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Hell has a short video competition. The stakes? Simple. Last place cleans the toilets. Two underworld messengers. Desperate, scrambling, running out of time—Until they found his story. No dramatic music. No forced tears. Just... a man’s life, honestly told. Sometimes that's enough. HappyHorse CPP Invincible Invincible Star Orange Studio... show more

HappyHorse

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This time, under the theme "Ride the Dream as a Horse", Junie Lau and HappyHorse 1.0 co-created a short film about the body, memory, and spiritual telepathy. The story follows a girl who has been connected to horses since childhood. In her childhood world, a horse was never just an animal. It could be the wooden rocking horse that grew up with her, the dimly rotating carousel lamp, the "Trojan horse virus" hidden inside her childhood computer, or the seemingly tiny fragments of daily life that quietly embedded themselves deep within her memory. When she grows up, she becomes a dancer. Through dance, she continues searching tor the image of that horse from her childhood memories. Through repeated moments of approaching, colliding, resisting, and merging, she begins to understand the instincts of the body, the pull of emotion, and the wordless spiritual connection between human and horse. In this way, the horse in the film is no longer merely a concrete animal. It becomes more like an echo of childhood, an embodiment of free will deep within the body, and a complex symbol woven from memory, desire, instinct, and spiritual projection. In this short film, the girl and the horse go through a process of encounter, collision, confrontation, understanding, and fusion. Dance becomes the most direct form of communication between her and her memory, her body, and that "horse." Junie Lau × HappyHorse 1.0 — Co-created "Until the Body Becomes Wildemess"

This time, under the theme "Ride the Dream as a Horse", Junie Lau and HappyHorse 1.0 co-created a short film about the body, memory, and spiritual telepathy. The story follows a girl who has been connected to horses since childhood. In her childhood world, a horse was never just an animal. It could be the wooden rocking horse that grew up with her, the dimly rotating carousel lamp, the "Trojan horse virus" hidden inside her childhood computer, or the seemingly tiny fragments of daily life that quietly embedded themselves deep within her memory. When she grows up, she becomes a dancer. Through dance, she continues searching tor the image of that horse from her childhood memories. Through repeated moments of approaching, colliding, resisting, and merging, she begins to understand the instincts of the body, the pull of emotion, and the wordless spiritual connection between human and horse. In this way, the horse in the film is no longer merely a concrete animal. It becomes more like an echo of childhood, an embodiment of free will deep within the body, and a complex symbol woven from memory, desire, instinct, and spiritual projection. In this short film, the girl and the horse go through a process of encounter, collision, confrontation, understanding, and fusion. Dance becomes the most direct form of communication between her and her memory, her body, and that "horse." Junie Lau × HappyHorse 1.0 — Co-created "Until the Body Becomes Wildemess"

HappyHorse

1,788,724 Aufrufe • vor 3 Monaten

Okay, everyone is talking about AI video models right now, but honestly, most of the “comparisons” out there aren’t real comparisons at all. One video uses a different prompt. Someone tweaks the settings. Someone edits out the bad parts. And then people just decide which model is better? That never sat right with me. So I tested HappyHorse 1.1 and Kling 3.0 the same way I’d test any tool I was seriously considering for my work: the same prompt, the same reference images, the same duration, and no edits to hide the flaws. I wasn’t trying to prove that one model is better across the board. I simply wanted to see how each would handle the exact same challenge. 1. Lip-sync & speech This one's easy to judge honestly. You don't need to go frame by frame, just watch both videos side by side. Does the mouth actually match the words? Does the timing feel off or natural? Do the expressions hold up when the camera's in close? Small detail, but it tells you a lot fast. 2. Character & scene consistency This is where it gets interesting. Making one good-looking shot isn't hard anymore, keeping that same character looking like themselves across a bunch of shots is the real test. I used the same multi-angle reference set for both models and watched how they handled scene changes: face, clothes, props, where the character's standing, all of it. HappyHorse 1.1 was just noticeably more consistent here. One moment that stood out: in a crash scene where the character ends up injured on the ground, the difference isn't obvious at first glance, you really have to look closely. But HappyHorse kept him reacting, hand raised, blood visible, expression still "alive," like he was actually processing what just happened. Kling 3.0 showed him lying still, with no visible movement or reaction in that same moment. It's subtle, but it's a real example of logic and consistency holding up frame to frame, not just shot to shot. 3. Complex motion No cutting corners on this one, I wanted continuous movement. Sports, dancing, fast action, stuff that really shows whether a model understands weight, momentum, balance, how a body recovers after moving. These are the shots that expose problems you'd never catch in something static. Watching both side by side, continuously, tells you way more than any writeup could. 4. Camera control Both models got the same timestamped storyboard and the same camera directions. Then I just watched to see if they actually followed it. Here's a good example: push in, orbit around, crane up, then pull out. One continuous move. Watch closely and you'll see exactly where one model loses track of the subject or the motion gets weird, while the other stays right where it's supposed to be the whole time. That's basically the difference between a shot you keep and one you have to regenerate for the fifth time. 5. Price & workflow Price only means anything if you're comparing like for like, same output, same duration, same quality and resolution, same number of generations. But honestly I think the better question isn't "which one's cheaper," it's which one gets you more usable footage for the same money. For me that's not just about credits either, it's about how many tries it takes before I get something I actually want to keep. Where this actually matters: ads and e-commerce This is the stuff that made the biggest difference for me. When you're making product shots or ad content, you need a model that just does what you tell it, not one you have to wrestle with. HappyHorse 1.1 strictly executes your planned frames, you're setting the exact lens, the subject position, the camera's job, shot by shot. For ad work that means way fewer regenerations and getting from storyboard to finished cut a lot faster. Proof over opinions Here's what I kept coming back to. Saying "the motion's better" or "the camera control's better" doesn't really mean anything unless people can see it for themselves. That's why I think comparisons need continuous split-screen playback, identical prompts, clear labels, visible transitions, matching settings, and an honest breakdown of cost. Just let the footage speak, people can usually tell within a few seconds anyway. What I actually took away from this Both models have real strengths, I'm not saying one does everything better. But for the kind of work I do, including ad and e-commerce stuff, HappyHorse 1.1 just needed fewer compromises from me. Less regenerating shots, less fighting continuity issues, less trying to wrangle the camera back on track. Doesn't mean Kling 3.0 is bad, it's a solid model. It just means HappyHorse 1.1 got me to something production-ready faster, with less wasted time. And at the end of the day that's the thing I actually care about. p.s. links to try HappyHorse 1.1 and the community Discord are in the first reply below.

