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height reveal

shy

3,787 subscribers

40,444 views • 1 month ago •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

6 Comments

paul mangione1 month ago

I thought I heard you say one time that you prefer girls 🤔

SG1 month ago

Charming woman

Stoxxner.1 month ago

So pretty!❤️

Ray3879941 month ago

Well fellas there goes my chances lol. 6'

Sandra Reiche1 month ago

bra size is more important babe :)

Alan29 days ago

Good cans 👍👍

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a full model reveal of myself! Maichu ( まいちゅ ) Height: 147cm・4’10 Birthday: Oct 9th 🎨 Art: MAIDOU ⚙️ Rig: ELI • Live2D 💫

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CSS Tip! 📜 You can create scroll-driven micro-interactions with animation-timeline and custom properties 🔥 .search { animation: shrink; animation-timeline: scroll(); animation-range: 0 calc(var(--header-height) * 0.5); } @keyframes shrink { to { width: calc(100% - var(--button-size); } } The --header-height is being used to dictate the container height for the header. You can use that for the animation-range used across different scroll animations 🤙 For another example, you can animate the box-shadow reveal on the header once the search has stuck 🍡 header { animation: shadow; animation-timeline: scroll(); animation-range: var(--header-height) calc(var(--header-height) * 1.5); } @keyframes shadow { to { box-shadow: 0 5px 10px hsl(0 0% 0%); } } Then you have the little extras! 🧸🎈 Everything powered by the scroll() animation-timeline which hooks into the page scroll. And then using the --header-height in the different animation-range ✨ Give it a try! ⭐️ CodePen.IO link below! 👇

CSS Tip! 📜 You can create scroll-driven micro-interactions with animation-timeline and custom properties 🔥 .search { animation: shrink; animation-timeline: scroll(); animation-range: 0 calc(var(--header-height) * 0.5); } @keyframes shrink { to { width: calc(100% - var(--button-size); } } The --header-height is being used to dictate the container height for the header. You can use that for the animation-range used across different scroll animations 🤙 For another example, you can animate the box-shadow reveal on the header once the search has stuck 🍡 header { animation: shadow; animation-timeline: scroll(); animation-range: var(--header-height) calc(var(--header-height) * 1.5); } @keyframes shadow { to { box-shadow: 0 5px 10px hsl(0 0% 0%); } } Then you have the little extras! 🧸🎈 Everything powered by the scroll() animation-timeline which hooks into the page scroll. And then using the --header-height in the different animation-range ✨ Give it a try! ⭐️ CodePen.IO link below! 👇

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In the height of summer, join CSCEC for a coastal escape to Zhuhai! ☀️🏝️ 🌊Unwind at Angsana Zhuhai Phoenix Bay on Dong’ao Island, where rolling waves dance beyond your window in serene tranquility. 🚲Explore Sanjiao Island’s ecological oasis — coastal rides reveal sun-kissed beaches, seabird symphonies, and lush greenery. Let the island’s unhurried rhythm carry you away.

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China State Construction

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Sebbywebz

16,544 views • 10 months ago

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The Godslayer | Official Gameplay Reveal Full Video ▶️ ▪️Developed by Pathea Games, coming to PS5, Xbox and PC ▪️Steampunk action RPG that takes place in the Zhou Kingdom Celestials created the world and its inhabitants, energy known as "qi" passes to Celestials upon death ▪️Some humans discovered how to harness qi, called "Elemancers", punished by Celestials for 'misuse' of what was rightfully theirs by assassinating the king and hunting them down - event known as the "God Fall" ▪️You play as Cheng, whose family was brutally murdered during the God Fall ▪️Cheng joins the Star Fall Society, led by the "Master" and supported by other skilled Elemancers to take down the Celestials ▪️Steampunk world at its height in technology, airships, steamboats, monorails, steam vehicles etc ▪️Harness elemental powers that 'interact dynamically' in battle - fire consumes wood, water extinguishes fire, earth can obstruct ▪️Multiple factions "with their own interests at heart", cultivate allies, trade in favors, and "bribe the right officials" to get advantages against the Celestials

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👽 In 1969, one of Britain’s best-known astronomers, Patrick Moore, interviewed a man who claimed he could speak and write languages from other planets. Venusian. Plutonian. Krügerian — from Krüger-60b. His name was Bernard Byron, and he claimed to know 17 extraterrestrial languages. He said they had been transmitted to him by “rays” from extraterrestrials. Moore asked him to demonstrate. Byron spoke them. He wrote them down. Then he translated the writing. One message supposedly said they were here for a purpose involving Earth and would reveal it later. Then Byron made a prediction: “Before long in 1969, we are going to show you proof.” What's fascinating isn't whether Byron was actually speaking alien languages. It's that Patrick Moore was documenting claims like this on British television during the height of the UFO era. And Byron wasn't entirely unique. Other alleged contactees reported receiving extraterrestrial languages through telepathy, while UFO researchers later collected and compared samples of supposed “alien writing.” A strange snapshot of UFO history that has largely been forgotten.

