dozens or hundreds of people had to be involved in the writing, staging, producing, recording, and editing—felt this kind of ad would somehow create a positive emotional connection with consumers? Seriously, it’s terrifying. In a dank, cold warehouse, devoid of all life and humanity, an industrial crusher comes to life, and slowly starts destroying a collection of musical, philosophical, and artistic devices and instruments. For no apparent reason, everything starts getting smashed: first, a trumpet, then an arcade video game, then cans of paint, a piano, a globe, a metronome, a guitar… on and on it goes, obliterating everything in sight into a colorful, gooey, explosive mess. Books, camera lenses, lamps, a guitar, a sculpture, and a typewriter—all tools of the liberal arts—get mangled into a garbage heap as Sonny & Cher cheerfully sing, “All I ever need is you.” In the penultimate moment, a goofy yellow smiley emoji becomes a bug-eyed scary-clown freak as it, too, is crushed to death. Worse, if you enable closed captions like I do by default, the video says: “[POPPING] [SPLAT]” right as its eyeballs pop out of its head when Cher sings, “Give me a reason to build my world around you.” It’s enough to make a child cry. It has all the comforting vibes of the burnt pink teddy bear floating in the swimming pool on Breaking Bad after two planes crash in mid-air. I have so many questions (aside from simply wondering the names of the soon-to-be ex-employees who greenlit this abomination). First of all, as a trumpet player myself, I am personally offended that they made me watch a perfectly good trumpet get smashed to smithereens like it’s no big deal. Why would they torture me like this? Second of all, what is the message here? No, not that “the most powerful iPad ever is also the thinnest,” as the voiceover artist states in the last few seconds of the clip. I mean: what is the message? Ostensibly, pulverizing children’s toys, arcade games, architectural models, and ceramic Angry Birds into a paste implies something like “We’re taking all the best of humanity; all the collective works of Western Civilization, smashing it into pieces and putting it inside this remarkably thin device so you can have all of it in the palm of your hand.” But my oh my, is there an elephant in this room… he’s hiding behind the monstrous destroying machine. Did anyone inside Apple realize that everyone outside Apple will recognize this imagery in a metaphorical sense, but not the one Apple intended? We don’t see a crushing machine gently consolidating the greatest output of all our artistic endeavors, simply reformatted for a digital age and consumed by everyone with instant, fingertip access. We see what is painstakingly obvious to us, and the timing couldn’t possibly be worse. We see a giant, soulless machine consuming our work in a very different way. Right now, AI models are training themselves on our intellectual property and even our very own personally-identifying data. We aren’t the ones doing the consuming. We’re the ones being consumed. The tech industry has become one massive gaping maw, opening wide and swallowing everything in sight, chewing it up into little bits and pieces of comminuted waste, like a paper shredder or a garbage disposal. It’s destruction in its most literal form. And for what? For a newer version of the iPad that is only slightly thinner than its predecessor? For an only marginally improved version of Apple’s tablet device that has been around for 14 years? For increased profits? This is a terrible look for Apple. They may as well be saying: “All your work are belong to us.” Personally, I am a fan of artificial intelligence. I am eagerly embracing our robot overlords and I welcome our new CSV god (as the actual developers of AI models like to say). I look forward to the freedom and innovation that will come as a result of humanity augmenting our intelligence with AI like a force multiplier on a battlefield. But if Apple has the same perspective I do, they’re selling it in the worst possible way. When I see this video, I see that Apple is definitely crushing something… but I’m not sure what. -Crushing small companies that develop apps for the extremely heavy-handed App Store, which imposes byzantine restrictions on what they can and can’t do with their own apps? -Crushing competitors by limiting what they can do on the iOS and MacOS platforms with arbitrary and capricious rules about enabling functionalities that Apple doesn’t like, even if users do? -Crushing publishers and content creators with a punitive 30% fee on all subscriptions and in-app purchases? -Crushing choice and competition by not allowing app makers to make apps and programs that do the same thing that native apps already do, even if they do it better? -Crushing all human creativity and innovation by automating and systematizing everything? In the early days of the “Google vs. Apple” fight over the web and app stores, I was really concerned that Google was becoming way, way too powerful. Specifically, in 2015, when Google came up with “app streaming,” they announced a desire to form a “web of apps.” This was concerning. Especially when coupled with Google’s efforts to steal content from