Okay, everyone is talking about AI video models right now, but honestly, most of the “comparisons” out there aren’t real comparisons at all. One video uses a different prompt. Someone tweaks the settings. Someone edits out the bad parts. And then people just decide which model is better? That never sat right with me. So I tested HappyHorse 1.1 and Kling 3.0 the same way I’d test any tool I was seriously considering for my work: the same prompt, the same reference images, the same duration, and no edits to hide the flaws. I wasn’t trying to prove that one model is better across the board. I simply wanted to see how each would handle the exact same challenge. 1. Lip-sync & speech This one's easy to judge honestly. You don't need to go frame by frame, just watch both videos side by side. Does the mouth actually match the words? Does the timing feel off or natural? Do the expressions hold up when the camera's in close? Small detail, but it tells you a lot fast. 2. Character & scene consistency This is where it gets interesting. Making one good-looking shot isn't hard anymore, keeping that same character looking like themselves across a bunch of shots is the real test. I used the same multi-angle reference set for both models and watched how they handled scene changes: face, clothes, props, where the character's standing, all of it. HappyHorse 1.1 was just noticeably more consistent here. One moment that stood out: in a crash scene where the character ends up injured on the ground, the difference isn't obvious at first glance, you really have to look closely. But HappyHorse kept him reacting, hand raised, blood visible, expression still "alive," like he was actually processing what just happened. Kling 3.0 showed him lying still, with no visible movement or reaction in that same moment. It's subtle, but it's a real example of logic and consistency holding up frame to frame, not just shot to shot. 3. Complex motion No cutting corners on this one, I wanted continuous movement. Sports, dancing, fast action, stuff that really shows whether a model understands weight, momentum, balance, how a body recovers after moving. These are the shots that expose problems you'd never catch in something static. Watching both side by side, continuously, tells you way more than any writeup could. 4. Camera control Both models got the same timestamped storyboard and the same camera directions. Then I just watched to see if they actually followed it. Here's a good example: push in, orbit around, crane up, then pull out. One continuous move. Watch closely and you'll see exactly where one model loses track of the subject or the motion gets weird, while the other stays right where it's supposed to be the whole time. That's basically the difference between a shot you keep and one you have to regenerate for the fifth time. 5. Price & workflow Price only means anything if you're comparing like for like, same output, same duration, same quality and resolution, same number of generations. But honestly I think the better question isn't "which one's cheaper," it's which one gets you more usable footage for the same money. For me that's not just about credits either, it's about how many tries it takes before I get something I actually want to keep. Where this actually matters: ads and e-commerce This is the stuff that made the biggest difference for me. When you're making product shots or ad content, you need a model that just does what you tell it, not one you have to wrestle with. HappyHorse 1.1 strictly executes your planned frames, you're setting the exact lens, the subject position, the camera's job, shot by shot. For ad work that means way fewer regenerations and getting from storyboard to finished cut a lot faster. Proof over opinions Here's what I kept coming back to. Saying "the motion's better" or "the camera control's better" doesn't really mean anything unless people can see it for themselves. That's why I think comparisons need continuous split-screen playback, identical prompts, clear labels, visible transitions, matching settings, and an honest breakdown of cost. Just let the footage speak, people can usually tell within a few seconds anyway. What I actually took away from this Both models have real strengths, I'm not saying one does everything better. But for the kind of work I do, including ad and e-commerce stuff, HappyHorse 1.1 just needed fewer compromises from me. Less regenerating shots, less fighting continuity issues, less trying to wrangle the camera back on track. Doesn't mean Kling 3.0 is bad, it's a solid model. It just means HappyHorse 1.1 got me to something production-ready faster, with less wasted time. And at the end of the day that's the thing I actually care about. p.s. links to try HappyHorse 1.1 and the community Discord are in the first reply below.

Chubby♨️

19,569 Aufrufe • vor 14 Tagen

this is f*cking insane.. Higgsfield just spent $500,000 making a 95 minute AI Film called Hell Grind and they just LEAKED everything.. they open sourced their whole entire system.. the brand briefs, the creative research, the prompting system & every asset they used the system they put together to make this film is genuinely insane. this is not some random AI video or AI slop reel. this is a full professional grade AI film with every single piece of the production released publicly no one would ever just casually release $500,000 worth of professional AI filmmaking material for free. but that's exactly what happened if you're doing anything serious in the AI creative space then this is for you. whether you're making AI UGC, faceless content, animations, short films, whatever. the workflows and prompting systems in here apply to everything. this is the most detailed framework at how a professional AI video gets made . this has ever been released publicly, you're not going to find anything close to this anywhere else. i put together everything you need in one place.. here's what you're getting: > the full project brief breaking down their production system from A-Z with every single prompt they used across 95 minutes > all the video, image and audio assets > the full creative research process > how they maintained consistency across a movie length film RT + reply "FILM" and i'll send it over (must follow so i can dm)