👽 In 1969, one of Britain’s best-known astronomers, Patrick Moore, interviewed a man who claimed he could speak and write languages from other planets. Venusian. Plutonian. Krügerian — from Krüger-60b. His name was Bernard Byron, and he claimed to know 17 extraterrestrial languages. He said they had been transmitted to him by “rays” from extraterrestrials. Moore asked him to demonstrate. Byron spoke them. He wrote them down. Then he translated the writing. One message supposedly said they were here for a purpose involving Earth and would reveal it later. Then Byron made a prediction: “Before long in 1969, we are going to show you proof.” What's fascinating isn't whether Byron was actually speaking alien languages. It's that Patrick Moore was documenting claims like this on British television during the height of the UFO era. And Byron wasn't entirely unique. Other alleged contactees reported receiving extraterrestrial languages through telepathy, while UFO researchers later collected and compared samples of supposed “alien writing.” A strange snapshot of UFO history that has largely been forgotten.

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⚠️ THIS ROBOT WOKE ITSELF UP IN A CARDBOARD BOX. NOBODY TOLD IT TO. A robot just unboxed itself. No hands. No engineers. No stage. No keynote. It woke up lying flat on its back inside a foam-lined shipping case in the middle of an ordinary office — desks, a small Christmas tree, nothing staged. Its legs bent upward, then extended, pushing it out of the case. It rolled, braced with its arms, lifted its torso, and stood up to full height right next to the open box it arrived in. Chinese subtitles ran the entire time as the robot calmly narrated its own startup: warning that it was about to move, asking not to be touched, confirming its position, then requesting that the packaging be cleared so it could start work. This is AGIBOT. The company that shipped more than 5,168 humanoid robots in 2025 — more than any competitor globally — and hit its 15,000th unit produced by mid-2026. Not a staged reveal. Not a product launch. Just a robot that ships itself in a box and gets up on its own. The unboxing used to be the boring part. Now it’s the demo.

DN_DEGEN

15,786 views • 1 month ago

🧵🚨EXCLUSIVE: I Have IDENTIFIED The MYSTERIOUS FRIEND of Phil Lyman’s Nephew Possibly Linked to UVU ATTACK! Based on a credible tip I received, I’ve been able to identify the mysterious friend of Shaner Broderick — the nephew of Utah GOP candidate Phil Lyman as ROB HILD (JR?). As Candace Owens already pointed out, that friend looks strikingly similar to the photo released by the FBI of the alleged shooter in the stairwell at UVU that tragic day. In fact, the resemblance is even stronger than to the man they currently have in custody — Tyler Robinson. Why this matters: 🔹 Tyler Robinson has not confessed and has pleaded not guilty 🔹 His family says Tyler has never even been to Utah Valley University 🔹 They insist he is definitely NOT the shooter So who was in that stairwell? I can now reveal: one of Shaner Broderick’s friends is Rob Hild (Jr?), who appeared on the roster at BYU University in 2019, playing for the BYU Lacrosse Team as a goalie (#32). He’s listed at 6’01” and 185 lbs — the same height and build as the FBI’s alleged shooter. He’s the son of Robert Hild Sr. of Sammamish, WA, who is a CEO. Side-by-side comparisons of Rob Hild and the stairwell shooter show: ✅ Identical height (top of head aligns exactly on the stairwell wall) ✅ Similar build and facial features ✅ Same general appearance as the FBI’s photo And yet… I can barely find anything about this guy online. It’s as if he’s a ghost. If anyone has information on Rob Hild Jr. or knows him personally, please reach out to me: 📩 DM me here or email projectconstitutionvideos@gmail.com The public deserves the truth. The wrong man may be sitting in custody while the real shooter walks free. This story is developing… 🔎👀 ***Please help me get this information to Candace Owens by tagging her. i tried to email it to her tips email but it said mailbox full. she needs to know this... 🧵 THREAD POST 1 OF 3👇

🧵🚨EXCLUSIVE: I Have IDENTIFIED The MYSTERIOUS FRIEND of Phil Lyman’s Nephew Possibly Linked to UVU ATTACK! Based on a credible tip I received, I’ve been able to identify the mysterious friend of Shaner Broderick — the nephew of Utah GOP candidate Phil Lyman as ROB HILD (JR?). As Candace Owens already pointed out, that friend looks strikingly similar to the photo released by the FBI of the alleged shooter in the stairwell at UVU that tragic day. In fact, the resemblance is even stronger than to the man they currently have in custody — Tyler Robinson. Why this matters: 🔹 Tyler Robinson has not confessed and has pleaded not guilty 🔹 His family says Tyler has never even been to Utah Valley University 🔹 They insist he is definitely NOT the shooter So who was in that stairwell? I can now reveal: one of Shaner Broderick’s friends is Rob Hild (Jr?), who appeared on the roster at BYU University in 2019, playing for the BYU Lacrosse Team as a goalie (#32). He’s listed at 6’01” and 185 lbs — the same height and build as the FBI’s alleged shooter. He’s the son of Robert Hild Sr. of Sammamish, WA, who is a CEO. Side-by-side comparisons of Rob Hild and the stairwell shooter show: ✅ Identical height (top of head aligns exactly on the stairwell wall) ✅ Similar build and facial features ✅ Same general appearance as the FBI’s photo And yet… I can barely find anything about this guy online. It’s as if he’s a ghost. If anyone has information on Rob Hild Jr. or knows him personally, please reach out to me: 📩 DM me here or email [email protected] The public deserves the truth. The wrong man may be sitting in custody while the real shooter walks free. This story is developing… 🔎👀 ***Please help me get this information to Candace Owens by tagging her. i tried to email it to her tips email but it said mailbox full. she needs to know this... 🧵 THREAD POST 1 OF 3👇