other websites and provide it to users via the “knowledge graph” results, ending up with the creation of “zero-click” search results pages, which absolutely punished website owners and content creators. By taking the most valuable content off a website and showing it to Google users without them needing to click through to the website itself, Google had essentially stolen everybody’s intellectual property with only the most minimal attribution possible (to fend off lawsuits no doubt, but with no intention of users actually visiting the website in question anymore). “Google is eating the internet,” I thought, and said out loud, (although I probably wasn’t the first person to use that phrase) But what I meant was purely an analogy. It was vague and ambiguous, almost silly. Maybe I was wrong, though: maybe it’s Apple that’s doing the eating. Maybe Apple is not only gobbling up everyone else’s work, but also homogenizing it—and us—and forcing us to use their platform, pay their fees, abide by their rules, and constantly keep upgrading, upgrading, upgrading, to an ever-thinner iPad in order to use it. Watch the video again. This is the stuff of nightmares. To be perfectly fair, even if I were to take the commercial at face value and ignore it’s off-the-charts creepiness and just stick to its one stated claim—that the new iPad Pro is thinner—it still fails as a commercial. Why? Because nobody cares how thin an iPad is. Seriously. I’ve owned an iPad since 2010: that means I’ve carried around a version of Apple’s already-thin tablet every day for over a dozen years. Never once have I said to myself: “You know what improvement I’d really like to see in this thing? I wish it were thinner.” Never. That thought has never crossed my mind, even once. You know what has? -Better battery life. -I’d like my iPad to not get hot to the touch when I use the Apple Pencil to take notes. -I wish it wasn’t so fragile: I dropped my brand-new iPad 2 back in the day when it slipped out of the arm-hold I was carrying it in, it bounced on the pavement, and the screen shattered into a thousand pieces, making it unusable. -I wish it had more storage. -I wish Apple would stop changing the type of cable connector it uses: I’ve gone from the original 30-pin connector to the Lightning connector, and now to the current USB-C/Thunderbolt connector. -I wish I could view the screen in direct sunlight. -I wish it wouldn’t overheat and turn off automatically when I use it outdoors in the summertime. Those are announcements I would welcome in a new iPad Pro commercial. None of this “now even thinner” nonsense nobody needs or cares about. So, back to the commercial. In my opinion, whoever made this ad should be fired. I almost never say that about other companies, especially for good-faith marketing efforts gone wrong… those of us who work in marketing make mistakes sometimes, and we learn from them. But cases like this warrant a special exception. Marketing and advertising are designed to make people want to buy your products. This commercial doesn’t just not make me want to buy Apple’s products. It makes me not want to buy Apple’s products, which is something altogether different. It turns me from someone who likes iPads into someone who is almost rethinking iPads entirely. That’s not just a bad advertisement; it’s a harmful advertisement. Apple’s usually known for great commercials. The legendary 1984 Super Bowl commercial was, of course, their best. I thought “Hello, I’m a Mac” was absolutely brilliant. They have made some missteps along the way, but this one is really bad. Not even their nauseatingly preachy and woke “Mother Nature” ad from a few years ago was this bad. Steve Jobs once said, “Technology alone is not enough—it’s technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing.” My goodness, that last line alone is poetry itself! This ad seems to be Apple signaling that they don’t believe in that anymore. And I don’t think all this handwringing is an overreaction to where you could say “Oh, c’mon, it’s just a commercial! What’s the big deal?” It is a big deal. It tells you about the values of the company, and what they intend to communicate. Really, how is this the same company that used to sell iPhones by showing grandmas using FaceTime to connect with their baby grandchildren from afar during the holidays? Everything about it is wrong: even the thumbnail they chose for it (the bulging-eyed smiley face) and the fact that they gave it the title “Crush!” It was fun to see the reactions to the video online today. I find it fascinating that Apple shared it on YouTube but turned off the comments. On X, Tim Cook shared it Tuesday, and the video, which so richly deserves to be mocked, is getting it in spades. Some people are calling it “anti-art.” One user called it “soul-crushing,” which was about as literal and logical a response as you’d expect. It turns out Apple actually made an announcement about the commercial. In response to the (apparently unexpected) poor welcome it got, Apple wrote: “We missed the mark with this video, and we’re sorry.” Lame response from a tone-deaf tech behemoth, but still, they hopefully got the message. C’mon, Apple. I have seen the future, and this ain’t it.