Miko

13,641 Aufrufe • vor 1 Monat

Someone is going to make $5,000/month from a woman who doesn’t exist. And it’s probably going to happen from AI podcast clips. There’s a new wave of fake Instagram influencers getting millions of views on Reels right now: fake face fake voice fake podcast setup real attention The play is simple: Use ChatGPT to write 60-second motivational rants for a specific audience. Example: “girls 18–25 who feel behind in life” Then generate one AI character, put her in a podcast setup, paste the script into an AI video tool, and turn it into endless short clips with Kling 3.0. No studio. No filming. No creator. No personal brand. Just a fake person saying exactly what a real audience wants to hear at 1am. The money comes later: > affiliate links > paid shoutouts > digital products > newsletter funnels > coaching offers That’s why this is scary. AI influencers don’t need talent. They need a face, a niche, and distribution.

0xTria

11,845 Aufrufe • vor 3 Monaten

🎬 It’s been almost 2 months now that I’ve been working as a VFX AI Prompt Artist / Photoshop Editor on Season 2 of #houseofdavid, a major international production for Prime Video & Amazon MGM Studios. And honestly? It’s absolutely wild. The show is crushing it (No. 2 on Prime US, over 22 million viewers worldwide), and I’m super proud to have been part of the team since February What truly makes this project stand out is that, for the first time on a production of this scale, AI Artists have been directly integrated into the VFX pipeline. A bold move led by Wonder Project, and a strong signal for what’s coming next: generative AI has clearly found its place in the film industry. Day to day? 🎥 Massive sets, ⏱️ Tight deadlines, 🧠 Challenging sequences, 💬 Meetings with the cast, 🙌 And above all, an amazing team that’s an absolute joy to work with (LudovicCreator , Genmakers , Heather Cooper ) In this video, Jon Erwin talks about how AI was used in episode 6 of season 1, and shares his vision of what generative AI can bring to the future of filmmaking. A clear, inspiring message — and totally aligned with what I’m experiencing on this project every day. One thing’s for sure: AI in cinema is no longer just R&D… it’s already happening. And the story is just getting started.

🎬 It’s been almost 2 months now that I’ve been working as a VFX AI Prompt Artist / Photoshop Editor on Season 2 of #houseofdavid, a major international production for Prime Video & Amazon MGM Studios. And honestly? It’s absolutely wild. The show is crushing it (No. 2 on Prime US, over 22 million viewers worldwide), and I’m super proud to have been part of the team since February What truly makes this project stand out is that, for the first time on a production of this scale, AI Artists have been directly integrated into the VFX pipeline. A bold move led by Wonder Project, and a strong signal for what’s coming next: generative AI has clearly found its place in the film industry. Day to day? 🎥 Massive sets, ⏱️ Tight deadlines, 🧠 Challenging sequences, 💬 Meetings with the cast, 🙌 And above all, an amazing team that’s an absolute joy to work with (LudovicCreator , Genmakers , Heather Cooper ) In this video, Jon Erwin talks about how AI was used in episode 6 of season 1, and shares his vision of what generative AI can bring to the future of filmmaking. A clear, inspiring message — and totally aligned with what I’m experiencing on this project every day. One thing’s for sure: AI in cinema is no longer just R&D… it’s already happening. And the story is just getting started.

Pierrick Chevallier | IA

479,588 Aufrufe • vor 1 Jahr

The 1500 page spending bill that Congress tried to jam in yesterday just got hacked down to 116 pages. It was a big win for Donald J. Trump and Department of Government Efficiency. When Democrats found out they wouldn’t be getting a raise, they started chanting “hell no” inside of their little meeting room. Now, the bill is dead. Only 2 Democrats voted for it and 38 Republicans voted against. The Republicans didn’t like that it raised the debt ceiling, without enough spending to make up for it. They’ve had all month to hash this out, but instead left it until the last minute. As for Democrats, they’re all for shutting down the government unless they get a raise. They voted against disaster relief, aid for farmers, pay for the military and to keep the government open— all because the bill didn’t have their pork.

The 1500 page spending bill that Congress tried to jam in yesterday just got hacked down to 116 pages. It was a big win for Donald J. Trump and Department of Government Efficiency. When Democrats found out they wouldn’t be getting a raise, they started chanting “hell no” inside of their little meeting room. Now, the bill is dead. Only 2 Democrats voted for it and 38 Republicans voted against. The Republicans didn’t like that it raised the debt ceiling, without enough spending to make up for it. They’ve had all month to hash this out, but instead left it until the last minute. As for Democrats, they’re all for shutting down the government unless they get a raise. They voted against disaster relief, aid for farmers, pay for the military and to keep the government open— all because the bill didn’t have their pork.

Jesse Watters

503,685 Aufrufe • vor 1 Jahr

19 YEAR OLD IS RUNNING A YOUTUBE ANIMATION STUDIO FROM HIS BEDROOM. HE HAS NO ANIMATORS. HE CANNOT DRAW. HE IS PRINTING MONEY FROM CHILDREN'S RHYMES. Kids' YouTube channels routinely pull millions of views per video. The platform pays creators between $1,000 and $3,000 for every hundred thousand views in that niche. Before this year, getting a piece of that market required a 3D animation studio, voice actors, and a month of rendering. He does it in under three minutes. His entire studio is a GPT sol and a Claude window. He opens YouTube and finds the most popular nursery rhyme channels. He takes a screenshot of their video feed. He opens Claude. He has a custom tool called Higgsfield MCP connected directly to his chat. He pastes the screenshot. He writes one prompt. Analyze this YouTube channel and generate a week of original content in the exact same style and niche. He hits enter. A few minutes later, the chat window spits out a fully rendered, broadcast-ready 3D animation. A baby playing with blocks, perfectly lit, smoothly animated, and ready to be monetized. He uploads it to his channel. The next day, he does it again. The kids watching on their iPads don't know the video was generated by an AI analyzing a screenshot. The parents who just want five minutes of quiet don't care. The algorithm treats it like a Pixar short. A real animation studio spends $50,000 and two months to produce three minutes of content. He spends zero dollars, takes a screenshot, and goes to make coffee. While the rest of the internet argues about whether AI is a real job, a quiet group of teenagers is pulling market share from massive media companies with a single prompt. Most people will watch his tutorial and complain. A few will open a new tab.