Project Constitution

677,730 views • 11 months ago

🚨 EXPOSED: THE 1,000-HOUR LEAK TEARING DOWN THE NETANYAHU REGIME The curtain has finally been pulled back on the man behind the "Statesman" mask. 1,000 hours of leaked police footage show the raw, desperate reality of power and corruption. 🕵️‍♂️ THE PLAYERS: Benjamin Netanyahu, Sara Netanyahu, Yair Netanyahu, and the State of Israel. THE PATTERN 🔥 For years, the public heard whispers. Now we see the evidence. Bribery and fraud charges dating back to 2016 involve "Code Named" luxury gifts—Cuban cigars and pink champagne—allegedly demanded as a "supply line" from billionaires in exchange for political favors. THE EVIDENCE 📊 The tapes reveal a 250 MILLION DOLLAR deal for favorable media coverage. While the world watches the war, the footage shows a family that acts above the law. Son Yair is seen screaming at investigators, comparing the police to the STASI, while Sara berates officers for questioning their entitlement. THE COVERUP 🛡️ Why the sudden push for judicial reform? Experts suggest it was a calculated strike to weaken the courts and dodge a jail cell. To stay in power, Netanyahu formed a coalition with extreme right-wing figures, trading national stability for his own legal survival. Even major U.S. networks reportedly spiked stories on this leak to protect their "access." THE CLIMAX 📅 MARCH 2026: The trial has dragged on for TEN YEARS. The footage suggests a terrifying reality: the "height of the flames" in regional conflict may have been manipulated to serve as a convenient shield against prosecution. Personal corruption has evolved into a global moral crisis. This explosive research into "The Bibi Files" was brought to light by filmmaker Alex Gibney and discussed with Tucker Carlson. 1. RETWEET to expose the truth. 2. REPLY with "JUSTICE" if you’ve seen enough. 3. TAG a friend who needs to see behind the curtain. #TheBibiFiles #Netanyahu #GlobalPolitics Entertainment purposes only • DYOR

🚨 EXPOSED: THE 1,000-HOUR LEAK TEARING DOWN THE NETANYAHU REGIME The curtain has finally been pulled back on the man behind the "Statesman" mask. 1,000 hours of leaked police footage show the raw, desperate reality of power and corruption. 🕵️‍♂️ THE PLAYERS: Benjamin Netanyahu, Sara Netanyahu, Yair Netanyahu, and the State of Israel. THE PATTERN 🔥 For years, the public heard whispers. Now we see the evidence. Bribery and fraud charges dating back to 2016 involve "Code Named" luxury gifts—Cuban cigars and pink champagne—allegedly demanded as a "supply line" from billionaires in exchange for political favors. THE EVIDENCE 📊 The tapes reveal a 250 MILLION DOLLAR deal for favorable media coverage. While the world watches the war, the footage shows a family that acts above the law. Son Yair is seen screaming at investigators, comparing the police to the STASI, while Sara berates officers for questioning their entitlement. THE COVERUP 🛡️ Why the sudden push for judicial reform? Experts suggest it was a calculated strike to weaken the courts and dodge a jail cell. To stay in power, Netanyahu formed a coalition with extreme right-wing figures, trading national stability for his own legal survival. Even major U.S. networks reportedly spiked stories on this leak to protect their "access." THE CLIMAX 📅 MARCH 2026: The trial has dragged on for TEN YEARS. The footage suggests a terrifying reality: the "height of the flames" in regional conflict may have been manipulated to serve as a convenient shield against prosecution. Personal corruption has evolved into a global moral crisis. This explosive research into "The Bibi Files" was brought to light by filmmaker Alex Gibney and discussed with Tucker Carlson. 1. RETWEET to expose the truth. 2. REPLY with "JUSTICE" if you’ve seen enough. 3. TAG a friend who needs to see behind the curtain. #TheBibiFiles #Netanyahu #GlobalPolitics Entertainment purposes only • DYOR