1:08

Apple’s iPad “Crush” Ad Is Bleak, Ominous and Threatening I don’t know if you’ve seen Apple’s just-released commercial for the “New” iPad Pro, but it’s pretty awful. It is dark, humorless, and feels like a not-so-thinly veiled threat to writers, musicians, game makers, developers, and artists of all kinds. …and children, even. I’ve watched it at least five times today alone, and I’m left with one big question. “Who on earth approved this?” It’s absolutely baffling that the world’s largest technology company, with the world’s biggest marketing budget, thought this would be a good idea. What kind of idiot—or idiots, since dozens or hundreds of people had to be involved in the writing, staging, producing, recording, and editing—felt this kind of ad would somehow create a positive emotional connection with consumers? Seriously, it’s terrifying. In a dank, cold warehouse, devoid of all life and humanity, an industrial crusher comes to life, and slowly starts destroying a collection of musical, philosophical, and artistic devices and instruments. For no apparent reason, everything starts getting smashed: first, a trumpet, then an arcade video game, then cans of paint, a piano, a globe, a metronome, a guitar… on and on it goes, obliterating everything in sight into a colorful, gooey, explosive mess. Books, camera lenses, lamps, a guitar, a sculpture, and a typewriter—all tools of the liberal arts—get mangled into a garbage heap as Sonny & Cher cheerfully sing, “All I ever need is you.” In the penultimate moment, a goofy yellow smiley emoji becomes a bug-eyed scary-clown freak as it, too, is crushed to death. Worse, if you enable closed captions like I do by default, the video says: “[POPPING] [SPLAT]” right as its eyeballs pop out of its head when Cher sings, “Give me a reason to build my world around you.” It’s enough to make a child cry. It has all the comforting vibes of the burnt pink teddy bear floating in the swimming pool on Breaking Bad after two planes crash in mid-air. I have so many questions (aside from simply wondering the names of the soon-to-be ex-employees who greenlit this abomination). First of all, as a trumpet player myself, I am personally offended that they made me watch a perfectly good trumpet get smashed to smithereens like it’s no big deal. Why would they torture me like this? Second of all, what is the message here? No, not that “the most powerful iPad ever is also the thinnest,” as the voiceover artist states in the last few seconds of the clip. I mean: what is the message? Ostensibly, pulverizing children’s toys, arcade games, architectural models, and ceramic Angry Birds into a paste implies something like “We’re taking all the best of humanity; all the collective works of Western Civilization, smashing it into pieces and putting it inside this remarkably thin device so you can have all of it in the palm of your hand.” But my oh my, is there an elephant in this room… he’s hiding behind the monstrous destroying machine. Did anyone inside Apple realize that everyone outside Apple will recognize this imagery in a metaphorical sense, but not the one Apple intended? We don’t see a crushing machine gently consolidating the greatest output of all our artistic endeavors, simply reformatted for a digital age and consumed by everyone with instant, fingertip access. We see what is painstakingly obvious to us, and the timing couldn’t possibly be worse. We see a giant, soulless machine consuming our work in a very different way. Right now, AI models are training themselves on our intellectual property and even our very own personally-identifying data. We aren’t the ones doing the consuming. We’re the ones being consumed. The tech industry has become one massive gaping maw, opening wide and swallowing everything in sight, chewing it up into little bits and pieces of comminuted waste, like a paper shredder or a garbage disposal. It’s destruction in its most literal form. And for what? For a newer version of the iPad that is only slightly thinner than its predecessor? For an only marginally improved version of Apple’s tablet device that has been around for 14 years? For increased profits? This is a terrible look for Apple. They may as well be saying: “All your work are belong to us.” Personally, I am a fan of artificial intelligence. I am eagerly embracing our robot overlords and I welcome our new CSV god (as the actual developers of AI models like to say). I look forward to the freedom and innovation that will come as a result of humanity augmenting our intelligence with AI like a force multiplier on a battlefield. But if Apple has the same perspective I do, they’re selling it in the worst possible way. When I see this video, I see that Apple is definitely crushing something… but I’m not sure what. -Crushing small companies that develop apps for the extremely heavy-handed App Store, which imposes byzantine restrictions on what they can and can’t do with their own apps? -Crushing competitors by limiting what they can do on the iOS and MacOS platforms with arbitrary and capricious rules about enabling functionalities that Apple doesn’t like, even if users do? -Crushing publishers and content creators with a punitive 30% fee on all subscriptions and in-app purchases? -Crushing choice and competition by not allowing app makers to make apps and programs that do the same thing that native apps already do, even if they do it better? -Crushing all human creativity and innovation by automating and systematizing everything? In the early days of the “Google