19 YEAR OLD IS RUNNING A YOUTUBE ANIMATION STUDIO FROM HIS BEDROOM. HE HAS NO ANIMATORS. HE CANNOT DRAW. HE IS PRINTING MONEY FROM CHILDREN'S RHYMES. Kids' YouTube channels routinely pull millions of views per video. The platform pays creators between $1,000 and $3,000 for every hundred thousand views in that niche. Before this year, getting a piece of that market required a 3D animation studio, voice actors, and a month of rendering. He does it in under three minutes. His entire studio is a GPT sol and a Claude window. He opens YouTube and finds the most popular nursery rhyme channels. He takes a screenshot of their video feed. He opens Claude. He has a custom tool called Higgsfield MCP connected directly to his chat. He pastes the screenshot. He writes one prompt. Analyze this YouTube channel and generate a week of original content in the exact same style and niche. He hits enter. A few minutes later, the chat window spits out a fully rendered, broadcast-ready 3D animation. A baby playing with blocks, perfectly lit, smoothly animated, and ready to be monetized. He uploads it to his channel. The next day, he does it again. The kids watching on their iPads don't know the video was generated by an AI analyzing a screenshot. The parents who just want five minutes of quiet don't care. The algorithm treats it like a Pixar short. A real animation studio spends $50,000 and two months to produce three minutes of content. He spends zero dollars, takes a screenshot, and goes to make coffee. While the rest of the internet argues about whether AI is a real job, a quiet group of teenagers is pulling market share from massive media companies with a single prompt. Most people will watch his tutorial and complain. A few will open a new tab.

ZER

31,034 Aufrufe • vor 2 Monaten

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.

Jordan Daniel Chesney

25,803 Aufrufe • vor 9 Monaten

The "Old Way" of running a company is dead. 💀 Brian Armstrong just revealed how he’s using AI agents to run Coinbase 🛡️, and it’s a glimpse into the future of leadership. 1. Real-Time Monitoring 👁️ No more waiting for "quarterly reviews." Brian uses AI agents to synthesize Slack and emails in real-time. He can feel the "vibration" of the entire company and spot bottlenecks before they become crises. 2. The RAPID-D Framework 🤖 At Coinbase, AI has a seat at the decision table. Their "RAPID-D" system uses agents to debate strategy, challenge assumptions, and probe for weaknesses in every major proposal. The AI isn't just a tool; it’s a participant. 3. CEO Coaching 📈 Ever wonder if you’re focusing on the wrong thing? Brian uses AI to audit his own schedule. The AI compares his daily actions against the company's top goals and tells him exactly where he’s wasting time. 4. Adapt or Exit 🚪 The mandate was simple: "Learn AI coding in 7 days or you’re out." Armstrong fired engineers who refused to onboard. Result? 1/3 of Coinbase code is now AI-generated, headed for 50%. The Bottom Line: We are moving from "companies that use AI" to "Agentic Organizations." The information lag is being set to zero. ⚡ #Coinbase #AI #TechLeadership #BrianArmstrong #FutureOfWork

The "Old Way" of running a company is dead. 💀 Brian Armstrong just revealed how he’s using AI agents to run Coinbase 🛡️, and it’s a glimpse into the future of leadership. 1. Real-Time Monitoring 👁️ No more waiting for "quarterly reviews." Brian uses AI agents to synthesize Slack and emails in real-time. He can feel the "vibration" of the entire company and spot bottlenecks before they become crises. 2. The RAPID-D Framework 🤖 At Coinbase, AI has a seat at the decision table. Their "RAPID-D" system uses agents to debate strategy, challenge assumptions, and probe for weaknesses in every major proposal. The AI isn't just a tool; it’s a participant. 3. CEO Coaching 📈 Ever wonder if you’re focusing on the wrong thing? Brian uses AI to audit his own schedule. The AI compares his daily actions against the company's top goals and tells him exactly where he’s wasting time. 4. Adapt or Exit 🚪 The mandate was simple: "Learn AI coding in 7 days or you’re out." Armstrong fired engineers who refused to onboard. Result? 1/3 of Coinbase code is now AI-generated, headed for 50%. The Bottom Line: We are moving from "companies that use AI" to "Agentic Organizations." The information lag is being set to zero. ⚡ #Coinbase #AI #TechLeadership #BrianArmstrong #FutureOfWork

Jungle Inc | Markets & Future Systems

279,137 Aufrufe • vor 7 Monaten

Not good enough. Not even close. It has now been over a month since I sent a letter to the attorney general demanding he urgently calls-in the deeply pathetic sentences handed down to a horrific grooming gang in Keighley. I have still not received any kind of a response. These men carried out horrific acts against two incredibly young, innocent girls in our town—yet the sentences handed down were nothing short of pathetic. One of these vile predators was convicted of 11 rapes and was handed the equivalent of just 1 year per incident. How is this justice? These sentences are hugely damaging to trust in our justice system. That's why in Parliament, I asked the Solicitor General for an urgent update on the case. But once again, I was met with a “no comment” response. We know the British State has failed victims of child sexual exploitation time and time again—but justice delayed is justice denied - and we need action right now. I will not stop fighting until we ensure that these inappropriate sentences are made to match the severity of the crime.