Eronima

36,598 views • 5 months ago

Dana Gioia is one of the world’s greatest living poets. He’s been writing for ~55 years, and this 3-hour interview is all about his approach to writing. Some lessons: 1. What is poetry? Here’s a definition: “Poetry is a way of remembering what it would impoverish us to forget.” 2. And who is the mother of the muses? Mnemosyne, the goddess of memory. 3. You can’t understand poetry until you start learning it by heart. Yes, memorizing it. The metaphor of knowing something by heart means storing a piece of wisdom in the center of your being and making it a part of you. 4. Poetry exists in the body before it exists in language. For him, great writing is about putting form to felt sensations. 5. First drafts are an act of madness. They’re messy and chaotic, and it’s worth embracing that. Only in the process of revision does the structure begin to reveal itself. 6. The most valuable ideas arrive suddenly, fully formed but fragile, and they won’t wait for you to be ready. If you don’t write them down immediately, you’ll probably forget them. 7. His artistic process: Confusion, followed by madness, exhilaration, and despair. 8. Aspiring writers who can’t find the time to write run the risk of living a life of regret, where destiny takes the wheel and steers them off-course. Seneca says, “If you follow your destiny, it guides you. If you resist it, it drags you behind it.” 9. What’s the purpose of art? Most people, most of the time, go through life half-awake. The purpose of art is to awaken us to reality and help us feel our situation. Done right, it excites, expands, and refines our complete human intelligence. 10. Can you write with a full-time job? T.S. Eliot had a day job at a bank. Wallace Stevens was an insurance lawyer. Dana Gioia worked a full-time job in New York and wrote in the evenings. 11. Life is like a wallet full of one-hour bills. You only have 24 hours to spend every day. If you want to do serious writing while raising a family and maintaining a full-time job, almost every hour of every day has to be budgeted. 12. Poetry should turn. It shouldn’t just climb to an emotional height. It should pivot, contradict, or contain its own rebuttal. But most new poems go something like this: “I’m sad, I’m sad, I’m sad, I’m sad, the end,” or “I’m happy, I’m happy, I’m happy, the end. There’s no twist, no turn. 13. You don’t need to be 100% original. All you need to do is assemble parts of the reality that already exists. As George Balanchine said, “God creates, I assemble.” 14. A foundational book in his life: The City of God by St. Augustine. He says there are two cities that exist: There’s the City of Man, which is ruled by wealth and power and all the laws of man. And there’s the City of God which is eternal and governed by the rules of God. 15. Great poetry exists at the level of intuition, and it’s the same intuition that academic education tries to suppress. With great poems, like great songs, you feel before you understand. 16. Art is an argument with yourself. Yeats said: “Out of arguments with others, we make politics. Out of arguments with ourselves, we make poetry.” 17. Great writing should astonish the creator, and if it doesn’t astonish the creator, it won’t astonish the reader. 18. Robert Frost once said: “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” 19. Beauty is being able to see the form, the shape underneath reality, and to understand why it is right, even when it is destructive or terrifying or humiliating. The most powerful kind of beauty is to discover the secret shape and rightness of things that are terrifying. 20. On novels: Most people don’t understand what a novel is — and how revolutionary the form was. So, what’s a novel? It’s a story that tells you simultaneously what’s happening on the outside of a character and what they’re thinking on the inside. I’ve shared the full interview with Dana Gioia below. If you’d rather watch it on YouTube, or listen on Apple or Spotify, check out the reply tweets.

Dana Gioia is one of the world’s greatest living poets. He’s been writing for ~55 years, and this 3-hour interview is all about his approach to writing. Some lessons: 1. What is poetry? Here’s a definition: “Poetry is a way of remembering what it would impoverish us to forget.” 2. And who is the mother of the muses? Mnemosyne, the goddess of memory. 3. You can’t understand poetry until you start learning it by heart. Yes, memorizing it. The metaphor of knowing something by heart means storing a piece of wisdom in the center of your being and making it a part of you. 4. Poetry exists in the body before it exists in language. For him, great writing is about putting form to felt sensations. 5. First drafts are an act of madness. They’re messy and chaotic, and it’s worth embracing that. Only in the process of revision does the structure begin to reveal itself. 6. The most valuable ideas arrive suddenly, fully formed but fragile, and they won’t wait for you to be ready. If you don’t write them down immediately, you’ll probably forget them. 7. His artistic process: Confusion, followed by madness, exhilaration, and despair. 8. Aspiring writers who can’t find the time to write run the risk of living a life of regret, where destiny takes the wheel and steers them off-course. Seneca says, “If you follow your destiny, it guides you. If you resist it, it drags you behind it.” 9. What’s the purpose of art? Most people, most of the time, go through life half-awake. The purpose of art is to awaken us to reality and help us feel our situation. Done right, it excites, expands, and refines our complete human intelligence. 10. Can you write with a full-time job? T.S. Eliot had a day job at a bank. Wallace Stevens was an insurance lawyer. Dana Gioia worked a full-time job in New York and wrote in the evenings. 11. Life is like a wallet full of one-hour bills. You only have 24 hours to spend every day. If you want to do serious writing while raising a family and maintaining a full-time job, almost every hour of every day has to be budgeted. 12. Poetry should turn. It shouldn’t just climb to an emotional height. It should pivot, contradict, or contain its own rebuttal. But most new poems go something like this: “I’m sad, I’m sad, I’m sad, I’m sad, the end,” or “I’m happy, I’m happy, I’m happy, the end. There’s no twist, no turn. 13. You don’t need to be 100% original. All you need to do is assemble parts of the reality that already exists. As George Balanchine said, “God creates, I assemble.” 14. A foundational book in his life: The City of God by St. Augustine. He says there are two cities that exist: There’s the City of Man, which is ruled by wealth and power and all the laws of man. And there’s the City of God which is eternal and governed by the rules of God. 15. Great poetry exists at the level of intuition, and it’s the same intuition that academic education tries to suppress. With great poems, like great songs, you feel before you understand. 16. Art is an argument with yourself. Yeats said: “Out of arguments with others, we make politics. Out of arguments with ourselves, we make poetry.” 17. Great writing should astonish the creator, and if it doesn’t astonish the creator, it won’t astonish the reader. 18. Robert Frost once said: “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” 19. Beauty is being able to see the form, the shape underneath reality, and to understand why it is right, even when it is destructive or terrifying or humiliating. The most powerful kind of beauty is to discover the secret shape and rightness of things that are terrifying. 20. On novels: Most people don’t understand what a novel is — and how revolutionary the form was. So, what’s a novel? It’s a story that tells you simultaneously what’s happening on the outside of a character and what they’re thinking on the inside. I’ve shared the full interview with Dana Gioia below. If you’d rather watch it on YouTube, or listen on Apple or Spotify, check out the reply tweets.