vs. Apple” fight over the web and app stores, I was really concerned that Google was becoming way, way too powerful. Specifically, in 2015, when Google came up with “app streaming,” they announced a desire to form a “web of apps.” This was concerning. Especially when coupled with Google’s efforts to steal content from other websites and provide it to users via the “knowledge graph” results, ending up with the creation of “zero-click” search results pages, which absolutely punished website owners and content creators. By taking the most valuable content off a website and showing it to Google users without them needing to click through to the website itself, Google had essentially stolen everybody’s intellectual property with only the most minimal attribution possible (to fend off lawsuits no doubt, but with no intention of users actually visiting the website in question anymore). “Google is eating the internet,” I thought, and said out loud, (although I probably wasn’t the first person to use that phrase) But what I meant was purely an analogy. It was vague and ambiguous, almost silly. Maybe I was wrong, though: maybe it’s Apple that’s doing the eating. Maybe Apple is not only gobbling up everyone else’s work, but also homogenizing it—and us—and forcing us to use their platform, pay their fees, abide by their rules, and constantly keep upgrading, upgrading, upgrading, to an ever-thinner iPad in order to use it. Watch the video again. This is the stuff of nightmares. To be perfectly fair, even if I were to take the commercial at face value and ignore it’s off-the-charts creepiness and just stick to its one stated claim—that the new iPad Pro is thinner—it still fails as a commercial. Why? Because nobody cares how thin an iPad is. Seriously. I’ve owned an iPad since 2010: that means I’ve carried around a version of Apple’s already-thin tablet every day for over a dozen years. Never once have I said to myself: “You know what improvement I’d really like to see in this thing? I wish it were thinner.” Never. That thought has never crossed my mind, even once. You know what has? -Better battery life. -I’d like my iPad to not get hot to the touch when I use the Apple Pencil to take notes. -I wish it wasn’t so fragile: I dropped my brand-new iPad 2 back in the day when it slipped out of the arm-hold I was carrying it in, it bounced on the pavement, and the screen shattered into a thousand pieces, making it unusable. -I wish it had more storage. -I wish Apple would stop changing the type of cable connector it uses: I’ve gone from the original 30-pin connector to the Lightning connector, and now to the current USB-C/Thunderbolt connector. -I wish I could view the screen in direct sunlight. -I wish it wouldn’t overheat and turn off automatically when I use it outdoors in the summertime. Those are announcements I would welcome in a new iPad Pro commercial. None of this “now even thinner” nonsense nobody needs or cares about. So, back to the commercial. In my opinion, whoever made this ad should be fired. I almost never say that about other companies, especially for good-faith marketing efforts gone wrong… those of us who work in marketing make mistakes sometimes, and we learn from them. But cases like this warrant a special exception. Marketing and advertising are designed to make people want to buy your products. This commercial doesn’t just not make me want to buy Apple’s products. It makes me not want to buy Apple’s products, which is something altogether different. It turns me from someone who likes iPads into someone who is almost rethinking iPads entirely. That’s not just a bad advertisement; it’s a harmful advertisement. Apple’s usually known for great commercials. The legendary 1984 Super Bowl commercial was, of course, their best. I thought “Hello, I’m a Mac” was absolutely brilliant. They have made some missteps along the way, but this one is really bad. Not even their nauseatingly preachy and woke “Mother Nature” ad from a few years ago was this bad. Steve Jobs once said, “Technology alone is not enough—it’s technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing.” My goodness, that last line alone is poetry itself! This ad seems to be Apple signaling that they don’t believe in that anymore. And I don’t think all this handwringing is an overreaction to where you could say “Oh, c’mon, it’s just a commercial! What’s the big deal?” It is a big deal. It tells you about the values of the company, and what they intend to communicate. Really, how is this the same company that used to sell iPhones by showing grandmas using FaceTime to connect with their baby grandchildren from afar during the holidays? Everything about it is wrong: even the thumbnail they chose for it (the bulging-eyed smiley face) and the fact that they gave it the title “Crush!” It was fun to see the reactions to the video online today. I find it fascinating that Apple shared it on YouTube but turned off the comments. On X, Tim Cook shared it Tuesday, and the video, which so richly deserves to be mocked, is getting it in spades. Some people are calling it “anti-art.” One user called it “soul-crushing,” which was about as literal and logical a response as you’d expect. It turns out Apple actually made an announcement about the commercial. In response to the (apparently unexpected) poor welcome it got, Apple wrote: “We missed the mark with this video, and we’re sorry.” Lame response from a tone-deaf tech behemoth, but still, they hopefully got the message. C’mon, Apple. I have seen the future, and this ain’t it.