Not good enough. Not even close. It has now been over a month since I sent a letter to the attorney general demanding he urgently calls-in the deeply pathetic sentences handed down to a horrific grooming gang in Keighley. I have still not received any kind of a response. These men carried out horrific acts against two incredibly young, innocent girls in our town—yet the sentences handed down were nothing short of pathetic. One of these vile predators was convicted of 11 rapes and was handed the equivalent of just 1 year per incident. How is this justice? These sentences are hugely damaging to trust in our justice system. That's why in Parliament, I asked the Solicitor General for an urgent update on the case. But once again, I was met with a “no comment” response. We know the British State has failed victims of child sexual exploitation time and time again—but justice delayed is justice denied - and we need action right now. I will not stop fighting until we ensure that these inappropriate sentences are made to match the severity of the crime.

Robbie Moore MP

155,329 Aufrufe • vor 1 Jahr

‼️BREAKING: The Pentagon’s ANSWER To A 19-Year-Old Jumping Off The USS Abraham Lincoln Is To CHARGE Him A 19-year-old sailor on the USS Abraham Lincoln went over the side. That ship just came off a record deployment in a war the country was never honestly briefed on. The reports out of that hull have been the same for weeks: broken toilets, no hot water, no laundry, food shortages, exhaustion, and a kid who flagged his own mental health and still did not get real help. His wife found out four days later from a friend. After they pulled him out and sent him to Balboa, the story is he did not see a psychiatrist, got told to go back to work, and now the charging papers call it AWOL and malingering — as if he faked jumping off a warship. That is the Pentagon under Pete Hegseth. Not fix the boat. Not treat the sailor. Punish the leak with a body. They put out the usual line that help is available 24/7 and asking is strength. If that were true, a 19-year-old would not be in the water and then in the dock. You do not get to run an endless deployment, hide the conditions, confiscate phones so families cannot talk, and then pretend the kid who cracked is the criminal. Our generation were told the military takes care of its own. This is the opposite. Charge the brass who ran that ship into the ground. Leave the 19-year-old off the sacrificial altar.

‼️BREAKING: The Pentagon’s ANSWER To A 19-Year-Old Jumping Off The USS Abraham Lincoln Is To CHARGE Him A 19-year-old sailor on the USS Abraham Lincoln went over the side. That ship just came off a record deployment in a war the country was never honestly briefed on. The reports out of that hull have been the same for weeks: broken toilets, no hot water, no laundry, food shortages, exhaustion, and a kid who flagged his own mental health and still did not get real help. His wife found out four days later from a friend. After they pulled him out and sent him to Balboa, the story is he did not see a psychiatrist, got told to go back to work, and now the charging papers call it AWOL and malingering — as if he faked jumping off a warship. That is the Pentagon under Pete Hegseth. Not fix the boat. Not treat the sailor. Punish the leak with a body. They put out the usual line that help is available 24/7 and asking is strength. If that were true, a 19-year-old would not be in the water and then in the dock. You do not get to run an endless deployment, hide the conditions, confiscate phones so families cannot talk, and then pretend the kid who cracked is the criminal. Our generation were told the military takes care of its own. This is the opposite. Charge the brass who ran that ship into the ground. Leave the 19-year-old off the sacrificial altar.

Project Constitution

40,288 Aufrufe • vor 22 Tagen

Pamela Anderson is having a moment. And it’s about time. Only now, it’s not about the former Baywatch star’s physicality, it’s about second chances. The serendipitous romance between actors Liam Neeson and Pamela Anderson is the feel-good story they didn't know they needed. Let's not forget what Liam Neeson said about Pamela Anderson last year: "First of all, I'm absolutely smitten with her. She's fantastic to work with. I honestly can't praise her enough. We found this lovely connection and just let it unfold naturally — no pressure, no expectations." But it was what happened off set that touched him even more: "Pamela baked me sourdough bread and cookies... And let me tell you — that bread was something else. I know how much love and effort that takes." Sometimes, the most beautiful stories from Hollywood aren't about glamour or gossip — they're about kindness, warmth, and the simple act of baking bread for someone.

Pamela Anderson is having a moment. And it’s about time. Only now, it’s not about the former Baywatch star’s physicality, it’s about second chances. The serendipitous romance between actors Liam Neeson and Pamela Anderson is the feel-good story they didn't know they needed. Let's not forget what Liam Neeson said about Pamela Anderson last year: "First of all, I'm absolutely smitten with her. She's fantastic to work with. I honestly can't praise her enough. We found this lovely connection and just let it unfold naturally — no pressure, no expectations." But it was what happened off set that touched him even more: "Pamela baked me sourdough bread and cookies... And let me tell you — that bread was something else. I know how much love and effort that takes." Sometimes, the most beautiful stories from Hollywood aren't about glamour or gossip — they're about kindness, warmth, and the simple act of baking bread for someone.