David Perell

871,416 views • 1 year ago

Journey to the past time travel video using Seedance 2.5 on Higgsfield Prompt: Create a 30-second vertical 9:16 first-person smartphone video, filmed by one standing passenger inside an extremely crowded maglev commuter train. One continuous take only: no cuts, jump cuts, fades, dissolves, overlays, double exposure, scene resets, or artificial transitions. The same train, same carriage, same passengers, same camera, and same interior remain consistent throughout. The camera is a cheap smartphone held at chest height, one-handed while the other hand grips a pole. The phone is never visible. Footage is crooked, shaky, partially blocked by shoulders, and realistically imperfect: rolling-shutter distortion, autofocus hunting, exposure fluctuations, blown highlights, noisy shadows, compression artifacts, motion smear, and no stabilization or cinematic movement. The camera always looks through the left-side window at roughly 90° to the train's direction. The train always moves forward and the outside world flows from front to back. Timeline 0–2s — Present Day Ordinary modern weekday morning: glass buildings, traffic, pedestrians passing outside. Tired commuters barely react. Announcement: “Next stop: 1944.” The train suddenly accelerates; passengers grab poles and sway. 2–4s — Time Turbulence Modern scenery is physically swallowed by a dense silver-gray temporal mist tunnel. It has real depth, airflow, parallax, and particles. Old newspapers, yellowed pages, and radio-static-like fragments fly naturally from front to back. Carriage lights flicker. This is a real tunnel, not a transition effect. 4–8s — June 1944, Normandy The mist clears as the train physically emerges beside the Normandy coast. Gray dawn, naval ships, landing craft, barrage balloons, distant explosions, smoke, and soldiers as distant silhouettes in the surf. No graphic violence. Passengers become solemn and tense. 8–9s — Time Turbulence Parchment fragments and quill-like light streaks rush past the window. Radio-static texture and distant voices. Announcement: “Next stop: 1789.” 9–13s — May 1789, Versailles The train emerges beside Versailles. Stone walls, wrought-iron gates, horse-drawn carriages, formally dressed representatives, and large crowds. Warm golden morning light. Church bells and murmuring voices. Atmosphere of expectation and historical change. 13–14s — Time Turbulence Flying pamphlets and paper fragments fill the temporal mist. Announcement: “Next stop: 1776.” 14–18s — July 1776, Philadelphia The train emerges beside a red-brick bell-tower building and crowded stone square. A bell rings, representatives exit, a proclamation is read, papers flutter, and the crowd celebrates quietly. Warm summer evening light. A passenger smiles and softly says: “Look.” 18–19s — Time Turbulence Rough dark mist, ash-like particles, glowing embers, distant horns. Announcement: “Next stop: 1184 BC.” 19–23s — April 1184 BC, Troy The train emerges at night beside a massive fortified city. Burning walls, smoke, a huge wooden horse being pulled through a damaged gate, shield-bearing silhouettes, and ships along the shore. Convey war only through fire, smoke, silhouettes, and scale. No blood, injuries, or graphic violence. Passengers lean toward the window, visibly grave. 23–24s — Time Turbulence Golden swirling sand replaces the mist. Luminous fragments resembling ancient symbols and distant chanting pass through the window. Announcement: “Next stop: 2500 BC.” 24–28s — Approximately 2500 BC, Giza The turbulence clears to reveal a gigantic unfinished pyramid under intense white-gold desert sunlight. Thousands of workers haul limestone blocks up massive ramps using ropes, rollers, and levers. Supervisors stand above; boats move along the distant Nile. Immense scale and photorealistic ancient construction. A passenger whispers: “Ohh.” 28–30s — Ending The train keeps moving beside the enormous pyramid. Dust floats through the sunlight; distant workers continue their labor. Every passenger is silent and stunned. At approximately 29.7s, the announcement quietly says: “Welcome to 2500 BC.” The train continues moving and the video ends naturally—no fade or cut. Physics, Lighting & Sound Passengers, hand loops, clothing, backpacks, and loose objects react naturally to acceleration and turbulence. Keep the same people and interior throughout. Lighting changes physically with each era: cool modern morning → gray-blue Normandy dawn → warm Versailles morning → warm Philadelphia evening → orange-red Troy firelight → intense white-gold Giza sunlight. Light always enters from the left window and illuminates passengers naturally. Use only diegetic sound: maglev hum, mechanical rattling, vibrating poles, compressed phone-mic audio, plus era-specific ambience. Every time jump includes a brief radio-static scan and historical echoes before naturally becoming the new environment's sound. Critical Rules Single uninterrupted shot. Same train. Same passengers. Same phone. Forward motion only. Left-window view only. Every time jump must be achieved by physically entering and exiting a real 3D temporal-mist tunnel. No editing or compositing. All historical environments must be photorealistic and period-appropriate. Do not show recognizable famous historical figures in facial close-up. Keep Normandy and Troy non-graphic. The footage must feel like an accidental, low-quality smartphone recording—not a polished movie.