Ron Stauffer

19,249 次观看 • 2 年前

Testing one of the best safety features of an airplane, the “Enhanced Ground Proximity Warning System” (EGPWS, pronounced E Gyp-Wiz). It’s part of every preflight check. Sound on! It’s a warning system. While the jet has separate warnings for things wrong internally, EGPWS is concerned about what’s outside the jet, not what’s inside. It’s primarily concerned w/ terrain & obstacles…EGPWS can “see” outside when pilots can’t. It doesn’t actually see anything, though. There are no cameras or lasers. EGPWS does use the jet’s radar, but not for detecting terrain. (We’ll talk more about radar in a minute, but it’s not useful for orienting yourself to terrain in the vertical. It has a “map” mode that you can use to “paint” things like cities, lakes & shorelines, but it only knows how strong the reflection is & how far away, not how high. We almost never use it in map mode, anyway) EGPWS uses the jets navigation systems – like GPS, Inertial Reference, Altimeters, airspeed, etc. – to plot a position in a virtual world. This world is contained in a database on the jet; it’s constantly plotting your position & then estimating where you’ll be in the next few minutes if the trend continues. The virtual world database knows where the mountains are. When you get close to airports in the database (not all airports are in it), it knows where the buildings & antennas are, too, out to a certain radius. Past that radius, it stops caring about the manmade objects. Anyway, it can tell if you will hit something on your current trend & will issue various warnings. It can give you up to 60 seconds of warning. It starts out slow, like saying “CAUTION, TERRAIN”, but if you don’t fix it, it gets serious…“TERRAIN, TERRAIN, PULL UP!”. You’re 20-30 seconds from impact. It’s not a miracle worker, though. It can wait to give you a warning that you can’t fix. Imagine flying toward a 10,000’ high cliff at 1,000’. A 60 second warning will not be enough time to climb 9,000’ & clear it. Or, it sees a mountain to your right, but your current path is clear. It doesn’t know you’ll do a 90° right turn once abeam the mountain. Now you’ll get some late warnings. EGPWS has various other functions. If you get on the approach but haven’t configured to land, it will say “TOO LOW, FLAPS” (or GEAR). If you start getting below the glidepath, it will say “GLIDESLOPE”. Start descending right after takeoff? “DON’T SINK”…and if you do keep sinking, it switches to “PULL UP!” Now, EGPWS doesn’t use the onboard Doppler radar for any of these functions, but it does use it to detect windshear. EGPWS doesn’t care if you turn on the radar or not, it turns it on itself when you push the throttles up for takeoff or when you descend below a certain altitude on approach. It takes about 12 seconds for the radar to build a picture from that point, but once it does, it can “see” windshear. The Doppler detects this by bouncing radar off of particulates & reading how they are moving at different altitudes. The particulates can be dust or just humidity…the radar can’t read air molecules by themselves. So, it’s still possible to get windshear the radar doesn’t see on very dry, clean days. EGPWS hates windshear. If it detects it, EGPWS replaces your screen w/ the radar – even if not turned on by you – & starts with a gentle warning to “MONITOR RADAR DISPLAY”. If you get closer to it, you get “WINDSHEAR AHEAD” (on takeoff – abort if you still can) or “GO AROUND, WINDSHEAR AHEAD!” (on landing). EGPWS is great, but can’t actually move the jet. It’s not connected to the controls in any way. Some fighters do have that capability, but not airliners. The pilots have to fix it. OK, that’s a brief summary of EGPWS. As usual, I’m dramatically simplifying things for a non-techie audience…there is much more to it & different models of jets have slight differences in how this all works. The 737 MAX has some improvements, w/ different voices & even panic, but I don’t have one to record, sorry!