Tosca Austen

540,916 Aufrufe • vor 1 Jahr

🇺🇸 The energy crisis is about to start hitting the real economy The Iran war is no longer just an oil-price story. Chris Martenson argues the global energy system is running out of spare capacity at precisely the wrong moment. Russia has gone from exporting roughly 1.1 million barrels per day of diesel to becoming an importer, while China has reduced output from some independent refiners. The result, Martenson says, is a structural diesel shortage. American refineries are now running at roughly 97.6% utilization. “That’s as high as you can go.” And they cannot stay there indefinitely. Maintenance eventually has to happen, tightening supply further. Meanwhile, traffic through Hormuz has fallen to its lowest level since May, the U.S. Strategic Petroleum Reserve is approaching its statutory drawdown limit, and Martenson says no meaningful refilling has taken place. This is where the problem leaves the trading screen. Diesel feeds trucking, ports, agriculture and almost every physical supply chain underneath the economy. “When you don’t have energy, you don’t have an economy.” Martenson isn't predicting America simply runs out of fuel. His warning is more mundane, and probably more dangerous: energy becomes expensive enough that everything else starts breaking around it. Chris Martenson

🇺🇸 The energy crisis is about to start hitting the real economy The Iran war is no longer just an oil-price story. Chris Martenson argues the global energy system is running out of spare capacity at precisely the wrong moment. Russia has gone from exporting roughly 1.1 million barrels per day of diesel to becoming an importer, while China has reduced output from some independent refiners. The result, Martenson says, is a structural diesel shortage. American refineries are now running at roughly 97.6% utilization. “That’s as high as you can go.” And they cannot stay there indefinitely. Maintenance eventually has to happen, tightening supply further. Meanwhile, traffic through Hormuz has fallen to its lowest level since May, the U.S. Strategic Petroleum Reserve is approaching its statutory drawdown limit, and Martenson says no meaningful refilling has taken place. This is where the problem leaves the trading screen. Diesel feeds trucking, ports, agriculture and almost every physical supply chain underneath the economy. “When you don’t have energy, you don’t have an economy.” Martenson isn't predicting America simply runs out of fuel. His warning is more mundane, and probably more dangerous: energy becomes expensive enough that everything else starts breaking around it. Chris Martenson

Mario Nawfal

285,479 Aufrufe • vor 11 Tagen

‘HE IS KING’ 🎥💻 WORLD PREMIERE!! 🔥🔥🔥 #AIfilm taking a huge leap forward.. Thank you to everyone who has supported me and my work, including my family and close friends, it has meant the world to me, especially as I transitioned into this new space and my work took a new direction abruptly haha. AI has significantly changed my life for the better. As a visual artist & filmmaker who lives on the fringe of creative expression and work spans a range of mediums and style, this is the first time in my life, where what I am doing has given me more than inspired drive, it’s given me purpose. When I set out to make this film I wanted to tell a different kind of story, while also showing everyone what I envision for my work and the voice I wanna have as a filmmaker and artist. Time is so short in life, and often times we aren’t lucky enough to find what I’ve found. So for me, that’s what drives me, along with the need to tell stories visually of course haha. But, that sense of purpose, I want to inspire people to want to be more. Not for success, but for self fulfillment. HE IS KING, is a powerful, AI-generated short film that reframes one of the most iconic moments in American history. Written and directed by myself, the film offers an emotionally intimate and visually groundbreaking exploration of Dr. Martin Luther King Jr. on the day of his legendary “I Have a Dream” speech. “HE IS KING" is witnessed as a cinematic moment, a glimpse, of a man, a message, and a movement. Told through an emotionally intimate story and unique perspective, the film follows Dr. Martin Luther King Jr. on the day of his most iconic address, the “I Have a Dream” speech delivered from the steps of the Lincoln Memorial. But it does more than document a moment we all know well, it pulls the audience into the soul of a leader preparing to speak truth to a nation on the edge of transformation, these moments are the moments histories most undeniable choices and creation around them, are rarely told or shown. From quiet moments writing in a candlelit church, to the silent prayer of a man alone with his thoughts, to the thunderous crescendo of a quarter-million people answering his call, "HE IS KING" honors the legacy of a man not as a monument, but as a human being carrying the weight of a dream. Segregation, resistance, and unity are woven through the speech like visual echoes, grounding King’s words in lived experiences. With meticulous period detail through research, grounded performances, and a reverent tone manifested through my vision and AI, the film captures the urgency, hope, and sacrifice of the civil rights movement through a modern lens of technology today giving a uniquely spectacular showcase of what is possible in today's world. The film is a testament to the enduring power of truth as well, spoken aloud and carried forward. It captures the soul of a movement while reminding us that the dream never died with him, it evolved, rising through the voices of new leaders, and now, through innovations like AI, it has the ability to reach beyond time, across borders, and into the hands of future generations. This is not just a story about a speech. It’s about the responsibility, and the promise, of being the ones who still dream. ❤️🎥 DH Created with: Google DeepMind VEO, Runway GEN 3/4 for some of the speech shots using GVFX custom promoted filters, Kling AI 1.6 LipSync, custom voice workflow to create a new unique voice closely resembling King, Magnific.ai with their masterful upscaling in the vintage shots I created, Adobe Video Premiere/AfterEffects for editing/Color Grading, and the finish from Topaz Labs to bring it to you in 4k brilliance!