Journey to the past time travel video using Seedance 2.5 on Higgsfield Prompt: Create a 30-second vertical 9:16 first-person smartphone video, filmed by one standing passenger inside an extremely crowded maglev commuter train. One continuous take only: no cuts, jump cuts, fades, dissolves, overlays, double exposure, scene resets, or artificial transitions. The same train, same carriage, same passengers, same camera, and same interior remain consistent throughout. The camera is a cheap smartphone held at chest height, one-handed while the other hand grips a pole. The phone is never visible. Footage is crooked, shaky, partially blocked by shoulders, and realistically imperfect: rolling-shutter distortion, autofocus hunting, exposure fluctuations, blown highlights, noisy shadows, compression artifacts, motion smear, and no stabilization or cinematic movement. The camera always looks through the left-side window at roughly 90° to the train's direction. The train always moves forward and the outside world flows from front to back. Timeline 0–2s — Present Day Ordinary modern weekday morning: glass buildings, traffic, pedestrians passing outside. Tired commuters barely react. Announcement: “Next stop: 1944.” The train suddenly accelerates; passengers grab poles and sway. 2–4s — Time Turbulence Modern scenery is physically swallowed by a dense silver-gray temporal mist tunnel. It has real depth, airflow, parallax, and particles. Old newspapers, yellowed pages, and radio-static-like fragments fly naturally from front to back. Carriage lights flicker. This is a real tunnel, not a transition effect. 4–8s — June 1944, Normandy The mist clears as the train physically emerges beside the Normandy coast. Gray dawn, naval ships, landing craft, barrage balloons, distant explosions, smoke, and soldiers as distant silhouettes in the surf. No graphic violence. Passengers become solemn and tense. 8–9s — Time Turbulence Parchment fragments and quill-like light streaks rush past the window. Radio-static texture and distant voices. Announcement: “Next stop: 1789.” 9–13s — May 1789, Versailles The train emerges beside Versailles. Stone walls, wrought-iron gates, horse-drawn carriages, formally dressed representatives, and large crowds. Warm golden morning light. Church bells and murmuring voices. Atmosphere of expectation and historical change. 13–14s — Time Turbulence Flying pamphlets and paper fragments fill the temporal mist. Announcement: “Next stop: 1776.” 14–18s — July 1776, Philadelphia The train emerges beside a red-brick bell-tower building and crowded stone square. A bell rings, representatives exit, a proclamation is read, papers flutter, and the crowd celebrates quietly. Warm summer evening light. A passenger smiles and softly says: “Look.” 18–19s — Time Turbulence Rough dark mist, ash-like particles, glowing embers, distant horns. Announcement: “Next stop: 1184 BC.” 19–23s — April 1184 BC, Troy The train emerges at night beside a massive fortified city. Burning walls, smoke, a huge wooden horse being pulled through a damaged gate, shield-bearing silhouettes, and ships along the shore. Convey war only through fire, smoke, silhouettes, and scale. No blood, injuries, or graphic violence. Passengers lean toward the window, visibly grave. 23–24s — Time Turbulence Golden swirling sand replaces the mist. Luminous fragments resembling ancient symbols and distant chanting pass through the window. Announcement: “Next stop: 2500 BC.” 24–28s — Approximately 2500 BC, Giza The turbulence clears to reveal a gigantic unfinished pyramid under intense white-gold desert sunlight. Thousands of workers haul limestone blocks up massive ramps using ropes, rollers, and levers. Supervisors stand above; boats move along the distant Nile. Immense scale and photorealistic ancient construction. A passenger whispers: “Ohh.” 28–30s — Ending The train keeps moving beside the enormous pyramid. Dust floats through the sunlight; distant workers continue their labor. Every passenger is silent and stunned. At approximately 29.7s, the announcement quietly says: “Welcome to 2500 BC.” The train continues moving and the video ends naturally—no fade or cut. Physics, Lighting & Sound Passengers, hand loops, clothing, backpacks, and loose objects react naturally to acceleration and turbulence. Keep the same people and interior throughout. Lighting changes physically with each era: cool modern morning → gray-blue Normandy dawn → warm Versailles morning → warm Philadelphia evening → orange-red Troy firelight → intense white-gold Giza sunlight. Light always enters from the left window and illuminates passengers naturally. Use only diegetic sound: maglev hum, mechanical rattling, vibrating poles, compressed phone-mic audio, plus era-specific ambience. Every time jump includes a brief radio-static scan and historical echoes before naturally becoming the new environment's sound. Critical Rules Single uninterrupted shot. Same train. Same passengers. Same phone. Forward motion only. Left-window view only. Every time jump must be achieved by physically entering and exiting a real 3D temporal-mist tunnel. No editing or compositing. All historical environments must be photorealistic and period-appropriate. Do not show recognizable famous historical figures in facial close-up. Keep Normandy and Troy non-graphic. The footage must feel like an accidental, low-quality smartphone recording—not a polished movie.