0:20

Testing one of the best safety features of an airplane, the “Enhanced Ground Proximity Warning System” (EGPWS, pronounced E Gyp-Wiz). It’s part of every preflight check. Sound on! It’s a warning system. While the jet has separate warnings for things wrong internally, EGPWS is concerned about what’s outside the jet, not what’s inside. It’s primarily concerned w/ terrain & obstacles…EGPWS can “see” outside when pilots can’t. It doesn’t actually see anything, though. There are no cameras or lasers. EGPWS does use the jet’s radar, but not for detecting terrain. (We’ll talk more about radar in a minute, but it’s not useful for orienting yourself to terrain in the vertical. It has a “map” mode that you can use to “paint” things like cities, lakes & shorelines, but it only knows how strong the reflection is & how far away, not how high. We almost never use it in map mode, anyway) EGPWS uses the jets navigation systems – like GPS, Inertial Reference, Altimeters, airspeed, etc. – to plot a position in a virtual world. This world is contained in a database on the jet; it’s constantly plotting your position & then estimating where you’ll be in the next few minutes if the trend continues. The virtual world database knows where the mountains are. When you get close to airports in the database (not all airports are in it), it knows where the buildings & antennas are, too, out to a certain radius. Past that radius, it stops caring about the manmade objects. Anyway, it can tell if you will hit something on your current trend & will issue various warnings. It can give you up to 60 seconds of warning. It starts out slow, like saying “CAUTION, TERRAIN”, but if you don’t fix it, it gets serious…“TERRAIN, TERRAIN, PULL UP!”. You’re 20-30 seconds from impact. It’s not a miracle worker, though. It can wait to give you a warning that you can’t fix. Imagine flying toward a 10,000’ high cliff at 1,000’. A 60 second warning will not be enough time to climb 9,000’ & clear it. Or, it sees a mountain to your right, but your current path is clear. It doesn’t know you’ll do a 90° right turn once abeam the mountain. Now you’ll get some late warnings. EGPWS has various other functions. If you get on the approach but haven’t configured to land, it will say “TOO LOW, FLAPS” (or GEAR). If you start getting below the glidepath, it will say “GLIDESLOPE”. Start descending right after takeoff? “DON’T SINK”…and if you do keep sinking, it switches to “PULL UP!” Now, EGPWS doesn’t use the onboard Doppler radar for any of these functions, but it does use it to detect windshear. EGPWS doesn’t care if you turn on the radar or not, it turns it on itself when you push the throttles up for takeoff or when you descend below a certain altitude on approach. It takes about 12 seconds for the radar to build a picture from that point, but once it does, it can “see” windshear. The Doppler detects this by bouncing radar off of particulates & reading how they are moving at different altitudes. The particulates can be dust or just humidity…the radar can’t read air molecules by themselves. So, it’s still possible to get windshear the radar doesn’t see on very dry, clean days. EGPWS hates windshear. If it detects it, EGPWS replaces your screen w/ the radar – even if not turned on by you – & starts with a gentle warning to “MONITOR RADAR DISPLAY”. If you get closer to it, you get “WINDSHEAR AHEAD” (on takeoff – abort if you still can) or “GO AROUND, WINDSHEAR AHEAD!” (on landing). EGPWS is great, but can’t actually move the jet. It’s not connected to the controls in any way. Some fighters do have that capability, but not airliners. The pilots have to fix it. OK, that’s a brief summary of EGPWS. As usual, I’m dramatically simplifying things for a non-techie audience…there is much more to it & different models of jets have slight differences in how this all works. The 737 MAX has some improvements, w/ different voices & even panic, but I don’t have one to record, sorry!

KC-10 Driver ✈️ 👨‍✈️ B-737 Wrangler

36,492 次观看 • 2 个月前