‘HE IS KING’ 🎥💻 WORLD PREMIERE!! 🔥🔥🔥 #AIfilm taking a huge leap forward.. Thank you to everyone who has supported me and my work, including my family and close friends, it has meant the world to me, especially as I transitioned into this new space and my work took a new direction abruptly haha. AI has significantly changed my life for the better. As a visual artist & filmmaker who lives on the fringe of creative expression and work spans a range of mediums and style, this is the first time in my life, where what I am doing has given me more than inspired drive, it’s given me purpose. When I set out to make this film I wanted to tell a different kind of story, while also showing everyone what I envision for my work and the voice I wanna have as a filmmaker and artist. Time is so short in life, and often times we aren’t lucky enough to find what I’ve found. So for me, that’s what drives me, along with the need to tell stories visually of course haha. But, that sense of purpose, I want to inspire people to want to be more. Not for success, but for self fulfillment. HE IS KING, is a powerful, AI-generated short film that reframes one of the most iconic moments in American history. Written and directed by myself, the film offers an emotionally intimate and visually groundbreaking exploration of Dr. Martin Luther King Jr. on the day of his legendary “I Have a Dream” speech. “HE IS KING" is witnessed as a cinematic moment, a glimpse, of a man, a message, and a movement. Told through an emotionally intimate story and unique perspective, the film follows Dr. Martin Luther King Jr. on the day of his most iconic address, the “I Have a Dream” speech delivered from the steps of the Lincoln Memorial. But it does more than document a moment we all know well, it pulls the audience into the soul of a leader preparing to speak truth to a nation on the edge of transformation, these moments are the moments histories most undeniable choices and creation around them, are rarely told or shown. From quiet moments writing in a candlelit church, to the silent prayer of a man alone with his thoughts, to the thunderous crescendo of a quarter-million people answering his call, "HE IS KING" honors the legacy of a man not as a monument, but as a human being carrying the weight of a dream. Segregation, resistance, and unity are woven through the speech like visual echoes, grounding King’s words in lived experiences. With meticulous period detail through research, grounded performances, and a reverent tone manifested through my vision and AI, the film captures the urgency, hope, and sacrifice of the civil rights movement through a modern lens of technology today giving a uniquely spectacular showcase of what is possible in today's world. The film is a testament to the enduring power of truth as well, spoken aloud and carried forward. It captures the soul of a movement while reminding us that the dream never died with him, it evolved, rising through the voices of new leaders, and now, through innovations like AI, it has the ability to reach beyond time, across borders, and into the hands of future generations. This is not just a story about a speech. It’s about the responsibility, and the promise, of being the ones who still dream. ❤️🎥 DH Created with: Google DeepMind VEO, Runway GEN 3/4 for some of the speech shots using GVFX custom promoted filters, Kling AI 1.6 LipSync, custom voice workflow to create a new unique voice closely resembling King, Magnific.ai with their masterful upscaling in the vintage shots I created, Adobe Video Premiere/AfterEffects for editing/Color Grading, and the finish from Topaz Labs to bring it to you in 4k brilliance!

Dustin Hollywood

25,952 Aufrufe • vor 1 Jahr

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.

Big Brain Business

23,576 Aufrufe • vor 5 Monaten

Thank you for the free therapy Namjoon😭 👤: You were in that dark place psychologically and you got out of it. It wasn't forever. What would you say to someone who you know, there may be a fan who feels that way right now? 🐨: I got out of that crisis I had last year because of the all those environments I had. I got out of it like physically but mentally I just, I'm just admitting it that essential sorrow. I don't know what is what is called but it's always there in it, in some part of my heart. So I think I'm still in the middle of just netting who I am. I'm like maybe too sensitive than the others, maybe the average or I think too much. Sometimes I can't sleep. But do you want to die? No, I try to love the life, the skies, taking walks, good friends, drinks, music, interview. I'm still fighting the demons. And I think maybe it could be forever. And forever is too long, like I said. But I just want to say one thing like simply, in short: I think life is fun. It's not because I'm BTS or I'm a star in the spotlight, I think just life is fun and living is better.

Thank you for the free therapy Namjoon😭 👤: You were in that dark place psychologically and you got out of it. It wasn't forever. What would you say to someone who you know, there may be a fan who feels that way right now? 🐨: I got out of that crisis I had last year because of the all those environments I had. I got out of it like physically but mentally I just, I'm just admitting it that essential sorrow. I don't know what is what is called but it's always there in it, in some part of my heart. So I think I'm still in the middle of just netting who I am. I'm like maybe too sensitive than the others, maybe the average or I think too much. Sometimes I can't sleep. But do you want to die? No, I try to love the life, the skies, taking walks, good friends, drinks, music, interview. I'm still fighting the demons. And I think maybe it could be forever. And forever is too long, like I said. But I just want to say one thing like simply, in short: I think life is fun. It's not because I'm BTS or I'm a star in the spotlight, I think just life is fun and living is better.

bangtan⁷ | ⊙⊝⊜

48,677 Aufrufe • vor 5 Monaten

HERE WE GO AGAIN! My people are destroyed for lack of knowledge (Hosea 4:6). We must FIX what is wrong with America. President CIC Donald Trump just decisively, with the help of the Military (clip in this short presentation by Eye Drop Media: and is now visible every microsecond in every home in the world via TV and the Internet. I'm mad as hell and I'm not going to take it anymore! NETWORK, made in 1976 (the 200th anniversary of the Constitution), is about a time when some saw the media's influence on our minds as brainwashing. Turn off MSM; it is going to implode soon anyway. Be ready. YOU'LL FIND OUT. Says President Trump. But blessed are your eyes because they see, and your ears because they hear. (Matthew 13:16) Promethean Action has the short and very concise history lesson. And The Book of Esther, the 17th book of the Bible, helps you understand "the flip." Today is the Festival of Purim. Where Queen Esther (a Jew) saves her people from a genocide plotted by the advisor Haman. And that took place in PERSIA. (The Iranian Women btw) Q Drop 3689 Dec 15, 2019 4:55:10 PM EST Q !!Hs1Jq13jV6 ID: 6c75be No. 7517694 Time[ing] is important. HOW MANY COINCIDENCES [use of coincidences essential not to violate NAT SEC?] before mathematically impossible? FISA = START Q