Oogie

20,345 views • 25 days ago

Whitmer Gave Us Fake Nursing Home Death Counts Her policy was to commingle the sick and the healthy in nursing homes during Covid, and new documents reveal her administration never gathered the data to find out how many died By Charlie LeDuff Charlie LeDuff Governor Gretchen Whitmer finally said the quiet part out loud about her deadly and disastrous response to Covid-19. “Listen,” she said to popular podcast host Caleb Hammer last November when pushed on her pandemic lockdown orders. “None of us wants to go back and relive that. We were doing the best we could with very little or very bad information.” Very little or very bad information is the least of it. When it came to the admission of infected people into the state’s nursing homes, Whitmer and her health officials were working with no data at all. They allowed the nursing homes to simply make it up. According to an initial search of 15,000 pages of unredacted documents obtained by Michigan Enjoyer, Michigan health officials had no grasp of the number of dead within the state's long-term care facilities. And when pushed by the federal government to supply the data by June 2020, the Whitmer administration simply turned to the nursing homes with a wink and a nod. From March through June—the height of the pandemic—Michigan was among the last states to report nursing home deaths. State health officials had attempted a half-dozen times to tabulate the death count and came up with a half-dozen conflicting numbers. The feds required a death be counted as a nursing home death regardless of whether it occurred in the facility or at the hospital. But by the end of June 2020, only two-thirds of nursing homes had even reported to state health officials. According to health department spreadsheets, the total deaths reported by the homes was a mere 255. (As a comparison, New York State reported nearly 7,000 in the same time frame.) Despite the federal guidelines, a team of bean counters in Lansing was removing hospital deaths, anyhow. Their total was just 99 victims. Caught in a legal and public relations vice, state officials circled back to the nursing homes and asked them to simply self-report a raw number. No name. No age. No data of death. No social security number. It was a simple “take their word for it" arrangement. By mid-June, the Whitmer administration was reporting just 1,947 deaths. Those original nursing home reports sent by nursing home administrators have since been deleted. And a year later, Whitmer’s claim that mixing the sick with the healthy in the same building had lead to fewer deaths would be totally debunked. In August 2020, as the nursing home scandal was enveloping New York Gov. Andrew Cuomo, officials in Whitmer’s circle began to panic. On August 14, a blizzard of emails passed between Whitmer health officials and state epidemiologists asking if an update on the true nursing home death toll had been tabulated. “This is of great interest to the governor’s office,” a health department official wrote to an epidemiologist. “May I get an ETA of when this (data) could be refined?” This “refinement” never happened. Instead, a study was published in September by the Center for Health and Research Transformation, an independent consulting firm attached to the University of Michigan. Using the state’s flawed and phony data, the CHRT report claimed that Michigan’s nursing home Covid deaths were well below the national average. CHRT’s findings were taken as gospel among the facile media and the professional fact-checkers. But documents obtained by Michigan Enjoyer reveal a chummy relationship between the CHRT group and state health officials. A few months before the release of its report, the executive director of CHRT was contacted by a reporter who rightly asked why Michigan was among the last states in the union to publish its nursing home death count. Before responding to the reporter, the executive director of CHRT emailed two senior HHS officials looking for direction. “(The reporter) is doing another article on the lack of data in Michigan nursing home cases and deaths from Covid,” wrote Marianne Udow-Phillips. “I’m hoping to better understand the data limitations we’re currently facing and what’s being done to address them. Thanks so much!” It must be noted that the CHRT’s study was funded by the Michigan Health Endowment, a state-created nonprofit whose nine board governors are appointed by the governor. What these communications expose is a feedback loop of cognitive dissonance. The media provided questions to the think tank. The think tank, in turn, asked the government to provide it with a response. This was considered independent, scientific confirmation of Whitmer’s devastating strategy. Udow-Phillips did not respond to request for comment. The phone message at CHRT headquarters, last week, said the office is closed due to the Covid pandemic. CHRT’s findings were eventually debunked by the Auditor General of Michigan in January 2022. The auditor found the death toll in the first 17 months of the pandemic alone to be 42% higher than Whitmer was reporting to the public. Whitmer’s health director testified before the House Oversight Committee that its death number was accurate because the Health Department accurately reported what the nursing homes had told them. Adding to the outrage is a slew of peer-reviewed studies showing that nursing homes that commingled the infected with the healthy across the country had a death rate 72% higher than those that facilities that did not. “There are some actions that are so foolish and so consequential that they beg for outrage,” wrote Dr. James Goodwin of the University of Texas in the Journal of the American Medical Association. “No individual with the slightest knowledge of nursing homes could have forced nursing home to admit patients with COVID-19. The majority of nursing homes were totally unprepared to quarantine patients with COVID-19.” So what is the true death count in Michigan’s long-term care facilities? Remember, Michigan continued to commingle the sick and the healthy in the same buildings throughout the pandemic. New York ended the practice after 40 days. The auditor general counted at least 8,051 dead between March 2020 and July 2021. But Michigan never corrected its total and stopped counting long-term care facility Covid deaths altogether by May 2022. To this day, the Whitmer administration claims total long-term facility total deaths were just 7,324. The true number of dead in the Great Lakes State may be as high as 14,000. We won’t know without an investigation. But Attorney General Dana Nessel refuses to conduct one. And Whitmer? She continues to prop the proverbial folder over her face. “None of us wants to go back and relive that,” she said. “We were doing the best we could with very little or very bad information.” Many of us do want to go back. We remember every time we pray in memory of your loved ones. This isn’t over. We have thousands of documents to go.

Whitmer Gave Us Fake Nursing Home Death Counts Her policy was to commingle the sick and the healthy in nursing homes during Covid, and new documents reveal her administration never gathered the data to find out how many died By Charlie LeDuff Charlie LeDuff Governor Gretchen Whitmer finally said the quiet part out loud about her deadly and disastrous response to Covid-19. “Listen,” she said to popular podcast host Caleb Hammer last November when pushed on her pandemic lockdown orders. “None of us wants to go back and relive that. We were doing the best we could with very little or very bad information.” Very little or very bad information is the least of it. When it came to the admission of infected people into the state’s nursing homes, Whitmer and her health officials were working with no data at all. They allowed the nursing homes to simply make it up. According to an initial search of 15,000 pages of unredacted documents obtained by Michigan Enjoyer, Michigan health officials had no grasp of the number of dead within the state's long-term care facilities. And when pushed by the federal government to supply the data by June 2020, the Whitmer administration simply turned to the nursing homes with a wink and a nod. From March through June—the height of the pandemic—Michigan was among the last states to report nursing home deaths. State health officials had attempted a half-dozen times to tabulate the death count and came up with a half-dozen conflicting numbers. The feds required a death be counted as a nursing home death regardless of whether it occurred in the facility or at the hospital. But by the end of June 2020, only two-thirds of nursing homes had even reported to state health officials. According to health department spreadsheets, the total deaths reported by the homes was a mere 255. (As a comparison, New York State reported nearly 7,000 in the same time frame.) Despite the federal guidelines, a team of bean counters in Lansing was removing hospital deaths, anyhow. Their total was just 99 victims. Caught in a legal and public relations vice, state officials circled back to the nursing homes and asked them to simply self-report a raw number. No name. No age. No data of death. No social security number. It was a simple “take their word for it" arrangement. By mid-June, the Whitmer administration was reporting just 1,947 deaths. Those original nursing home reports sent by nursing home administrators have since been deleted. And a year later, Whitmer’s claim that mixing the sick with the healthy in the same building had lead to fewer deaths would be totally debunked. In August 2020, as the nursing home scandal was enveloping New York Gov. Andrew Cuomo, officials in Whitmer’s circle began to panic. On August 14, a blizzard of emails passed between Whitmer health officials and state epidemiologists asking if an update on the true nursing home death toll had been tabulated. “This is of great interest to the governor’s office,” a health department official wrote to an epidemiologist. “May I get an ETA of when this (data) could be refined?” This “refinement” never happened. Instead, a study was published in September by the Center for Health and Research Transformation, an independent consulting firm attached to the University of Michigan. Using the state’s flawed and phony data, the CHRT report claimed that Michigan’s nursing home Covid deaths were well below the national average. CHRT’s findings were taken as gospel among the facile media and the professional fact-checkers. But documents obtained by Michigan Enjoyer reveal a chummy relationship between the CHRT group and state health officials. A few months before the release of its report, the executive director of CHRT was contacted by a reporter who rightly asked why Michigan was among the last states in the union to publish its nursing home death count. Before responding to the reporter, the executive director of CHRT emailed two senior HHS officials looking for direction. “(The reporter) is doing another article on the lack of data in Michigan nursing home cases and deaths from Covid,” wrote Marianne Udow-Phillips. “I’m hoping to better understand the data limitations we’re currently facing and what’s being done to address them. Thanks so much!” It must be noted that the CHRT’s study was funded by the Michigan Health Endowment, a state-created nonprofit whose nine board governors are appointed by the governor. What these communications expose is a feedback loop of cognitive dissonance. The media provided questions to the think tank. The think tank, in turn, asked the government to provide it with a response. This was considered independent, scientific confirmation of Whitmer’s devastating strategy. Udow-Phillips did not respond to request for comment. The phone message at CHRT headquarters, last week, said the office is closed due to the Covid pandemic. CHRT’s findings were eventually debunked by the Auditor General of Michigan in January 2022. The auditor found the death toll in the first 17 months of the pandemic alone to be 42% higher than Whitmer was reporting to the public. Whitmer’s health director testified before the House Oversight Committee that its death number was accurate because the Health Department accurately reported what the nursing homes had told them. Adding to the outrage is a slew of peer-reviewed studies showing that nursing homes that commingled the infected with the healthy across the country had a death rate 72% higher than those that facilities that did not. “There are some actions that are so foolish and so consequential that they beg for outrage,” wrote Dr. James Goodwin of the University of Texas in the Journal of the American Medical Association. “No individual with the slightest knowledge of nursing homes could have forced nursing home to admit patients with COVID-19. The majority of nursing homes were totally unprepared to quarantine patients with COVID-19.” So what is the true death count in Michigan’s long-term care facilities? Remember, Michigan continued to commingle the sick and the healthy in the same buildings throughout the pandemic. New York ended the practice after 40 days. The auditor general counted at least 8,051 dead between March 2020 and July 2021. But Michigan never corrected its total and stopped counting long-term care facility Covid deaths altogether by May 2022. To this day, the Whitmer administration claims total long-term facility total deaths were just 7,324. The true number of dead in the Great Lakes State may be as high as 14,000. We won’t know without an investigation. But Attorney General Dana Nessel refuses to conduct one. And Whitmer? She continues to prop the proverbial folder over her face. “None of us wants to go back and relive that,” she said. “We were doing the best we could with very little or very bad information.” Many of us do want to go back. We remember every time we pray in memory of your loved ones. This isn’t over. We have thousands of documents to go.

Michigan Enjoyer

58,028 views • 6 months ago