HERE WE GO AGAIN! My people are destroyed for lack of knowledge (Hosea 4:6). We must FIX what is wrong with America. President CIC Donald Trump just decisively, with the help of the Military (clip in this short presentation by Eye Drop Media: and is now visible every microsecond in every home in the world via TV and the Internet. I'm mad as hell and I'm not going to take it anymore! NETWORK, made in 1976 (the 200th anniversary of the Constitution), is about a time when some saw the media's influence on our minds as brainwashing. Turn off MSM; it is going to implode soon anyway. Be ready. YOU'LL FIND OUT. Says President Trump. But blessed are your eyes because they see, and your ears because they hear. (Matthew 13:16) Promethean Action has the short and very concise history lesson. And The Book of Esther, the 17th book of the Bible, helps you understand "the flip." Today is the Festival of Purim. Where Queen Esther (a Jew) saves her people from a genocide plotted by the advisor Haman. And that took place in PERSIA. (The Iranian Women btw) Q Drop 3689 Dec 15, 2019 4:55:10 PM EST Q !!Hs1Jq13jV6 ID: 6c75be No. 7517694 Time[ing] is important. HOW MANY COINCIDENCES [use of coincidences essential not to violate NAT SEC?] before mathematically impossible? FISA = START Q

Juan O Savin 107

42,698 Aufrufe • vor 6 Monaten

Comment "RIZZ" to get access to the free daily challenge. Most guys overthink the opener. They rehearse lines. They wait for the perfect moment. They talk themselves out of it before they even move. A direct opener cuts through all of that. You see her. You go. You say exactly what you're thinking. No hesitation. No script. No performance. Just presence and honesty. That directness alone communicates more confidence than any line ever could. But here's what most guys don't know about direct openers. The opener isn't what gets you the number. What happens after the opener is. Can you hold the tension after she reacts. Can you keep the conversation going when she's not immediately warm. Can you make her feel comfortable enough to actually open up to you. That's the real skill. And one of the best ways to build that comfort fast is a compliance test. Something small and playful that gets her participating in the conversation. In this video I asked her to say something in German. Simple. Playful. No pressure. But it immediately shifted the energy. Now she's engaged. Now she's laughing. Now she's curious about where this is going. That one small moment of compliance built more connection than five minutes of small talk ever would. That's what good conversation skills actually look like. Not smooth lines. Just genuine presence and the confidence to be playful in the moment. This is exactly the skill I built a tool to train. Real scenarios. Real women. Real time feedback on how you're showing up. Practice your direct opener today and get your Rizz Score. Comment "RIZZ" and I'll send you the free daily challenge right now.

Comment "RIZZ" to get access to the free daily challenge. Most guys overthink the opener. They rehearse lines. They wait for the perfect moment. They talk themselves out of it before they even move. A direct opener cuts through all of that. You see her. You go. You say exactly what you're thinking. No hesitation. No script. No performance. Just presence and honesty. That directness alone communicates more confidence than any line ever could. But here's what most guys don't know about direct openers. The opener isn't what gets you the number. What happens after the opener is. Can you hold the tension after she reacts. Can you keep the conversation going when she's not immediately warm. Can you make her feel comfortable enough to actually open up to you. That's the real skill. And one of the best ways to build that comfort fast is a compliance test. Something small and playful that gets her participating in the conversation. In this video I asked her to say something in German. Simple. Playful. No pressure. But it immediately shifted the energy. Now she's engaged. Now she's laughing. Now she's curious about where this is going. That one small moment of compliance built more connection than five minutes of small talk ever would. That's what good conversation skills actually look like. Not smooth lines. Just genuine presence and the confidence to be playful in the moment. This is exactly the skill I built a tool to train. Real scenarios. Real women. Real time feedback on how you're showing up. Practice your direct opener today and get your Rizz Score. Comment "RIZZ" and I'll send you the free daily challenge right now.

Rizzzcam

34,375 Aufrufe • vor 3 Monaten

Following SAXON’s June announcement with regards to Biff’s emergency procedure we would like to share with you a special message from Biff for fans as to his ongoing recovery from cancer and all he has been going through since his recent diagnosis following the band’s Japanese tour in late April. Biff also discusses the postponement of SAXON’s imminent French and Spanish shows until April and May of next year while he undergoes a short period of chemotherapy but has been told by doctors that his prognosis going forward is positive. All tickets will remain valid for the new rescheduled dates which will be announced on SAXON’s socials imminently. Sadly, Biff’s treatment also impacts on the band’s forthcoming festival performances at both Trutnoff Open Air, with the band’s appearance later this month having to be cancelled, and Neuborn Open Air, also later this month, now postponed until the festival’s 2026 edition. Biff would like to reassure fans that both the band’s special Hell, Fire and Steel UK & Ireland Tour this November will be going ahead as planned along with SAXON’s headline performance at Metal Hammer Paradise in Lübeck, Germany. The band’s Hell Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland and to hear the band’s classic Wheels of Steel album played in full for the last time from start to finish. For more information and tickets go to

Following SAXON’s June announcement with regards to Biff’s emergency procedure we would like to share with you a special message from Biff for fans as to his ongoing recovery from cancer and all he has been going through since his recent diagnosis following the band’s Japanese tour in late April. Biff also discusses the postponement of SAXON’s imminent French and Spanish shows until April and May of next year while he undergoes a short period of chemotherapy but has been told by doctors that his prognosis going forward is positive. All tickets will remain valid for the new rescheduled dates which will be announced on SAXON’s socials imminently. Sadly, Biff’s treatment also impacts on the band’s forthcoming festival performances at both Trutnoff Open Air, with the band’s appearance later this month having to be cancelled, and Neuborn Open Air, also later this month, now postponed until the festival’s 2026 edition. Biff would like to reassure fans that both the band’s special Hell, Fire and Steel UK & Ireland Tour this November will be going ahead as planned along with SAXON’s headline performance at Metal Hammer Paradise in Lübeck, Germany. The band’s Hell Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland and to hear the band’s classic Wheels of Steel album played in full for the last time from start to finish. For more information and tickets go to

Saxon

47,291 Aufrufe • vor 1 Jahr